Historically, the relationship between Hollywood and European comic books has been fraught with mutual distrust and cultural dissonance. Not to disparage Steven Spielberg — one of our national treasures — but his 2011 adaptation of The Adventures of Tintin was a bit of a disaster. And when La Femme Nikita director Luc Besson fulfilled a childhood fantasy in 2017 by bankrolling Valerian and the City of a Thousand Planets out of his own pocket, the most expensive independent movie ever made landed with the thud of a global box office bomb.
But there’s hope on the horizon. European comic books — specifically, the Franco-Belgian school spearheaded by the Tintin character and his creator Hergé — are both a multimillion Euro industry and a sumptuous art form with dozens of successful franchises waiting to be developed. N
ow that the offerings of Marvel and DC are beginning to feel a tad fatigued, to say the least,...
But there’s hope on the horizon. European comic books — specifically, the Franco-Belgian school spearheaded by the Tintin character and his creator Hergé — are both a multimillion Euro industry and a sumptuous art form with dozens of successful franchises waiting to be developed. N
ow that the offerings of Marvel and DC are beginning to feel a tad fatigued, to say the least,...
- 2/17/2024
- by Ernesto Lechner
- The Hollywood Reporter - Movie News
Rodrigo Moreno's The Delinquents is screening exclusively on Mubi in many countries.The Delinquents.Words have no owner. They simply are. They live in the speakers of a language, but no one has possession of a verb or a noun. If anyone can come close to such ownership, it is an artist, who puts the word in a complex combination that is theirs alone. A filmmaker's material is not words—though some might say a shot is its equivalent—but rather the world. Through framing, cutting, and duration, the director makes a movie their own, yet what is shot does not obey the will of the filmmaker. The material of the world is the filmmaker's lyrics, and the world does not belong to them.The arrangement and rearrangement of material—whether of words or of the world when it is filmed—into new works of art can be linked...
- 12/18/2023
- MUBI
Buenos Aires — Delivering a masterclass in Buenos Aires just days after the election victory of far-right libertarian Javier Milei on Nov. 18, Cannes Film Festival head Thierry Frémaux voiced his support for Argentina’s Incaa public sector film-tv agency, which Milei has promised to destroy.
Frémaux’s one and brief direct reference to the Incaa – which oversees Argentina’s crucial federal film funding, without which much of Argentine filmmaking would wither – came towards the end of a 90-minute masterclass entitled Cinema (of) Tomorrow.
“Cinema is not about to die, it’s about to live again,” Frémaux argued. “Cinema is in extraordinary good health. This year’s Cannes is said to have been one of the greatest in history and that’s due to the quality of the work of the artists, professionals and of reviewers,” he enthused.
Equally, he argued, the “new era of cinema” will see the “equal importance of...
Frémaux’s one and brief direct reference to the Incaa – which oversees Argentina’s crucial federal film funding, without which much of Argentine filmmaking would wither – came towards the end of a 90-minute masterclass entitled Cinema (of) Tomorrow.
“Cinema is not about to die, it’s about to live again,” Frémaux argued. “Cinema is in extraordinary good health. This year’s Cannes is said to have been one of the greatest in history and that’s due to the quality of the work of the artists, professionals and of reviewers,” he enthused.
Equally, he argued, the “new era of cinema” will see the “equal importance of...
- 11/30/2023
- by John Hopewell
- Variety Film + TV
At the height of Umberto Eco’s popularity, it may have been tempting to dismiss the Italian scholar and novelist as too representative of his own time, a purveyor of entertainments for hip intellectuals with a poststructuralist bent. His obsessions with semiotics and fakes, conspiracy theories and heretical Christian sects of the late Middle Ages, seemed quirky, meta, and all in good fun. But in the years since his death in 2016, they’ve turned out to be uncannily prescient, as Davide Ferrario’s Umberto Eco: A Library of the World aims to prove.
This biographical documentary isn’t a peek behind the curtain into a public intellectual’s private life. Rather, it’s a reframing of the preoccupations of a thinker who’s no longer very fashionable. In the process, it becomes a timely epistemological rumination on the difference between knowledge and information, the relationship between memory and technology.
In...
This biographical documentary isn’t a peek behind the curtain into a public intellectual’s private life. Rather, it’s a reframing of the preoccupations of a thinker who’s no longer very fashionable. In the process, it becomes a timely epistemological rumination on the difference between knowledge and information, the relationship between memory and technology.
In...
- 6/25/2023
- by William Repass
- Slant Magazine
There are movies that grab you by the throat and refuse to let go until the story ends. And there are others that playfully take your hand, guiding you into stories that blossom and fold in on themselves several times over, leading to endings that are more like beginnings.
For the past five years, a crop of films from Argentina has been specializing in the latter type, telling long, winding, labyrinthine stories inspired by the French Nouvelle Vague — especially Jacques Rivette’s Celine and Julie Go Boating and his serial epic, Out 1 — as well as Latin American postmodernists like Jorge Luis Borges, Julio Cortázar and Roberto Bolaño.
With mammoth running times and multiple characters, Mariano Llinás’ six-part, 13-hour La Flor (2018) and Laura Citarella’s two-part, six-hour Trenque Lauquen (2022), are the best-known examples of the genre. Enigmatic and absorbing, they have found a fanbase at festivals and on specialty streaming sites,...
For the past five years, a crop of films from Argentina has been specializing in the latter type, telling long, winding, labyrinthine stories inspired by the French Nouvelle Vague — especially Jacques Rivette’s Celine and Julie Go Boating and his serial epic, Out 1 — as well as Latin American postmodernists like Jorge Luis Borges, Julio Cortázar and Roberto Bolaño.
With mammoth running times and multiple characters, Mariano Llinás’ six-part, 13-hour La Flor (2018) and Laura Citarella’s two-part, six-hour Trenque Lauquen (2022), are the best-known examples of the genre. Enigmatic and absorbing, they have found a fanbase at festivals and on specialty streaming sites,...
- 5/18/2023
- by Jordan Mintzer
- The Hollywood Reporter - Movie News
Brandon Cronenberg shows no fear returning to images and themes popularized by his father David. Even the literary influences apparent in his work––Phillip K. Dick, Jorge Luis Borges, J. G. Ballard––are close. Yet his third feature, Infinity Pool, makes much clearer what his own voice looks like: a genuinely provocative fantasy of male masochism as a response to guilt. Set in a luxurious resort in the imaginary country of Li Tolqa, it follows novelist failson James Forster (Alexander Skarsgård) on a dizzying trip with his wife Em (Cleopatra Coleman). After having dinner with fellow tourists Gabi and her husband Alban (Jalil Lespert), she gives him a hand job. Driving the quartet home, James kills a local farmer in a car accident. When he’s arrested the following day, Infinity Pool takes a strange leap: the culture of Li Tolqa allows guilty criminals to create clones to be executed in their place.
- 2/2/2023
- by Steve Erickson
- The Film Stage
In “On Exactitude in Science,” a 1946 short story from the Argentinian writer Jorge Luis Borges, a fictional 17th century chronicler describes a guild of cartographers who make ever-bigger maps until, eventually, they create a “Map of the Empire whose size was that of the Empire, and which coincided point for point with it.” As tastes change, later generations declare the map “Useless” and leave the great work to wither in the desert sun, where “Animals and Beggars” live within the map’s “Tattered Ruins.” The brief tale manages to probe the nature of inquiry and spoof the history of empire, quite a feat for a piece that’s only a paragraph long.
Watching the films of Alejandro González Iñárritu, the multi-Oscar-winning writer-director behind The Revenant, Birdman, and Babel, can feel like watching both Borges and the cartographers work at the same time. He’s a man who often seems to...
Watching the films of Alejandro González Iñárritu, the multi-Oscar-winning writer-director behind The Revenant, Birdman, and Babel, can feel like watching both Borges and the cartographers work at the same time. He’s a man who often seems to...
- 12/20/2022
- by Josh Marcus
- The Independent - Film
This interview with Alejandro G. Iñárritu first ran in two different parts in the Race Begins and International issues of TheWrap’s awards magazine.
Alejandro G. Iñárritu would like to get this straight from the start: “Bardo, False Chronicle of a Handful of Truths” is not an autobiography. Its lead character, played by Daniel Giménez Cacho, is Silverio Gama, a movie director who looks like Iñárritu and who moved from Mexico to Los Angeles early in his career, just like Iñárritu; he also has a family like Iñárritu’s and he and his wife lost a child, like Iñárritu. But “Bardo” is a fantasia, a dreamscape and, insisted the writer-director, anything but a factual accounting of his life.
“It has taken me a long time to make myself clear that this is not an autobiography,” he said. “For me, every autobiography is a lie. Autobiography pretends it owns the truth,...
Alejandro G. Iñárritu would like to get this straight from the start: “Bardo, False Chronicle of a Handful of Truths” is not an autobiography. Its lead character, played by Daniel Giménez Cacho, is Silverio Gama, a movie director who looks like Iñárritu and who moved from Mexico to Los Angeles early in his career, just like Iñárritu; he also has a family like Iñárritu’s and he and his wife lost a child, like Iñárritu. But “Bardo” is a fantasia, a dreamscape and, insisted the writer-director, anything but a factual accounting of his life.
“It has taken me a long time to make myself clear that this is not an autobiography,” he said. “For me, every autobiography is a lie. Autobiography pretends it owns the truth,...
- 11/29/2022
- by Steve Pond
- The Wrap
Click here to read the full article.
Alejandro Gonzalez
In Netflix’s Bardo, False Chronicle of a Handful of Truths, Daniel Giménez Cacho stars as Silverio Gama, a renowned documentarian who is set to receive a prestigious award for his career as a journalist upon his return to his native Mexico after living with his family in Los Angeles for decades. The epic black comedy, which is Mexico’s official Oscar submission for best international feature, is an extremely personal project from four-time Oscar-winning writer-director Alejandro G. Iñárritu, who likens his latest film to the Mexican soup called pozole — “a mix of an enormous amount of things” — that speaks to the shared loneliness of the immigrant experience, particularly for those who feel without a homeland. The film sees Gama weaving throughout his own memories and the present day as well as interacting with figures central to Mexico’s complex history and culture.
Alejandro Gonzalez
In Netflix’s Bardo, False Chronicle of a Handful of Truths, Daniel Giménez Cacho stars as Silverio Gama, a renowned documentarian who is set to receive a prestigious award for his career as a journalist upon his return to his native Mexico after living with his family in Los Angeles for decades. The epic black comedy, which is Mexico’s official Oscar submission for best international feature, is an extremely personal project from four-time Oscar-winning writer-director Alejandro G. Iñárritu, who likens his latest film to the Mexican soup called pozole — “a mix of an enormous amount of things” — that speaks to the shared loneliness of the immigrant experience, particularly for those who feel without a homeland. The film sees Gama weaving throughout his own memories and the present day as well as interacting with figures central to Mexico’s complex history and culture.
- 11/16/2022
- by Tyler Coates
- The Hollywood Reporter - Movie News
Laura Paredes in Trenque Lauquen.Fittingly for a film tracking a botanist along her quest for an ultra-rare flower, Laura Citarella’s Trenque Lauquen unfurls like the network of a rose, each of its myriad tales unveiling and spilling into the next. Stretched across 250 minutes, split into twelve chapters, and divided into two parts, the film is a maze of forking paths, the cinematic equivalent of a short story by Jorge Luis Borges, who hovers above it as an essential touchstone. This is, after all, a Pampero Cine production, the Buenos Aires collective that spawned Mariano Llinás’s 2018 epic La Flor, another sprawling multi-genre pastiche that looked to the rhizomatic writings by Borges and other Río de la Plata scribes for inspiration. Back in 1969, together with director Hugo Santiago and fellow writer Adolfo Bioy Casares, Borges co-wrote Invasión, a portrait of a fictional city, Aquileia, under an endless siege. Modeled on Buenos Aires,...
- 10/10/2022
- MUBI
Premiering on Dn’s pages today Man in the Morgue from cross-cultural interdisciplinary architect-turned-filmmaker Omar Kakar, takes an urban gothic noir trip into the disorientating world of a NYC embalmer whose discovery of a mysterious memento mori on his mortuary table infuses him with a renewed sense of life. A mysterious black and white cross-genre film with minimal dialogue which intentionally embraced a ‘less is more’ ethos in its construction, Man in the Morgue brings its protagonist (and us along with him) to the terrifying yet perhaps ultimately comforting realisation that death is only ever just around the corner. Perhaps a sign of his architectural mindset, Kakar is able to craft a genre-straddling mystery which raises interesting questions in the mind of the audience, yet never leaves them adrift in a sea of confusion. You can discover this yourself below, after which we dig into Kakar’s detailed process of...
- 10/3/2022
- by Sarah Smith
- Directors Notes
“Walls Can Talk,” the latest film by Spain Carlos Saura, director of “Raise Ravens,” “Deprisa, Deprisa” and “Carmen,” has been acquired for intentional sales by Madrid-based Latido.
Produced by María del Puy Alvarado at Malvalanda and distributed in Spain by José Maria nd Miguel Morales’ Wanda Vision, “Walls Can Talk” will world premiere at the San Sebastian Film Festival as an Rtve Gala.
The doc feature sees Saura conduct his own inquest into the origins of art, directing and for once starring in a film. In it, he visits masterpieces of paleolithic art– in Spain’s Altamira and El Castillo caves, for instance – and asks modern (Miquel Barceló) and graffiti artists and urban creators about what drives them to paint.
Also taking in the extraordinary art at France’s Chauvet Cave – “painting’s great masterpiece,” as it is described in the film – “Walls Can Talk” (“Las paredes hablan”) suggests that...
Produced by María del Puy Alvarado at Malvalanda and distributed in Spain by José Maria nd Miguel Morales’ Wanda Vision, “Walls Can Talk” will world premiere at the San Sebastian Film Festival as an Rtve Gala.
The doc feature sees Saura conduct his own inquest into the origins of art, directing and for once starring in a film. In it, he visits masterpieces of paleolithic art– in Spain’s Altamira and El Castillo caves, for instance – and asks modern (Miquel Barceló) and graffiti artists and urban creators about what drives them to paint.
Also taking in the extraordinary art at France’s Chauvet Cave – “painting’s great masterpiece,” as it is described in the film – “Walls Can Talk” (“Las paredes hablan”) suggests that...
- 9/2/2022
- by John Hopewell
- Variety Film + TV
“The Resort” opens with the beachy beat of David Byrne and Brian Eno’s “Strange Overtones,” — strange indeed, as the song plays under an epigraph with something slightly wrong.
Two quotes wipe across the screen. First: “The pursuit to capture your past is a waste of time. The past lives in the past and is therefore non-existent in the present. Time travel has not been invented.” These words are credited to Illán Iberra’s 1978 book “El Espejo,” or “The Mirror” in English. Next, a retrraction: in 1993’s “La Desilución del Tiempo” (“The Disappointment of Time”), Iberra writes, “I made many idiotic and pretentious statements in my youth.”
Episode 1 of the Peacock adventure comedy is titled “The Disappointment of Time,” and at first, it seems that creator/showrunner Andy Siara (“Palm Springs”) is hoping to position the ideas of “The Resort” in conversation with Iberra’s work. But Iberra doesn’t exist.
Two quotes wipe across the screen. First: “The pursuit to capture your past is a waste of time. The past lives in the past and is therefore non-existent in the present. Time travel has not been invented.” These words are credited to Illán Iberra’s 1978 book “El Espejo,” or “The Mirror” in English. Next, a retrraction: in 1993’s “La Desilución del Tiempo” (“The Disappointment of Time”), Iberra writes, “I made many idiotic and pretentious statements in my youth.”
Episode 1 of the Peacock adventure comedy is titled “The Disappointment of Time,” and at first, it seems that creator/showrunner Andy Siara (“Palm Springs”) is hoping to position the ideas of “The Resort” in conversation with Iberra’s work. But Iberra doesn’t exist.
- 7/29/2022
- by Selome Hailu
- Variety Film + TV
Imagine, if you will, a massive Venn diagram with aquatic salamanders, lesser-known passages from Revelations, “The Last House on the Left,” fried pork byproducts, and hot air balloons.
We can’t definitively state that Season 2 of the Fxx series “Dicktown” is the lone inhabitant of that sliver in the middle, but it’s almost certainly the only animated detective show that also has an impish parody of Tintin arriving with fanfare at the heart of its sophomore season.
The show is driven by the same expansive web of Things that preoccupy its creator/writer/stars John Hodgman and David Rees, a creative engine that made its first batch of episodes in 2020 so distinct. “Dicktown” tracks the ongoing hyphenated tribulations of down-on-his-luck, out-of-work John Hunchman (Hodgman) and his foe-turned-friend investigative partner David Purefoy (Rees).
This new season, available to stream on Hulu, is still parceled out in 12-minute segments (it’s...
We can’t definitively state that Season 2 of the Fxx series “Dicktown” is the lone inhabitant of that sliver in the middle, but it’s almost certainly the only animated detective show that also has an impish parody of Tintin arriving with fanfare at the heart of its sophomore season.
The show is driven by the same expansive web of Things that preoccupy its creator/writer/stars John Hodgman and David Rees, a creative engine that made its first batch of episodes in 2020 so distinct. “Dicktown” tracks the ongoing hyphenated tribulations of down-on-his-luck, out-of-work John Hunchman (Hodgman) and his foe-turned-friend investigative partner David Purefoy (Rees).
This new season, available to stream on Hulu, is still parceled out in 12-minute segments (it’s...
- 4/1/2022
- by Steve Greene
- Indiewire
Andreas Fontana’s haunting Azor, co-written with Mariano Llinas, stars Fabrizio Rongione and Stéphanie Cléau: “The cinematography was done by Gabriel Sandru and we were talking a lot about that.”
Andreas Fontana’s Azor, co-written with Mariano Llinas, shot by Gabriel Sandru with costumes by Simona Martínez, stars Fabrizio Rongione and Stéphanie Cléau.
Andreas Fontana with Anne-Katrin Titze on Jorge Luis Borges: “Borges of course in terms of literary inspiration is very important.”
In my discussion with the director we touch on the influence of Howard Hawks and Jorge Luis Borges, Joan Didion’s codes and games, casting director Alexandre Nazarian, the cinematography, costumes, and filming in Argentina with non-professional actors, “men who are very impressive”.
Boredom is seen as “divine punishment,” old money...
Andreas Fontana’s Azor, co-written with Mariano Llinas, shot by Gabriel Sandru with costumes by Simona Martínez, stars Fabrizio Rongione and Stéphanie Cléau.
Andreas Fontana with Anne-Katrin Titze on Jorge Luis Borges: “Borges of course in terms of literary inspiration is very important.”
In my discussion with the director we touch on the influence of Howard Hawks and Jorge Luis Borges, Joan Didion’s codes and games, casting director Alexandre Nazarian, the cinematography, costumes, and filming in Argentina with non-professional actors, “men who are very impressive”.
Boredom is seen as “divine punishment,” old money...
- 12/29/2021
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Memoria Memoria is the first film Apichatpong Weerasethakul shot outside his native Thailand, and the first in English. That should be enough to make it a debut unto itself, but the deeper I dove into his beguiling, mesmerizing South American adventure, truly one of the finest unveiled on the Croisette this year, the more all those “firsts” began to feel a little misleading. Sure, in casting Tilda Swinton as his lead, Apichatpong has recruited a major actress in the English-speaking world, but her Jessica, a British botanist traveling through Colombia, spends far more time speaking in Spanish than she does in her mother tongue. As for the luxurious Andean locale, you’d be forgiven for mistaking the jungles Memoria ushers you into for stretches of the rainforests that hosted Apichatpong’s Thai works. It’s as if the filmmaker and the land he captures shared an ineffable, almost symbiotic connection,...
- 7/17/2021
- MUBI
“One September day,” begins the title card at the head of the New Directors/New Films-premiering Aleph, “I met Rodrigo near 23rd Street for lunch. He talked about microcosms, labyrinths, connectness and Borges…” And with those deceptively casual opening lines, filmmaker Iva Radivojevic takes us on a globetrotting (10 countries on five continents!) journey through the porous borderlands of documentary and fiction that’s as much philosophical as it is observational. Traversing both map and territory, Aleph draws its inspiration from the Jorge Luis Borges short story of the same name, a brief tale that literalizes the Hamlet quote (“O God! I […]
The post “Everything You’re Feeling or Seeing in the Moment Comes Into the Story”: Director Iva Radivojevic on Her Borgesian Tale of Wanderlust and Connection, Aleph first appeared on Filmmaker Magazine.
The post “Everything You’re Feeling or Seeing in the Moment Comes Into the Story”: Director Iva Radivojevic on Her Borgesian Tale of Wanderlust and Connection, Aleph first appeared on Filmmaker Magazine.
- 5/7/2021
- by Scott Macaulay
- Filmmaker Magazine-Director Interviews
“One September day,” begins the title card at the head of the New Directors/New Films-premiering Aleph, “I met Rodrigo near 23rd Street for lunch. He talked about microcosms, labyrinths, connectness and Borges…” And with those deceptively casual opening lines, filmmaker Iva Radivojevic takes us on a globetrotting (10 countries on five continents!) journey through the porous borderlands of documentary and fiction that’s as much philosophical as it is observational. Traversing both map and territory, Aleph draws its inspiration from the Jorge Luis Borges short story of the same name, a brief tale that literalizes the Hamlet quote (“O God! I […]
The post “Everything You’re Feeling or Seeing in the Moment Comes Into the Story”: Director Iva Radivojevic on Her Borgesian Tale of Wanderlust and Connection, Aleph first appeared on Filmmaker Magazine.
The post “Everything You’re Feeling or Seeing in the Moment Comes Into the Story”: Director Iva Radivojevic on Her Borgesian Tale of Wanderlust and Connection, Aleph first appeared on Filmmaker Magazine.
- 5/7/2021
- by Scott Macaulay
- Filmmaker Magazine - Blog
A consummate man of letters, Jorge Luis Borges frequently receives the vague honorific of being a ‘writer’s writer,” often a fancy way of saying that his work is too complicated to adapt to film. Borges’ fascination with symbols and language, our imperfect tools for conceiving the world, manifested in stories where literary sleight of hand turns the mundane inside out to find the miraculous, where maps overtake the territory they represent and one walks in labyrinths without end.
Continue reading ‘Aleph’: A Borges-Inspired Odyssey Around the Globe [Nd/Nf Review] at The Playlist.
Continue reading ‘Aleph’: A Borges-Inspired Odyssey Around the Globe [Nd/Nf Review] at The Playlist.
- 5/7/2021
- by Joe Blessing
- The Playlist
Films and references to cultural traditions may flicker past your inner eye in Iva Radivojevic’s Aleph, a luminous take on Jorge Luis Borges, narrated by Anne Waldman, which is a highlight of the 50th anniversary edition of New Directors/New Films. The Thai ghost may be Uncle Boonmee’s brother from Apichatpong Weerasethakul’s picture. An ad for Jim Jarmusch’s Paterson graces the back pages of a newspaper in Buenos Aires and Oscar Wilde’s Happy Prince is not the only one who is able to see without eyes.
The woman who disappears into the painting in Aleph feels strangely related to the old couple who befriend and haunt Naomi Watts in David Lynch’s Mulholland Drive, only to appear downsized out of a paper bag later on.
During my conversation with the filmmaker, I learned that Roland Barthes is responsible for the like/dislike structure in...
The woman who disappears into the painting in Aleph feels strangely related to the old couple who befriend and haunt Naomi Watts in David Lynch’s Mulholland Drive, only to appear downsized out of a paper bag later on.
During my conversation with the filmmaker, I learned that Roland Barthes is responsible for the like/dislike structure in...
- 4/29/2021
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Aleph director Iva Radivojević: “The idea is that each character leaves us off with a clue as to where we’re going next.”
On the afternoon of the 93rd Academy Awards, a reference to David Lynch and a scene in Mulholland Drive, Luis Buñuel’s The Phantom Of Liberty, Apichatpong Weerasethakul’s Uncle Boonmee Who Can Recall His Past Lives and Luminous People (segment in State of the World), Likes And Dislikes by Roland Barthes, Andy Warhol, Alain Resnais, Aleph’s narrator Anne Waldman, and a short story by Jorge Luis Borges all came up in my conversation with Iva Radivojevic, the director/writer/editor/ of Aleph, a highlight of the 50th anniversary edition of New Directors/New Films.
Iva Radivojević on Jorge Luis Borges’ Aleph: “I used the story, the myth of this portal of Aleph as a starting point, the search for this portal. The whole film starts...
On the afternoon of the 93rd Academy Awards, a reference to David Lynch and a scene in Mulholland Drive, Luis Buñuel’s The Phantom Of Liberty, Apichatpong Weerasethakul’s Uncle Boonmee Who Can Recall His Past Lives and Luminous People (segment in State of the World), Likes And Dislikes by Roland Barthes, Andy Warhol, Alain Resnais, Aleph’s narrator Anne Waldman, and a short story by Jorge Luis Borges all came up in my conversation with Iva Radivojevic, the director/writer/editor/ of Aleph, a highlight of the 50th anniversary edition of New Directors/New Films.
Iva Radivojević on Jorge Luis Borges’ Aleph: “I used the story, the myth of this portal of Aleph as a starting point, the search for this portal. The whole film starts...
- 4/29/2021
- by Anne-Katrin Titze
- eyeforfilm.co.uk
A world premiere I’m highly anticipating out of the upcoming 2021 edition of New Directors/New Films is the second feature from Iva Radivojević, Aleph. From New Directors: In her magical, unpredictable second feature, Belgrade-born, globe-hopping artist Iva Radivojević has created a labyrinthine vision inspired by the writings of Jorge Luis Borges. Using a variety of visual styles that miraculously cohere into one unified and unique aesthetic, the multihyphenate filmmaker and her collaborators offer an episodic structure bending time and space, in which one character seems to unwittingly pass the narrative baton to the next, fashioning a film whose scope extends […]
The post Trailer Watch: Iva Radivojević’s Aleph first appeared on Filmmaker Magazine.
The post Trailer Watch: Iva Radivojević’s Aleph first appeared on Filmmaker Magazine.
- 4/7/2021
- by Scott Macaulay
- Filmmaker Magazine - Blog
A world premiere I’m highly anticipating out of the upcoming 2021 edition of New Directors/New Films is the second feature from Iva Radivojević, Aleph. From New Directors: In her magical, unpredictable second feature, Belgrade-born, globe-hopping artist Iva Radivojević has created a labyrinthine vision inspired by the writings of Jorge Luis Borges. Using a variety of visual styles that miraculously cohere into one unified and unique aesthetic, the multihyphenate filmmaker and her collaborators offer an episodic structure bending time and space, in which one character seems to unwittingly pass the narrative baton to the next, fashioning a film whose scope extends […]
The post Trailer Watch: Iva Radivojević’s Aleph first appeared on Filmmaker Magazine.
The post Trailer Watch: Iva Radivojević’s Aleph first appeared on Filmmaker Magazine.
- 4/7/2021
- by Scott Macaulay
- Filmmaker Magazine-Director Interviews
Celebrating its 50th anniversary edition this year, New Directors/New Films annually brings together the most promising new filmmaking voices. The Museum of Modern Art and Film at Lincoln Center have now announced the lineup for this year’s slate, taking place April 28 – May 8 via virtual cinema, with in-person screenings extending through May 13 at Flc. The festival will also include a free retrospective looking back at previously selected work by Lee Chang-dong, Charles Burnett, Chantal Akerman, Christopher Nolan and more.
Check out the lineup below, along with links to reviews where available.
50th New Directors/New Films
Opening Night
El Planeta
Amalia Ulman, 2021, Spain, 80m
English and Spanish with English subtitles
With unforced deadpan humor, writer-director-star Amalia Ulman presents a captivating portrait in miniature of a mother and daughter barely scraping by in Spain’s northwestern seaside town Gijón. Whether shoplifting, trying to get out of paying for an extravagant meal,...
Check out the lineup below, along with links to reviews where available.
50th New Directors/New Films
Opening Night
El Planeta
Amalia Ulman, 2021, Spain, 80m
English and Spanish with English subtitles
With unforced deadpan humor, writer-director-star Amalia Ulman presents a captivating portrait in miniature of a mother and daughter barely scraping by in Spain’s northwestern seaside town Gijón. Whether shoplifting, trying to get out of paying for an extravagant meal,...
- 4/1/2021
- by Jordan Raup
- The Film Stage
Cannes 2020: Tick-tock, stop the clock! Just like Fats Domino, in his debut feature, Dani Rosenberg tries to freeze time. When a filmmaker already quotes Jorge Luis Borges in his director’s notes, one half-expects what’s in store – in short, anything but your typical, easy-to-follow narrative. Dani Rosenberg’s The Death of Cinema and My Father Too, granted the Cannes 2020 label, combines shaky archive footage with fictional scenes, VHS short films and a whole subplot involving an Iranian military attack on Tel Aviv. Oh, and “House of the Rising Sun”, blaring its tale of a father who was “a gamblin’ man down in New Orleans”. And yet, despite all that jazz, ultimately it’s an extremely intimate affair about a son who doesn’t want to let go of his withering father. That sounds simple enough, but it takes some proper digging to get to the core, and Cannes’ stamp of approval.
Scorn is one seriously disturbing game. Its emphasis on grotesque representations of the human form with a slightly alien twist is not only worthy of its influences — the H.R. Giger inspiration is clear — but showcases a level of body horror we rarely see in video games.
“The team has drawn visual inspiration from Swiss painter H.R. Giger and Polish painter Zdzislaw Beksinski,” Kowloon Nights, which partially funded the game, explained in a press release. “Conceptual inspiration has come from works by unique writers like Franz Kafka and Jorge Luis Borges, horror and sci-fi writers like Thomas Ligotti and J.G. Ballard, and the weird cinema of David Cronenberg and David Lynch.”
Since this game was first announced in 2014, it’s been bill as much more than a disturbing work of art. According to the tiny team of developers over at the Serbian studio Ebb Software, Scorn is actually a first-person...
“The team has drawn visual inspiration from Swiss painter H.R. Giger and Polish painter Zdzislaw Beksinski,” Kowloon Nights, which partially funded the game, explained in a press release. “Conceptual inspiration has come from works by unique writers like Franz Kafka and Jorge Luis Borges, horror and sci-fi writers like Thomas Ligotti and J.G. Ballard, and the weird cinema of David Cronenberg and David Lynch.”
Since this game was first announced in 2014, it’s been bill as much more than a disturbing work of art. According to the tiny team of developers over at the Serbian studio Ebb Software, Scorn is actually a first-person...
- 5/7/2020
- by Matthew Byrd
- Den of Geek
Feeling simultaneously overstuffed and undercooked, Lorcan Finnegan’s “Vivarium” tries to ring a warning bell about, well, a lot of things. In the end, though, it works best as a cautionary tale about the pitfalls of filmmakers biting off more than they can chew.
Clearly a lot of thought went into the film. The story of a young couple trapped in a purgatorial pre-fab housing complex, “Vivarium” tries to work as a consumerist satire, as an allegory about parenting and as a sci-fi thriller, but it never fully satisfies on any one front.
Jesse Eisenberg and Imogen Poots play a thirtysomething couple looking to take the plunge into homeownership. On a lark, they agree to visit a pre-fab suburb somewhere on the outskirts of town, mostly to gawk at the units that look like Monopoly houses painted in the uniquely unappealing shade of pea soup.
Also Read: John Krasinski's...
Clearly a lot of thought went into the film. The story of a young couple trapped in a purgatorial pre-fab housing complex, “Vivarium” tries to work as a consumerist satire, as an allegory about parenting and as a sci-fi thriller, but it never fully satisfies on any one front.
Jesse Eisenberg and Imogen Poots play a thirtysomething couple looking to take the plunge into homeownership. On a lark, they agree to visit a pre-fab suburb somewhere on the outskirts of town, mostly to gawk at the units that look like Monopoly houses painted in the uniquely unappealing shade of pea soup.
Also Read: John Krasinski's...
- 3/26/2020
- by Ben Croll
- The Wrap
Buenos Aires — For much of this century, Argentina’s Axel Kuschevatzky led a double life.
On one hand, he served as a hugely hard-working movie producer for Telefe, then Telefonica Studios, then Viacom Intl. Media Networks, bringing their much-needed finance and promotion clout to some of the finest South American titles of the last decade: “The Secret in Their Eyes,” “Wild Tales,” “The Clan” and “Neruda.”
On the other, he was a glamorous Academy Awards presenter for TNT, a journalist, radio commentator, occasional screenwriter and even actor, channeling his huge passion and knowledge of film and beyond -Billy Wilder, jazz.
Now he’s cut loose. Kuschevatzky’s launch of independent film production company Infinity Hill, with producers Phin Glynn (“Waiting for Anya”) and Cindy Teperman (“Animal”), was the biggest news at least partially related to Latin America at November’s Afm.
Variety caught Kuschevatzky at Ventana Sur on fire,...
On one hand, he served as a hugely hard-working movie producer for Telefe, then Telefonica Studios, then Viacom Intl. Media Networks, bringing their much-needed finance and promotion clout to some of the finest South American titles of the last decade: “The Secret in Their Eyes,” “Wild Tales,” “The Clan” and “Neruda.”
On the other, he was a glamorous Academy Awards presenter for TNT, a journalist, radio commentator, occasional screenwriter and even actor, channeling his huge passion and knowledge of film and beyond -Billy Wilder, jazz.
Now he’s cut loose. Kuschevatzky’s launch of independent film production company Infinity Hill, with producers Phin Glynn (“Waiting for Anya”) and Cindy Teperman (“Animal”), was the biggest news at least partially related to Latin America at November’s Afm.
Variety caught Kuschevatzky at Ventana Sur on fire,...
- 12/5/2019
- by John Hopewell
- Variety Film + TV
Six stories featuring the same four actors unfold in inventive and exasperating style in an arthouse ultramarathon
Six or so hours into Mariano Llinás’s 13-hours-plus arthouse ultramarathon, the third episode of the third chapter begins with a long bout of snoring. That’s the presiding meta spirit of this magnificent, inventive, playful, exasperating film, Argentina’s longest ever, shot over 10 years. In its nexus of stories, La Flor inevitably invokes the country’s fabulist god Jorge Luis Borges – but as if Llinás had given up on the metaphysics, stopped trying to exit the labyrinth and was content to watch folk passing through.
The director pops up at the beginning on a park bench to explain that its six stories, featuring the same four female actors, form a structure: four stories rising up with a beginning but no end (the petals), one totally enclosed central tale (the ovule), a closing...
Six or so hours into Mariano Llinás’s 13-hours-plus arthouse ultramarathon, the third episode of the third chapter begins with a long bout of snoring. That’s the presiding meta spirit of this magnificent, inventive, playful, exasperating film, Argentina’s longest ever, shot over 10 years. In its nexus of stories, La Flor inevitably invokes the country’s fabulist god Jorge Luis Borges – but as if Llinás had given up on the metaphysics, stopped trying to exit the labyrinth and was content to watch folk passing through.
The director pops up at the beginning on a park bench to explain that its six stories, featuring the same four female actors, form a structure: four stories rising up with a beginning but no end (the petals), one totally enclosed central tale (the ovule), a closing...
- 9/12/2019
- by Phil Hoad
- The Guardian - Film News
Warning: Do not read any further if you don’t want to read spoilers for Season 2 of “The Oa.”
When Netflix released the first season of “The Oa” way back in 2016, its big, mind-boggling ending left viewers with far more questions than answers. And more than two years later, Season 2 leaned hard into that same pattern, going even bigger and more mind-boggling.
This time around, Season 1’s philosophical musings about faith and storytelling were replaced with surprising plot twists befitting the season’s more film noir-esque storyline and one unexpectedly meta conclusion.
Many of the questions lingering from Season 1 — Was Prairie’s tale about being held captive real or just a story? Is she actually an angel? — were dispatched within the first 45 minutes of the second season, but by the last five a whole new set of questions had arisen to take their place.
Namely, what the heck just happened?...
When Netflix released the first season of “The Oa” way back in 2016, its big, mind-boggling ending left viewers with far more questions than answers. And more than two years later, Season 2 leaned hard into that same pattern, going even bigger and more mind-boggling.
This time around, Season 1’s philosophical musings about faith and storytelling were replaced with surprising plot twists befitting the season’s more film noir-esque storyline and one unexpectedly meta conclusion.
Many of the questions lingering from Season 1 — Was Prairie’s tale about being held captive real or just a story? Is she actually an angel? — were dispatched within the first 45 minutes of the second season, but by the last five a whole new set of questions had arisen to take their place.
Namely, what the heck just happened?...
- 3/29/2019
- by Reid Nakamura
- The Wrap
Buenos Aires — Mario Vargas Llosa, the great Peruvian novelist, once wrote that reality in Latin America is too compelling to ever be ignored in its fiction. Yet, as WWII raged, Jorge Luis Borges, perhaps the greatest of Argentine writers, pointedly published “Ficciones,” fantasy tales, often philosophical speculation given narrative form.
If this year’s Pci Film Directors Assn, showcase at Ventana Sur is anything to go by, some young Argentine filmmakers are having it both ways, creating films which straddle the fiction-reality divide, or enroll fabrication and myth to large effect. Their films, sneak peaked in brief extracts or teaser trailers at the Pci’s annual Work in Progress showcase during Ventana Sur, and underscored the diversity of Argentine filmmaking, a cause championed by Pci and its around 100 directors, and an indication of the depth of talent of Argentine filmmaking.
“7h 35” is a case in point. The feature debut of Javier Van de Couter,...
If this year’s Pci Film Directors Assn, showcase at Ventana Sur is anything to go by, some young Argentine filmmakers are having it both ways, creating films which straddle the fiction-reality divide, or enroll fabrication and myth to large effect. Their films, sneak peaked in brief extracts or teaser trailers at the Pci’s annual Work in Progress showcase during Ventana Sur, and underscored the diversity of Argentine filmmaking, a cause championed by Pci and its around 100 directors, and an indication of the depth of talent of Argentine filmmaking.
“7h 35” is a case in point. The feature debut of Javier Van de Couter,...
- 12/19/2018
- by John Hopewell
- Variety Film + TV
Performance, the 1970 British crime drama best known as Mick Jagger’s acting debut, had a challenging route to screen. But despite troubles with studio Warner Bros, the film, which defines the bohemian London of the 1960s, has gone on to be considered one of the best British films of all time.
A new book, Performance: The 50th Anniversary, written and compiled by Jay Glennie, tells the story of its chaotic production, gives a glimpse behind-the-scenes with over 500 images including many never seen before, and looks at its legacy through the eyes of star Jagger, as well as Nic Roeg, who directed the film alongside Donald Cammell and producer Sandy Lieberson. Glennie has given Deadline an exclusive look at the book, which is released via Coattail Publishing on December 1.
Jagger says, “It’s actually hard to believe that we’re still talking about the film 50 years later. Not many films stick around that long.
A new book, Performance: The 50th Anniversary, written and compiled by Jay Glennie, tells the story of its chaotic production, gives a glimpse behind-the-scenes with over 500 images including many never seen before, and looks at its legacy through the eyes of star Jagger, as well as Nic Roeg, who directed the film alongside Donald Cammell and producer Sandy Lieberson. Glennie has given Deadline an exclusive look at the book, which is released via Coattail Publishing on December 1.
Jagger says, “It’s actually hard to believe that we’re still talking about the film 50 years later. Not many films stick around that long.
- 10/30/2018
- by Peter White
- Deadline Film + TV
At the 56th New York Film Festival there were titles that have intrigued, beguiled, and challenged viewers, perhaps none more so than Mariano Llinás’ fourteen-hour grand experiment La Flor and Orson Welles’ posthumously released The Other Side of The Wind. The former will be lucky to achieve any life after the festival; the latter will be widely available through Netflix next month. These are both films of grand ambition, creativity, and reflexivity. Quite coincidentally, both feature films within films that underscore this reflexivity, center the process of filmmaking for viewers, and show Llinás and Welles unlocking a kind of creative freedom that very few are privileged to make and be seen in such a way.
How does any filmmaker justify a fourteen-plus hour runtime? In the case of the Argentine Llinás, it is to express or at least give the impression of self-awareness in his massive undertaking with La Flor,...
How does any filmmaker justify a fourteen-plus hour runtime? In the case of the Argentine Llinás, it is to express or at least give the impression of self-awareness in his massive undertaking with La Flor,...
- 10/17/2018
- by The Film Stage
- The Film Stage
John Larroquette will star in Nantucket Sleigh Ride, a new play by John Guare directed by Jerry Zaks and heading to Lincoln Center Theater’s Off Broadway Mitzi E. Newhouse Theater in February.
The production will reunite Guare and Zaks with the theater company that housed the premieres of Six Degrees of Separation and The House of Blue Leaves. With previews beginning February 21, 2019, and opening Monday, March 18, Nantucket Sleigh Ride will feature a cast of 10.
In addition to Larroquette, the cast will include Clea Alsip, Tina Benko, Adam Chanler-Berat, Jordan Gelber, Grace Rex, Stacey Sargeant, Douglas Sills and Will Swenson. Additional casting will be announced at a later date.
The play’s synopsis: “In his attempts to recover a memory of an event that happened on that ‘far away island’ 35 years before, Nantucket Sleigh Ride plunges a New York playwright-turned-venture capitalist (Larroquette) into a whirlpool of a giant lobster, Roman Polanski,...
The production will reunite Guare and Zaks with the theater company that housed the premieres of Six Degrees of Separation and The House of Blue Leaves. With previews beginning February 21, 2019, and opening Monday, March 18, Nantucket Sleigh Ride will feature a cast of 10.
In addition to Larroquette, the cast will include Clea Alsip, Tina Benko, Adam Chanler-Berat, Jordan Gelber, Grace Rex, Stacey Sargeant, Douglas Sills and Will Swenson. Additional casting will be announced at a later date.
The play’s synopsis: “In his attempts to recover a memory of an event that happened on that ‘far away island’ 35 years before, Nantucket Sleigh Ride plunges a New York playwright-turned-venture capitalist (Larroquette) into a whirlpool of a giant lobster, Roman Polanski,...
- 10/11/2018
- by Greg Evans
- Deadline Film + TV
We cross the plane between the living and the dead in today's Horror Highlights with details on M.L. Miller's new comic book series Gravetrancers, and we also have the 2018 Telluride Horror Show's call for submissions, info on The Philip K. Dick Science Fiction Film Festival's new partnership, and looks at the short films The Ball and The Plague.
Gravetrancers #1: Issue #1 of the new comic book series Gravetrancers is due out on December 13th from Black Mask Studios:
"On a journey to track down the grave of their estranged father, Maribel and Anthony find their way to the Malort Cemetery, a strange, seemingly abandoned field of mostly unmarked tombs. There they encounter an eccentric clan of grave-robbers who’ve devised a highly-addictive drug made from human remains–and the fresher the corpse, the stronger the dose. What started out as an attempt to reconnect with the past becomes a descent into a psychedelic,...
Gravetrancers #1: Issue #1 of the new comic book series Gravetrancers is due out on December 13th from Black Mask Studios:
"On a journey to track down the grave of their estranged father, Maribel and Anthony find their way to the Malort Cemetery, a strange, seemingly abandoned field of mostly unmarked tombs. There they encounter an eccentric clan of grave-robbers who’ve devised a highly-addictive drug made from human remains–and the fresher the corpse, the stronger the dose. What started out as an attempt to reconnect with the past becomes a descent into a psychedelic,...
- 12/8/2017
- by Derek Anderson
- DailyDead
Close-Up is a feature that spotlights films now playing on Mubi. Nele Wohlatz's The Future Perfect (2016), which is receiving an exclusive global online premiere on Mubi, is showing from September 29 - October 29, 2017 as a Special Discovery.Aquí el incierto ayer y el hoy distintoMe han deparado los comunes casosDe toda suerte humana; aquí mis pasosTejen su incalculable laberinto.— Jorge Luis Borges, "Buenos Aires", El otro, el mismo (1964)Nele Wohlatz’s The Future Perfect opens with a wide shot of the Río de La Plata. In a far away, indistinguishable point, a ship sails. Later on in the film, we see a clear blue sky with a plane crossing it, leaving its ephemeral vapoury mark. The river and the sky appear as places to which we are all foreign but through which most of us, often inevitably, transit. Xiaobin (Xiaobin Zhang) is one of them, a Chinese teenager who has...
- 10/7/2017
- MUBI
Jim Jarmusch’s ‘Paterson’ And ‘Gimme Danger’: How Two New Films Speak to the Artistic Process — Nyff
The following essay was written by a participant in the 2016 New York Film Festival Critics Academy, a workshop for aspiring critics co-produced by IndieWire, the Film Society of Lincoln Center and Film Comment.
Jim Jarmusch is no stranger to making films about artists or films that reference other works of art: “Dead Man’s” protagonist is named after the English poet William Blake, in “Ghost Dog: Way of the Samurai,” Jarmusch pays homage to Seijun Suzuki’s “Branded to Kill,” and “Only Lovers Left Alive” has a vampire protagonist who doubles as a famous rock musician. Jarmusch’s latest two films which, played at the New York Film Festival this year—“Gimme Danger” and “Paterson” — continue this pattern of making a film about artists. What ultimately ties all these works together is a nostalgic longing for old art, and this can be seen through references Jarmusch’s films make...
Jim Jarmusch is no stranger to making films about artists or films that reference other works of art: “Dead Man’s” protagonist is named after the English poet William Blake, in “Ghost Dog: Way of the Samurai,” Jarmusch pays homage to Seijun Suzuki’s “Branded to Kill,” and “Only Lovers Left Alive” has a vampire protagonist who doubles as a famous rock musician. Jarmusch’s latest two films which, played at the New York Film Festival this year—“Gimme Danger” and “Paterson” — continue this pattern of making a film about artists. What ultimately ties all these works together is a nostalgic longing for old art, and this can be seen through references Jarmusch’s films make...
- 10/19/2016
- by Anthony Dominguez
- Indiewire
Yet another European art film director tries his hand at cerebral Sci-fi. Alain Resnais' openly experimental movie uses a generic time travel framework to, what else, explore the phenomenon of memory. Suicidal melancholic Claude Rich is projected back exactly one year, for exactly one minute. What could go wrong? Je t'aime, je t'aime Blu-ray Kino Classics 1968 / Color /1:66 widescreen / 94 min. / Street Date November 10, 2015 / available through Kino Lorber / 29.95 Starring Claude Rich, Olga Georges-Picot, Anouk Ferjac. Cinematography Jean Boffety Film Editors Albert Jurgenson, Colette Leloup Original Music Krzysztof Penderecki Written by Jacques Sternberg, Alain Resnais Produced by Mag Bodard Directed by Alain Resnais
Reviewed by Glenn Erickson
My very first UCLA film class in the Fall of 1970 dispatched us to the Vagabond Theater to see a double bill of two 'art' movies that play fast and loose with narrative conventions: Luis Buñuel's Ensayo de un Crimen and Alain Resnais' Je t'aime,...
Reviewed by Glenn Erickson
My very first UCLA film class in the Fall of 1970 dispatched us to the Vagabond Theater to see a double bill of two 'art' movies that play fast and loose with narrative conventions: Luis Buñuel's Ensayo de un Crimen and Alain Resnais' Je t'aime,...
- 11/3/2015
- by Glenn Erickson
- Trailers from Hell
It’s been just under a year since I last interviewed comics writer Ales Kot, but the shaven-headed Czech seems noticeably more mature now. He’s still one of the comics industry’s most-buzzed-about young guns, but rather than raving about the revelatory power of hallucinogens, he’s more into discussing prison reform. He’s still creating comics that are challenging and unconventional, but instead of tales about spies and Marvel superheroes, he’s doing indie work about race, class, and torture. The 28-year-old Kot’s transformation isn’t surprising, as he’s had quite the year. He’s suffered from a debilitating bout of Lyme disease. Just as he was becoming one of Marvel’s biggest up-and-coming stars, he took a leap of faith and quit the company after wrapping up an acclaimed 15-issue run on Marvel’s Secret Avengers (which was more about Ptsd and Jorge Luis Borges...
- 7/21/2015
- by Abraham Riesman
- Vulture
A man is haunted by a woman, and a melody. He is a writer, and she is the ballerina he fell in love with 40 years ago after he saw her dance to a particular tune that, nearly half a century later, is wafting back into his mind by way of a dream. In writer/director Ben Chace's arresting "Sin Alas," we find the aging author Luis Vargas (Carlos Padrón) in Havana, Cuba, opening his newspaper to learn that the ballerina haunting his brain, Isabela Munoz (Yulisleyvís Rodrigues), has died. The news startles him into revisiting his buried past, and the bourgeois life he shed to pursue political revolution as a young man. Part mystery, part ghost tale, this seductive film draws inspiration less from film than from postmodern literature, specifically from the freely flowing writings of Jorge Luis Borges, the Argentine midcentury author of slippery tales including the stories in "Ficciones" and "Labyrinths.
- 6/16/2015
- by Ryan Lattanzio
- Thompson on Hollywood
Ales Kot is one of the freshest, most cerebral voices in comics. He cut his teeth on DC Comics’ Suicide Squad with a run focused on the demented serial killer Jim Gordon Jr. before taking his talents to Marvel. Kot wrote two of their quirkiest titles, namely, Secret Avengers, which made supervillain Modok a full-fledged Avenger and had a good mix of references to Jorge Luis Borges and Nick Fury Jr. and Agent Coulson having existential crises in the middle of space. Speaking of space, he has also written Bucky Barnes, Winter Soldier, which followed the titular character’s trippy adventures on distant planets depicted in the style of Heavy Metal by artist Marco Rudy.
But Kot has also worked on creator owned comics as part of the Image Comics renaissance. Zero is an espionage series created by him and his Secret Avengers collaborator Michael Walsh and has found critical and commercial success.
But Kot has also worked on creator owned comics as part of the Image Comics renaissance. Zero is an espionage series created by him and his Secret Avengers collaborator Michael Walsh and has found critical and commercial success.
- 6/8/2015
- by Logan Dalton
- SoundOnSight
The sculptures of Gonzalo Fonseca — hand-carved blocks of marble and limestone riddled with secret compartments, moveable pieces, mysterious emblems, and tiny staircases — look like Paleolithic dollhouses designed by M.C. Escher. They don’t quite make sense, but they radiate an internal logic so seductive it’s hard not to feel as though you once encountered them in a dream, wandering through the works like abandoned cities. While Fonseca enjoyed a one-man show at the Jewish Museum in 1979 and represented his native Uruguay in the 1990 Venice Biennale, after his death in 1997, his work has lapsed into obscurity. A forgotten man who made mazes, Fonseca could have emerged from the pages of Jorge Luis Borges. The lost artist is poised to make a dramatic resurgence, however, with a new documentary directed by Michael Gregory. Slated for the 2016 festival circuit, the film is one prong of a full-blown Fonseca...
- 5/28/2015
- by Zoë Lescaze
- Vulture
With more than 400 films being shown across the city of Buenos Aires at sites as diverse as an outdoor amphitheater, the planetarium and the city's opera theater, Buenos Aires Festival Internacional de cine Independiente (Bafici) is set to roll from April 15th through the 25th. Here is an overview of this year's lineup at South America's largest film festival. Both the opening night film and the closing night film are world premiers of works by Argentine directors, which Bafici showcases year after year. The opening film is El cielo del Centauro by director Hugo Santiago, who returned to Buenos Aires to shoot forty-three years after collaborating with the immortal Argentine writer Jorge Luis Borges on the film Invasión. On closing night, Bafici will show the...
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- 4/14/2015
- Screen Anarchy
We return with another edition of the Indie Spotlight, highlighting the recent independent horror news sent our way. Today’s feature includes release details on Amnesiac, The Atticus Institute, and Alien Outpost, multiple trailers, premiere details for Head, and a Q&A with the founder of The Philip K. Dick Film Festival:
Amnesiac Distribution and Release Details: “Amnesiac tells the story of a man (Wes Bentley) who wakes up in bed suffering from memory loss after being in an accident, only to begin to suspect that his wife (Kate Bosworth) may not be his real wife. The web of lies and deceit deepen inside the house where he soon finds himself a prisoner.
XLrator Media has acquired North American distribution rights to the psychological thriller Amnesiac starring Kate Bosworth (Still Alice, Superman Returns) and Wes Bentley (The Hunger Games series, Interstellar). XLrator Media will release the film in Summer 2015 on its acclaimed “Macabre” genre label.
Amnesiac Distribution and Release Details: “Amnesiac tells the story of a man (Wes Bentley) who wakes up in bed suffering from memory loss after being in an accident, only to begin to suspect that his wife (Kate Bosworth) may not be his real wife. The web of lies and deceit deepen inside the house where he soon finds himself a prisoner.
XLrator Media has acquired North American distribution rights to the psychological thriller Amnesiac starring Kate Bosworth (Still Alice, Superman Returns) and Wes Bentley (The Hunger Games series, Interstellar). XLrator Media will release the film in Summer 2015 on its acclaimed “Macabre” genre label.
- 1/11/2015
- by Tamika Jones
- DailyDead
Exclusive: Writer-director Javier Fuentes-León’s whodunit pays homage to Hollywood film noir and the reality-twisting fictions of Jorge Luis Borges and Julio Cortázar. The Vanished Elephant, which has its premiere Saturday at Toronto, stars Salvador del Solar as a crime novelist whose fiancée has been missing for seven years. He is given a clue to the mystery by a woman (Angie Cepeda) whose ex-husband died the same day the writer’s betrothed vanished. Lucho Cáceres, Tatiana Astengo, Vanessa Saba, Andrés Parra also star in the Peru-Colombia-Spain co-production. Mundial is selling international rights at Tiff. Watch the trailer above.
- 9/5/2014
- by The Deadline Team
- Deadline
We asked a few LatinoBuzz amigos to get their Robinson Crusoe on and pick a film, an album, a book and a companion from the movies to join them in their shenanigans were they to be stuck on a deserted island (and before anyone nitpicks, filmmakers are resourceful, so of course they built solar powered entertainment centers made from bamboos, coconuts and grass to watch movies and listen to baby making slow jams). We figured we'd start with the narrative filmmakers since they probably sit around thinking about this kinda stuff anyway.
Film: Choosing desert island items may mean sacrificing taste and/or reason, thinking about those items that you wouldn’t forgive yourself for not bringing them as your company, it´s like choosing the woman of your life. Here it goes: Hiroshima Mon Amour; there might be others I fancy as much as or more than (La Dolce Vita, Vertigo, M , some Lubitsch or Preminger), but I can think of no other as unique. I wouldn’t be able to choose any other without feeling Hiroshima’s absence - the best love film, the best movie about war, the best motion picture regarding the memory and its consequences. I can spend my whole life learning about film and the world because of Hiroshima...'.
Album: “Los Preludios de Debussy” by Claudio Arrau. These were so important to my life (I'm referring to my childhood of course) and I think no one does it better than Arrau. Same thing: it is endless. I think I could never tire of this and I could still wake up each and every morning amazed by it.
Book: “Sentimental Education”, by Flaubert. Similar to “Hiroshima”, a book that changed my outlook on literature and the world and I am certain it will keep transforming it forever.
Companion: Susie Diamond (Michelle Pfeiffer in 'The fabulous Baker Boys'). Since I saw the film (which I liked very much!) in the provincial movie theater of my childhood, I felt as Jack Baker´s relative and I loved Susie. If we had a piano, it would all be all be perfect. - Santiago Palavecino (Algunas chicas/Some Girls)
Film: This is a tricky question. I've always said that on a deserted island you should bring some porn. You could use that more than regular movies. But since I've got to pick a film I guess it'd be Jaws. Why? Because it's one of my favorites (I could also go with The Good, the Bad and the Ugly). But being on a deserted island, Jaws will remind me all the time what'll happen to me for sure if I try to get away!
Album: “ Appetite for Destruction” (Guns N' Roses). Hey, I was 13 when this came out. I listen to it every day while I work, anyways. My favorite, by far.
A Book: I'm going to cheat on this one: 'The Complete Works' by Jorge Luis Borges. The best writer, and enough labyrinths to get lost on endless nights.
Companion: Sherlock Holmes. He's always been my favorite, and also, since my guess is he'll be pretty useless in a deserted island, every time we fail to get out because of him I can get to tell him "Is that the best you can do, Sherlock? - Alejandro Brugués (Juan of the Dead)
Film: Los Olvidados- this is punk rock and Pachuco. Mexico City style before the bombed out bunkers of Sid & Nancy. Bunuel is a hero and I wanna buy Jaibo a beer and milk for the old poetic man!
Album: The Blade Runner album. I can play it over and over, get cranked up or mellow with Blade Runner Blues and the constant rain.
Book: '20 years of Joda' - poems of Jose Montoya, my pop. Epic stuff! 'Ran with Miguel Pinero in the Lower Eastside!”
Companion: Michael Corleone cause he's Mack in my book! Jaibo gets an honorable mention. - Richard Montoya (Water & Power )
Film: I´d choose Misery because a year can go by and I can watch it again eagerly. It's simple and the director (Rob Reiner) and Stephen King are both masters of suspense.
Album: I know this may be considered cheating but it would have to be 'The Best of David Bowie'. That way I have 2 CD's with nearly 40 songs!
Companion: There's many great people who I would to live with but on a deserted Island? It would have to be Mary Poppins for obvious reasons.
Book: And finally the book would be 'Blood Meridian' by Cormac McCarthy because it's one I haven't read yet. Analeine Cal y Mayor - (The Boy Who Smells Like Fish)
Film: I would say White Chicks. I’m going to need some humor! White Chicks is the movie that I put on when I need a good laugh. It does it for me every time. I grew up with characters like that; and admittedly, I can regress back to a few of them myself when no one is looking.
Album: ' Songs From the Capeman' - Paul Simon. I can’t get enough of that album. It instantly takes me to that world and electrifies that side of me that’s determined to make a change for Latinos. I want to keep that feeling with me alive eternally…wherever I’m at.”
Book: There are many but 'Anatomy of the Spirit' by Caroline Myss has been my compass. It taught me how to take control of my destiny by listening to my intuition and body. I stand by her quote: “Your biography becomes your biology.
Companion: The first person that came to mind when I read the question was silly Clarence from “It’s a Wonderful Life”. I guess I’m going to need an angel with me, and he’s perfect. He has a pure childlike spirit that would help me find gratitude in the most unlikely moments… even on a deserted island! That right there is the meaning of life. - Carmen Marron (Endgame)
Film: There are so many brilliant, groundbreaking favorite films that have influenced me (The 400 Blows; Jules and Jim ; Law of Desire; et al) but I wouldn't bring any of them. If I'm stuck on a deserted island, I'm bringing Neil Simon's Murder by Death so I can laugh my ass off. Not a great film at all, it's true, but it's a classic comedy.
Album: Oh, this is easy: Madonna's "Ray of Light." I am no Madonna fanatic, but "deserted island, " means beach + summer weather + Fire Island-like atmosphere. So somewhere nearby there's got to be gay guys partying and I will use Madonna to lure them to me so I can be rescued.
One Book: Varga Llosa's "Feast of the Goat" ("La Fiesta del Chivo") -- it's action-packed historical fiction. It will keep me occupied. One of my favorite novels.
Companion: Huckleberry Finn. He will be a great companion: not only will he tell great stories, but undoubtedly, the ever-resourceful Huck Finn will figure out how to build a raft and get us out off that island! - Terracino (Elliot Loves )
Film: Whenever anyone asks me this I always think of what use these items would serve practically on a deserted island, so I answered this in that respect. Tokyo Story - Yasujiro Ozu. This would be a great film to take on a deserted island because it's really about the unavoidable suffering of the cycle of life, which I'm sure you'd relate to if you were stuck on an island. I really could watch this film a million times over and notice something new every time. Watching most Ozu films is not unlike participating in a Zen meditation practice. It's patience and slowness and trying to empty your mind of thought until your left with the basics of existence. Kind of like sitting on a deserted island alone. I can watch the scene where Kyoto says “Life is disappointing, isn't it?” and Noriko smiles and says “Yes it is.” I can watch that endlessly and cry every time. It's so true.
Album: ' Tusk' - Fleetwood Mac. I could also deal with 'Rumours' but I picked 'Tusk' because it's longer and denser; probably better for an island. 'Sara' is maybe my favorite song in the world and so it would be nice to have that with me. I think channeling the powerful witchy energy of Stevie Nicks would be a real asset on an island. This album has so much strange material on - you wouldn't get bored too easily with it. It's also got a range of emotions so if you get too depressed on the island you can just put on 'Never Forget' and feel better. And 'Sisters of the Moon' would be good around a fire at night. Even though you're stuck on an island, it's good to create an ambiance to remind you that life is worth living.
Book: ' In Search of Lost Time' - Marcel Proust. I've only read 'Swann's Way' which is first part of this. My analyst recommend it to me when I was totally heartbroken after someone broke up with me. It really did the trick. This would be a good long epic read that has enough complex ideas in it to keep you occupied for a life time. Probably a good book (or set of books) to get back to nature with.
Companion: I'll say Terry Malloy from “On the Waterfront”. He'd be strong and good to have around to cut down trees and hunt and stuff. He's also easy on the eyes and someone that could do with a little lonely contemplation away from the loading docks. That doesn't sound half bad...stuck on like a tropical island with a young, cute Marlon Brando, watching Ozu, reading Proust and listening to Fleetwood Mac all day. Sign me up! - Joshua Sanchez (Four)
Film: My film would have to be Luis Buñuel's Los Olvidados. I have been a movie watcher since I was a child. Raised on mainstream American films and Wuxia flicks, it wasn't until I was a late teen that I took my first film class and was introduced to the work of Buñuel. Los Olvidados literally changed my perception of the world, both socially and visually. It was also the gateway for me to progress from movie watcher to film student.
Album: Music is my religion and I belong to the church of Robert Nesta Marley. I would prefer the whole anthology, but if I had to choose one album it would be “Exodus”. When on an island listen to island music.
Book: Right around the time I discovered the work of Buñuel, I was gifted Jose Montoya's 'In Formation: 20 years of Joda'. The book is a treasure of epic poems, sketches, and corridos. All testaments to the beauty and strength of Chicana/o culture. 20 years later I pay homage to both of these Maestros in my debut feature film, “Cry Now”. The film's protagonist is nicknamed 'Ojitos' during the course of the narrative, a reference to one of the characters in Los Olvidados. The late great Lupe Ontiveros playing the role of a sage loosely recites Montoya's mantra 'La Locura Cura' (In madness you find truth) while she councils our protagonist.
Companion: To bring it all full circle my fictitious character would have to be a Wuxia hero. As a child I was awe inspired by these bigger than life martial artists. As an adult, Ang Lee's “Crouching Tiger, Hidden Dragon” did the same. I know all would be as it should if Yu Shu Lien was on that island with me. - Alberto Barboza (Cry Now )
Film: Nothing But a Man (1964) It's a film that does an incredible job balancing a character-driven story within a politically charged context. It's a film I'm finding myself inspired by as I continue to write Los Valientes.
Album: I'm not a fan of albums, but if I had to choose one I guess I would have to go with any of Prince's albums. His music always puts me in a trance.
Book: My dream journal so I can look back look for signs of what is to become of my future.
Companion: Who better than TV's MacGyver. I'd put his ass to work on getting me off the island! -Aurora Guerrero (Mosquita y Mari)
Film: Hell in the Pacific so that I can be reminded that even in paradise there is a duality.
Album: “La Scala: Concert” by Ludovico Einaudi – I've listened to it a thousand times and each time I feel or discover something new.
Book: “ Voces Reunidas” by Antonio Porchia. Each time I read one of his poems I learn something new and I'm deeply moved.
Companion: Barbarella, so I could never be lonely and I could enjoy this planet-island – Diego Quemada-Díez (La jaula de oro/The Golden Dream)
Written by Juan Caceres . LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow [At]LatinoBuzz on Twitter and Facebook...
Film: Choosing desert island items may mean sacrificing taste and/or reason, thinking about those items that you wouldn’t forgive yourself for not bringing them as your company, it´s like choosing the woman of your life. Here it goes: Hiroshima Mon Amour; there might be others I fancy as much as or more than (La Dolce Vita, Vertigo, M , some Lubitsch or Preminger), but I can think of no other as unique. I wouldn’t be able to choose any other without feeling Hiroshima’s absence - the best love film, the best movie about war, the best motion picture regarding the memory and its consequences. I can spend my whole life learning about film and the world because of Hiroshima...'.
Album: “Los Preludios de Debussy” by Claudio Arrau. These were so important to my life (I'm referring to my childhood of course) and I think no one does it better than Arrau. Same thing: it is endless. I think I could never tire of this and I could still wake up each and every morning amazed by it.
Book: “Sentimental Education”, by Flaubert. Similar to “Hiroshima”, a book that changed my outlook on literature and the world and I am certain it will keep transforming it forever.
Companion: Susie Diamond (Michelle Pfeiffer in 'The fabulous Baker Boys'). Since I saw the film (which I liked very much!) in the provincial movie theater of my childhood, I felt as Jack Baker´s relative and I loved Susie. If we had a piano, it would all be all be perfect. - Santiago Palavecino (Algunas chicas/Some Girls)
Film: This is a tricky question. I've always said that on a deserted island you should bring some porn. You could use that more than regular movies. But since I've got to pick a film I guess it'd be Jaws. Why? Because it's one of my favorites (I could also go with The Good, the Bad and the Ugly). But being on a deserted island, Jaws will remind me all the time what'll happen to me for sure if I try to get away!
Album: “ Appetite for Destruction” (Guns N' Roses). Hey, I was 13 when this came out. I listen to it every day while I work, anyways. My favorite, by far.
A Book: I'm going to cheat on this one: 'The Complete Works' by Jorge Luis Borges. The best writer, and enough labyrinths to get lost on endless nights.
Companion: Sherlock Holmes. He's always been my favorite, and also, since my guess is he'll be pretty useless in a deserted island, every time we fail to get out because of him I can get to tell him "Is that the best you can do, Sherlock? - Alejandro Brugués (Juan of the Dead)
Film: Los Olvidados- this is punk rock and Pachuco. Mexico City style before the bombed out bunkers of Sid & Nancy. Bunuel is a hero and I wanna buy Jaibo a beer and milk for the old poetic man!
Album: The Blade Runner album. I can play it over and over, get cranked up or mellow with Blade Runner Blues and the constant rain.
Book: '20 years of Joda' - poems of Jose Montoya, my pop. Epic stuff! 'Ran with Miguel Pinero in the Lower Eastside!”
Companion: Michael Corleone cause he's Mack in my book! Jaibo gets an honorable mention. - Richard Montoya (Water & Power )
Film: I´d choose Misery because a year can go by and I can watch it again eagerly. It's simple and the director (Rob Reiner) and Stephen King are both masters of suspense.
Album: I know this may be considered cheating but it would have to be 'The Best of David Bowie'. That way I have 2 CD's with nearly 40 songs!
Companion: There's many great people who I would to live with but on a deserted Island? It would have to be Mary Poppins for obvious reasons.
Book: And finally the book would be 'Blood Meridian' by Cormac McCarthy because it's one I haven't read yet. Analeine Cal y Mayor - (The Boy Who Smells Like Fish)
Film: I would say White Chicks. I’m going to need some humor! White Chicks is the movie that I put on when I need a good laugh. It does it for me every time. I grew up with characters like that; and admittedly, I can regress back to a few of them myself when no one is looking.
Album: ' Songs From the Capeman' - Paul Simon. I can’t get enough of that album. It instantly takes me to that world and electrifies that side of me that’s determined to make a change for Latinos. I want to keep that feeling with me alive eternally…wherever I’m at.”
Book: There are many but 'Anatomy of the Spirit' by Caroline Myss has been my compass. It taught me how to take control of my destiny by listening to my intuition and body. I stand by her quote: “Your biography becomes your biology.
Companion: The first person that came to mind when I read the question was silly Clarence from “It’s a Wonderful Life”. I guess I’m going to need an angel with me, and he’s perfect. He has a pure childlike spirit that would help me find gratitude in the most unlikely moments… even on a deserted island! That right there is the meaning of life. - Carmen Marron (Endgame)
Film: There are so many brilliant, groundbreaking favorite films that have influenced me (The 400 Blows; Jules and Jim ; Law of Desire; et al) but I wouldn't bring any of them. If I'm stuck on a deserted island, I'm bringing Neil Simon's Murder by Death so I can laugh my ass off. Not a great film at all, it's true, but it's a classic comedy.
Album: Oh, this is easy: Madonna's "Ray of Light." I am no Madonna fanatic, but "deserted island, " means beach + summer weather + Fire Island-like atmosphere. So somewhere nearby there's got to be gay guys partying and I will use Madonna to lure them to me so I can be rescued.
One Book: Varga Llosa's "Feast of the Goat" ("La Fiesta del Chivo") -- it's action-packed historical fiction. It will keep me occupied. One of my favorite novels.
Companion: Huckleberry Finn. He will be a great companion: not only will he tell great stories, but undoubtedly, the ever-resourceful Huck Finn will figure out how to build a raft and get us out off that island! - Terracino (Elliot Loves )
Film: Whenever anyone asks me this I always think of what use these items would serve practically on a deserted island, so I answered this in that respect. Tokyo Story - Yasujiro Ozu. This would be a great film to take on a deserted island because it's really about the unavoidable suffering of the cycle of life, which I'm sure you'd relate to if you were stuck on an island. I really could watch this film a million times over and notice something new every time. Watching most Ozu films is not unlike participating in a Zen meditation practice. It's patience and slowness and trying to empty your mind of thought until your left with the basics of existence. Kind of like sitting on a deserted island alone. I can watch the scene where Kyoto says “Life is disappointing, isn't it?” and Noriko smiles and says “Yes it is.” I can watch that endlessly and cry every time. It's so true.
Album: ' Tusk' - Fleetwood Mac. I could also deal with 'Rumours' but I picked 'Tusk' because it's longer and denser; probably better for an island. 'Sara' is maybe my favorite song in the world and so it would be nice to have that with me. I think channeling the powerful witchy energy of Stevie Nicks would be a real asset on an island. This album has so much strange material on - you wouldn't get bored too easily with it. It's also got a range of emotions so if you get too depressed on the island you can just put on 'Never Forget' and feel better. And 'Sisters of the Moon' would be good around a fire at night. Even though you're stuck on an island, it's good to create an ambiance to remind you that life is worth living.
Book: ' In Search of Lost Time' - Marcel Proust. I've only read 'Swann's Way' which is first part of this. My analyst recommend it to me when I was totally heartbroken after someone broke up with me. It really did the trick. This would be a good long epic read that has enough complex ideas in it to keep you occupied for a life time. Probably a good book (or set of books) to get back to nature with.
Companion: I'll say Terry Malloy from “On the Waterfront”. He'd be strong and good to have around to cut down trees and hunt and stuff. He's also easy on the eyes and someone that could do with a little lonely contemplation away from the loading docks. That doesn't sound half bad...stuck on like a tropical island with a young, cute Marlon Brando, watching Ozu, reading Proust and listening to Fleetwood Mac all day. Sign me up! - Joshua Sanchez (Four)
Film: My film would have to be Luis Buñuel's Los Olvidados. I have been a movie watcher since I was a child. Raised on mainstream American films and Wuxia flicks, it wasn't until I was a late teen that I took my first film class and was introduced to the work of Buñuel. Los Olvidados literally changed my perception of the world, both socially and visually. It was also the gateway for me to progress from movie watcher to film student.
Album: Music is my religion and I belong to the church of Robert Nesta Marley. I would prefer the whole anthology, but if I had to choose one album it would be “Exodus”. When on an island listen to island music.
Book: Right around the time I discovered the work of Buñuel, I was gifted Jose Montoya's 'In Formation: 20 years of Joda'. The book is a treasure of epic poems, sketches, and corridos. All testaments to the beauty and strength of Chicana/o culture. 20 years later I pay homage to both of these Maestros in my debut feature film, “Cry Now”. The film's protagonist is nicknamed 'Ojitos' during the course of the narrative, a reference to one of the characters in Los Olvidados. The late great Lupe Ontiveros playing the role of a sage loosely recites Montoya's mantra 'La Locura Cura' (In madness you find truth) while she councils our protagonist.
Companion: To bring it all full circle my fictitious character would have to be a Wuxia hero. As a child I was awe inspired by these bigger than life martial artists. As an adult, Ang Lee's “Crouching Tiger, Hidden Dragon” did the same. I know all would be as it should if Yu Shu Lien was on that island with me. - Alberto Barboza (Cry Now )
Film: Nothing But a Man (1964) It's a film that does an incredible job balancing a character-driven story within a politically charged context. It's a film I'm finding myself inspired by as I continue to write Los Valientes.
Album: I'm not a fan of albums, but if I had to choose one I guess I would have to go with any of Prince's albums. His music always puts me in a trance.
Book: My dream journal so I can look back look for signs of what is to become of my future.
Companion: Who better than TV's MacGyver. I'd put his ass to work on getting me off the island! -Aurora Guerrero (Mosquita y Mari)
Film: Hell in the Pacific so that I can be reminded that even in paradise there is a duality.
Album: “La Scala: Concert” by Ludovico Einaudi – I've listened to it a thousand times and each time I feel or discover something new.
Book: “ Voces Reunidas” by Antonio Porchia. Each time I read one of his poems I learn something new and I'm deeply moved.
Companion: Barbarella, so I could never be lonely and I could enjoy this planet-island – Diego Quemada-Díez (La jaula de oro/The Golden Dream)
Written by Juan Caceres . LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow [At]LatinoBuzz on Twitter and Facebook...
- 3/5/2014
- by Juan Caceres
- Sydney's Buzz
Science fiction writer John Scalzi has become something of a content factory for Hollywood. Or maybe less a factory, more a workshop in the wilds of Ohio. But with his novel Old Man's War already in development by Wolfgang Petersen, his Star Trek satire Redshirts has been optioned as a TV show by Us network FX.The channel, home to the likes of Justified, Sons Of Anarchy and American Horror Story, has Office veteran director Ken Kwapis and producer Jon Shestack developing the show based on Scalzi’s book.Redshirts is set in the 25th century, and follows a group of new recruits on the Starship Intrepid. While they’re initially delighted by their high profile assignment, they begin to realise that crewmembers are dying at an alarming rate. Digging into the deaths, they learn that a Trek-style science fiction show from our century is intruding into their reality and altering destinies via its plotlines.
- 2/9/2014
- EmpireOnline
FX is set to develop a new sci-fi comedy series based on an amazing sounding book called Redshirts by John Scalzi. The book is the 2013 Hugo Award winner, and the plan is to turn it into a limited series.
The story is set in the 25th century, and it "follows the adventures of five new recruits on the Starship Intrepid who come to realize that the ship’s crewmembers are dying at an alarming rate. Their investigation leads to the mind-bending discovery that a science fiction television show, produced in the early 21st century, has somehow 'intruded' upon their reality and 'warped' it. In other words, the lives of the crew are following the course of a television narrative over which they have no control."
I haven't read the book, but I have to say it sounds pretty freakin' amazing! I can't help but think that is is going to make for an incredible series.
The story is set in the 25th century, and it "follows the adventures of five new recruits on the Starship Intrepid who come to realize that the ship’s crewmembers are dying at an alarming rate. Their investigation leads to the mind-bending discovery that a science fiction television show, produced in the early 21st century, has somehow 'intruded' upon their reality and 'warped' it. In other words, the lives of the crew are following the course of a television narrative over which they have no control."
I haven't read the book, but I have to say it sounds pretty freakin' amazing! I can't help but think that is is going to make for an incredible series.
- 2/8/2014
- by Joey Paur
- GeekTyrant
A new "Star Trek" TV series might not be happening any time soon, but the next best thing is. FX has greenlit a limited series based on "Redshirts," a satirical science fiction novel written by John Scalzi published in 2012.
Down to its name, Scalzi has some obvious "Trek" origins. It follows a group of recruits on the Starship Intrepid who realize that members of the ship's crew are dying at a troublesome rate.
Eventually they discover that a 21st century sci-fi TV show somehow is influencing their reality by turning it into a narrative they can't control. "Redshirts" won the Hugo Award in 2013.
Currently the only people attached to the project are film producer Jon Shestack and producer-director Ken Kwapis. Deadline reports Kwapis is slated to direct the pilot episode of the series, while the search is underway for writers for the show.
Kwapis says of the novel, "If Jorge Luis Borges...
Down to its name, Scalzi has some obvious "Trek" origins. It follows a group of recruits on the Starship Intrepid who realize that members of the ship's crew are dying at a troublesome rate.
Eventually they discover that a 21st century sci-fi TV show somehow is influencing their reality by turning it into a narrative they can't control. "Redshirts" won the Hugo Award in 2013.
Currently the only people attached to the project are film producer Jon Shestack and producer-director Ken Kwapis. Deadline reports Kwapis is slated to direct the pilot episode of the series, while the search is underway for writers for the show.
Kwapis says of the novel, "If Jorge Luis Borges...
- 2/8/2014
- by editorial@zap2it.com
- Zap2It - From Inside the Box
Exclusive: John Scalzi’s 2012 comedic sci-fi novel Redshirts is headed to the small screen. FX has teamed with veteran feature producer Jon Shestack (Dan In Real Life) and producer-director Ken Kwapis (Sisterhood Of The Traveling Pants) and his partner Alexandra Beattie to develop a limited series based on the book, which won the 2013 Hugo Award. Search is underway for writers to pen the adaption, with Kwapis set to direct the opening episode. He, Shestack and Beattie executive produce. Set in the 25th century, Redshirts follows the adventures of five new recruits on the Starship Intrepid who come to realize that the ship’s crewmembers are dying at an alarming rate. Their investigation leads to the mind-bending discovery that a science fiction television show, produced in the early 21st century, has somehow “intruded” upon their reality and “warped” it. In other words, the lives of the crew are following the course...
- 2/7/2014
- by NELLIE ANDREEVA
- Deadline TV
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