The kind of movie that lingers on in your head, just like the best fairy tales do.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
Claire Denis's "Bright Sunshine In" opened Directors' Fortnight, a parallel festival, which also presented Werner Herzog with an honorary award.
In search of a more inclusive look at the best directors of all time.
A recap of the 2017 True/False Film Festival.
A tribute to the late Emmanuelle Riva.
Meredith Brody recaps the films she saw, of past and present, at the 2016 Telluride Film Festival.
A great collection of new Blu-ray releases, including "Green Room," "Night and Fog," "Everybody Wants Some!!" and "OJ: Made in America."
Rooney Mara regrets "Pan"; U.S. military paper brands hijabs "passive terrorism"; Lena Dunham on Kesha; How Louis CK saved cinema; Harrison Ford's best non-Lucas films.
An interview with Michael Smith on the eve of his Siskel Film Center debut.
A guide to the latest and greatest on Blu-ray and streaming services, including Ex Machina, It Follows, Clouds of Sils Maria, What We do in the Shadows and more!
Agnès Varda will receive an honorary Palme d'Or at Cannes 2015.
A preview of the 2015 EU Film Festival at the Siskel Film Center in Chicago.
A dispatch from the 2014 NYFF, including "Hill of Freedom," "The Princess of France," "Life of Riley" and "Two Shots Fired."
Rocket Raccoon makes a comeback; Why Some Movies Shouldn't Be Explained; Fear of a Minority Superhero; Christian Indies of 2014; Profane response to net neutrality.
Haitian-born director Djinn Carrenard's nearly three-hour second feature is by turns enthralling and exasperating.
A history of movies not directly based on comic books but definitely inspired by them.
Sheila writes: I came across the photography/dioramas of Lori Nix in my wanderings through the Web and wanted to share some of it with you all, in particular her latest project called "The City". Nix writes of the project: "In my newest body of work 'The City' I have imagined a city of our future, where something either natural or as the result of mankind, has emptied the city of it's human inhabitants. Art museums, Broadway theaters, laundromats and bars no longer function. The walls are deteriorating, the ceilings are falling in, the structures barely stand, yet Mother Nature is slowly taking them over. These spaces are filled with flora, fauna and insects, reclaiming what was theirs before man's encroachment." You can check out the full project here, at her website, as well as take a look at some of her other projects.
Alain Resnais, a major figure in World Cinema, has died at 91.
Recent releases on Blu-ray.
A celebration of A Christmas Story; The Wes Anderson Collection's first pan; Abel Ferrara breaks it down for you, pal.
Sheila writes: BAFTA-award winning "Pitch Black Heist" is a 13-minute film directed and written by John Maclean, starring Michael Fassbender and Liam Cunningham (reunited after their 28-minute one-take scene in Steve McQueen's 2008 film "Hunger"). Here, they play two criminals hired to crack a safe. The only catch is that they must do their work in the dark: any light at all will trigger the alarm. Elegantly filmed in black-and-white, it's a taut fun little thriller with a twist ending. In case the video doesn't work here, you can also view it at Cinephilia and Beyond.
The Toronto Film Festival is universally considered the opening of Academy Awards season, and the weary moviegoer, drained after a summer of exhausted superheroes and franchises, plunges in it with joy. I've been attending since 1977, and have watched it grow from a bootstrap operation, with the schedule improvised from day to day, into one of the big four (with Cannes, Venice and Berlin).
Haneke, Riva, Trintignant
• Chaz Ebert at Cannes
Who will win the Palme D'Or? I expect top prizes for Michael Haneke for his film, "Amour," with Jean-Louis Trintignant and Emmanuelle Riva, but I am terrible at the awards-guessing game. I think "Amour" is one of the very best films in the festival with its harrowing portrait of the mental and physical deterioration of an esteemed piano teacher after a series of strokes, and the husband who must bear witness to this as he takes cares of her.
Haneke's film is so mature and well done that its emotional impact builds quietly, from the core. You marvel at how he layers the scenes of a marriage so naturally that you know the couple has been together for decades in a relationship that is comfortable and emotionally enriching. And so when they make their choices you are right there with them emotionally until the bitter end, and there is no judgment about the choices made.
It's another day for umbrellas and rain slickers, not to mention sweaters. The Riviera is just not delivering the usual idyllic sunshine and warm Mediterranean breezes this year. The film market stands that border the beach in little cabanas have their doors closed for protection from the wet, and their inviting tables and deck chairs on the sand are vacant and dripping.
The first film in competition this morning, "You Ain't Seen Nothin' Yet" by Alain Resnais, didn't deliver either, and I can only hope that the title is prophetic, and that the revered 90-year-old director ("Hiroshima Mon Amour," "Last Year at Marienbad") has some future masterpieces in store for us yet.
For "You Ain't Seen Nothin' Yet," Resnais assembled a large cast of famous French actors with whom he's worked over the years, including Sabine Azema, Anne Cosigny, Mathieu Amalric, Michel Piccoli and Lambert Wilson. This distinguished cast was supplemented by the young stage actors of the fledgling theater company Colombe. The visual techniques and acting style of the stage are pertinent to the look of "You Ain't Seen Nothin' Yet." In the film's press book, Resnais says, "In my films, I'm constantly looking for a theater-style language and musical dialogue that invites the actors to get away from the realism of everyday life and move closer to a more offbeat performance."
In just a week the French Riviera will come alive with the hoopla of the 65th Cannes International Film Festival, running this year from May 16 through 27. Despite the international proliferation of film festivals, like it or not, Cannes remains the biggest, most hyped, glitziest and most diverse event the world of film has to offer, the envy of every other festival.
As if the world at large also trembled at the import of the approaching festivities, previous Cannes festivals have been prefaced by volcanic eruptions, hurricane-force storms, national strikes, and bomb threats. What can we expect this year, when the festival officially becomes a senior citizen? Don't look for any rocking chairs along the Croisette, for one thing. Judging by the lineup of major directors represented in the Competition and other official sections, it's more likely that major revelations will be rocking the Palais. And if it's like other years, we can expect the festival will manage to rock a headline-grabbing major controversy or two as well.
For the fourth year in a row, Cannes will open with an American production, Wes Anderson's "Moonrise Kingdom," guaranteeing that name stars including Bruce Willis, Bill Murray, Edward Norton, Frances McDormand, and Tilda Swinton will be gracing the red carpet on Wednesday, May 16 for a glamorous kick-off. Judging by the trailer available online, the real stars may be the large cast of kids in a comedy/drama that looks to be strong on surreal wackiness.
Even a quick glance at the list of films in competition yields an eye-popping number of famous names, including David Cronenberg (Canada), Michael Haneke (Austria), Abbas Kiarostami (Iran), Ken Loach (UK), Cristian Mungiu (Romania), Alain Resnais France), Carlos Reygadas (Mexico), Walter Salles (Brazil), and many more. This competition could be a veritable Olympics of the cinema gods...or not, as sometimes happen, because even world-class filmmakers and certified masters can disappoint.
"It's enigmatic and obvious, exasperating and beguiling, heavy-handed and understated, witty and poignant, all at once." -- Alex Ramon, Boycotting Trends
What I like most about Abbas Kiarostami's "Certified Copy" is its slipperiness. The Tuscan textures are ravishing (it takes place over the course of an afternoon in and around the village of Lucignano -- or does it?), Juliette Binoche and William Shimell are easy on they eyes and ears (good thing, too, since the movie is practically one long conversation -- or is it?), but for me the most enjoyable thing about it is the way the story and characters keep subtly (and not-so-subtly) shifting, refusing to be pinned down. I was fearing one of those overly literalized Kiarostami "button" endings, but this time (as Michael Sicinski observes in his impressive, ambitious essay at MUBI), the thesis statement is placed at the front of the film and it gets slipperier from there:
"Certified Copy" operates almost in reverse of most thematically inclined works of art, which plunge us into a falsely desultory universe and gradually reveal their master interpretive passkey. Kiarostami's film presents a concept, fully formed and cogent, and allows the rest of the film to set to work on that concept, breaking it into Heisenbergian particles, then bringing it back into solid shape, and on and on.