Guy Maddin’s 1988 feature directorial debut, Tales from the Gimli Hospital, finds the Canadian auteur’s delightfully perverse sensibilities already fully formed. Given the film’s mix of surreal black-and-white imagery, subversive sexuality, and offbeat comedy, as well as its success on the midnight movie circuit, the comparisons to David Lynch’s Eraserhead were inevitable. And yet, anyone who’s seen even a single one of Maddin’s later work can instantly tell that this film couldn’t have sprung from the subconscious of any other filmmaker.
Maddin’s obsession with obscure Canadian folklore is evident right from the get-go, with a title card informing the audience about the 1865 eruption of Askja, a quiescent volcano, that caused many Icelanders to immigrate to Gimli, a small town in Manitoba, Canada. What follows is, like many of the directors other films, a deliriously playful fusion of fact and fiction, with each “historical...
Maddin’s obsession with obscure Canadian folklore is evident right from the get-go, with a title card informing the audience about the 1865 eruption of Askja, a quiescent volcano, that caused many Icelanders to immigrate to Gimli, a small town in Manitoba, Canada. What follows is, like many of the directors other films, a deliriously playful fusion of fact and fiction, with each “historical...
- 6/27/2023
- by Derek Smith
- Slant Magazine
It’s usually unwise to remake a masterpiece, but Guy Maddin has something different planned for “The Green Fog,” a meditation on Alfred Hitchcock’s “Vertigo.” Unlike Gus Van Sant’s much-maligned 1998 shot-for-shot remake of “Psycho,” the Canadian director has revisited the 1958 thriller as an assemblage of old footage from San Francisco, the city where “Vertigo” takes place.
However, the project was never intended to have anything to do with “Vertigo.”
In “The Green Fog — A San Francisco Fantasia,” commissioned by San Francisco Film Society and set to close the San Francisco International Film Festival’s 60th edition on April 16, Maddin and co-directors Evan and Galen Johnson explore what Maddin has called “a rhapsody” on the Hitchcock movie. Set to an original score by composer Jacob Garchik that will be performed live by the San Francisco-based Kronos Quartet, the 63-minute “The Green Fog” reimagines the movie through an assemblage of...
However, the project was never intended to have anything to do with “Vertigo.”
In “The Green Fog — A San Francisco Fantasia,” commissioned by San Francisco Film Society and set to close the San Francisco International Film Festival’s 60th edition on April 16, Maddin and co-directors Evan and Galen Johnson explore what Maddin has called “a rhapsody” on the Hitchcock movie. Set to an original score by composer Jacob Garchik that will be performed live by the San Francisco-based Kronos Quartet, the 63-minute “The Green Fog” reimagines the movie through an assemblage of...
- 4/15/2017
- by Eric Kohn
- Indiewire
His new film, The Forbidden Room, features amnesiac chanteuses, a jungle vampire and tormented buttock obsessives. So business as usual, then, for the cult auteur
Apart from the fact that the action begins underwater – in a submarine facing certain doom – Guy Maddin’s The Forbidden Room is something of an underground movie. All the Canadian director’s films are, in a sense. They’re made beyond the mainstream of art cinema, usually on scrimp-and-save budgets, and display the exalted amateur obsessiveness that marks the true outsider film-maker. And Maddin’s work has another quintessentially underground quality: the sense that he’s mining the unconscious not only of his perverse psyche but of cinema itself.
The Forbidden Room is the culmination of the 59-year-old’s 30-year career that began when Maddin would make eerie pastiches of silent-era cinema in his mother’s old hair salon, part of his family’s Winnipeg home.
Apart from the fact that the action begins underwater – in a submarine facing certain doom – Guy Maddin’s The Forbidden Room is something of an underground movie. All the Canadian director’s films are, in a sense. They’re made beyond the mainstream of art cinema, usually on scrimp-and-save budgets, and display the exalted amateur obsessiveness that marks the true outsider film-maker. And Maddin’s work has another quintessentially underground quality: the sense that he’s mining the unconscious not only of his perverse psyche but of cinema itself.
The Forbidden Room is the culmination of the 59-year-old’s 30-year career that began when Maddin would make eerie pastiches of silent-era cinema in his mother’s old hair salon, part of his family’s Winnipeg home.
- 11/26/2015
- by Jonathan Romney
- The Guardian - Film News
Dreams! Visions! Madness!: Maddin & Johnson’s Extravagant Symphony of Silent Cinema Fantasia
Those familiar with the works of auteur Guy Maddin, sometimes referred to as the Canadian David Lynch, know to expect strange hybrids of silence film techniques mixed with zany weirdness that often reflect delightfully perverse and sometimes queer dynamics mixed in with its dashes of visual inventiveness and extreme narrative playfulness. While he still creates a healthy amount of short film projects and is involved with other installations in-between feature films, including several notable unions with actress Isabella Rossellini, who has starred in The Saddest Music in the World (2003), Keyhole (2011) and as narrator of the brilliant Brand Upon the Brain! (2006), his latest has been in gestation over a period of several years, at one point known as Seances and Spiritismes, and it was uncertain whether this would ever be a theatrical release. Known finally as The Forbidden Room,...
Those familiar with the works of auteur Guy Maddin, sometimes referred to as the Canadian David Lynch, know to expect strange hybrids of silence film techniques mixed with zany weirdness that often reflect delightfully perverse and sometimes queer dynamics mixed in with its dashes of visual inventiveness and extreme narrative playfulness. While he still creates a healthy amount of short film projects and is involved with other installations in-between feature films, including several notable unions with actress Isabella Rossellini, who has starred in The Saddest Music in the World (2003), Keyhole (2011) and as narrator of the brilliant Brand Upon the Brain! (2006), his latest has been in gestation over a period of several years, at one point known as Seances and Spiritismes, and it was uncertain whether this would ever be a theatrical release. Known finally as The Forbidden Room,...
- 10/9/2015
- by Nicholas Bell
- IONCINEMA.com
Guy Maddin is an aberration of modern cinema. From his first film "The Dead Father" in 1985 to his latest "The Forbidden Room" (premiering at this year's Sundance Film Festival), the Canadian director utilizes the techniques and tones intrinsic to silent films and early talkies while coupling them with scripts that often feel both literary and tawdry. He has a ludic sensibility that may be an acquired taste, but his presence is welcome —even his misfires provide an antidotal experience for anyone burned by the unambitious state of moving pictures. This month, The Criterion Collection released his 2007 film "My Winnipeg," a documentary/memoir/essay on the home he finds impossible to leave. We sat down with the director and spoke with him not just about 'Winnipeg' but about his entire career (his first feature "Tales from the Gimli Hospital," the Toronto International Film Festival-produced short "Heart of the World," German...
- 1/28/2015
- by Christopher Bell
- The Playlist
This week is Ben Barenholtz' birthday.
We'd like to celebrate by running 2 pieces on his amazing wonderful life.
This is his public bio, which in itself, tells of a rich wonderful career in film.
In the next days we'll publish his amazing memoir of his European childhood when he narrowly escaped from the hands of Jew killers during the War.
I personally owe Ben a lot. When I was producing some years back Ben was working for Almi and bought an indie film I produced 'Home Free All' by Director Stewart Bird for that company. The money from that deal paid our investors and took us out of a deep financial hole. I am always grateful to Ben for his vision and belief in us then.
Now for his professional bio -
Biography for Ben Barenholtz
Birth Name Benjamin Barenholtz
Mini Biography
As an exhibitor, distributor, and producer, Ben Barenholtz has been a key presence in the independent film scene since the late 1960s, when he opened the Elgin Cinema in New York City.
Barenholtz secured his first job in the film business when he became assistant manager of the Rko Bushwick Theater in Brooklyn in 1958. From 1966-68 he managed and lived in the Village Theater, which ultimately became the Filmore East. At the Village Theater Barenholtz provided a home for the counterculture, with appearances by Timothy Leary, Stokley Carmichael, Rap Brown, and Paul Krasner. Some of the first meetings of the anti-Vietnam War movement, including the Poets Against Vietnam, were held at the Village Theater. It was also a major music venue, with performances by The Who, Cream, Leonard Cohen, John Coltrane, Ornette Coleman, Nina Simone and many others.
In 1968 he opened the Elgin Cinema. The theater became the world's most innovative specialty and revival house, relaunching the films of Buster Keaton and D.W. Griffith, running a variety of independent films by young American directors, and screening cult, underground, and experimental films for the emerging countercultural audience. The films of Stan Brakhage, Jack Smith, Maya Deren, Kenneth Anger, Jonas Mekas, and Andy Warhol, as well as early works by Jonathan Demme and Martin Scorsese, all played at the Elgin.
Barenholtz also developed new ways of screening movies. He started screening dance and opera films on Saturday and Sunday mornings. He created the "All Night Show" - movies started at midnight and ended at dawn. Most notably, Barenholtz originated the "Midnight Movie" in 1970 with Alexander Jodorowsky's El Topo, which ran for 6 months, 7 days a week, to sold out audiences.
The film was eventually bought by John Lennon. El Topo was followed at midnight by John Waters' Pink Flamingoes and Perry Henzell's The Harder They Come. Barenholtz formed the specialty distributor Libra Films in 1972.
The first film Libra distributed was a revival of Jean-Pierre Melville's Les Enfants Terrible, followed by Claude Chabrol's Just Before Nightfall, and Jean-Charles Tacchella's Cousin, Cousine, which became one of the largest grossing foreign films in the Us and was nominated for 3 Academy Awards.
Libra also launched and distributed, among others, George Romero's Martin, John Sayles' first feature Return of the Secaucus Seven, David Lynch's first feature Eraserhead, Karen Arthur's first feature Legacy, Earl Mack's first feature Children of Theater Street, and Peter Gothar's first feature Time Stands Still.
Barenholtz sold Libra Films to the Almi Group in 1982, but stayed with the company to become the President of Libra-Cinema 5 Films. In 1984 he left Almi and joined with Ted and Jim Pedas to form Circle Releasing. Among the films released by Circle were Yoshimitsu Morita's The Family Game, Guy Maddin's first feature Tales From the Gimli Hospital, Vincent Ward's The Navigator, John Woo's The Killer, Catherine Breillat's 36 Fillette, DeWitt Sage's first feature Pavarotti In China, Alain Cavalier's Therese, and Blood Simple, the first film by Joel and Ethan Coen.
His involvement in film production began with Wynn Chamberlain's Brand X and George Romero's Martin. He continued working with the Coens on the production of Raising Arizona, and as executive producer of Miller's Crossing and Barton Fink, which won the Palme d'Or at the 1991 Cannes Film Festival, as well as awards for Best Director and Best Actor. This was the first and last time the three top honors have all gone to the same film at Cannes.
Barenholtz went on to produce George Romero's Bruiser, J Todd Anderson's The Naked Man, Adek Drabinski's Cheat, executive-produced Gregory Hines' directorial debut Bleeding Hearts and Ulu Grossbard's Georgia, which earned an Academy Award nomination for Mare Winningham. He served as co-executive producer of Darren Aronofsky's Requiem for a Dream, which earned Ellen Burstyn an Academy Award nomination for Best Actress in 2000.
Barenholtz appeared in the documentary The Hicks in Hollywood, had a bit role in Liquid Sky, and appeared as a zombie in Romero's classic Dawn of the Dead. He was the main subject of Stuart Samuels' 2005 documentary Midnight Movies: From the Margin to the Mainstream.
Barenholtz directed his first feature, Music Inn, a documentary about the famed jazz venue.
Barenholtz was the producer of Jamie Greenberg's feature film Stags.
In 2012, Barenholtz produced Suzuya Bobo's first feature Family Games.
Barenholtz has recently completed directing and post production on Wakaliwood the Documentary, which was shot entirely in Kampala, Uganda. The film will be released in 2013.
He is now developing two feature fiction films which begin production in 2013.
IMDb Mini Biography By: Ben Barenholtz...
We'd like to celebrate by running 2 pieces on his amazing wonderful life.
This is his public bio, which in itself, tells of a rich wonderful career in film.
In the next days we'll publish his amazing memoir of his European childhood when he narrowly escaped from the hands of Jew killers during the War.
I personally owe Ben a lot. When I was producing some years back Ben was working for Almi and bought an indie film I produced 'Home Free All' by Director Stewart Bird for that company. The money from that deal paid our investors and took us out of a deep financial hole. I am always grateful to Ben for his vision and belief in us then.
Now for his professional bio -
Biography for Ben Barenholtz
Birth Name Benjamin Barenholtz
Mini Biography
As an exhibitor, distributor, and producer, Ben Barenholtz has been a key presence in the independent film scene since the late 1960s, when he opened the Elgin Cinema in New York City.
Barenholtz secured his first job in the film business when he became assistant manager of the Rko Bushwick Theater in Brooklyn in 1958. From 1966-68 he managed and lived in the Village Theater, which ultimately became the Filmore East. At the Village Theater Barenholtz provided a home for the counterculture, with appearances by Timothy Leary, Stokley Carmichael, Rap Brown, and Paul Krasner. Some of the first meetings of the anti-Vietnam War movement, including the Poets Against Vietnam, were held at the Village Theater. It was also a major music venue, with performances by The Who, Cream, Leonard Cohen, John Coltrane, Ornette Coleman, Nina Simone and many others.
In 1968 he opened the Elgin Cinema. The theater became the world's most innovative specialty and revival house, relaunching the films of Buster Keaton and D.W. Griffith, running a variety of independent films by young American directors, and screening cult, underground, and experimental films for the emerging countercultural audience. The films of Stan Brakhage, Jack Smith, Maya Deren, Kenneth Anger, Jonas Mekas, and Andy Warhol, as well as early works by Jonathan Demme and Martin Scorsese, all played at the Elgin.
Barenholtz also developed new ways of screening movies. He started screening dance and opera films on Saturday and Sunday mornings. He created the "All Night Show" - movies started at midnight and ended at dawn. Most notably, Barenholtz originated the "Midnight Movie" in 1970 with Alexander Jodorowsky's El Topo, which ran for 6 months, 7 days a week, to sold out audiences.
The film was eventually bought by John Lennon. El Topo was followed at midnight by John Waters' Pink Flamingoes and Perry Henzell's The Harder They Come. Barenholtz formed the specialty distributor Libra Films in 1972.
The first film Libra distributed was a revival of Jean-Pierre Melville's Les Enfants Terrible, followed by Claude Chabrol's Just Before Nightfall, and Jean-Charles Tacchella's Cousin, Cousine, which became one of the largest grossing foreign films in the Us and was nominated for 3 Academy Awards.
Libra also launched and distributed, among others, George Romero's Martin, John Sayles' first feature Return of the Secaucus Seven, David Lynch's first feature Eraserhead, Karen Arthur's first feature Legacy, Earl Mack's first feature Children of Theater Street, and Peter Gothar's first feature Time Stands Still.
Barenholtz sold Libra Films to the Almi Group in 1982, but stayed with the company to become the President of Libra-Cinema 5 Films. In 1984 he left Almi and joined with Ted and Jim Pedas to form Circle Releasing. Among the films released by Circle were Yoshimitsu Morita's The Family Game, Guy Maddin's first feature Tales From the Gimli Hospital, Vincent Ward's The Navigator, John Woo's The Killer, Catherine Breillat's 36 Fillette, DeWitt Sage's first feature Pavarotti In China, Alain Cavalier's Therese, and Blood Simple, the first film by Joel and Ethan Coen.
His involvement in film production began with Wynn Chamberlain's Brand X and George Romero's Martin. He continued working with the Coens on the production of Raising Arizona, and as executive producer of Miller's Crossing and Barton Fink, which won the Palme d'Or at the 1991 Cannes Film Festival, as well as awards for Best Director and Best Actor. This was the first and last time the three top honors have all gone to the same film at Cannes.
Barenholtz went on to produce George Romero's Bruiser, J Todd Anderson's The Naked Man, Adek Drabinski's Cheat, executive-produced Gregory Hines' directorial debut Bleeding Hearts and Ulu Grossbard's Georgia, which earned an Academy Award nomination for Mare Winningham. He served as co-executive producer of Darren Aronofsky's Requiem for a Dream, which earned Ellen Burstyn an Academy Award nomination for Best Actress in 2000.
Barenholtz appeared in the documentary The Hicks in Hollywood, had a bit role in Liquid Sky, and appeared as a zombie in Romero's classic Dawn of the Dead. He was the main subject of Stuart Samuels' 2005 documentary Midnight Movies: From the Margin to the Mainstream.
Barenholtz directed his first feature, Music Inn, a documentary about the famed jazz venue.
Barenholtz was the producer of Jamie Greenberg's feature film Stags.
In 2012, Barenholtz produced Suzuya Bobo's first feature Family Games.
Barenholtz has recently completed directing and post production on Wakaliwood the Documentary, which was shot entirely in Kampala, Uganda. The film will be released in 2013.
He is now developing two feature fiction films which begin production in 2013.
IMDb Mini Biography By: Ben Barenholtz...
- 10/8/2013
- by Peter Belsito
- Sydney's Buzz
Anna Karenina; Taken 2; Keyhole; Hotel Transylvania; Barbara
After a sojourn away from the somewhat staid literary adaptations (Pride and Prejudice, Atonement) with which he made his name, Joe Wright returns to another classic text, clearly invigorated by the audience-pleasing lessons learned on the somewhat sentimental The Soloist and the full-on action-romp Hanna. For all its flaws, his adaptation of Anna Karenina (2012, Universal, 12) is a laudably full-throttle affair, packed with unembarrassed flourishes of Russellian visual invention, theatrical daring and even dance.
Using a proscenium arch device to circumvent the problems and/or expenses of location shooting, Wright's rendering of a well-worn but still thorny narrative boasts splendidly fluid cinematography by Seamus McGarvey, a swoony score from Dario Marianelli, and an especially fine turn from Jude Law as Anna's unloved husband. That the film itself should be perhaps more cerebrally impressive than emotionally engaging is partly a result of Anna's frosty...
After a sojourn away from the somewhat staid literary adaptations (Pride and Prejudice, Atonement) with which he made his name, Joe Wright returns to another classic text, clearly invigorated by the audience-pleasing lessons learned on the somewhat sentimental The Soloist and the full-on action-romp Hanna. For all its flaws, his adaptation of Anna Karenina (2012, Universal, 12) is a laudably full-throttle affair, packed with unembarrassed flourishes of Russellian visual invention, theatrical daring and even dance.
Using a proscenium arch device to circumvent the problems and/or expenses of location shooting, Wright's rendering of a well-worn but still thorny narrative boasts splendidly fluid cinematography by Seamus McGarvey, a swoony score from Dario Marianelli, and an especially fine turn from Jude Law as Anna's unloved husband. That the film itself should be perhaps more cerebrally impressive than emotionally engaging is partly a result of Anna's frosty...
- 2/3/2013
- by Mark Kermode
- The Guardian - Film News
The avant-garde director's new film is a woozy homage to Homer and gangster movies. He explains his vision
Even with a new film to sell, Guy Maddin is not your standard-issue eager-to-please director. "So many people are baffled," he says, with well-practised irony. "The movie will be crystal-clear upon your third viewing." This is Keyhole, Maddin's ninth full-length film since 1988; and against all the odds it's secured a theatrical release in the UK. Most of Maddin's work simply doesn't get to Britain, so resolutely has he followed his own path.
If you know him at all, it is probably for his ballet film Dracula: Pages from a Virgin Diary, or just possibly My Winnipeg, his heartfelt docu-essay tribute to his Canadian hometown. More energetic cineastes may remember 2003's The Saddest Music in the World, Maddin's most determined shot at the mainstream, an elaborate parody musical starring Isabella Rossellini. The...
Even with a new film to sell, Guy Maddin is not your standard-issue eager-to-please director. "So many people are baffled," he says, with well-practised irony. "The movie will be crystal-clear upon your third viewing." This is Keyhole, Maddin's ninth full-length film since 1988; and against all the odds it's secured a theatrical release in the UK. Most of Maddin's work simply doesn't get to Britain, so resolutely has he followed his own path.
If you know him at all, it is probably for his ballet film Dracula: Pages from a Virgin Diary, or just possibly My Winnipeg, his heartfelt docu-essay tribute to his Canadian hometown. More energetic cineastes may remember 2003's The Saddest Music in the World, Maddin's most determined shot at the mainstream, an elaborate parody musical starring Isabella Rossellini. The...
- 8/30/2012
- by Andrew Pulver
- The Guardian - Film News
Guy Maddin's movies exist on a bizarre dreamscape, but they also retain a certain disarming familiarity. Everything original about Maddin's surreal black-and-white excursions come with a simultaneous reference to the movies that inspired him, particularly silent cinema and sultry film noirs. His latest effort, "Keyhole," culls not only from those same influences but from Maddin's existing filmography, from "Tales from the Gimli Hospital" to "The Saddest Music in the World." Even by those standards, "Keyhole" never comes together, but that's part of Maddin's creed. He makes movies about movies to express his love for movies, which is to say he makes movies about himself. The free-associative "Keyhole" follows a 1940's gangster cliché with family issues named Ulysses Pick (Jason Patric) literally battling through the memories locked within his old home. Arriving in a hail of gunfire, he journeys to...
- 4/3/2012
- by Eric Kohn
- Indiewire
Jonathan Hastings: "Metropolis or Moonfleet?" Guy Maddin: "Hate to say it, but Moonraker." Happening once more tonight at the Film Society of Lincoln Center in New York: "A unique live cinematic and musical event, Tales from the Gimli Hospital: Reframed pairs acclaimed filmmaker Guy Maddin's classic first feature film with a live performance — directed by Maddin himself — of a new score created by composer Matthew Patton, a superstar group of Icelandic musicians, acclaimed Seattle-based musical collective Aono Jikken Ensemble, and live electronics engineer Paul Corley."
Los Angeles. Jen Yamato, taking notes for Movieline: "Part of the wave of initiatives in Elvis Mitchell's rebooted Film Independent at Lacma programming is a series of live script reads directed by Jason Reitman (Up in the Air, Juno), who kicked things off last month with a star-studded rendition of The Breakfast Club. [Thursday] night's second script read of the 1960 multiple Oscar-winner The Apartment,...
Los Angeles. Jen Yamato, taking notes for Movieline: "Part of the wave of initiatives in Elvis Mitchell's rebooted Film Independent at Lacma programming is a series of live script reads directed by Jason Reitman (Up in the Air, Juno), who kicked things off last month with a star-studded rendition of The Breakfast Club. [Thursday] night's second script read of the 1960 multiple Oscar-winner The Apartment,...
- 11/19/2011
- MUBI
I’ll just admit right now, that watching twenty five films in ten days is quite a chore, but there is just too many movies that I really want to see. Honestly if I had the time I would make this a list of fifty ilms instead. Here is my next batch of five films that I feel will be worth my time.
#11 – Keyhole
-
Guy Maddin doesn’t harbour any particular resentment towards the Toronto International Film Festival for rejecting his first feature film Tales From the Gimli Hospital way back in 1988. Over the course of a career that has spanned nearly two decades and 25 films, Maddin has cemented his repututation as one of Canada’s most important, daring, unique filmmakers. His latest Keyhole is described as a surreal indoor odyssey of one man, Ulysses Pick (Jason Patric) struggling to reach his wife (Isabella Rosellini) in her bedroom upstairs,...
#11 – Keyhole
-
Guy Maddin doesn’t harbour any particular resentment towards the Toronto International Film Festival for rejecting his first feature film Tales From the Gimli Hospital way back in 1988. Over the course of a career that has spanned nearly two decades and 25 films, Maddin has cemented his repututation as one of Canada’s most important, daring, unique filmmakers. His latest Keyhole is described as a surreal indoor odyssey of one man, Ulysses Pick (Jason Patric) struggling to reach his wife (Isabella Rosellini) in her bedroom upstairs,...
- 8/19/2011
- by Ricky
- SoundOnSight
Be Careful, citizens of Tolzbad! Of the big budget and fan-catered product that is going to be shoveled into Walmart for the holiday season, it warms my heart to see that Zeitgeist is preparing the Quintessential Guy Maddin, a box set containing five great films of mad Canuck filmmaker that at the least, starts to approach the magnitude of the 'quintessential' moniker. While My Winnipeg, Tales from the Gimli Hospital and The Saddest Music In The World would be very nice indeed to round out the set, anyone willing to delve into the strange and wild filmography of the Canadian auteur could do worse! Careful might just be Maddin's masterwork, and is a great entry point as well. The 4 Disc set does contain the following:
Disc One: Careful (1992, 100 min, Remastered and Repressed Edition):
Disc Two: Twilight of the Ice Nymphs (1997, 90 min) + Archangel (1990, 83 min):
Disc Three: Dracula: Pages from a Virgin's Diary...
Disc One: Careful (1992, 100 min, Remastered and Repressed Edition):
Disc Two: Twilight of the Ice Nymphs (1997, 90 min) + Archangel (1990, 83 min):
Disc Three: Dracula: Pages from a Virgin's Diary...
- 11/5/2010
- Screen Anarchy
Guy Maddin is a mad genius. He’s an art film guru, a man who does things his own way, doesn’t hold hands and if you can’t follow, too bad. He has an intuitive mind and crazy skills that result in such great films as The Saddest Music in the World and Tales from the Gimli Hospital. For years he’s been a staple of the Cinematheques but 2007’s My Winnipeg put him on the radar of much wider audience.
Maddin has been busy making short films (earlier in the year we shared Night Mayor with you) but it looks like’s he’s ready to take on another full length feature, one that’s going to start shooting in July.
Keyhole is described as “a kind of Maddin-esque variation of Homer's The Odyssey.” I’m already salivating but if that’s not enough, there’s also...
Maddin has been busy making short films (earlier in the year we shared Night Mayor with you) but it looks like’s he’s ready to take on another full length feature, one that’s going to start shooting in July.
Keyhole is described as “a kind of Maddin-esque variation of Homer's The Odyssey.” I’m already salivating but if that’s not enough, there’s also...
- 6/15/2010
- QuietEarth.us
It has been online since January, tucked in the relatively hidden confines of Vimeo, but what better way to have a coming out party for Guy Maddin's most recent short, The Little White Cloud That Cried, a tribute to American filmmaker and pioneer of underground cinema Jack Smith, than with a micro-festival of the unusual short works of Canada's most off-beat and consistently humourous director.
Comedy, satire, whimsy, sex, melodrama, schlock, art, and intense inter-titles, how does one squeeze this all into 8 minutes or less? Guy Maddin is most known for his feature films, The Saddest Music In The World, Tales From The Gimli Hospital, Careful and his biography of Winnipeg slash catalogue of his own anxieties, My Winnipeg, but often packaged with the DVDs of those features, or touring film festivals (and now the internets), you will come across his sharp and eclectic short films. They are marvels...
Comedy, satire, whimsy, sex, melodrama, schlock, art, and intense inter-titles, how does one squeeze this all into 8 minutes or less? Guy Maddin is most known for his feature films, The Saddest Music In The World, Tales From The Gimli Hospital, Careful and his biography of Winnipeg slash catalogue of his own anxieties, My Winnipeg, but often packaged with the DVDs of those features, or touring film festivals (and now the internets), you will come across his sharp and eclectic short films. They are marvels...
- 3/23/2010
- Screen Anarchy
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.