Catherine Breillat to present Last Summer and do a Deep Focus Free Talk at the 61st New York Film Festival. Photo: Anne-Katrin Titze
Film at Lincoln Center has announced that Paul B Preciado, director of Orlando, My Political Biography (Main Slate selection) will deliver the third annual Amos Vogel Lecture during the 61st New York Film Festival. In Deep Focus: Todd Haynes will present his Image Book, Nikki Giovanni (featured in Joe Brewster’s Spotlight selection Going To Mars: The Nikki Giovanni Story) will participate in a discussion moderated by Edwidge Danticat, Sandra Hüller, star of two Main Slate selections (Justine Triet’s Cannes Palme d’Or winner Anatomy Of A Fall and Jonathan Glazer’s brilliant Cannes Grand Prix winner The Zone Of Interest), and Catherine Breillat.
Sandra Hüller to present The Zone Of Interest with Jonathan Glazer and Christian Friedel and do a Deep Focus Free Talk Photo:...
Film at Lincoln Center has announced that Paul B Preciado, director of Orlando, My Political Biography (Main Slate selection) will deliver the third annual Amos Vogel Lecture during the 61st New York Film Festival. In Deep Focus: Todd Haynes will present his Image Book, Nikki Giovanni (featured in Joe Brewster’s Spotlight selection Going To Mars: The Nikki Giovanni Story) will participate in a discussion moderated by Edwidge Danticat, Sandra Hüller, star of two Main Slate selections (Justine Triet’s Cannes Palme d’Or winner Anatomy Of A Fall and Jonathan Glazer’s brilliant Cannes Grand Prix winner The Zone Of Interest), and Catherine Breillat.
Sandra Hüller to present The Zone Of Interest with Jonathan Glazer and Christian Friedel and do a Deep Focus Free Talk Photo:...
- 9/24/2023
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Invocation of My Demon Brother. “The key of joy is disobedience.”—Aleister CrowleyLucifer has risen. Kenneth Anger is, terrestrially at least, no more. Of the Hollywood that once was, Kenneth Anger was one of the few unsentimental remnants—never nostalgic and always captivated by the present. He leaves behind an aura of gothic glam and a string of sacrilegious, unselfconscious films. In the Bible, Lucifer—etymologically, “the light bearer”—was cast out of heaven for plotting against the supreme creator, that divine auteur. In Hollywood, Anger shed light on the ambrosial decadence that accompanied the rise of the film industry, whose mythological dimension he both captured and incarnated. To Anger, Hollywood was a sort of maternal womb, the amniotic element whose sinister luminescence he chiseled like a baroque sculptor. In his cinema, there is a visible adherence to the superficial gloss that made commercial films so profound. He was able...
- 7/19/2023
- MUBI
In September 1963, the first ever New York Film Festival was held in Manhattan’s Lincoln Center, and it counted as something of an experiment, an early test case as to whether the sort of serious, artistically inclined fests that were quickly becoming established in Europe could find real purchase stateside. The inaugural lineup included Luis Buñuel’s “Exterminating Angel,” Roman Polanski’s debut, “Knife in the Water,” and Yasujirō Ozu’s swan song “An Autumn Afternoon.” According to a Film Comment report at the time, the inaugural fest sold more than 20,000 tickets before a single film had unspooled. Not bad for a first time out.
As the New York Film Festival approaches its 60th annual iteration, taking place from Sept. 30-Oct. 16, plenty has changed, but core elements of the institution remain in place six decades later.
The festival still calls Lincoln Center its home base, although it has recently expanded...
As the New York Film Festival approaches its 60th annual iteration, taking place from Sept. 30-Oct. 16, plenty has changed, but core elements of the institution remain in place six decades later.
The festival still calls Lincoln Center its home base, although it has recently expanded...
- 9/30/2022
- by Andrew Barker
- Variety Film + TV
After 11 years of residence in Greenpoint, co-founders Ed Halter and Thomas Beard are moving their microcinema, Light Industry—dedicated to screening film and electronic art in Brooklyn since 2008—to Williamsburg. Ed and Thomas found inspiration for Light Industry in Amos Vogel, who founded the New York Film Festival, pioneered early alternative film spaces such as Cinema 16 and once wrote that “the avant-garde’s delight in the unpredictable, its insistence on the deconstruction of ossified codes, its probing of the unacceptable, signify gestures of freedom in an increasingly commercialized cinema.” I would repeat this remark, word for word, about the indispensable […]
The post A Schoolhouse for Cinephiles: In Praise of Light Industry first appeared on Filmmaker Magazine.
The post A Schoolhouse for Cinephiles: In Praise of Light Industry first appeared on Filmmaker Magazine.
- 8/25/2022
- by Conor Williams
- Filmmaker Magazine - Blog
The cast and crew of Martin Scorsese's The Irishman. (Photo by Kathrine Narducci.) Still on the search for holiday gifts? Our first-ever Notebook Gift Guide has got you covered with our pick of everything from coffee table books and career surveys to movie merch and prints. Books And Magazinesa number of books by filmmakers themselves, some new and some republished in beautiful new editions, offer an eye-opening perspective into the medium. This year marked the 50th anniversary of Jerry Lewis’ The Total Film-Maker, his classic 1971 book about the entire production process, from “script to post-production.” The book is based on over 480 hours of a lecture series delivered at USC Film School, and the newly released 50th anniversary edition also includes “all-new, never-before-seen photos of Jerry on set.” Marguerite Duras’ newly translated The Darkroom contains the script for her 1977 experimental film Le camion (The Truck), a dialogue between Duras and Michelle Porte,...
- 12/13/2021
- MUBI
The November 12, 1958 edition of The Village Voice featured the first installment of the column “Movie Journal” by Jonas Mekas.
“Movie Journal” would become what the Underground Film Journal would argue was the most significant organizing tool of avant-garde cinema created by Jonas, even more so than the Film-makers’ Cooperative and the Anthology Film Archives he helped found. But what was the column like before it gained such notoriety?
Well, we don’t have to guess. The book collection Movie Journal doesn’t start reprinting Jonas’s columns until 1959, but the entire archives of the Voice are online.
As a weekly publication, the Voice only published twelve “Movie Journal” columns in 1958. The Underground Film Journal has read all twelve and extracted what films Jonas reviewed each week; as well as made notes of significant avant-garde film happenings.
Jonas reviewed only a few avant-garde films those first two months, including Maya Deren...
“Movie Journal” would become what the Underground Film Journal would argue was the most significant organizing tool of avant-garde cinema created by Jonas, even more so than the Film-makers’ Cooperative and the Anthology Film Archives he helped found. But what was the column like before it gained such notoriety?
Well, we don’t have to guess. The book collection Movie Journal doesn’t start reprinting Jonas’s columns until 1959, but the entire archives of the Voice are online.
As a weekly publication, the Voice only published twelve “Movie Journal” columns in 1958. The Underground Film Journal has read all twelve and extracted what films Jonas reviewed each week; as well as made notes of significant avant-garde film happenings.
Jonas reviewed only a few avant-garde films those first two months, including Maya Deren...
- 11/28/2021
- by Mike Everleth
- Underground Film Journal
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSAbove: Steve McQueen and his installation "Year 3" at Tate Britain. Steve McQueen will be unveiling a new installation, “Sunshine State,” at the International film festival Rotterdam as part of its Art Directions section, which is dedicated to "daring films, installations, exhibitions and live performance." This is McQueen's first major commission since "Year 3," which was exhibited at Tate Britain in 2019. Martin Scorsese has set his eyes on his next project with Apple: a biopic about the Grateful Dead, starring Jonah Hill as frontman Jerry Garcia. As Variety points out, Scorsese did executive produce a 2017 documentary series about the band entitled Long Strange Trip. For that series, he described the Grateful Dead as "more than just a band." Hill and Scorsese previously worked together on Wolf of Wall Street (2013), and a Coca-Cola ad for last year's Super Bowl.
- 11/26/2021
- MUBI
Metrograph
With her sublime debut All is Forgiven now playing, Mia Hansen-Løve has curated a series populated by the likes of Varda, Rohmer, and Edward Yang.
Museum of Modern Art
A series curated by Mark McElhatten sees India Song screen on Saturday and L’amour Fou this Sunday.
Film Forum
Miraculously rediscovered and restored, the Iranian film Chess of the Wind continues; Harold Lloyd’s For Heaven’s Sake and an Amos Vogel program screen on Sunday.
Roxy Cinema
Prints of Boarding Gate and Demonlover screen throughout the weekend; Irma Vep also plays.
IFC Center
While the 4K restoration of Kiyoshi Kurosawa’s masterpiece Cure continues and World of Wong Kar-wai keeps going, El Topo, Natural Born Killers, Mulholland Dr., House, and Hour of the Wolf have showings.
Anthology Film Archives
A series on “Folk Horror” continues.
Museum of the Moving Image
A 90th-anniversary retro of Universal Horror continues, while an Amos Vogel retrospective is underway.
With her sublime debut All is Forgiven now playing, Mia Hansen-Løve has curated a series populated by the likes of Varda, Rohmer, and Edward Yang.
Museum of Modern Art
A series curated by Mark McElhatten sees India Song screen on Saturday and L’amour Fou this Sunday.
Film Forum
Miraculously rediscovered and restored, the Iranian film Chess of the Wind continues; Harold Lloyd’s For Heaven’s Sake and an Amos Vogel program screen on Sunday.
Roxy Cinema
Prints of Boarding Gate and Demonlover screen throughout the weekend; Irma Vep also plays.
IFC Center
While the 4K restoration of Kiyoshi Kurosawa’s masterpiece Cure continues and World of Wong Kar-wai keeps going, El Topo, Natural Born Killers, Mulholland Dr., House, and Hour of the Wolf have showings.
Anthology Film Archives
A series on “Folk Horror” continues.
Museum of the Moving Image
A 90th-anniversary retro of Universal Horror continues, while an Amos Vogel retrospective is underway.
- 11/4/2021
- by Nick Newman
- The Film Stage
After a hiatus where New York’s theaters closed during the pandemic, we’re delighted to announce the return of NYC Weekend Watch, our weekly round-up of repertory offerings. While many theaters are still focused on a selection of new releases, a handful of worthwhile repertory screenings are taking place.
Metrograph
The insanely packed “Lives of Performers” offers films by Almodóvar, Satoshi Kon, Bob Fosse, Cassavetes, Powell & Pressburger, Rivette—almost too much to count.
Film Forum
Miraculously rediscovered and restored, the Iranian film Chess of the Wind is now playing, while North by Northwest continues; Frankenstein screens on Sunday.
Bam
Recently rediscovered and restored, Wendell B. Harris’ Chameleon Street is now playing. Read our interview with Harris here.
Roxy Cinema
Screen Slate has a weekend series of 35mm horror: Anguish and Popcorn on Friday and Sunday, and House of Wax and I Know Who Killed Me on Saturday. Halloween and...
Metrograph
The insanely packed “Lives of Performers” offers films by Almodóvar, Satoshi Kon, Bob Fosse, Cassavetes, Powell & Pressburger, Rivette—almost too much to count.
Film Forum
Miraculously rediscovered and restored, the Iranian film Chess of the Wind is now playing, while North by Northwest continues; Frankenstein screens on Sunday.
Bam
Recently rediscovered and restored, Wendell B. Harris’ Chameleon Street is now playing. Read our interview with Harris here.
Roxy Cinema
Screen Slate has a weekend series of 35mm horror: Anguish and Popcorn on Friday and Sunday, and House of Wax and I Know Who Killed Me on Saturday. Halloween and...
- 10/28/2021
- by Nick Newman
- The Film Stage
After a hiatus where New York’s theaters closed during the pandemic, we’re delighted to announce the return of NYC Weekend Watch, our weekly round-up of repertory offerings. While many theaters are still focused on a selection of new releases, a handful of worthwhile repertory screenings are taking place.
Bam
Recently rediscovered and restored, Wendell B. Harris’ Chameleon Street is now playing. Read our interview with Harris here.
Film Forum
4K restorations of North by Northwest starts up and Ed Lachman’s Songs for Drella have started; Ponyo screens on Sunday.
Roxy Cinema
Three by John Carpenter—The Thing, Halloween, and The Fog—screen this Friday, while prints of Poltergeist and Phantom of the Paradise show on Saturday.
Metrograph
“Get Crazy” offers Cold Water, a 4K restoration of Possession continues, and to celebrate Sisters with Transistors, the series “With Music By…” offers A Clockwork Orange and Forbidden Planet.
Film...
Bam
Recently rediscovered and restored, Wendell B. Harris’ Chameleon Street is now playing. Read our interview with Harris here.
Film Forum
4K restorations of North by Northwest starts up and Ed Lachman’s Songs for Drella have started; Ponyo screens on Sunday.
Roxy Cinema
Three by John Carpenter—The Thing, Halloween, and The Fog—screen this Friday, while prints of Poltergeist and Phantom of the Paradise show on Saturday.
Metrograph
“Get Crazy” offers Cold Water, a 4K restoration of Possession continues, and to celebrate Sisters with Transistors, the series “With Music By…” offers A Clockwork Orange and Forbidden Planet.
Film...
- 10/22/2021
- by Nick Newman
- The Film Stage
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSAbove: Fox Maxy's Maat Means Land (2020) MoMA has announced the lineup and schedule for “To The Lighthouse,” a thrilling carte blanche program by curator Mark McElhatten featuring new films by Nathaniel Dorsky, Ernie Gehr, Jodie Mack, Dani and Sheilah ReStack, and more, along with older films by Rivette, Joseph H. Lewis, Claire Denis, and Marguerite Duras.An essential annual list, Filmmaker Magazine's 25 new faces of film for 2021 includes Kate Gondwe (the founder of Dezda Films), filmmaker Fox Maxy, Omnes Films (the collective behind Tyler Taormina's Ham on Rye), and others. A24 and Emma Stone’s production company, Fruit Tree Banner, have come together to back Jane Schoenbrun's I Saw The TV Glow. The film, a follow-up to Schoenbrun's debut from this year, We’re All Going to the World’s Fair, follows...
- 10/13/2021
- MUBI
Above: Poster by Frank Stella for the 9th New York Film Festival.Compared to the 32 films in the main slate of this year’s New York Film Festival, not to mention the seemingly hundreds of others playing in sidebars, the 1971 edition of the NYFF, half a century ago, was a lean affair. With only 18 films, down from 78 just four years earlier, the ninth edition of the NYFF was, according to its director Richard Roud, a “belt-tightening festival, a year of consolidation.” In fact, the financially strapped festival almost didn’t take place that year. A New York Times article published midway through the event mentions that “outside the 984-seat Vivian Beaumont Theater, there is only one poster announcing the festival [one assumes it was the beautiful Frank Stella poster above] that is quietly and modestly taking place inside.” A far cry from the glorious phalanx of digital billboards currently beaming outside Alice Tully Hall and the Elinor Bunin Center.The...
- 10/6/2021
- MUBI
The Man from Onan (1971). Image from the 2021 edition of Film as a Subversive Art, courtesy of The Film DeskFilm programmer, critic, and educator, Amos Vogel was fueled by the conviction that cinema, more than just a mechanism for entertainment or vehicle of self-expression, presented a myriad of possibilities, amongst them the potential to educate, power to politicize and ability to subvert. It was a conviction that set him apart from many of his contemporaries who, viewing commercial iterations of cinema as products of the calculated and narcotic American culture industry, cast aspersions on its inherent value. Theodor Adorno, for example, notoriously excluded cinema from the field of Art with the logic that its aesthetic techniques were subordinate to its technological ones, proclaiming, “I love to go to the movies; the only thing that bothers me is the image on the screen.”Determined to counter the medium’s marginalization, Vogel founded...
- 9/27/2021
- MUBI
The 59th annual New York Film Festival kicked off Friday night with back-to-back world premiere screenings of Joel Coen’s The Tragedy of Macbeth as the Frances McDormand, Denzel Washington-starrer met with loving applause at Lincoln Center’s full Alice Tully Hall.
There was much clapping throughout the evening, starting with Daniel Stern chairman of the board of directors of Film at Lincoln Center, who was first up with a nod to the times. “We went back and forth about how we can do this, if we can do this… Keep your masks over your nose and mouth. We really want everyone to feel comfortable.”
“We’ve been through a lot,” said Festival Director Eugene Hernandez. “Tonight feels like a homecoming for us because we haven’t been able to gather together in this space for so long.” There was a red carpet in between screenings and a lively...
There was much clapping throughout the evening, starting with Daniel Stern chairman of the board of directors of Film at Lincoln Center, who was first up with a nod to the times. “We went back and forth about how we can do this, if we can do this… Keep your masks over your nose and mouth. We really want everyone to feel comfortable.”
“We’ve been through a lot,” said Festival Director Eugene Hernandez. “Tonight feels like a homecoming for us because we haven’t been able to gather together in this space for so long.” There was a red carpet in between screenings and a lively...
- 9/25/2021
- by Jill Goldsmith
- Deadline Film + TV
After a hiatus where New York’s theaters closed during the pandemic, we’re delighted to announce the return of NYC Weekend Watch, our weekly round-up of repertory offerings. While many theaters are still focused on a selection of new releases, a handful of worthwhile repertory screenings are taking place.
Film at Lincoln Center
NYFF’s Revivals is back! There’s almost too much to count—Sweet Sweetback, Hester Street, Ratcatcher… meanwhile, the Amos Vogel retrospective has a number of treasures.
Roxy Cinema
A 35mm print of Eastwood’s underseen Bird screens, as do shorts by Agnès Varda.
Museum of the Moving Image
A print of Barry Lyndon screens on Saturday, while 2001 plays on 70mm this Friday and Dcp on Sunday. Meanwhile, a Shinya Tsukamoto double feature plays on Friday.
Paris Theater
Brokeback Mountain shows on 35mm this Saturday.
Film Forum
As a 4K restoration of Goodfellas continues, Breathless begins...
Film at Lincoln Center
NYFF’s Revivals is back! There’s almost too much to count—Sweet Sweetback, Hester Street, Ratcatcher… meanwhile, the Amos Vogel retrospective has a number of treasures.
Roxy Cinema
A 35mm print of Eastwood’s underseen Bird screens, as do shorts by Agnès Varda.
Museum of the Moving Image
A print of Barry Lyndon screens on Saturday, while 2001 plays on 70mm this Friday and Dcp on Sunday. Meanwhile, a Shinya Tsukamoto double feature plays on Friday.
Paris Theater
Brokeback Mountain shows on 35mm this Saturday.
Film Forum
As a 4K restoration of Goodfellas continues, Breathless begins...
- 9/24/2021
- by Nick Newman
- The Film Stage
This Friday, the 59th New York Film Festival kicks off, boasting one of the finest festival lineups of 2021. With highlights from Sundance, Cannes, Berlinale, Telluride, and premieres of their own, the annual event is back in person both at Film at Lincoln Center and, for the first time, across the city.
To kick off our coverage, we’ve rounded up some essential, perhaps under-the-radar (at least in relation to a certain sci-fi blockbuster) selections from the festival, ranging from new releases to restorations. If you’re in the area, one can also see all available tickets here.
A Chiara (Jonas Carpignano)
Writer-director Jonas Carpignano completes his Calabrian trilogy with A Chiara, an enthralling drama about a teenage girl coming to terms with her family’s role in the mafia, which won the Europa Cinema Label at the Directors’ Fortnight in Cannes. With a documentary-like authenticity, this is a touching, powerful...
To kick off our coverage, we’ve rounded up some essential, perhaps under-the-radar (at least in relation to a certain sci-fi blockbuster) selections from the festival, ranging from new releases to restorations. If you’re in the area, one can also see all available tickets here.
A Chiara (Jonas Carpignano)
Writer-director Jonas Carpignano completes his Calabrian trilogy with A Chiara, an enthralling drama about a teenage girl coming to terms with her family’s role in the mafia, which won the Europa Cinema Label at the Directors’ Fortnight in Cannes. With a documentary-like authenticity, this is a touching, powerful...
- 9/23/2021
- by The Film Stage
- The Film Stage
Though New York moviegoing is (sort of) getting back to normal, we’ve only now filled one of the biggest spots: Metrograph have announced a return of their theater and commissary on October 1, while Metrograph At Home programming will continue through their site and Metrograph TV app.
The lineup, currently handled by new programmer-at-large Nellie Killian, doesn’t seem to have missed a step: there’s the cool factor of Żuławski’s Possession restored in 4K, the auteurist cred of a four-film Eastwood series, new releases like Bulletproof and Labyrinth of Cinema, the high art of an Amos Vogel tribute—precisely what we’ve missed for, God help us, 18 months.
Health and safety guidelines can be found here, and a highlight of October programming below.
Opens October 1
Possession (1981)
New 4K Restoration of Andrzej Żuławski’s Hallucinatory Masterpiece
Banned upon its original release in 1981, Andrzej Żuławski’s stunningly choreographed nightmare of...
The lineup, currently handled by new programmer-at-large Nellie Killian, doesn’t seem to have missed a step: there’s the cool factor of Żuławski’s Possession restored in 4K, the auteurist cred of a four-film Eastwood series, new releases like Bulletproof and Labyrinth of Cinema, the high art of an Amos Vogel tribute—precisely what we’ve missed for, God help us, 18 months.
Health and safety guidelines can be found here, and a highlight of October programming below.
Opens October 1
Possession (1981)
New 4K Restoration of Andrzej Żuławski’s Hallucinatory Masterpiece
Banned upon its original release in 1981, Andrzej Żuławski’s stunningly choreographed nightmare of...
- 9/9/2021
- by Leonard Pearce
- The Film Stage
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSAbove: Sonny Chiba in Kill Bill: Volume 1 (2003). Sonny Chiba, the prolific and singular actor, martial artist and choreographer, has died at the age of 82.New York Film Festival has unveiled its Currents section, featuring a strong slate that includes Artavazd Peleshian, Ted Fendt, Shengze Zhu, Christopher Harris, Shireen Seno, Matías Piñeiro and more. NYFF will also be screening seven programs dedicated to the centenary of the late film programmer and festival co-founder Amos Vogel. The retrospective includes works by Glauber Rocher, Oskar Fischinger, and Dušan Makavejev. The Berwick Film & Media Arts Festival has announced its lineup. This year's Focus program will showcase the works of Cambodian production company Anti-Archive, Nguyễn Trinh Thí, Rajee Samarasinghe, and Sps Community Media. Organized by Arsenal – Institute for Film and Video Art, Archival Assembly #1 will take place from...
- 8/25/2021
- MUBI
Yasuzo Masumura takes horror into kinky territory in an Edogawa Ranpo shocker about obsession, namely, mixing sex and death. Michio is the tactile-fixated blind sculptor who imprisons model Aki to serve as an ultimate objectified ‘body’ — but she eventually joins him, taking the lead on a delirious suicidal journey of discovery. Probably once considered pornographic, the 1969 show is fairly tame by today’s Nc-17 standards, and not as radically violent or abhorrent as one might expect — but it’s still loaded with weird, Dangerous Ideas. The sets are not to be believed — the unhinged artist lives in a surreal workspace surrounded by hundreds of oversized sculptures of body parts.
The Blind Beast (Moju)
Blu-ray
Arrow Academy
1969 / Color / 2:35 widescreen / 84 min. / Street Date August 24, 2021 / Moju; Warehouse / 39.95
Starring: Eiji Funakoshi, Mako Midori, Noriko Sengoku.
Cinematography: Setsuo Kobayashi
Art Director: Shigeo Muno
Original Music: Hikaru Hayashi
Written by Yoshio Shirasaka from a novel...
The Blind Beast (Moju)
Blu-ray
Arrow Academy
1969 / Color / 2:35 widescreen / 84 min. / Street Date August 24, 2021 / Moju; Warehouse / 39.95
Starring: Eiji Funakoshi, Mako Midori, Noriko Sengoku.
Cinematography: Setsuo Kobayashi
Art Director: Shigeo Muno
Original Music: Hikaru Hayashi
Written by Yoshio Shirasaka from a novel...
- 8/21/2021
- by Glenn Erickson
- Trailers from Hell
New York Film Festival organizers have unveiled the slate for its Spotlight section, which includes Dune, C’mon C’mon, Red Rocket and other titles of note.
Spotlight is the venue where the festival’s presenting organization, Film at Lincoln Center, aims to showcase the fall season’s most anticipated films. The festival, which is returning to in-person screenings after a 2020 edition at drive-ins and online, runs September 24 to October 10.
A24 is distributing C’mon C’mon, which stars Joaquin Phoenix and is directed by Mike Mills. The company hasn’t divulged plans for its festival run, but Film at Lincoln Center is listing the film as a New York premiere. That’s a common designation for films debuting at Telluride, which falls a few weeks before NYFF but announces its lineup just prior to its first screenings. Dune is ticketed for Venice ahead of Warner Bros’ theatrical release in October. Sean Baker’s...
Spotlight is the venue where the festival’s presenting organization, Film at Lincoln Center, aims to showcase the fall season’s most anticipated films. The festival, which is returning to in-person screenings after a 2020 edition at drive-ins and online, runs September 24 to October 10.
A24 is distributing C’mon C’mon, which stars Joaquin Phoenix and is directed by Mike Mills. The company hasn’t divulged plans for its festival run, but Film at Lincoln Center is listing the film as a New York premiere. That’s a common designation for films debuting at Telluride, which falls a few weeks before NYFF but announces its lineup just prior to its first screenings. Dune is ticketed for Venice ahead of Warner Bros’ theatrical release in October. Sean Baker’s...
- 8/19/2021
- by Dade Hayes
- Deadline Film + TV
Film at Lincoln Center on Thursday revealed the lineup of the New York Film Festival’s Spotlight section, showcasing some of the season’s most significant films. They include Denis Villeneuve’s highly anticipated “Dune” adaptation, which will play NYFF after its Venice premiere earlier in September; the North American premiere of Wes Anderson’s “The French Dispatch;” Maggie Gyllenhaal’s directorial debut “The Lost Daughter,” starring Olivia Colman; and Mike Mills’ “C’mon C’mon,” starring Joaquin Phoenix, Gaby Hoffmann, and Jaboukie Young-White.
The buzzy titles are in addition to an already-announced main slate, which includes Julia Ducournau’s Palme d’Or winner “Titane,” festival opener “The Tragedy of Macbeth” from Joel Coen, and Pedro Almodóvar’s “Parallel Mothers,” the closing film.
Additionally, the festival announced Thursday a retrospective sidebar paying tribute to the centenary of late film programmer and festival co-founder Amos Vogel. Titles include films from Glauber Rocha, John Huston,...
The buzzy titles are in addition to an already-announced main slate, which includes Julia Ducournau’s Palme d’Or winner “Titane,” festival opener “The Tragedy of Macbeth” from Joel Coen, and Pedro Almodóvar’s “Parallel Mothers,” the closing film.
Additionally, the festival announced Thursday a retrospective sidebar paying tribute to the centenary of late film programmer and festival co-founder Amos Vogel. Titles include films from Glauber Rocha, John Huston,...
- 8/19/2021
- by Chris Lindahl
- Indiewire
The New York Film Festival has added several new films to its lineup for the 59th edition of the festival, including screenings of “Dune,” “The French Dispatch,” “Red Rocket,” “The Lost Daughter” and Mike Mills’ “C’mon C’mon” with Joaquin Phoenix.
Other films added to the lineup include Mamoru Hosoda’s “Belle,” Charlotte Gainsbourg’s “Jane by Charlotte,” Marco Bellocchio’s “Marx Can Wait” in its North American premiere and Joanna Hogg’s “The Souvenir.”
“C’mon C’mon” will make its New York premiere at NYFF59 and is the latest from “Beginners” and “20th Century Women” director Mills. In it, Phoenix plays a soulful, kindhearted radio journalist deep into a project in which he interviews children across the U.S. about the world’s uncertain future. The film finds him connecting to his 8-year-old nephew, who is suffering from mental health issues, in ways he never expected and takes him on a cross-country journey.
Other films added to the lineup include Mamoru Hosoda’s “Belle,” Charlotte Gainsbourg’s “Jane by Charlotte,” Marco Bellocchio’s “Marx Can Wait” in its North American premiere and Joanna Hogg’s “The Souvenir.”
“C’mon C’mon” will make its New York premiere at NYFF59 and is the latest from “Beginners” and “20th Century Women” director Mills. In it, Phoenix plays a soulful, kindhearted radio journalist deep into a project in which he interviews children across the U.S. about the world’s uncertain future. The film finds him connecting to his 8-year-old nephew, who is suffering from mental health issues, in ways he never expected and takes him on a cross-country journey.
- 8/19/2021
- by Brian Welk
- The Wrap
The 59th New York Film Festival continues to expand its lineup, following Main Slate and Revivals announcements. The in-person event, which will take place from September 24 to October 10, has unveiled their Spotlight section, featuring a number of highly anticipated films—including Mike Mills’ Joaquin Phoenix-led C’mon C’mon (pictured above), Sean Baker’s Red Rocket, Wes Anderson’s The French Dispatch, Denis Villeneuve’s Dune, Maggie Gyllenhaal’s The Lost Daughter, Mamoru Hosoda’s Belle, and docs by Charlotte Gainsbourg and Marco Bellocchio.
Equally exciting is their tribute to the centenary of late programmer and festival co-founder Amos Vogel, featuring films from Glauber Rocha, John Huston, and trailblazers of the Czech New Wave; a program from NYFF5 sidebar The Social Cinema in America, featuring Lebert Bethune’s Malcolm X: Struggle for Freedom, Santiago Álvarez’s dispatch from postrevolutionary Cuba, Now, and David Neuman and Ed Pincus’s snapshot of Civil Rights-era Mississippi,...
Equally exciting is their tribute to the centenary of late programmer and festival co-founder Amos Vogel, featuring films from Glauber Rocha, John Huston, and trailblazers of the Czech New Wave; a program from NYFF5 sidebar The Social Cinema in America, featuring Lebert Bethune’s Malcolm X: Struggle for Freedom, Santiago Álvarez’s dispatch from postrevolutionary Cuba, Now, and David Neuman and Ed Pincus’s snapshot of Civil Rights-era Mississippi,...
- 8/19/2021
- by Leonard Pearce
- The Film Stage
NYFF59 to pay tribute to late film programmer, festival co-founder Amos Vogel.
Mike Mills’s upcoming Telluride world premiere C’mon C’mon starring Joaquin Phoenix, Denis Villeneuve’s imminent Venice world premiere Dune and North American premieres of Cannes selections The French Dispatch by Wes Anderson and Marx Can Wait from Marco Bellochio are among the Spotlight programme at the 59th New York Film Festival (NYFF59) that runs September 24-October 10.
C’mon C’mon from A24 stars Phoenix as a kind-hearted radio journalist who goes on a trip with his nephew. Mills previously played the festival with Beginners and 20th Century Women. Gabbie...
Mike Mills’s upcoming Telluride world premiere C’mon C’mon starring Joaquin Phoenix, Denis Villeneuve’s imminent Venice world premiere Dune and North American premieres of Cannes selections The French Dispatch by Wes Anderson and Marx Can Wait from Marco Bellochio are among the Spotlight programme at the 59th New York Film Festival (NYFF59) that runs September 24-October 10.
C’mon C’mon from A24 stars Phoenix as a kind-hearted radio journalist who goes on a trip with his nephew. Mills previously played the festival with Beginners and 20th Century Women. Gabbie...
- 8/19/2021
- by Jeremy Kay
- ScreenDaily
The Notebook Primer introduces readers to some of the most important figures, films, genres, and movements in film history.HolidayFrom the establishment of the Studio Małych Form Filowych in 1947 through the years immediately following the collapse of the communist regime in the country in 1989, animation flourished in Poland as an integral part of its film industry. “All of cinema is essentially animation,” said Walerian Borowczyk in 1984, echoing Amos Vogel’s conception of cinema at large. “A roll of film is just a roll of photos; it’s the same thing if you supplant the photos with drawings.” By extension, one might make no distinction between “live-action” and animation, or between what one sees onscreen and its allegorical reflection of life experience.This is especially true for Polish animation. To classify the genre in terms of nationality and not “culturally” or ideologically (the more vague “Soviet” implying animation made under a...
- 3/31/2021
- MUBI
Dušan Makavejev was born on King Milutin Street in Belgrade on October 13, 1932. This was about nine years before the city was occupied by the Nazis, at which point the Chinese embassy across the street became the headquarters of the German Chief Command of the Southeast. As a child, he watched German officers go in and out of the building, one of whom, Kurt Waldheim, would later become the Secretary of the United Nations—though of course the young Makavejev didn’t know this at the time. Following the Second World War, it was under Tito's Communist, but anti-Stalinist Yugoslavia that Makavejev first emerged as a major Eastern European filmmaker, initially associated with the loosely defined Novi Film (new film) movement. His eclectic career, the subject of a major retrospective at New York's Anthology Archives, garnered praise from the likes of Amos Vogel, Robin Wood, Stanley Cavell, Jonas Mekas, and Roger Ebert,...
- 2/27/2020
- MUBI
Film at Lincoln Center has appointed the new director of the New York Film Festival, and his name is familiar to longtime readers of this site. IndieWire co-founder Eugene Hernandez will take over the prestigious fall gathering, marking a significant shift in the festival’s nearly 60-year history.
Hernandez spent the last decade as digital director, then deputy executive director, of Film at Lincoln Center. Dennis Lim, who serves as director of year-round programming, will now also serve as director of programming for the festival.
Hernandez’s new job has personal reverberations for IndieWire, which traces some of its roots to the festival. Even the prospect of interviewing the new festival director creates a potential conflict of interest for this writer, who — full disclosure! — worked for him during his last three years as editor of the site.
At the same time, it would be disingenuous not to acknowledge the connection:...
Hernandez spent the last decade as digital director, then deputy executive director, of Film at Lincoln Center. Dennis Lim, who serves as director of year-round programming, will now also serve as director of programming for the festival.
Hernandez’s new job has personal reverberations for IndieWire, which traces some of its roots to the festival. Even the prospect of interviewing the new festival director creates a potential conflict of interest for this writer, who — full disclosure! — worked for him during his last three years as editor of the site.
At the same time, it would be disingenuous not to acknowledge the connection:...
- 2/19/2020
- by Eric Kohn
- Indiewire
Kent Jones: "Throughout its history, it has been a true home for the art of cinema - that was how it began with Richard Roud and Amos Vogel, that was how it remained with my predecessor Richard Peña, and that was how I’ve done my best to maintain it." Photo: Anne-Katrin Titze
Film at Lincoln Center has announced this afternoon that Kent Jones, director of the New York Film Festival will "step down" following this year's program. Kent in his seven year tenure initiated the Spotlight on Documentary and Convergence sections and will stay on in an advisory role.
Kent Jones: "I thank my colleagues, I thank the board for sticking to the original mission, I thank our audiences, I thank our colleagues in the industry" Photo: Anne-Katrin Titze
The 57th New York Film Festival Opening Night selection is the world première of Martin Scorsese's The Irishman with Robert De Niro,...
Film at Lincoln Center has announced this afternoon that Kent Jones, director of the New York Film Festival will "step down" following this year's program. Kent in his seven year tenure initiated the Spotlight on Documentary and Convergence sections and will stay on in an advisory role.
Kent Jones: "I thank my colleagues, I thank the board for sticking to the original mission, I thank our audiences, I thank our colleagues in the industry" Photo: Anne-Katrin Titze
The 57th New York Film Festival Opening Night selection is the world première of Martin Scorsese's The Irishman with Robert De Niro,...
- 9/19/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Kent Jones, the director and selection committee chair of the New York Film Festival, will step down from his position following the upcoming 57th edition of the festival, Film at Lincoln Center announced Thursday.
Jones has been the director of the festival for seven years, and he’ll depart after the festival concludes, which takes place between Sept. 27 and Oct. 13. Film at Lincoln Center’s executive director Lesli Klainberg will oversee the transition of leadership, but no replacement has yet been announced. Jones will also continue to work with the team in an advisory role.
“At some point when I was pretty young and already deep into movies, the New York Film Festival became a beacon for me,” Jones said in a statement. “Throughout its history, it has been a true home for the art of cinema–that was how it began with Richard Roud and Amos Vogel, that was...
Jones has been the director of the festival for seven years, and he’ll depart after the festival concludes, which takes place between Sept. 27 and Oct. 13. Film at Lincoln Center’s executive director Lesli Klainberg will oversee the transition of leadership, but no replacement has yet been announced. Jones will also continue to work with the team in an advisory role.
“At some point when I was pretty young and already deep into movies, the New York Film Festival became a beacon for me,” Jones said in a statement. “Throughout its history, it has been a true home for the art of cinema–that was how it began with Richard Roud and Amos Vogel, that was...
- 9/19/2019
- by Brian Welk
- The Wrap
Kent Jones, now in his seventh year as director of the New York Film Festival, will step down from that position following this year’s 57th edition, the Film at Lincoln Center organization announced today.
Jones, whose career as a film director surged last year with the release of his first narrative feature Diane starring Mary Kay Place (Rotten Tomato score: 93), will continue to work with Flc in an advisory role. Film at Lincoln Center’s Executive Director Lesli Klainberg will oversee the transition of leadership for Nyff.
Jones has been associated with Film at Lincoln Center for more than two decades, including as a year-round programmer, a member of the festival’s selection committee, and contributor to Film Comment.
As director, Jones was credited with expanding the festival with sidebars and new sections including the Spotlight on Documentary and Convergence sections. His tenure saw the first selection of a...
Jones, whose career as a film director surged last year with the release of his first narrative feature Diane starring Mary Kay Place (Rotten Tomato score: 93), will continue to work with Flc in an advisory role. Film at Lincoln Center’s Executive Director Lesli Klainberg will oversee the transition of leadership for Nyff.
Jones has been associated with Film at Lincoln Center for more than two decades, including as a year-round programmer, a member of the festival’s selection committee, and contributor to Film Comment.
As director, Jones was credited with expanding the festival with sidebars and new sections including the Spotlight on Documentary and Convergence sections. His tenure saw the first selection of a...
- 9/19/2019
- by Greg Evans
- Deadline Film + TV
Programmer and filmmaker directed Tribeca 2018 selection Diane.
Kent Jones, the director of New York Film Festival and chair of the festival’s selection committee, will step down to focus on his filmmaking career after the 57th edition, which kicks off with the world premiere of The Irishman later this month.
Jones has been associated with Film at Lincoln Center for more than two decades as a year-round programmer, Nyff selection committee member, and Film Comment contributor.
Film at Lincoln Center executive director Lesli Klainberg will oversee the transition of leadership at the festival. Jones will continue to work with Film...
Kent Jones, the director of New York Film Festival and chair of the festival’s selection committee, will step down to focus on his filmmaking career after the 57th edition, which kicks off with the world premiere of The Irishman later this month.
Jones has been associated with Film at Lincoln Center for more than two decades as a year-round programmer, Nyff selection committee member, and Film Comment contributor.
Film at Lincoln Center executive director Lesli Klainberg will oversee the transition of leadership at the festival. Jones will continue to work with Film...
- 9/19/2019
- by Jeremy Kay
- ScreenDaily
As with many veterans of the Film Society of Lincoln Center, which is being renamed Film at Lincoln Center to mark its 50th Anniversary this week, longtime former executive director Joanne Koch has some stories to tell.
“We tried to get Katharine Hepburn at the Chaplin Gala, and she wrote me and said she’d rather go to the South Pole,” Koch laughs. “But when we honored George Cukor in 1978, she was very nervous, but she came — and the audience went crazy.”
So did the Lincoln Center board chairman George Weissman in 1989, but for another reason. “The New York Film Festival was showing ‘Roger and Me,’ which attacked General Motors, a substantial donor to Lincoln Center. I remember [George] saying, ‘Are you really going to show this film?’ I said yes, and we did.”
Longtime former program director and Nyff selection committee chairman Richard Peña has a slightly different memory of the screening.
“We tried to get Katharine Hepburn at the Chaplin Gala, and she wrote me and said she’d rather go to the South Pole,” Koch laughs. “But when we honored George Cukor in 1978, she was very nervous, but she came — and the audience went crazy.”
So did the Lincoln Center board chairman George Weissman in 1989, but for another reason. “The New York Film Festival was showing ‘Roger and Me,’ which attacked General Motors, a substantial donor to Lincoln Center. I remember [George] saying, ‘Are you really going to show this film?’ I said yes, and we did.”
Longtime former program director and Nyff selection committee chairman Richard Peña has a slightly different memory of the screening.
- 4/29/2019
- by Gregg Goldstein
- Variety Film + TV
Agnes Varda is deservedly eulogized in newspapers and on social media all over America today, but critics, programmers and audiences in the U.S. took time in recognizing her accomplishments. It took several decades for her work gain appreciation in the U.S., and during that time, I witnessed Varda’s ability to continue evolving as an artist every step of the way.
While Varda’s debut feature, “La Pointe Courte” (1955) has yet to have a theatrical release in America, her early short, “L’Opera Mouffe” (1958), was distributed by Cinema 16, an important film club run by Amos and Marcia Vogel in the 50’s and early 60’s dedicated to the showing and release of experimental and avant-garde cinema. The film won some notoriety because of its casual nudity — then still rare on American screens — and it was booked in film societies around the country seeding the bed for later Varda appreciation.
While Varda’s debut feature, “La Pointe Courte” (1955) has yet to have a theatrical release in America, her early short, “L’Opera Mouffe” (1958), was distributed by Cinema 16, an important film club run by Amos and Marcia Vogel in the 50’s and early 60’s dedicated to the showing and release of experimental and avant-garde cinema. The film won some notoriety because of its casual nudity — then still rare on American screens — and it was booked in film societies around the country seeding the bed for later Varda appreciation.
- 3/31/2019
- by Laurence Kardish
- Indiewire
Far from the factory of Hollywood, American film culture would never have made it this far without its greatest advocate. Jonas Mekas was the most important cinephile in film history. His legacy contained multitudes: wartime refugee, New York movie buff, daring exhibitor, revolutionary critic, boundary-pushing filmmaker, poet, musician, wine connoisseur, the center of every party. Until his death at the age of 96 this week, the Lithuanian-born immigrant remained a resilient embodiment of the essential link between creating, and advocating for creativity, in all facets of life.
At the closing-night party for the New York Film Festival in September, Mekas stuck around until 1 a.m., hanging with the likes of Julian Schnabel, Louis Garrel, and Ed Lachman. Mekas acolytes were everywhere, across multiple generations of film history, and they delighted at the opportunity to spend time by his side.
I once drank wine with Mekas for two hours in his Greenpoint...
At the closing-night party for the New York Film Festival in September, Mekas stuck around until 1 a.m., hanging with the likes of Julian Schnabel, Louis Garrel, and Ed Lachman. Mekas acolytes were everywhere, across multiple generations of film history, and they delighted at the opportunity to spend time by his side.
I once drank wine with Mekas for two hours in his Greenpoint...
- 1/23/2019
- by Eric Kohn
- Indiewire
Above: French grande for Capricious Summer. Artist: F. Dervanore.As the 56th New York Film Festival winds down this weekend, I wanted to look back half a century to the 6th edition of the festival. Uppermost in everyone’s minds in September 1968 was Czechoslovakia, which, after a brief seven months of liberation known as the Prague Spring, had been invaded less than a month before the festival began, by Warsaw Pact tanks and troops intended to suppress reforms. Whether it had been planned before the Soviet invasion, the 6th New York Film Festival notably opened and closed with Czech films: Jiri Menzel’s Capricious Summer and Milos Forman’s The Firemen’s Ball. It also featured Jan Nemec’s previously banned 1966 film A Report on the Party and the Guests which had been released in ’68 under the reformist president Alexander Dubček and shown as a special event on Czech national...
- 10/13/2018
- MUBI
In a letter dated June 1, 1962, the newly formed Film-Makers’ Cooperative offered their first list of films that were available to rent. Fourteen filmmakers were represented.
The need to form a cooperative distribution center for what were then called “independent filmmakers” was made in a series of meetings in the autumn of 1960. The meetings were organized by Jonas Mekas and Lew Allen; and included New York City-based filmmakers such as Robert Frank, Shirley Clarke, Adolfas Mekas, Ben Carruthers, Peter Bogdanovich and others. These informal meetings would eventually coalesce into the formation of the New American Cinema Group.
On September 30, 1960, Jonas Mekas presented The First Statement of the New American Cinema Group manifesto. One of the items in the manifesto stated that filmmaker Emile de Antonio was entrusted with the task of forming the distribution center, although there’s no record of de Antonio’s actual involvement beyond that.
The distribution center...
The need to form a cooperative distribution center for what were then called “independent filmmakers” was made in a series of meetings in the autumn of 1960. The meetings were organized by Jonas Mekas and Lew Allen; and included New York City-based filmmakers such as Robert Frank, Shirley Clarke, Adolfas Mekas, Ben Carruthers, Peter Bogdanovich and others. These informal meetings would eventually coalesce into the formation of the New American Cinema Group.
On September 30, 1960, Jonas Mekas presented The First Statement of the New American Cinema Group manifesto. One of the items in the manifesto stated that filmmaker Emile de Antonio was entrusted with the task of forming the distribution center, although there’s no record of de Antonio’s actual involvement beyond that.
The distribution center...
- 4/1/2018
- by Mike Everleth
- Underground Film Journal
In 1983, the Walker Art Center in Minneapolis, Minnesota, along with Media Study/Buffalo, created a touring retrospective of avant-garde films, primarily feature-length ones and a few shorts, which they called “The American New Wave 1958-1967.” To accompany the tour, a hefty catalog was produced that included notes on the films, essays by film historians and critics, writings by major underground film figures and more.
The retrospective was created at a time when financially viable independent filmmaking was on the rise, such as films made by John Sayles, Wayne Wang and Susan Seidelman. According to the co-curators of the retrospective, Melinda Ward and Bruce Jenkins, the objective of the tour was to:
provide a more adequate picture than conventional history affords us of a rare period of American cinematic invention and thereby prepare a coherent critical and historical context for the reception of the new work by the current generation of independent filmmakers.
The retrospective was created at a time when financially viable independent filmmaking was on the rise, such as films made by John Sayles, Wayne Wang and Susan Seidelman. According to the co-curators of the retrospective, Melinda Ward and Bruce Jenkins, the objective of the tour was to:
provide a more adequate picture than conventional history affords us of a rare period of American cinematic invention and thereby prepare a coherent critical and historical context for the reception of the new work by the current generation of independent filmmakers.
- 11/25/2017
- by Mike Everleth
- Underground Film Journal
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
The New York Film Festival is one of the most prestigious events on the film festival calendar. This non-competitive event is held in New York in the fall annually and usually focuses on between 20 and 30 feature films although there are many sidebars that highlight niche categories of cinematography. This well-established festival has an interesting history and has seen many changes since its beginnings. It was founded in 1963 by Amos Vogel and Richard Roud. They were supported by William Schuman, who was the president of the Lincoln Center. The Film Society of Lincoln Center still presents the New
A Brief History of the New York Film Festival...
A Brief History of the New York Film Festival...
- 10/4/2017
- by Nat Berman
- TVovermind.com
Mubi's retrospective Bertrand Mandico's Cinema is showing July 26 - October 7, 2017 in many countries around the world.The cinema of French filmmaker and animator Bertrand Mandico is unique in its approach to depicting the human body. For Mandico, the body’s status as a film subject is comparable to and interchangeable with that of any other film subject. That is, ‘animate objects’—such as human characters or animals—occupy the same cinematic roles as ‘inanimate’ ones—such as housewares or artificial structures, collapsing the binary that exists between the two. Mandico’s films time and again blur the line between binaries—animate and inanimate, male and female—and in doing so demonstrate their arbitrary nature as film subjects. Bodies and objects in Mandico’s cinema often appear abstracted and juxtaposed vis-a-vis each other, such as when women portray lamps and men portray statues in Our Lady of Hormones (2014). At first glance,...
- 8/28/2017
- MUBI
That bad boy of (mostly) French cinema Walerian Borowczyk has been converting doubters into fans for sixty years, even though his pictures were never easy to see. Before he took a headlong leap into soft-core epics, he made some of the most creative and influential short films of his time — and they eventually became more erotic as well.
The Walerian Borowczyk Short Film Collection
Blu-ray
Olive Films
1959-1984 / B&W and Color / 1:66, 1:78 and 1:37 flat Academy / 144 min. / Street Date April 25, 2017 / available through the Olive Films website / 24.95
Directed by Walerian Borowczyk
This release brings back memories of traveling short subject shows, usually several reels’ worth of experimental films that would tour college campuses. Even in High School I’d drag my girlfriend to the University of Riverside, where huge crowds looking for the ‘In’ place to be would stare in attention at hours of abstract visuals, expressing their approval...
The Walerian Borowczyk Short Film Collection
Blu-ray
Olive Films
1959-1984 / B&W and Color / 1:66, 1:78 and 1:37 flat Academy / 144 min. / Street Date April 25, 2017 / available through the Olive Films website / 24.95
Directed by Walerian Borowczyk
This release brings back memories of traveling short subject shows, usually several reels’ worth of experimental films that would tour college campuses. Even in High School I’d drag my girlfriend to the University of Riverside, where huge crowds looking for the ‘In’ place to be would stare in attention at hours of abstract visuals, expressing their approval...
- 5/13/2017
- by Glenn Erickson
- Trailers from Hell
Not everyone wants to be a director (Splat! Half of my readers faint in disbelief). I decided at age 19 that I would be a Director of Photography. Having been raised by very cool and artistic parents, I was surrounded by art, film, music, advertising, theater, books and understood each as a possible career. However, it wasn’t until I took Amos Vogel’s film theory class at the University of Pennsylvania and dissected “Taxi Driver” to the minutest detail that I realized it was cinematography specifically that enchanted me. I asked the Twittersphere what my next article should be. Donald Dankwa Brooks suggested “Why Be a Dp?” targeted at young filmmakers unsure of their proper...
- 2/26/2016
- by Cybel Martin
- ShadowAndAct
You want radical? Look no further. Nagisa Oshima's near-legendary issue drama makes a wickedly frightening protest against the death penalty, but then proceeds into formal abstraction and the endorsement of a violent radical position. You can't find a political 'gauntlet picture' as jarring or as potent as this one. Death by Hanging Blu-ray The Criterion Collection 798 1968 / B&W / 1:85 widescreen / 118 min. / Kôshikei / available through The Criterion Collection / Street Date February 16, 2016 / 39.95 Starring Do-yun Yu, Kei Sato, Fumio Watanabe, Toshiro Ishido, Masao Adachi, Rokko Toura, Hosei Komatsu, Masao Matsuda, Akiko Koyama. Cinematography Yasuhiro Yoshioka Film Editor Sueko Shiraishi Original Music Hikaru Hayashi Written by Michinori Fukao. Mamoru Sasaki, Tsutomu Tamura, Nagisa Oshima Produced by Masayuki Nakajima, Takuji Yamaguchi, Nagisa Oshima Directed by Nagisa Oshima
Reviewed by Glenn Erickson
Believe me, you ain't seen nothing yet. Nagisa Oshima is a radical's radical, a cinema stylist completely committed to his politics -- which...
Reviewed by Glenn Erickson
Believe me, you ain't seen nothing yet. Nagisa Oshima is a radical's radical, a cinema stylist completely committed to his politics -- which...
- 2/2/2016
- by Glenn Erickson
- Trailers from Hell
Above: Us poster for Alphaville (Jean-Luc Godard, France, 1965).As the 53rd New York Film Festival ends today, I thought I would go back half a century and take a look at the 3rd edition of the festival. Curated by Amos Vogel and Richard Roud, the then fledgling fest comprised 17 new features, 6 retrospective selections (ranging from Feuillade’s 1915 Les vampires to Godard’s 1960 Le petit soldat), and a number of shorts or demi-features (including Chris Marker’s The Koumiko Mystery). The main slate was chock-full of masterpieces (Gertrud, Alphaville, Charulata) and films by masters (Franju, Visconti, Kurosawa) and young turks on the rise (Straub, Bellocchio, Forman, Penn, Skolimowski). And there is only one film in the list—Laurence L. Kent’s Canadian indie Caressed—that I had never heard of before.In his introduction to the festival catalog Amos Vogel wrote:“Several fascinating, contradictory facts stand out in the 1965 New York film scene.
- 10/11/2015
- by Adrian Curry
- MUBI
Daniel Bird: “What is your opinion of Walerian Borowczyk’s work?”Andrzej Żuławski: “Borowczyk? Oh, he lost himself, I think, it’s a pity because he was quite a talent.” One radical filmmaker laments another radical. With one sentence, Żuławski encapsulates the conventional arc of Borowczyk, or as he calls himself in Mr. and Mrs. Kabal's Theatre (1967), Boro’s career. He was a great animator working with Jan Lenica in Poland and, when moving to France, Chris Marker[1]. His shorts influenced Jan Švankmajer, Terry Gilliam, and the Quay Brothers, and were praised by critics like Amos Vogel and Raymond Durgnat. With his first two live-action feature-films, Goto, Island of Love (1968) and Blanche (1971), critics hailed Boro as part of the major league—an auteur. He’s the next Bresson! He’s the next Buñuel! Then he made Immoral Tales (1974), a blemish in his body of work at this point in his career.
- 4/1/2015
- by Tanner Tafelski
- MUBI
The Bitter Ash
A rather precious thing happened in Montreal in the mid 1970s. Canadian cinema had been dominated by the National Film Board since its formation in 1940, and the generally-perceived character of Canadian film was all educational documentary, and not a lot of fun. Directors such as Claude Jutra, Don Owen, and Gilles Groulx struck off on their own to make the first Canadian new wave fiction films (A tout prendre [1963], Nobody Waved Goodbye, and Le chat dans le sac [both 1964] respectively), on the back of independents like Sydney J. Furie’s groundbreaking A Dangerous Age (1959) and Larry Kent’s student feature The Bitter Ash (1963), but for all their youthful, semi-bohemian trappings, these were still quite po-faced affairs. Then came the “genial loser” films of the 70s, led by Owen’s Goin’ Down The Road (1970), and others such as The Rowdyman (Peter Carter, 1972) and Paperback Hero (Peter Pearson, 1973), for the...
A rather precious thing happened in Montreal in the mid 1970s. Canadian cinema had been dominated by the National Film Board since its formation in 1940, and the generally-perceived character of Canadian film was all educational documentary, and not a lot of fun. Directors such as Claude Jutra, Don Owen, and Gilles Groulx struck off on their own to make the first Canadian new wave fiction films (A tout prendre [1963], Nobody Waved Goodbye, and Le chat dans le sac [both 1964] respectively), on the back of independents like Sydney J. Furie’s groundbreaking A Dangerous Age (1959) and Larry Kent’s student feature The Bitter Ash (1963), but for all their youthful, semi-bohemian trappings, these were still quite po-faced affairs. Then came the “genial loser” films of the 70s, led by Owen’s Goin’ Down The Road (1970), and others such as The Rowdyman (Peter Carter, 1972) and Paperback Hero (Peter Pearson, 1973), for the...
- 2/20/2015
- by Tom Newth
- SoundOnSight
In The Front Row, Richard Brody writes on Amos Vogel (pictured above), and the ever-influential (yet contrastive) strands of cinephilia born in Paris and New York:
"Vogel’s dream of American independent filmmaking offering a significant artistic counterweight to Hollywood films has been fulfilled: independent films are now better, more original, more forward-looking than ever. The French cinephile stream exemplified by the New Wave filmmakers has won the hearts and minds of these independent filmmakers, and inspires them to this day. But the American cinephilia launched by Vogel, with its emphasis on ideological scrutiny, holds sway over many critics and viewers, perhaps more firmly than ever. That’s why the gap that Vogel lamented—the one dividing the best of independent filmmaking from the critical community and the audience—is also larger than ever."
The Coen brothers will serve as the co-presidents of the jury for the 68th Cannes Film Festival this May.
"Vogel’s dream of American independent filmmaking offering a significant artistic counterweight to Hollywood films has been fulfilled: independent films are now better, more original, more forward-looking than ever. The French cinephile stream exemplified by the New Wave filmmakers has won the hearts and minds of these independent filmmakers, and inspires them to this day. But the American cinephilia launched by Vogel, with its emphasis on ideological scrutiny, holds sway over many critics and viewers, perhaps more firmly than ever. That’s why the gap that Vogel lamented—the one dividing the best of independent filmmaking from the critical community and the audience—is also larger than ever."
The Coen brothers will serve as the co-presidents of the jury for the 68th Cannes Film Festival this May.
- 1/22/2015
- by Notebook
- MUBI
A new issue of Jump Cut is always a thumper and #56 is no exception: Mike Budd on Disney "in the era of corporate personhood," Douglas Kellner on 12 Years a Slave and Amistad, Heather Ashley Hayes and Gilbert Rodman on Django Unchained, Milo Sweedler on class warfare in the Robocop movies and Robert Alpert on the "artificial intelligence of Her." And more. Also in today's roundup of news and views: Richard Brody on Amos Vogel, James Schamus's speech "23 Fragments on the Future of Cinema," Stephanie Zacharek on The Palm Beach Story, an exhibition of work by James Benning and Peter Hutton, early word on future projects from Don Hertzfeldt and Jesse Eisenberg and more. » - David Hudson...
- 1/22/2015
- Fandor: Keyframe
A new issue of Jump Cut is always a thumper and #56 is no exception: Mike Budd on Disney "in the era of corporate personhood," Douglas Kellner on 12 Years a Slave and Amistad, Heather Ashley Hayes and Gilbert Rodman on Django Unchained, Milo Sweedler on class warfare in the Robocop movies and Robert Alpert on the "artificial intelligence of Her." And more. Also in today's roundup of news and views: Richard Brody on Amos Vogel, James Schamus's speech "23 Fragments on the Future of Cinema," Stephanie Zacharek on The Palm Beach Story, an exhibition of work by James Benning and Peter Hutton, early word on future projects from Don Hertzfeldt and Jesse Eisenberg and more. » - David Hudson...
- 1/22/2015
- Keyframe
When people attain a fascination with the medium of film they rarely choose a career in education. More often they become filmmakers, film critics (which is or at least should be some kind of education) and most often (like all of us) film buffs. The Austrian born Amos Vogel is one of the most important exceptions to this rule. Being Jewish the young Amos had to leave Germany before the beginning of World War II. He became an American citizen and lived in the States from 1939 until he died in April 2012. Vogel is best known for his book Film As A Subversive Art (1974) and his role as one of the pioneers in showing avant-garde and art films in the States. In 1947...
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- 12/17/2014
- Screen Anarchy
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