Looking at the bright colors, elaborate costumes and lush sets of “Fantasmas,” you would be forgiven for thinking the inspiration for Julio Torres‘ latest HBO comedy is more joyful than it actually is.
“Thinking about the world and thinking about the kinds of people I wanted to have in the show, this common thread of feeling alienated and feeling a little lonely kept coming up,” Torres told TheWrap. “I wrote down all of the stories I wanted to tell, saw the common denominator and allowed that to inform the through-line of the story and the overarching world of it.”
Torres originally sold his latest comedy in 2020. However, thanks to the “bottleneck of the pandemic” and the creator’s work on other projects such as his film “Problemista” — which he wrote and directed — the series was delayed.
“I feel like doing work in this industry feels like a burst,” Torres said.
“Thinking about the world and thinking about the kinds of people I wanted to have in the show, this common thread of feeling alienated and feeling a little lonely kept coming up,” Torres told TheWrap. “I wrote down all of the stories I wanted to tell, saw the common denominator and allowed that to inform the through-line of the story and the overarching world of it.”
Torres originally sold his latest comedy in 2020. However, thanks to the “bottleneck of the pandemic” and the creator’s work on other projects such as his film “Problemista” — which he wrote and directed — the series was delayed.
“I feel like doing work in this industry feels like a burst,” Torres said.
- 6/8/2024
- by Kayla Cobb
- The Wrap
Each week we highlight the noteworthy titles that have recently hit streaming platforms in the United States. Check out this week’s selections below and past round-ups here.
Am I Ok? (Stephanie Allyne and Tig Notaro)
A romantic comedy that functions best as a fable of friendship and self-reflection, Am I Ok? is the kind of lightweight, amiable movie that just barely earns the emotional beats at the heart of its story. Set in Los Angeles, it follows the converging life events of two best friends, Lucy (Dakota Johnson) and Jane (Sonoya Mizuno), soul sisters with opposite personalities who tell each other everything—except for the big secrets they’ve been harboring from each other. How they respond to hearing them fuels Stephanie Allyne and Tig Notaro’s gentle and wobbly feature debut. – Jake K-s. (full review)
Where to Stream: Max
Dad & Step-Dad (Tynan DeLong)
Following the stellar comedy Free Time,...
Am I Ok? (Stephanie Allyne and Tig Notaro)
A romantic comedy that functions best as a fable of friendship and self-reflection, Am I Ok? is the kind of lightweight, amiable movie that just barely earns the emotional beats at the heart of its story. Set in Los Angeles, it follows the converging life events of two best friends, Lucy (Dakota Johnson) and Jane (Sonoya Mizuno), soul sisters with opposite personalities who tell each other everything—except for the big secrets they’ve been harboring from each other. How they respond to hearing them fuels Stephanie Allyne and Tig Notaro’s gentle and wobbly feature debut. – Jake K-s. (full review)
Where to Stream: Max
Dad & Step-Dad (Tynan DeLong)
Following the stellar comedy Free Time,...
- 6/7/2024
- by Jordan Raup
- The Film Stage
The Paul Schrader Renaissance began the moment “First Reformed” debuted to the director’s best reviews in at least 15 years, back in 2017. The spiritual trilogy formed around it — “The Card Counter” and “Master Gardener” — have fostered in a new generation’s mind this frankly narrow vision of what constitutes a Paul Schrader movie: men in rooms, pens across diaries, peculiar revenge plots.
It’s likely that audiences anticipating another drama in which a man’s profession comes dressed as the sick soul of America will be baffled by “Oh, Canada,” his newest feature now in competition at the Cannes Film Festival. It’s based on Russell Banks’ 2021 novel “Foregone.” Those well-acquainted with Schrader’s half-century of cinema may find themselves on the edge of bafflement with this film, which uses the last will and testament of documentary filmmaker Leonard Fife (Richard Gere) as a trickle-down device for 55 years of guilt,...
It’s likely that audiences anticipating another drama in which a man’s profession comes dressed as the sick soul of America will be baffled by “Oh, Canada,” his newest feature now in competition at the Cannes Film Festival. It’s based on Russell Banks’ 2021 novel “Foregone.” Those well-acquainted with Schrader’s half-century of cinema may find themselves on the edge of bafflement with this film, which uses the last will and testament of documentary filmmaker Leonard Fife (Richard Gere) as a trickle-down device for 55 years of guilt,...
- 5/18/2024
- by Nick Newman
- Indiewire
Paul Schrader had a special job on the set of his latest film, “Oh, Canada”: drawing on the jockstrap that Jacob Elordi wears in one of the Vietnam War drama’s pivotal scenes.
There’s a choice at the heart of “Oh, Canada,” when the fictional filmmaker Leonard Fife dodges the Vietnam draft and escapes to Canada. The script leaves breadcrumbs as to what exactly happens until very late in the film, but finally Elordi is seen reporting for an Army physical. He shows up in a jockstrap with “peace and love” written on the jock, surrounded by tiny flowers. He jitters and shakes and waves his arms flamboyantly. In character, Elordi is attempting to look as unstable as possible to avoid enlisting into military service.
At the Cannes Film Festival press conference for the film, Schrader revealed that he added a finishing touch to the jockstrap that Elordi...
There’s a choice at the heart of “Oh, Canada,” when the fictional filmmaker Leonard Fife dodges the Vietnam draft and escapes to Canada. The script leaves breadcrumbs as to what exactly happens until very late in the film, but finally Elordi is seen reporting for an Army physical. He shows up in a jockstrap with “peace and love” written on the jock, surrounded by tiny flowers. He jitters and shakes and waves his arms flamboyantly. In character, Elordi is attempting to look as unstable as possible to avoid enlisting into military service.
At the Cannes Film Festival press conference for the film, Schrader revealed that he added a finishing touch to the jockstrap that Elordi...
- 5/18/2024
- by Matt Donnelly and Ellise Shafer
- Variety Film + TV
Jacob Elordi Skips Cannes as Crying Paul Schrader Accepts 4-Minute Standing Ovation for ‘Oh, Canada’
Paul Schrader shed tears as his new film “Oh, Canada” earned a four-minute standing ovation at Cannes Film Festival on Friday night.
Jacob Elordi was notably absent from the premiere because he is filming Guillermo del Toro’s “Frankenstein,” in which he stars as The Monster. After the ovation finished, Schrader addressed Elordi not being there, saying: “I’m very happy with Richard, Uma, Jake — not here with us –and it all worked out. Im very happy to be back here on the Croisette.”
Elordi, whose star continues to rise after acclaimed turns in “Saltburn” and “Priscilla,” made his Cannes debut last year in Sean Price Williams’ road movie “The Sweet East.”
The drama tells the life story of a troubled writer, Leonard Fife, who at the end of his life reflects on his decision to flee to Canada to avoid the Vietnam War draft. Richard Gere plays the present-day Leonard,...
Jacob Elordi was notably absent from the premiere because he is filming Guillermo del Toro’s “Frankenstein,” in which he stars as The Monster. After the ovation finished, Schrader addressed Elordi not being there, saying: “I’m very happy with Richard, Uma, Jake — not here with us –and it all worked out. Im very happy to be back here on the Croisette.”
Elordi, whose star continues to rise after acclaimed turns in “Saltburn” and “Priscilla,” made his Cannes debut last year in Sean Price Williams’ road movie “The Sweet East.”
The drama tells the life story of a troubled writer, Leonard Fife, who at the end of his life reflects on his decision to flee to Canada to avoid the Vietnam War draft. Richard Gere plays the present-day Leonard,...
- 5/17/2024
- by Matt Donnelly, Ramin Setoodeh and Ellise Shafer
- Variety Film + TV
Paul Schrader’s Oh, Canada, the new drama that reunites the director with his American Gigalo star Richard Gere, had its world premiere at the Cannes Film Festival Friday night, where it was welcomed with a three-minute-plus standing ovation for Schrader and his team at the Grand Lumiere Theatre. With typical Canadian politeness, the crowd even applauded the film’s producers.
Before the premiere, Schrader and the cast of Oh, Canada, including Richard Gere, and Uma Thurman, but not Jacob Elordi, had climbed the red carpet steps up the Palais to the sounds of the Canadian national anthem. Among the famous faces in the audience at the theater was Nathalie Emmanuel.
While the creative team received a warm welcome, the film itself was less warmly received, with only polite applause and a perfunctory standing ovation for Schrader and his cast. But there was a collection of whoops and cheers, and at least one “bravo!
Before the premiere, Schrader and the cast of Oh, Canada, including Richard Gere, and Uma Thurman, but not Jacob Elordi, had climbed the red carpet steps up the Palais to the sounds of the Canadian national anthem. Among the famous faces in the audience at the theater was Nathalie Emmanuel.
While the creative team received a warm welcome, the film itself was less warmly received, with only polite applause and a perfunctory standing ovation for Schrader and his cast. But there was a collection of whoops and cheers, and at least one “bravo!
- 5/17/2024
- by Scott Roxborough and Scott Feinberg
- The Hollywood Reporter - Movie News
“How can so much suffering have no meaning?”
That’s a question posed by decorated documentary filmmaker Leonard Fife in Paul Schrader’s meandering ode to death, dying, aging, and regret, “Oh, Canada.” It’s inevitably one also felt by audiences who will be left bewildered by the Oscar-nominated filmmaker’s most experimental and alienating work in some time, which loses itself in the process.
With “Oh, Canada,” Schrader splices timelines, color palettes, and aspect ratios to tell Fife’s story as a now-revered nonfiction movie-maker who fled the United States in the late 1960s for Canada to avoid the Vietnam War draft. Schrader is a gifted filmmaker who has given us so much more than “First Reformed” and “The Card Counter,” the only movies audiences of late seem to remember him by. He’s not unfamiliar with unpacking a great and morally complicated artist’s work in wildly subversive...
That’s a question posed by decorated documentary filmmaker Leonard Fife in Paul Schrader’s meandering ode to death, dying, aging, and regret, “Oh, Canada.” It’s inevitably one also felt by audiences who will be left bewildered by the Oscar-nominated filmmaker’s most experimental and alienating work in some time, which loses itself in the process.
With “Oh, Canada,” Schrader splices timelines, color palettes, and aspect ratios to tell Fife’s story as a now-revered nonfiction movie-maker who fled the United States in the late 1960s for Canada to avoid the Vietnam War draft. Schrader is a gifted filmmaker who has given us so much more than “First Reformed” and “The Card Counter,” the only movies audiences of late seem to remember him by. He’s not unfamiliar with unpacking a great and morally complicated artist’s work in wildly subversive...
- 5/17/2024
- by Ryan Lattanzio
- Indiewire
Above: 1980 Japanese poster for Apocalypse Now. Design by Eiko Ishioka, artwork by Haruo Takino.With Francis Ford Coppola’s long-gestated Megalopolis having premiered yesterday at Cannes, it's a good time to look back at the posters from his 60-year-long career. The only problem is that many posters for his films are either too well known or nothing to write home about. Like Coppola’s career itself, there are peaks and valleys—one of my very first posts for Notebook, almost exactly fifteen years ago, was about the gorgeous design for The Rain People (1969)—but a career retrospective of his posters seems like it might result in less than the sum of its parts. Yet of all his posters there are three rare Japanese designs that have always stood out as utterly extraordinary: two for Apocalypse Now (1979) and one for Bram Stoker’s Dracula (1992).I’ve always seen these posters attributed to Eiko Ishioka,...
- 5/17/2024
- MUBI
The tagline for the 2024 Cannes Film Festival should probably be “Back to the Future.” Indeed, four Hollywood legends who first established themselves in the 1970s as part of the “New Hollywood,” and haven’t been back to festival in decades, are front and center on the Croisette this year.
At the fest’s opening ceremony on Tuesday night, three-time Oscar winner Meryl Streep was presented with an honorary Palme d’Or, 35 years after her only prior visit to the fest. In 1989, she came with Fred Schepisi’s A Cry in the Dark, which had opened in the U.S. in late 1988, landing her a best actress Oscar nom, but bombing at the box office. Streep’s presence at the fest was strategic: She reportedly only came because she wanted to try to boost the film’s profile ahead of its European release, and the fest reportedly only accepted the film...
At the fest’s opening ceremony on Tuesday night, three-time Oscar winner Meryl Streep was presented with an honorary Palme d’Or, 35 years after her only prior visit to the fest. In 1989, she came with Fred Schepisi’s A Cry in the Dark, which had opened in the U.S. in late 1988, landing her a best actress Oscar nom, but bombing at the box office. Streep’s presence at the fest was strategic: She reportedly only came because she wanted to try to boost the film’s profile ahead of its European release, and the fest reportedly only accepted the film...
- 5/15/2024
- by Scott Feinberg
- The Hollywood Reporter - Movie News
French distributor Arp has picked up all French rights Paul Schrader’s new film Oh, Canada ahead of its world premiere in competition in Cannes next month.
The feature stars Richard Gere, Uma Thurman, Michael Imperioli and Jacob Elordi.
Oh, Canada reunites Schrader with Gere, more than 40 years after their first collaboration on American Gigolo. Adapted from the Russell Banks novel Foregone, Oh, Canada sees Gere playing Leonard Fife, a famed American documentary filmmaker who fled to Canada as a young man to avoid the Vietnam War draft. Dying from cancer, he agrees to give a final interview where he promises to reveals his long-held secrets, speaking in front of his wife (Thurman), a devoted former student (Imperioli), and the film crew.
David Gonzales is the lead producer on Oh, Canada alongside Tiffany Boyle, Luisa Law, Scott Lastaiti and Meghan Hanlon. Arclight Films is handling international sales and WME Independent...
The feature stars Richard Gere, Uma Thurman, Michael Imperioli and Jacob Elordi.
Oh, Canada reunites Schrader with Gere, more than 40 years after their first collaboration on American Gigolo. Adapted from the Russell Banks novel Foregone, Oh, Canada sees Gere playing Leonard Fife, a famed American documentary filmmaker who fled to Canada as a young man to avoid the Vietnam War draft. Dying from cancer, he agrees to give a final interview where he promises to reveals his long-held secrets, speaking in front of his wife (Thurman), a devoted former student (Imperioli), and the film crew.
David Gonzales is the lead producer on Oh, Canada alongside Tiffany Boyle, Luisa Law, Scott Lastaiti and Meghan Hanlon. Arclight Films is handling international sales and WME Independent...
- 4/30/2024
- by Scott Roxborough
- The Hollywood Reporter - Movie News
Acclaimed auteurs Francis Ford Coppola, Yorgos Lanthimos, Paolo Sorrentino and Andrea Arnold are among the filmmakers set to compete for the coveted Palme d’Or at the 77th Cannes Film Festival.
A total of 19 features were revealed today (April 11) that will play in Competition at the festival, set to run May 14-25.
Rarely a festival to veer far from familiar names, the Competition line-up is dominated by directors who have been selected multiple times for Cannes.
They include US filmmaker Coppola with sci-fi epic Megalopolis, which stars Adam Driver and is set in a future version of New York City following a disaster.
A total of 19 features were revealed today (April 11) that will play in Competition at the festival, set to run May 14-25.
Rarely a festival to veer far from familiar names, the Competition line-up is dominated by directors who have been selected multiple times for Cannes.
They include US filmmaker Coppola with sci-fi epic Megalopolis, which stars Adam Driver and is set in a future version of New York City following a disaster.
- 4/11/2024
- ScreenDaily
This year’s 77th Cannes Film Festival will mark a meeting of the New Hollywood minds in France. Not only is George Lucas receiving the festival’s Honorary Palme d’Or, but filmmakers Francis Ford Coppola and Paul Schrader are in the official Competition for the first time in decades.
While Schrader has gone the route of Venice for his “lonely man in a room” trilogy — “First Reformed,” “The Card Counter,” and “Master Gardener” all premiered in Italy — he’s at Cannes this year with “Oh, Canada.” The lineup was confirmed this morning by Cannes festival director Thierry Frémaux. The contemplative drama about a tortured writer looking back on his years as a leftist who fled to Canada to avoid being drafted into the Vietnam War stars Jacob Elordi, Richard Gere, and Uma Thurman. Cue the flashbulbs for a buzzy Elordi red carpet moment. The “Euphoria” breakout was last seen...
While Schrader has gone the route of Venice for his “lonely man in a room” trilogy — “First Reformed,” “The Card Counter,” and “Master Gardener” all premiered in Italy — he’s at Cannes this year with “Oh, Canada.” The lineup was confirmed this morning by Cannes festival director Thierry Frémaux. The contemplative drama about a tortured writer looking back on his years as a leftist who fled to Canada to avoid being drafted into the Vietnam War stars Jacob Elordi, Richard Gere, and Uma Thurman. Cue the flashbulbs for a buzzy Elordi red carpet moment. The “Euphoria” breakout was last seen...
- 4/11/2024
- by Ryan Lattanzio
- Indiewire
John Bailey, a seasoned Hollywood cinematographer who served as president of the Academy of Motion Picture Arts and Sciences from 2017 to 2019, died Friday in Los Angeles. He was 81.
Bailey’s death was announced by his wife, Carol Littleton, in a statement released by the Academy on Friday evening.
”It is with deep sadness I share with you that my best friend and husband, John Bailey, passed away peacefully in his sleep early this morning,” Littleton wrote. “During John’s illness, we reminisced how we met 60 years ago and were married for 51 of those years. We shared a wonderful life of adventure in film and made many long-lasting friendships along the way. John will forever live in my heart.”
“All of us at the Academy are deeply saddened to learn of John’s passing,” said Academy CEO Bill Kramer and Academy President Janet Yang in a joint statement. “John was a...
Bailey’s death was announced by his wife, Carol Littleton, in a statement released by the Academy on Friday evening.
”It is with deep sadness I share with you that my best friend and husband, John Bailey, passed away peacefully in his sleep early this morning,” Littleton wrote. “During John’s illness, we reminisced how we met 60 years ago and were married for 51 of those years. We shared a wonderful life of adventure in film and made many long-lasting friendships along the way. John will forever live in my heart.”
“All of us at the Academy are deeply saddened to learn of John’s passing,” said Academy CEO Bill Kramer and Academy President Janet Yang in a joint statement. “John was a...
- 11/11/2023
- by J. Kim Murphy and Clayton Davis
- Variety Film + TV
John Bailey, the cinematographer on Ordinary People, Groundhog Day, As Good as It Gets and dozens of other notable films who endured two “stressful” terms as president of the Academy of Motion Picture Arts and Sciences, died Friday. He was 81.
Bailey died in Los Angeles, his wife, Oscar-nominated film editor Carol Littleton (E.T. the Extra-Terrestrial), announced.
”It is with deep sadness I share with you that my best friend and husband, John Bailey, passed away peacefully in his sleep early this morning,” she said in a statement. “During John’s illness, we reminisced how we met 60 years ago and were married for 51 of those years. We shared a wonderful life of adventure in film and made many long-lasting friendships along the way. John will forever live in my heart.”
They worked on more than a dozen features together.
The Southern California-raised Bailey served as the director of photography for...
Bailey died in Los Angeles, his wife, Oscar-nominated film editor Carol Littleton (E.T. the Extra-Terrestrial), announced.
”It is with deep sadness I share with you that my best friend and husband, John Bailey, passed away peacefully in his sleep early this morning,” she said in a statement. “During John’s illness, we reminisced how we met 60 years ago and were married for 51 of those years. We shared a wonderful life of adventure in film and made many long-lasting friendships along the way. John will forever live in my heart.”
They worked on more than a dozen features together.
The Southern California-raised Bailey served as the director of photography for...
- 11/11/2023
- by Mike Barnes
- The Hollywood Reporter - Movie News
Paul Schrader is back at it, and this time he’s taking aim at the Oscars.
The screenwriter of “Taxi Driver” and “Obsession,” who was nominated for the Best Original Screenplay Oscar for “First Reformed”, is taking aim at what he feels is a muddled awards show and member base. “Oscars So Not Hollywood. Diversifying membership, recalibrating how votes are counted, these changes have transformed the Hollywood Oscars into the International Oscars,” Schrader wrote on Facebook (via Twitter). “I rather like the provincial origins of the Oscars: Hollywood coming together to celebrate its own.”
Just In: Paul Schrader, writer of Taxi Driver (1978) and world-renown filmmaker responsible for First Reformed (2018) and The Card Counter (2021) calls Oscars too “woke” and says the Oscars are too “international” and must “return to its origins.” pic.twitter.com/ARVxlrVjN6
— Lance (@lancenyyc) March 13, 2023
Schrader continued, less coherently: “Barry Diller is right. If the Oscars are to...
The screenwriter of “Taxi Driver” and “Obsession,” who was nominated for the Best Original Screenplay Oscar for “First Reformed”, is taking aim at what he feels is a muddled awards show and member base. “Oscars So Not Hollywood. Diversifying membership, recalibrating how votes are counted, these changes have transformed the Hollywood Oscars into the International Oscars,” Schrader wrote on Facebook (via Twitter). “I rather like the provincial origins of the Oscars: Hollywood coming together to celebrate its own.”
Just In: Paul Schrader, writer of Taxi Driver (1978) and world-renown filmmaker responsible for First Reformed (2018) and The Card Counter (2021) calls Oscars too “woke” and says the Oscars are too “international” and must “return to its origins.” pic.twitter.com/ARVxlrVjN6
— Lance (@lancenyyc) March 13, 2023
Schrader continued, less coherently: “Barry Diller is right. If the Oscars are to...
- 3/13/2023
- by Drew Taylor
- The Wrap
Luddy also worked as an executive and producer at American Zoetrope.
Telluride Film Festival co-founder Tom Luddy has died, festival representatives have announced.
Luddy died on Monday (February 13) in Berkeley, California at 80 after a long illness, according to a statement from the festival.
The statement described Luddy as “a force in the film industry for nearly six decades. He had a life-long love and passion for film, and a tireless dedication to film restoration, distribution and exhibition. His presence will be profoundly missed by the many people whose lives were touched by his kindness, artistry, and his innate ability to...
Telluride Film Festival co-founder Tom Luddy has died, festival representatives have announced.
Luddy died on Monday (February 13) in Berkeley, California at 80 after a long illness, according to a statement from the festival.
The statement described Luddy as “a force in the film industry for nearly six decades. He had a life-long love and passion for film, and a tireless dedication to film restoration, distribution and exhibition. His presence will be profoundly missed by the many people whose lives were touched by his kindness, artistry, and his innate ability to...
- 2/14/2023
- by John Hazelton
- ScreenDaily
Tom Luddy, who co-founded and served as artistic director for the Telluride Film Festival and produced films including “The Secret Garden” and “Barfly,” died Feb. 13 in Berkeley, Calif., after battling a long illness. He was 79.
Luddy co-founded Telluride in 1974 along with Bill Pence, Stella Pence and James Card. Luddy served as co-director, then as artistic director and adviser through 2022. Beginning in a small opera house, the festival evolved into one of the largest and most respected globally over the past five decades.
“The world has lost a rare ingredient that we’ll all be searching for, for some time,” said Telluride Film Festival executive director Julie Huntsinger in a statement. “I would sometimes find myself feeling sad for those who didn’t get to know Tom Luddy properly. He had a sphinx-like quality that took a little time to get around, for some. But once you knew him, you were...
Luddy co-founded Telluride in 1974 along with Bill Pence, Stella Pence and James Card. Luddy served as co-director, then as artistic director and adviser through 2022. Beginning in a small opera house, the festival evolved into one of the largest and most respected globally over the past five decades.
“The world has lost a rare ingredient that we’ll all be searching for, for some time,” said Telluride Film Festival executive director Julie Huntsinger in a statement. “I would sometimes find myself feeling sad for those who didn’t get to know Tom Luddy properly. He had a sphinx-like quality that took a little time to get around, for some. But once you knew him, you were...
- 2/14/2023
- by Julia MacCary
- Variety Film + TV
Tom Luddy, the co-founder of the Telluride Film Festival and a longtime producer for Francis Ford Coppola’s Zoetrope Studios, died on Monday after a prolonged illness. He was 79.
His death comes on the verge of the festival’s 50th anniversary, as Telluride planned to salute the man responsible for establishing the Colorado gathering as a critical launchpad for international cinema. Luddy was shrewd cinephile with a daunting grasp of film history that informed his sharp opinions about the medium, much of which played a role in the unique nature of the Telluride community.
The festival drew crowds of major directors and industry insiders in tandem with amateur movie lovers attracted to the same welcoming environment he created for anyone who shared his passion for the movies. For many Telluride devotees, Luddy was its biggest draw — someone as emblematic of cinema’s global presence as the directors he championed.
As...
His death comes on the verge of the festival’s 50th anniversary, as Telluride planned to salute the man responsible for establishing the Colorado gathering as a critical launchpad for international cinema. Luddy was shrewd cinephile with a daunting grasp of film history that informed his sharp opinions about the medium, much of which played a role in the unique nature of the Telluride community.
The festival drew crowds of major directors and industry insiders in tandem with amateur movie lovers attracted to the same welcoming environment he created for anyone who shared his passion for the movies. For many Telluride devotees, Luddy was its biggest draw — someone as emblematic of cinema’s global presence as the directors he championed.
As...
- 2/14/2023
- by Eric Kohn
- Indiewire
Tom Luddy, the film producer who co-founded Telluride Film Festival, died Monday in Berkeley, California, after a long illness, the festival confirmed. He was 79.
The producer behind films like “The Secret Garden” (1993) and “Barfly” (1987) co-founded the festival in 1974 with Bill and Stella Pence and James Card. He served as co-director, then artistic director and adviser through 2022.
“Tom was a force in the film industry for nearly six decades,” Telluride wrote in a release. “He had a life-long love and passion for film, and a tireless dedication to film restoration, distribution, and exhibition. His presence will be profoundly missed by the many people whose lives were touched by his kindness, artistry, and his innate ability to bring people together to make something beautiful.”
Also Read:
Austin Majors, Former ‘NYPD Blue’ Child Actor, Dies at 27
“The world has lost a rare ingredient that we’ll all be searching for, for some time,...
The producer behind films like “The Secret Garden” (1993) and “Barfly” (1987) co-founded the festival in 1974 with Bill and Stella Pence and James Card. He served as co-director, then artistic director and adviser through 2022.
“Tom was a force in the film industry for nearly six decades,” Telluride wrote in a release. “He had a life-long love and passion for film, and a tireless dedication to film restoration, distribution, and exhibition. His presence will be profoundly missed by the many people whose lives were touched by his kindness, artistry, and his innate ability to bring people together to make something beautiful.”
Also Read:
Austin Majors, Former ‘NYPD Blue’ Child Actor, Dies at 27
“The world has lost a rare ingredient that we’ll all be searching for, for some time,...
- 2/14/2023
- by Harper Lambert
- The Wrap
Tom Luddy, co-founder of the Telluride Film Festival and producer of numerous films for Francis Ford Coppola’s Zoetrope Studios, died February 13 at a nursing home in Berkeley, CA, where he had been under care for dementia. He was 79.
The festival announced Luddy’s death this morning. The news comes two months after the death of another Telluride co-founder, Bill Pence.
Related Story Hollywood & Media Deaths In 2023: Photo Gallery & Obituaries Related Story Bill Pence Dies: Telluride Film Festival Co-Founder Was 82 Related Story Telluride Review: Werner Herzog's 'Theater Of Thought'
“The world has lost a rare ingredient that we’ll all be searching for, for some time,” said Julie Huntsinger, executive director of the Telluride Film Festival. “I would sometimes find myself feeling sad for those who didn’t get to know Tom Luddy properly. He had a Sphinxlike quality that took a little time to get around, for some.
The festival announced Luddy’s death this morning. The news comes two months after the death of another Telluride co-founder, Bill Pence.
Related Story Hollywood & Media Deaths In 2023: Photo Gallery & Obituaries Related Story Bill Pence Dies: Telluride Film Festival Co-Founder Was 82 Related Story Telluride Review: Werner Herzog's 'Theater Of Thought'
“The world has lost a rare ingredient that we’ll all be searching for, for some time,” said Julie Huntsinger, executive director of the Telluride Film Festival. “I would sometimes find myself feeling sad for those who didn’t get to know Tom Luddy properly. He had a Sphinxlike quality that took a little time to get around, for some.
- 2/14/2023
- by Todd McCarthy and Erik Pedersen
- Deadline Film + TV
Click here to read the full article.
Ahead of the world premiere of Paul Schrader’s latest feature, Master Gardener, at the Venice Film Festival on Saturday, the legendary screenwriter and director was nudged into casting a backward glance on his 50-year career in the movies. Next week in Venice, the auteur will receive an honorary Golden Lion for his contributions to cinema.
Early in the press conference, Schrader was asked which of the films he’s directed he thinks best represents him.
“You know, directors like and dislike their children for different reasons,” he replied. “Probably my favorite is Mishima: A Life in Four Chapters, just because it’s the damnedest thing. I still can’t believe I ever made that film. The most personal for me is First Reformed or Affliction. The best stylistically, I think, is Comfort of Strangers. Cat People is kind of special. You know,...
Ahead of the world premiere of Paul Schrader’s latest feature, Master Gardener, at the Venice Film Festival on Saturday, the legendary screenwriter and director was nudged into casting a backward glance on his 50-year career in the movies. Next week in Venice, the auteur will receive an honorary Golden Lion for his contributions to cinema.
Early in the press conference, Schrader was asked which of the films he’s directed he thinks best represents him.
“You know, directors like and dislike their children for different reasons,” he replied. “Probably my favorite is Mishima: A Life in Four Chapters, just because it’s the damnedest thing. I still can’t believe I ever made that film. The most personal for me is First Reformed or Affliction. The best stylistically, I think, is Comfort of Strangers. Cat People is kind of special. You know,...
- 9/3/2022
- by Patrick Brzeski
- The Hollywood Reporter - Movie News
Sigourney Weaver, Joel Edgerton Discuss Working With Paul Schrader in Venice Title ‘Master Gardener’
Leads Sigourney Weaver, Joel Edgerton and Quintessa Swindell were thankful for the opportunity to work with revered writer-director Paul Schrader on his latest film “Master Gardener,” showing out of competition at the Venice Film Festival.
In a lively press conference on Saturday attended by the leads and Schrader, the filmmaker referred to the “lonely man in the room” archetype that he’s returned to in film after film beginning with “Taxi Driver.” “Hopefully, I’m done with him,” Schrader said.
“I’ve always admired Paul’s work; never dreamed of working with him, because I’m not a lonely man in the room – I’m the lusty woman in the house,” Weaver said, adding that the “Master Gardener” role was one of the best she’s ever had. Weaver also thanked Schrader for writing two great parts for women in the film.
The film follows Narvel Roth (Edgerton), the conscientious...
In a lively press conference on Saturday attended by the leads and Schrader, the filmmaker referred to the “lonely man in the room” archetype that he’s returned to in film after film beginning with “Taxi Driver.” “Hopefully, I’m done with him,” Schrader said.
“I’ve always admired Paul’s work; never dreamed of working with him, because I’m not a lonely man in the room – I’m the lusty woman in the house,” Weaver said, adding that the “Master Gardener” role was one of the best she’s ever had. Weaver also thanked Schrader for writing two great parts for women in the film.
The film follows Narvel Roth (Edgerton), the conscientious...
- 9/3/2022
- by Naman Ramachandran
- Variety Film + TV
Writer/director Eskil Vogt joins hosts Josh Olson and Joe Dante to discuss a few of his favorite movies.
Show Notes: Movies Referenced In This Episode
The Worst Person In The World (2021)
The Innocents (2022)
The Godfather Part II (1974) – Katt Shea’s trailer commentary, Glenn Erickson’s Blu-ray review
The Breakfast Club (1985)
Ferris Bueller’s Day Off (1986)
Trust (1990)
Fight Club (1999)
Evil Dead II (1987) – Alex Kirschenbaum’s review
Gremlins (1984) – Glenn Erickson’s Blu-ray review
The Getaway (1972) – Larry Karaszewski’s trailer commentary
The Getaway (1994)
Junior Bonner (1972) – Glenn Erickson’s Blu-ray review
Star Wars (1977)
The Limey (1999)
Point Blank (1967) – John Landis’s trailer commentary
Out of Sight (1998)
The Hunger (1983)
Providence (1977)
Blind (2014)
Mishima: A Life in Four Chapters (1985)
The Card Counter (2021)
First Reformed (2017) – Glenn Erickson’s Blu-ray review
Taxi Driver (1976) – Rod Lurie’s trailer commentary
Light Sleeper (1992)
American Gigolo (1980)
Notorious (1946) – John Landis’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
Torn Curtain (1966)
Jacob’s Ladder (1990)
Lolita (1997)
Deep Water...
Show Notes: Movies Referenced In This Episode
The Worst Person In The World (2021)
The Innocents (2022)
The Godfather Part II (1974) – Katt Shea’s trailer commentary, Glenn Erickson’s Blu-ray review
The Breakfast Club (1985)
Ferris Bueller’s Day Off (1986)
Trust (1990)
Fight Club (1999)
Evil Dead II (1987) – Alex Kirschenbaum’s review
Gremlins (1984) – Glenn Erickson’s Blu-ray review
The Getaway (1972) – Larry Karaszewski’s trailer commentary
The Getaway (1994)
Junior Bonner (1972) – Glenn Erickson’s Blu-ray review
Star Wars (1977)
The Limey (1999)
Point Blank (1967) – John Landis’s trailer commentary
Out of Sight (1998)
The Hunger (1983)
Providence (1977)
Blind (2014)
Mishima: A Life in Four Chapters (1985)
The Card Counter (2021)
First Reformed (2017) – Glenn Erickson’s Blu-ray review
Taxi Driver (1976) – Rod Lurie’s trailer commentary
Light Sleeper (1992)
American Gigolo (1980)
Notorious (1946) – John Landis’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
Torn Curtain (1966)
Jacob’s Ladder (1990)
Lolita (1997)
Deep Water...
- 5/10/2022
- by Kris Millsap
- Trailers from Hell
The Venice Film Festival will honor U.S. director and screenwriter Paul Schrader, a key figure of New Hollywood cinema, with its 2022 Golden Lion for Lifetime Achievement.
Schrader wrote Martin Scorsese’s “Taxi Driver” and “The Last Temptation of Christ” and co-wrote “Raging Bull.” He has directed dozens of films, including “American Gigolo,” “Mishima: A Life in Four Chapters,” “The Comfort of Strangers” and “First Reformed.” The director was in Venice last year with “The Card Counter,” starring Oscar Isaac and Tiffany Haddish, which has been a critical and box office success.
In accepting the honor Schrader stated: “I am deeply honored. Venice is the Lion of my heart.”
Venice artistic director Alberto Barbera in a statement praised Schrader for having “revolutionized the imagination, aesthetics, and language of American film,” starting in the late 1960s.
“It is not an exaggeration to affirm that he is one of the most important American filmmakers of his generation,...
Schrader wrote Martin Scorsese’s “Taxi Driver” and “The Last Temptation of Christ” and co-wrote “Raging Bull.” He has directed dozens of films, including “American Gigolo,” “Mishima: A Life in Four Chapters,” “The Comfort of Strangers” and “First Reformed.” The director was in Venice last year with “The Card Counter,” starring Oscar Isaac and Tiffany Haddish, which has been a critical and box office success.
In accepting the honor Schrader stated: “I am deeply honored. Venice is the Lion of my heart.”
Venice artistic director Alberto Barbera in a statement praised Schrader for having “revolutionized the imagination, aesthetics, and language of American film,” starting in the late 1960s.
“It is not an exaggeration to affirm that he is one of the most important American filmmakers of his generation,...
- 5/4/2022
- by Nick Vivarelli
- Variety Film + TV
“His influence will never wane; there simply isn’t anyone who’s any good who isn’t standing on his shoulders.”
That’s what Steven Soderbergh wrote about Gordon Willis, the cinematographer who changed the American cinema forever with his work on Francis Ford Coppola’s “The Godfather.” Though other filmmakers had used some of the same techniques as Willis — John Ford and Gregg Toland made extensive use of practically motivated light sources on “The Long Voyage Home,” and many noir films experimented with placing their characters in darkness — the revolution didn’t really take hold until he applied the approach to what became one of the most critically acclaimed and commercially successful movies of all time.
“The Godfather” celebrates its 50th anniversary this year and Willis’ work continues to inform the ways in which cinematographers approach their work; look no further than Greig Fraser’s character and psychology-driven lighting on “The Batman” for proof.
That’s what Steven Soderbergh wrote about Gordon Willis, the cinematographer who changed the American cinema forever with his work on Francis Ford Coppola’s “The Godfather.” Though other filmmakers had used some of the same techniques as Willis — John Ford and Gregg Toland made extensive use of practically motivated light sources on “The Long Voyage Home,” and many noir films experimented with placing their characters in darkness — the revolution didn’t really take hold until he applied the approach to what became one of the most critically acclaimed and commercially successful movies of all time.
“The Godfather” celebrates its 50th anniversary this year and Willis’ work continues to inform the ways in which cinematographers approach their work; look no further than Greig Fraser’s character and psychology-driven lighting on “The Batman” for proof.
- 4/14/2022
- by Jim Hemphill
- Indiewire
After “Confessions Among Actresses”, director Kiju Yoshida returned to his political trilogy with “Coup d’Etat”, an account of the attempted overthrow of the Japanese government on February 26, 1936. Similar to the other entries of the trilogy”, “Eros + Massacre” and “Heroic Purgatory”, this final feature was also inspired by true events and a historical figure, in this case ultra-nationalist author Ikki Kita, but is quite a diversion, aesthetically and narratively, from the other parts of the trilogy. In an introduction filmed in 2008, the director explains how the event plays a decisive role when it comes to understanding the way Japan developed towards a more nationalist and ultimately militarist power, which sparked its involvement in World War II, but also paved the way for the protest movement of the 1960s, events he portrayed and referred to in the other features of the trilogy.
on Amazon
After the suicide of his brother,...
on Amazon
After the suicide of his brother,...
- 2/27/2022
- by Rouven Linnarz
- AsianMoviePulse
After a hiatus as theaters in New York City and beyond closed their doors 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, there’s a handful of worthwhile repertory screenings taking place.
Film at Lincoln Center
Joachim Trier presents favorites and influences, among them The Age of Innocence, The Green Ray, and My Sex Life.
Metrograph
Prints of I’m Not There and Ed Lachman’s Songs for Drella screen in a music series; deemed “essential viewing” by Martin Scorsese, a six-film retrospective of the Hungarian master Miklós Jancsó continues. Films by Panahi, Chris Marker and more play “In the Streets,” while a series of literary adaptations includes Mishima and Crumb.
Museum of Modern Art
“To Save and Project,” one of the most eye-opening series in any given year,...
Film at Lincoln Center
Joachim Trier presents favorites and influences, among them The Age of Innocence, The Green Ray, and My Sex Life.
Metrograph
Prints of I’m Not There and Ed Lachman’s Songs for Drella screen in a music series; deemed “essential viewing” by Martin Scorsese, a six-film retrospective of the Hungarian master Miklós Jancsó continues. Films by Panahi, Chris Marker and more play “In the Streets,” while a series of literary adaptations includes Mishima and Crumb.
Museum of Modern Art
“To Save and Project,” one of the most eye-opening series in any given year,...
- 1/27/2022
- by Nick Newman
- The Film Stage
Paul Schrader, who received a Lifetime Achievement Award at the Zurich Film Festival on Friday, is planning to start shooting thriller “Master Gardener” in February, with Joel Edgerton and Sigourney Weaver starring, and the third role to be played by a young woman of color. Zendaya was his first choice, but they couldn’t agree on the fee, he told an audience at the Swiss festival.
“Master Gardener” is about a horticulturist torn between two women, one old enough to be his mother and the other young enough to be his daughter.
“I was thinking about that guy, but then two women showed up. He is having romantic relations with both, but what I liked the most is that now, they can talk to each other. What would happen in ‘Taxi Driver’ if Cybill Shepherd and Jodie Foster went out to get coffee?”
At Zurich, Schrader presented his drama “The Card Counter,...
“Master Gardener” is about a horticulturist torn between two women, one old enough to be his mother and the other young enough to be his daughter.
“I was thinking about that guy, but then two women showed up. He is having romantic relations with both, but what I liked the most is that now, they can talk to each other. What would happen in ‘Taxi Driver’ if Cybill Shepherd and Jodie Foster went out to get coffee?”
At Zurich, Schrader presented his drama “The Card Counter,...
- 10/4/2021
- by Marta Balaga
- Variety Film + TV
“I have decided to keep a journal. Not in a word program or digital file, but in longhand, writing every word out so that every inflection of penmanship, every word chosen, scratched out, revised, is recorded. To set down all my thoughts and the simple events of my day factually and without hiding anything. When writing about oneself, one should show no mercy. I will keep this diary for one year; 12 months. And at the end of that time, it will be destroyed. Shredded, then burnt. The experiment will be over.” Searching narration binds Paul Schrader’s work, the lone ranger facing a crisis of faith, unable to shake off the past. The above dialogue introduces Ethan Hawke’s Reverend Ernst Toller at the beginning of First Reformed (2017). Schrader’s characters share their own folklore and throughout this mix their tales come and go. The lyrics take on the form of character too,...
- 9/9/2021
- MUBI
Festival
The 17th Zurich Film Festival (Sept. 23-Oct. 3) will honor Paul Schrader for his life’s work, which includes the screenplays for Martin Scorsese‘s “Taxi Driver,” “Raging Bull” and “The Last Temptation of Christ,” and the films he directed, including “American Gigolo,” “Mishima: A Life in Four Chapters,” “The Comfort of Strangers” and “First Reformed.”
Schrader will receive the Lifetime Achievement Award in person at Zurich Convention Center on Oct. 1 before presenting his new film “The Card Counter,” which bowed at the Venice Film Festival. He will also deliver a masterclass.
“I am pleased to be honored by a very hip film festival in the beautiful city of Zurich,” said Schrader. “I have many fond memories and friends there, and am appreciative that this honor will allow me to visit those”.
“It is a dream for me as a cinephile to pay homage to Paul Schrader at the Zff.
The 17th Zurich Film Festival (Sept. 23-Oct. 3) will honor Paul Schrader for his life’s work, which includes the screenplays for Martin Scorsese‘s “Taxi Driver,” “Raging Bull” and “The Last Temptation of Christ,” and the films he directed, including “American Gigolo,” “Mishima: A Life in Four Chapters,” “The Comfort of Strangers” and “First Reformed.”
Schrader will receive the Lifetime Achievement Award in person at Zurich Convention Center on Oct. 1 before presenting his new film “The Card Counter,” which bowed at the Venice Film Festival. He will also deliver a masterclass.
“I am pleased to be honored by a very hip film festival in the beautiful city of Zurich,” said Schrader. “I have many fond memories and friends there, and am appreciative that this honor will allow me to visit those”.
“It is a dream for me as a cinephile to pay homage to Paul Schrader at the Zff.
- 9/7/2021
- by Naman Ramachandran
- Variety Film + TV
Acclaimed writer/director David Lowery joins Josh and Joe to discuss the films that inspired The Green Knight.
Show Notes: Movies Referenced In This Episode
The Green Knight (2021)
Peter Pan & Wendy (2022)
Lawrence Of Arabia (1962)
The Old Man And The Gun (2018)
A Ghost Story (2017)
Pete’s Dragon (1977)
Pete’s Dragon (2016) – Glenn Erickson’s review
Ain’t Them Bodies Saints (2013)
Ghost Story (1974)
Sword of the Valiant (1984)
Gawain and the Green Knight (1973)
Electric Boogaloo: The Wild, Untold Story of Cannon Films (2014)
Masters of the Universe (1987) – Josh Olson’s trailer commentary
Andrei Rublev (1966) – Glenn Erickson’s Criterion Blu-ray review, Dennis Cozzalio’s Muriel Awards blurb
War And Peace (1966) – Glenn Erickson’s Blu-ray review
Heaven’s Gate (1980)
The Passion Of Joan Of Arc (1928) – Charlie Largent’s Criterion Blu-ray review
The Devils (1971)
Space Jam: A New Legacy (2021)
A Clockwork Orange (1971)
The Conjuring (2013)
Jubilee (1978)
Benedetta (2021)
Dune (1984)
Dune (2021)
Hard To Be A God (2013)
Jodorowsky’s Dune (2013)
Moby Dick (1956) – Ernest Dickerson’s trailer commentary,...
Show Notes: Movies Referenced In This Episode
The Green Knight (2021)
Peter Pan & Wendy (2022)
Lawrence Of Arabia (1962)
The Old Man And The Gun (2018)
A Ghost Story (2017)
Pete’s Dragon (1977)
Pete’s Dragon (2016) – Glenn Erickson’s review
Ain’t Them Bodies Saints (2013)
Ghost Story (1974)
Sword of the Valiant (1984)
Gawain and the Green Knight (1973)
Electric Boogaloo: The Wild, Untold Story of Cannon Films (2014)
Masters of the Universe (1987) – Josh Olson’s trailer commentary
Andrei Rublev (1966) – Glenn Erickson’s Criterion Blu-ray review, Dennis Cozzalio’s Muriel Awards blurb
War And Peace (1966) – Glenn Erickson’s Blu-ray review
Heaven’s Gate (1980)
The Passion Of Joan Of Arc (1928) – Charlie Largent’s Criterion Blu-ray review
The Devils (1971)
Space Jam: A New Legacy (2021)
A Clockwork Orange (1971)
The Conjuring (2013)
Jubilee (1978)
Benedetta (2021)
Dune (1984)
Dune (2021)
Hard To Be A God (2013)
Jodorowsky’s Dune (2013)
Moby Dick (1956) – Ernest Dickerson’s trailer commentary,...
- 8/31/2021
- by Kris Millsap
- Trailers from Hell
‘The Card Counter’: Paul Schrader on the Ways Scorsese and ‘Taxi Driver’ Informed New Gambling Drama
Some filmmakers write a hit movie and spend the ensuing years trying to escape its shadow. Paul Schrader never flinched. Forty-five years after his “Taxi Driver” script put him on the map, the writer-director has developed a body of work loaded with alienated anti-heroes compelled to violent and reckless extremes for the sake of a higher calling.
That includes “The Card Counter,” in which Oscar Isaac plays guilt-stricken Abu Ghraib vet William Tell, a man with a gambling addiction compelled to help the revenge-seeking son (Tye Sheridan) of a former colleague. Taking justice into his own hands, Isaac’s William Tell slithers through the Vegas strip in search of questionable salvation, not unlike a certain Vietnam vet named Travis Bickle did from the driver’s seat. As if to cement the comparisons, “The Card Counter” features Martin Scorsese as an executive producer, marking the first time the two men share...
That includes “The Card Counter,” in which Oscar Isaac plays guilt-stricken Abu Ghraib vet William Tell, a man with a gambling addiction compelled to help the revenge-seeking son (Tye Sheridan) of a former colleague. Taking justice into his own hands, Isaac’s William Tell slithers through the Vegas strip in search of questionable salvation, not unlike a certain Vietnam vet named Travis Bickle did from the driver’s seat. As if to cement the comparisons, “The Card Counter” features Martin Scorsese as an executive producer, marking the first time the two men share...
- 8/26/2021
- by Eric Kohn
- Indiewire
Before the lights went down at the world premiere of “Tesla,” writer-director Michael Almereyda said that his unconventional biopic of the famously enigmatic futurist was inspired by “Derek Jarman, Henry James, and certain episodes of ‘Drunk History.’” He wasn’t kidding. What starts as an earnest (if lyrical) profile of the man who invented Elon Musk soon explodes into something more appropriately postmodern when Nikola Tesla (Ethan Hawke) and Thomas Edison (Kyle MacLachlan) get into a heated ice cream fight, and a woman’s voice comes over the soundtrack to inform us that it probably didn’t happen this way.
The voice belongs to Eve Hewson, playing J.P. Morgan’s daughter Anne with the same contemporary brio she brought to “The Knick,” and we cut to find her sitting at the Macbook Pro that she’ll be using as a reference guide and slide projector to lead us through the...
The voice belongs to Eve Hewson, playing J.P. Morgan’s daughter Anne with the same contemporary brio she brought to “The Knick,” and we cut to find her sitting at the Macbook Pro that she’ll be using as a reference guide and slide projector to lead us through the...
- 1/28/2020
- by David Ehrlich
- Indiewire
Inspired by Sei Shōnagon’s first-century diary, Peter Greenaway’s The Pillow Book is an audio-visual tour de force, and a showcase for one of British cinema’s most singular talents.
Starring Vivian Wu (8½ Women), Ewan McGregor (Trainspotting) and Ken Ogata (Mishima: A Life in Four Chapters), the film is among Greenaway’s most daring and adventurous works.
Indicator Limited Edition Blu-ray Special Features:
High Definition remaster
Original stereo audio
Selected scenes commentary with Peter Greenaway (2015)
The Book of the Editor (2020): new interview with editor Chris Wyatt
Rosa (1992): performance film by Anne Teresa De Keersmaker’s Rosas dance company, directed by Peter Greenaway and shot by Sacha Vierny, presented in a new restoration from the original negative
Image gallery: on-set and promotional photography
Theatrical trailer
Original theatrical calligraphic subtitle presentation
New English subtitles for the deaf and hard-of-hearing
Limited edition exclusive 40-page booklet with a new essay by Adam Scovell,...
Starring Vivian Wu (8½ Women), Ewan McGregor (Trainspotting) and Ken Ogata (Mishima: A Life in Four Chapters), the film is among Greenaway’s most daring and adventurous works.
Indicator Limited Edition Blu-ray Special Features:
High Definition remaster
Original stereo audio
Selected scenes commentary with Peter Greenaway (2015)
The Book of the Editor (2020): new interview with editor Chris Wyatt
Rosa (1992): performance film by Anne Teresa De Keersmaker’s Rosas dance company, directed by Peter Greenaway and shot by Sacha Vierny, presented in a new restoration from the original negative
Image gallery: on-set and promotional photography
Theatrical trailer
Original theatrical calligraphic subtitle presentation
New English subtitles for the deaf and hard-of-hearing
Limited edition exclusive 40-page booklet with a new essay by Adam Scovell,...
- 12/7/2019
- by Rouven Linnarz
- AsianMoviePulse
In general, there is very little distinction between the author Yukio Mishima and many of the characters he has created in his works in his lifetime. In his 1958 play “Rokumeikan”, which was a huge success in his home country, the concept of true patriotism was one of the most important aspects. From then on, over a time period of almost a decade, Mishima dedicated himself to works for classical Japanese theatre as well as the medium of film, two passions he would combine in works such as the 1966 film “Patriotism” or “The Rite of Love and Death”.
“Patriotism” is screening at Japanese Avant-Garde and Experimental Film Festival 2019
The 28-minute-long-feature tells the story of a couple, Lieutenant Shinji Takeyama (Yukio Mishima) and his wife Reiko (Yoshiko Tsuruoka). After a failed coupe d’état, which Takeyama helped planning but did not participate in actively because of his wife, he is forced to...
“Patriotism” is screening at Japanese Avant-Garde and Experimental Film Festival 2019
The 28-minute-long-feature tells the story of a couple, Lieutenant Shinji Takeyama (Yukio Mishima) and his wife Reiko (Yoshiko Tsuruoka). After a failed coupe d’état, which Takeyama helped planning but did not participate in actively because of his wife, he is forced to...
- 9/22/2019
- by Rouven Linnarz
- AsianMoviePulse
To some it may seem ironical to see American filmmaker Paul Schrader’s “Mishima: A Life in Four Chapters” experience a similar notoriety as the man Yukio Mishima himself during his lifetime. Despite the fact it was shot in Japan and Schrader’s careful recognition of the country’s culture as well as its difficult relationship with the author, to this day the film has not been released in Mishima’s home country. Even though the reasons for that may be quite nebulous to many – an essay titled “Banned in Japan”, included in the Criterion release of the film might shed some light into that affair –, the significance of the film as a portrayal of a controversial artist fits perfectly into Paul Schrader’s predilection as a filmmaker and writer for the anti-hero, the protagonist who cannot be categorized and will challenge its viewer, even after the end credits.
“Mishima: A Life in Four Chapters...
“Mishima: A Life in Four Chapters...
- 9/19/2019
- by Rouven Linnarz
- AsianMoviePulse
With our opening night just days away, we are very excited for all of the attention Nation has received. Starting this Friday 20th and running through Sunday 22nd at the Barbican, Close-Up and MetFilm School, this year we examine national identity, cultural memory and perceptions of history in Japan with a programme of five feature-length films paired with seven short-form pieces, a panel discussion and a free filmmakers’ workshop.
Friday 20th September 2019
Barbican Cinema 3 – Opening night screening 18:00:
Mishima: A Life in Four Chapters by Paul Schrader, 1985 + Patriotism (Yūkoku) by Yukio Mishima, 1966.
With intro by Damian Flanagan.
Saturday 21st September
Close-Up Cinema – 20:30 screening:
Fighting Elegy (Kenka erejii) by Seijun Suzuki, 1966 +
Bright Beyond Bearing by Monika Uchiyama, 2017 +
How Can You Know Where to Go If You Do Not Know Where You Have Been by Mizuki Toriya, 2017 +
Chiyo by Chiemi Shimada, 2019.
With intro by Jasper Sharp.
Sunday 22nd September
Barbican...
Friday 20th September 2019
Barbican Cinema 3 – Opening night screening 18:00:
Mishima: A Life in Four Chapters by Paul Schrader, 1985 + Patriotism (Yūkoku) by Yukio Mishima, 1966.
With intro by Damian Flanagan.
Saturday 21st September
Close-Up Cinema – 20:30 screening:
Fighting Elegy (Kenka erejii) by Seijun Suzuki, 1966 +
Bright Beyond Bearing by Monika Uchiyama, 2017 +
How Can You Know Where to Go If You Do Not Know Where You Have Been by Mizuki Toriya, 2017 +
Chiyo by Chiemi Shimada, 2019.
With intro by Jasper Sharp.
Sunday 22nd September
Barbican...
- 9/17/2019
- by Adriana Rosati
- AsianMoviePulse
Tickets are now on sale for Jaeff 2019: Nation!
This year’s festival will be held at the Barbican Centre, Close-Up Film Centre and MetFilm School from Friday 20 September through Sunday 22 September. Jaeff 2019: Nation will see five feature-length films screened alongside seven short-form films. We will again be hosting a panel discussion at the Barbican, and are very excited to announce a free filmmakers’ workshop at the MetFilm School.
Friday 20 September 201 – Barbican Cinema 3 – 6pm
Mishima: A Life in Four Chapters
USA 1985, Dir Paul Schrader, 120 mins, Digital presentation
+ Patriotism (Yūkoku)
Japan 1966, Dir Yukio Mishima and Domoto Masaki, 28 mins, Digital presentation
Reimagined in vibrant, expressionist colour, Mishima: A Life in Four Chapters marries an author to his fiction—a vivid middle where man and myth collide. Yukio Mishima (Ken Ogata) is considered to be one of Japan’s most important novelists, and via Paul and Leonard Schrader’s unique framing, is...
This year’s festival will be held at the Barbican Centre, Close-Up Film Centre and MetFilm School from Friday 20 September through Sunday 22 September. Jaeff 2019: Nation will see five feature-length films screened alongside seven short-form films. We will again be hosting a panel discussion at the Barbican, and are very excited to announce a free filmmakers’ workshop at the MetFilm School.
Friday 20 September 201 – Barbican Cinema 3 – 6pm
Mishima: A Life in Four Chapters
USA 1985, Dir Paul Schrader, 120 mins, Digital presentation
+ Patriotism (Yūkoku)
Japan 1966, Dir Yukio Mishima and Domoto Masaki, 28 mins, Digital presentation
Reimagined in vibrant, expressionist colour, Mishima: A Life in Four Chapters marries an author to his fiction—a vivid middle where man and myth collide. Yukio Mishima (Ken Ogata) is considered to be one of Japan’s most important novelists, and via Paul and Leonard Schrader’s unique framing, is...
- 7/19/2019
- by Adriana Rosati
- AsianMoviePulse
Gaspar Noé shot his riveting dance-party-gone-wrong thriller “Climax” in just 15 days, but the year he’s spent on the road promoting it has made it hard for him to keep up with other people’s movies. As the Argentine finally returned to his home in Paris, however, he has had the chance to catch up on a few Oscar contenders — but won’t be tuning into the ceremony.
“I really don’t care about the Oscars,” Noé said in a Skype interview over the weekend. “I would never watch the Oscar ceremony. If I cared about who was winning the Oscar, it was when I was a kid when they were giving awards to ‘Midnight Cowboy’ or ‘The Godfather.’”
When “Climax” premiered at Cannes last May, Noé expressed a minority opinion about one future Oscar contender, saying in an interview that he had walked out of “Black Panther.”
Nevertheless, in his most recent interview,...
“I really don’t care about the Oscars,” Noé said in a Skype interview over the weekend. “I would never watch the Oscar ceremony. If I cared about who was winning the Oscar, it was when I was a kid when they were giving awards to ‘Midnight Cowboy’ or ‘The Godfather.’”
When “Climax” premiered at Cannes last May, Noé expressed a minority opinion about one future Oscar contender, saying in an interview that he had walked out of “Black Panther.”
Nevertheless, in his most recent interview,...
- 2/17/2019
- by Eric Kohn
- Indiewire
The Academy’s decision to present four categories — cinematography, film editing, makeup and hairstyling and live-action shorts — during commercial breaks on this year’s Oscar show has been greeted with widespread outrage, with the condemnation stretching from Oscar watchers to past Oscar winners Guillermo del Toro, Alfonso Cuarón and Emmanuel Lubezki.
“If I may: I would not presume to suggest what categories to cut during the Oscars show but — Cinematography and Editing are at the very heart of our craft,” wrote del Toro, last year’s Best Director and Best Picture winner, on Twitter. “They are not inherited from a theatrical tradition or a literary tradition: they are cinema itself.”
If I may: I would not presume to suggest what categories to cut during the Oscars show but – Cinematography and Editing are at the very heart of our craft. They are not inherited from a theatrical tradition or a literary tradition: they are cinema itself.
“If I may: I would not presume to suggest what categories to cut during the Oscars show but — Cinematography and Editing are at the very heart of our craft,” wrote del Toro, last year’s Best Director and Best Picture winner, on Twitter. “They are not inherited from a theatrical tradition or a literary tradition: they are cinema itself.”
If I may: I would not presume to suggest what categories to cut during the Oscars show but – Cinematography and Editing are at the very heart of our craft. They are not inherited from a theatrical tradition or a literary tradition: they are cinema itself.
- 2/12/2019
- by Steve Pond
- The Wrap
St. Vincent performed a faithful version of the Philip Glass composition “Osamu’s Theme” with the violinist Jennifer Koh at the Kennedy Center Honors in Washington D.C. The event took place on December 2nd and aired Wednesday the 26th on CBS.
“Osamu’s Theme” comes from Mishima: A Life in Four Chapters, a 1985 Paul Schrader film scored by Glass along with the Kronos Quartet. The original revolves around hissing cymbals and a light pitter patter on the drums, jangly guitar runs punctuated by power-strums and long runs high on the scale from a violin.
“Osamu’s Theme” comes from Mishima: A Life in Four Chapters, a 1985 Paul Schrader film scored by Glass along with the Kronos Quartet. The original revolves around hissing cymbals and a light pitter patter on the drums, jangly guitar runs punctuated by power-strums and long runs high on the scale from a violin.
- 12/27/2018
- by Elias Leight
- Rollingstone.com
Here are the people who are planning on attending the annual Kennedy Center Honors on the evening of December 2:
Cher, an Academy Award-winning actress and legendary singer, most recently seen combining both talents in “Mamma Mia: Here We Go Again.” Philip Glass, an iconic composer whose original work has been used in countless films and TV series, including in “Koyaanisqatsi,” “The Hours,” “Notes on a Scandal,” and “Mishima: A Life in Four Chapters.” Reba McEntire, a modern country music megastar, who has gone on to have an acting career of her own, including a six-season run on a broadcast sitcom named for her. Wayne Shorter, an 11-time Grammy-winning jazz musician, whose many collaborations include playing alongside musical greats across multiple genres. Lin-Manuel Miranda, Thomas Kail, Andy Blankenbuehler, and Alex Lacamoire, the creators of “Hamilton,” a musical that you might be familiar with.
Here are two people who will not be in attendance that night,...
Cher, an Academy Award-winning actress and legendary singer, most recently seen combining both talents in “Mamma Mia: Here We Go Again.” Philip Glass, an iconic composer whose original work has been used in countless films and TV series, including in “Koyaanisqatsi,” “The Hours,” “Notes on a Scandal,” and “Mishima: A Life in Four Chapters.” Reba McEntire, a modern country music megastar, who has gone on to have an acting career of her own, including a six-season run on a broadcast sitcom named for her. Wayne Shorter, an 11-time Grammy-winning jazz musician, whose many collaborations include playing alongside musical greats across multiple genres. Lin-Manuel Miranda, Thomas Kail, Andy Blankenbuehler, and Alex Lacamoire, the creators of “Hamilton,” a musical that you might be familiar with.
Here are two people who will not be in attendance that night,...
- 11/14/2018
- by Steve Greene
- Indiewire
Bertrand Mandico's The Wild Boys (2017), which is receiving an exclusive global online premiere on Mubi, is showing September 14 – October 14, 2018 as a Special Discovery.French director Bertrand Mandico shared with us the films he thought about before, during, and after making his feature debut, The Wild Boys:ISLANDSThe Saga of AnatahanMatango: Attack of the Mushroom People: The island and its fauna and flora, the mushroom-men, the sinking. A sublime film.Lord Jim: The tempest sequence in the opening and the cowardice of Lord Jim—an amazing film.A High Wind in Jamaica: For the confusion of the captain played by Antony Quinn, the phlegm of James Coburn and the beauty of his young crew.The Sailor Who Fell from Grace with the Sea (Lewis John Carlino, 1976): For the erotic figure of the Captain (Kris Kristofferson) and its clique of violent boys.Remorques: A romantic and captivating film with sequences...
- 9/13/2018
- MUBI
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.
The Best of Blaxploitation
Funk. Soul. Ultra-hip. This month, FilmStruck is highlighting Blaxploitation cinema, a group of films made specifically for African American audiences in the 1970s just as black filmmakers were finally allowed to make Hollywood features. This collection features pivotal Black icons from unforgettable films such as Shaft, Sweet Sweetback’s Baadasssss Song, Cleopatra Jones and Super Fly, presented alongside a discussion of the history of the genre with Malcolm Mays,...
The Best of Blaxploitation
Funk. Soul. Ultra-hip. This month, FilmStruck is highlighting Blaxploitation cinema, a group of films made specifically for African American audiences in the 1970s just as black filmmakers were finally allowed to make Hollywood features. This collection features pivotal Black icons from unforgettable films such as Shaft, Sweet Sweetback’s Baadasssss Song, Cleopatra Jones and Super Fly, presented alongside a discussion of the history of the genre with Malcolm Mays,...
- 6/15/2018
- by Jordan Raup
- The Film Stage
More than a few foreign filmmaker have tried relocating to Hollywood, but it’s less often the case that an acclaimed Hollywood artist takes their talents overseas. Paul Schrader, at the height of his post-Taxi Driver, post-Raging Bull success, proved a notable example. In the mid-1980s, he took an opportunity to capitalize on his longstanding fascination with Japan by directing an entire film with an all-Japanese cast and script, his sister-in-law Chieko Schrader serving as linguistic and artistic interpreter. Its subject: Yukio Mishima, a controversial figure whose death so deeply shocked Japan that the film, Mishima: A Life in Four Chapters, remains banned there. Now — in the U.S. at least — the Criterion Collection is giving the film Schrader considers his finest directorial achievement a new 4K transfer and Blu-ray release.
Mishima, portrayed by Ken Ogata, was one of Japan’s most internationally acclaimed authors, and likely the country’s most infamous suicide.
Mishima, portrayed by Ken Ogata, was one of Japan’s most internationally acclaimed authors, and likely the country’s most infamous suicide.
- 6/11/2018
- by The Film Stage
- The Film Stage
Stars: Ken Ogata, Masayuki Shionoya, Junkichi Orimoto, Naoko Ôtani, Masato Aizawa, Gô Rijû | Written by Paul Schrader, Leonard Schrader, Chieko Schrader | Directed by Paul Schrader
Lucasfilm isn’t just about lightsabers, high fantasy and hunky archaeologists, you know. Occasionally it has produced films like this one: Paul Schrader’s truly original biopic about the Japanese author Yukio Mishima (real name Kimitake Hiraoka), a right-wing artist who spearheaded the infamous “Mishima Incident” in 1970. Despite winning awards for production design, cinematography and music (Philip Glass’s theme is instantly recognisable) at the 1985 Cannes Film Festival, the film has never been released in Japan.
“Words are insufficient,” Mishima (Ken Ogata) laments early on. He’s seeking a new form of expression. Mishima: A Life in Four Chapters is a portrait of a frustrated artist, so it’s easy to see why Schrader – the man who wrote Taxi Driver over a fevered fortnight – would be attracted to the story.
Lucasfilm isn’t just about lightsabers, high fantasy and hunky archaeologists, you know. Occasionally it has produced films like this one: Paul Schrader’s truly original biopic about the Japanese author Yukio Mishima (real name Kimitake Hiraoka), a right-wing artist who spearheaded the infamous “Mishima Incident” in 1970. Despite winning awards for production design, cinematography and music (Philip Glass’s theme is instantly recognisable) at the 1985 Cannes Film Festival, the film has never been released in Japan.
“Words are insufficient,” Mishima (Ken Ogata) laments early on. He’s seeking a new form of expression. Mishima: A Life in Four Chapters is a portrait of a frustrated artist, so it’s easy to see why Schrader – the man who wrote Taxi Driver over a fevered fortnight – would be attracted to the story.
- 6/11/2018
- by Rupert Harvey
- Nerdly
In a nice bit of cinematic serendipity, Paul Schrader’s singular 1985 film Mishima: A Life in Four Chapters arrives on Blu-ray from Criterion at the same moment that his latest movie, First Reformed, is enjoying a deservedly successful art house run. Mishima remains perhaps Schrader’s most original and idiosyncratic film, which is really saying something; a meditation on the life and writings of Japanese author Yukio Mishima, it’s neither a conventional bio-pic nor a straightforward literary adaptation, though it combines elements of both forms. Schrader, writing in collaboration with his brother Leonard (Kiss of the Spider Woman) and sister-in-law Chieko, […]...
- 5/25/2018
- by Jim Hemphill
- Filmmaker Magazine - Blog
In a nice bit of cinematic serendipity, Paul Schrader’s singular 1985 film Mishima: A Life in Four Chapters arrives on Blu-ray from Criterion at the same moment that his latest movie, First Reformed, is enjoying a deservedly successful art house run. Mishima remains perhaps Schrader’s most original and idiosyncratic film, which is really saying something; a meditation on the life and writings of Japanese author Yukio Mishima, it’s neither a conventional bio-pic nor a straightforward literary adaptation, though it combines elements of both forms. Schrader, writing in collaboration with his brother Leonard (Kiss of the Spider Woman) and sister-in-law Chieko, […]...
- 5/25/2018
- by Jim Hemphill
- Filmmaker Magazine-Director Interviews
Paul Schrader has been writing films since 1974. He’s been directing since 1977. And although he’s built up a formidable filmography of directed titles—Cat People, Affliction, American Gigolo, Light Sleeper, Mishima: A Life in Four Chapters—Schrader is still most closely associated with his original Taxi Driver script. There’s so much lore about Taxi Driver because it announced Martin Scorsese was here to stay as a major voice in American cinema, it made Robert De...
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- 5/18/2018
- by affiliates@fandango.com
- Fandango
John Bailey, who was elected President of the Academy of Motion Picture Arts and Sciences last August, is under investigation for sexual harassment. Variety first reported the news, noting that AMPAS received three different harassment claims on Wednesday and immediately launched its investigation. Bailey, 75, is a cinematographer and occasional director who received the American Society of Cinematographers Lifetime Achievement Award in 2015 and a Best Artistic Contribution prize from the Cannes Film Festival in 1985 for Paul Schrader’s “Mishima: A Life in Four Chapters.”
No details about the nature of the claims has been released. These allegations come in the midst of the #MeToo and Time’s Up movements, which began when Harvey Weinstein was accused of sexual harassment, assault, and rape by dozens of women beginning last October. Weinstein himself was expelled from the Academy, an incredibly rare move.
Last month’s Oscars featured a video tribute to Time’s...
No details about the nature of the claims has been released. These allegations come in the midst of the #MeToo and Time’s Up movements, which began when Harvey Weinstein was accused of sexual harassment, assault, and rape by dozens of women beginning last October. Weinstein himself was expelled from the Academy, an incredibly rare move.
Last month’s Oscars featured a video tribute to Time’s...
- 3/16/2018
- by Michael Nordine
- Indiewire
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