In terms of provocation, Beuys could certainly provoke viewers into reading a book on its subject instead.
* 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.
The newest and greatest on Blu-ray and streaming services, including "John Wick: Chapter 2," "The LEGO Batman Movie," and three Criterion releases!
An interview with filmmaker and critic Bertrand Tavernier about his new film, "My Journey Through French Cinema."
Matt writes: Movie lovers sorely missing a new book featuring the work of Roger Ebert are now in luck. The fourth installment of Ebert's celebrated book series, The Great Movies, is now on sale, compiling the critic's final 62 essays on indispensable films that he considered truly great.
Meredith Brody recaps the films she saw, of past and present, at the 2016 Telluride Film Festival.
A preview of the films playing at the 2016 Telluride Film Festival.
A tribute to the late Jacques Rivette.
A celebration of actresses Jane Birkin and Charlotte Gainsbourg in anticipation of an upcoming series at the Film Society of Lincoln Center in NYC.
A report on the robust "Classics" section of the 2015 Venice Film Festival.
A guide to the latest Blu-ray, VOD, and streaming options, including "Fifty Shades of Grey," "American Sniper," and "Blackhat".
A report on the Lumière presentation from this year's Cannes Film Festival.
An interview with the legendary Thelma Schoonmaker.
Streaming on Netflix Instant
Sumptuous light, favorably bathed across richly-drawn characters and their worlds, have long been signifiers of a Patrice Leconte film, yet while such environments exist in the auteur's 1996 comedy-drama, "Ridicule," the words produced within them hold much more prominence.
"Of few deaths can it be said that they end an era, but hers does. No other actress commanded more attention for longer, for her work, her beauty, her private life, and a series of health problems that brought her near death more than once." - Roger, from Elizabeth Taylor, a star in her own category
• Bill Stamets and Roger Ebert
The 46th Chicago International Film Festival will play this year at one central location, on the many screens of the AMC River East 21, 322 E. Illinois. A festivalgoers and filmmakers' lounge will be open during festival hours at the Lucky Strike on the second level. Tickets can be ordered online at CIFF's website, which also organizes the films by title, director and country. Tickets also at AMC; sold out films have Rush Lines. More capsules will be added here.
Chicago's biggest annual cinema event boasts 150 films from 50 countries this year. The Chicago International Film Festival opens its 46th season Thursday night as the city's longest-running showcase of dramas, documentaries and shorts.
Everyone seems to believe that Tim Burton and his festival jury did the best they could with slim pickings. The 2010 winners at Cannes were for the most part fair, well-distributed, uncontroversial and safe. You could say the same about the films in the festival.
Last year I left Cannes having seen "Up," "Precious," "Antichrist," "Inglourious Basterds," "Broken Embraces," "A Prophet," "The White Ribbon," "Police, Adjective," "Thirst," and many other good films. Of the first "Antichrist" screening, I wrote: "There's electricity in the air. Every seat is filled, even the little fold-down seats at the end of every row."
May 16 -- Sunday was a day of highs and lows, of new discoveries and dashed hopes. Bertrand Tavernier and Takeshi Kitano, two directors whose films I had most anticipated here, did not live up to my expectations with "The Princess of Montpensier" and "Outrage," respectively. Hungarian Agnes Kocsis, a director who had only made one previous feature in 2006, blew me away with her insightful "Adrienn Pal."
Fifty years ago, the Palme d'Or winner at Cannes was Fellini's "La Dolce Vita." More every year I realize that it was the film of my lifetime. But indulge me while I list some more titles.
The other entries in the official competition included "Ballad of a Soldier," by Grigori Chukhrai; "Lady with a Dog," by Iosif Kheifits; "Home from the Hill," by Vincente Minnelli; "The Virgin Spring," by Ingmar Bergman;" "Kagi," by Kon Ichikawa; "L'Avventura," by Michelangelo Antonioni; "Le Trou," by Jacques Becker; "Never on Sunday," by Jules Dassin; "Sons and Lovers," by Jack Cardiff; "The Savage Innocents," by Nicholas Ray, and "The Young One," by Luis Bunuel.
And many more. But I am not here at the 2010 Cannes Film Festival to mourn the present and praise the past.
Click above to REALLY enlarge...
UPDATED 01/28/10: 2:25 p.m. PST -- COMPLETED!: Thanks for all the detective work -- and special thanks to Christopher Stangl and Srikanth Srinivasan himself for their comprehensive efforts at filling the last few holes! Now I have to go read about who some of these experimental filmmakers are. I did find some Craig Baldwin movies on Netflix, actually...
Srikanth Srinivasan of Bangalore writes one of the most impressive movie blogs on the web: The Seventh Art. I don't remember how I happened upon it last week, but wow am I glad I did. Dig into his exploration of connections between Quentin Tarantino's "Inglourious Basterds" and Jean-Luc Godard's "History of Cinema." Or check out his piece on James Benning's 1986 "Landscape Suicide." There's a lot to look through, divided into sections for Hollywood and World Cinema.
In the section called "The Cinemaniac... I found the above collage (mosaic?) of mostly-famous faces belonging to film directors, which Srikanth says he assembled from thumbnails at Senses of Cinema. Many of them looked quite familiar to me, and if I'm not mistaken they were among the biographical portraits we used in the multimedia CD-ROM movie encyclopedia Microsoft Cinemania, which I edited from 1994 to 1998, first on disc, then also on the web. (Anybody with a copy of Cinemania able to confirm that? My Mac copy of Cinemania97 won't run on Snow Leopard.)
Dirt! The Movie" for practical and personally rewarding solutions
Nobody ever seemed to know what Dusty Cohl did for a living. He was a lawyer, and it was said he was "in real estate," but in over 30 years I never heard him say one word about business. His full-time occupation was being a friend, and he was one of the best I've ever made.
Q. So, should there be more Adam Sandler movies? You'll get what I mean when you read the New York Times article headlined "Economists claim that movie violence might temper the real thing."
UPDATED 10/16: Here are brief reviews of all the Chicago Film Festival movies we have seen, in alphabetical order, written by Bill Stamets and Roger Ebert. More will be added as we view them. For a full CIFF schedule, go to www.chicagofilmfestival.com or call (312) 332-FILM.
Barbie as Karen in "Superstar."
Maybe there should just be a category in the right column for "Lists." Here's one from the film and music writers of Time Out London (which will always be the only real Time Out) called "50 greatest music films ever except for 'Spinal Tap'." No, I added those last four words, but the editors explain in their intro that "we’re celebrating great films – dramas and documentaries – about real musicians."
As if David St. Hubbins and Nigel Tufnel and Derek Smalls never actually toured in the flesh? As if they aren't at least as "real" as, say, KISS or the Monkees or Hootie and the Blowfish, which contained no one named "Hootie" and nobody named "Blowfish." (BTW, the Ramones weren't really "Ramones"! Those were just stage names!) Oh, and Gus Van Sant's "Last Days" was about a guy named "Blake." Michael Pitt looked like Kurt Cobain, but it was only about Cobain in the sense that "Velvet Goldmine" is about Bowie or Iggy Pop or Lou Reed, or "Grace of My Heart" is about Carole King or Brian Wilson or any of the Brill Building writers (even though a lot of them wrote songs for the movie). Then there's "'Round Midnight" (which is on the list) with Dexter Gordon playing Dale Turner, a fictionalized version of Bud Powell...
View image Downey, CA: "What happened?" Third shot of "Superstar." Compare to second shot of "Zodiac" -- establishing a neighborhood, from a car on the street...
So, OK: No "Spinal Tap." But no "I Am Trying to Break Your Heart: A Film About Wilco"? No "You're Gonna Miss Me: A Film About Roky Erickson"? No "Thelonious Monk: Straight, No Chaser"? No "X: The Unheard Music"? No "The Girl Can't Help It"? No "Wattstax"? No "Woodstock"? No "The Kids are Alright"? No "No Direction Home"? No "The Buddy Holly Story"? No "Theramin: An Electronic Odyssey"? No "Heart of Gold"? No "The Filth and the Fury"? No "We Jam Econo: The Story of the Minutemen"? No "La Bamba"? No "Kurt and Courtney"? See how much fun this is? Really, though, I'd substitute any of these for several of the selections on the list.
But, OK, many of my favorites are included: "24 Hour Party People," "Jazz on a Summer's Day," "Stop Making Sense," "DIG!," "Art Pepper: Notes from a Jazz Survivor" (his autobiography, "Straight Life," is the best account of addiction I've ever read), "The Decline of Western Civilization Parts I and II (The Metal Years)"...
View image No one here gets out alive.
At the toppermost of the poppermost: Todd Haynes' 1987 "Superstar: The Karen Carpenter Story," a 45-minute lo-fi "dramatization" that was never officially released because of music clearance troubles (that is, brother Richard wouldn't let Haynes use any Carpenters tunes). Still, after 20 years as an "underground" item, it's available from Google Video here. It's something you really need to see: a documentary-style biopic of Karen Carpenter performed mostly by Barbie dolls. Yes, its a parody (so are most musical biopics, including others on the list -- see the upcoming Jake Kasdan/Judd Apatow picture, "Walk Hard: The Dewey Cox Story" for more on that score). But it presents straightforward facts about anorexia that could have been excerpted from any PBS or 16mm educational doc of the period. It's also a formula showbiz melodrama. But for all the layers of artifice, like Haynes' Sirk opera "Far from Heaven," it becomes strangely, hypnotically -- and genuinely -- moving. Prepare yourself for Haynes' Dylan fantasia, "I'm Not There," by watching "Superstar" and "Velvet Goldmine."
ASIDE: From an interview with Haynes at The Reeler: I actually think that it's easier for people who know less about Dylan to go with it, if they're up for something different. Clearly, that's the first thing: Whether you know Dylan or not, you have to surrender to the movie to have a good time at all and get anything out of it. If you have a lot of Dylanisms in your head, it's kind of distracting, because you're sitting there with a whole second movie going on. You're annotating it as you go. It's kind of nice to sit back and let it take you. I think people get it: Even if you don't know which are the true facts and which are the fictional things, and when we're playing with fact and fiction, from the tone of it, you know that it's playing around with real life. In a way, that's what biopics always do. They just don't tell you that they're doing it, and they don't make it part of the fun. You have to follow the Johnny Cash story and just sort of think, "This is what really happened." Of course, you know it's being dramatized, but you're not in on the joke. You're not in on the game of that. In this movie, at least, you get tipped off to it.Oh yeah, but about that list. Here it is. Make of it what you will:
1 "Superstar: the Karen Carpenter Story" (Todd Haynes, 1987) 2 "Don't Look Back" (DA Pennebaker, 1967) -- Bob Dylan 3 "Gimme Shelter" (David Maysles/Albert Maysles/Charlotte Zwerin, 1970) --Rolling Stones 4 "24 Hour Party People" (Michael Winterbottom, 2002) -- Manchester scene 5 "Topsy-Turvy" (Mike Leigh, 1999) -- Gilbert and Sullivan 6 "Monterey Pop" (DA Pennebaker, 1968) -- concert 7 "Be Here to Love Me" (Margaret Brown, 2004) -- Townes Van Zandt 8 "Thirty Two Short Films about Glenn Gould" (Francois Girard, 1993) -- Glenn Gould 9 "Cocksucker Blues" (Robert Frank, 1972) -- Rolling Stones 10 "Bird" (Clint Eastwood, 1988) -- Charlie Parker 11 "The Last Waltz" (Martin Scorsese, 1978) -- The Band & Friends farewell concert 12 "Rude Boy" (Jack Hazan, David Mingay, 1980) -- The Clash 13 "Scott Walker: 30 Century Man" (Stephen Kijak, 2006) -- Scott Walker 14 "Bound for Glory" (Hal Ashby, 1976) -- Woody Guthrie 15 "The Decline of Western Civilization Parts I & II" (Penelope Spheeris, 1981, 1988) -- LA punk; '80s metal & hair bands 16 "The Devil and Daniel Johnston" (Jeff Feuerzeig, 2005) -- Daniel Johnston 17 "Sweet Dreams" (Karel Reisz, 1982) -- Patsy Cline 18 "Art Pepper: Notes from a Jazz Survivor" (Don McGlynn, 1982) -- Art Pepper 19 "Elgar" (Ken Russell, 1962) -- Edward Elgar 20 "Rust Never Sleeps" (Neil Young, 1979) -- Neil Young 21 "The Future is Unwritten" (Julien Temple, 2006) -- Joe Strummer 22 "DiG!" (Ondi Timoner, 2004) -- Brian Jonestown Massacre, Dandy Warhols 23 "Some Kind Of Monster" (Joe Berlinger, Bruce Sinofsky, 2004) -- Metallica 24 "A Hard Day's Night" (Richard Lester, 1964) -- The Beatles 25 "Jimi Hendrix" (Joe Boyd, 1973) -- Jimi Hendrix(more)
Q. In your Great Movie review of "Casablanca," you refer to Claude Rains' character as subtly homosexual. I thought that his character was portrayed as a complete, though effete, womanizer.