Disney releases “Elemental” and “Indiana Jones and the Dial of Destiny” were locked in a near dead heat at the U.K. and Ireland box office, with the animated elements edging out the veteran archaeologist.
“Elemental” debuted with £3.049 million ($3.876 million), according to numbers from Comscore. In its second weekend, “Indiana Jones and the Dial of Destiny” whipped up £3.046 million ($3.873 million) for a close second and now has a total of £13.1 million.
If looking at weekend numbers alone, Harrison Ford’s last adventure as the man in the hat won the race as the “Elemental” numbers include “limited secret sneak previews from across the market,” according to Disney.
Sony’s “Insidious: The Red Door” scared up £2.2 million in a third place debut. In its sixth weekend, Sony’s “Spider-Man: Across The Spider-Verse” swung to £964,566 in fourth position for a total of £27.7 million.
Rounding off the top five was Disney’s “The Little Mermaid,...
“Elemental” debuted with £3.049 million ($3.876 million), according to numbers from Comscore. In its second weekend, “Indiana Jones and the Dial of Destiny” whipped up £3.046 million ($3.873 million) for a close second and now has a total of £13.1 million.
If looking at weekend numbers alone, Harrison Ford’s last adventure as the man in the hat won the race as the “Elemental” numbers include “limited secret sneak previews from across the market,” according to Disney.
Sony’s “Insidious: The Red Door” scared up £2.2 million in a third place debut. In its sixth weekend, Sony’s “Spider-Man: Across The Spider-Verse” swung to £964,566 in fourth position for a total of £27.7 million.
Rounding off the top five was Disney’s “The Little Mermaid,...
- 7/11/2023
- by Naman Ramachandran
- Variety Film + TV
Documentary looks back at a mysterious Lisbon through the lens of a 60s cult film, a very specific focus that’s likable even if you haven’t seen the earlier movie
Since his first film in 2000, the mesmerising O Fantasma, Portuguese auteur João Pedro Rodrigues has continually cast his gaze over the ever-changing landscape of Lisbon, its physical transformations and its well of mysteries. Co-directed with his longtime partner and artistic collaborator João Rui Guerra da Mata, this evocative documentary views the city through the lens of both autobiographical and cinematic nostalgia.
The film’s starting point is a personal one. Having inherited his grandparents’ flat, Rodrigues is intrigued by the fact that the window of this complex looks over the location of Paulo Rocha’s The Green Years, a 1963 cult classic that spearheaded Novo Cinema, the Portuguese new wave. Antonioniesque in its cinematography and plot, Rocha’s film charted a doomed working-class romance,...
Since his first film in 2000, the mesmerising O Fantasma, Portuguese auteur João Pedro Rodrigues has continually cast his gaze over the ever-changing landscape of Lisbon, its physical transformations and its well of mysteries. Co-directed with his longtime partner and artistic collaborator João Rui Guerra da Mata, this evocative documentary views the city through the lens of both autobiographical and cinematic nostalgia.
The film’s starting point is a personal one. Having inherited his grandparents’ flat, Rodrigues is intrigued by the fact that the window of this complex looks over the location of Paulo Rocha’s The Green Years, a 1963 cult classic that spearheaded Novo Cinema, the Portuguese new wave. Antonioniesque in its cinematography and plot, Rocha’s film charted a doomed working-class romance,...
- 7/10/2023
- by Phuong Le
- The Guardian - Film News
“Where is This Street? or With No Before and After,” co-directed by João Pedro Rodrigues and João Rui Guerra da Mata, is screening in competition at Locarno.
The pic revisits locations and themes from Paulo Rocha’s 1963 film “Os Verdes Anos” (“The Green Years”), a best first film winner at Locarno in 1964 and considered to be a point of departure for Portugal’s Cinema Novo movement.
“We believe that the film works at its own level, and also gains further levels of meaning when viewed in conjunction with ‘Os Verdes Anos,’” explains Rodrigues. “By revisiting locations from the 1963 film, but without people, we planned to make an ode to Lisbon, a symphony of the city, working in the tradition of directors such as Walter Ruttman. This idea, that predated the pandemic, foresaw the atmosphere created by the lockdown which suddenly emptied the city.”
Rodrigues studied under Paulo Rocha at Lisbon...
The pic revisits locations and themes from Paulo Rocha’s 1963 film “Os Verdes Anos” (“The Green Years”), a best first film winner at Locarno in 1964 and considered to be a point of departure for Portugal’s Cinema Novo movement.
“We believe that the film works at its own level, and also gains further levels of meaning when viewed in conjunction with ‘Os Verdes Anos,’” explains Rodrigues. “By revisiting locations from the 1963 film, but without people, we planned to make an ode to Lisbon, a symphony of the city, working in the tradition of directors such as Walter Ruttman. This idea, that predated the pandemic, foresaw the atmosphere created by the lockdown which suddenly emptied the city.”
Rodrigues studied under Paulo Rocha at Lisbon...
- 8/5/2022
- by Martin Dale
- Variety Film + TV
The U.S. lineup at Mubi next month has been unveiled, featuring films by Claude Chabrol, Paulo Rocha, Ulrich Köhler, and more. Notable new releases include Pedro Costa’s striking Locarno winner Vitalina Varela as well as the Julia Fox-led Pvt Chat (check out our extensive interview with director Ben Hozie here.).
As part of their series Thrills, Chills, and Exquisite Horrors, the Martin Scorsese favorite Wake in Fright joins Mubi, along with Fabrice Du Welz’s Alleluia, Nicolas Winding Refn’s underseen Fear X, and Ben Wheatley’s trippy A Field in England.
Check out the lineup below and get 30 days free here.
October 1 | Alléluia | Fabrice Du Welz | Thrills, Chills, and Exquisite Horrors
October 2 | Styx | Wolfgang Fischer
October 3 | The Green Years | Paulo Rocha | Double Bill: Paulo Rocha
October 4 | Change of Life | Paulo Rocha | Double Bill: Paulo Rocha
October 5 | Your Day Is My Night | Lynne Sachs
October 6 | Hey, You!
As part of their series Thrills, Chills, and Exquisite Horrors, the Martin Scorsese favorite Wake in Fright joins Mubi, along with Fabrice Du Welz’s Alleluia, Nicolas Winding Refn’s underseen Fear X, and Ben Wheatley’s trippy A Field in England.
Check out the lineup below and get 30 days free here.
October 1 | Alléluia | Fabrice Du Welz | Thrills, Chills, and Exquisite Horrors
October 2 | Styx | Wolfgang Fischer
October 3 | The Green Years | Paulo Rocha | Double Bill: Paulo Rocha
October 4 | Change of Life | Paulo Rocha | Double Bill: Paulo Rocha
October 5 | Your Day Is My Night | Lynne Sachs
October 6 | Hey, You!
- 9/21/2021
- by Jordan Raup
- The Film Stage
The Lumière Festival’s Classic Film Market (Mifc) in Lyon, France, is spotlighting efforts in Portugal to digitize and preserve the nation’s film heritage as part of this year’s country focus.
Portugal is a good representation of what is happening in Europe, according to Mifc program coordinator Gérald Duchaussoy.
The Cinemateca Portuguesa has agreements with rights holders and distributors, organizes events, promotes Portuguese cinema at festivals, digitizes and restores films and also offers a digital platform with more than 900 titles from the first half of the 20th century.
Cinemateca Portuguesa’s José Manuel Costa is presenting three restored works during the market: Perdigão Queiroga’s musical romance “Fado, História d’uma Cantadeira” (1947), Paulo Rocha’s “Change of Life” (1966) and Leitão de Barros’ “Lisboa” (1930).
While the cinematheque’s work focuses mainly on digitization and preservations of Portuguese films at its in-house lab, it also carries out restoration work on specific films when needed,...
Portugal is a good representation of what is happening in Europe, according to Mifc program coordinator Gérald Duchaussoy.
The Cinemateca Portuguesa has agreements with rights holders and distributors, organizes events, promotes Portuguese cinema at festivals, digitizes and restores films and also offers a digital platform with more than 900 titles from the first half of the 20th century.
Cinemateca Portuguesa’s José Manuel Costa is presenting three restored works during the market: Perdigão Queiroga’s musical romance “Fado, História d’uma Cantadeira” (1947), Paulo Rocha’s “Change of Life” (1966) and Leitão de Barros’ “Lisboa” (1930).
While the cinematheque’s work focuses mainly on digitization and preservations of Portuguese films at its in-house lab, it also carries out restoration work on specific films when needed,...
- 10/15/2020
- by Ed Meza
- Variety Film + TV
Portuguese film distributor Midas Filmes has picked up a slew of new acquisitions, including Nanni Moretti’s upcoming “Three Floors,” Apichatpong Weerasethakul’s “Memoria” and Daniele Luchetti’s “The Ties,” which opened this year’s Venice Film Festival.
The Lisbon-based company, which is taking part in this year’s International Classic Film Market (Mifc) focus on Portugal in Lyon, France, has also recently picked up Belgian helmer Lucas Belvaux’s “Home Front,” starring Gérard Depardieu; “The Woman Who Ran,” by Hong Sang-Soo; and “Swimming Out Till the Sea Turns Blue,” Chinese director Jia Zhang-ke’s documentary about a local literature festival in Shanxi, China, which premiered at this year’s Berlinale.
Launched in 2006, Midas Filmes has released more than 60 films and boasts a DVD catalog of more than 200 films. Catalog titles and classics play major roles in the distributor’s repertoire, some 85% of which comprises international films, about 10% Portuguese titles and 5% U.
The Lisbon-based company, which is taking part in this year’s International Classic Film Market (Mifc) focus on Portugal in Lyon, France, has also recently picked up Belgian helmer Lucas Belvaux’s “Home Front,” starring Gérard Depardieu; “The Woman Who Ran,” by Hong Sang-Soo; and “Swimming Out Till the Sea Turns Blue,” Chinese director Jia Zhang-ke’s documentary about a local literature festival in Shanxi, China, which premiered at this year’s Berlinale.
Launched in 2006, Midas Filmes has released more than 60 films and boasts a DVD catalog of more than 200 films. Catalog titles and classics play major roles in the distributor’s repertoire, some 85% of which comprises international films, about 10% Portuguese titles and 5% U.
- 10/13/2020
- by Ed Meza
- Variety Film + TV
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSNext year's Sundance Film Festival has received permission from the Park City Council to be seven days rather than 11. The festival will also have limited capacity in theatres to address public health concerns. Recommended VIEWINGEvery Thursday in August, MoMa is streaming selections of historic films from its collection in a series titled Film Vault Summer Camp. In episode 1, collection specialist Ashley Swinnerton introduces The Flying Train and Great Actresses of the Past.In a new video essay for Little White Lies, Luís Azevedo explores the role of kitchens in the films of Pedro Almodóvar.From Netflix, the official trailer for Charlie Kaufman's psychological thriller I'm Thinking of Ending Things, adapted from the bestselling novel by Iain Reid. Recommended READINGAbove: Ja'Tovia Gary by JerSean Golatt for the New York Times. For the New York Times,...
- 8/17/2020
- MUBI
With a seemingly endless amount of streaming options—not only the titles at our disposal, but services themselves–each week we highlight the noteworthy titles that have recently hit platforms. Check out this week’s selections below and past round-ups here.
An Easy Girl (Rebecca Zlotowski)
The director herself calls An Easy Girl a “simple film on a complex subject,” which is as fine a one-liner as I’ll ever come up with. This is a straightforward coming-of-age story from France, a country for whom this is almost a national cliché, but elevated by a key eye for gender roles of its protagonists and an up-to-date message for a teenage generation growing up in a #MeToo world. – Ed F. (full review)
Where to Stream: Netflix
Capone (Josh Trank)
Thanks to a bout of syphilis contracted before the age of fifteen, Alphonse Gabriel “Scarface” Capone found himself trapped inside a prison...
An Easy Girl (Rebecca Zlotowski)
The director herself calls An Easy Girl a “simple film on a complex subject,” which is as fine a one-liner as I’ll ever come up with. This is a straightforward coming-of-age story from France, a country for whom this is almost a national cliché, but elevated by a key eye for gender roles of its protagonists and an up-to-date message for a teenage generation growing up in a #MeToo world. – Ed F. (full review)
Where to Stream: Netflix
Capone (Josh Trank)
Thanks to a bout of syphilis contracted before the age of fifteen, Alphonse Gabriel “Scarface” Capone found himself trapped inside a prison...
- 8/14/2020
- by Jordan Raup
- The Film Stage
In Paulo Rocha’s debut “The Green Years,” he told the story of a young man from rural Portugal who becomes lost in the machinery of a rapidly evolving Lisbon. Pulsing with similar energy to films of the French New Wave, the style was an effective misdirect for a tale of someone unable to carve a meaningful existence in a system that has no quarter for those that can’t adapt.
Continue reading ‘Change Of Life’: Paulo Rocha’s Restored Second Feature Is A Remarkable Discovery [Review] at The Playlist.
Continue reading ‘Change Of Life’: Paulo Rocha’s Restored Second Feature Is A Remarkable Discovery [Review] at The Playlist.
- 8/10/2020
- by Kevin Jagernauth
- The Playlist
"Be very careful with the boys in Lisbon." Grasshopper Film has released a new US trailer for Paulo Rocha's The Green Years, a 1963 coming-of-age romantic drama from Portugal. The film won a few awards during its initial premiere at film festivals back in 1963, but never got an official US release. The film has been restored in glorious 4K (overseen by Pedro Costa and the Portugeuse Cinematheque) and is getting a virtual cinema re-release in August this summer. Julio, aged nineteen, has just left the provinces to settle down in the outskirts of Lisbon. He lives in a poor area with his uncle Afonso and starts working as an apprentice shoemaker. At the shop, he gets to know Ilda, a young housemaid and regular customer. Ilda is pretty, joyful and modern and Julio falls for her. The two young people, although very different from each other, soon fall for each other.
- 7/31/2020
- by Alex Billington
- firstshowing.net
A figure whose deserved place in the European canon never came, Portuguese filmmaker Paulo Rocha is getting a second look. This August, Grasshopper Film will make available his first two features, The Green Years and Change of Life, debuting 4K restorations overseen by the Portuguese Cinematheque and Pedro Costa. We’re proud to debut a trailer for The Green Years that shows the fruit of these labors—a vivid, enticing window into the early days of a new wave.
A colleague of Jean Renoir and Manoel de Oliveira—the latter quoted here—Rocha began his career with a thorny love story not at all unlike another new wave kickstarter, Le Beau Serge, photographing Lisbon in both its modernity and old-world habitat. Watching The Green Years recalls the early days of one’s cinephilia, when entire worlds opened with a new name, a new country, and the incessant desire to see more.
A colleague of Jean Renoir and Manoel de Oliveira—the latter quoted here—Rocha began his career with a thorny love story not at all unlike another new wave kickstarter, Le Beau Serge, photographing Lisbon in both its modernity and old-world habitat. Watching The Green Years recalls the early days of one’s cinephilia, when entire worlds opened with a new name, a new country, and the incessant desire to see more.
- 7/30/2020
- by Leonard Pearce
- The Film Stage
The festival of free-spirited Spanish and Latin American film begins on 20 November and continues online, free of charge, until 8 December, with Paulo Rocha as one of the honourees. Starting today, 20 November, and unspooling for the next month in Madrilenian cinemas (and until 8 December via its website – with viewings of the films in its official section free of charge), the ninth edition of Márgenes is about to unfurl a programme that is tantalising and alternative in equal measure, offering movies that are not easily pigeonholed and that refuse to submit to the yoke of mainstream cinema. All we need do is mention, by way of example, one of its honourees, Portugal’s Paulo Rocha, because, as stated by festival director Diego Rodríguez, “We find ourselves in a time when the core of audiovisual production has been colonised by cloned, uniform products based on tastes that have been...
- 11/20/2019
- Cineuropa - The Best of European Cinema
A Portuguese Woman“It doesn’t really matter where things come from. What matters is picking things up again, mess them up, try to push them forward in a different way. All of us do it, we’ve all been doing it all through time, and things haven’t really changed that much since Greece. What we can try is to do something that seems to be new, or that is shown in a whole different way—even if not necessarily intentionally.”In a way, that’s what Rita Azevedo Gomes has been doing through her career as a filmmaker. A career, avowedly, somewhat confidential—her latest fiction, The Portuguese Woman, is only her 9th film since her 1990 debut O Som da Terra a Tremer—but one that has been quietly snowballing since 2012’s The Revenge of a Woman, to her own surprise, became a firm festival favorite. Her 2016 poetic...
- 8/1/2019
- MUBI
How would you program this year's newest, most interesting films into double features with movies of the past you saw in 2018?Looking back over each year at what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition, now in its 11th edition, of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2018—in cinemas or at a festival—and creatively pair it with an old film they also saw in 2018 to create a unique double feature. Together, the two films form a snapshot of the year's viewings—not limited just to the latest releases—that were important to them.All the contributors were given the option to write some text explaining their 2018 fantasy double feature.
- 1/2/2019
- MUBI
On May 14, Acid Trip #2, an initiative of the Association for Independent Film Distribution, is dedicated to Portuguese cinema. It will screen three films selected by the Portuguese Directors’ Association (Apr) – Pedro Cabeleira’s “Damned Summer”, Teresa Villaverde’s “Colo” and Leonor Teles’ “Terra Franca.”
The Apr’s note accompanying the selection stated that Portugal’s cinema is “persistent and resilient, and despite production difficulties, it invents its own conditions to continue to exist and create.”
Portuguese films in at Cannes this year include Un Certain Regard-player “The Dead and the Others” by João Salaviza and Renée Nader Messora, acquired for sales by Paris-based Luxbox; Carlos Diegues’ “The Great Mystical Circus”, sold by Latido Films; soccer-themed “Diamantino”, by Gabriel Abrantes and Daniel Schmidt, which could be a break out in Critics’ Week; and short film “Amor, Avenidas Novas”, by Duarte Coimbra, again playing in Critics’ Week; and Terry Gilliam’s closing pic,...
The Apr’s note accompanying the selection stated that Portugal’s cinema is “persistent and resilient, and despite production difficulties, it invents its own conditions to continue to exist and create.”
Portuguese films in at Cannes this year include Un Certain Regard-player “The Dead and the Others” by João Salaviza and Renée Nader Messora, acquired for sales by Paris-based Luxbox; Carlos Diegues’ “The Great Mystical Circus”, sold by Latido Films; soccer-themed “Diamantino”, by Gabriel Abrantes and Daniel Schmidt, which could be a break out in Critics’ Week; and short film “Amor, Avenidas Novas”, by Duarte Coimbra, again playing in Critics’ Week; and Terry Gilliam’s closing pic,...
- 5/14/2018
- by Martin Dale
- Variety Film + TV
The Festival de Cannes has announced the lineup for the official selection, including the Competition and Un Certain Regard sections, as well as special screenings, for the 71st edition of the festival:COMPETITIONEverybody Knows (Asghar Farhadi)At War (Stéphane Brizé)Dogman (Matteo Garrone)Le livre d'images (Jean-Luc Godard)Netemo Sameteo (Asako I & II) (Ryūsuke Hamaguchi)Sorry Angel (Christophe Honoré)Girls of the Sun (Eva Husson)Ash Is Purest White (Jia Zhangke)Shoplifter (Hirokazu Kore-eda)Capernaum (Nadine Labaki)Burning (Lee Chang-dong)BlacKkKlansman (Spike Lee)Under the Silver Lake (David Robert Mitchell)Three Faces (Jafar Panahi)Cold War (Pawel Pawlikowski)Lazzaro Felice (Alice Rohrwacher)Yomeddine (A.B. Shawky)Leto (Kirill Serebrennikov)Un couteau dans le cœur (Yann Gonzalez)Ayka (Sergei Dvortsevoy)The Wild Pear Tree (Nuri Bilge Ceylan)Out Of COMPETITIONSolo: A Star Wars Story (Ron Howard)Le grand bain (Gilles Lelouch)The House That Jack Built (Lars von Trier)Un Certain REGARDGräns (Ali Abbasi...
- 4/25/2018
- MUBI
Despite Netflix removing all of its films from the 2018 Cannes Film Festival, Orson Welles will still be represented on the Croisette next month. The festival has announced the official lineup for this year’s Cannes Classics sidebar, and included on the list is the FilmStruck-produced documentary “The Eyes of Orson Welles,” from British documentarian Mark Cousin.
Netflix had originally been set to bring Welles’ unfinished film, “The Other Side of the Wind,” to the festival’s Out of Competition section, but the streaming giant announced it would not be attending the festival in any capacity after Cannes reinstated a rule preventing films without French theatrical distribution from competing for the Palme d’Or. The rule would not have affected “The Other Side of the Wind,” but Netflix wasn’t going to make an exception.
“The Eyes of Orson Welles” includes access to a lifetime of private drawings and paintings by Welles,...
Netflix had originally been set to bring Welles’ unfinished film, “The Other Side of the Wind,” to the festival’s Out of Competition section, but the streaming giant announced it would not be attending the festival in any capacity after Cannes reinstated a rule preventing films without French theatrical distribution from competing for the Palme d’Or. The rule would not have affected “The Other Side of the Wind,” but Netflix wasn’t going to make an exception.
“The Eyes of Orson Welles” includes access to a lifetime of private drawings and paintings by Welles,...
- 4/23/2018
- by Zack Sharf
- Indiewire
Orson Welles will be featured at next month’s Cannes Film Festival. It still won’t be via his previously unfinished The Other Side Of The Wind, which recently got caught in the scrum between the festival and Netflix. Rather, Welles will be represented in The Eyes Of Orson Welles, a new documentary from Mark Cousins that’s part of the Cannes Classics selection.
The festival today unveiled its full roster for the Classics sidebar which includes tributes and documentaries about film and filmmakers, and restorations presented by producers, distributors, foundations, cinemathèques and rights holders. Among the attendees this year are Martin Scorsese, Jane Fonda, Christopher Nolan and John Travolta.
The Eyes Of Orson Welles is a journey through the filmmaker’s visual process. Thanks to Welles’ daughter Beatrice, Cousins (The Story Of Film) was granted access to never-before-seen drawings, paintings and early works that form a sketchbook from his life.
The festival today unveiled its full roster for the Classics sidebar which includes tributes and documentaries about film and filmmakers, and restorations presented by producers, distributors, foundations, cinemathèques and rights holders. Among the attendees this year are Martin Scorsese, Jane Fonda, Christopher Nolan and John Travolta.
The Eyes Of Orson Welles is a journey through the filmmaker’s visual process. Thanks to Welles’ daughter Beatrice, Cousins (The Story Of Film) was granted access to never-before-seen drawings, paintings and early works that form a sketchbook from his life.
- 4/23/2018
- by Nancy Tartaglione
- Deadline Film + TV
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.Recommended VIEWINGWe found Kiyoshi Kurosawa's semi-serious, semi-tongue-in-cheek sci-fi film Before We Vanish one of the best premieres of last year. The trailer for the American release plays it straight, but captures the wry verve of the film. Highly recommended.We adore the output of Poverty Row studio Republic (Driftwood, The Inside Story, I've Always Loved You), but rarely have had the chance to see the movies on celluloid and looking good. So we'll be front row, center for the Museum of Modern Art's "Republic Rediscovered" series, curated by Martin Scorsese. But just as good as any of those 1940s classics is the trailer for the retrospective, cut by filmmaker Gina Telaroli.The first look at Don't Worry, He Won't Get Far on Foot, Gus Van Sant's new film, set to premiere at Sundance.
- 1/17/2018
- MUBI
Chis Marker's Chat écoutant la musiqueThere are dog people and there are cat people, this we know, and there are even people who claim to be of both—though latent sympathies remain unspoken, like with a parent and which child is their favorite. With the Vienna Film Festival welcoming me with a tumbling collection of dog and cat short films spanning cinema's history—the Austrian Film Museum, an essential destination each year collaborating with the Viennale, is hosting a “a brief zoology of cinema” throughout the festivities—it is clear that filmmakers, too, have their preference. Silent cinema decidedly prefers the more easily trained and exhibited canine, with 1907’s surreal favorite Les chiens savants as a certain kind of cruel pinnacle. For the cats, Chris Marker, already the presiding figure over so much in 20th century art, I think we can easily claim is the cine-laureate. One need not know...
- 11/8/2015
- by Daniel Kasman
- MUBI
Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.Above: Rainer Werner Fassbinder would have turned 70 this week. Can you imagine how many films unfilmed he would have made between 1982, when he died, and now? At his Movie Poster of the Day Tumblr, Adrian Curry has found a fantastic poster for Fassbinder's 1981 film, Lola.fxguide has a terrific exploration of the computer effects used in George Miller's Mad Max: Fury Road.Above: Anna Karina and Jean-Luc Godard. From our Tumblr.New York's essential BAMcinamFest, running June 17 - 28, has announced its 2015 lineup, which features such Notebook favorites as Queen of Earth, Stinking Heaven, and Counting, as well as several premieres including a new short film by our friend and contributor C. Mason Wells.Film Comment's Nicholas Rapold has interviewed with Apichatpong Weerasethakul about Cemetery of Splendour, the best film in Cannes this year.
- 6/3/2015
- by Notebook
- MUBI
2. For Paulo Rocha
Weekend 2 - Day 1 - December 13th, 2013
The second Harvard-Gulbenkian program centers around a vitally important yet still under appreciated figure of the post-WW2 Portuguese cinema, the late Paulo Rocha whose influential masterpiece of poetic neo-realism, Mudar de vida (1966) is offered both in tribute to his recent passing and as an occasion to reconsider Rocha's cinema and legacy. Looking beyond the historic "Cinema Novo" movement with which this film and Rocha himself are most closely associated, Mudar de vida is placed here within a broader, alternate context: in dialogue with the films and presence of Víctor Gaviria and Billy Woodberry, two directors inspired, like Rocha, to renew the promise of a truly "popular cinema" intimate with the stories, experiences and landscapes of the people depicted and ultimately empowered by their films. Unseen in Portugal, the films of Gaviria and Woodberry offer revelational compliments to Rocha's lyrical realism, each...
Weekend 2 - Day 1 - December 13th, 2013
The second Harvard-Gulbenkian program centers around a vitally important yet still under appreciated figure of the post-WW2 Portuguese cinema, the late Paulo Rocha whose influential masterpiece of poetic neo-realism, Mudar de vida (1966) is offered both in tribute to his recent passing and as an occasion to reconsider Rocha's cinema and legacy. Looking beyond the historic "Cinema Novo" movement with which this film and Rocha himself are most closely associated, Mudar de vida is placed here within a broader, alternate context: in dialogue with the films and presence of Víctor Gaviria and Billy Woodberry, two directors inspired, like Rocha, to renew the promise of a truly "popular cinema" intimate with the stories, experiences and landscapes of the people depicted and ultimately empowered by their films. Unseen in Portugal, the films of Gaviria and Woodberry offer revelational compliments to Rocha's lyrical realism, each...
- 4/10/2014
- by Cinema Dialogues: Harvard at the Gulbenkian
- MUBI
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