The number of films about Giacomo Casanova is legion, which makes the question “why another one?” especially relevant. What insight can be found to kindle enough interest to pour reportedly more than $7.5 million into a retelling of the great diarist’s life? Given Benoît Jacquot’s success with his earlier costume drama “Farewell, My Queen,” based on Chantal Thomas’ novel, perhaps he thought a new angle could be found together with Thomas, this time credited as main scriptwriter. How odd then that their vision imagines a world of predatory hormonally-charged females all throwing themselves at a lackluster, aging roué who shows more gusto wolfing down food than rutting around skirts.
Is this the Casanova for the early 21st century? A man famed among peers for his charisma and broad intelligence, companion of Voltaire and Benjamin Franklin, reduced to a lovesick sad-sack pining after a capricious young prostitute whose physical attributes...
Is this the Casanova for the early 21st century? A man famed among peers for his charisma and broad intelligence, companion of Voltaire and Benjamin Franklin, reduced to a lovesick sad-sack pining after a capricious young prostitute whose physical attributes...
- 7/14/2021
- by Jay Weissberg
- Variety Film + TV
The RiderThe lineup for the 2017 Telluride Film Festival (September 1st - 4th) has been announced:
Arthur Miller: Writer (Rebecca Miller, U.S.)Battle of the Sexes (Valerie Faris & Jonathan Dayton, U.S.)Darkest Hour (Joe Wright, U.K.)Downsizing (Alexander Payne, U.S.)Eating Animals (Christopher Quinn, U.S.)Faces Places (Agnès Varda & Jr, France)A Fantastic Woman (Sebastián Lelio, Chile/U.S./Germany/Spain)Film Stars Don’t Die in Liverpool (Paul McGuigan, U.K.)First Reformed (Paul Schrader, U.S.)First They Killed My Father (Angelina Jolie, U.S./Cambodia)Foxtrot (Samuel Maoz, Israel)Hostages (Rezo Gigineishvili, Georgia/Russia/Poland)Hostiles (Scott Cooper, U.S.)Human Flow (Ai Weiwei, U.S./Germany)The Insult (Ziad Doueiri, France-Lebanon)Lady Bird (Greta Gerwig, U.S.)Land of the Free (Camilla Magid, Denmark-Finland)Lean on Pete (Andrew Haigh, U.K./U.S)Loveless (Andrey Zvyagintsev, Russia/France/Belgium/Germany)Love,...
Arthur Miller: Writer (Rebecca Miller, U.S.)Battle of the Sexes (Valerie Faris & Jonathan Dayton, U.S.)Darkest Hour (Joe Wright, U.K.)Downsizing (Alexander Payne, U.S.)Eating Animals (Christopher Quinn, U.S.)Faces Places (Agnès Varda & Jr, France)A Fantastic Woman (Sebastián Lelio, Chile/U.S./Germany/Spain)Film Stars Don’t Die in Liverpool (Paul McGuigan, U.K.)First Reformed (Paul Schrader, U.S.)First They Killed My Father (Angelina Jolie, U.S./Cambodia)Foxtrot (Samuel Maoz, Israel)Hostages (Rezo Gigineishvili, Georgia/Russia/Poland)Hostiles (Scott Cooper, U.S.)Human Flow (Ai Weiwei, U.S./Germany)The Insult (Ziad Doueiri, France-Lebanon)Lady Bird (Greta Gerwig, U.S.)Land of the Free (Camilla Magid, Denmark-Finland)Lean on Pete (Andrew Haigh, U.K./U.S)Loveless (Andrey Zvyagintsev, Russia/France/Belgium/Germany)Love,...
- 8/31/2017
- MUBI
When I first saw this artwork for Fritz Lang’s Metropolis used on the Masters of Cinema 2010 Blu-ray packaging, I was convinced that it was contemporary artwork commissioned especially for that release. As familiar as I was with Heinz Schulz-Neudamm’s famous poster for the film (aka the most sought after and most expensive movie poster of all time), for some reason I had not seen this before. But when I discovered that this poster was not only an original 1927 French release poster but also that it is a four-sheet poster that stands 94 inches tall and 126 inches wide, my mind was blown. (Click on the image to see it in all its glory). Apparently an original exists in the Art Library of the Berlin State Museum (the Staatliche Museen zu Berlin) but I would assume no copy has ever come up for auction. As far as I’m concerned this...
- 9/2/2013
- by Adrian Curry
- MUBI
Production stills have played a large and peculiar role in my movie-watching life. Seeing a haunting image from some unfamiliar film can set me off into reveries, and make me crave the opportunity to see the mystery movie itself. I guess this explains my otherwise bizarre quest to watch every film illustrated in Denis Gifford's A Pictorial History of Horror Movies, but it doesn't stop there.
I must have seen the above image from Karl Grune's 1923 Die Straße (The Street) in some ancient volume on expressionist cinema, and it stuck in some dusty corner of my brain ever since. It may have also gotten aligned with the dream sequence from Wild Strawberries where Victor Sjostrom observes a watchmaker's sign, a clock without hands. (Along with movie stills, such signs have an inexplicable atmospheric value of their own.) Maybe the book was Siegfried "laugh-a-minute" Kracauer's From Caligari to Hitler,...
I must have seen the above image from Karl Grune's 1923 Die Straße (The Street) in some ancient volume on expressionist cinema, and it stuck in some dusty corner of my brain ever since. It may have also gotten aligned with the dream sequence from Wild Strawberries where Victor Sjostrom observes a watchmaker's sign, a clock without hands. (Along with movie stills, such signs have an inexplicable atmospheric value of their own.) Maybe the book was Siegfried "laugh-a-minute" Kracauer's From Caligari to Hitler,...
- 11/25/2010
- MUBI
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