There’s a documentary aspect to every film, whether it’s a home movie, a commercial or even the glossiest tentpole: The images and sounds capture transient moments that memorialize people, animals, places. They give permanence to the impermanent. But imagine a world in which those films have disappeared — as an estimated 80 percent of silent films and half of sound films already have. In the robust and incisive Film: The Living Record of Our Memory, Inés Toharia, a documentarian specializing in film preservation, invites us to consider the ways movies have become essential to the human experience.
The director spends quality time with a few well-known filmmakers and many of the “backstage people,” as one interviewee puts it, who devote their energies to safeguarding a vast array of moving images from the ravages of time, neglect and climate, not to mention obsolescence in the wake of ever-evolving formats and technology.
The director spends quality time with a few well-known filmmakers and many of the “backstage people,” as one interviewee puts it, who devote their energies to safeguarding a vast array of moving images from the ravages of time, neglect and climate, not to mention obsolescence in the wake of ever-evolving formats and technology.
- 3/5/2023
- by Sheri Linden
- The Hollywood Reporter - Movie News
Trixi (1971).“When I first saw Steve’s films, I actually very often had to leave the cinema,” Laura Mulvey once recalled. Dwoskin’s shorts and early features, shown in alternative venues around London in the late 1960s and early ’70s, tended to show a woman alone in a room, often naked, responding to the camera, sometimes seducing it: Alone (1964), Soliloquy (1964/7), Take Me (1969), Moment (1969), and Girl (1971)... At the time she saw them, Mulvey was working on what became her famous essay “Visual Pleasure and Narrative Cinema,” published in 1975. Having been repelled at first, she began to find that Dwoskin’s films “opened a completely new perspective for me on cinematic voyeurism.” The first draft included a section discussing them, particularly the half-hour Trixi (1971), an “overtly ‘voyeuristic’ film” in which the seduction is consummated. In Mulvey’s words, Dwoskin’s handheld camera facilitated his “intimate involvement as an equal participant in the erotic drama,...
- 6/16/2022
- MUBI
Imitation is the sincerest form of flattery, and that takes on an enhanced meaning in Netflix’s new series, “Inventing Anna.” Anna Delvey, nee Sorokin, (Julia Garner) passed herself off as a fake German heiress, imitating the lifestyle of a high-roller when she was anything but. At the same time, audiences watching “Inventing Anna” will no doubt be attempting to perform their own version of Delvey’s bizarre accent, a feat pulled off to stellar aplomb by Garner herself. It’s something the actress is sort of used to. Her Southern twang on the Netflix series “Ozark,” where she plays Ruth Langmore, is also regularly imitated by viewers.
But as Garner told IndieWire, pulling off Anna Delvey’s accent was the hardest thing she’s done in her entire career because of the layers of Delvey’s deception. “I was like, ‘What is her accent?’ I didn’t even know what her accent was,...
But as Garner told IndieWire, pulling off Anna Delvey’s accent was the hardest thing she’s done in her entire career because of the layers of Delvey’s deception. “I was like, ‘What is her accent?’ I didn’t even know what her accent was,...
- 2/10/2022
- by Kristen Lopez
- Indiewire
New York’s avant-garde art and film scene of the early 1960s may have been dominated by the likes of Jonas Mekas and Andy Warhol, but “Barbara Rubin and the Exploding New York Underground” offers a fascinating recontextualization of that history, focusing on young Barbara Rubin’s integral role in shaping the era’s blossoming counterculture. Chuck Smith’s documentary is at once accessible and formally daring, echoing its subject’s style while simultaneously celebrating her radical achievements. It’s an enlightening nonfiction portrait of a feminist pioneer that, in this #MeToo era, should strike a timely chord.
Described as a “hot flame” because of her burning artistic engine, 18-year-old Rubin entered the orbit of experimental film godfather Mekas in 1963. That’s when he gave her a job at the Film-Makers’ Cooperative so she could secure her release from a psychiatric hospital, where she’d landed, courtesy of her parents,...
Described as a “hot flame” because of her burning artistic engine, 18-year-old Rubin entered the orbit of experimental film godfather Mekas in 1963. That’s when he gave her a job at the Film-Makers’ Cooperative so she could secure her release from a psychiatric hospital, where she’d landed, courtesy of her parents,...
- 5/30/2019
- by Nick Schager
- Variety Film + TV
Chuck Smith at The Bowery Hotel on Barbara Rubin: "I think Walt Disney fascinated her all the time and fairy tales." Photo: Anne-Katrin Titze
Through interviews with Jonas Mekas, Amy Taubin, Gordon Ball, Richard Foreman, J Hoberman, Ara Osterweil, Rosebud Feliu-Pettet, Debra Feiner Coddington, and illustrated by film clips, and photographs, Chuck Smith is in search of answering questions such as, who is Barbara Rubin and why haven't you heard about her?
Chuck Smith on Barbara Rubin friend Amy Taubin, seen here with Richard Gere and Oren Moverman: "She's in Michael Snow's Wavelength, the legendary experimental film." Photo: Anne-Katrin Titze
Barbara Rubin And The Exploding NY Underground, with an original score by Lee Ranaldo, resurrects the filmmaker and instigator to take her place as a vital interconnected thread for the likes of Andy Warhol, the Velvet Underground, Lou Reed, Allen Ginsberg, Bob Dylan, Federico Fellini, Lenny Bruce, and many others.
Through interviews with Jonas Mekas, Amy Taubin, Gordon Ball, Richard Foreman, J Hoberman, Ara Osterweil, Rosebud Feliu-Pettet, Debra Feiner Coddington, and illustrated by film clips, and photographs, Chuck Smith is in search of answering questions such as, who is Barbara Rubin and why haven't you heard about her?
Chuck Smith on Barbara Rubin friend Amy Taubin, seen here with Richard Gere and Oren Moverman: "She's in Michael Snow's Wavelength, the legendary experimental film." Photo: Anne-Katrin Titze
Barbara Rubin And The Exploding NY Underground, with an original score by Lee Ranaldo, resurrects the filmmaker and instigator to take her place as a vital interconnected thread for the likes of Andy Warhol, the Velvet Underground, Lou Reed, Allen Ginsberg, Bob Dylan, Federico Fellini, Lenny Bruce, and many others.
- 5/19/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Doc NYC unveiled the winners for their ninth annual festival. A Little Wisdom, Barbara Rubin & the Exploding NY Underground and Short In the Absence won gran jury prizes while Out of Omaha nabbed the Audience Award. This year’s Doc NYC kicked off November 8 and concludes on the 15. The winners were announced tonight during a ceremony at the Flatiron Room in Manhattan.
This year’s event included 137 feature-length films with a late addition of the world premiere of the Aretha Franklin concert film Amazing Grace. It also featured 93 short documentaries. Three juries selected films from each of the festival’s Viewfinders, Metropolis and Shorts sections to recognize for their outstanding achievements in form and content. The audience casted their votes for the Doc NYC Audience Award from the Viewfinders and Metropolis sections, and a panel of industry professionals voted to select the winner of this year’s Doc NYC Pro Pitch Perfect Award,...
This year’s event included 137 feature-length films with a late addition of the world premiere of the Aretha Franklin concert film Amazing Grace. It also featured 93 short documentaries. Three juries selected films from each of the festival’s Viewfinders, Metropolis and Shorts sections to recognize for their outstanding achievements in form and content. The audience casted their votes for the Doc NYC Audience Award from the Viewfinders and Metropolis sections, and a panel of industry professionals voted to select the winner of this year’s Doc NYC Pro Pitch Perfect Award,...
- 11/14/2018
- by Dino-Ray Ramos
- Deadline Film + TV
From The Victoria Advocate, Sunday, Jan. 21, 1968. Article text:
Wild Is the Word
Hollywood (Nea) — The underground movie — or “non-commercial cinema,” as those who make them prefer to call their product — is blooming. Most major cities have theaters showing these avant-garde films. There are dozens of festivals at which they are shown.
And now there is a catalogue listing hundreds of movies you can rent for from $4 (for a three- or four-minute epic) up to $129 for something like Andy Warhol’s eight-hour “Empire,” which he describes as “homage to the world’s tallest.”
There is something for everyone. If you like action, there is “Blazes” — “100 basic images switching position for 4,000 frames. A continuous explosion.”
Like tragedy? Try “Snow” — “Snow (that fluffy white stuff that falls in the winter) which is beautiful and winter too somewhat since snow comes then and winter is a kind of pseudo-death, so maybe the movie is...
Wild Is the Word
Hollywood (Nea) — The underground movie — or “non-commercial cinema,” as those who make them prefer to call their product — is blooming. Most major cities have theaters showing these avant-garde films. There are dozens of festivals at which they are shown.
And now there is a catalogue listing hundreds of movies you can rent for from $4 (for a three- or four-minute epic) up to $129 for something like Andy Warhol’s eight-hour “Empire,” which he describes as “homage to the world’s tallest.”
There is something for everyone. If you like action, there is “Blazes” — “100 basic images switching position for 4,000 frames. A continuous explosion.”
Like tragedy? Try “Snow” — “Snow (that fluffy white stuff that falls in the winter) which is beautiful and winter too somewhat since snow comes then and winter is a kind of pseudo-death, so maybe the movie is...
- 10/10/2013
- by Mike Everleth
- Underground Film Journal
Lifetime has inked a deal with Natalie Garza and Nicole Garza to develop a scripted comedy project around the identical twin sisters.
The Garzas most recently appeared in National Lampoon's Transylmania and co-starred on Oxygen's Campus Ladies, but they also might be recognized for playing the Doublemint twins in the Wrigley gum commercials since 2005.
Together, they have guest-starred on CBS' How I Met Your Mother and WB Network/the CW's Gilmore Girls and recurred on Nickelodeon's The Brothers Garcia. Their film credits include The List and Bickford Schmeckler's Cool Ideas.
Natalie Garza's credits include last season's Fox comedy pilot The 12th Man. Nicole Garza's credits include the film Underclassman and a guest-starring role on Fox's The O.C.
In 2004, the duo had a talent holding deal with Viacom.
The Garzas are repped by manager Adam Griffin of Kritzer/Levine/Wilkins Entertainment and attorney Barbara Rubin.
The Garzas most recently appeared in National Lampoon's Transylmania and co-starred on Oxygen's Campus Ladies, but they also might be recognized for playing the Doublemint twins in the Wrigley gum commercials since 2005.
Together, they have guest-starred on CBS' How I Met Your Mother and WB Network/the CW's Gilmore Girls and recurred on Nickelodeon's The Brothers Garcia. Their film credits include The List and Bickford Schmeckler's Cool Ideas.
Natalie Garza's credits include last season's Fox comedy pilot The 12th Man. Nicole Garza's credits include the film Underclassman and a guest-starring role on Fox's The O.C.
In 2004, the duo had a talent holding deal with Viacom.
The Garzas are repped by manager Adam Griffin of Kritzer/Levine/Wilkins Entertainment and attorney Barbara Rubin.
- 9/12/2007
- The Hollywood Reporter - Movie News
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