On an amazing new box set built around the works of one of the best filmmakers of all time, Agnès Varda.
An article about New Zealand filmmaker Taika Waititi receiving the Ebert Director Award at the annual Toronto International Film Festival during the TIFF Tribute Gala Awards.
Matt writes: The full line-up for our 21st annual Roger Ebert's Film Festival (a.k.a. Ebertfest), running Wednesday, April 10th, through Saturday, April 13th, is now available on RogerEbert.com. We are dedicating the festival this year to the memory of one of our favorite actors and frequent guests, Scott Wilson, whose great 1984 film "A Year of the Quiet Sun" is among the selections. We also look forward to celebrating the longtime on-air partnership Roger had with Richard Roeper, who will be on hand for two special screenings, as well as the legacy of "Rachel Getting Married" director Jonathan Demme.
A CIFF 2017 dispatch featuring reviews of Vanessa Redgrave's "Sea Sorrow," Laura Mora’s “Killing Jesús” and Milad Alami's "The Charmer."
A look back at this past weekend's Telluride Film Festival, which included 9 in the main program directed by women.
Filmmaker Ira Sachs ("Forty Shades of Blue," "Little Men") talks about the impact of his first feature, “The Delta,” on his life and career, and the lessons he drew from its production.
Abel Ferrara (with bandmates) and Agnès Varda (with the artist JR) present two very different autobiographical documentaries.
A news brief on the Agnès Varda exhibition set to premiere at New York's Blum & Poe on Thursday, March 2nd.
Matt writes: Legendary French New Wave icon Agnès Varda was honored at the third annual Ebert Tribute ceremony during this year's Toronto International Film Festival. Brian Tallerico covered the event at RogerEbert.com, while Chaz Ebert assisted in putting together a Roger Favorites entry on Varda, compiling Roger's reviews of the director's work. Roger felt that Varda's 2008 film, "The Beaches of Agnès," contained “the most poetic shot about the cinema” that he had ever seen, in which “two old fishermen, who were young when she first filmed them, watch themselves on a screen” mounted on “an old market cart that they push through the nighttime streets of their village.”