Whether you like Quentin Tarantino's wild and idiosyncratic approach to filmmaking or not, it's hard to deny that his work has made an immeasurable contribution to the development of pop culture as we know it today. But none of this would be the case if Tarantino weren't arguably one of the biggest movie buffs in the modern film industry. So if you haven't seen these 20 movies personally recommended by Quentin Tarantino, we suggest you do so as soon as possible!
20 Great Movies Tarantino Recommends Watching
20. Abbott and Costello Meet Frankenstein
19. Apocalypse Now
18. The Bad News Bears
17. Black Sabbath
16. Dazed and Confused
15. Deep Red
14. Easy Rider
13. Enter the Void
12. Frances Ha
11. The Great Escape
10. Mad Max: Fury Road
9. Rio Bravo
8. The Skin I Live In
7. The Social Network
6. Sorcerer
5. There Will Be Blood
4. Top Gun: Maverick
3. Toy Story 3
2. Unfaithfully Yours
1. West Side Story
The filmmaker's oeuvre is characterized by...
20 Great Movies Tarantino Recommends Watching
20. Abbott and Costello Meet Frankenstein
19. Apocalypse Now
18. The Bad News Bears
17. Black Sabbath
16. Dazed and Confused
15. Deep Red
14. Easy Rider
13. Enter the Void
12. Frances Ha
11. The Great Escape
10. Mad Max: Fury Road
9. Rio Bravo
8. The Skin I Live In
7. The Social Network
6. Sorcerer
5. There Will Be Blood
4. Top Gun: Maverick
3. Toy Story 3
2. Unfaithfully Yours
1. West Side Story
The filmmaker's oeuvre is characterized by...
- 5/16/2024
- by louise.everitt@startefacts.com (Louise Everitt)
- STartefacts.com
Emily Alyn Lind is still haunted by her work on horror movie 'Enter the Void' when she was five years old.The 'Gossip Girl' star played a young girl who sees her family killed in a car accident in the 2009 film, and she remembers the gory scenes vividly despite her young age and believes it inspired her to take on darker parts as an adult.Emily, now 21, told The Hollywood Reporter: "That [film] was such an experience in and of itself. I don’t know if it’s paranormal, but it feels like the ghost of my past at this point. I was like five years old, and it was the craziest experience. "People tell me: 'Oh, you don’t remember being five or six years old,' and I’m always like: 'I do, because I basically lived through a traumatic experience'."Yes, it was fake,...
- 4/8/2024
- by Louise Mary Randell
- Bang Showbiz
[This story contains spoilers for Ghostbusters: Frozen Empire.]
You’ve got questions and Emily Alyn Lind has answers.
In Ghostbusters: Frozen Empire, when Mckenna Grace’s Phoebe Spengler was sidelined by the Ghostbusters’ longtime bureaucratic nemesis, Walter Peck (William Atherton), the young Ghostbusting hero went on an unexpected journey that quickly introduced her to Lind’s surprise character, Melody.
Melody was nowhere to be found in the marketing for the film, but as soon as she’s introduced opposite Phoebe during a park-based chess match, it becomes clear why director Gil Kenan and Sony played their cards close to their vest. Melody is not only a ghost in the form of a 16-year-old girl, but she also interacts with Phoebe on a very human and relatable level. In other words, she’s a far cry from the typical apparitions that the franchise has offered up, and she further expands on how Ghost Egon was utilized in Ghostbusters: Afterlife (2021).
Naturally,...
You’ve got questions and Emily Alyn Lind has answers.
In Ghostbusters: Frozen Empire, when Mckenna Grace’s Phoebe Spengler was sidelined by the Ghostbusters’ longtime bureaucratic nemesis, Walter Peck (William Atherton), the young Ghostbusting hero went on an unexpected journey that quickly introduced her to Lind’s surprise character, Melody.
Melody was nowhere to be found in the marketing for the film, but as soon as she’s introduced opposite Phoebe during a park-based chess match, it becomes clear why director Gil Kenan and Sony played their cards close to their vest. Melody is not only a ghost in the form of a 16-year-old girl, but she also interacts with Phoebe on a very human and relatable level. In other words, she’s a far cry from the typical apparitions that the franchise has offered up, and she further expands on how Ghost Egon was utilized in Ghostbusters: Afterlife (2021).
Naturally,...
- 4/5/2024
- by Brian Davids
- The Hollywood Reporter - Movie News
The greatest cinema is often an exciting cocktail for the senses: sound and image in perfect harmony, intricately woven to create an immersive experience that transports us to another world. But what happens when one of those senses is numbed? Silent movies formed the foundations of visual grammar for audiences, and sound was a luxury audiences lived without for many years. Few films have attempted the inverse, plunging the viewer into darkness and relying on sound alone to guide them from one experience to another. Enter Galician filmmaker Lois Patiño's bold and beautiful “Samsara”, a meditative drama set between Laos and Zanzibar that tracks a soul moving between states of existence, and the lives that are touched in big and small ways by this cosmic rite of passage. The term ‘samsara' itself is the cycle of death and reincarnation as seen by Buddhism, and while it may sound familiar...
- 3/9/2024
- by Simon Ramshaw
- AsianMoviePulse
An experiment in shooting a movie entirely from a first-person Pov, Steven Soderbergh’s Presence has conceptual precedents but no meaningful ones in terms of the camera’s weight and the operator’s resulting physical relationship to it. 1947’s Lady in the Lake tried nonstop subjectivity with a bulky 35mm camera; 2009’s Enter the Void eliminated the embodied camera in its second half of weightless drifting. More recently there’s Hardcore Henry, which strapped GoPros to its protagonist’s head for a bouncy embodiment of a stuntman’s hardest workday. In Presence, Soderbergh’s longtime practice of acting as his own cinematographer and operator takes on an […]
The post Sundance 2024: Presence, A Real Pain first appeared on Filmmaker Magazine.
The post Sundance 2024: Presence, A Real Pain first appeared on Filmmaker Magazine.
- 1/22/2024
- by Vadim Rizov
- Filmmaker Magazine - Blog
An experiment in shooting a movie entirely from a first-person Pov, Steven Soderbergh’s Presence has conceptual precedents but no meaningful ones in terms of the camera’s weight and the operator’s resulting physical relationship to it. 1947’s Lady in the Lake tried nonstop subjectivity with a bulky 35mm camera; 2009’s Enter the Void eliminated the embodied camera in its second half of weightless drifting. More recently there’s Hardcore Henry, which strapped GoPros to its protagonist’s head for a bouncy embodiment of a stuntman’s hardest workday. In Presence, Soderbergh’s longtime practice of acting as his own cinematographer and operator takes on an […]
The post Sundance 2024: Presence, A Real Pain first appeared on Filmmaker Magazine.
The post Sundance 2024: Presence, A Real Pain first appeared on Filmmaker Magazine.
- 1/22/2024
- by Vadim Rizov
- Filmmaker Magazine-Director Interviews
Directed by Steven Soderbergh and penned by David Koepp, the haunting psychological thriller Presence follows a fractured family as a mysterious supernatural force infiltrates their new home and takes interest in their daughter, Chloe. The film stars Lucy Liu, Chris Sullivan, Callina Liang, Eddy Maday, West Mulholland and Julia Fox.
An unsettling presence permeates the home of Chris (Sullivan) and Ruth (Liu) before they even move in. This supernatural entity is a witness to the family’s most vulnerable moments. It has a particular focus on the couple’s young daughter, Chloe (Liang), who is always at odds with her mother and brother Tyler (Maday). However, the young girl is in mourning because of her two girls, one of them — her best friend, Nadia — died recently.
Ruth thinks the key is letting her daughter deal with her own problems, while Chris thinks it needs to be addressed. With Tyler having little empathy for her,...
An unsettling presence permeates the home of Chris (Sullivan) and Ruth (Liu) before they even move in. This supernatural entity is a witness to the family’s most vulnerable moments. It has a particular focus on the couple’s young daughter, Chloe (Liang), who is always at odds with her mother and brother Tyler (Maday). However, the young girl is in mourning because of her two girls, one of them — her best friend, Nadia — died recently.
Ruth thinks the key is letting her daughter deal with her own problems, while Chris thinks it needs to be addressed. With Tyler having little empathy for her,...
- 1/20/2024
- by Valerie Complex
- Deadline Film + TV
Some of the most powerful figures in Saudi film gathered at the Ritz Carlton in Jeddah for a cocktail party hosted by Film AlUla and Stampede Ventures in partnership with Variety last night. Figures such as Saudi producer and film industry pioneer Faisal Baltyuor and Egyptian producer Mohamed Hefzy were spotted along with Zeinab Abu Alsamh, general manager of Mbc Studios Saudi Arabia.
Stampede Ventures head Greg Silverman was celebrating the $350 million three-year deal just signed with Film AlUla, which will bring 10 projects to the region. He told Variety: “As somebody who loves film, coming here and seeing films celebrated this way is excellent. We’ve been looking for a home for our slate of films and we’re so excited to have the possibility of working with AlUla. They have state-of-the-art studios and, for our talent, it’s an incredible place for them to be when they’re not on set.
Stampede Ventures head Greg Silverman was celebrating the $350 million three-year deal just signed with Film AlUla, which will bring 10 projects to the region. He told Variety: “As somebody who loves film, coming here and seeing films celebrated this way is excellent. We’ve been looking for a home for our slate of films and we’re so excited to have the possibility of working with AlUla. They have state-of-the-art studios and, for our talent, it’s an incredible place for them to be when they’re not on set.
- 12/4/2023
- by John Bleasdale
- Variety Film + TV
The twisted, dreamy Glasgow underbelly Aaron John McIntyre conjures up in his short film Gomorrah feels like a marriage of Wong Kar-Wai’s hazy visual language and the bleak dark comedic sensibilities of Danny Boyle’s Trainspotting. It’s hard to believe McIntyre made this film as a student as it feels so confident and assured both in the story he’s telling and the means by which he tells it. The plot follows as a recovering addict as he relapses in the pits of Glasgow’s backstreets. We see him wonder about, monologuing with a deep pessimism for the world he has found himself in. It’s a really impressive film that has certainly put McIntyre on our radar as one to watch for the future. For now though, as Gomorrah continues its festival run, Dn caught up with the filmmaker to talk over the creative decision that resulted in his accomplished vision.
- 9/11/2023
- by James Maitre
- Directors Notes
Another year, another “strange time” for festivals. And yet, despite a pair of on-going strikes and an entertainment world that seems hellbent on remaining in flux, as the air turns chillier, it’s still time for the laurels to come out, and there are plenty of new films to get excited about seeing soon.
This year’s fall festival season includes new films from Hayao Miyazaki, Michael Mann, David Fincher, Ellen Kurras, Yorgos Lanthimos, Errol Morris, Pablo Larraín, Kitty Green, Andrew Haigh, Harmony Korine, and Anna Kendrick, and that’s only the start. There are films about everything from vampiric dictators to (actual) dicks, dumb money to stupid dreams, true stories of courage to fake stories of Nicolas Cage invading people’s minds, at least one very big suit, and so very much more.
And while a handful of films have opted to skip out on the festivals, like the...
This year’s fall festival season includes new films from Hayao Miyazaki, Michael Mann, David Fincher, Ellen Kurras, Yorgos Lanthimos, Errol Morris, Pablo Larraín, Kitty Green, Andrew Haigh, Harmony Korine, and Anna Kendrick, and that’s only the start. There are films about everything from vampiric dictators to (actual) dicks, dumb money to stupid dreams, true stories of courage to fake stories of Nicolas Cage invading people’s minds, at least one very big suit, and so very much more.
And while a handful of films have opted to skip out on the festivals, like the...
- 8/29/2023
- by Kate Erbland, Ryan Lattanzio and David Ehrlich
- Indiewire
Gaspar Noé, the French director known for his provocative and experimental films, has announced his next project. The film, which is still untitled, will star Cate Blanchett and Franz Rogowski as the lead actors. The film is currently in pre-production and Noé is scouting locations in Putignano, Italy.
Noé is one of the most acclaimed and controversial filmmakers of his generation. His films, such as “Irreversible”, “Enter the Void” and “Climax”, have explored themes of violence, sexuality, death and transcendence with a distinctive visual style and narrative structure. His latest film, “Vortex”, which premiered at the Cannes Film Festival in 2021, was a departure from his previous works. It focused on an elderly couple facing their mortality in a realistic and intimate way.
Casper Noe DVD Picks
Blanchett and Rogowski are both versatile and talented actors who have worked with some of the best directors in the world. Blanchett is a...
Noé is one of the most acclaimed and controversial filmmakers of his generation. His films, such as “Irreversible”, “Enter the Void” and “Climax”, have explored themes of violence, sexuality, death and transcendence with a distinctive visual style and narrative structure. His latest film, “Vortex”, which premiered at the Cannes Film Festival in 2021, was a departure from his previous works. It focused on an elderly couple facing their mortality in a realistic and intimate way.
Casper Noe DVD Picks
Blanchett and Rogowski are both versatile and talented actors who have worked with some of the best directors in the world. Blanchett is a...
- 7/21/2023
- by amalprasadappu
- https://thecinemanews.online/wp-content/uploads/2023/07/IMG_4649
In the article series Sound and Vision we take a look at music videos from notable directors. This week we look at Nick Cave's We No Who U R, by Gaspar Noé. Gaspar Noé is often considered an enfant terrible of cinema. His films have boundary pushing topics, such as sexual assault, violent revenge, and drug abuse, at the centre, and he portrays these topics in an unflinching manner, like in Irreversible or Enter the Void. It would have been expected that his music videos were cut from the same cloth, and in some of the music videos this is pretty much the case. His music video for Sebastian's Thirst, for instance, is very much Vintage Noé, where we see a fight in a discotheque...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 4/10/2023
- Screen Anarchy
Every self-respecting or self-hating cinephile has a relationship — whether twisted, confounding, adoring, appalled, or all of the above — to Gaspar Noé’s “Irréversible.” His 2002 would-have-been midnight movie turned international sensation told a rape-revenge story from back to front, starting with the resolution working backward to the events preceding a horrifying crime in a red-lit tunnel in Paris. It starred Monica Bellucci and Vincent Cassel, who were then still married and very much in love and looking for a project to do together. Noé was then a Cannes Critics’ Week wunderkind, high off the modest fumes of the success of 1998’s “I Stand Alone,” and not yet the shock-making director of subsequent films like “Enter the Void” and “Climax” we know now.
“Irréversible” is now being re-released theatrically with a “Straight Cut” — in other words, the sequence of the movie now recut into chronological order — that originated first as a bootleg...
“Irréversible” is now being re-released theatrically with a “Straight Cut” — in other words, the sequence of the movie now recut into chronological order — that originated first as a bootleg...
- 2/9/2023
- by Ryan Lattanzio
- Indiewire
Since the creation of the camera and the dawn of cinema, film has been one long experiment. Experimental film has often been defined through its rejection of traditional storytelling and structure, its defiance of logic or reason while creating mesmerizing scenes through dreamlike abstraction and subjective narrative.
A key figure in the early history of experimental film was the French filmmaker Georges Méliès. In the late 1890s and early 1900s, Méliès was one of the first filmmakers to use special effects and trick photography to create fantastical and surreal images on the screen. His films, such as A Trip to the Moon and The Impossible Voyage, were some of the first examples of what would later be called experimental film. Another important trailblazer during the silent era was female director Lois Weber who is credited in creating an estimated 200 to 400 films. She was credited with pioneering the use of the...
A key figure in the early history of experimental film was the French filmmaker Georges Méliès. In the late 1890s and early 1900s, Méliès was one of the first filmmakers to use special effects and trick photography to create fantastical and surreal images on the screen. His films, such as A Trip to the Moon and The Impossible Voyage, were some of the first examples of what would later be called experimental film. Another important trailblazer during the silent era was female director Lois Weber who is credited in creating an estimated 200 to 400 films. She was credited with pioneering the use of the...
- 1/19/2023
- by Robert Lang
- Deadline Film + TV
One night. An unforgivable act. A tale told in reverse. Often regarded as a masterpiece but also one of the most infamous films in cinema history that is despised in many circles for its gratuitous sexual violence, Gaspar Noé’s (“Climax,” “Enter the Void,” “Vortex”) slammed audiences with “Irréversible” in 2002. It’s a film that basically is told in reverse order depicting the events of a tragic night in Paris as two men attempt to avenge the brutal rape and beating of the woman they love.
Continue reading Gaspar Noé’s ‘Irreversible: Straight Cut’ Finally Comes To The U.S. In Feb, A Chronological Restoration Of One Of Cinema’s Most Infamous Films at The Playlist.
Continue reading Gaspar Noé’s ‘Irreversible: Straight Cut’ Finally Comes To The U.S. In Feb, A Chronological Restoration Of One Of Cinema’s Most Infamous Films at The Playlist.
- 1/17/2023
- by Edward Davis
- The Playlist
The late, great Jean-Luc Godard wrote in his 1960 film "Le Petit Soldat" that photography was truth, and that cinema is truth at 24 frames per second. Every edit is a lie.
Editing is one of those alterations from truth that modern cinema audiences have long ago internalized and accepted as part of the medium's vernacular. We accept that a conversation between two on-screen characters will instantly shift from one person's point of view to the other. Shot, reverse shot. In terms of consumption, this provides a natural form of clarity and lends to cinema a certain kind of unconscious rhythm. In actuality, the shot-reverse-shot will, at the very least, require two cameras running simultaneously, one on each actor. More likely, a single camera will be used, and the actors will run through the scene several times, the camera filming both angles separately. Editors -- the eldritch wizards of the film world...
Editing is one of those alterations from truth that modern cinema audiences have long ago internalized and accepted as part of the medium's vernacular. We accept that a conversation between two on-screen characters will instantly shift from one person's point of view to the other. Shot, reverse shot. In terms of consumption, this provides a natural form of clarity and lends to cinema a certain kind of unconscious rhythm. In actuality, the shot-reverse-shot will, at the very least, require two cameras running simultaneously, one on each actor. More likely, a single camera will be used, and the actors will run through the scene several times, the camera filming both angles separately. Editors -- the eldritch wizards of the film world...
- 9/23/2022
- by Witney Seibold
- Slash Film
Backing a film in which Johnny Depp will play French King Louis Xv is what Wild Bunch International head Vincent Maraval describes as part of the risk taking that is essential to this business.
In a keynote interview with CAA Media Finance’s Roeg Sutherland at San Sebastian’s first Creative Investors Conference on Monday, Maraval discussed his 23 years in the business – failing to bet on “Black Swan,” but going for it with Depp’s first film since the Amber Heard trial.
“The film [“Jeanne du Barry”] is that sometimes we need to take a risk, and this risk is much higher,” said Maraval. “We are doing Johnny Depp playing Louis Xv. People said don’t do a movie with him, but we liked it. I remember the discussion we had with the producer behind it who said: ‘Do you think we are doing something stupid?’ I said: ‘Probably, but what’s left if not?...
In a keynote interview with CAA Media Finance’s Roeg Sutherland at San Sebastian’s first Creative Investors Conference on Monday, Maraval discussed his 23 years in the business – failing to bet on “Black Swan,” but going for it with Depp’s first film since the Amber Heard trial.
“The film [“Jeanne du Barry”] is that sometimes we need to take a risk, and this risk is much higher,” said Maraval. “We are doing Johnny Depp playing Louis Xv. People said don’t do a movie with him, but we liked it. I remember the discussion we had with the producer behind it who said: ‘Do you think we are doing something stupid?’ I said: ‘Probably, but what’s left if not?...
- 9/20/2022
- by Liza Foreman
- Variety Film + TV
The Notebook Primer introduces readers to some of the most important figures, films, genres, and movements in film history.Earwig (2021).There’s a moment in Lucile Hadžihalilović’s feverish 2021 psychodrama Earwig in which a man rifles through a small refrigerator, within it an icebox, and within that a stack of thick metallic cases, each one containing denture molds brimful of frozen saliva. Behind him sits a young girl in elaborate headgear, her small face flanked by tubes and two ampoules collecting her spit. The act is uncanny but clearly routine—a chilling, briefly expository moment that proffers countless questions and exemplifies Hadžihalilović’s aesthetic of reticence. Her films all possess this matryoshka-like effect, coming undone only to neatly curl back into themselves at will. As female-driven body horror stipples its way into the mainstream, Hadžihalilović’s work feels all the more resonant and, perhaps most crucially, misprized. Hadžihalilović auteurism is...
- 8/8/2022
- MUBI
Gaspar Noé’s latest feature Vortex (2021) - a distressing immersion into the emotional vortex of dying elderly couple - has surprisingly naturalistic and metaphysical, eerie quality. As with Enter the Void (2009) Noé takes a cinematic monograph of death, observing the last days of an ex-psychiatrist (Françoise Lebrun), who is suffering from dementia and a film scholar (Dario Argento) with a history of heart failure. Vortex is full of intellectual passages and references to classical films however the cinematic approach is fresh. It’s the most restrained and yet audacious, unadorned and still intelligent picture the Argentinian auteur has made.
Most of the critics and the audience have suggested Vortex is a change in Noé’s direction of interest as it revolves around a different peer group than his previous work. However, the social and cultural atrocities, abnormal drug addiction and socially alienated people are still in the plot while the son of.
Most of the critics and the audience have suggested Vortex is a change in Noé’s direction of interest as it revolves around a different peer group than his previous work. However, the social and cultural atrocities, abnormal drug addiction and socially alienated people are still in the plot while the son of.
- 8/3/2022
- by Levan Tskhovrebadze
- eyeforfilm.co.uk
NYC Weekend Watch is our weekly round-up of repertory offerings.
Roxy Cinema
Three by Abel Ferrara—Mary, Go Go Tales, and The Funeral—are on 35mm while the director presents his cut of Welcome to New York; this Friday a 16mm print of Deep Throat and 35mm of The Warriors are both available.
Museum of Modern Art
One of the year’s great retrospectives looks at deep cuts of Shochiku Studios.
Japan Society
A print of Kurosawa’s Kagemusha shows Friday.
Film Forum
35mms print of Brooke Adams-starrer Vengeance Is Mine and Diva screen, while Montgomery Clift is given a retro featuring the greatest of Old Hollywood; Creature from the Black Lagoon plays in 3D this Sunday.
Museum of the Moving Image
Miami Vice and The Insider show on 35mm for “Mann to Mann: The Manly Melodramas of Michael Mann,” while the great Dp James Wong Howe is given his dues in a new retrospective.
Roxy Cinema
Three by Abel Ferrara—Mary, Go Go Tales, and The Funeral—are on 35mm while the director presents his cut of Welcome to New York; this Friday a 16mm print of Deep Throat and 35mm of The Warriors are both available.
Museum of Modern Art
One of the year’s great retrospectives looks at deep cuts of Shochiku Studios.
Japan Society
A print of Kurosawa’s Kagemusha shows Friday.
Film Forum
35mms print of Brooke Adams-starrer Vengeance Is Mine and Diva screen, while Montgomery Clift is given a retro featuring the greatest of Old Hollywood; Creature from the Black Lagoon plays in 3D this Sunday.
Museum of the Moving Image
Miami Vice and The Insider show on 35mm for “Mann to Mann: The Manly Melodramas of Michael Mann,” while the great Dp James Wong Howe is given his dues in a new retrospective.
- 6/10/2022
- by Nick Newman
- The Film Stage
NYC Weekend Watch is our weekly round-up of repertory offerings.
Film Forum
As new 35mm print of Brooke Adams-starrer Vengeance Is Mine screens, Montgomery Clift is given a retro featuring the greatest of Old Hollywood; the restoration of Nuri Bilge Ceylan’s Distant continues; The Music Man screens this Sunday.
Museum of the Moving Image
Heat, Miami Vice, and Collateral all screen on 35mm for “Mann to Mann: The Manly Melodramas of Michael Mann,” while the great Dp James Wong Howe is given his dues in a new retrospective.
Film at Lincoln Center
A career-spanning Mike Leigh retro continues.
Japan Society
A print of Ozu’s Good Morning screens on Friday.
Roxy Cinema
Prints of Wild at Heart, Shivers, and M. Butterfly screen.
IFC Center
As the restoration of Inland Empire continues, Mulholland Dr., Perfect Blue, Paprika, and Enter the Void have late-night showings.
Metrograph
Wanda and Ozu’s Equinox...
Film Forum
As new 35mm print of Brooke Adams-starrer Vengeance Is Mine screens, Montgomery Clift is given a retro featuring the greatest of Old Hollywood; the restoration of Nuri Bilge Ceylan’s Distant continues; The Music Man screens this Sunday.
Museum of the Moving Image
Heat, Miami Vice, and Collateral all screen on 35mm for “Mann to Mann: The Manly Melodramas of Michael Mann,” while the great Dp James Wong Howe is given his dues in a new retrospective.
Film at Lincoln Center
A career-spanning Mike Leigh retro continues.
Japan Society
A print of Ozu’s Good Morning screens on Friday.
Roxy Cinema
Prints of Wild at Heart, Shivers, and M. Butterfly screen.
IFC Center
As the restoration of Inland Empire continues, Mulholland Dr., Perfect Blue, Paprika, and Enter the Void have late-night showings.
Metrograph
Wanda and Ozu’s Equinox...
- 6/2/2022
- by Nick Newman
- The Film Stage
NYC Weekend Watch is our weekly round-up of repertory offerings.
Film at Lincoln Center
A career-spanning Mike Leigh retro is underway, with the director appearing for Naked, Secrets & Lies, and Topsy-Turvy.
Japan Society
A print of The Animatrix will screen for possibly the first time ever in New York.
Museum of the Moving Image
Heat, Miami Vice, The Insider, and Collateral all screen on 35mm for “Mann to Mann: The Manly Melodramas of Michael Mann,” while Isao Takahata’s early feature Panda! Go Panda! plays and the great Dp James Wong Howe is given his dues in a new retrospective.
Roxy Cinema
On Friday, Desire will perform a concert that precedes a print of Drive, while he 35mm-heavy David Cronenberg retro continues, with The Dead Zone playing all weekend and Cosmopolis screening Saturday and Sunday.
Film Forum
A new 35mm print of Brooke Adams-starrer Vengeance Is Mine screens; the...
Film at Lincoln Center
A career-spanning Mike Leigh retro is underway, with the director appearing for Naked, Secrets & Lies, and Topsy-Turvy.
Japan Society
A print of The Animatrix will screen for possibly the first time ever in New York.
Museum of the Moving Image
Heat, Miami Vice, The Insider, and Collateral all screen on 35mm for “Mann to Mann: The Manly Melodramas of Michael Mann,” while Isao Takahata’s early feature Panda! Go Panda! plays and the great Dp James Wong Howe is given his dues in a new retrospective.
Roxy Cinema
On Friday, Desire will perform a concert that precedes a print of Drive, while he 35mm-heavy David Cronenberg retro continues, with The Dead Zone playing all weekend and Cosmopolis screening Saturday and Sunday.
Film Forum
A new 35mm print of Brooke Adams-starrer Vengeance Is Mine screens; the...
- 5/26/2022
- by Nick Newman
- The Film Stage
Director Guillermo del Toro showed up at the Cannes Film Festival on Tuesday to lead a wide-ranging conversation with directors including Paolo Sorrentino, Claude Lelouch, Costa-Gavras, Michel Hazanavicius and Gaspar Noe, and he sounded the alarm from his opening comments that the film business was dramatically changing in the wake of the Covid-19 pandemic and the rise of streaming services over movie theaters.
“What we have right now is unsustainable,” del Toro said at the beginning of the “Filmmaking: What Now?” symposium, a two-day event to mark the 75th Cannes. “In so many ways, what we have belongs to an older structure. Whether we want it to or not, the future will show up.”
But, he added, the change in the movie business is only part of a wider change across society. “When we look at the entire structure of how we are as a race, a community, it is shifting,...
“What we have right now is unsustainable,” del Toro said at the beginning of the “Filmmaking: What Now?” symposium, a two-day event to mark the 75th Cannes. “In so many ways, what we have belongs to an older structure. Whether we want it to or not, the future will show up.”
But, he added, the change in the movie business is only part of a wider change across society. “When we look at the entire structure of how we are as a race, a community, it is shifting,...
- 5/24/2022
- by Steve Pond
- The Wrap
In 2020, Gaspar Noé suffered a brain hemorrhage that sent the Argentine filmmaker to the hospital and almost killed him. But the whole experience was not without its perks.
“Watching ‘Gravity’ on morphine was the best cinematic experience of my life,” Noé said in a new interview with The Independent.
While recovering in a Paris hospital room, Noé watched Alfonso Cuaron’s 2013 space drama, which stars Sandra Bullock as an astronaut forced to survive by herself after an accident leaves her stranded. The film’s stunning cinematography from two-time Oscar winner Emmanuel Lubezki, combined with the large amounts of painkillers Noé was on, apparently resulted in an incredibly memorable viewing.
He likened the experience to watching “2001: A Space Odyssey” for the first time when he was seven years old. He credits the wonder that Stanley Kubrick’s film instilled in him with inspiring him to become a director in the first place.
“Watching ‘Gravity’ on morphine was the best cinematic experience of my life,” Noé said in a new interview with The Independent.
While recovering in a Paris hospital room, Noé watched Alfonso Cuaron’s 2013 space drama, which stars Sandra Bullock as an astronaut forced to survive by herself after an accident leaves her stranded. The film’s stunning cinematography from two-time Oscar winner Emmanuel Lubezki, combined with the large amounts of painkillers Noé was on, apparently resulted in an incredibly memorable viewing.
He likened the experience to watching “2001: A Space Odyssey” for the first time when he was seven years old. He credits the wonder that Stanley Kubrick’s film instilled in him with inspiring him to become a director in the first place.
- 5/21/2022
- by Christian Zilko
- Indiewire
Even such enfant terribles as Gaspar Noé have to confront the fact that life (and death) is catching up with them. Noé in such films as Climax, Irreversible, Enter The Void and Stand Alone has always pushed audiences and subjects to extremes - and not always to good or lasting effect.
Here in his sixth feature we are offered another facet to Noé as he examines old age, and the perils of Alzheimer’s all stemming, we are given to understand, from personal motifs.
He is wonderfully served by his two main actors Dario Argento (the Italian horror master) and French actress Françoise Lebrun whose younger self is about to be seen all over again in the restored version of Jean Eustache’s The Mother and the Whore in Cannes Classics.
The ageing couple who are nameless, live in a sprawling Parisian apartment surrounded by memorabilia of other times including film posters and books.
Here in his sixth feature we are offered another facet to Noé as he examines old age, and the perils of Alzheimer’s all stemming, we are given to understand, from personal motifs.
He is wonderfully served by his two main actors Dario Argento (the Italian horror master) and French actress Françoise Lebrun whose younger self is about to be seen all over again in the restored version of Jean Eustache’s The Mother and the Whore in Cannes Classics.
The ageing couple who are nameless, live in a sprawling Parisian apartment surrounded by memorabilia of other times including film posters and books.
- 5/10/2022
- by Richard Mowe
- eyeforfilm.co.uk
Director Gaspar Noé’s twin idols: Dario Argento and Françoise Lebrun in Vortex Photo: Wild Bunch For someone who has been associated with a string of the most subversive films of the last couple of decades renegade director Gaspar Noé in person seems to be remarkable gentle and sensitive.
I remember when his first sensation Irreversible seared its way into my brain after its premiere in Cannes in 2002 with an extended rape scene that was unbearable and scarcely watchable. I recall diving for cover at the ejaculation scene in the 3D Climax and being totally disorientated by Enter The Void. Hardly surprisingly he was totally exhausted after six years of working on the latter that perhaps he decided on a less confrontational subject for his latest foray Vortex.
It could also have had something to do with a close encounter with his own mortality when, just before the pandemic hit in earnest,...
I remember when his first sensation Irreversible seared its way into my brain after its premiere in Cannes in 2002 with an extended rape scene that was unbearable and scarcely watchable. I recall diving for cover at the ejaculation scene in the 3D Climax and being totally disorientated by Enter The Void. Hardly surprisingly he was totally exhausted after six years of working on the latter that perhaps he decided on a less confrontational subject for his latest foray Vortex.
It could also have had something to do with a close encounter with his own mortality when, just before the pandemic hit in earnest,...
- 5/10/2022
- by Richard Mowe
- eyeforfilm.co.uk
If conception and birth are always present themes in Gaspar Noé's cinema, death is equally important for him: “When you write your sentence, you always put a dot at the end. Talking about death is just putting a dot at the end of your sentence.” For example, the France-based filmmaker developed a passage from his first feature film, I Stand Alone, in a nursing home and emphasized the bleak thoughts about old age and death of the butcher played by Philippe Nahon, the character who appeared for the first time in the medium-length film Carne. For the iconic Enter the Void, Noé took inspiration from The Tibetan Book of the Dead and captured a psychedelic astral trip in first person after the murder of the...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 5/9/2022
- Screen Anarchy
Vortex — which opened this weekend to a full house at NYC’s IFC Center — has an unusual star, Dario Argento. Here’s how the film’s helmer Gaspar Noe convinced the iconic Italian horror movie director into his first lead acting role.
“There were three reasons” he said yes, Noe told Deadline. “The first one, he said, because you are my friend and I like your movies.” [Noe has known Argento for 30 years and is friendly with his daughter, Asia Argento.] “The second and the third, because I told him that I would not given him any lines to learn. That he could improvise his dialogue. He could invent his character all by himself. I said, ‘I’ll just handle the camera and the editing. So you’ll direct your part, and I’ll direct my part.’” In fact, the screenplay he showed Argento was only ten pages long.
Vortex follows an elderly couple in crisis. Argento plays an author and movie...
“There were three reasons” he said yes, Noe told Deadline. “The first one, he said, because you are my friend and I like your movies.” [Noe has known Argento for 30 years and is friendly with his daughter, Asia Argento.] “The second and the third, because I told him that I would not given him any lines to learn. That he could improvise his dialogue. He could invent his character all by himself. I said, ‘I’ll just handle the camera and the editing. So you’ll direct your part, and I’ll direct my part.’” In fact, the screenplay he showed Argento was only ten pages long.
Vortex follows an elderly couple in crisis. Argento plays an author and movie...
- 5/1/2022
- by Jill Goldsmith
- Deadline Film + TV
Selection to be announced on Wednesday morning.
Tunisian director Kaouther Ben Hania has been named president of 2022 Critics’ Week, the Cannes parallel section for films by first and second-time films.
Ben Hania will be supported by a jury comprising French-Greek actress and director Ariane Labed, Icelandic director Benedikt Erlingsson, Belgian cinematographer Benoît Debie, and South Korean journalist, film programmer and director of Busan International Film Festival Huh Moonyung.
Ben Hania’s four features include her debut The Blade Of Tunis, 2017 Cannes Un Certain Regard entry Beauty And The Dogs, and 2020 Venice Orizzonti selection The Man Who Sold His Skin, the...
Tunisian director Kaouther Ben Hania has been named president of 2022 Critics’ Week, the Cannes parallel section for films by first and second-time films.
Ben Hania will be supported by a jury comprising French-Greek actress and director Ariane Labed, Icelandic director Benedikt Erlingsson, Belgian cinematographer Benoît Debie, and South Korean journalist, film programmer and director of Busan International Film Festival Huh Moonyung.
Ben Hania’s four features include her debut The Blade Of Tunis, 2017 Cannes Un Certain Regard entry Beauty And The Dogs, and 2020 Venice Orizzonti selection The Man Who Sold His Skin, the...
- 4/18/2022
- by Jeremy Kay
- ScreenDaily
Direct from France, please welcome longtime reader / first time contributor Arnaud Trouvé to talk about the Cannes festival and share the new lineup... uPDATE 04/23: new additions indicated below under red headlines
Ruben Östlund's "Triangle of Sadness" © Sf Studios
by Arnaud Trouvé
My first encounter with the Cannes Film Festival was in 1998, when Roberto Benigni kissed Martin Scorsese’s feet after winning the Grand Prix for Life is Beautiful (which he mistakenly took for the Palme d’Or). Cannes ceremonies are always broadcast live on French TV and my interest grew rapidly over the years. Flash-forward to 2009: the Paris visual effects company I’m working for had to deliver over a hundred shots for an upcoming production destined for the Croisette. "It has to be ready for Cannes," was the motto as we worked on a very tight schedule. This production happened to be Gaspar Noé’s Enter The Void...
Ruben Östlund's "Triangle of Sadness" © Sf Studios
by Arnaud Trouvé
My first encounter with the Cannes Film Festival was in 1998, when Roberto Benigni kissed Martin Scorsese’s feet after winning the Grand Prix for Life is Beautiful (which he mistakenly took for the Palme d’Or). Cannes ceremonies are always broadcast live on French TV and my interest grew rapidly over the years. Flash-forward to 2009: the Paris visual effects company I’m working for had to deliver over a hundred shots for an upcoming production destined for the Croisette. "It has to be ready for Cannes," was the motto as we worked on a very tight schedule. This production happened to be Gaspar Noé’s Enter The Void...
- 4/14/2022
- by Arnaud Trouvé
- FilmExperience
“The closing moments of Lux Æterna are such a disturbing outburst of light, color, and 3-D illusions they might make even stereoscopic auteur Ken Jacobs avert his eyes.”– Eric Kohn, IndieWire
Lux ÆTERNA opens in New York on May 6 and LA on May 13, with a National Rollout to Follow.
Here’s a new trailer:
Béatrice Dalle and Charlotte Gainsbourg are on a film set telling stories about witches. Technical problems and psychotic outbreaks gradually plunge the shoot into chaos.
Written & Directed By: Gaspar Noé
Cast: Charlotte Gainsbourg, Béatrice Dalle, Abbey Lee (The Neon Demon), Karl Glusman (Love), Claude-Emmanuelle Gajan-Maull (Climax) & Félix Maritaud
The post New Trailer Released for Gaspar Noé’s Psychedelic Freakout Lux ÆTERNA Starring Charlotte Gainsbourg and Béatrice Dalle – Set For Release in May appeared first on We Are Movie Geeks.
Lux ÆTERNA opens in New York on May 6 and LA on May 13, with a National Rollout to Follow.
Here’s a new trailer:
Béatrice Dalle and Charlotte Gainsbourg are on a film set telling stories about witches. Technical problems and psychotic outbreaks gradually plunge the shoot into chaos.
Written & Directed By: Gaspar Noé
Cast: Charlotte Gainsbourg, Béatrice Dalle, Abbey Lee (The Neon Demon), Karl Glusman (Love), Claude-Emmanuelle Gajan-Maull (Climax) & Félix Maritaud
The post New Trailer Released for Gaspar Noé’s Psychedelic Freakout Lux ÆTERNA Starring Charlotte Gainsbourg and Béatrice Dalle – Set For Release in May appeared first on We Are Movie Geeks.
- 4/5/2022
- by Tom Stockman
- WeAreMovieGeeks.com
Gaspar Noé is synonymous with visually stunning psychedelic filmmaking, as the Argentine director has continued to crank up the maximalism in the decade since his 2009 film “Enter the Void” was released. But his latest work, “Lux Æterna,” may be his most excessive project yet. Exclusively on IndieWire, watch the official trailer below.
The film, which premiered in the midnight section of the 2019 Cannes Film Festival, emerged from a botched assignment to direct a 15-minute commercial for Yves Saint Laurent. When Noé was unable to constrain his creativity to meet the needs of the legendary fashion house, he turned the project into a 50-minute mockumentary about a film shoot gone wrong. Saint Laurent is still listed as a producer on the film, but the project is now a bona fide original work from Noé.
The resulting film, “Lux Æterna,” is… very flashy, to say the least. The new trailer is a...
The film, which premiered in the midnight section of the 2019 Cannes Film Festival, emerged from a botched assignment to direct a 15-minute commercial for Yves Saint Laurent. When Noé was unable to constrain his creativity to meet the needs of the legendary fashion house, he turned the project into a 50-minute mockumentary about a film shoot gone wrong. Saint Laurent is still listed as a producer on the film, but the project is now a bona fide original work from Noé.
The resulting film, “Lux Æterna,” is… very flashy, to say the least. The new trailer is a...
- 4/5/2022
- by Christian Zilko
- Indiewire
The spring often brings the most interesting slate of releases––films operating outside the prescribed box of awards season contenders while also attempting to steer clear of a summer movie season dominated by tentpoles––and this April is no exception. With a number of our festival favorites from the past few years, a couple of promising wide releases, and more, there’s plenty to discover.
15. Ambulance (Michael Bay; April 8 in theaters)
However one may feel about Michael Bay, he remains one of the few Hollywood directors who actually bring a bold (if ridiculously over-the-top) vision to studio filmmaking. After teaming with Netflix, he’s now back in theatrical mode for Ambulance. Led by Jake Gyllenhaal, Yahya Abdul-Mateen II, and Eiza González, this remake of the Danish film follows a decorated veteran who, desperate for money to cover his wife’s medical bills, embarks on a bank heist with his adoptive brother.
15. Ambulance (Michael Bay; April 8 in theaters)
However one may feel about Michael Bay, he remains one of the few Hollywood directors who actually bring a bold (if ridiculously over-the-top) vision to studio filmmaking. After teaming with Netflix, he’s now back in theatrical mode for Ambulance. Led by Jake Gyllenhaal, Yahya Abdul-Mateen II, and Eiza González, this remake of the Danish film follows a decorated veteran who, desperate for money to cover his wife’s medical bills, embarks on a bank heist with his adoptive brother.
- 3/31/2022
- by Jordan Raup
- The Film Stage
"Life's a dream, isn't it?" "Yes. A dream within a dream." Utopia has revealed an official US trailer for the latest film made by controversial Argentinian filmmaker Gaspar Noé, known for his films Irreversible, Enter the Void, Love 3D, Climax, and Lux Æterna. His latest isn't as wild as his previous films - focusing on an elderly couple descending into dementia. The film is presented in split screen - following the two around their Paris apartment. This first premiered at the 2021 Cannes Film Festival at midnight, and also played at Karlovy Vary, NYFF, Beyond Fest, and the Vienna Film Festival. Reviews from the festivals state: "With its uncommonly human touch and restless, unflinching visual aesthetic, Vortex might well be Noe’s finest and most thoughtful work." Vortex stars Dario Argento (yep!!) and Françoise Lebrun in the two lead roles, along with Alex Lutz as their son. The split screen style looks a bit jarring,...
- 3/11/2022
- by Alex Billington
- firstshowing.net
After exploring sex and drugs with Love and Climax, respectively, Gaspar Noé is here devastate you with a look about the one thing we are all guaranteed to face: getting old and the inevitability of death. Vortex, which premiered at Cannes Film Festival last fall, follows a couple (Françoise Lebrun and Dario Argento) as the former deals with dementia. With a split-screen approach, the first trailer has now arrived ahead of a release later next month via Utopia.
Rory O’Connor said in his review, “It is a devastating and uncharacteristically sincere accomplishment for Noé, an Argentinian filmmaker and enfant terrible who made his name with a great string of provocative works about the younger, stickier parts of life—nominally, parties (Climax), drugs (Enter The Void), and sex (Love), though usually all at the same time. Vortex‘s stars are of a much earlier vintage: LeBrun rose to prominence playing Veronika...
Rory O’Connor said in his review, “It is a devastating and uncharacteristically sincere accomplishment for Noé, an Argentinian filmmaker and enfant terrible who made his name with a great string of provocative works about the younger, stickier parts of life—nominally, parties (Climax), drugs (Enter The Void), and sex (Love), though usually all at the same time. Vortex‘s stars are of a much earlier vintage: LeBrun rose to prominence playing Veronika...
- 3/11/2022
- by Leonard Pearce
- The Film Stage
Yellow Veil Pictures Has Acquired All North American Rights For Gaspar Noé’s Lux Aeterna. The Saint Laurent Commissioned Film Stars Famed Actress Charlotte Gainsbourg and Béatrice Dalle, Theatrical Release Planned For Later This Year
Yellow Veil Pictures announced today that they have acquired all North American rights to Gaspar Noe’s Lux ÆTERNA and are planning a theatrical release in May, followed later in the year by a full digital and collector’s edition home video release. The film made its world premiere at the 2019 Cannes Film Festival and was later selected for the Tribeca Film Festival prior to cancellation due to the pandemic.
Lux ÆTERNA takes place backstage of a French film production, often utilizing split-screens to follow two characters at once. Charlotte Gainsbourg, acting as herself, plays the film’s — and the film-within-a-film’s — leading role of an actress taking on the role of a witch burned...
Yellow Veil Pictures announced today that they have acquired all North American rights to Gaspar Noe’s Lux ÆTERNA and are planning a theatrical release in May, followed later in the year by a full digital and collector’s edition home video release. The film made its world premiere at the 2019 Cannes Film Festival and was later selected for the Tribeca Film Festival prior to cancellation due to the pandemic.
Lux ÆTERNA takes place backstage of a French film production, often utilizing split-screens to follow two characters at once. Charlotte Gainsbourg, acting as herself, plays the film’s — and the film-within-a-film’s — leading role of an actress taking on the role of a witch burned...
- 2/28/2022
- by Tom Stockman
- WeAreMovieGeeks.com
Yellow Veil Pictures has acquired all North American rights to Gaspar Noé’s new meta movie “Lux Aeterna.” The studio is planning a theatrical release for the film this spring. “Lux Aeterna” made its world premiere at the 2019 Cannes Film Festival and was later selected for the Tribeca Film Festival prior to its cancellation due to the pandemic.
“Lux Aeterna” unfolds backstage at a French film production and is stylistically daring, in the manner of many of Noé’s movies. It’s shot documentary style and frequently deploys split-screens to follow two characters at once. In a metafictional twist, Charlotte Gainsbourg, acting as herself, plays the film’s — and the film-within-a-film’s — leading role of an actress taking on the role of a witch burned at the stake while French actress Beatrice Dalle, playing a version of herself as well, assumes the on-screen role of director. Slowly the set descends into aggressive chaos,...
“Lux Aeterna” unfolds backstage at a French film production and is stylistically daring, in the manner of many of Noé’s movies. It’s shot documentary style and frequently deploys split-screens to follow two characters at once. In a metafictional twist, Charlotte Gainsbourg, acting as herself, plays the film’s — and the film-within-a-film’s — leading role of an actress taking on the role of a witch burned at the stake while French actress Beatrice Dalle, playing a version of herself as well, assumes the on-screen role of director. Slowly the set descends into aggressive chaos,...
- 2/28/2022
- by Brent Lang
- Variety Film + TV
Filmmaker Boaz Yakin discusses some of his favorite films with hosts Josh Olson and Joe Dante.
Show Notes:
Movies Referenced In This Episode
Aviva (2020)
The Harder They Fall (2021)
The Harder They Come (1972)
Reservoir Dogs (1992)
Pulp Fiction (1994)
Fresh (1994)
Mo’ Better Blues (1990)
Safe (2012)
Scream (2022)
The Punisher (1989)
The Adventures of Robin Hood (1938)
Kagemusha (1980) – Bernard Rose’s trailer commentary
Mean Streets (1973)
Jaws (1975) – Josh Olson’s trailer commentary
The 400 Blows (1959) – Robert Weide’s trailer commentary
Yojimbo (1961)
Dodes’ka-den (1970)
Short Cuts (1993) – Glenn Erickson’s Criterion Blu-ray commentary
Casablanca (1942) – John Landis’s trailer commentary
Coonskin (1975) – Larry Karaszewski’s trailer commentary
Fritz The Cat (1972) – Mick Garris’s trailer commentary, Charlie Largent’s Blu-ray review
The Lord of the Rings (1978)
Wizards (1977)
Heavy Traffic (1973) – Larry Karaszewski’s trailer commentary, Randy Fuller’s wine pairing
The Warriors (1979)
Quintet (1979)
Brewster McCloud (1970) – Larry Karaszewski’s trailer commentary, Glenn Erickson’s Blu-ray review
Mash (1970)
Nashville (1975) – Larry Karaszewski’s trailer commentary, Dan Perri’s trailer commentary,...
Show Notes:
Movies Referenced In This Episode
Aviva (2020)
The Harder They Fall (2021)
The Harder They Come (1972)
Reservoir Dogs (1992)
Pulp Fiction (1994)
Fresh (1994)
Mo’ Better Blues (1990)
Safe (2012)
Scream (2022)
The Punisher (1989)
The Adventures of Robin Hood (1938)
Kagemusha (1980) – Bernard Rose’s trailer commentary
Mean Streets (1973)
Jaws (1975) – Josh Olson’s trailer commentary
The 400 Blows (1959) – Robert Weide’s trailer commentary
Yojimbo (1961)
Dodes’ka-den (1970)
Short Cuts (1993) – Glenn Erickson’s Criterion Blu-ray commentary
Casablanca (1942) – John Landis’s trailer commentary
Coonskin (1975) – Larry Karaszewski’s trailer commentary
Fritz The Cat (1972) – Mick Garris’s trailer commentary, Charlie Largent’s Blu-ray review
The Lord of the Rings (1978)
Wizards (1977)
Heavy Traffic (1973) – Larry Karaszewski’s trailer commentary, Randy Fuller’s wine pairing
The Warriors (1979)
Quintet (1979)
Brewster McCloud (1970) – Larry Karaszewski’s trailer commentary, Glenn Erickson’s Blu-ray review
Mash (1970)
Nashville (1975) – Larry Karaszewski’s trailer commentary, Dan Perri’s trailer commentary,...
- 2/22/2022
- by Kris Millsap
- Trailers from Hell
"Anton may be done with life, but life ain’t done with Anton." This animated short film originally premiered in 2013 and we're just now catching up with it thanks to a reminder from our friends at Short of the Week. Life is Beautiful is made by an Amsterdam-based filmmaker named Ben Brand, who has won awards for his many short films over the years (you'll recognize gifs from this one). This one is about an aging man who makes a decision to change his measly existence, and in doing so "discovers the real greatness of life." It's kind of about reincarnation, but I won't say anything else. It played at numerous festivals in 2013 & 2014 and picked up a few awards, and is online now. As odd as this seems, it's a bit like Pixar's Soul meets Gaspar Noe's Enter the Void. Despite the heavy story, Brand says it's "supposed to be a funny,...
- 12/7/2021
- by Alex Billington
- firstshowing.net
Chile’s Zapik Films, co-producer of “My Tender Matador” starring Alfredo Castro, has boarded the Bolivian political thriller “Family” (“Familia”) by Marcelo Landaeta, which participates in Sanfic Industria’s Santiago Fiction Lab.
Landaeta describes his debut feature as a thriller set in the late ‘70s when Bolivia is in the grip of a military dictatorship.
“It is precisely in this universe, plagued by terror and violence, when the lives of four people intersect on the eve of a coup,” Landaeta explained, who likens his script’s structure to that of Alejandro Gonzalez Inarritu’s seminal “Amores Perros” where four seemingly disparate stories are linked to one incident. He also draws on the aesthetics of Argentina’s Gaspar Noe and his irreverent and fantastical vision in “Enter the Void” as well as Paul Thomas Anderson’s “Boogie Nights” as a visual reference for the production design of “Family.”
Prior to Sanfic Industria,...
Landaeta describes his debut feature as a thriller set in the late ‘70s when Bolivia is in the grip of a military dictatorship.
“It is precisely in this universe, plagued by terror and violence, when the lives of four people intersect on the eve of a coup,” Landaeta explained, who likens his script’s structure to that of Alejandro Gonzalez Inarritu’s seminal “Amores Perros” where four seemingly disparate stories are linked to one incident. He also draws on the aesthetics of Argentina’s Gaspar Noe and his irreverent and fantastical vision in “Enter the Void” as well as Paul Thomas Anderson’s “Boogie Nights” as a visual reference for the production design of “Family.”
Prior to Sanfic Industria,...
- 11/2/2021
- by Anna Marie de la Fuente
- Variety Film + TV
Music Box has acquired Xavier Giannoli’s “Lost Illusions,” a sprawling costume drama with Benjamin Voisin (“Summer of 85”) and Xavier Dolan (“Mommy”), that competed at the Venice Film Festival and played at San Sebastian.
A critically acclaimed film adaptation of Honoré de Balzac’s literary masterpiece, “Les Illusions perdues,” the movie has now been sold in key markets by Gaumont. The French studio co-produced the film and will give it a wide release in France on Wednesday (Oct. 20).
“Lost Illusions” is one of the biggest budgeted and most anticipated French films this fall. It will have its North American premiere on the closing night of Colcoa, the French film festival in Los Angeles, on Nov. 7.
Cecile de France (“The Young Pope”) and Vincent Lacoste (“Amanda”) complete the lead cast of “Lost Illusions,” with Gerard Depardieu and Jeanne Balibar playing supporting roles.
Voisin stars as Lucien de Rubempré, a young...
A critically acclaimed film adaptation of Honoré de Balzac’s literary masterpiece, “Les Illusions perdues,” the movie has now been sold in key markets by Gaumont. The French studio co-produced the film and will give it a wide release in France on Wednesday (Oct. 20).
“Lost Illusions” is one of the biggest budgeted and most anticipated French films this fall. It will have its North American premiere on the closing night of Colcoa, the French film festival in Los Angeles, on Nov. 7.
Cecile de France (“The Young Pope”) and Vincent Lacoste (“Amanda”) complete the lead cast of “Lost Illusions,” with Gerard Depardieu and Jeanne Balibar playing supporting roles.
Voisin stars as Lucien de Rubempré, a young...
- 10/19/2021
- by Elsa Keslassy
- Variety Film + TV
Last year, the pandemic forced organizers to call off the full-fledged Cannes Film Festival. This year, the festival staged a comeback and welcomed industry players, including distributors looking for completed films at the buzzy festival, back to the Croisette July 6-17.
There was plenty of market activity from the start. Some of the buzzy titles that scored early distribution include Leos Carax’s English-language debut and festival opener “Annette.” Amazon scooped that up four years ago. Another Cannes favorite director, Paul Verhoeven, saw his latest effort, lesbian nun drama “Benedetta,” acquired by IFC Films.
IFC announced another acquisition, Mia Hansen-Løve’s”Bergman Island,” the day after the festival lineup was announced.
Last year’s Cannes included a list of official selections that allowed films to display the festival’s laurels, including Oscar winner “Another Round.” But actual activity was limited to a very abbreviated “special edition” staged in October, plus...
There was plenty of market activity from the start. Some of the buzzy titles that scored early distribution include Leos Carax’s English-language debut and festival opener “Annette.” Amazon scooped that up four years ago. Another Cannes favorite director, Paul Verhoeven, saw his latest effort, lesbian nun drama “Benedetta,” acquired by IFC Films.
IFC announced another acquisition, Mia Hansen-Løve’s”Bergman Island,” the day after the festival lineup was announced.
Last year’s Cannes included a list of official selections that allowed films to display the festival’s laurels, including Oscar winner “Another Round.” But actual activity was limited to a very abbreviated “special edition” staged in October, plus...
- 8/19/2021
- by Chris Lindahl and Kate Erbland
- Indiewire
Gaspar Noé’s “Vortex,” an acclaimed meditation on mortality told entirely in split-screen, has sold to Utopia. The deal is for North American rights and comes on the heels of the film’s debut at this year’s Cannes, where it was greeted with a standing ovation and critical acclaim.
Eric Kohn of IndieWire compared to movie to the Oscar-winning “Amour,” writing that the drama about an aging couple in a Paris apartment is “the most sensitive and accessible work from a filmmaker for whom those descriptors rarely apply.” Indeed, Noé has carved out a career for himself as something of a cinematic provocateur, directing challenging and controversial works such as “Enter the Void” and “Climax,” which have shocked and polarized viewers with their violence, psychedelic editing and edgy sex. The change in tone is partly due to the fact that “Vortex” was inspired by the deaths of some of...
Eric Kohn of IndieWire compared to movie to the Oscar-winning “Amour,” writing that the drama about an aging couple in a Paris apartment is “the most sensitive and accessible work from a filmmaker for whom those descriptors rarely apply.” Indeed, Noé has carved out a career for himself as something of a cinematic provocateur, directing challenging and controversial works such as “Enter the Void” and “Climax,” which have shocked and polarized viewers with their violence, psychedelic editing and edgy sex. The change in tone is partly due to the fact that “Vortex” was inspired by the deaths of some of...
- 8/19/2021
- by Brent Lang
- Variety Film + TV
On the same day that Gaspar Noé premiered his new movie “Vortex” at the 2021 Cannes Film Festival, he posted an alarming image on Instagram. Captioned “Brain hemorrhage – Day 11,” the photo showed the 57-year-old Argentine director in a hospital gown and attached to a ventilator. Fans and friends flooded the comments section to offer their best wishes. “The universe still needs ur movies,” wrote one.
As it turned out, the same filmmaker who excelled at disorienting viewers with the intense psychedelic provocations “Enter the Void” and “Climax” had pulled off another trick: The photo was over a year old. Noé survived the hemorrhage shortly before the pandemic hit, a one-two punch that brought the Paris-based director closer than ever to his own mortality and led him to make his most personal film.
Noé’s very name has been associated with subversive filmmaking gambles for nearly 20 years, going back to when “Irreversible...
As it turned out, the same filmmaker who excelled at disorienting viewers with the intense psychedelic provocations “Enter the Void” and “Climax” had pulled off another trick: The photo was over a year old. Noé survived the hemorrhage shortly before the pandemic hit, a one-two punch that brought the Paris-based director closer than ever to his own mortality and led him to make his most personal film.
Noé’s very name has been associated with subversive filmmaking gambles for nearly 20 years, going back to when “Irreversible...
- 7/18/2021
- by Eric Kohn
- Indiewire
Note to self: do not get old. The alternative, i.e., death, may not be very pleasant but, sedate and dignified and swathed in vaguely biblical white sheets, it doesn’t get anything like the bad press that old age does in Gaspar Noé‘s “Vortex.” Let’s not forget that in “Enter the Void,” this same director made death seem like quite the trip – infinitely preferable to the progressively demeaning ravages of dementia or the Sword of Damocles that is a dodgy ticker.
Continue reading ‘Vortex’: Split-Screened And Somber, Gaspar Noé’s Latest Old Age Drama Is A Whole New Form Of Gruelling [Cannes Review] at The Playlist.
Continue reading ‘Vortex’: Split-Screened And Somber, Gaspar Noé’s Latest Old Age Drama Is A Whole New Form Of Gruelling [Cannes Review] at The Playlist.
- 7/17/2021
- by The Playlist
- The Playlist
Stories from multiple perspectives have been onscreen at least since Rashomon, but even the great Akira Kurosawa might have found something to like in the new Gaspar Noé. The agent provocateur returns to remind us that death is inevitable and rarely dignified. His newest film is Vortex and it takes place in Paris, specifically the apartment of a married couple on the final furlongs of life. It opens on the pair enjoying an evening on the balcony: life is “a dream within a dream,” the husband says, quoting Poe, before continuing, “I’m one foot in the grave… a wilted rose.” The mind wanders to Jean-Louis Trintignant and Emmanuel Riva in Amour, another story of wilting roses in the French capitol.
Over the course of a few fateful days, Françoise Lebrun and Dario Argento give scarcely fathomable performances as a woman in the late throes of dementia and her long-suffering...
Over the course of a few fateful days, Françoise Lebrun and Dario Argento give scarcely fathomable performances as a woman in the late throes of dementia and her long-suffering...
- 7/17/2021
- by Rory O'Connor
- The Film Stage
As usual, Gaspar Noe kept us waiting. The director’s latest film, Vortex, was the last film to arrive in the projection rooms and the last to play in any of the official sections (the newly-created Cannes Premiere sidebar), the final gasp of a film festival that made it over the finish line wheezing and exhausted but triumphant.
It also started 50 minutes late, after Bill Murray refused to leave the stage from the preceding musical event screening. So it was nearly midnight when Cannes boss Thierry Fremaux announced there had only been 70 positive Covid tests throughout the festival – meaning movie theaters are, after all, safe spaces – and then introduced the attending celebrities, who included Tilda Swinton and Asia Argento as well the unlikely stars of Vortex, Italian horror director Dario Argento and nouvelle vague legend Francoise LeBrun. And, of course, Noe himself.
With “Vortex,” the controversial Argentinian who usually focuses his Cannes premieres on sex,...
It also started 50 minutes late, after Bill Murray refused to leave the stage from the preceding musical event screening. So it was nearly midnight when Cannes boss Thierry Fremaux announced there had only been 70 positive Covid tests throughout the festival – meaning movie theaters are, after all, safe spaces – and then introduced the attending celebrities, who included Tilda Swinton and Asia Argento as well the unlikely stars of Vortex, Italian horror director Dario Argento and nouvelle vague legend Francoise LeBrun. And, of course, Noe himself.
With “Vortex,” the controversial Argentinian who usually focuses his Cannes premieres on sex,...
- 7/17/2021
- by Jason Solomons
- The Wrap
Gaspar Noé is the kind of mad scientist filmmaker whose very name invites expectations of provocative experimentation. “Vortex,” which clocks in at 142 minutes and spends almost all of them in split screen, would appear to be consistent with that trend. Yet this quiet, slow-burn look at an elderly couple suffering from dementia and other ailments is a grounded, emotional variation of “Amour,” as well as the .
A world apart from the dazzling psychedelic rides of “Climax” and “Enter the Void,” Noé’s latest doesn’t always justify the formalist gimmicky at its center, but it doesn’t overplay the gimmick, either. A world apart from Mike Figgis’ “Timecode” or anything in Brian De Palma’s oeuvre, “Vortex” introduces its split screen within the opening minutes and simply lets it sit there as a statement on the dueling life stories at its center.
These belong to an unnamed couple, one played...
A world apart from the dazzling psychedelic rides of “Climax” and “Enter the Void,” Noé’s latest doesn’t always justify the formalist gimmicky at its center, but it doesn’t overplay the gimmick, either. A world apart from Mike Figgis’ “Timecode” or anything in Brian De Palma’s oeuvre, “Vortex” introduces its split screen within the opening minutes and simply lets it sit there as a statement on the dueling life stories at its center.
These belong to an unnamed couple, one played...
- 7/16/2021
- by Eric Kohn
- Indiewire
In a Cannes surprise, it was revealed that Gaspar Noé had a new film set to premiere at the festival. The Enter the Void director shot Vortex over twenty days between mid-March and April 2021, featuring a cast including the legendary director Dario Argento, Françoise Lebrun, and Alex Lutz. With the film now having just premiered at the festival (check back for our review), the first clip and poster have arrived.
“While it’s my first feature film for all audiences, I’m also told that––due to the very common situation it described, which most people are or will become familiar with––it’s the toughest,” the director said, touching on the film’s themes of death. “I’ve already made films that scared people, turned them on, or made them laugh. This time I wanted to make a film that made them cry as hard as I could, in life as at the cinema.
“While it’s my first feature film for all audiences, I’m also told that––due to the very common situation it described, which most people are or will become familiar with––it’s the toughest,” the director said, touching on the film’s themes of death. “I’ve already made films that scared people, turned them on, or made them laugh. This time I wanted to make a film that made them cry as hard as I could, in life as at the cinema.
- 7/16/2021
- by Jordan Raup
- The Film Stage
The provocateur of French cinema, Argentinian-born filmmaker Gaspar Noé (Irreversible, Enter the Void, Love), isn’t afraid to upset his viewers with depictions of graphic sex, violence or LSD-spiked dance parties. So it comes as a bit of a shock to see that his latest, the suggestively titled Vortex, is a solemn, documentary-like depiction of an elderly couple muddling through the last stretch of their time on this planet. The days of a left-wing Franco-Italian couple in Paris are now mostly empty and hopeless to such an extent that a simply humdrum moment might turn into the day’s highlight as it offers a quick ...
- 7/16/2021
- The Hollywood Reporter - Movie News
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