The Film Society of Lincoln Center has set the Yorgos Lanthimos-directed The Favourite as the Opening Night selection for the 56th New York Film Festival. Deadline revealed last week that the film will make its world premiere at Venice, so this will be its New York premiere. That indicates it likely gets a showing at Telluride before the Nyff gala at Alice Tully Hall on Friday, September 28, 2018. Fox Searchlight Pictures releases it November 23. This becomes the second pic announced by Nyff, which recently set Alfonso Cuaron’s Roma to be the centerpiece selection. That film also will have its world premiere in Venice.
In The Favourite, the Duchess of Marlborough (Rachel Weisz) and her servant Abigail Hill (Emma Stone) engage in a sexually charged fight to the death for the body and soul of Queen Anne (Olivia Colman) at the height of the War of the Spanish Succession.
Said...
In The Favourite, the Duchess of Marlborough (Rachel Weisz) and her servant Abigail Hill (Emma Stone) engage in a sexually charged fight to the death for the body and soul of Queen Anne (Olivia Colman) at the height of the War of the Spanish Succession.
Said...
- 7/23/2018
- by Mike Fleming Jr
- Deadline Film + TV
The Film Society of Lincoln Center announces Ava DuVernay’s documentary The 13th as the Opening Night selection of the 54th New York Film Festival (September 30 – October 16), making its world premiere at Alice Tully Hall. The 13th is the first-ever nonfiction work to open the festival, and will debut on Netflix and open in a limited theatrical run on October 7.
Chronicling the history of racial inequality in the United States, The 13th examines how our country has produced the highest rate of incarceration in the world, with the majority of those imprisoned being African-American. The title of DuVernay’s extraordinary and galvanizing film refers to the 13th Amendment to the Constitution—“Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States . . . ” The progression from that second qualifying clause to the horrors of mass incarceration and...
Chronicling the history of racial inequality in the United States, The 13th examines how our country has produced the highest rate of incarceration in the world, with the majority of those imprisoned being African-American. The title of DuVernay’s extraordinary and galvanizing film refers to the 13th Amendment to the Constitution—“Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States . . . ” The progression from that second qualifying clause to the horrors of mass incarceration and...
- 7/19/2016
- by Kellvin Chavez
- LRMonline.com
If the languid summer tentpole season has you down, fear not, as the promising fall slate is around the corner and today brings the first news of what we’ll see at the 2016 New York Film Festival. For the first time ever, a non-fiction film will open The Film Society of Lincoln Center’s festival: Ava DuVernay‘s The 13th. Her timely follow-up to Selma chronicles the history of racial inequality in the United States and will arrive on Netflix and in limited theaters shortly after its premiere at Nyff, on October 7.
“It is a true honor for me and my collaborators to premiere The 13th as the opening night selection of the New York Film Festival,” Ava DuVernay says. “This film was made as an answer to my own questions about how and why we have become the most incarcerated nation in the world, how and why we regard...
“It is a true honor for me and my collaborators to premiere The 13th as the opening night selection of the New York Film Festival,” Ava DuVernay says. “This film was made as an answer to my own questions about how and why we have become the most incarcerated nation in the world, how and why we regard...
- 7/19/2016
- by Jordan Raup
- The Film Stage
Close-Up is a column that spotlights films now playing on Mubi. Hard to Be a God is playing on Mubi in the Us through January 2.Hard to Be a GodRussian director Aleksei German spent the final 15 years of his life working on Hard To Be A God (2013), a brutal medieval epic adapted from a 1964 novel of the same name by Arkady and Boris Strutgatsky, dying just before he could complete the job in February 2013. Happily, his son and widow were able to oversee the final sound mix. The result is one of the most immersive and harrowing cinematic experiences going, three hours of being put to the sword and mired in the mud, blood and viscera of a nightmare alternate reality.Although German's characters are dressed in the clanking armour, chainmail and robes of the European Middle Ages, Hard To Be A God is in fact set on a distant planet,...
- 12/3/2015
- by Joe Sommerlad
- MUBI
There nothing better than seeing silent films with live music, especially in the cozy confines of Webster University’s Moore Auditorium (470 E. Lockwood in Webster Groves). This Sunday, February 15th, at 7pm, Webster University, in conjunction with Cinema St. Louis, will screen the 1927 French film Verdun, Visions Of History from director Léon Poirier accompanied by live music from pianist Hakim Bentchouala-Golobitch. Admission is Free.
Because of the political, social, economic and cultural impact it generated worldwide, the First World War is a singular event in the history of mankind. With 4.4 million soldiers mobilized and a financial contribution of 500 billion today, the United States played a major role in the Great War and the victory of the Triple Entente. The long French-American friendship was strengthened by this conflict.
Since September 2014, as part of the worldwide commemoration of the centenary of the First World War, the Cultural Service at the Consulate General of France in Chicago,...
Because of the political, social, economic and cultural impact it generated worldwide, the First World War is a singular event in the history of mankind. With 4.4 million soldiers mobilized and a financial contribution of 500 billion today, the United States played a major role in the Great War and the victory of the Triple Entente. The long French-American friendship was strengthened by this conflict.
Since September 2014, as part of the worldwide commemoration of the centenary of the First World War, the Cultural Service at the Consulate General of France in Chicago,...
- 2/11/2015
- by Tom Stockman
- WeAreMovieGeeks.com
Letters to Max
Dear Fern,
Ah, Tsukamoto's Fires of the Plain! I liked this film very much, the director-actor-editor-cinematographer's baby-faced soldier hysterically pushing through an unforgiving jungle, unforgiving war, unforgiving humanity, slushy digital shades of the surrealism in Herzog's under-appreciated Rescue Dawn and Buñuel's Death in the Garden.
I have still more to tell of the shorts in the experimental Wavelengths sections, so please excuse my continued digressions away from the features you are seeing (and I too, but am leaving to your choice words!). Two of the best features I've seen, Christian Petzold's tremendous post-war German theoretical thriller Phoenix and Lonnie van Brummelen and Siebren de Hann's rich, generous Episode of the Sea, I'll save for another time.
Something a bit more documentary than avant-garde closed the third Wavelengths shorts program, Rebecca Baron's Detour de force. This found footage film pulled from the University of...
Dear Fern,
Ah, Tsukamoto's Fires of the Plain! I liked this film very much, the director-actor-editor-cinematographer's baby-faced soldier hysterically pushing through an unforgiving jungle, unforgiving war, unforgiving humanity, slushy digital shades of the surrealism in Herzog's under-appreciated Rescue Dawn and Buñuel's Death in the Garden.
I have still more to tell of the shorts in the experimental Wavelengths sections, so please excuse my continued digressions away from the features you are seeing (and I too, but am leaving to your choice words!). Two of the best features I've seen, Christian Petzold's tremendous post-war German theoretical thriller Phoenix and Lonnie van Brummelen and Siebren de Hann's rich, generous Episode of the Sea, I'll save for another time.
Something a bit more documentary than avant-garde closed the third Wavelengths shorts program, Rebecca Baron's Detour de force. This found footage film pulled from the University of...
- 9/12/2014
- by Daniel Kasman
- MUBI
Above: Us 2014 re-release poster for Othello (Orson Welles, Morocco/Italy, 1952) designed by Dark Star, Paris.
Orson Welles' glorious, noirish, idiosyncratic, benighted Othello opens in New York and Chicago today in a new restoration. And Wednesday, not coincidentally, saw the 450th anniversary of William Shakespeare’s birth. Shakespeare has been adapted for film since the silent dawn of cinema, so it seems only right and fitting that I should mark this occasion with the best posters for Shakespeare on film through the ages, presented here in chronological order.
Above: German poster for Hamlet (Svend Gade & Heinz Schall, Germany, 1921).
Above: Us one sheet for The Taming of the Shrew (Sam Taylor, USA, 1929).
Above: Us lobby card for A Midsummer Night’s Dream (William Dieterle & Max Reinhardt, USA, 1935).
Above: 1956 Polish poster for Henry V (Laurence Olivier, UK, 1944) by Jozef Mroszczak.
Above: Australian poster for Henry V (Laurence Olivier, UK, 1944).
Above: French poster for Hamlet (Laurence Olivier,...
Orson Welles' glorious, noirish, idiosyncratic, benighted Othello opens in New York and Chicago today in a new restoration. And Wednesday, not coincidentally, saw the 450th anniversary of William Shakespeare’s birth. Shakespeare has been adapted for film since the silent dawn of cinema, so it seems only right and fitting that I should mark this occasion with the best posters for Shakespeare on film through the ages, presented here in chronological order.
Above: German poster for Hamlet (Svend Gade & Heinz Schall, Germany, 1921).
Above: Us one sheet for The Taming of the Shrew (Sam Taylor, USA, 1929).
Above: Us lobby card for A Midsummer Night’s Dream (William Dieterle & Max Reinhardt, USA, 1935).
Above: 1956 Polish poster for Henry V (Laurence Olivier, UK, 1944) by Jozef Mroszczak.
Above: Australian poster for Henry V (Laurence Olivier, UK, 1944).
Above: French poster for Hamlet (Laurence Olivier,...
- 4/25/2014
- by Adrian Curry
- MUBI
This week Simon Russell Beale takes on the royal role in a revival by Sam Mendes at the National Theatre. Here's a look back at Lear on film
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One of the earliest film versions of King Lear (retitled Re Lear) was made in Italy in 1910 with Ermete Novelli as King Lear. What takes over three hours on stage was packed into a dense 16 minutes of action that remains haunting many decades on.
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Almost 80 years before the 1997 movie A Thousand Acres based on Jane Smiley's novel, which transposed the play to contemporary Iowa, French director Louis Feuillade was doing something similar in Le Roi Lear Au Village, a 1911 adaptation in which Lear becomes a blind French farmer who foolishly gives over his land to his two heartless daughters. Alas, I couldn't find any footage online.
Reading on a mobile? Click here to view
One of the earliest film versions of King Lear (retitled Re Lear) was made in Italy in 1910 with Ermete Novelli as King Lear. What takes over three hours on stage was packed into a dense 16 minutes of action that remains haunting many decades on.
Reading on a mobile? Click here to view
Almost 80 years before the 1997 movie A Thousand Acres based on Jane Smiley's novel, which transposed the play to contemporary Iowa, French director Louis Feuillade was doing something similar in Le Roi Lear Au Village, a 1911 adaptation in which Lear becomes a blind French farmer who foolishly gives over his land to his two heartless daughters. Alas, I couldn't find any footage online.
- 1/13/2014
- by Lyn Gardner
- The Guardian - Film News
Soviet and Russian film director whose reputation is based on only four films, all of them masterpieces
Aleksei German, who has died of heart failure aged 74, was among the very last in a generation of film directors victimised by the Soviet Union's draconian attitude to the arts. As a result, since 1968 German had made only six films, one of them co-directed and one uncompleted at his death. Three of them were shelved for several years, and Khrustalyov, My Car! (1998), seven years in the making, was repeatedly bailed out by French money. German's reputation is based on only four films, all of them masterpieces.
Gradually, after the fall of communism in Russia, German's films were screened at cinematheques and festivals in the west. Khrustalyov, My Car!, the only one of his works that was not banned, provoked a mass walkout by critics at the 1998 Cannes film festival. According to the Hollywood Reporter,...
Aleksei German, who has died of heart failure aged 74, was among the very last in a generation of film directors victimised by the Soviet Union's draconian attitude to the arts. As a result, since 1968 German had made only six films, one of them co-directed and one uncompleted at his death. Three of them were shelved for several years, and Khrustalyov, My Car! (1998), seven years in the making, was repeatedly bailed out by French money. German's reputation is based on only four films, all of them masterpieces.
Gradually, after the fall of communism in Russia, German's films were screened at cinematheques and festivals in the west. Khrustalyov, My Car!, the only one of his works that was not banned, provoked a mass walkout by critics at the 1998 Cannes film festival. According to the Hollywood Reporter,...
- 2/26/2013
- by Ronald Bergan
- The Guardian - Film News
★★★★☆ Released on DVD for the first time in the UK courtesy of Mr Bongo, Grigori Kozintsev's big screen adaptation of Miguel de Cervantes' Don Quixote (Don Kikhot, 1957) has long been regarded as the pre-eminent cinematic version of this literary classic. Beautifully imagined, Kozintsev's depiction of the illustrious adventures of one of literature's most beloved figures remains a remarkable example of the monumental achievements achieved during the height of Soviet filmmaking.
Read more »...
Read more »...
- 9/18/2012
- by CineVue UK
- CineVue
Don Quixote
Stars: Nikolai Cherkasov, Yuri Tolubeyev, Serafima Birman, Lyudmila Kasyanova, Svetlana Grigoryeva, Tamilla Agamirova, Bruno Frejndlikh, Lidiya Vertinskaya | Written by Yevgeni Shvarts | Directed by Grigori Kozintsev
To get lost in a book is one of the most magical experiences we can have. Whatever our age it’s easy to enjoy a story of knights and wizards, tales of bravery and fairy tales, where good wins out in the end. Don Quixote is a tale of such innocent beliefs, the story of a man living the ultimate mid-life crisis and fighting for justice, even if the world in which he fights does not share the same view on both reality and what justice actually is.
After reading many books on chivalry and knighthood Senor Quexana decides that he is actually a knight, Don Quixote de la Macha. Setting off on his horse with his squire Sancho Panza (who is only...
Stars: Nikolai Cherkasov, Yuri Tolubeyev, Serafima Birman, Lyudmila Kasyanova, Svetlana Grigoryeva, Tamilla Agamirova, Bruno Frejndlikh, Lidiya Vertinskaya | Written by Yevgeni Shvarts | Directed by Grigori Kozintsev
To get lost in a book is one of the most magical experiences we can have. Whatever our age it’s easy to enjoy a story of knights and wizards, tales of bravery and fairy tales, where good wins out in the end. Don Quixote is a tale of such innocent beliefs, the story of a man living the ultimate mid-life crisis and fighting for justice, even if the world in which he fights does not share the same view on both reality and what justice actually is.
After reading many books on chivalry and knighthood Senor Quexana decides that he is actually a knight, Don Quixote de la Macha. Setting off on his horse with his squire Sancho Panza (who is only...
- 9/3/2012
- by Pzomb
- Nerdly
Actor Ralph Fiennes has played some powerful men: lords, dukes, the Greek god of the underworld, even the most evil wizard ever. But in his new movie, an adaptation of William Shakespeare's "Coriolanus," Fiennes plays his most powerful role to date: film director. When I asked Fiennes how he liked sitting in the director's chair for the first time, he described it as something of a mixed bag. "It was scary and sometimes a headfuck. I knew it would be." he said. "But I also knew it was possible. You just need to have the time and the support system. But unquestionably it was a challenge, especially in bigger scenes. Those were very tough days."
The tough days produced a tough, intense film, one that doesn't look like your typical Shakespearean adaptation -- unless my memory's spotty and I'm just forgetting the other Shakespeare movies with brutal and surprisingly...
The tough days produced a tough, intense film, one that doesn't look like your typical Shakespearean adaptation -- unless my memory's spotty and I'm just forgetting the other Shakespeare movies with brutal and surprisingly...
- 12/2/2011
- by Matt Singer
- ifc.com
(Grigori Kozintsev, 1964/ 1971, PG, Mr Bongo Films)
Grigori Kozintsev (1905-1973) was a prominent figure in Soviet cinema from his late teens until his death, making ambitious political films until after the second world war when he turned to literary adaptations, concluding with his classic versions of Hamlet and King Lear. Both were shot in black-and-white and widescreen on austere Estonian locations beside the Baltic using Boris Pasternak's translations (with Shakespeare's text as subtitles) and music by Shostakovich, and they're based on years of thought and study as revealed in Kozintsev's book Shakespeare: Time and Conscience. The great Russian actor Innokenti Smoktunovsky is a forceful, sane, sensitive Hamlet trapped in a prison of political intrigue, and the film, set in a Tudor Denmark, is vigorous, intelligent and visually stunning. Lear is played by the Estonian actor Jüri Järvet (dubbed into Russian) and is truly old, mad and heartbreaking, and the picture...
Grigori Kozintsev (1905-1973) was a prominent figure in Soviet cinema from his late teens until his death, making ambitious political films until after the second world war when he turned to literary adaptations, concluding with his classic versions of Hamlet and King Lear. Both were shot in black-and-white and widescreen on austere Estonian locations beside the Baltic using Boris Pasternak's translations (with Shakespeare's text as subtitles) and music by Shostakovich, and they're based on years of thought and study as revealed in Kozintsev's book Shakespeare: Time and Conscience. The great Russian actor Innokenti Smoktunovsky is a forceful, sane, sensitive Hamlet trapped in a prison of political intrigue, and the film, set in a Tudor Denmark, is vigorous, intelligent and visually stunning. Lear is played by the Estonian actor Jüri Järvet (dubbed into Russian) and is truly old, mad and heartbreaking, and the picture...
- 10/15/2011
- by Philip French
- The Guardian - Film News
Happy Mother’s Day! Let’s get to it:
This week’s Must Read is j. j. murphy’s review of the Candy Darling documentary Beautiful Darling. Murphy usually writes about indie film screenplays, but I also really like his writings on Warhol, since I’ve been a Warhol nut since college.For Artforum, Amy Taubin reviews James Fotopoulos’ new feature Alice in Wonderland, which just made its World Premiere at Brooklyn’s Microscope Gallery. Taubin said it was a must see and now I’m dying to see it, too.Also, Fotopoulos has totally relaunched his company Fantasma Inc. on the web. Check out their new redesigned homepage, then hit ‘em up on Facebook, Twitter, Vimeo and subscribe to the blog.For Time Out Chicago, Patrick Friel interviews the legendary Ken Jacobs about his lesser-discussed live-performance pieces.Bob Moricz was wowed by a Cinema Project screening of the films of William Eggleston.
This week’s Must Read is j. j. murphy’s review of the Candy Darling documentary Beautiful Darling. Murphy usually writes about indie film screenplays, but I also really like his writings on Warhol, since I’ve been a Warhol nut since college.For Artforum, Amy Taubin reviews James Fotopoulos’ new feature Alice in Wonderland, which just made its World Premiere at Brooklyn’s Microscope Gallery. Taubin said it was a must see and now I’m dying to see it, too.Also, Fotopoulos has totally relaunched his company Fantasma Inc. on the web. Check out their new redesigned homepage, then hit ‘em up on Facebook, Twitter, Vimeo and subscribe to the blog.For Time Out Chicago, Patrick Friel interviews the legendary Ken Jacobs about his lesser-discussed live-performance pieces.Bob Moricz was wowed by a Cinema Project screening of the films of William Eggleston.
- 5/8/2011
- by Mike Everleth
- Underground Film Journal
Shakespeare may be all about the words, but it's the images and music you remember most from "The Bard Goes Global," a well-curated film series starting Wednesday at the Walter Reade Theater.
Again and again, feasts for the eyes supersede the versification.
Take Grigori Kozintsev's criminally overlooked "King Lear/Korol Lir" (1971). Many of its scenes rate as pure, head-spinning genius: the way we peer down on Lear and his Fool as they struggle against howling winds, with Dmitri Shostakovich's score matching the storm in shrieky gusts.
Again and again, feasts for the eyes supersede the versification.
Take Grigori Kozintsev's criminally overlooked "King Lear/Korol Lir" (1971). Many of its scenes rate as pure, head-spinning genius: the way we peer down on Lear and his Fool as they struggle against howling winds, with Dmitri Shostakovich's score matching the storm in shrieky gusts.
- 7/13/2009
- by By ELISABETH VINCENTELLI
- NYPost.com
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