Looking back at 2011 on what films moved and impressed us it becomes more and more clear—to me at least—that watching old films is a crucial part of making new films meaningful. Thus, our end of year poll, now an annual tradition, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2011—in theaters or at a festival—and creatively pair it with an old film they also saw in 2011 to create a unique double feature. Many contributors chose their favorites of 2011, some picked out-of-the-way gems, others made some pretty strange connections—and some frankly just want to create a kerfuffle. All the contributors were asked to write a paragraph explaining their 2011 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative...
- 1/5/2012
- MUBI
An avid podcast listener (like me) could hardly stumble across better news today than this fresh item from the Zellner Bros: "Mike Plante has great taste and a vast knowledge of film. His venture Cinemad has been many wonderful things; a zine, a blog, a DVD almanac, a distributor and podcast. His latest podcast installment interviews the Zb's, hopefully we did it justice. A lot of important issues were covered from Sasquatches to Salo to Chuck Berry."
What's more, this is Cinemad's sixth podcast and, as it happens, for nearly every one of them, there's a relevant upcoming event worth noting. David and Nathan Zellner's new feature, Kid-Thing, for example, will be making its premiere at Sundance in a few weeks. As for the other five:
Nina Menkes. We've got a cinema devoted to her films even now; its virtual doors are open through July.
Azazel Jacobs. His touching...
What's more, this is Cinemad's sixth podcast and, as it happens, for nearly every one of them, there's a relevant upcoming event worth noting. David and Nathan Zellner's new feature, Kid-Thing, for example, will be making its premiere at Sundance in a few weeks. As for the other five:
Nina Menkes. We've got a cinema devoted to her films even now; its virtual doors are open through July.
Azazel Jacobs. His touching...
- 1/2/2012
- MUBI
Bulle Ogier and Jacques Rivette on the set of L'Amour fou
Photo by Pierre Zucca
In the last issue of Senses of Cinema, Daniel Fairfax reviewed Douglas Morrey and Alison Smith's Jacques Rivette, and now, for Issue 61, Mary Wiles has allowed the editors to choose a chapter from her forthcoming Jacques Rivette. Rolando Caputo's decided to go with the one on L'amour fou (1969) for a number of reasons, but primarily because "the film seems the point of historical conjunction between the end of one wave and the coming of a second wave of filmmakers that washed up in its undertow. At a stretch, one can see the shadow of this film on the cinema of Jean Eustache, Maurice Pialat, Philippe Garrel and others. L'amour fou is a great and wondrous film." And he's running Rivette's 1950 essay "We Are Not Innocent Anymore" as well.
Also in this issue: Marko Bauer,...
Photo by Pierre Zucca
In the last issue of Senses of Cinema, Daniel Fairfax reviewed Douglas Morrey and Alison Smith's Jacques Rivette, and now, for Issue 61, Mary Wiles has allowed the editors to choose a chapter from her forthcoming Jacques Rivette. Rolando Caputo's decided to go with the one on L'amour fou (1969) for a number of reasons, but primarily because "the film seems the point of historical conjunction between the end of one wave and the coming of a second wave of filmmakers that washed up in its undertow. At a stretch, one can see the shadow of this film on the cinema of Jean Eustache, Maurice Pialat, Philippe Garrel and others. L'amour fou is a great and wondrous film." And he's running Rivette's 1950 essay "We Are Not Innocent Anymore" as well.
Also in this issue: Marko Bauer,...
- 12/21/2011
- MUBI
With 2010 only a week over, it already feels like best-of and top-ten lists have been pouring in for months, and we’re already tired of them: the ranking, the exclusions (and inclusions), the rules and the qualifiers. Some people got to see films at festivals, others only catch movies on video; and the ability for us, or any publication, to come up with a system to fairly determine who saw what when and what they thought was the best seems an impossible feat. That doesn’t stop most people from doing it, but we liked the fantasy double features we did last year and for our 3rd Writers Poll we thought we'd do it again.
I asked our contributors to pick a single new film they saw in 2010—in theaters or at a festival—and creatively pair it with an old film they saw in 2010 to create a unique double feature.
I asked our contributors to pick a single new film they saw in 2010—in theaters or at a festival—and creatively pair it with an old film they saw in 2010 to create a unique double feature.
- 1/10/2011
- MUBI
David Cairns
The Forgotten: "And darkness was on the face of the deep."
The Forgotten: Open-Plan Dovecot Required
The Forgotten: Retour a la vie
The Forgotten: Street of Dreams
Adrian Curry
Movie Poster Trend of the Week: "Morning Glory"
Movie Poster of the Week: "White Material"
Movie Poster of the Week "Music from the Big House"
Movie Poster of the Week: "The Bride of Frankenstein"
The Ferroni Brigade
The Golden Donkey Locarno 2010: The Shorts Shine Bright
You Can't Be Neutral on a Moving Train: Tony Scott's "Unstoppable"
The Golden Donkey Venice 2010
Max Goldberg
Tuesday Foreign Region Blu-ray disc Report: "Le cercle rouge" (Jean-Pierre Melville, 1970)
Daniel Kasman
Today, on the Secret Online Film Sharing Networks #1
Today, on the Secret Online Film Sharing Networks #2
Image of the day. Balancing Act
Vancouver Thought Processes
Image of the day. Errant Pleasures of Watching Film on Digital Video
Image of the day. Anna Karina,...
The Forgotten: "And darkness was on the face of the deep."
The Forgotten: Open-Plan Dovecot Required
The Forgotten: Retour a la vie
The Forgotten: Street of Dreams
Adrian Curry
Movie Poster Trend of the Week: "Morning Glory"
Movie Poster of the Week: "White Material"
Movie Poster of the Week "Music from the Big House"
Movie Poster of the Week: "The Bride of Frankenstein"
The Ferroni Brigade
The Golden Donkey Locarno 2010: The Shorts Shine Bright
You Can't Be Neutral on a Moving Train: Tony Scott's "Unstoppable"
The Golden Donkey Venice 2010
Max Goldberg
Tuesday Foreign Region Blu-ray disc Report: "Le cercle rouge" (Jean-Pierre Melville, 1970)
Daniel Kasman
Today, on the Secret Online Film Sharing Networks #1
Today, on the Secret Online Film Sharing Networks #2
Image of the day. Balancing Act
Vancouver Thought Processes
Image of the day. Errant Pleasures of Watching Film on Digital Video
Image of the day. Anna Karina,...
- 12/3/2010
- MUBI
Cannes 2010 Coverage
David Cairns
The Forgotten: Trigger Happy Punks
The Forgotten: Mood Swings
The Forgotten: Seduced and Abandoned
Adrian Curry
Movie Poster of the Week: "Guns"
Movie Poster of the Week: "Tentacles"
Movie Poster of the Week: "Tropical Malady"
Movie Poster of the Week: "La religieuse"
Daniel Kasman
Image of the Day. Records of Material Objects in the Cinema #1
R.I.P. William Lubtchansky
Images of the Day. Ideal Couples
Cannes 2010. Favorite Moments: Days 1 & 2
Cannes 2010. An Actor-Director and His Women: "Tournée" (Mathieu Amalric, France)
Cannes 2010. 3-Wall Realism: "Tuesday, After Christmas" (Radu Muntean, Romania)
Cannes 2010: Sincere Love: "The Strange Case of Angelica" (Manoel de Oliveira, Portugal)
Cannes 2010. Favorite Moments: Day 3
Cannes 2010: A Devil without the Details: "Aurora" (Cristi Puiu, Romania)
Cannes 2010. Love-Hate Relationships: "Au petite bonheur" (Marcel L’Herbier, France, 1946)
Cannes 2010. Playful Protest: "Hands Up" (Romain Goupil, France)
Cannes 2010. Favorite Moments: Day 4
Cannes 2010. Today's Quiet City: "I Wish I Knew" (Jia Zhangke,...
David Cairns
The Forgotten: Trigger Happy Punks
The Forgotten: Mood Swings
The Forgotten: Seduced and Abandoned
Adrian Curry
Movie Poster of the Week: "Guns"
Movie Poster of the Week: "Tentacles"
Movie Poster of the Week: "Tropical Malady"
Movie Poster of the Week: "La religieuse"
Daniel Kasman
Image of the Day. Records of Material Objects in the Cinema #1
R.I.P. William Lubtchansky
Images of the Day. Ideal Couples
Cannes 2010. Favorite Moments: Days 1 & 2
Cannes 2010. An Actor-Director and His Women: "Tournée" (Mathieu Amalric, France)
Cannes 2010. 3-Wall Realism: "Tuesday, After Christmas" (Radu Muntean, Romania)
Cannes 2010: Sincere Love: "The Strange Case of Angelica" (Manoel de Oliveira, Portugal)
Cannes 2010. Favorite Moments: Day 3
Cannes 2010: A Devil without the Details: "Aurora" (Cristi Puiu, Romania)
Cannes 2010. Love-Hate Relationships: "Au petite bonheur" (Marcel L’Herbier, France, 1946)
Cannes 2010. Playful Protest: "Hands Up" (Romain Goupil, France)
Cannes 2010. Favorite Moments: Day 4
Cannes 2010. Today's Quiet City: "I Wish I Knew" (Jia Zhangke,...
- 6/2/2010
- MUBI
For all his lucid dreams. They will be remembered with Godard, Varda, Lanzmann, Straub & Huillet, Rivette, Truffaut, Garrel, and the rest of cinema, which will not be the same.
Top: From Jacques Rivette's The Story of Marie and Julien (2003); featuring Jerzy Radziwilowicz and Emmanuelle Béart; cinematography by William Lubtchansky.
* * *
"I met him only once, in 2001, when he granted me an interview that turned into a long and amicable talk at his home in Paris (concluding with directions to the nearby Poîlane bakery)." The New Yorker's Richard Brody: "[A]rguably, no cinematographer in the history of cinema has photographed a more significant set of movies.... As a cinematographer, Lubtchansky may not have brought about as manifest a technical revolution as did Gregg Toland and Raoul Coutard, but he played a crucial role in the work of the most historically-informed and classical-minded of modernist filmmakers, by infusing traditional cinematic craftsmanship with a decisively modernist spirit.
Top: From Jacques Rivette's The Story of Marie and Julien (2003); featuring Jerzy Radziwilowicz and Emmanuelle Béart; cinematography by William Lubtchansky.
* * *
"I met him only once, in 2001, when he granted me an interview that turned into a long and amicable talk at his home in Paris (concluding with directions to the nearby Poîlane bakery)." The New Yorker's Richard Brody: "[A]rguably, no cinematographer in the history of cinema has photographed a more significant set of movies.... As a cinematographer, Lubtchansky may not have brought about as manifest a technical revolution as did Gregg Toland and Raoul Coutard, but he played a crucial role in the work of the most historically-informed and classical-minded of modernist filmmakers, by infusing traditional cinematic craftsmanship with a decisively modernist spirit.
- 5/11/2010
- MUBI
Movies are made up of images, even the bad ones. But the bad movies rarely leave any images lingering in your brain. The great films are the ones making great images. A great image is many things, by nature diffuse, and we might agree that any great image moves even when stopped still, opening its own cinematic world. Thus, The Notebook's decision to celebrate our recent decade not with a list but with this stream. Each contributor was asked to pick 1 film he or she wants to remember from the 2000s, select 1 image from that film to remember it by, and write one sentence to supplement their selection. We've done our best to craft not simply a grab bag but a cogent flow of the indelible, one image speaking to the next on a variety of registers: from film to film, between color and compositional rhymes, and, as you'll read,...
- 1/16/2010
- MUBI
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