Exclusive: Matt Brodlie and Jonathan Kier’s Upgrade Productions has boarded world sales rights to Shoah feature Shttl, which played at the London and Rome Film Festivals (where it won the audience award) this fall.
The film was previously with Bron Releasing but is no longer on the slate after Bron needed to streamline its film business.
Black and white drama Shttl follows the inhabitants of a Yiddish Ukrainian village on the eve of the Nazi invasion, known as Operation Barberossa.
Shot in Ukraine last year (with an almost entirely Ukrainian crew), the production fully reconstructed a traditional shtetl (or village) outside of Kiev to recreate life prior to the Nazi onslaught (as few traces of that life now remain), but it was subsequently destroyed by the Russian invasion earlier this year. Following the filming in 2021, the set (which included a synagogue which had been blessed and consecrated) had been...
The film was previously with Bron Releasing but is no longer on the slate after Bron needed to streamline its film business.
Black and white drama Shttl follows the inhabitants of a Yiddish Ukrainian village on the eve of the Nazi invasion, known as Operation Barberossa.
Shot in Ukraine last year (with an almost entirely Ukrainian crew), the production fully reconstructed a traditional shtetl (or village) outside of Kiev to recreate life prior to the Nazi onslaught (as few traces of that life now remain), but it was subsequently destroyed by the Russian invasion earlier this year. Following the filming in 2021, the set (which included a synagogue which had been blessed and consecrated) had been...
- 12/16/2022
- by Andreas Wiseman
- Deadline Film + TV
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSMohammad Rasoulof's There Is No Evil (2020).Three prominent Iranian filmmakers have been arrested this week. After the arrests of Mohammad Rasoulof and Mostafa Aleahmad last week, news comes that Jafar Panahi has also been detained (on his birthday) after visiting the prosecutor's office to inquire about his colleagues. "It's shocking that artists are taken into custody because of their peaceful endeavors against violence,” said Mariette Rissenbeek and Carlo Chatrian, directors of the Berlinale, in a statement released following the initial arrests and the subsequent call for international support shared by Iranian producers Kaveh Farnam and Farzad Pak.James Caan has died, as announced in a post put out by his family on July 6. Alongside many moving tributes to the actor "best known for his explosive, unpredictable turn as Sonny Corleone in Francis Ford Coppola...
- 7/12/2022
- MUBI
The Video Essay is a joint project of Mubi and Filmadrid International Film Festival. Film analysis and criticism found a completely new and innovative path with the arrival of the video essay, a relatively recent form that has already its own masters and is becoming increasingly popular. The limits of this discipline are constantly expanding; new essayists are finding innovative ways to study the history of cinema working with images. With this non-competitive section of the festival both Mubi and Filmadrid will offer the platform and visibility the video essay deserves. The seven selected works will be premiering online from June 6 - 12, 2022 on Mubi's Notebook. The selection was made by the programmers of Mubi and Filmadrid.Everyday Portabella by Ramón BalcellsIn Pere Portabella’s avant-garde films, the everyday has nothing to do with costumbrismo, but with an aesthetic and political conception of cinema linked to the emptying of the classical plot,...
- 6/9/2022
- MUBI
Exclusive: Shttl, an ambitious under-the-radar drama which is the feature helming debut of writer/director Ady Walter, has wrapped in Ukraine. The film is eyeing the 2022 festival circuit and tells the story of the inhabitants of a Yiddish village at the border of Poland, 24 hours before the 1941 invasion of the Soviet Union by Nazi Germany (aka the Barbarossa operation) which would take their lives.
A passion project for all involved, the film was made with an international cast of actors, including Saul Rubinek speaking Yiddish in a village built for the film which will now be transformed into an open-air museum. Eli Rosen, consultant on Netflix series Unorthodox, was on set throughout.
The project was developed and initiated by Forecast Pictures’ Jean-Charles Lévy (The Last Mercenary), who has been working for 15 years with Walter on documentaries and scripts for other directors.
Walter tells...
A passion project for all involved, the film was made with an international cast of actors, including Saul Rubinek speaking Yiddish in a village built for the film which will now be transformed into an open-air museum. Eli Rosen, consultant on Netflix series Unorthodox, was on set throughout.
The project was developed and initiated by Forecast Pictures’ Jean-Charles Lévy (The Last Mercenary), who has been working for 15 years with Walter on documentaries and scripts for other directors.
Walter tells...
- 9/1/2021
- by Nancy Tartaglione
- Deadline Film + TV
About the Film
The Thessaloniki International Film Festival has asked a bunch of renown directors to make a short film at home as a commentary of these times of confinement. The 4-min film “Visit” is the contribution from Jia Zhang-ke – one of China’s greatest filmmakers – to this time capsule project named Space and inspired by the book “Species of Spaces” by the French novelist, filmmaker, and writer Georges Perec.
Synopsis
The film follows Lian Yirui (one of Zhang-ke’s real life collaborators) coming for a work-related visit to the filmaker’s house. An assistant takes his temperature before allowing him in. Fully masked, the visitor and the director stare at each other in silent, pondering the right etiquette for the situation. Hand sanitiser is offered on a tray, like a welcome drink that cannot be refused. Photos of exteriors from a window are examined on a touch screen tablet,...
The Thessaloniki International Film Festival has asked a bunch of renown directors to make a short film at home as a commentary of these times of confinement. The 4-min film “Visit” is the contribution from Jia Zhang-ke – one of China’s greatest filmmakers – to this time capsule project named Space and inspired by the book “Species of Spaces” by the French novelist, filmmaker, and writer Georges Perec.
Synopsis
The film follows Lian Yirui (one of Zhang-ke’s real life collaborators) coming for a work-related visit to the filmaker’s house. An assistant takes his temperature before allowing him in. Fully masked, the visitor and the director stare at each other in silent, pondering the right etiquette for the situation. Hand sanitiser is offered on a tray, like a welcome drink that cannot be refused. Photos of exteriors from a window are examined on a touch screen tablet,...
- 4/28/2020
- by Adriana Rosati
- AsianMoviePulse
The Thessaloniki International Film Festival has asked a bunch of renown directors to make a short film at home as a commentary of these times of confinement. Like in the Dogma project, even the directors of Space (this is the name of the collections) were invited to follow some restrictive rules. The film had to be made at home utilizing only the environment and the inhabitants – humans or animals – in that space. The only outdoor areas that may be used were exterior living spaces, such as the terrace, the garden, the balcony and the stairwell.
Inspired by the book “Species of Spaces” by the French novelist, filmmaker, and writer Georges Perec, this ambitious but playful project resulted in two anthologies, Space #1, including 8 films from 8 Greek directors, and Space #2, including 7 films from 7 international directors. “Visit” is the contribution from Jia Zhang-ke – one of China’s greatest filmmakers – to this time capsule project.
Inspired by the book “Species of Spaces” by the French novelist, filmmaker, and writer Georges Perec, this ambitious but playful project resulted in two anthologies, Space #1, including 8 films from 8 Greek directors, and Space #2, including 7 films from 7 international directors. “Visit” is the contribution from Jia Zhang-ke – one of China’s greatest filmmakers – to this time capsule project.
- 4/25/2020
- by Adriana Rosati
- AsianMoviePulse
Several international directors join the leading Greek film festival’s lockdown-inspired initiative.
Award-winning filmmakers Jia Zhangke, Radu Jude, Denis Côté and Ildiko Enyedi have joined a lockdown-inspired film series launched by Thessaloniki International Film Festival (Tiff).
The directors, who have all previously attended the leading Greek film festival, will each make a three-minute short on the theme of confinement. The series, titled Spaces, is inspired by the coronavirus quarantine that has seen a third of the world’s population placed under some form of restriction.
Other filmmakers set to participate include Us actor and director John C. Lynch, Dutch filmmaker Nanouk Leopold,...
Award-winning filmmakers Jia Zhangke, Radu Jude, Denis Côté and Ildiko Enyedi have joined a lockdown-inspired film series launched by Thessaloniki International Film Festival (Tiff).
The directors, who have all previously attended the leading Greek film festival, will each make a three-minute short on the theme of confinement. The series, titled Spaces, is inspired by the coronavirus quarantine that has seen a third of the world’s population placed under some form of restriction.
Other filmmakers set to participate include Us actor and director John C. Lynch, Dutch filmmaker Nanouk Leopold,...
- 4/6/2020
- by 307¦Alexis Grivas¦39¦
- ScreenDaily
The work of Jim Thompson has had a healthy life on screen, ranging from adaptations in America and beyond, notably in Europe. Ahead of Yorgos Lanthimos tackling one of his most popular novels, we have a new restoration for 1979’s Série noire, which is adapted from Thompson’s 1954 novel A Hell of a Woman by writer Georges Pérec and director Alain Corneau.
Ahead of opening at New York City’s Metrograph this Friday, we’re pleased to debut the exclusive trailer for the restoration courtesy of Rialto Pictures. Starring Patrick Dewaere as Franck Poupart, a down-on-his-luck salesman who gets involved in a robbery scheme that pushed him ever further into despair, perhaps humorously so. Named one of the best French films of all time by Time Out, see the trailer below.
In one of the strangest pairings in film adaptation history, prankish French modernist experimentalist Georges Perec (Life: A User...
Ahead of opening at New York City’s Metrograph this Friday, we’re pleased to debut the exclusive trailer for the restoration courtesy of Rialto Pictures. Starring Patrick Dewaere as Franck Poupart, a down-on-his-luck salesman who gets involved in a robbery scheme that pushed him ever further into despair, perhaps humorously so. Named one of the best French films of all time by Time Out, see the trailer below.
In one of the strangest pairings in film adaptation history, prankish French modernist experimentalist Georges Perec (Life: A User...
- 9/24/2019
- by Jordan Raup
- The Film Stage
Andy Warhol famously predicted that in the future, everyone would be famous for 15 minutes. In the case of Vine, however, that formula was often reduced to six seconds. The video-sharing app’s popularity, however, lasted just a little bit longer.
Twitter announced today that it is shutting down the service, which the social-media giant bought in 2012. Vine gave users a platform to share six seconds of video that would play on an automatic loop. It quickly became a destination for comedians, musicians, artists, and filmmakers, many of whom pushed the app’s video capabilities to creative heights. Others used it more like a condensed YouTube channel, posting condensed comedy sketches for a generation reared on short attention spans. More popular users gained millions of followers and launched careers steeped in lucrative marketing deals. But once Twitter and Facebook began offering their own video-sharing capabilities, Vine struggled to find a broader user base.
Twitter announced today that it is shutting down the service, which the social-media giant bought in 2012. Vine gave users a platform to share six seconds of video that would play on an automatic loop. It quickly became a destination for comedians, musicians, artists, and filmmakers, many of whom pushed the app’s video capabilities to creative heights. Others used it more like a condensed YouTube channel, posting condensed comedy sketches for a generation reared on short attention spans. More popular users gained millions of followers and launched careers steeped in lucrative marketing deals. But once Twitter and Facebook began offering their own video-sharing capabilities, Vine struggled to find a broader user base.
- 10/27/2016
- by Jude Dry
- Indiewire
Les Soviets plus l’électricitéFrance’s central place within film culture may have its ups and downs when it comes to adventurous film-making, but its reputation as a hub of international film viewing holds strong. Yet beyond the central role of Cannes in the yearly festival rigmarole, and references to the riches of the Paris film-going scene and to vaguely understood state subsidies, little attention is actually paid to the wider infrastructures of a film-going culture which, after all, provided more ticket sales for Uncle Boonmee than the rest of the world combined. To say this is not to trumpet French exceptionalism far and wide: Olaf Möller has spoken lovingly of the key role of film programming on West German television in the 1970s, and Italian critics would no doubt be able to provide similar insight into the workings of Rai 3 or the myriad smaller festivals which continue to...
- 1/5/2016
- by Nathan Letoré
- MUBI
With only three features under his belt, Matthew Porterfield has proven himself one of the most original voices in low-budget independent cinema, winning deserved praise from critics and audiences in both the Us and Europe. Last year Porterfield made his first short film, the 30-minute Take What You Can Carry, which had its world premiere at the 2015 Berlinale. Inspired by a quote from French author Georges Perec, this self-described meditation on “communication, creativity and physical space” finds the Baltimore native working once more (in a somewhat more abstract mode than his features) with girlfriend Hannah Gross as Lilly, an American in […]...
- 2/25/2015
- by Andrew Grant
- Filmmaker Magazine-Director Interviews
With only three features under his belt, Matthew Porterfield has proven himself one of the most original voices in low-budget independent cinema, winning deserved praise from critics and audiences in both the Us and Europe. Last year Porterfield made his first short film, the 30-minute Take What You Can Carry, which had its world premiere at the 2015 Berlinale. Inspired by a quote from French author Georges Perec, this self-described meditation on “communication, creativity and physical space” finds the Baltimore native working once more (in a somewhat more abstract mode than his features) with girlfriend Hannah Gross as Lilly, an American in […]...
- 2/25/2015
- by Andrew Grant
- Filmmaker Magazine - Blog
The Criterion Collection refurbishes its previous release of Yasujiro Ozu’s 1962 swan song, An Autumn Afternoon for a new digital restoration Blu-ray transfer. The auteur, often described as the ‘most Japanese’ of directors, is a prominent cinematic figure (which explains his heavy presence in Criterion’s vault), ranking alongside the likes of Akira Kurosawa and Kenji Mizoguchi. Yet Ozu was a much more subtle, even methodical filmmaker in comparison, reveling in the depiction of everyday life acted out amongst traditional (some would say banal) activities, meant to reflect the changing cultural landscapes that often place its inhabitants at uncomfortable odds.
An aging widower, Shuhei Hiroyama (Chishu Ryu) lives with daughter Michiko (Shima Iwashita) and a younger son. Michiko tends to her father and brother, and it seems a happy existence for all, but now at the age of twenty-four, outsiders are beginning to question why her father hasn’t arranged for her to be married.
An aging widower, Shuhei Hiroyama (Chishu Ryu) lives with daughter Michiko (Shima Iwashita) and a younger son. Michiko tends to her father and brother, and it seems a happy existence for all, but now at the age of twenty-four, outsiders are beginning to question why her father hasn’t arranged for her to be married.
- 2/17/2015
- by Nicholas Bell
- IONCINEMA.com
Whilst wading through Cph:dox’s mammoth non-fiction programme, I was oddly reminded of a line from one of the those well-thumbed works on documentary film you’re forced to read in college. In his Introduction to Documentary, one of Bill Nichols’ many attempts to define the slippery term is to say that, “Documentaries are what the organisations and institutions that produce them make.” Quite apart from Cph:dox’s own increasingly active role as a producer, it seems at once entirely appropriate and entirely banal to bring this perfectly circular adage to bear on a festival that carries the D-word in its very name: if a film showing at a documentary film festival is by definition a documentary film, how does it behave as such? Yet all banality aside, using the concept of the “documentary” in the capacity of a self-evident reading aid offers as good a way as any of...
- 12/2/2014
- by James Lattimer
- MUBI
If you're reading this you're likely a fan of the Criterion Collection, which also means as much as you may be interested to know what new titles are coming to the collection in February 2015, if you aren't yet aware, Barnes & Noble is currently having their 50% of Criterion sale right now, click here for more on that. However, if you're already hip to the sale, let's have a look at the new titles that were just announced. The month will begin on February 3 with a new film from Jean-Luc Godard, his 1980 feature Every Man for Himself starring Jacques Dutronc, Nathalie Baye and Isabelle Huppert. It's a film Godard refers to as a second debut and is described as an examination of sexual relationships, in which three protagonists interact in different combinations. The release includes a new high-definition digital restoration, a short video titled Le scenario created by Godard to secure financing for the film,...
- 11/17/2014
- by Brad Brevet
- Rope of Silicon
The horrors of a childhood under Cambodia's Khmer Rouge are explored through animation and archive footage in this fascinating Oscar contender
Reading on mobile? Watch the trailer here
Rithy Panh's documentary The Missing Picture – Cambodia's entry for best foreign film Oscar – is a sombre, stylised memoir of the director's childhood when his country had been taken over by the Khmer Rouge. Many of his family died in the labour camps that were intended to "re-educate" the people and purify them in the flame of revolutionary socialism. In fact, of course, they were the instruments of mass torture, mass murder, mass psychosis, a vast theatre of cruelty and fear directed by an oligarchy of fanatics whose homicidal activities were in no way impeded by America's "sideshow" bombing raids.
Startlingly, Panh tells his story through a mixture of Khmer Rouge propaganda newsreels and little clay figurines. It was perhaps the only...
Reading on mobile? Watch the trailer here
Rithy Panh's documentary The Missing Picture – Cambodia's entry for best foreign film Oscar – is a sombre, stylised memoir of the director's childhood when his country had been taken over by the Khmer Rouge. Many of his family died in the labour camps that were intended to "re-educate" the people and purify them in the flame of revolutionary socialism. In fact, of course, they were the instruments of mass torture, mass murder, mass psychosis, a vast theatre of cruelty and fear directed by an oligarchy of fanatics whose homicidal activities were in no way impeded by America's "sideshow" bombing raids.
Startlingly, Panh tells his story through a mixture of Khmer Rouge propaganda newsreels and little clay figurines. It was perhaps the only...
- 1/3/2014
- by Peter Bradshaw
- The Guardian - Film News
In a 1973 essay called “Approaches to What?,” the French writer Georges Perec coined an excellent word: endotic. The opposite of exotic, it refers to anything so familiar that we fail to register it—paper towels, say, or the kinds of beds we sleep in, or the fact that, unto others, we have accents. Generally speaking, only outsiders notice these particulars, which produces something of a paradox: Those who are least at home in a culture often perceive it best.That outsider acuity is both the subject and the method of Americanah, a new novel by Nigerian writer Chimamanda Ngozi Adichie. It is her third, after the 2003 coming-of-age story Purple Hibiscus and the 2006 Half of a Yellow Sun, about life during the Biafran War. Both books are excellent—the first won the Commonwealth Writers’ Prize, the second the Orange Prize—as is her 2009 short-story collection, The Thing Around Your Neck. But...
- 5/26/2013
- by Kathryn Schulz
- Vulture
“Because there are rules.” That is Dream’s reply to Matthew, who wonders why one of the most powerful creatures in the universe has to give in to the demands of the Kindly Ones and risk his entire existence.
My immediate response, perhaps because I share a name with the raven, was to whine to myself: “But why!?!”
Rules and traditions create limitations, and that’s the point. In a story full of magic and fantasy, where, conceivably, anything could happen, it’s important that there be some basic rules to keep the possibilities from being infinite. Rules ground and govern our expectations; if the storyteller could have absolutely anything happen at any moment, suspense would be impossible and surprise would quickly stop being surprising. If my sentences here were not connected to each other by at least general (perhaps tenuous) rules of logic and transition, you might grow exasperated and stop reading,...
My immediate response, perhaps because I share a name with the raven, was to whine to myself: “But why!?!”
Rules and traditions create limitations, and that’s the point. In a story full of magic and fantasy, where, conceivably, anything could happen, it’s important that there be some basic rules to keep the possibilities from being infinite. Rules ground and govern our expectations; if the storyteller could have absolutely anything happen at any moment, suspense would be impossible and surprise would quickly stop being surprising. If my sentences here were not connected to each other by at least general (perhaps tenuous) rules of logic and transition, you might grow exasperated and stop reading,...
- 5/15/2012
- by Matthew Cheney
- Boomtron
"Gilbert Adair, the acclaimed critic who had some of his own novels turned into successful films, has died aged 66," reports Catherine Shoard in the Guardian. "Adair won the respect of cineastes with volumes such as A Night at the Pictures (1985), Myths & Memories (1986), Hollywood's Vietnam (1981), Flickers (1995), Surfing the Zeitgeist (1997) and with his translation of the letters of François Truffaut (published in 1990). He was a prolific journalist, writing a regular column for the Sunday Times in the 1990s, as well as for this paper — last year he interviewed the French filmmaker Alain Resnais."
As a screenwriter, Adair will be remembered for his collaborations with Raúl Ruiz (The Territory in 1981, Klimt in 2006, Blind Revenge in 2010) and Bernardo Bertolucci (The Dreamers in 2003, based on his own novel, The Holy Innocents). Richard Kwietniowski's Love and Death on Long Island (1997) is based on Adair's novel.
In January 2010, Adair wrote in the Guardian, "I yield to...
As a screenwriter, Adair will be remembered for his collaborations with Raúl Ruiz (The Territory in 1981, Klimt in 2006, Blind Revenge in 2010) and Bernardo Bertolucci (The Dreamers in 2003, based on his own novel, The Holy Innocents). Richard Kwietniowski's Love and Death on Long Island (1997) is based on Adair's novel.
In January 2010, Adair wrote in the Guardian, "I yield to...
- 12/11/2011
- MUBI
Witty, self-deprecating writer with a passion for cinema whose work shone 'like sparklers in the autumn gloom'
In Gilbert Adair's And Then There Was No One (2009), the third of his pastiches of Agatha Christie's detective stories, a writer called Gilbert Adair is lacerated thus by a reader: "The point, Gilbert, is that you've always been such a narcissistic writer. Which is why you've never had the popular touch … Postmodernism is dead … Nobody gives two hoots about self-referentiality any longer, just as nobody gives two hoots, or even a single hoot, about you. Your books are out of sight, out of sound, out of fashion and out of print."
Such self-referential gambits have exasperated some readers, but in Adair's staunchly postmodern, self-deprecating hands, the manoeuvre was disarming. Adair, who has died aged 66 of a brain haemorrhage, had often enjoyed playfully rehearsing his own literary erasure. In the 1990s he...
In Gilbert Adair's And Then There Was No One (2009), the third of his pastiches of Agatha Christie's detective stories, a writer called Gilbert Adair is lacerated thus by a reader: "The point, Gilbert, is that you've always been such a narcissistic writer. Which is why you've never had the popular touch … Postmodernism is dead … Nobody gives two hoots about self-referentiality any longer, just as nobody gives two hoots, or even a single hoot, about you. Your books are out of sight, out of sound, out of fashion and out of print."
Such self-referential gambits have exasperated some readers, but in Adair's staunchly postmodern, self-deprecating hands, the manoeuvre was disarming. Adair, who has died aged 66 of a brain haemorrhage, had often enjoyed playfully rehearsing his own literary erasure. In the 1990s he...
- 12/10/2011
- by Stuart Jeffries, Ronald Bergan
- The Guardian - Film News
Tonight marks the opening of the 3rd annual Migrating Forms experimental media festival. This year, the fest is opening with Melanie Gilligan’s Popular Unrest, a sci-fi thriller that takes place in an alternate future where humans no longer interact openly with each other. In this world, innocent victims are being slaughtered in the streets by invisible assailants.
Gilligan’s film is inspired equally by the “body horror” films of David Cronenberg and the CSI TV forensic series.
Once again, Migrating Forms is taking place at the Anthology Film Archives in NYC. It runs every night from tonight, May 20, to Sunday, May 29. The full lineup of films and videos screening at Migrating Forms can be found on Bad Lit here.
Some highlights of the fest include Jacqueline Goss‘ meteorology meditation The Observers, Liu Jiayin’s two-part family drama Oxhide and Oxhide II, Madison Brookshire’s light processing experimentation Color Series,...
Gilligan’s film is inspired equally by the “body horror” films of David Cronenberg and the CSI TV forensic series.
Once again, Migrating Forms is taking place at the Anthology Film Archives in NYC. It runs every night from tonight, May 20, to Sunday, May 29. The full lineup of films and videos screening at Migrating Forms can be found on Bad Lit here.
Some highlights of the fest include Jacqueline Goss‘ meteorology meditation The Observers, Liu Jiayin’s two-part family drama Oxhide and Oxhide II, Madison Brookshire’s light processing experimentation Color Series,...
- 5/20/2011
- by Mike Everleth
- Underground Film Journal
The 3rd annual Migrating Forms is set to run on May 20-29 at the Anthology Film Archives with yet another stunning lineup of current and classic experimental and avant-garde films and videos.
New work includes the U.S. premiere of Melanie Gilligan’s experimental sci-fi feature Popular Unrest for the fest’s Opening Night event. Then, throughout the fest, will be Jacqueline Goss‘ meteorology meditation The Observers, Liu Jiayin’s two-part family drama Oxhide and Oxhide II, Madison Brookshire’s light processing experimentation Color Series, Oliver Laxe’s meta-documentary You Are All Captains for the Closing Night event, and more.
New short works in the group programs include films and videos by Adele Horne, Andrew Lampert, Kevin Jerome Everson, Shana Moulton, Fern Silva, Olga Chernysheva, Dani Leventhal and more.
Classic retrospectives include Brazilian films by Glauber Rocha and French films written by Georges Perec. Electric Arts Intermix presents little-seen personal videos by L.
New work includes the U.S. premiere of Melanie Gilligan’s experimental sci-fi feature Popular Unrest for the fest’s Opening Night event. Then, throughout the fest, will be Jacqueline Goss‘ meteorology meditation The Observers, Liu Jiayin’s two-part family drama Oxhide and Oxhide II, Madison Brookshire’s light processing experimentation Color Series, Oliver Laxe’s meta-documentary You Are All Captains for the Closing Night event, and more.
New short works in the group programs include films and videos by Adele Horne, Andrew Lampert, Kevin Jerome Everson, Shana Moulton, Fern Silva, Olga Chernysheva, Dani Leventhal and more.
Classic retrospectives include Brazilian films by Glauber Rocha and French films written by Georges Perec. Electric Arts Intermix presents little-seen personal videos by L.
- 5/10/2011
- by Mike Everleth
- Underground Film Journal
Migrating Forms has just revealed the full program for its third edition, running May 20 through 29 at Anthology Film Archives in New York. And it's pretty impressive, so we're going to go the quickest route here and reproduce the release below the jump.
Special Events
Georges Perec Double Bill
Serie Noire Dir Alain Corneau (1979)
Georges Perec wrote dialogue made up almost entirely of cliches and aphorisms for this adaptation of Jim Thompson's A Hell of a Woman. "The only Thompson adaptation to truly express the author's deeply personal darkness." - Moving Image Source
Un homme qui dort (The Man Who Slept) Dir. Georges Perec and Bernard Queysanne (1974)
Adapted from Georges Perec's novel of the same name. Structured as a filmic sestina, Perec and Queysanne reimagine the framework of the novel while maintaining much of the original narration (read by Shelly Duvall in the English version!).
The Art of the...
Special Events
Georges Perec Double Bill
Serie Noire Dir Alain Corneau (1979)
Georges Perec wrote dialogue made up almost entirely of cliches and aphorisms for this adaptation of Jim Thompson's A Hell of a Woman. "The only Thompson adaptation to truly express the author's deeply personal darkness." - Moving Image Source
Un homme qui dort (The Man Who Slept) Dir. Georges Perec and Bernard Queysanne (1974)
Adapted from Georges Perec's novel of the same name. Structured as a filmic sestina, Perec and Queysanne reimagine the framework of the novel while maintaining much of the original narration (read by Shelly Duvall in the English version!).
The Art of the...
- 5/9/2011
- MUBI
The letter O has always provided designers with a bit of fun, especially in posters, but there's more to the vowel than that, says John Crace
To lexicographers it's just the 15th letter of the English alphabet. To designers it's a perfect shape for treatment: a world, a ball, a ring, a sun, a moon, a clock, a compass, a face. It's not even just a letter; it's a number, too – if zero counts as a number. It's a solid sphere or an empty circle.
A circle is a universal symbol. Or possibly myth; Plato argued the perfect circle only existed as a Form, something that we understand but never see; a circle in the real world is always merely an imperfect interconnection of adjoining dots. There again, the artist Giotto was reputed to be able to draw a perfect circle freehand.
The letter O first appears in the ancient...
To lexicographers it's just the 15th letter of the English alphabet. To designers it's a perfect shape for treatment: a world, a ball, a ring, a sun, a moon, a clock, a compass, a face. It's not even just a letter; it's a number, too – if zero counts as a number. It's a solid sphere or an empty circle.
A circle is a universal symbol. Or possibly myth; Plato argued the perfect circle only existed as a Form, something that we understand but never see; a circle in the real world is always merely an imperfect interconnection of adjoining dots. There again, the artist Giotto was reputed to be able to draw a perfect circle freehand.
The letter O first appears in the ancient...
- 3/17/2010
- by John Crace
- The Guardian - Film News
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