Testament to the power and mastery of a movie that, nearly 60 years on, still feels as modern, complex and cutting-edge as any film released…
* 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.
An essay about Christopher Nolan's "Dunkirk," from the latest edition of the online magazine Bright Wall/Dark Room.
A look at the latest on Blu-ray, including several Criterion releases, "Their Finest," "The Fate of the Furious," and "The Lost City of Z"!
A preview of this year's Miami Film Festival.
Premieres, Midnights, Special Events and more have been announced for next month's Sundance Film Festival.
On four powerful films from TIFF, including works starring Anne Hathaway, Anne Heche, Sally Hawkins, and Gemma Arterton.
A preview of the 2016 Toronto International Film Festival.
The first films announced for the 2016 Toronto International Film Festival.
The state of female directors in Hollywood; Legacy of "Goodfellas"; "Year of women" at box office; What Dogme 95 did for women directors; Chuck Norris vs. Communism.
Susan Wloszczyna wonders if women at the helm might be just the thing to revitalize the foundering, repetitive comic-book movie genre.
Marie writes: Why a picture is often worth a thousand words...Production still of Harold Lloyd in "An Eastern Westerner" (1920)
Marie writes: Doug Foster is a filmmaker and artist who produces large scale digital film installations that often play with ideas of symmetry and optical illusion. His piece The Heretics' Gate is currently on view at "Daydreaming with... St. Michael's" - an exhibition taking place at St. Michael's church in Camden, London. Note: Foster's piece first appeared at the Hell's Half Acre exhibition at the Old Vic Tunnels in London in 2010."The Heretics' Gate" draws inspiration from Dante's Inferno, the first part of his epic poem The Divine Comedy. A twenty foot high, arched screen and a thirty foot long reflecting pool, are cleverly combined to deliver a mesmerizing and strangely ethereal vision of hell at the central focus point of the church's imposing gothic architecture. To learn more, visit: Liquid Hell: A Q&A With Doug Foster.NOTE: The exhibition is the latest installment in renowned British music producer James Lavelle's curatorial and collaborative art venture, "DAYDREAMING WITH..." - a unique and visceral new exhibition experience, inspired by the desire to marry music and visual art. The goal is to bring together some of the most acclaimed creative names working in music, art, film, fashion and design.
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Tina Mabry's "Mississippi Damned," an independent American production, won the Gold Hugo as the best film in the 2009 Chicago International Film Festival, and added Gold Plaques for best supporting actress (Jossie Thacker) and best screenplay (Mabry). It tells the harrowing story of three black children growing up in rural Mississippi in circumstances of violence and addiction. The film's trailer and an interview with Mabry are linked at the bottom.
Kylee Russell in "Mississippi Damned"
The winner of the Audience Award, announced Friday, was "Precious" (see below). The wins came over a crowed field of competitors from all over the world, many of them with much larger budgets. The other big winner at the Pump Room of the Ambassador East awards ceremony Saturday evening was by veteran master Marco Bellocchio of Italy, who won the Silver Hugo as best director for "Vincere," the story of Mussolini's younger brother. Giovanna Mezzogiorno and Filippo Timi won Silver Hugos as best actress and actor, and Daniele Cipri won a Gold Plaque for best cinematography.
The Chicago International Film Festival is celebrating its 45th anniversary in better form than ever, I think. The festival, which opened Thursday, will be presenting 145 films from 45 countries. That's fewer than Toronto or Cannes but more, I believe, than any other American festival -- and besides, can you see 10 films a day?
There is something about the Jewish way of humor and storytelling I've always found enormously appealing. I memorized material by Henny Youngman and Myron Cohen at an age when, to the best of my knowledge, I had never met a Jew. I liked the rhythm, the contradiction, the use of paradox, the anticlimax, the way word order would be adjusted to back up into a punch line. There seemed to be deep convictions about human nature hidden in gags and one-liners; a sort of rueful shrug. And the stories weren't so much about where they ended as how they got there.
The serious man is consoled by the friend who has stolen his wife
It was two years ago on Saturday night that Jason Reitman's "Juno" had its world premiere here at Toronto. The standing ovation that night was the most spontaneous and joyous I can remember. Still vibrating, Reitman stood on the stage of the Ryerson Theater and vowed, "I'm gonna open all of my films right here in this theater at Toronto." True to his word, his new film "Up in the Air" played the Ryerson at 6 p.m., Saturday--same time, same place.
It stars George Clooney in one of his best performances, as a frequent flyer. His ambition is to pass the 10 million-mile mark in the American Airlines Aadvantage Program, something very few ever do. Asked on an airplane where he lives, he replies, "Here." He's a Termination Facilitator. He fires people for a living. When corporations need to downsize quickly, he flies in and breaks the news to the new former employees. In a lousy economy, his business is great.
TELLURIDE, Colo. -- There is a scene in Francois Truffaut's "Fahrenheit 451" where a colony of book lovers pace slowly through the snow around a pond, reciting the books they have committed to memory. This is in a future where the printed word has been banned. At Telluride sometimes I feel that movie lovers are in the same position, now that the pressures of the marketplace have marginalized all but the most palatable of films.