Bernard-Henri Lévy with Sergiy Kyslytsya (Ambassador Extraordinary and Plenipotentiary of Ukraine and Permanent Representative of Ukraine to the United Nations) and Nicolas de Rivière (Ambassador Permanent Representative of France to the United Nations) with Ukrainian soldiers at the Slava Ukraini première Photo: Anne-Katrin Titze
In the second instalment with Bernard-Henri Lévy we discuss war films, including Rémy Ourdan’s The Siege, André Malraux’s Espoir: Sierra de Teruel, and Terre d’Espagne by Joris Ivens; Chernobyl, quoting a line by Emmanuelle Riva in Alain Resnais’s Hiroshima Mon Amour, screenplay by Marguerite Duras, and chapters five, nine, and twelve of Slava Ukraini, co-directed with Marc Roussel (produced by François Margolin with associate producer Emily Hamilton and advisor Gilles Hertzog).
Bernard-Henri Lévy with Nicolas de Rivière and Sergiy Kyslytsya at the United Nations Photo: Anne-Katrin Titze
At the United Nations in New York inside the Eocsoc Chamber on the evening of May 4, Nicolas de Rivière,...
In the second instalment with Bernard-Henri Lévy we discuss war films, including Rémy Ourdan’s The Siege, André Malraux’s Espoir: Sierra de Teruel, and Terre d’Espagne by Joris Ivens; Chernobyl, quoting a line by Emmanuelle Riva in Alain Resnais’s Hiroshima Mon Amour, screenplay by Marguerite Duras, and chapters five, nine, and twelve of Slava Ukraini, co-directed with Marc Roussel (produced by François Margolin with associate producer Emily Hamilton and advisor Gilles Hertzog).
Bernard-Henri Lévy with Nicolas de Rivière and Sergiy Kyslytsya at the United Nations Photo: Anne-Katrin Titze
At the United Nations in New York inside the Eocsoc Chamber on the evening of May 4, Nicolas de Rivière,...
- 5/8/2023
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Cordelia Dvorák’s intimate documentary about Marceline Loridan-Ivens – writer, director, and Holocaust survivor – captures her irresistible personality
While still little-known outside France, the inimitable Marceline Loridan-Ivens was a formidable force of nature. A Holocaust survivor, her awe-inspiring resilience is deeply felt in her works as a writer and director. Finishing shooting mere weeks before her death in 2018 at the age of 90, Cordelia Dvorák’s intimate documentary is as vibrant as the signature auburn shade of Loridan-Ivens’ short, unruly hair.
Loridan-Ivens’ harrowing experience as a teenager at Auschwitz-Birkenau, where she befriended Simone Veil, undoubtedly informed the ceaseless energy with which Loridan-Ivens embraced life and arts. In her brief period as an actor in Jean Rouch’s 1960s cinéma vérité films, she sparkles with a lively curiosity and an irresistible charm. Equally arresting is her romantic and creative partnership with her husband, leftist documentary film-maker Joris Ivens. At the height of the Vietnam war,...
While still little-known outside France, the inimitable Marceline Loridan-Ivens was a formidable force of nature. A Holocaust survivor, her awe-inspiring resilience is deeply felt in her works as a writer and director. Finishing shooting mere weeks before her death in 2018 at the age of 90, Cordelia Dvorák’s intimate documentary is as vibrant as the signature auburn shade of Loridan-Ivens’ short, unruly hair.
Loridan-Ivens’ harrowing experience as a teenager at Auschwitz-Birkenau, where she befriended Simone Veil, undoubtedly informed the ceaseless energy with which Loridan-Ivens embraced life and arts. In her brief period as an actor in Jean Rouch’s 1960s cinéma vérité films, she sparkles with a lively curiosity and an irresistible charm. Equally arresting is her romantic and creative partnership with her husband, leftist documentary film-maker Joris Ivens. At the height of the Vietnam war,...
- 9/13/2021
- by Phuong Le
- The Guardian - Film News
Above: Hungarian poster for The Sleeping Car Murders. Designer: Sándor Benkő.Last summer I wrote about my discovery of Hungarian movie poster design and featured a number of posters for very well known films from The Wizard of Oz to The Elephant Man. Those posters highlighted the distinctly different graphic approaches taken by Hungarian designers compared to their country-of-origin counterparts. But while delving deeper into the world of Hungarian poster design—mostly via the auction site Bedo—I have come across many even more remarkable designs for films that are less well known. The fifteen posters that I’ve chosen to highlight here were all made in the ’60s and ’70s and there is a distinct pop art sensibility at work: a lot of bold, primary colors and almost cartoonish illustrations, but always in the service of bold, striking graphics. Distinctly upbeat, while perhaps not expressly joyful, they do give...
- 1/21/2021
- MUBI
She was the first woman to head an A-list festival.
Erika de Hadeln, the first woman to head up an A-category film festival, has died at the age of 77 after a long illness.
She founded the Nyon International Documentary Film Festival (now known as Visions du Réel) in Switzerland with her Swiss husband Moritz in 1969. de Hadeln oversaw the festival organisation and programmed the selection with her husband who served as director of the festival until 1979. de Hadeln took over at the helm in 1981 to 1993.
It was during these 25 years in Nyon she worked with many leading documentary filmmakers such as Joris Ivens,...
Erika de Hadeln, the first woman to head up an A-category film festival, has died at the age of 77 after a long illness.
She founded the Nyon International Documentary Film Festival (now known as Visions du Réel) in Switzerland with her Swiss husband Moritz in 1969. de Hadeln oversaw the festival organisation and programmed the selection with her husband who served as director of the festival until 1979. de Hadeln took over at the helm in 1981 to 1993.
It was during these 25 years in Nyon she worked with many leading documentary filmmakers such as Joris Ivens,...
- 12/20/2018
- by Martin Blaney
- ScreenDaily
Above: Polish poster for The Battle of Algiers (Gillo Pontecorvo, Italy/Algeria, 1965). Designer: Jerzy Flisak.As the 55th New York Film Festival winds down this weekend, I thought I’d look back half a century at the films of the 5th edition. That 1967 festival, programmed by Amos Vogel, Richard Roud, Arthur Knight, Andrew Sarris and Susan Sontag, featured 21 new films, all but three of which were from Europe (six of them from France, 2 and 1/7 of them directed by Godard), all of which showed at Lincoln Center’s Philharmonic Hall. (They also programmed Gance’s Napoleon, Mamoulian’s Applause and King Vidor’s Show People in the retrospective slots). The only director to have a film in both the 1967 festival and the 2017 edition is Agnès Varda, who was one of the directors of the omnibus Far From Vietnam and was then already 12 years into her filmmaking career.It will come as...
- 10/13/2017
- MUBI
Strand will focus on the history of Cannes for the festival’s 70th anniversary.
Cannes Film Festival (May 17-28) has unveiled the line-up for this year’s Classic programme, with 24 screenings set to take place alongside five documentaries and one short film.
Documentaries about cinema including Filmworker - which focuses of Stanley Kubrick’s right hand man Leon Vitali, who played a crucial role behind the scenes of the director’s films - as well as Cary Grant doc Becoming Cary Grant, are set to feature.
This year’s selection is also set to focus on the history of the festival itself, with prize-winning films such as Michelangelo Antonioni Grand 1966 Prix winning film Blow-Up and Henri-Georges Clouzot’s Le Salaire de la peur (The Wages of Fear) from 1952 screening.
Nagisa Oshima’s 1976 film Ai No Korîda (In The Realm Of The Senses/L’Empire Des Sens), Luis Buñuel’s 1967 classic Belle De Jour (Beauty Of The Day...
Cannes Film Festival (May 17-28) has unveiled the line-up for this year’s Classic programme, with 24 screenings set to take place alongside five documentaries and one short film.
Documentaries about cinema including Filmworker - which focuses of Stanley Kubrick’s right hand man Leon Vitali, who played a crucial role behind the scenes of the director’s films - as well as Cary Grant doc Becoming Cary Grant, are set to feature.
This year’s selection is also set to focus on the history of the festival itself, with prize-winning films such as Michelangelo Antonioni Grand 1966 Prix winning film Blow-Up and Henri-Georges Clouzot’s Le Salaire de la peur (The Wages of Fear) from 1952 screening.
Nagisa Oshima’s 1976 film Ai No Korîda (In The Realm Of The Senses/L’Empire Des Sens), Luis Buñuel’s 1967 classic Belle De Jour (Beauty Of The Day...
- 5/3/2017
- ScreenDaily
While Cannes Film Festival premieres some of the best new films of the year, they also have a rich history of highlighting cinema history with their Cannes Classics line-up, many of which are new restorations of films that previously premiered at the festival. This year they are taking that idea further, featuring 16 films that made history at the festival, along with a handful of others, and five new documentaries. So, if you can’t make it to Cannes, to get a sense of restorations that may come to your city (or on Blu-ray) in the coming months/years, check out the line-up below.
From 1946 to 1992, from René Clément to Victor Erice, sixteen history-making films of the Festival de Cannes
1946: La Bataille du Rail (Battle of the Rails) by René Clément (1h25, France): Grand Prix International de la mise en scène and Prix du Jury International.
Presented by Ina.
From 1946 to 1992, from René Clément to Victor Erice, sixteen history-making films of the Festival de Cannes
1946: La Bataille du Rail (Battle of the Rails) by René Clément (1h25, France): Grand Prix International de la mise en scène and Prix du Jury International.
Presented by Ina.
- 5/3/2017
- by Jordan Raup
- The Film Stage
As a new 4K restoration is released today, Criterion's posted Michael Sragow's essay on Howard Hawks's Only Angels Have Wings. Also in today's roundup: The Paris Review on Charles Chaplin becoming overwhelmed by fame in 1921, a new open access book on the work of Joris Ivens, an interview with Apichatpong Weerasethakul, a primer on Jerzy Skolimowski, the story behind Walt Disney's first adaptation of Rudyard Kipling's The Jungle Book, a lecture on Jean Genet, a conference on Sergei Eisenstein and news of forthcoming films from Steven Spielberg and Barbra Streisand. » - David Hudson...
- 4/12/2016
- Keyframe
As a new 4K restoration is released today, Criterion's posted Michael Sragow's essay on Howard Hawks's Only Angels Have Wings. Also in today's roundup: The Paris Review on Charles Chaplin becoming overwhelmed by fame in 1921, a new open access book on the work of Joris Ivens, an interview with Apichatpong Weerasethakul, a primer on Jerzy Skolimowski, the story behind Walt Disney's first adaptation of Rudyard Kipling's The Jungle Book, a lecture on Jean Genet, a conference on Sergei Eisenstein and news of forthcoming films from Steven Spielberg and Barbra Streisand. » - David Hudson...
- 4/12/2016
- Fandor: Keyframe
Adieu au langageWhen I stumbled out of the theatre after my first viewing of Jean-Luc Godard’s newest film, Adieu au langage—which will be released on home video by Kino Lorber on April 14—I felt that nagging feeling that only a few films can give. That feeling isn’t necessarily limited to great or even good films, but belongs instead to a certain special, disparate troupe. I left feeling that Godard had made a film that wanted to think about film in some way, aligning itself with the films that made their ways into books of philosophy by film theorists Noël Carroll and Stanley Cavell.Admittedly, there’s a danger in these feelings. Adieu au langage, as well as the whole lot of these “thinking” films, could simply be playfully “meta,” purposefully toying with the conversations that critics and academics love. Maybe I’ve just taken the filmmaker’s bait here,...
- 4/14/2015
- by Zach Lewis
- MUBI
With the theatrical release of the digitally restored 1997 film Level 5, Brooklyn's own Bam Cinematek is hosting a rare retrospective of Chris Marker, one of the most singular voices in cinema history.Marker passed on in 2012. But as a writer, photographer, visual essayist and multimedia artist, Marker leaves an impressive body of work that spans more than half a century. His uncategorizable cinematic oeuvre touched upon politics, technology, cinema, artists, time and memories. He was an acute observer of the past and present, and cinema's own soothsayer.The retro includes Sunless, one of my absolute favorites; La Jetée, a seminal time-travel, sci-fi classic; Bestiary Series, his short visual haikus on animals; Statues Also Die (with Alain Resnais) and Valparaiso (with Joris Ivens), his collaborative efforts; The Six Side of...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 8/13/2014
- Screen Anarchy
Above: Sophia Loren, this year's Guest of Honor, in Vittorio De Sica's Marriage Italian Style
The following films comprise this year's slate of Cannes Classics:
Marriage Italian Style (Vittorio De Sica)
A Fistful of Dollars (Sergio Leone)
Paris, Texas (Wim Wenders)
Regards sur une revolution: Comment Yukong déplaça les montagnes (Marceline Loridan & Joris Ivens)
Cruel Story of Youth (Nagisa Oshima)
Wooden Crosses (Raymond Bernard)
Overlord (Stuart Cooper)
Fear (Roberto Rossellini)
Blind Chance (Krzysztof Kieslowski)
The Last Metro (François Truffaut)
Dragon Inn (King Hu)
Daybreak (Marcel Carné)
The Color of Pomegranates (Sergei Parajanov)
Gracious Living (Jean-Paul Rappeneau)
Jamaica Inn (Alfred Hitchcock)
Les violons du bal (Michel Drach)
Blue Mountains (Eldar Shengelaia)
Lost Horizon (Frank Capra)
La chienne (Jean Renoir)
Tokyo Olympiad (Kon Ichikawa)
8½ (Federico Fellini)
Two Documentaries about Cinema:
Life Itself (Steve James)
The Go-Go Boys: The Inside Story of Cannon Films (Hilla Medalia)
None of these films will be presented on film.
The following films comprise this year's slate of Cannes Classics:
Marriage Italian Style (Vittorio De Sica)
A Fistful of Dollars (Sergio Leone)
Paris, Texas (Wim Wenders)
Regards sur une revolution: Comment Yukong déplaça les montagnes (Marceline Loridan & Joris Ivens)
Cruel Story of Youth (Nagisa Oshima)
Wooden Crosses (Raymond Bernard)
Overlord (Stuart Cooper)
Fear (Roberto Rossellini)
Blind Chance (Krzysztof Kieslowski)
The Last Metro (François Truffaut)
Dragon Inn (King Hu)
Daybreak (Marcel Carné)
The Color of Pomegranates (Sergei Parajanov)
Gracious Living (Jean-Paul Rappeneau)
Jamaica Inn (Alfred Hitchcock)
Les violons du bal (Michel Drach)
Blue Mountains (Eldar Shengelaia)
Lost Horizon (Frank Capra)
La chienne (Jean Renoir)
Tokyo Olympiad (Kon Ichikawa)
8½ (Federico Fellini)
Two Documentaries about Cinema:
Life Itself (Steve James)
The Go-Go Boys: The Inside Story of Cannon Films (Hilla Medalia)
None of these films will be presented on film.
- 5/1/2014
- by Notebook
- MUBI
Sophia Loren named guest of honour and Kieslowski returns to Cannes Film Festival. No 35mm prints to be screened for the first time.
The Cannes Classics line-up of film masterpieces, presented in restored prints, has been announced. The programme comprises 22 features and two documentaries, screened in either 2K or 4K. But for the first time no 35mm print will be screened at Cannes Classics “with regret for some or with celebration for others”, according to a statement.
Guest of honour will be Sophia Loren, who won the award for Best Actress at Cannes in 1961 and was president of the jury in 1966. She will be present at the screening of La Voce Humana (2014), directed by Edoardo Ponti, which marks her return to movies.
That same evening, a 4K restoration of 1964 film Marriage Italian Style (Matrimonio all’italiana) by Vittorio De Sica will be screened.
Loren has also accepted to give a masterclass - a conversation which will take...
The Cannes Classics line-up of film masterpieces, presented in restored prints, has been announced. The programme comprises 22 features and two documentaries, screened in either 2K or 4K. But for the first time no 35mm print will be screened at Cannes Classics “with regret for some or with celebration for others”, according to a statement.
Guest of honour will be Sophia Loren, who won the award for Best Actress at Cannes in 1961 and was president of the jury in 1966. She will be present at the screening of La Voce Humana (2014), directed by Edoardo Ponti, which marks her return to movies.
That same evening, a 4K restoration of 1964 film Marriage Italian Style (Matrimonio all’italiana) by Vittorio De Sica will be screened.
Loren has also accepted to give a masterclass - a conversation which will take...
- 4/30/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Selection includes competition titles, a focus on Southeast Asia and a ‘Top 10’ compiled by director Rithy Panh.
The selection for the 26th Idfa (International Documentary Film Festival Amsterdam) has been unveiled and includes 288 titles – selected from more than 3,000 submissions – of which 100 will receive their world premiere during the festival (Nov 20 – Dec 1).
There will be a strand dedicated to documentaries from Southeast Asia titled Emerging Voices from Southeast Asia.
This year’s Idfa Top 10 is compiled by Cambodian director Rithy Panh, and a retrospective of his work will be screening at the festival.
Panh, whose doc The Missing Picture won the Un Certain Regard strand at Cannes in May, has selected:
Alone
Wang Bing (Hong Kong/France, 2012)Don’t Look Back
D.A. Pennebaker (USA, 1967)Farrebique - The Four Seasons
Georges Rouquier (France, 1946)The Football Incident
Joris Ivens/Marceline Loridan-Ivens (France, 1976)I Am Cuba
Mikheil Kalatozishvili (Cuba/Russia, 1964)In Vanda’s Room
Pedro Costa (Portugal, 2000)A Man Vanishes...
The selection for the 26th Idfa (International Documentary Film Festival Amsterdam) has been unveiled and includes 288 titles – selected from more than 3,000 submissions – of which 100 will receive their world premiere during the festival (Nov 20 – Dec 1).
There will be a strand dedicated to documentaries from Southeast Asia titled Emerging Voices from Southeast Asia.
This year’s Idfa Top 10 is compiled by Cambodian director Rithy Panh, and a retrospective of his work will be screening at the festival.
Panh, whose doc The Missing Picture won the Un Certain Regard strand at Cannes in May, has selected:
Alone
Wang Bing (Hong Kong/France, 2012)Don’t Look Back
D.A. Pennebaker (USA, 1967)Farrebique - The Four Seasons
Georges Rouquier (France, 1946)The Football Incident
Joris Ivens/Marceline Loridan-Ivens (France, 1976)I Am Cuba
Mikheil Kalatozishvili (Cuba/Russia, 1964)In Vanda’s Room
Pedro Costa (Portugal, 2000)A Man Vanishes...
- 10/11/2013
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Not many Hollywood actors make their film debut in a documentary, but there have been a few over time. Ten-year-old Steve Martin was unintentionally in Disneyland Dream, Rod Taylor performed in reenactments for the commemorative short Inland with Sturt and, while not his first movie appearance, Arnold Schwarzenegger sort of broke out with Pumping Iron. Orson Welles got his first film credit as narrator of Joris Ivens's The Spanish Earth, though his voice was actually replaced with that of Ernest Hemingway. Audrey Hepburn similarly was initially captured on celluloid for a nonfiction work: 1948's Dutch in Seven Lessons. This postwar travelogue from eventual Oscar winner Charles van der Linden and Heinz Josephson had its premiere on this day 65 years ago (although...
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- 5/7/2013
- by Christopher Campbell
- Movies.com
Opened six months before the Ica, the Arts Laboratory is more of a playground but just as culturally omnivorous
In the blaze of chic surrounding the new Ica headquarters, we mustn't overlook the dear old Arts Laboratory (182 Drury Lane), in many ways its prototype, which has been in operation for all of six months. More of a playground than the powerhouse in the Mall, it is just as culturally omnivorous. Like any good lab, it sometimes houses experiments that blow up in their investors' faces; but it's blessedly unsmart, and you get a happy sense of work-in-progress, of new departures that may blossom into new arrivals. The ambience is ramshackle, sweet-tempered and eclectic – three adjectives that could equally well apply to the personality of Jim Haynes, its founder and genius loci.
When I went there last week, the place was crowded with classless youth, buying avant-garde magazines at the bookstall,...
In the blaze of chic surrounding the new Ica headquarters, we mustn't overlook the dear old Arts Laboratory (182 Drury Lane), in many ways its prototype, which has been in operation for all of six months. More of a playground than the powerhouse in the Mall, it is just as culturally omnivorous. Like any good lab, it sometimes houses experiments that blow up in their investors' faces; but it's blessedly unsmart, and you get a happy sense of work-in-progress, of new departures that may blossom into new arrivals. The ambience is ramshackle, sweet-tempered and eclectic – three adjectives that could equally well apply to the personality of Jim Haynes, its founder and genius loci.
When I went there last week, the place was crowded with classless youth, buying avant-garde magazines at the bookstall,...
- 4/27/2013
- The Guardian - Film News
It’s Cuba! Where else would The Havana International Film Festival’s Opening and Closing Night take place except in The Karl Marx Theater? Opening with music by Cuba’s greatest salsa group, Los Van Van, the 34th edition is still headed by its founder and Fidel Castro’s teacher in Communism, Alfredo Guevara, who dedicated this edition to the new generation of filmmakers which represents the future of cinema. The 10 day festival showcased a broad range of new and not-so-new films from Cuba, Chile, Argentina, Venezuela, Dominican Republic, Costa Rica, Peru and fellow Caribbean nations, Trinidad & Tobago, Jamaica, Curacao and others whose cinema is being aided by their governments and whose youth is creating a new international cinema with the support of Europe and even, sometimes, Asia.
While this edition paid homage to the youth, also present and recalled were the members of the generations from the ‘60s like Aldo Francia, Chileans Miguel Littin, Patricio Guzman, Jorge Sanjines, Fernado Birri, Fernando Solano, Cacho Pallero, Santiago Alvarez, Glauber Roch, Carlos Diegues, Leon Hizsman, Juaquim Pedro, Tomas Guierrez Alea, Mario Handler, Walter Achugar and many others who in the years ‘67 and ‘68 were themselves inspired by such luminaries as Joris Ivens. Together they were the originators of the phenomenon El Cine de America Latina or New Latin American Cinema influenced mainly by Italian neorealism and other movements of social cinema. Its function was to go against U.S. models and to illuminate the troubled realities of Latin America in the hope of restoring cinema of the continent. Its key moment was the meeting of Latin American Cinema 1967 , which had its impetus in the Chilean Aldo Francia , the Cinema Club of Viña del Mar , the Cuban Alfredo Guevara, the Instituto Cubano de Arte e Industria Film (Icaic) and the Argentine Edgardo Pallero.
Illuminaries such as Annette Benning whose film The Kids are All Right was screening there and Hawk Koch, president of the Academy of Motion Pictures Arts and Sciences, wrote fan letters to Fidel and Raoul and then mixed and caught up with the top critics and journalists of Latin America and festival participants in the gardens of the Hotel Nacional. Miguel Litten and spouse, the parents of Chile’s Christina Littin, one of Chile’s current top producer/ distributors, were often seen there. Their presence reminded me of Gabriel Garcia Marquez’s book Clandestine in Chile about the time when Miguel disguised himself to reenter Pinochet’s Chile from whence he had been exiled. So many stories of exile and return mark the modern history of Latin America.
The first day of the Havana festival was devoted to Eictv, the international film school that Gabriel Garcia Marquez founded in 1986 with his Nobel Prize money on land donated by Cuba. Today it is headed by Rafael Rosal who in his own country, Guatemala, set up the first infrastructure for a film industry – a film school, a film festival and production facilities.
Eictv has a student body from everywhere in Latin America, Europe and even from North America. Last year as the emissary for Woodbury University in Burbank CA, I brought them their first agreement with a U.S. institution and exchanges between students and staff have already begun, bringing TV documentary filmmaker Rolando Almirante for a second time to teach documentaries.
Eictv’s event at the Festival de Cine Nuevo en Habana is Nuevas Miradas, 12 chosen projects whose producers and directors present themselves to the industry and compete for three awards.
Coincidently with the lateness of this blog which I wrote from the Palm Springs International Film Festival -- some of Eictv’s staff’s and students’ films were among Psff’s 22 Latino projects vying for the Cine Latino Prize being offered by Festival Internacional de Cine en Guadalajara. This fact along shows a new unity of purpose among the Latino countries and their festivals (Cuba, Guadalajara and Palm Springs, which as part of the Coachella Valley, has the largest Latino population in the United States.) Among the 22 candidates for Psff’s Best Iberoamerican film were Clandestine Childhood (Argentina/ Brazil/Spain) by Benjamín Ávila, who was the coordinator of Fiction at Eictv and screenwriter Marcelo Muller also participated in Eictv; La Voz Dormida (España) of the emerging filmmaker Benito Zambrano, and 7 Boxes (Paraguay) co-directed by Juan Carlos Maneglia, a student in many of the workshops of Eictv. Eictv considers this exchange of ideas and talents as globally important.
The winners of Nuevas Miradas should be watched as one or several reach fruition. Last year The Visitor (Chile) won and has since raised the budget for a feature length film debut.
The projects, Un Viejo Traje, Moora Moora directed by Australian Rhiannon Stevens and produced by Chilean Esme Joffre, Tus padres volverán directed by Uruguayan Pablo Martínez and produced by Virginia Hinze, Cocodrilos tomando el sol, Cuerpos Celestes by Mexican director Lorena Padilla and producer Liliana Bravo, Revolución de las polleras by Bolivian director Sergio Estrada and producer Valeria Ponce received recognition and free software from Assimilate.
The documentary, Un Viejo Traje (aka The Old Suit), by Cuban director Damián Saínz (a student of Eictv) and producer Viana González received a $2,000 prize.
Fiction project, Cocodrilos tomando el sol, directed by Colombian Carlos Rojas and the Venezuelan producer Carolina Graterol, received a $1,000 prize and a course in directing at Eictv.
A film package for those interested in Cuban film programming
Ann Cross, a Scottish woman married to a Trinidadian is always in Havana. She programs the best selection of current Cuban features for U.K. distribution. This year she gave me this list of her favorites and many people concurred with her.
Y sin embargo (aka Nevertheless) by Rudy Mora also won the Beijing Film Festival prize which is surprising in that it is about school children challenging the school system, and challenging any systems in China (and perhaps in Cuba as well) is highly problematic. The child actors are exceptional. The type of burlesque comedy is typical of Cuba. Produced and Isa (international sales agent) is the Cuban government film group Icaic.
Irredemediablemente Juntos (aka Irredeemably Together) by Jorge Luis Sanchez Gonzalez is brave and challenging. Purportedly about classical music and Cuban music and the conflict between the two, it is really about race and the synthesis between black and white, Cuban and European Classical is reached in the story.
Cresciendo en la musica is about teaching music to children.
El sangre en la casa, en la escuela y en la calle (aka Blood in the House, in the School and in the Street) is a British-Cuban coproduction about Matanza, a town just outside of Havana where Cuban music roots are.
La piscine (aka The Swimming Pool) by Calvo Machado might not stand alone in the U.S. but would be good in a package.
Binchi by Eduardo Galano is about the 2 classes clashing in prison.
At the top of Ann’s list and on top of many others’ lists is Melaza.
What I saw and liked
It was also a time for me to catch up of Latin American cinema I have missed. My favorite was Chilean film Jueves a Domingo (aka from Thursday to Sunday) by Dominga Sotomayer. This road trip by a young couple and their 7 year old son and 11 year old daughter tells a story through the daughter’s eye of a loving family’s vacation and their father’s decision to move from Santiago to the countryside. We never know what he is getting away from (Pinochet?) but we see what is supposed to be a vacation transforms the family’s wholeness. The loving light touch of Sotomayer reminds me of Eric Rohmer’s four films of the seasons.
Lucie Malloy’s Una Noche was mobbed by the Cuban public wanting to see this film about two young defectors from Cuba; the police were called to break up the crowd and the overflow had a special screening set up. We hear that the young woman star who defected with her costar on the way to the Tribeca Film Festival and who landed up in Las Vegas is now in “exile mode” bewailing how she misses her family. La probrecita!! Yet another exile story. Had she waited a month, travel from Cuba would be legal. Una Noche is now here in Palm Springs as well, competitng for the Cine Latino Prize.
Other films I saw and liked
El Limpiador and Ombras were both without subtitles (as was Pablo Lorrain’s closing night film No) and so I could only watch a part of them. However I did see El Limpiador here in Palm Springs and was impressed with its simplicity and its authenticity and loving heart. A low tech take on a mysterious illness killing people in the Peruvian city of Lima, the film was simple, sometimes funny and in the end very satisfying.
A film which divided the audience neatly between men and women was the Brazilian feature Brecha Silencia (aka Breaching the Silence) about domestic violence from which 3 siblings barely escape. The subject of violence toward women was also the subject of a short which showed in every public screening. Called Ya No, this short Latin American backed PSA brings public awareness to the unacceptable violent behavior of men toward women often found in schools, in dating, and in homes.
Desde de Lucia playing in Palm Springs also takes on the subject of bullying, this time in a bourgeois Mexican school and centering on a teenage girl who has recently lost her mother.
Taken by Storm
The next segment of the festival was taken up with Trinidad + Tobago Film Festival (t+tff). Emilie Upszak, Artistic Director of t+tff, whom I had met in Havana last year through Icaic’s Luis Notario, and Bruce Paddington the founder and exec director of t+tff were in Havana with a delegation of filmmakers and their films. Since I had missed them all during the extraordinary experience I had at t+tff, I got to see Storm Saulter’s Better Mus Come which has been picked up by the new African Diaspora film distributor for U.S. Affrm (African-American Film Festival Releasing Movement).
Storm is Jamaican and took film courses at L.A. Film School, that large private film school on Sunset near Vine, across from the Arclight Theater, where many foreign students go and where many vets go seeking to learn filmmaking. Storm, however, had been making films since he was a kid using super 8mm and at the ripe old age of 27, he has since formed a collective in Jamaica called, the New Caribbean Cinema. His new fiction feature Better Mus Come screened at Trinidad + Tobago film festival and showed here in Havana as well. He will be announcing an international sales agent and a U.S. distributor very soon.
What fun and interesting days and evenings and nights I had with the t+tff folks.
We heard live music, I danced salsa with a Puerto Rican Actor/ Director who dances salsa and has a short in the festival.
Salsa in Havana seems to be losing steam. Reggaeton closes every dance event as the drunken, monotonous final act before going home. However in Jamaica it is transforming itself into Dancehall (what could be more sexual than that except for sex itself?). There is also Rumba, the traditional dance of Afro-Cubans. It is now taking new forms as the newest generation of Cuba takes the stage. Woodbury faculty, in Havana on a hosted tour with the Jose Marti Cultural Institute, led by my friend Cookie Fischer were invited to the top of the Lincoln Hotel on the night the world was to end (remember the Mayan calendar prediction?) and we danced the night away to the live music of Septeto Nacional a 70 year old group. Son was my dance of choice there. For those of you who want to see Cuba before the transition is over, now is the time. You can travel legally from L.A. and Miami, Mexico or anywhere else in the world with a general license. Take advantage of it Now as it is going to get more crowded with tourists. For us film folk, we get a privileged perch, so plan on next December taking in a week of films plus another week or two to see a country whose land and people are unique in Latin America and the Caribbean.
While this edition paid homage to the youth, also present and recalled were the members of the generations from the ‘60s like Aldo Francia, Chileans Miguel Littin, Patricio Guzman, Jorge Sanjines, Fernado Birri, Fernando Solano, Cacho Pallero, Santiago Alvarez, Glauber Roch, Carlos Diegues, Leon Hizsman, Juaquim Pedro, Tomas Guierrez Alea, Mario Handler, Walter Achugar and many others who in the years ‘67 and ‘68 were themselves inspired by such luminaries as Joris Ivens. Together they were the originators of the phenomenon El Cine de America Latina or New Latin American Cinema influenced mainly by Italian neorealism and other movements of social cinema. Its function was to go against U.S. models and to illuminate the troubled realities of Latin America in the hope of restoring cinema of the continent. Its key moment was the meeting of Latin American Cinema 1967 , which had its impetus in the Chilean Aldo Francia , the Cinema Club of Viña del Mar , the Cuban Alfredo Guevara, the Instituto Cubano de Arte e Industria Film (Icaic) and the Argentine Edgardo Pallero.
Illuminaries such as Annette Benning whose film The Kids are All Right was screening there and Hawk Koch, president of the Academy of Motion Pictures Arts and Sciences, wrote fan letters to Fidel and Raoul and then mixed and caught up with the top critics and journalists of Latin America and festival participants in the gardens of the Hotel Nacional. Miguel Litten and spouse, the parents of Chile’s Christina Littin, one of Chile’s current top producer/ distributors, were often seen there. Their presence reminded me of Gabriel Garcia Marquez’s book Clandestine in Chile about the time when Miguel disguised himself to reenter Pinochet’s Chile from whence he had been exiled. So many stories of exile and return mark the modern history of Latin America.
The first day of the Havana festival was devoted to Eictv, the international film school that Gabriel Garcia Marquez founded in 1986 with his Nobel Prize money on land donated by Cuba. Today it is headed by Rafael Rosal who in his own country, Guatemala, set up the first infrastructure for a film industry – a film school, a film festival and production facilities.
Eictv has a student body from everywhere in Latin America, Europe and even from North America. Last year as the emissary for Woodbury University in Burbank CA, I brought them their first agreement with a U.S. institution and exchanges between students and staff have already begun, bringing TV documentary filmmaker Rolando Almirante for a second time to teach documentaries.
Eictv’s event at the Festival de Cine Nuevo en Habana is Nuevas Miradas, 12 chosen projects whose producers and directors present themselves to the industry and compete for three awards.
Coincidently with the lateness of this blog which I wrote from the Palm Springs International Film Festival -- some of Eictv’s staff’s and students’ films were among Psff’s 22 Latino projects vying for the Cine Latino Prize being offered by Festival Internacional de Cine en Guadalajara. This fact along shows a new unity of purpose among the Latino countries and their festivals (Cuba, Guadalajara and Palm Springs, which as part of the Coachella Valley, has the largest Latino population in the United States.) Among the 22 candidates for Psff’s Best Iberoamerican film were Clandestine Childhood (Argentina/ Brazil/Spain) by Benjamín Ávila, who was the coordinator of Fiction at Eictv and screenwriter Marcelo Muller also participated in Eictv; La Voz Dormida (España) of the emerging filmmaker Benito Zambrano, and 7 Boxes (Paraguay) co-directed by Juan Carlos Maneglia, a student in many of the workshops of Eictv. Eictv considers this exchange of ideas and talents as globally important.
The winners of Nuevas Miradas should be watched as one or several reach fruition. Last year The Visitor (Chile) won and has since raised the budget for a feature length film debut.
The projects, Un Viejo Traje, Moora Moora directed by Australian Rhiannon Stevens and produced by Chilean Esme Joffre, Tus padres volverán directed by Uruguayan Pablo Martínez and produced by Virginia Hinze, Cocodrilos tomando el sol, Cuerpos Celestes by Mexican director Lorena Padilla and producer Liliana Bravo, Revolución de las polleras by Bolivian director Sergio Estrada and producer Valeria Ponce received recognition and free software from Assimilate.
The documentary, Un Viejo Traje (aka The Old Suit), by Cuban director Damián Saínz (a student of Eictv) and producer Viana González received a $2,000 prize.
Fiction project, Cocodrilos tomando el sol, directed by Colombian Carlos Rojas and the Venezuelan producer Carolina Graterol, received a $1,000 prize and a course in directing at Eictv.
A film package for those interested in Cuban film programming
Ann Cross, a Scottish woman married to a Trinidadian is always in Havana. She programs the best selection of current Cuban features for U.K. distribution. This year she gave me this list of her favorites and many people concurred with her.
Y sin embargo (aka Nevertheless) by Rudy Mora also won the Beijing Film Festival prize which is surprising in that it is about school children challenging the school system, and challenging any systems in China (and perhaps in Cuba as well) is highly problematic. The child actors are exceptional. The type of burlesque comedy is typical of Cuba. Produced and Isa (international sales agent) is the Cuban government film group Icaic.
Irredemediablemente Juntos (aka Irredeemably Together) by Jorge Luis Sanchez Gonzalez is brave and challenging. Purportedly about classical music and Cuban music and the conflict between the two, it is really about race and the synthesis between black and white, Cuban and European Classical is reached in the story.
Cresciendo en la musica is about teaching music to children.
El sangre en la casa, en la escuela y en la calle (aka Blood in the House, in the School and in the Street) is a British-Cuban coproduction about Matanza, a town just outside of Havana where Cuban music roots are.
La piscine (aka The Swimming Pool) by Calvo Machado might not stand alone in the U.S. but would be good in a package.
Binchi by Eduardo Galano is about the 2 classes clashing in prison.
At the top of Ann’s list and on top of many others’ lists is Melaza.
What I saw and liked
It was also a time for me to catch up of Latin American cinema I have missed. My favorite was Chilean film Jueves a Domingo (aka from Thursday to Sunday) by Dominga Sotomayer. This road trip by a young couple and their 7 year old son and 11 year old daughter tells a story through the daughter’s eye of a loving family’s vacation and their father’s decision to move from Santiago to the countryside. We never know what he is getting away from (Pinochet?) but we see what is supposed to be a vacation transforms the family’s wholeness. The loving light touch of Sotomayer reminds me of Eric Rohmer’s four films of the seasons.
Lucie Malloy’s Una Noche was mobbed by the Cuban public wanting to see this film about two young defectors from Cuba; the police were called to break up the crowd and the overflow had a special screening set up. We hear that the young woman star who defected with her costar on the way to the Tribeca Film Festival and who landed up in Las Vegas is now in “exile mode” bewailing how she misses her family. La probrecita!! Yet another exile story. Had she waited a month, travel from Cuba would be legal. Una Noche is now here in Palm Springs as well, competitng for the Cine Latino Prize.
Other films I saw and liked
El Limpiador and Ombras were both without subtitles (as was Pablo Lorrain’s closing night film No) and so I could only watch a part of them. However I did see El Limpiador here in Palm Springs and was impressed with its simplicity and its authenticity and loving heart. A low tech take on a mysterious illness killing people in the Peruvian city of Lima, the film was simple, sometimes funny and in the end very satisfying.
A film which divided the audience neatly between men and women was the Brazilian feature Brecha Silencia (aka Breaching the Silence) about domestic violence from which 3 siblings barely escape. The subject of violence toward women was also the subject of a short which showed in every public screening. Called Ya No, this short Latin American backed PSA brings public awareness to the unacceptable violent behavior of men toward women often found in schools, in dating, and in homes.
Desde de Lucia playing in Palm Springs also takes on the subject of bullying, this time in a bourgeois Mexican school and centering on a teenage girl who has recently lost her mother.
Taken by Storm
The next segment of the festival was taken up with Trinidad + Tobago Film Festival (t+tff). Emilie Upszak, Artistic Director of t+tff, whom I had met in Havana last year through Icaic’s Luis Notario, and Bruce Paddington the founder and exec director of t+tff were in Havana with a delegation of filmmakers and their films. Since I had missed them all during the extraordinary experience I had at t+tff, I got to see Storm Saulter’s Better Mus Come which has been picked up by the new African Diaspora film distributor for U.S. Affrm (African-American Film Festival Releasing Movement).
Storm is Jamaican and took film courses at L.A. Film School, that large private film school on Sunset near Vine, across from the Arclight Theater, where many foreign students go and where many vets go seeking to learn filmmaking. Storm, however, had been making films since he was a kid using super 8mm and at the ripe old age of 27, he has since formed a collective in Jamaica called, the New Caribbean Cinema. His new fiction feature Better Mus Come screened at Trinidad + Tobago film festival and showed here in Havana as well. He will be announcing an international sales agent and a U.S. distributor very soon.
What fun and interesting days and evenings and nights I had with the t+tff folks.
We heard live music, I danced salsa with a Puerto Rican Actor/ Director who dances salsa and has a short in the festival.
Salsa in Havana seems to be losing steam. Reggaeton closes every dance event as the drunken, monotonous final act before going home. However in Jamaica it is transforming itself into Dancehall (what could be more sexual than that except for sex itself?). There is also Rumba, the traditional dance of Afro-Cubans. It is now taking new forms as the newest generation of Cuba takes the stage. Woodbury faculty, in Havana on a hosted tour with the Jose Marti Cultural Institute, led by my friend Cookie Fischer were invited to the top of the Lincoln Hotel on the night the world was to end (remember the Mayan calendar prediction?) and we danced the night away to the live music of Septeto Nacional a 70 year old group. Son was my dance of choice there. For those of you who want to see Cuba before the transition is over, now is the time. You can travel legally from L.A. and Miami, Mexico or anywhere else in the world with a general license. Take advantage of it Now as it is going to get more crowded with tourists. For us film folk, we get a privileged perch, so plan on next December taking in a week of films plus another week or two to see a country whose land and people are unique in Latin America and the Caribbean.
- 3/15/2013
- by Sydney Levine
- Sydney's Buzz
2016 movie still trailing Michael Moore, Al Gore 2016 Obama's America, Dinesh D'Souza and John Sullivan's anti-Obama documentary, has surpassed the concert movie Katy Perry: Part of Me to become the second highest-grossing non-fiction film released in North America in 2012. By Sunday evening, D'Souza and Sullivan's right-wing doc -- current cume according to the web site Box Office Mojo stands at an estimated $27.66 million (as of Wed., September 13) -- should have also surpassed the nature doc Chimpanzee ($28.97 million) to become the year's top documentary in the United States and Canada. Worldwide, 2016 -- a 100% domestic sleeper hit like, say, the Tyler Perry movies (which have no audience overseas) -- remains behind both Chimpanzee (another domestic-only release) and Katy Perry: Part of Me. (Please scroll down for more details about the box-office performances of non-fiction films worldwide both in 2012 and "all-time.") As per numerous box-office reports, as the sixth biggest non-fiction film ever (or rather,...
- 9/13/2012
- by Zac Gille
- Alt Film Guide
Above: Ernie Gehr's Auto-Collider Xv.
The vast bulk of Tiff's 2012 has been announced and listed here, below. We'll be updating the lineup with the previous films announced, as well as updating links to specific films for more information on them in the coming days. Of particular note is that the Wavelengths and Visions programs have been combined to create what is undoubtedly the most interesting section of the festival. Stay tuned, too, for our own on the ground coverage of Tiff.
Galas
A Royal Affair (Nikolai Arcel, Demark/Sweden/Czech Republic/Germany)
Argo (Ben Affleck, USA)
The Company You Keep (Robert Redford, USA)
Dangerous Liaisons (Hur Jin-ho, China)
Emperor (Peter Webber, Japan/USA)
English Vinglish (Gauri Shinde, India)
Free Angela & All Political Prisoners (Shola Lynch)
Great Expectations (Mike Newell, UK)
Hyde Park on Hudson (Roger Michell, UK)
Inescapable (Ruba Nadda, Canada)
Jayne Mansfield's Car (Billy Bob Thorton, USA/Russia)
Looper (Rian Johnson,...
The vast bulk of Tiff's 2012 has been announced and listed here, below. We'll be updating the lineup with the previous films announced, as well as updating links to specific films for more information on them in the coming days. Of particular note is that the Wavelengths and Visions programs have been combined to create what is undoubtedly the most interesting section of the festival. Stay tuned, too, for our own on the ground coverage of Tiff.
Galas
A Royal Affair (Nikolai Arcel, Demark/Sweden/Czech Republic/Germany)
Argo (Ben Affleck, USA)
The Company You Keep (Robert Redford, USA)
Dangerous Liaisons (Hur Jin-ho, China)
Emperor (Peter Webber, Japan/USA)
English Vinglish (Gauri Shinde, India)
Free Angela & All Political Prisoners (Shola Lynch)
Great Expectations (Mike Newell, UK)
Hyde Park on Hudson (Roger Michell, UK)
Inescapable (Ruba Nadda, Canada)
Jayne Mansfield's Car (Billy Bob Thorton, USA/Russia)
Looper (Rian Johnson,...
- 8/22/2012
- MUBI
There was plenty of discussion across the movie blogosphere following last week's announcement that Vertigo had dethroned Citizen Kane as the greatest film of all time according to Sight & Sound's decennial poll. In addition to revealing the top 50 as determined by critics, they also provided a top 10 based on a separate poll for directors only. In the print version of the magazine, they have taken it a step further by reprinting some of the individual top 10 lists from the filmmakers who participated, and we now have some of them here for your perusal. Among them, we have lists from legends like Martin Scorsese, Francis Ford Coppola and Quentin Tarantino, but there are also some unexpected newcomers who took part including Richard Ayoade (Submarine), Miranda July (Me and You and Everyone We Know) and Sean Durkin (Martha Marcy May Marlene). Some of these lists aren't all that surprising (both Quentin Tarantino...
- 8/6/2012
- by Sean
- FilmJunk
Meghe Dhaka Tara (The Cloud Capped Star) directed by Ritwik Ghatak in 1960 will be screened in Tiff Cinematheque programme at the Toronto International Film Festival 2012.
“A young woman desperately struggles to keep her family out of poverty in this fiercely moving masterpiece by the great, perennially under-recognized Indian auteur Ritwik Ghatak,” is the synopsis on the festival’s website.
The other films to screen in this section are: The Bitter Ash by Larry Kent, Dial M for Murder by Alfred Hitchcock, Loin du Viêtnam by Joris Ivens, William Klein, Claude Lelouch, Agnès Varda, Jean-Luc Godard, Chris Marker, Alain Resnais; Stromboli by Roberto Rossellini and Tess by Roman Polanski.
Also see, Toronto 2012 announces 10 Indian films of Mumbai City to City Program.
“A young woman desperately struggles to keep her family out of poverty in this fiercely moving masterpiece by the great, perennially under-recognized Indian auteur Ritwik Ghatak,” is the synopsis on the festival’s website.
The other films to screen in this section are: The Bitter Ash by Larry Kent, Dial M for Murder by Alfred Hitchcock, Loin du Viêtnam by Joris Ivens, William Klein, Claude Lelouch, Agnès Varda, Jean-Luc Godard, Chris Marker, Alain Resnais; Stromboli by Roberto Rossellini and Tess by Roman Polanski.
Also see, Toronto 2012 announces 10 Indian films of Mumbai City to City Program.
- 8/1/2012
- by NewsDesk
- DearCinema.com
French film director and writer Chris Marker died on Monday, aged 91.
Born on July 29, 1921, the “craftsman” joined the French Resistance during the Second World War, then became a journalist. He stepped onto the French cultural scene as a writer, then became a filmmaker. From the 1950s onwards, he travelled the world directing documentaries, including one about the Helsinki Olympics (Olympia 52) and another about African art (Statues Also Die with Alain Resnais). His love of travel gave rise to many projects, including Letter from Siberia and Cuba Si.
In 1962, he made the The Pier, for which he won the Prix Jean Vigo, and in 1963 he and Pierre Lhomme together directed Joli Mai, a documentary featuring Yves Montand’s voice about Paris after the Evian Agreements. In 1967, he contributed to the ensemble film Far from Vietnam with Jean-Luc Godard, Agnès Varda, and Joris Ivens. In the wake of May 1968, he focused on militant film collective I.
Born on July 29, 1921, the “craftsman” joined the French Resistance during the Second World War, then became a journalist. He stepped onto the French cultural scene as a writer, then became a filmmaker. From the 1950s onwards, he travelled the world directing documentaries, including one about the Helsinki Olympics (Olympia 52) and another about African art (Statues Also Die with Alain Resnais). His love of travel gave rise to many projects, including Letter from Siberia and Cuba Si.
In 1962, he made the The Pier, for which he won the Prix Jean Vigo, and in 1963 he and Pierre Lhomme together directed Joli Mai, a documentary featuring Yves Montand’s voice about Paris after the Evian Agreements. In 1967, he contributed to the ensemble film Far from Vietnam with Jean-Luc Godard, Agnès Varda, and Joris Ivens. In the wake of May 1968, he focused on militant film collective I.
- 8/1/2012
- by Cineuropa
- DearCinema.com
The 2012 Toronto International Film Festival line-up got another boost with today's announcement of the Midnight Madness, Vanguard and Documentary selections which include films from the likes of Barry Levinson, Don Coscarelli, Rob Zombie, Martin McDonagh, Ben Wheatley, Michel Gondry and Alex Gibney and include titles such as Aftershock, Dredd, Seven Psychopaths, Pusher, Sightseers, The We and the I, The Gatekeepers, Finding Nemo 3D, Hotel Transylvania and a Cinemateque selection that includes Alfred Hitchcock's Dial M For Murder, Roman Polanski's Tess and Roberto Rossellini's Stromboli. Considering Paul Thomas Anderson's The Master was recently added to the official selection as a Special Presentation I am going to have my hands full when it comes to screenings, but I will definitely make sure to catch McDonagh's Seven Psychopaths, which is one of my most anticipated films of the year. Otherwise, the schedule will determine which ones I check out. The...
- 7/31/2012
- by Brad Brevet
- Rope of Silicon
Following up an already stellar initial line-up, the Toronto International Film Festival 2012 has announced additional sections including Midnight Madness, Documentaries and Vanguard. When the clock strikes 12, some titles one will be able to see include the highly anticipated Seven Psychopaths, from In Bruges director Martin McDonagh. There’s also the world premiere of the horror anthology The ABCs of Death, as well as Dredd and Eli Roth‘s Aftershock and new films from Rob Zombie and Barry Levinson.
The documentary section brings new films from Alex Gibney, Ken Burns and an interesting one titled How to Make Money Selling Drugs, featuring interviews with 50 Cent, Eminem and more. Rounding out the Vanguard section is many titles screened elsewhere, including the excellent documentary on The Shining, Room 237, as well as the next from Kill List director Ben Wheatley, Sightseers (Cannes review). We also have Luis Prieto‘s Pusher remake, and Michel Gondry...
The documentary section brings new films from Alex Gibney, Ken Burns and an interesting one titled How to Make Money Selling Drugs, featuring interviews with 50 Cent, Eminem and more. Rounding out the Vanguard section is many titles screened elsewhere, including the excellent documentary on The Shining, Room 237, as well as the next from Kill List director Ben Wheatley, Sightseers (Cannes review). We also have Luis Prieto‘s Pusher remake, and Michel Gondry...
- 7/31/2012
- by jpraup@gmail.com (thefilmstage.com)
- The Film Stage
Experimental French director acclaimed for his post-apocalyptic film La Jetée
The essay film, a form pitched between documentary and personal reflection, exploring the subjectivity of the cinematic perspective, has now become an accepted genre. Jean-Marie Straub, Danièle Huillet, Jean-Luc Godard, Errol Morris and Michael Moore are among its main recent exponents, but Chris Marker, who has died aged 91, was credited with inventing the form.
Marker's creative use of sound, images and text in his poetic, political and philosophical documentaries made him one of the most inventive of film-makers. They looked forward to what is called "the new documentary", but also looked back to the literary essay in the tradition of Michel de Montaigne. Marker's interests lay in transitional societies – "life in the process of becoming history," as he put it. How do various cultures perceive and sustain themselves and each other in the increasingly intermingled modern world?
He was born Christian François Bouche-Villeneuve,...
The essay film, a form pitched between documentary and personal reflection, exploring the subjectivity of the cinematic perspective, has now become an accepted genre. Jean-Marie Straub, Danièle Huillet, Jean-Luc Godard, Errol Morris and Michael Moore are among its main recent exponents, but Chris Marker, who has died aged 91, was credited with inventing the form.
Marker's creative use of sound, images and text in his poetic, political and philosophical documentaries made him one of the most inventive of film-makers. They looked forward to what is called "the new documentary", but also looked back to the literary essay in the tradition of Michel de Montaigne. Marker's interests lay in transitional societies – "life in the process of becoming history," as he put it. How do various cultures perceive and sustain themselves and each other in the increasingly intermingled modern world?
He was born Christian François Bouche-Villeneuve,...
- 7/30/2012
- by Ronald Bergan
- The Guardian - Film News
Ernest Hemingway is the kind of grandiose figure that it seems it would be difficult to contain within the framework of a feature film, and the decision to pair his life with that of his ex-wife Martha Gellhorn only adds to the task at hand. But with the leisure of a two-and-a-half hour running time, a starry ensemble, the guiding hands of director Philip Kaufman ("The Right Stuff," "The Unbearable Lightness Of Being") and the support of HBO, "Hemingway & Gellhorn" is a messy, but still worthwhile film about the two writers that does a strong job of bringing their complex, explosive and committed relationship to the big screen.
Penned by Jerry Stahl and Barbara Turner, the film is essentially divided into two parts: the first half of the movie follows the pair as they meet and then find themselves in Spain, both embedded in the battle against Franco and the...
Penned by Jerry Stahl and Barbara Turner, the film is essentially divided into two parts: the first half of the movie follows the pair as they meet and then find themselves in Spain, both embedded in the battle against Franco and the...
- 5/26/2012
- by Kevin Jagernauth
- The Playlist
Études de mouvements à Paris
Directed by Joris Ivens
France, 1927
Visual studies have long been relegated to the fringe of cinema appreciation. A mainstay of early cinema of attractions, today these films are often appreciated solely for their historical or social value rather than their visual or artistic merits. In 1927 Dutch filmmaker Joris Ivens took the streets of Paris to make his short film, Études de mouvements à Paris. The film is not necessarily spectacular in any way; its construction is practical, its focus familiar and its legacy relatively non-existent but it remains a strong model for the basic appeal of cinema.
Though not too familiar with his other work, Ivens’ films made in the 1920s all fit with this vague model of “showing” rather than “telling”. Even in films where he featured characters, they seemed to exist beyond the frame of reference of any story and were pawns in his visual creation.
Directed by Joris Ivens
France, 1927
Visual studies have long been relegated to the fringe of cinema appreciation. A mainstay of early cinema of attractions, today these films are often appreciated solely for their historical or social value rather than their visual or artistic merits. In 1927 Dutch filmmaker Joris Ivens took the streets of Paris to make his short film, Études de mouvements à Paris. The film is not necessarily spectacular in any way; its construction is practical, its focus familiar and its legacy relatively non-existent but it remains a strong model for the basic appeal of cinema.
Though not too familiar with his other work, Ivens’ films made in the 1920s all fit with this vague model of “showing” rather than “telling”. Even in films where he featured characters, they seemed to exist beyond the frame of reference of any story and were pawns in his visual creation.
- 1/30/2012
- by Justine
- SoundOnSight
One of Russia’s most celebrated filmmakers, Marina Goldovskaya, had led a colorful and peripatetic life as a nonfiction filmmaker specializing in docu-diaristic portraits of poets, artists, leaders and everyday people. Currently head of the documentary program at UCLA’s School of Theater, Film, and Television, Goldovskaya was also eyewitness to a half century of turbulent history, which she has spent the past 40 years meticulously archiving on celluloid and digital video. After attending the State Institute of Cinematography (Vgik) in the 1960s, she quickly established herself as a leading cinematographer in a business dominated by men, a fertile period she details in her recent memoir Woman with a Movie Camera: My Life as a Russian Filmmaker. By the early seventies, she turned to producing and directing her own documentary features for Russian and European television. Her 1989 film Solovky Power (Vlast’ Solovetskaya) — the first in Russia to acknowledge the horrific and...
- 8/17/2011
- by Damon Smith
- Filmmaker Magazine - Blog
Millions of Australians grew up watching Dot and the Kangaroo and Blinky Bill, but the story of Yoram Gross, the man behind such beloved characters, is far more interesting than any piece of fiction.
Jerzy gross was born in October in 1926 in Krakow, Poland, where his family owned a couple of fine home mart stores. His father disappeared, presumably killed, when Gross was almost 13 and preparing for his Bar Mitzvah. But that coming-of-age ceremony would never take place; the German forces invaded the country in 1939.
The following years, documented in his new autobiography My Animated Life, saw the Gross family divided, constantly on the move and eventually managing to survive the war – a true story that would make a fascinating film.
Gross have filmmaking dreams when the war ended in 1945. Poland’s prolific film industry had disappeared during the Nazi occupation, but after the war it started to come back to life.
Jerzy gross was born in October in 1926 in Krakow, Poland, where his family owned a couple of fine home mart stores. His father disappeared, presumably killed, when Gross was almost 13 and preparing for his Bar Mitzvah. But that coming-of-age ceremony would never take place; the German forces invaded the country in 1939.
The following years, documented in his new autobiography My Animated Life, saw the Gross family divided, constantly on the move and eventually managing to survive the war – a true story that would make a fascinating film.
Gross have filmmaking dreams when the war ended in 1945. Poland’s prolific film industry had disappeared during the Nazi occupation, but after the war it started to come back to life.
- 5/9/2011
- by Miguel Gonzalez
- Encore Magazine
"What makes Johann run — and rob?" asks Melissa Anderson in the Voice. "Benjamin Heisenberg's second feature is as taut, lean, and fleet as its title character, played by Andreas Lust and based on the real-life Johann Kastenberger, who was both Austria's most-wanted bank robber of the 1980s and a champion marathoner. Writing the script with Martin Prinz, who adapted his own 2005 novel about the notorious criminal, Heisenberg forgoes backstory and psychological explanation, structuring his film as a series of adrenaline spikes."
"Lust's character in The Robber is familiar from European crime movies," suggests Noel Murray at the Av Club. "He's the stoic loner who doesn't say much, lest he inadvertently reveal some kind of motivation. When he robs banks, he wears a thin mask that doesn't look all that different from his face, and when he goes on a date with his caseworker, Franziska Weisz, he's more amused by...
"Lust's character in The Robber is familiar from European crime movies," suggests Noel Murray at the Av Club. "He's the stoic loner who doesn't say much, lest he inadvertently reveal some kind of motivation. When he robs banks, he wears a thin mask that doesn't look all that different from his face, and when he goes on a date with his caseworker, Franziska Weisz, he's more amused by...
- 5/8/2011
- MUBI
The London Palestine film festival has simple but radical aims: to constantly push boundaries, disrupt our conventional understandings and make us see it all anew
The perilous art of choosing a film on Palestine for an international audience may appear fraught with elephant traps. Weighted down by more than 40 years of military occupation and 60 years of dispossession, and comprising the largest refugee population in the world, Palestine is a touchstone for passion and political engagement across the world. Is a film about it inherently too political, too ideologically rigid to enlighten, or indeed entertain? Do the unhappy politics of the place trump any chance of critical engagement on a film's artistic merit, or allow room for happy accident and serendipity in choosing a film?
The long-running London Palestine film festival, established at London University more than 20 years ago and held annually at the Barbican since 2005, arrived at a highly unexpected...
The perilous art of choosing a film on Palestine for an international audience may appear fraught with elephant traps. Weighted down by more than 40 years of military occupation and 60 years of dispossession, and comprising the largest refugee population in the world, Palestine is a touchstone for passion and political engagement across the world. Is a film about it inherently too political, too ideologically rigid to enlighten, or indeed entertain? Do the unhappy politics of the place trump any chance of critical engagement on a film's artistic merit, or allow room for happy accident and serendipity in choosing a film?
The long-running London Palestine film festival, established at London University more than 20 years ago and held annually at the Barbican since 2005, arrived at a highly unexpected...
- 4/28/2011
- The Guardian - Film News
Filming is now underway on the HBO film "Hemingway and Gellhorn" starring Nicole Kidman and Clive Owen and they're got a top notch cast surrounding them including David Strathairn, Parker Posey, Rodrigo Santoro, Molly Parker, Santiago Cabrera, Peter Coyote, Saverio Guerra, Diane Baker, Tony Shalhoub and Lars Ulrich. Yes, that Lars Ulrich. Geeks Of Doom have a look now at Ulrich in character and well, he certainly looks the part. Ulrich plays Joris Ivens, a Dutch documentary filmmaker and communist. He made the film "This Spanish Earth" for the Spanish loyalists and the English language version was narrated by Hemingway…...
- 3/25/2011
- The Playlist
It is a long perceived truism that all rock stars want to be actors and all rock stars want to be actors; evidence for which is strewn about the battle fields of popular culture like bodies at the Somme. Jagger, Bowie, Starr, Bon Jovi, Elvis are just a few of the luminaries that have tried to bridge the divide with only occasionally tolerable results.
While actors such as Johnny Depp, Steven Seagal, Russell Crowe and, of course, David Hasselhoff are the offenders from the acting fraternity. But, with the demise of the twentieth paradigm of the “rock-star” such parallels are increasingly difficult to identify, and so studios are forced to draw upon the iconography of previous decades as have HBO with Lars Ulrich.
Ulrich the drummer of sweaty thrash metal behemoths Metallica has had a brief television cameo appearance in the past in The Barbarian and as himself in Get Him To The Greek,...
While actors such as Johnny Depp, Steven Seagal, Russell Crowe and, of course, David Hasselhoff are the offenders from the acting fraternity. But, with the demise of the twentieth paradigm of the “rock-star” such parallels are increasingly difficult to identify, and so studios are forced to draw upon the iconography of previous decades as have HBO with Lars Ulrich.
Ulrich the drummer of sweaty thrash metal behemoths Metallica has had a brief television cameo appearance in the past in The Barbarian and as himself in Get Him To The Greek,...
- 3/25/2011
- by Ben Szwediuk
- Obsessed with Film
Metallica's Lars Ulrich is no stranger to film, as he had a small yet humorous part in Get Him to the Greek and played a major role (albeit as himself) in the so-indulgent-it's-a-classic Some Kind of Monster documentary.
But it appears as though the Danish drummer is pursuing further film work, as it was announced that Ulrich will be playing the role of Dutch documentarian Joris Ivens in a forthcoming movie.
The HBO drama Hemingway And Gellhorn will star Nicole Kidman and Clive Owen, and a photo has been released via the Rolling Stone website of Ulrich on the set and in costume.
According to the Wikipedia site, the film began shooting in San Francisco this month, and will be released sometime in 2012. Hemingway And Gellhorn was written by Jerry Stahl and Barbara Turner, and is being directed by Philip Kaufman.
One day that Mr. Ulrich will definitely not...
But it appears as though the Danish drummer is pursuing further film work, as it was announced that Ulrich will be playing the role of Dutch documentarian Joris Ivens in a forthcoming movie.
The HBO drama Hemingway And Gellhorn will star Nicole Kidman and Clive Owen, and a photo has been released via the Rolling Stone website of Ulrich on the set and in costume.
According to the Wikipedia site, the film began shooting in San Francisco this month, and will be released sometime in 2012. Hemingway And Gellhorn was written by Jerry Stahl and Barbara Turner, and is being directed by Philip Kaufman.
One day that Mr. Ulrich will definitely not...
- 3/24/2011
- UGO Movies
Last week, we reported that Metallica drummer Lars Ulrich had been cast as Dutch documentarian Joris Ivens in the upcoming HBO film Hemingway and Gellhorn.
Now, Rolling Stone has posted a photo Ulrich as Ivens, along with his fellow castmates Nicole Kidman and Clive Owen on set of the film in San Francisco.
Check out the image here at top; Ulrich is on the far left, complete with beret and director's camera [...]...
Now, Rolling Stone has posted a photo Ulrich as Ivens, along with his fellow castmates Nicole Kidman and Clive Owen on set of the film in San Francisco.
Check out the image here at top; Ulrich is on the far left, complete with beret and director's camera [...]...
- 3/24/2011
- by Empress Eve
- Geeks of Doom
Filed under: Movie News
Iconic writer Ernest Hemingway is reuniting, in part, with Canada.
HBO is currently crafting a biography -- 'Hemingway & Gellhorn' -- starring Clive Owen as Papa and Nicole Kidman as his third wife (leading war correspondent Martha Gellhorn), who inspired his novel 'For Whom the Bell Tolls.'
Now Deadline reports that the supporting cast has come together -- a wild collection that stretches from the critical acclaim of David Strathairn (playing John Dos Passos), to the indie quirk of Parker Posey (who will play fourth wife, Mary), to the metal-headed music of Lars Ulrich (as Dutch documentarian Joris Ivens). But there's one more notable casting bite -- leading Canadian actress Molly Parker will play second wife, Pauline, and thus get Hemingway's last cent.
Continue Reading...
Iconic writer Ernest Hemingway is reuniting, in part, with Canada.
HBO is currently crafting a biography -- 'Hemingway & Gellhorn' -- starring Clive Owen as Papa and Nicole Kidman as his third wife (leading war correspondent Martha Gellhorn), who inspired his novel 'For Whom the Bell Tolls.'
Now Deadline reports that the supporting cast has come together -- a wild collection that stretches from the critical acclaim of David Strathairn (playing John Dos Passos), to the indie quirk of Parker Posey (who will play fourth wife, Mary), to the metal-headed music of Lars Ulrich (as Dutch documentarian Joris Ivens). But there's one more notable casting bite -- leading Canadian actress Molly Parker will play second wife, Pauline, and thus get Hemingway's last cent.
Continue Reading...
- 3/12/2011
- by Monika Bartyzel
- Moviefone
David Strathairn, Rodrigo Santoro, Molly Parker, Parker Posey, Lars Ulrich, Santiago Cabrera, Peter Coyote, Saverio Guerra, Diane Baker and Tony Shalhoub have all joined the cast of the upcoming HBO biopic "Hemingway & Gellhorn" reports Deadline.
The story covers the tumultuous romance and subsequent marriage of literary master Ernest Hemingway (Clive Owen) and up-and-coming war correspondent Martha Gellhorn (Nicole Kidman) from their first meeting in a Key West bar in 1936 to their cross-Europe romance and five-year marriage.
Strathairn will play famous American writer John Dos Passos, Santoro will play Dos Passos friend and Spanish loyalist Zarra, while Parker and Posey will play Hemingway's second and fourth wife respectively.
Ulrich will play Dutch documentarian Joris Ivens, Cabrera will portray famous war photographer Robert Capa, Coyote will play Hemingway's editor Maxwell Perkins, Guerra will play Hemingway's close friend Sidney Franklin, Baker will play Martha's mother, and Shalhoub will play Russian journalist and apparatchik Koltsov.
The story covers the tumultuous romance and subsequent marriage of literary master Ernest Hemingway (Clive Owen) and up-and-coming war correspondent Martha Gellhorn (Nicole Kidman) from their first meeting in a Key West bar in 1936 to their cross-Europe romance and five-year marriage.
Strathairn will play famous American writer John Dos Passos, Santoro will play Dos Passos friend and Spanish loyalist Zarra, while Parker and Posey will play Hemingway's second and fourth wife respectively.
Ulrich will play Dutch documentarian Joris Ivens, Cabrera will portray famous war photographer Robert Capa, Coyote will play Hemingway's editor Maxwell Perkins, Guerra will play Hemingway's close friend Sidney Franklin, Baker will play Martha's mother, and Shalhoub will play Russian journalist and apparatchik Koltsov.
- 3/11/2011
- by Garth Franklin
- Dark Horizons
A slew of actors have joined Clive Owen and Nicole Kidman in the HBO film Hemingway & Gellhorn. The biopic, exec produced by James Gandolfini and directed by Phil Kaufman, recounts the tumultuous romance and subsequent marriage of literary master Ernest Hemingway (Owen) and up-and-coming war correspondent Martha Gellhorn (Kidman), following them through the Spanish Civil War and beyond. David Strathairn, who just won an Emmy for another HBO biopic, Temple Grandin, will play famous American writer and Hemingway friend John Dos Passos. Molly Parker will play Hemingway's second wife, Pauline. Parker Posey will play his fourth wife, Mary. Rodrigo Santoro will play play Zarra, a Spanish Loyalist and friend of Dos Passos. Lars Ulrich will play Joris Ivens, the Dutch documentarian of The Spanish Earth. Santiago Cabrera will portray famous war photographer Robert Capa. Saverio Guerra will play Hemingway's close friend Sidney Franklin, and Peter Coyote will play his editor Maxwell Perkins.
- 3/10/2011
- by NELLIE ANDREEVA
- Deadline TV
Above: Michael Snow’s Walking Woman (one of a series, 1960s)
On Sunday, I’ll be programming and, maybe, leading some sort of discussion in Brooklyn at UnionDocs about Alberto Cavalcanti’s Rien que les heures (1926), Joris Ivens’ Philips Radio (1931), and Michael Snow’s One second in Montreal (1969). I’m happy that I more or less managed to oppose my jobs as programmer and critic. As programmer, I put together three films from the Museum of Modern Art 16mm archive that I wanted to see and ostensibly have very little to do with each other, historically or generically: my programmer’s note on city symphonies defines exactly the sort of architectonic, gridded film these ambient, haiku-like movies are not. As critic, I’m stuck with three films whose only connections can be in the viewer’s eye, as Snow’s So Is This tells its audience, where they come in...
On Sunday, I’ll be programming and, maybe, leading some sort of discussion in Brooklyn at UnionDocs about Alberto Cavalcanti’s Rien que les heures (1926), Joris Ivens’ Philips Radio (1931), and Michael Snow’s One second in Montreal (1969). I’m happy that I more or less managed to oppose my jobs as programmer and critic. As programmer, I put together three films from the Museum of Modern Art 16mm archive that I wanted to see and ostensibly have very little to do with each other, historically or generically: my programmer’s note on city symphonies defines exactly the sort of architectonic, gridded film these ambient, haiku-like movies are not. As critic, I’m stuck with three films whose only connections can be in the viewer’s eye, as Snow’s So Is This tells its audience, where they come in...
- 2/19/2011
- MUBI
For this short roundup of events launching from today throughout the weekend, I want to begin with one happening on Sunday, City Scherzos, presented by Cineaste and UnionDocs and curated by David Phelps, who writes in the program notes, "In the 20s and 30s, at the strange intersection of Impressionist music, constructivist politics, and the broadcast networking of telecommunications, film and radio, City Symphonies like Man With a Movie Camera, Rien Que Les Heures, and Berlin: City Symphony became something of a genre… The films, taking off from modernist city novels like Ulysses and Manhattan Transfer, operate as though the city, not director, is a conductor through everyday rhythms, pathways, and rituals, and its inhabitants the floating nodes in a larger network of information exchange and routine. In the age of global social networks, these films couldn't be more relevant." David will be on hand to discuss Joris Ivens's...
- 2/17/2011
- MUBI
For this short roundup of events launching from today throughout the weekend, I want to begin with one happening on Sunday, City Scherzos, presented by Cineaste and UnionDocs and curated by David Phelps, who writes in the program notes, "In the 20s and 30s, at the strange intersection of Impressionist music, constructivist politics, and the broadcast networking of telecommunications, film and radio, City Symphonies like Man With a Movie Camera, Rien Que Les Heures, and Berlin: City Symphony became something of a genre… The films, taking off from modernist city novels like Ulysses and Manhattan Transfer, operate as though the city, not director, is a conductor through everyday rhythms, pathways, and rituals, and its inhabitants the floating nodes in a larger network of information exchange and routine. In the age of global social networks, these films couldn't be more relevant." David will be on hand to discuss Joris Ivens's...
- 2/17/2011
- MUBI
Announced somewhat prematurely a couple weeks ago, Bad Lit’s Underground Film Timeline has reached the end of its first phase, which involved inputting all of the significant events, films and filmmakers in underground film history culled from Sheldon Renan’s An Introduction to the American Underground Film.
Despite Renan’s title, he does cover the early European avant-garde, so many filmmakers from England, France, Germany, Holland and Russia — such as Oskar Fischinger, Luis Buñuel, Marcel Duchamp, Len Lye, Joris Ivens, Dziga Vertov — appear alongside the usual U.S. suspects, such as Kenneth Anger, Jonas Mekas, Stan Brakhage, Shirley Clarke, etc.
Actual events are few and far between, but they’re there if you dig around, like the meeting of the International Congress of Independent Film and its swift disbanding; and the formation of the New American Cinema Group. One thing that Renan included a lot of that I like...
Despite Renan’s title, he does cover the early European avant-garde, so many filmmakers from England, France, Germany, Holland and Russia — such as Oskar Fischinger, Luis Buñuel, Marcel Duchamp, Len Lye, Joris Ivens, Dziga Vertov — appear alongside the usual U.S. suspects, such as Kenneth Anger, Jonas Mekas, Stan Brakhage, Shirley Clarke, etc.
Actual events are few and far between, but they’re there if you dig around, like the meeting of the International Congress of Independent Film and its swift disbanding; and the formation of the New American Cinema Group. One thing that Renan included a lot of that I like...
- 7/20/2010
- by Mike Everleth
- Underground Film Journal
Updated through 3/11.
"After the documentary world's boldface names of the 1920s and 30s — Robert Flaherty, Joris Ivens, Pare Lorentz — the typical college-survey doc hit parade goes silent until cinema vérité," writes Nicolas Rapold in the Voice. "Anthology's eye-opening 13-program series posits an intervening 'New York School' of lefty filmmakers, and then focuses on one eye-opening blacklistee: Leo Hurwitz, forefather of cinema vérité and TV news broadcasting, forger of a soulful yet rigorous style of film essay."...
"After the documentary world's boldface names of the 1920s and 30s — Robert Flaherty, Joris Ivens, Pare Lorentz — the typical college-survey doc hit parade goes silent until cinema vérité," writes Nicolas Rapold in the Voice. "Anthology's eye-opening 13-program series posits an intervening 'New York School' of lefty filmmakers, and then focuses on one eye-opening blacklistee: Leo Hurwitz, forefather of cinema vérité and TV news broadcasting, forger of a soulful yet rigorous style of film essay."...
- 3/11/2010
- MUBI
Updated through 3/11.
"After the documentary world's boldface names of the 1920s and 30s — Robert Flaherty, Joris Ivens, Pare Lorentz — the typical college-survey doc hit parade goes silent until cinema vérité," writes Nicolas Rapold in the Voice. "Anthology's eye-opening 13-program series posits an intervening 'New York School' of lefty filmmakers, and then focuses on one eye-opening blacklistee: Leo Hurwitz, forefather of cinema vérité and TV news broadcasting, forger of a soulful yet rigorous style of film essay."...
"After the documentary world's boldface names of the 1920s and 30s — Robert Flaherty, Joris Ivens, Pare Lorentz — the typical college-survey doc hit parade goes silent until cinema vérité," writes Nicolas Rapold in the Voice. "Anthology's eye-opening 13-program series posits an intervening 'New York School' of lefty filmmakers, and then focuses on one eye-opening blacklistee: Leo Hurwitz, forefather of cinema vérité and TV news broadcasting, forger of a soulful yet rigorous style of film essay."...
- 3/11/2010
- MUBI
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