22 posts categorized "Cinema"

September 26, 2018

COMING TO NETFLIX OCTOBER 2018

  NETFLIX NOW!
I'm especially glad to see "THE DEVIL'S ADVOCATE" streaming on Netflix because it features a slew of great Carnegie Hill locations that I talk about on my walking tour. I'm looking forward to watching it again, on Netflix, in the comfort of my glorious home cinema. 

Other stand-out titles to check out are: Black Dynamite, Blazing Saddles, Mystic River, Once Upon a Time In America, The Shining, and V for Vendetta, 

October 1

Angel Eyes
Anger Management
Billy Madison
Black Dynamite
Blade
Blade II
Blazing Saddles
Empire Records
Must Love Dogs
Mystic River
New York Minute
Once Upon a Time in America
Pay It Forward
Pee-wee’s Big Adventure
Robin Hood: Prince of Thieves
Rumble in the Bronx
She’s Out of My League
Sommersby
The Dead Pool
The Devil’s Advocate
The Green Mile
The Lake House
The NeverEnding Story
The Shining
V for Vendetta
Zack and Miri Make a Porno

October 2

Monty Python: The Meaning of Life
Monty Python’s Life of Brian

October 3

Truth or Dare (2017)

October 4

The Haunting of Molly Hartley

October 5

Malevolent — NETFLIX FILM
A brother-sister team who fake paranormal encounters for cash get more than they bargained for when a job at a haunted estate turns very, very real.

Private Life — NETFLIX FILM
A couple coping with infertility struggles to keep their marriage afloat as they navigate the world of assisted reproduction and adoption.

Super Monsters Save Halloween — NETFLIX FILM
It’s Halloween, and the Super Monsters are ready to celebrate — with candy, costumes and music to get you in the mood!

October 10

22 July — NETFLIX FILM
After a pair of shocking attacks in Norway, survivors — and the country — rally for healing and justice. Based on true events.

October 12

Apostle — NETFLIX FILM
In this thriller, a man travels to a remote island in search of his missing sister, who was kidnapped by a murderous religious cult.

October 19

Illang: The Wolf Brigade — NETFLIX FILM
In 2029, a special unit of the South Korean police called Illang battles a terrorist group threatening to undo years of efforts to unify the two Koreas.

The Night Comes For Us — NETFLIX FILM
After sparing a girl’s life during a massacre, an elite Triad assassin is targeted by an onslaught of murderous gangsters.

October 26

Been So Long — NETFLIX FILM
A single mother in London’s Camden Town hears music when she meets a handsome stranger with a past. But she’s not sure she’s ready to open her heart.

Dovlatov — NETFLIX FILM
An intimate portrait that captures six days in the life of influential Russian dissident writer Sergei Dovlatov.

Jefe — NETFLIX FILM
The story of a boss that everyone hates: some kiss up to him; nobody tells him the truth. He’s the successful entrepreneur about to fall off the cliff.

October 31

Gun City — NETFLIX FILM
Set in Barcelona in 1921, a double agent infiltrates the local mafia to find out who is selling weapons and explosives to anarchist groups.

September 07, 2018

CRITERION CLASS WITH COLE SMITHEY —THE IMMIGRANT STORY

June 23, 2018

Brie Larson Shills For Positive Film Reviews From Minorities


Brie — the Monster — Larson
Excuse me while I lay out my editorial agenda during this awards ceremony. 

Recently, actress/director Brie Larson used her award acceptance speech (for the Crystal Award for Excellence in Film at the Women In Film + Lucy Awards event) to put forth an ideological agenda intended to push racial and sexual equality among film critics — Rotten Tomatoes’ “Top Critics” specifically.

Affirmative-action comes to film review aggregation. It wasn’t clear whether Larson was attacking Rotten Tomatoes or the corporate media outlets that garner the aggregate film review website’s coveted “Top Critics” designation, but it was clear that she isn’t keen on white male film critics, or even necessarily female film critics for that matter.

DramaBrie Larson savors the smell of her own flatulence.

With heavy sighs Larson quoted stats from a report titled “Critic’s Choice?” by USC’s Annenberg Inclusion Initiative under founder and director Stacy L. Smith.

Larson stated, “67 percent of the Top Critics reviewing the 100 highest grossing movies in 2017 were white males, less than a quarter were white women, and less ten percent were unrepresented men, only 2.5 percent of those Top Critics were women of color.”

The authors of Smith’s report propose several solutions for groups that work with or educate critics. Most notably, they offer a set of target inclusion goals for the field.

Smith said, “Groups should think of the phrase 30/30/20/20 — this is the U.S. population breakdown for white males, white females, underrepresented males and underrepresented females.”

“This report reveals the absence of women of color working as reviewers — especially on movies built around female and underrepresented leads.” 

Know that the USC Annenberg Inclusion Initiative has multiple corporate partners including, but not limited to, Google, Epix, Sony Pictures Entertainment, and Walt Disney. You couldn’t get much closer to Hollywood than USC if you tried. “Tainted by industry involvement” rolls off the lips so easily in this context. 

Rotten Tomatoes “Top Critics” (full disclosure, I am not on that lofty list) is an elite group favored by a system that grandfathers in critics hired to write for old-school media outlets such as Newsday, The Washington Post, or the Village Voice. Jane Doe might never have written a film review in her life, but as soon as she gets hired by the Arizona Republic to write about movies, she wins the coveted crown of Top Critic on Rotten Tomatoes. La dee da.  

This is important to know considering that, in her speech, Larson illogically reached out to minority [would-be] bloggers whose chances at becoming a Rotten Tomatoes “Top Critic” is considerably less than the already thorny task of being admitted as a Rotten Tomatoes critic in the first place. Rotten Tomatoes doesn’t typically recognize independent blogs.

Larson said, “We [Hollywood] are expanding to make films that better reflect people that [sic] buy movie tickets, but they are not allowed enough chances to read public discourse on these films by the people that these films were made for.” 

Captain-marvel-brie-larson

Larson seems to have a blind spot for the blockbuster Marvel superhero franchise movies she’s currently involved with as the first female “Captain Marvel,” since that saturated market caters to lowest common denominator movie audiences rather than to the minority-made independent films that Larson uses to mask her actual intention. Evidently, this is what Larson means when she refers to "films that better reflect people that [sic] buy movie tickets." Cough. 

“It really sucks that reviews matter, but reviews matter. Good reviews out of festivals give small independent films a fighting chance to be bought and seen. Good reviews help films gross money, good reviews slingshot films into awards contenders. A good review can change your life; it changed mine.”

Larson clearly wants “good” (positive) reviews for every movie she makes, and she wants those reviews to come from young, (ostensibly under or unemployed) female, minority audiences who she thinks don’t know any better. Larson blatantly shows just how dumb she considers minorities to be. In Brie Larson’s mind, negative reviews are for suckers. Evidently, harnessing Rotten Tomatoes’ algorithmic groupthink for that all-important 100% mark looms large in a movie industry attempting to manufacture [non]critical opinion.

The intent here seems to be to force a utopic vision of critical equality down the nation’s throat via Rotten Tomatoes. Nevermind that in this utopic vision, critical thought is the bane of its foundation since Larson’s emphasis is on positive reviews equalling to that precious 100% Rotten Tomatoes score that distributors can then use in advertising. Really. 

Me BrieMe, me, me, me, me, me, me.

Larson comes across as tone-deaf to the fact that the number of rent-paying film critic jobs in this country probably falls well beneath 200 positions. In effect, Brie Larson is trolling for free, young, untrained, uneducated, labor (in the guise of independent bloggers), who she imagines will miraculously be anointed as Top Critics on Rotten Tomatoes. It’s strange that Larson doesn’t prioritize the safety of American immigrants and black people being hunted like animals in this country. Larson’s social posturing all about her livelihood, not theirs. 

As has always been the case throughout history, there needs to be more minority critical voices expressing values and ideas that challenge the status quo — that really do challenge the status quo (think John Waters's "Multiple Maniacs" in 1970). Think David Lynch with "Eraserhead" in 1977.

It is clear that challenging the status quo is not what Brie Larson or Stacy L. Smith are encouraging or promoting, quite the opposite. Larson and Smith represent the worst aspects of the status quo because they mask their capitalist motives with a false plea for human equality, the last thing that either of these duplicitous women want for themselves, or for the world. 

Brie Larson didn’t spare the insults. “I do not need a 40-year-old white dude to tell me what didn’t work for him about “A Wrinkle In Time,” it wasn’t made for him. I wanna know what that film meant to women of color, to biracial women, to teen women of color, to teens that are biracial.”

Justin-chang

As Justin Chang pointed out in his brilliant piece for the LA Times on this issue, “Who is this movie for?” is an inherently limiting question” that “leads to ridiculous generalizations.” The result of “writing off men [critics] as a gender is hard to do without projecting a similarly dim view of women.” Yep.

Chang went on to say, “Above all, “Who is this movie for?” rules out the possibility of sympathetic imagination, the ability to empathize with a perspective other than one’s own, as the chief impulse behind artistic depiction and appreciation. We negate the possibility of sympathetic imagination when we assume that someone’s particular affinity for a work of art will be dictated in advance by specifics of race, gender and age. It’s not that those specifics aren’t factors. It’s that some have a tendency to mistake factors for absolutes.” 

It seems that Brie Larson doesn’t know the first thing about film criticism. I didn’t “need” a 55-year-old white lady (namely Pauline Kael) to tell me what "didn’t work" for her regarding Bernardo Bertolucci’s “1900” (my favorite film of all time), but I can re-read Kael’s negative review of that film over and over because her writing and perspective is so rich. Passion. Pure passion. You want to know what makes a great film critic like Justin Chang or Pauline Kael so great? Passion. You either have it or you don't. If you want to be a film critic then you've got to dirty but keep it immaculately clean the whole time. Hunter S. Thompson, I salute you brother. 

I get a serious intellectual and emotional kick out of reading Pauline Kael tear my favorite movie apart. That's entertainment. And, let me tell you I got my money's worth.

Any criticism of art is about resonance, not redundancy. I’d be bored stiff reading a film review that patronized me the way Brie Larson’s idea of film criticism portends. I already have my own opinions, I don’t want to be told what I already think or know. I'm grown up enough to know that different people will have different opinions than my own. So what? That's how we prove our respect for one another. 

Larson exploited the #MeToo movement to smear white male film critics with the same dung used on such reprehensible examples such as Donald Trump, and Harvey Weinstein. Ms. Larson made a point to sniffle for dramatic effect and roll her eyes while reeling off statistics about the disproportionate number of white male critics as opposed to “people of color;” meanwhile Stanislavsky rolled over in his grave. Method acting be damned, this was ham acting at its worst.

“Am I saying that I hate white dudes?” “No (complete with snotty vocal fry), I’m not.” Except, she was; Brie Larson was very clearly stating that she hates “white dudes.”

This is exclusion, not inclusion, territory. Larson isn’t promoting independent thought, far from it. We learn from Larson’s speech that now movies are made for specific classes, if not nationalities, of audiences. White males are not invited to the party.

Larson put a fine point on it. “And, for the third time, I don’t hate white dudes.” 

Believe me, Brie Larson, we “white dudes” get just how much you hate us. You don’t need to deny it anymore. Clearly, Brie Larson has an issue with older white men. All the more reason for Stacy L. Smith to use Larson as a Trojan Horse to smuggle through a pork-barrel ideology designed to push out professional film critics (i.e. film historians) engaging in the demands of the job, which intrinsically prioritizes criticizing faults and flaws of any movie as based on years of experience working in the medium. Larson’s speech (ostensibly authored by Smith) humble shames cheap or free minority labor to do their bidding, namely writing positive film reviews at the expense of professional integrity. It’s as though they [Smith and Larson] were shilling for good Yelp reviews.   

Still, the immediate net effect of Larson’s war on critical thought has been superficially positive so far, if you don’t count the potential effect it will have on film critic jobs currently held by “white dudes over 40.” The Sundance Film Festival and the Toronto Film Festival have pledged that 20 percent of their press credentials be given to underrepresented journalists and critics. There is, however, no small amount of irony in the fact that The Toronto Film Festival famously and frequently charges journalists to attend. Then there’s the fact of a journalist having to bankroll flight and hotel bookings before setting out to complete a workload of writing (if done well) that would make a college student cramming for exams look lazy by comparison. 

From a critical perspective, Brie Larson’s speech was ignorant, preachy, and cynical. It was ageist, racist, and sexist. Larson delivered her frequently patronizing lines like a petulant spoiled child talking above her education level. The actress went so far as to break the forth wall to pat herself on the back during the speech for positive reviews of her own film “The Room.” Larson lacked charisma. The social themes that Larson equated to human equality lacked the necessary humanitarian foundation that she pretended to imbue. She could not conceal the capitalist subtext simmering beneath the surface of her awkward argument. The speech was unwatchable for its pathological loathing of “white” men.

You can easily extrapolate that 10 years from now, another version of Brie Larson will come along to bemoan how he or she doesn’t need 30-year-old woman of color to tell them what didn’t work for them regarding a movie that wasn’t made for them. These are treacherous waters.  

I don’t “need” to be berated by rich white women for doing the work that my passions lead me to do, namely working as a film critic. I consider myself lucky to be able to constantly study, celebrate, and criticize the medium of Global Cinema for its universality of the human condition. I take umbrage when someone goes out of their way to insult and diminish me as a professional and as a human being based on my race and age. I give Brie Larson and Stacy L. Smith a grade of F for attempting to subvert the nature of Cinema as something to be segregated rather than embraced by all.    

May 19, 2018

CANNES 2018 AWARDS COMPLETE

COMPETITION

SHOPLIFTERS

Palme d’Or: “Shoplifters,” Hirokazu Kore-eda

Grand Prix: BlacKkKlansman,” Spike Lee

Director: Pawel Pawlikowski, “Cold War”

Actor: Marcello Fonte, ”Dogman”

Actress: Samal Yeslyamova, “Ayka”

Jury Prize: Nadine Labaki, “Capernaum”

Screenplay — TIE: Alice Rohrwacher, “Happy as Lazzaro” AND Jafar Panahi, Nader Saeivar, “3 Faces”

Special Palme d’Or: Jean-Luc Godard

OTHER PRIZES

Girls

Camera d’Or: “Girl,” Lukas Dhont

Short Films Palme d’Or: “All These Creatures,” Charles Williams

Short Films Special Mention: “On the Border,” Shujun Wei

Golden Eye Documentary Prize: TBA

Ecumenical Jury Prize: “Capernaum,” Nadine Labaki

Ecumenical Jury Special Mention: “BlacKkKlansman,” Spike Lee

Queer Palm: “Girl,” Lukas Dhont

UN CERTAIN REGARD

Border

Un Certain Regard Award: Ali Abbasi, “Border”

Best Director: Sergei Loznitsa, “Donbass”

Best Performance: Victor Polster, “Girl”

Best Screenplay: Meryem Benm’Barek, “Sofia”

Special Jury Prize: João Salaviza & Renée Nader Messora, “The Dead and the Others”

DIRECTORS’ FORTNIGHT

Climax

Art Cinema Award: “Climax” (Gaspar Noé)

Society of Dramatic Authors and Composers Prize: “The Trouble With You” (Pierre Salvadori)

Europa Cinemas Label: “Lucia’s Grace (Gianni Zanasi)

Illy Short Film Award: “Skip Day” (Patrick Bresnan, Ivete Lucas)

CRITICS’ WEEK

Diamantino

Grand Prize: “Diamantino” (Gabriel Abrantes, Daniel Schmidt)

Society of Dramatic Authors and Composers Prize: “Woman at War” (Benedikt Erlingsson)

GAN Foundation Award for Distribution: “Sir”

Louis Roederer Foundation Rising Star Award: Felix Maritaud, “Sauvage.”

Short Film: “Hector Malot – The Last Day Of The Year” (Jacqueline Lentzou)

FIPRESCI

Burning-Lee-Chang-dong

Competition: “Burning,” (Lee Chang-dong)

Un Certain Regard: “Girl,” (Lukas Dhont)

Directors’ Fortnight/Critics’ Week: “One Day” (Zsófa Szilagyi)

CINÉFONDATION

Electric-lion

First Prize: “The Summer of the Electric Lion,” Diego Céspedes

Second Prize — TIE: “Calendar,” Igor Poplauhin AND “The Storms in Our Blood,” Shen Di

Third Prize: “Inanimate,” Lucia Bulgheroni

May 18, 2018

There Are So Many Words Worse Than Motherfu*ker

Director Spike Lee, speaking at Cannes, denounced Donald Trump as a “motherfucker” because he failed to denounce the Nazis in Charlottesville who murdered a peaceful protestor. Considering that Trump has done even worse things, one wonders what Lee would say about those crimes against racial justice.

—Ted Rall

 

April 19, 2018

Updated Selection Line-up of the 71st Festival de Cannes

Cannes Update

UN COUTEAU DANS LE CŒUR (KNIFE + HEART)   by the French Yann Gonzalez starring Vanessa Paradis.

AYKA by the Russian Sergey Dvortsevoy, director of Tulpan, winner of the Prize Un Certain Regard in 2008.

These two films by Yann Gonzalez and Sergey Dvortsevoy are both directors’ second feature. It will be their first time in Competition.

AHLAT AGACI (THE WILD PEAR TREE)  by the Turkish Nuri Bilge Ceylan, winner of the Palme d’or 2014 for Winter Sleep.

Out of Competition

Festival President Pierre Lescure and his board of directors will welcome back the Danish director Lars von Trier, winner of the 2000 Palme d’or, to the Official Selection. His new film will be screened Out of Competition.

THE HOUSE THAT JACK BUILT by Lars von Trier starring Matt Dillon and Uma Thurman.

Un Certain Regard

MUERE, MONSTRUO, MUERE (MEURS, MONSTRE, MEURS) by the Argentinean Alejandro Fadel.

CHUVA E CANTORIA NA ALDEIA DOS MORTOS (THE DEAD AND THE OTHERS) by the Portugese João Salaviza and the Brasilian Renée Nader Messora.

DONBASS by the Ukranian Sergey Loznitsa which will open Un Certain Regard 2018 on Wednesday May 9.

Special Screening

The animated film: ANOTHER DAY OF LIFE by Damian Nenow and Raul De La Fuente.

Midnight Screenings

Whitney_houston

WHITNEY, a documentary by the Scottish Kevin Macdonald, about the life of the singer Whitney Houston.

FAHRENHEIT 451 by the American Ramin Bahrani with Sofia Boutella, Michael B. Jordan and Michael Shannon. It’s the second adaptation of the novel by Ray Bradbury, after the one made by François Truffaut.

Closing Film

In 2018, the Festival de Cannes renews with the Closing film tradition:
 THE MAN WHO KILLED DON QUIXOTE by the British Terry Gilliam, with Adam Driver, Jonathan Pryce and Olga Kurylenko.

Jonathan Pryce

The screening will take place on Saturday May 19 after the Closing ceremony and the film will be released in France on the same day.


The Festival de Cannes would like to offer heartfelt thanks to all the artists, producers, distributors and sellers who suggested films. In total, 1,906 feature films were viewed by the various selection committees.

April 18, 2018

Jury of the 71st Festival de Cannes

Jury of the 71st Festival de Cannes

Jury of the 71st Festival de Cannes © RR

Facing a renewed Competition which presents filmmakers who will compete for the first time, the Jury of the next edition of the Festival de Cannes (8-19 May 2018) invites 5 women, 4 men, 7 nationalities and 5 continents under the presidency of Cate Blanchett.

The Jury will reveal his prize list on Saturday, May 19 during the Closing Ceremony.

THE JURY 2018

Cate Blanchett – President
(Australian actress, producer)

Chang Chen
(Chinese Actor)

Ava DuVernay
(American writer, director, producer)

Robert Guédiguian
(French director, writer, producer)

Khadja Nin
(Burundian songwriter, composer, singer)

Léa Seydoux
(French actress)

Kristen Stewart
(American actress)

Denis Villeneuve
(Canadian director, writer)

Andrey Zvyagintsev
(Russian director, writer)

Chang Chen – Chinese Actor
Chang Chen made his film debut in the late Edward Yang’s A Brighter Summer Day. He rose to fame in the Ang Lee’s Crouching Tiger, Hidden Dragon in 2000. His film credits include Wong Kar Wai's Happy Together (1997), 2046 (2004), The Grandmaster (2013), Hou Hsiao-hsien's Three Times (2005) and The Assassin (2015), Tian Zhuangzhuang’s The Go Master (2006) John Woo’s Red Cliff (2008-2009), The Last Supper directed by Lu Chuan (2012). In 2017, he returned for Yang Lu’s film Brotherhood of Blades II and recently played in Forever young by Fangfang Li.

Ava DuVernay - American Writer, Director, Producer
Nominated for the Academy Award and Golden Globe and winner of the BAFTA and EMMY, Ava DuVernay is a writer, director, producer and film distributor known for the historical drama Selma (2014), the criminal justice documentary 13TH (2016) and the recent Disney’s cinematic adaptation of the classic children’s novel A wrinkle in Time. Winner of the 2012 Sundance Film Festival's Best Director Prize for her film Middle of Nowhere, DuVernay amplifies the work of people of color and women directors through her film collective ARRAY.

Robert Guédiguian – French Director, writer, producer
The work of Robert Guédiguian, an activist filmmaker, celebrates the city of Marseille where he grew up. Acclaimed by critics when he first started directing in the 80s, he met public success with Marius and Jeannette, which won the Prix Louis-Delluc in 1997. His film credits include Marie-Jo et ses deux amours (2002) Le Promeneur du Champ de Mars (2004), Le Voyage en Arménie (2007), Lady Jane (2008), L’armée du crime (2009)The Snows of Kilimanjaro (2011). His latest film in date, The House by the Sea (2017), received enthusiastic response from critics and audience.

Khadja Nin – Burundian Songwriter, composer, singer
Youngest of a family of eight Khadja Nin studied music at an early age, before leaving Africa to go to Europe. Her albums are a mix of occidental popmusic, African and afro-cuban rhythms. She gained wide recognition and success with « Sambolera Mayi Son ». “Ya…” (“From me to you”) is a wonderful tribute to Mandela and the video of her song “Mama” was directed by Jeanne Moreau. International Artist, she became a Unicef and ACP Observatory on Migration Good Will Ambassador. She was awarded the Prize “Prix de l’Action Feminine” by the African Women’s League in 2016. She has been committed to support ordinary heroes.

Léa Seydoux – French Actress
Rising to fame with Christophe Honoré's The Beautiful Person in 2008, Léa Seydoux is an award-winning actress, notably the Palme d’or for Abdelatif Kechiche's Blue is the Warmest Colour in 2013. She successfully alternates between author and mainstream films. Her film credits include Rebecca Zlotowski's Dear Prudence and Grand Central, Benoît Jacquot's FarewellMy Queen and Diary of a Chambermaid, Bertrand Bonello's Saint Laurent, Sam Mendes' Spectre, Yorgos Lanthimos' The Lobster and Xavier Dolan's It’s Only the End of the World.

Kristen Stewart – American Actress
Kristen Stewart has been playing roles since an early age and received widespread recognition in 2008 for The Twilight Saga film series (2008–12). Her film credit includes Snow White and the Huntsman (2012), Equals by Drake Doremus (2015), Billy Lynn's Long Halftime Walk by Ang Lee (2016), and several Festival de Cannes Selections On the Road by Walter Salles (2012), Clouds of Sils Maria (2014) and Personal Shopper (2016) both by Olivier Assayas (2014) as well as Café Society by Woody Allen. She directed her first short film Come Swim in 2017.

Denis Villeneuve – Canadian director, writer
Internationally renowned and recently two-time Academy Award winner for Blade Runner 2049, Denis Villeneuve made his debut at the National Film Board of Canada in the early 90's. His first feature, Un 32 août sur terre (1998) was invited to Cannes. He returned there with Next Floor (2008), Polytechnique (2009) and the Oscar nominated Sicario (2015). In 2010 Incendies was nominated for Best Foreign Language Film at the Academy Awards. In 2017, Arrival was nominated for 8 Oscars and 9 BAFTAs, including best movie and best director.

Andreï Zvyagintsev – Russian Director, writer
Multi-award winning filmmaker Andreï Zvyagintsev has already become one of the most respected directors in Russian and international cinema. He directed his first feature film in 2003 The Return which won him a Golden Lion at the Venice Film Festival. He has continued to write and direct award-winning feature films The Banishment (2007), Elena(2011) and Leviathan (2014). His most recent film Loveless won the Jury Prize at the Festival de Cannes 2017, and was among the nominees at the Golden Globe and 90thAcademy Awards.

April 12, 2018

CANNES 2018: FULL LIST OF FILMS

Screen Shot 2018-04-11 at 11.26.22 AM

Official Selection

In Competition
Everybody Knows (dir: Asghar Farhadi) – opening film
At War (dir: Stéphane Brizé)
Dogman (dir: Matteo Garrone)
Le Livre d’Image (dir: Jean-Luc Godard)
Asako I & II (dir: Ryusuke Hamaguchi)
Sorry Angel (dir: Christophe Honoré)
Girls of the Sun (dir: Eva Husson)
Ash Is Purest White (dir: Jia Zhang-Ke)
Shoplifters (dir: Hirokazu Kore-eda)
Capernaum (dir: Nadine Labaki)
Burning (dir: Lee Chang-Dong)
BlacKKKlansman (dir: Spike Lee)
Under the Silver Lake (dir: David Robert Mitchell)
Three Faces (dir: Jafar Panahi)
Cold War (dir: Pawel Pawlikowski)
Lazzaro Felice (dir: Alice Rohrwacher)
Yomeddine (dir: AB Shawky)
Leto (L’Été) (dir: Kirill Serebrennikov)

Un Certain Regard
Angel Face (dir: Vanessa Filho)
Border (dir: Ali Abbasi)
El Angel (dir: Luis Ortega)
Euphoria (dir: Valeria Golino)
Friend (dir: Wanuri Kahiu)
The Gentle Indifference of the World (dir: Adilkhan Yerzhanov)
Girl (dir: Lukas Dhont)
The Harvesters (dir: Etienne Kallos)
In My Room (dir: Ulrich Köhler)
Little Tickles (dir: Andréa Bescond & Eric Métayer)
My Favorite Fabric (dir: Gaya Jiji)
On Your Knees, Guys (Sextape) (dir: Antoine Desrosières)
Sofia (dir: Meyem Benm’Barek)

Out of competition
Solo: A Star Wars Story (dir: Ron Howard)
Le Grand Bain (dir: Gilles Lellouche)
Little Tickles (dir: Andréa Bescond & Eric Métayer)
Long Day’s Journey Into Night (dir: Bi Gan)

Midnight screenings
Arctic (dir: Joe Penna)
The Spy Gone North (dir: Yoon Jong-Bing)

Special screenings
10 Years in Thailand (dir: Aditya Assarat, Wisit Sasanatieng, Chulayarnon Sriphol & Apichatpong Weerasethakul)
The State Against Mandela and the Others (dir: Nicolas Champeaux & Gilles Porte)
O Grande Circo Mistico (dir: Carlo Diegues)
Dead Souls (dir: Wang Bing)
To the Four Winds (dir: Michel Toesca)
La Traversée (dir: Romain Goupil)
Pope Francis: A Man of His Word (dir: Wim Wenders)

The Cannes Film Festival runs from May 6 through 19.

March 05, 2018

The 2018 Academy Award Winners — Full List

Oscars

Best Picture: "The Shape of Water" 

Director: Guillermo del Toro —"The Shape of Water"

Actor: Gary Oldman — "Darkest Hour" 

Actress: Frances McDormand — "Three Billboards Outside Ebbing, Missouri" 

Supporting Actor: Sam Rockwell —"Three Billboards Outside Ebbing, Missouri"   

Supporting Actress: Allison Janney "I, Tonya" 

Original Screenplay: "Get Out" 

Adapted Screenplay: "Call Me By Your Name"

Foreign Language Film: "A Fantastic Woman" 

Animated Feature: "Coco" 

Visual Effects: "Blade Runner 2049"

Film Editing: "Dunkirk" 

Animated Short: "Dear Basketball" 

Live Action Short: "The Silent Child" 

Documentary Short: "Heaven Is a Traffic Jam on the 405"  

Score: "The Shape of Water"

Song: "Remember Me" from "Coco" 

Production Design: "The Shape of Water" 

Cinematography: "Blade Runner 2049"

Costume Design: "Phantom Thread"

Makeup and Hairstyling: "Darkest Hour" 

Documentary Feature: "Icarus" 

Sound Editing: "Dunkirk" 

Sound Mixing:"Dunkirk"

January 30, 2018

FEBRUARY PROGRAMMING ON THE CRITERION CHANNEL ON FILMSTRUCK!

       
 
Includes 100 years of Olympic Glory, Night of the Living Dead,
Wong Kar-wai's In the Mood for Love, and Howard Hawks' His Girl Friday!
 
Thursday, February 1st
The Great Escape*
Based on the true story of an elaborately coordinated attempt to break out of a Nazi POW camp, John Sturges's The Great Escape is one of the most rousing adventure films of all time, anchored by Steve McQueen's rebellious turn as "Cooler King" Captain Virgil Hilts. Featuring a powerful ensemble that includes Richard Attenborough, James Garner, Charles Bronson, and James Coburn, the film pulses with the humor of the prisoners' camaraderie and the relentless suspense of their plan. Never released on DVD or Blu-ray, this 1993 Criterion laserdisc edition includes a long-unavailable commentary featuring Sturges, composer Elmer Bernstein, production manager and second-unit director Robert E. Relyea, stuntman Bud Ekins, and film historian Bruce Eder.
*Premiering on the Channel this month.
 
Friday, February 2nd
Friday Night Double Feature: The Front Page* and His Girl Friday

These two whiplash-fast newsroom comedies are based on Ben Hecht and Charles McArthur's 1928 stage hit The Front Page. Lewis Milestone scooped the story in 1931, directing a faithful adaptation that stars Adolphe Menjou as the cutthroat editor Walter Burns and Pat O'Brien as Hildy Johnson, his star reporter. The film is presented in its recently restored American version, Milestone's preferred cut. Nearly a decade later, Howard Hawks turned the play inside-out: in 1940's His Girl Friday, Hildy Johnson became a woman (Rosalind Russell), and Cary Grant's Burns is not only her editor but her ex-husband-making the film one of Hollywood's most irresistible comedies of remarriage.
*Premiering on the Channel this month.
 
Friday, February 2nd
Olympic Glory*

Spanning fifty-three movies and forty-one editions of the Olympic Games, 100 Years of Olympic Films: 1912-2012 is the culmination of a monumental, award-winning archival project encompassing dozens of new restorations by the International Olympic Committee. This selection gathers eleven films from the box set, offering a sampler of the history of the Games across continents and decades. Among the highlights in the program are landmark documentaries by some of the world's greatest filmmakers, including Leni Riefenstahl (Olympia); Kon Ichikawa (Tokyo Olympiad); Milos Forman, Claude Lelouch, Arthur Penn, and John Schlesinger (Visions of Eight); and Carlos Saura (Marathon).

Monday, February 5th
Eclipse Series 45: Claude Autant-Lara: Four Romantic Escapes from Occupied France

Spurned first by the French New Wave iconoclasts as belonging to the "tradition of quality" and later for the extremist political views their director embraced as a member of the right-wing National Front, Claude Autant-Lara's wartime films are rarely seen today. These four romances, produced during the dark days of the German occupation, are fueled by a slyly subversive voice and exquisite visual sense, and showcase the formidable talents of two of his closest collaborators. The charmingly impetuous Odette Joyeux sparkles at the height of her stardom in a quartet of protofeminist roles, crafted by screenwriter Jean Aurenche, who injects a strain of progressive social criticism that managed to evade the Nazi censors. Also noteworthy is the first screen appearance of Jacques Tati, in Autant-Lara's most popular and technically innovative success, Sylvie et le fantôme. These long unavailable gems deserve to be better known, if only as a record of some of the most talented film artists in France, working at the height of their powers during one of the most perilous periods in twentieth-century history.

Tuesday, February 6th
Tuesday's Short + Feature: Five Miles Out* and Life Is Sweet

Andrew Haigh and Mike Leigh, two of British cinema's sharpest observers of character, turn their attention to the close and sometimes painful bonds of sisterhood. Haigh's 2009 short reveals the volcanic emotions that lurk beneath everyday scenes, centering on a girl who is sent on vacation with her cousins but remains preoccupied with her hospital-bound sister back home. An international breakthrough for Leigh, Life Is Sweet is an intimate portrait of a working-class family with twin daughters who couldn't be more different: the bookish plumber Natalie (Claire Skinner) and the bulimic, ill-tempered Nicola (Jane Horrocks). Jim Broadbent and Alison Steadman exude warmth as the girls' parents, and Stephen Rea, David Thewlis, and Timothy Spall deliver winning performances as the eccentrics who orbit the family unit. The edition of Life Is Sweet is accompanied by an audio commentary by Leigh.
 
Wednesday, February 7th
Sweet Smell of Success: Edition #555

In this swift, cynical film by Alexander Mackendrick, Burt Lancaster stars as the vicious Broadway gossip columnist J. J. Hunsecker, and Tony Curtis as Sidney Falco, the unprincipled press agent Hunsecker ropes into smearing the up-and-coming jazz musician romancing his beloved sister. Featuring deliciously unsavory dialogue, in an acid, brilliantly structured script by Clifford Odets and Ernest Lehman, and noirish neon cityscapes from Oscar-winning cinematographer James Wong Howe, Sweet Smell of Success is a cracklingly cruel dispatch from the kill-or-be-killed wilds of 1950s Manhattan. SUPPLEMENTAL FEATURES: a 1986 documentary about Mackendrick, a 1973 documentary about Howe, a video interview with film critic and historian Neal Gabler, and more.

Friday, February 9th
Friday Night Double Feature: The Misfits and The Harder They Fall

These two swan songs herald the end of the Hollywood star system with a nearly mythical sense of finality. John Huston's The Misfits features the last performances of Marilyn Monroe and Clark Gable, and their costar Montgomery Clift would only appear in three more movies before dying at forty-five. Scripted by Monroe's husband Arthur Miller, the Nevada-set film sets the actress's inimitable mix of sensuality and vulnerability against the world-weary alienation of three hardened men, played by Gable, Clift, and Eli Wallach. Humphrey Bogart's last film, The Harder They Fall, stars the legendary actor as a down-on-his-luck sportswriter who gets roped into a scam by a fast-talking promoter (Rod Steiger) lining up fixed fights for a talentless (and clueless) Argentine heavyweight. Bogart would die less than a year after the film's premiere, and his understated portrayal of a reluctant hustler makes for a rich contrast with Steiger's Method-informed bluster, marking a shift in the tides of American film acting.
 
Tuesday, February 13
Tuesday's Short + Feature: Paul Robeson: Tribute to an Artist and The Emperor Jones

Courageously outspoken and wildly talented, Paul Robeson was one of the most commanding performers of his time. As a singer, actor, athlete, and activist, he broke barriers in Jim Crow-era America, campaigning for social justice and striving to reshape the public's idea of who a black man could be. Saul J. Turell's Oscar-winning documentary short, narrated by Sidney Poitier, traces the evolution of Robeson's career using a series of his performances of "Ol' Man River," a song that took on layers of meaning over time. That booming voice made its first appearance in sound cinema in The Emperor Jones, a 1933 adaptation of Eugene O'Neill's play about a Pullman porter who muscles his way to power on a Caribbean island. Though the fearsome Brutus Jones may not have been the type of stereotype-busting role that Robeson hoped to bring to the screen, the character made him the first African-American leading man in mainstream cinema.

Tuesday, February 13th
Night of the Living Dead*: Edition #909

Shot outside Pittsburgh on a shoestring budget by a band of self-taught filmmakers, horror master George A. Romero's Night of the Living Dead is a great story of independent cinema: a midnight hit turned box-office smash that became one of the most influential films of all time. A deceptively simple tale of a group of strangers trapped in a farmhouse who find themselves fending off a horde of recently dead, flesh-eating ghouls, Romero's claustrophobic vision of a late-1960s America literally tearing itself apart rewrote the rules of the horror genre, combined gruesome gore with acute social commentary, and quietly broke ground by casting a black actor (Duane Jones) in its lead role. Stark, haunting, and more relevant than ever, Night of the Living Dead is back. SUPPLEMENTAL FEATURES: Night of Anubis, a never-before-presented work-print edit of the film; a program featuring filmmakers Frank Darabont, Guillermo del Toro, and Robert Rodriguez; a never-before-seen 16 mm dailies reel; and more.
*Premiering on the Channel this month.
 
Wednesday, February 14th
In the Mood for Love: Edition #147

At once delicately mannered and visually extravagant, Wong Kar-wai's In the Mood for Loveis a masterful evocation of romantic longing and fleeting moments. In 1960s Hong Kong, Chow Mo-wan (Tony Leung Chiu-wai) and Su Li-zhen (Maggie Cheung Man-yuk) move into neighboring apartments on the same day. Their encounters are formal and polite-until a discovery about their spouses creates an intimate bond between them. With its aching musical soundtrack and exquisitely abstract cinematography by Christopher Doyle and Mark Lee Ping-bin, this film has been a major stylistic influence on the past decade of cinema, and is a milestone in Wong's redoubtable career. SUPPLEMENTAL FEATURES: a documentary on the making of the film; Hua yang de nian hua (2000), a short film by Wong; Toronto International Film Festival press conference from 2000, with Cheung and Leung; and more.

Thursday, February 15th
The Red Balloon and The Black Balloon

Floating from midcentury Paris to contemporary Manhattan, these two portraits of urban life breathe a whimsical sensibility into a particular inanimate item. In Albert Lamorisse's The Red Balloon (1956), a boy embarks on a series of adventures with an inflatable-yet sentient-companion. A gritty variation on that beloved classic, Josh and Benny Safdie's The Black Balloon (2012) follows the stray object of the title on an odyssey through the streets of the filmmakers' native New York City.
 
Friday, February 16th
Friday Night Double Feature: A Slave of Love and Knight Without Armor

The Russian Civil War provides the roiling backdrop for these two sweeping romantic adventures. Nikita Mikhalkov's A Slave of Love (1976) tells the tale of a silent-film star who falls for a Bolshevik on set. Jacques Feyder's Knight Without Armor (1937) revolves around a British spy posing as a revolutionary (Robert Donat) and the countess whom he loves and seeks to save (Marlene Dietrich).
 
Tuesday, February 20th
Tuesday's Short + Feature: Bluebeard* and Bluebeard

A classic fairy tale, read two ways. With his colorful claymation short Bluebeard (1938), Jean Painlevé departed from the nature filmmaking that was his specialty, giving a playful charge to the dark story of a young wife and her murderous new husband. For her 2009 adaptation of Charles Perrault's classic fable, French director Catherine Breillat keyed into the material's more provocative elements, using the fable to explore her perennial themes of sex, power, and sisterhood.
*Premiering on the Channel this month.
 
Wednesday, February 21
Frances Ha*: Edition #681

A leading contender for this year's best director Oscar, Greta Gerwig delivered one of her most enchanting performances as Frances, a woman in her late twenties in contemporary New York trying to sort out her ambitions, her finances, and, above all, her intimate but shifting bond with her best friend, Sophie (Mickey Sumner). Meticulously directed by Noah Baumbach with a free-and-easy vibe reminiscent of the French New Wave's most spirited films, and written by Baumbach and Gerwig with an effortless combination of sweetness and wit, Frances Ha gets at both the frustrations and the joys of being young and unsure of where to go next. This wry and sparkling city romance is a testament to the ongoing vitality of independent American cinema. SUPPLEMENTAL FEATURES: a conversation between filmmaker Peter Bogdanovich and Baumbach; a conversation between actor and filmmaker Sarah Polley and the film's cowriter and star, Greta Gerwig; and more.
*Premiering on the Channel this month.

Wednesday, February 21st
Festival*: Edition #892

Before Woodstock and Monterey Pop, there was Festival. From 1963 through 1966, Murray Lerner visited the annual Newport Folk Festival to document a thriving, idealistic musical movement as it reached its peak as a popular phenomenon. Joan Baez, Bob Dylan, Howlin' Wolf, Johnny Cash, the Staple Singers, Pete Seeger, Son House, and Peter, Paul and Mary were just a few of the legends who shared the stage at Newport, treating audiences to a range of folk music that encompassed the genre's roots in blues, country, and gospel as well as its newer flirtations with rock and roll. Shooting in gorgeous black and white, Lerner juxtaposes performances with snapshot interviews with artists and their fans, weaving footage from four years of the festival into an intimate record of a pivotal time in music-and in American culture at large. SUPPLEMENTAL FEATURES: a documentary about the making of the film; a selection of unreleased performances by Clarence Ashley, Johnny Cash, Elizabeth Cotten, John Lee Hooker, Odetta, and Tom Paxton; and more.
*Premiering on the Channel this month.
 
Thursday, February 22nd
Four Luis Buñuel Editions

One of cinema's great subversives, Luis Buñuel spent nearly half a century taking aim at a number of humankind's most cherished orthodoxies. This month, we're presenting editions of four of his late-career French films, which plunge into the surreal and satirical. A ribald deconstruction of contemporary and traditional views on Catholicism, 1969's The Milky Way(Criterion Collection Edition #402) inaugurated what Buñuel saw as a trilogy about "the search for truth." That cycle's next two films, the absurdist masterpieces The Discreet Charm of the Bourgeoisie (#102) and The Phantom of Liberty (#290), take place at high-society gatherings disrupted by absurd occurrences, revealing the hypocrisy of conventional morality and the arbitrariness of social arrangements. Buñuel's final film, 1977's That Obscure Object of Desire (#143), is a dizzying game of sexual politics that brings full circle the director's lifelong preoccupation with the darker side of desire. Supplements in this program include a documentary about Buñuel's life and work, and a video with Jean-Claude Carrière.

Friday, February 23rd
Friday Night Double Feature: Birdman of Alcatraz and Down by Law

Get a glimpse of life behind bars in John Frankenheimer's 1962 drama Birdman of Alcatraz and Jim Jarmusch's 1986 misfit "neo-Beat noir comedy" Down by Law. Featuring a powerful performance by Burt Lancaster, Frankenheimer's film is one of the blueprints of the prison movie, telling the story of a convicted murderer who, after developing an affinity for birds while in prison, goes on to become a distinguished ornithologist. Jarmusch's sophomore feature turns that blueprint on its head, bringing together Tom Waits, John Lurie, and Roberto Benigni for an idiosyncratic tale about a Louisiana prison break that leads to a dreamlike adventure.

Monday, February 26
Observations on Film Art No. 16: The Darkness of War in Wooden Crosses

Raymond Bernard's 1932 masterpiece Wooden Crosses, often referred to as France's All Quiet on the Western Front, is one of the most poignant films to envision the horrors of combat during World War I. Widely celebrated for its lavishly expensive and realistic reconstruction of life in the trenches, the film is also remarkable for the subtlety of Bernard's techniques. For this month's episode of Observations on Film Art, a Channel-exclusive series that takes a look at how great filmmakers use cinematic devices and conventions, film-studies scholar Kristin Thompson explores how Wooden Crosses combines the brutality of other war dramas of its era with a lyricism all its own, achieved largely through the film's exquisite use of lighting.

Tuesday, February 27
Tuesday's Short + Feature: Nadja in Paris and Breathless

Two French New Wave titans find inspiration in the experiences of young American women studying abroad in Paris. In his 1964 short Nadja in Paris, Rohmer teams up for the first time with the great cinematographer Néstor Almendros, observing the everyday comings and goings of an exchange student discovering the city while writing her thesis on Marcel Proust. In his landmark 1960 debut feature, Breathless, Godard pays tribute to American gangster movies with a jazzy tale of a criminal who becomes romantically involved with an American student (the incandescent Jean Seberg) living in Paris.
 
Tuesday, February 27
4 by Agnès Varda: Edition #418

Agnès Varda used the skills she honed early in her career as a photographer to create some of the most nuanced, thought-provoking films of the past fifty years. She is widely believed to have presaged the French New Wave with her first film, La Pointe Courte, long before creating one of the movement's benchmarks, Cléo from 5 to 7. Later, with Le bonheur and Vagabond, Varda further shook up art-house audiences, challenging bourgeois codes with her inscrutable characters and offering effortlessly beautiful compositions and editing. Now working largely as a documentarian, Varda remains one of the essential cinematic poets of our time and a true visionary. SUPPLEMENTAL FEATURES: video interviews with Varda; excerpts from a 1964 episode of the French television series Cinéastes de notre temps, in which Varda discusses her early career; a documentary about the making of Cléo from 5 to 7; and more.
 
Wednesday, February 28
Adventures in Moviegoing with Megan Abbott

An award-winning novelist and a writer for David Simon's HBO drama The Deuce, Megan Abbott joins film critic Michael Sragow to talk about her precocious filmgoing life, beginning with her family trips to the revival house in her hometown of Grosse Point, Michigan, where she first fell in love with the speed, grit, and thump of crime films like The Public Enemy. She also remembers her epiphany seeing Blue Velvet, which revealed a hidden world and new dimensions to an American suburb like her own. For the program that accompanies the interview, Abbott has picked a slate of films that echo that revelation in different ways, including Lynch's Twin Peaks: Fire Walk with Me and Samuel Fuller's The Naked Kiss, as well as movies like Blood Simple, which reflects her ongoing obsessions with film noir, and Picnic at Hanging Rock, which she regards as a breakthrough treatment of female adolescence.
 
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Complete list of films premiering on the Criterion Channel this month:

February 1
Tropical Malady, Apichatpong Weerasethakul, 2005
Syndromes and a Century, Apichatpong Weerasethakul, 2006
Uncle Boonmee Who Can Recall His Past Lives, Apichatpong Weerasethakul, 2010
Cemetery of Splendor, Apichatpong Weerasethakul, 2015
The Great Escape, John Sturges, 1963
 
February 2
Olympia Part One: Festival of the Nations, Leni Riefenstahl, 1938
Olympia Part Two: Festival of Beauty, Leni Riefenstahl, 1938
Tokyo Olympiad, Kon Ichikawa, 1965
13 Days in France, Claude Lelouch, 1968
Visions of Eight, Milos Forman, Kon Ichikawa, Claude Lelouch, Yuri Ozerov, Arthur Penn, Michael Pfleghar, John Schlesinger, Mai Zetterling, 1973
White Rock, Tony Maylam, 1977
16 Days of Glory, Bud Greenspan, 1986
Marathon, Carlos Saura, 1993
The Front Page, Lewis Milestone, 1931 
The Games of the V Olympiad Stockholm, 1912, Adrian Wood, 2016 
White Vertigo, Giorgio Ferroni, 1956
February 5
Lettres d'amour, Claude Autant-Lara, 1942
 
February 6
Five Miles Out, Andrew Haigh, 2009
 
February 13
Night of the Living Dead, George A. Romero, 1968
 
February 20
Bluebeard, Jean Painlevé, 1938
 
February 21
Festival, Murray Lerner, 1967
Francis Ha, Noah Baumbach, 2013
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ABOUT THE CRITERION CHANNEL
 
The Criterion Channel offers the largest streaming collection of Criterion films available, including classic and contemporary films from around the world, interviews and conversations with filmmakers and never-before-seen programming. The channel's weekly calendar features complete Criterion editions, thematic retrospectives, live events, short films, and select contemporary features, along with exclusive original programming that aims to enhance the Criterion experience for the brand's dedicated fans as well as expanding its reach to new audiences. Other recent additions to the programming include MEET THE FILMMAKER: ATHINA RACHEL TSANGARI and ADVENTURES IN MOVIEGOING WITH BILL HADER.

ABOUT FILMSTRUCK

FilmStruck is a new subscription on-demand service that offers film aficionados a comprehensive library of films including an eclectic mix of contemporary and classic art house, indie, foreign and cult films. Developed and managed by Turner Classic Movies (TCM) in collaboration with the Criterion Collection, FilmStruck will be the new exclusive streaming home for the critically acclaimed and award-winning Criterion Collection, including the Criterion Channel, a new premium service programmed and curated by the Criterion team.  FilmStruck is Turner's first domestic direct-to-consumer offering launched in November 2016.

ABOUT THE CRITERION COLLECTION

Since 1984, the Criterion Collection has been dedicated to publishing important classic and contemporary films from around the world in editions that offer the highest technical quality and award-winning, original supplements. No matter the medium-from laserdisc to DVD and Blu-ray to FilmStruck, the streaming service developed in collaboration with Turner Classic Movies - Criterion has maintained its pioneering commitment to presenting each film as its maker would want it seen, in state-of-the-art restorations with special features designed to encourage repeated watching and deepen the viewer's appreciation of the art of film.

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