"When I can make place and story cross, and then have a character that belongs [in] that place, then I feel I have a movie." This lovely video tribute to the acclaimed German filmmaker Wim Wenders is also a look back at his Road Trilogy and many beloved films over his 50+ year career. This video from Little Whie Lies and video editor Luís Azevedo is framed around his latest creation Perfect Days, which already opened in theaters (and earned him an Oscar nomination) and is now streaming on Mubi. "Wenders' restless spirit is evident across a filmography invariably characterized by the possibilities of travel. Meditations on identity and displacement, his road movies began in Germany before taking to the freeways of the [USA] for some of cinema's most profound explorations into the American condition. Burning rubber across continents, this collection brings together some of the legendary German filmmaker's greatest works. So pack...
- 4/17/2024
- by Alex Billington
- firstshowing.net
The foundation of German director Wim Wenders has struck a deal with sales agent Salaud Morisset to handle theatrical, festival and non-commercial distribution rights for his catalog of 25 films for all unsold territories worldwide.
Wenders’ latest film, “Perfect Days,” is nominated for the international Oscar.
The deal with Wim Wenders Stiftung covers 17 feature films, four feature documentaries and seven short films, including “Kings of the Road” (1976), “The American Friend” (1977), “Paris, Texas” (1984), “Wings of Desire” (1987) and “Buena Vista Social Club” (1999).
Commercial rights to the Wenders catalog are handled by Hanway Films, a lifetime partner of Wenders and the foundation.
Salaud Morisset, which is led by François Morisset, will work with the director’s foundation to “ensure the sustained relevance and preservation of [his] body of work while reaching a global audience,” the company stated. “The company plans to approach each territory with a specific strategy, actively working on special screening series and retrospectives.
Wenders’ latest film, “Perfect Days,” is nominated for the international Oscar.
The deal with Wim Wenders Stiftung covers 17 feature films, four feature documentaries and seven short films, including “Kings of the Road” (1976), “The American Friend” (1977), “Paris, Texas” (1984), “Wings of Desire” (1987) and “Buena Vista Social Club” (1999).
Commercial rights to the Wenders catalog are handled by Hanway Films, a lifetime partner of Wenders and the foundation.
Salaud Morisset, which is led by François Morisset, will work with the director’s foundation to “ensure the sustained relevance and preservation of [his] body of work while reaching a global audience,” the company stated. “The company plans to approach each territory with a specific strategy, actively working on special screening series and retrospectives.
- 2/18/2024
- by Leo Barraclough
- Variety Film + TV
Road to Nowhere: Wenders Welcomes the Pleasures of a Simple Life in Quiet Drama
In his most successfully realized narrative feature in years, Wim Wenders returns to the road in Perfect Days, a thematic motif upon which he built his early career with his thematic trilogy, Alice in the Cities (1974), Wrong Move (1974), and Kings of the Road (1975). His latest is an elliptical essay on human connection through journeying, this time through the contained, repetitive work of a Tokyo toilet cleaner, whom we learn about through his kindness, work ethic, and the fleeting connections he makes with others during his daily routine.…...
In his most successfully realized narrative feature in years, Wim Wenders returns to the road in Perfect Days, a thematic motif upon which he built his early career with his thematic trilogy, Alice in the Cities (1974), Wrong Move (1974), and Kings of the Road (1975). His latest is an elliptical essay on human connection through journeying, this time through the contained, repetitive work of a Tokyo toilet cleaner, whom we learn about through his kindness, work ethic, and the fleeting connections he makes with others during his daily routine.…...
- 2/2/2024
- by Nicholas Bell
- IONCINEMA.com
Robby Müller: Living The Light director Claire Pijman will do a Q&a with Andrea Müller-Schirmer following the 2:30pm screening at Metrograph on Sunday, October 1 Photo: Claire Pijman
Claire Pijman’s resourceful and enlightening documentary, Robby Müller: Living The Light (with a score by Jim Jarmusch and Carter Logan’s Sqùrl), is a big part of the series, Robby Müller: Remain in Light, at Metrograph that celebrates the legendary cinematographer, who died in 2018. Films by Wim Wenders, Jim Jarmusch, Sara Driver’s When Pigs Fly, Andrzej Wajda’s Korczak, Alex Cox’s Repo Man, Peter Bogdanovich’s Saint Jack, William Friedkin’s To Live And Die In LA, and Michael Winterbottom’s 24 Hour Party People will all be shown.
Claire Pijman with Anne-Katrin Titze on Robby Müller and Wim Wenders’ Buena Vista Social Club: “That’s how I got to know him, and since then we stayed...
Claire Pijman’s resourceful and enlightening documentary, Robby Müller: Living The Light (with a score by Jim Jarmusch and Carter Logan’s Sqùrl), is a big part of the series, Robby Müller: Remain in Light, at Metrograph that celebrates the legendary cinematographer, who died in 2018. Films by Wim Wenders, Jim Jarmusch, Sara Driver’s When Pigs Fly, Andrzej Wajda’s Korczak, Alex Cox’s Repo Man, Peter Bogdanovich’s Saint Jack, William Friedkin’s To Live And Die In LA, and Michael Winterbottom’s 24 Hour Party People will all be shown.
Claire Pijman with Anne-Katrin Titze on Robby Müller and Wim Wenders’ Buena Vista Social Club: “That’s how I got to know him, and since then we stayed...
- 9/27/2023
- by Anne-Katrin Titze
- eyeforfilm.co.uk
The list of directors who put their trust in Robby Müller could constitute a nice history of post-war cinema. A retrospective of films on which he served as Dp reflects accordingly––so’s the case with Metrograph’s “Robby Müller: Remain in Light,” which starts on Friday, September 29, and for which we’re glad to debut the trailer.
Contained therein are bits and pieces of what Metrograph attendees can anticipate. The series will offer a chance to see (among others) 24 Hour Party People, Alice in the Cities, The American Friend, Barfly, Breaking the Waves, Dead Man, Down by Law, Ghost Dog: Way of the Samurai, Kings of the Road, Korczak, Living the Light – Robby Müller, Mystery Train, Repo Man, Saint Jack, To Live and Die in L.A., When Pigs Fly, The Wrong Move, and Paris, Texas. The opening night will be anchored by “a panel on Müller’s continued influence on filmmaking,...
Contained therein are bits and pieces of what Metrograph attendees can anticipate. The series will offer a chance to see (among others) 24 Hour Party People, Alice in the Cities, The American Friend, Barfly, Breaking the Waves, Dead Man, Down by Law, Ghost Dog: Way of the Samurai, Kings of the Road, Korczak, Living the Light – Robby Müller, Mystery Train, Repo Man, Saint Jack, To Live and Die in L.A., When Pigs Fly, The Wrong Move, and Paris, Texas. The opening night will be anchored by “a panel on Müller’s continued influence on filmmaking,...
- 9/21/2023
- by Nick Newman
- The Film Stage
For auteurists in New York there can hardly be a better series playing right now than "Trilogies" at Film Forum: a four-week extravaganza of 78 films comprising 26 mini director retrospectives from Angelopoulos to Wenders and 24 other auteurs in between. Many of the groupings in the series are actual sequential trilogies, like Kobayashi’s The Human Condition or Satyajit Ray’s Apu Trilogy, while others more loosely stretch the term, such as Lucrecia Martel’s "Salta Trilogy" or Hou Hsiao-hsien’s "Coming of Age Trilogy," very welcome though those are.Very few of the trilogies in the series, however, have posters that were conceived as trios themselves, the French posters for Kieslowski’s Three Colors, above, and Albert Dubout’s cartoony designs for Marcel Pagnol’s Marseilles Trilogy being the major exceptions. There are two terrific matching posters by Jan Lenica for the first two films in Mark Donskoy's Maxim Gorky Trilogy,...
- 4/25/2019
- MUBI
When he died in July this year at the age of 78, Robby Müller left behind a glorious legacy of more than 70 feature films and a reputation as one of the finest cinematographers in the business. Beginning in Germany, where his collaborations with Wim Wenders resulted in such seminal, early-70s European classics as “Kings of the Road,” “The Goalkeeper’s Fear of the Penalty” and “Alice in the Cities,” Müller enjoyed a brief vogue in the U.S. in the early ’80s, which is how he came to be closely associated with New York indie director Jim Jarmusch, starting with “Down By Law” in 1986. When the shift to digital occurred, Müller jumped right in at the deep end, finding an ally in Lars Von Trier, the provocative Danish auteur behind “Breaking the Waves” (1996) and “Dancer in the Dark” (2000).
Directed by Claire Pijman and scored with a piece written specially for...
Directed by Claire Pijman and scored with a piece written specially for...
- 9/7/2018
- by Damon Wise
- Variety Film + TV
Dutch cinematographer Robby Muller, whose credits spanned such films as Repo Man; Paris, Texas; Breaking The Waves; and To Live And Die In La, has passed away. His family told local media in Amsterdam that he died on Tuesday after a long illness. He was 78.
Müller was known as the “Master of Light” and drew comparisons to another famous Dutchman, “Girl With A Pearl Earring” painter Johannes Vermeer. Trained at the Netherlands Film Academy, Müller began his feature career with Wim Wenders’ German title Summer In The City in 1970. That kicked off a long collaboration with Wenders which went on to include The Scarlet Letter, Alice In The Cities, Kings Of The Road, The American Friend, Until The End Of The World and Paris, Texas.
Müller was also a frequent Dp for Jim Jarmusch with whom he made Down By Law, Mystery Train, Dead Man, Ghost Dog: The Way Of The Samurai...
Müller was known as the “Master of Light” and drew comparisons to another famous Dutchman, “Girl With A Pearl Earring” painter Johannes Vermeer. Trained at the Netherlands Film Academy, Müller began his feature career with Wim Wenders’ German title Summer In The City in 1970. That kicked off a long collaboration with Wenders which went on to include The Scarlet Letter, Alice In The Cities, Kings Of The Road, The American Friend, Until The End Of The World and Paris, Texas.
Müller was also a frequent Dp for Jim Jarmusch with whom he made Down By Law, Mystery Train, Dead Man, Ghost Dog: The Way Of The Samurai...
- 7/4/2018
- by Nancy Tartaglione
- Deadline Film + TV
Robby Muller, the Dutch director of photography of such striking ’80s and ’90s films as “Dancer in the Dark,” “Down by Law,” “Repo Man” and “Paris, Texas,” died July 4 in Amsterdam. He was 78 and according to Dutch publication Het Parool had been suffering from vascular dementia for several years.
Muller was known for his collaboration with filmmakers including Wim Wenders, Jim Jarmusch, Lars von Trier, Alex Cox and Barbet Schroeder, who created some of the most notable auteur films of the 1980s and 1990s.
As a European, he brought a memorable approach to portraying Los Angeles on film in William Friedkin’s “To Live and Die in L.A.,” Schroeder’s “Barfly” and Cox’s “Repo Man.”
The last feature-length film he shot was Michael Winterbottom’s 2002 “24 Hour Party People,” which vividly captured the Manchester music scene of the 1980s. That same year, he collaborated with director Steve McQueen on an art installation,...
Muller was known for his collaboration with filmmakers including Wim Wenders, Jim Jarmusch, Lars von Trier, Alex Cox and Barbet Schroeder, who created some of the most notable auteur films of the 1980s and 1990s.
As a European, he brought a memorable approach to portraying Los Angeles on film in William Friedkin’s “To Live and Die in L.A.,” Schroeder’s “Barfly” and Cox’s “Repo Man.”
The last feature-length film he shot was Michael Winterbottom’s 2002 “24 Hour Party People,” which vividly captured the Manchester music scene of the 1980s. That same year, he collaborated with director Steve McQueen on an art installation,...
- 7/4/2018
- by Pat Saperstein
- Variety Film + TV
In an eclectic career spanning half a century, Wim Wenders continues to channel the zeitgeist: his romantic thriller “Submergence” recently opened in the U.S. and his documentary “Pope Francis: A Man of His Word” is set to premiere at Cannes.
Wenders helped define New German Cinema with his road-movie trilogy starting in 1974, “Alice in the Cities,” “Wrong Move” and “Kings of the Road”). Over the years, he has also brought to the big screen timely social commentary, a unique perspective on the American experience, and exuberant celebrations of music and dance in “Buena Vista Social Club,” “The Soul of a Man” and “Pina.” The filmmaker is also busy restoring past films, including 1987 classic “Wings of Desire.”
Variety first mentioned Wenders in an Aug. 26, 1970 report about financing for his upcoming project “The Goalie’s Anxiety at the Penalty Kick” (based on a novel and referred to as “Goal Keeper Frightened...
Wenders helped define New German Cinema with his road-movie trilogy starting in 1974, “Alice in the Cities,” “Wrong Move” and “Kings of the Road”). Over the years, he has also brought to the big screen timely social commentary, a unique perspective on the American experience, and exuberant celebrations of music and dance in “Buena Vista Social Club,” “The Soul of a Man” and “Pina.” The filmmaker is also busy restoring past films, including 1987 classic “Wings of Desire.”
Variety first mentioned Wenders in an Aug. 26, 1970 report about financing for his upcoming project “The Goalie’s Anxiety at the Penalty Kick” (based on a novel and referred to as “Goal Keeper Frightened...
- 5/4/2018
- by Ed Meza
- Variety Film + TV
This week, we will be looking at Wim Wenders‘ classic, ‘Paris, Texas‘ in honor of Harry Dean Stanton, who recently passed. For the genesis of Canon Of Film, you can click here.
Paris, Texas (1984)
Director: Wim Wenders
Screenplay: Sam Shepard, adapted by L.M. Kit Carson
As much as I admire the leader of the New German cinema movement of the sixties and seventies, R.W. Fassbinder, and as much as I admire, probably the best and most important director in that movement Werner Herzog, if I actually had to pick a favorite New German Director, and one of my favorite directors of all-time, it’d have to be Wim Wenders. I rank his film ‘Wings of Desire‘ among the Ten best films ever made, and all his films–even his less-than-stellar ones–all have this intuit sense to them. It’s not empathy; it’s almost spiritual. While Herzog is constantly...
Paris, Texas (1984)
Director: Wim Wenders
Screenplay: Sam Shepard, adapted by L.M. Kit Carson
As much as I admire the leader of the New German cinema movement of the sixties and seventies, R.W. Fassbinder, and as much as I admire, probably the best and most important director in that movement Werner Herzog, if I actually had to pick a favorite New German Director, and one of my favorite directors of all-time, it’d have to be Wim Wenders. I rank his film ‘Wings of Desire‘ among the Ten best films ever made, and all his films–even his less-than-stellar ones–all have this intuit sense to them. It’s not empathy; it’s almost spiritual. While Herzog is constantly...
- 9/23/2017
- by David Baruffi
- Age of the Nerd
by StaffDirectors’ cinema, now: Tiff’s three-year-old Platform program returns for 2017 with more original voices and visionary films.
Last year, Platform included celebrated works such as William Oldroyd’s Lady Macbeth — currently playing at Tiff Bell Lightbox — Pablo Larraín’s Jackie, and Barry Jenkins’ Academy Award Best Picture winner, Moonlight. The 12 films in this year’s programme are another showcase for the artistry of a group of bold, dynamic voices in contemporary cinema.
Sweet CountryIf You Saw His Heart
This year’s lineup presents 12 films from eight countries on five continents. All selected films will compete for the Platform Prize, to be awarded by a jury made up of award-winning filmmakers Chen Kaige, Małgorzata Szumowska, and Wim Wenders.
The program will open with the world premiere of The Death of Stalin, from award-winning director-writer Armando Iannucci (In the Loop, Veep). The historical epic follows the final days leading up to the Soviet dictator’s death.
Last year, Platform included celebrated works such as William Oldroyd’s Lady Macbeth — currently playing at Tiff Bell Lightbox — Pablo Larraín’s Jackie, and Barry Jenkins’ Academy Award Best Picture winner, Moonlight. The 12 films in this year’s programme are another showcase for the artistry of a group of bold, dynamic voices in contemporary cinema.
Sweet CountryIf You Saw His Heart
This year’s lineup presents 12 films from eight countries on five continents. All selected films will compete for the Platform Prize, to be awarded by a jury made up of award-winning filmmakers Chen Kaige, Małgorzata Szumowska, and Wim Wenders.
The program will open with the world premiere of The Death of Stalin, from award-winning director-writer Armando Iannucci (In the Loop, Veep). The historical epic follows the final days leading up to the Soviet dictator’s death.
- 8/3/2017
- by Sydney Levine
- Sydney's Buzz
Viceland has announced three new TV series. The Payday TV show just premiered last Friday. In addition, Big Night Out and Bong Appétit premiere in December. Get the scoop on these new series, after the jump.The cable channel has also renewed Kings of the Road for a second season, as well as Weediquette, for a third. Learn more from this Viceland press release.Read More…...
- 11/16/2016
- by TVSeriesFinale.com
- TVSeriesFinale.com
Wim Wenders’ “The Beautiful Days of Aranjuez” has received mostly negative reviews on this year’s fall festival circuit. IndieWire’s own Ben Croll gave the film a D grade and said that it’s “ploddingly, achingly dull,” and other reviews have described it as “inert and exasperatingly supercilious,” “prettily sunlit but otherwise insufferable,” and “a literal representation of how creatively bankrupt Wim Wenders has become.” An adaptation of Peter Handke’s two-hander play by the same name, the film features a conversation between a man (Reda Kateb) and a woman (Sophie Semin) as they discuss their childhoods, memories, sexual experiences, and more. Watch a trailer and clips from the film below.
Read More: The Essentials: The 10 Best Wim Wenders Films
Wenders has made plenty of acclaimed films over the course of his four-decade long career. His Road Movie trilogy – “Alice in the Cities,” “The Wrong Move,” “Kings of the Road...
Read More: The Essentials: The 10 Best Wim Wenders Films
Wenders has made plenty of acclaimed films over the course of his four-decade long career. His Road Movie trilogy – “Alice in the Cities,” “The Wrong Move,” “Kings of the Road...
- 9/16/2016
- by Vikram Murthi
- Indiewire
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit the interwebs. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon Instant Video, and more (note: U.S. only). Check out our rundown for this week’s selections below.
10 Cloverfield Lane (Dan Trachtenberg)
Forget the Cloverfield connection. The actors who were in this film didn’t even know what the title was until moments before the first trailer dropped. Producer J.J. Abrams used that branding as part of the wrapping for its promotional mystery box, but the movie stands perfectly alone from 2008’s found-footage monster picture. Hell, 10 Cloverfield Lane perhaps doesn’t even take place...
10 Cloverfield Lane (Dan Trachtenberg)
Forget the Cloverfield connection. The actors who were in this film didn’t even know what the title was until moments before the first trailer dropped. Producer J.J. Abrams used that branding as part of the wrapping for its promotional mystery box, but the movie stands perfectly alone from 2008’s found-footage monster picture. Hell, 10 Cloverfield Lane perhaps doesn’t even take place...
- 6/3/2016
- by The Film Stage
- The Film Stage
A major talent of the New German Cinema finds his footing out on the open highway, in a trio of intensely creative pictures that capture the pace and feel of living off the beaten path. All three star Rüdiger Vogler, an actor who could be director Wim Wenders' alter ego. Wim Wenders' The Road Trilogy Blu-ray The Criterion Collection 813 1974-1976 / B&W and Color / 1:66 widescreen / 113, 104, 176 min. / available through The Criterion Collection / Street Date May 30, 2016 / 99.95 Starring Rüdiger Vogler, Lisa Kreuzer, Yetta Rottländer; Hannah Schygulla, Nasstasja Kinski, Hans Christian Blech, Ivan Desny; Robert Zischler. Cinematography Robby Müller, Martin Schäfer Film Editor Peter Przygodda, Barbara von Weltershausen Original Music Can, Jürgen Knieper, Axel Linstädt. Directed by Wim Wenders
Reviewed by Glenn Erickson
This morning I 'fessed up to never having seen David Lynch's Lost Highway. Now I get to say that until now I've never seen Wim Wenders'...
Reviewed by Glenn Erickson
This morning I 'fessed up to never having seen David Lynch's Lost Highway. Now I get to say that until now I've never seen Wim Wenders'...
- 5/16/2016
- by Glenn Erickson
- Trailers from Hell
World’s second longest-serving film festival director died last week while attending Graz film festival.
Filmmakers in Germany and beyond are mourning the passing of Heinz Badewitz, the founder of the Hof Film Days, who died unexpectedly last week at the age of 74 whilst attending last week’s Diagonale - Festival of Austrian Film in Graz.
Badewitz was the world’s second longest-serving film festival director after Chicago’s Michael Kutza (who launched his festival in 1964) and was planning Hof’s 50th anniversary in October.
Hailing from Hof in Northern Franconia, Badewitz had moved to Munich in the early 1960s to train as a cameraman and soon became part of the Munich film scene, later working as location manager on such films as Wim Wenders’ Kings Of The Road and The American Friend, and assistant director for Bob Fosse’s Cabaret and Norman Jewison’s Rollerball.
In addition, he was involved in the selection of German films for...
Filmmakers in Germany and beyond are mourning the passing of Heinz Badewitz, the founder of the Hof Film Days, who died unexpectedly last week at the age of 74 whilst attending last week’s Diagonale - Festival of Austrian Film in Graz.
Badewitz was the world’s second longest-serving film festival director after Chicago’s Michael Kutza (who launched his festival in 1964) and was planning Hof’s 50th anniversary in October.
Hailing from Hof in Northern Franconia, Badewitz had moved to Munich in the early 1960s to train as a cameraman and soon became part of the Munich film scene, later working as location manager on such films as Wim Wenders’ Kings Of The Road and The American Friend, and assistant director for Bob Fosse’s Cabaret and Norman Jewison’s Rollerball.
In addition, he was involved in the selection of German films for...
- 3/14/2016
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
It's time to start budgeting for the next wave of Criterion releases. The boutique home-video label have unveiled their slate for May, and it's even more impressive than usual, with some true treats for cinema buffs. So you might want to start clearing some space on your shelves. The big attraction of the month is the release of Wim Wenders' Road Trilogy. Comprised of "Alice In The Cities," "Wrong Move," and "Kings Of The Road," these are a terrific trio of early works by the director, and for those only familiar with his more recent films, they may be surprised by their looseness and how much different in tone they are. Criterion will be bulking up the box set with shorts "Same Player Shoots Again" and "Silver City Revisited," plus audio commentaries, interviews, and more. Read More: The Essentials: The 10 Best Wim Wenders Films Shifting gears, Robert Altman's...
- 2/17/2016
- by Kevin Jagernauth
- The Playlist
In his 1969 short film 3 American LP’s, the 24-year-old Wim Wenders, in the kind of feat of earnestness that can befit a young man, attempts to match his two greatest interests” America’s landscapes and its rock-and-roll music. If we’re to pick perhaps the most endearing eye-roller from this “rockist” mission statement, one can look no further than Wenders describing a Creedence Clearwater Revival album as being “like chocolate.”
But this isn’t necessarily an atypical moment in his filmography, as Wenders has always skirted the line of, for lack of a better word, corniness — if not just telegraphing his influences to at-times-obnoxious degrees, also with a kind of sentimentality both formally and politically speaking. Consider Wings of Desire‘s glossy look, which could so easily be reconfigured into a perfume-commercial aesthetic, or even just the title of one of his later, forgotten films; The End of Violence.
Yet...
But this isn’t necessarily an atypical moment in his filmography, as Wenders has always skirted the line of, for lack of a better word, corniness — if not just telegraphing his influences to at-times-obnoxious degrees, also with a kind of sentimentality both formally and politically speaking. Consider Wings of Desire‘s glossy look, which could so easily be reconfigured into a perfume-commercial aesthetic, or even just the title of one of his later, forgotten films; The End of Violence.
Yet...
- 1/29/2016
- by Ethan Vestby
- The Film Stage
Our annual New Years present from the Criterion Collection has come one day early this year!
As usual, the Criterion Collection New Years Drawing from Jason Polan teases at a number of upcoming releases (announced, rumored, and unknown). I’ll do my best to gather the best guesses in this article, so feel free to comment below.
Here are links to the various drawings from the past few years
2010 – Criterion.com / CriterionCast.com 2011 – Criterion.com / CriterionCast.com 2012 – Criterion.com / CriterionCast.com 2013 – Criterion.com / CriterionCast.com 2014 – Criterion.com / CriterionCast.com 2015 – Criterion.com / CriterionCast.com
Let’s pick it apart below:
Part 1
A. Three Kings (IMDb) / Wim Wenders’s Kings of the Road (IMDb)
B. The Kid (IMDb / Criterion) / McCabe & Mrs. Miller (IMDb)
C. Fantastic Planet (IMDb)
D. Lone Wolf and Cub films
E. Valley of the Dolls (IMDb) / Bubble (IMDb)
Part 2
F. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb...
As usual, the Criterion Collection New Years Drawing from Jason Polan teases at a number of upcoming releases (announced, rumored, and unknown). I’ll do my best to gather the best guesses in this article, so feel free to comment below.
Here are links to the various drawings from the past few years
2010 – Criterion.com / CriterionCast.com 2011 – Criterion.com / CriterionCast.com 2012 – Criterion.com / CriterionCast.com 2013 – Criterion.com / CriterionCast.com 2014 – Criterion.com / CriterionCast.com 2015 – Criterion.com / CriterionCast.com
Let’s pick it apart below:
Part 1
A. Three Kings (IMDb) / Wim Wenders’s Kings of the Road (IMDb)
B. The Kid (IMDb / Criterion) / McCabe & Mrs. Miller (IMDb)
C. Fantastic Planet (IMDb)
D. Lone Wolf and Cub films
E. Valley of the Dolls (IMDb) / Bubble (IMDb)
Part 2
F. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb...
- 12/31/2015
- by Ryan Gallagher
- CriterionCast
Of the Big Three new wavers of German cinema—Rainer Werner Fassbinder, Werner Herzog and Wim Wenders-- who “came of age” as it were in the ‘70s, when I was in college and my own stake in the movies was budding into something more learned and substantial than what it was when I first discovered my love for them, Herzog has emerged as the director who most speaks to me now as an adult. I think that’s true at least in part because when his movies do speak to me it never feels like a one-sided conversation. I feel like I’m in there engaging in a push-pull with Herzog’s ability to seduce me (disarm me?) with his simplicity of approach, an ability which rarely seems satisfied to consider subjects from the less-perverse of two perspectives, and his tendency to rhapsodize and harangue and sidestep visual motifs...
- 12/19/2015
- by Dennis Cozzalio
- Trailers from Hell
Patching together portraits of his beloved Portland streets, bits of Shakespeare’s Henry IV via Welles’ tumultuous Chimes at Midnight, and vignettes of a narcoleptic vagabond hustler whose motherless anxieties send him travelling through time and space in shimmeringly nostalgic deep sleep, Gus Van Sant‘s My Own Private Idaho is a wildly original amalgam of cultural references and personal investments that transcend a mere tip of the hat. Riding high in the wake of Drugstore Cowboy‘s Hollywood success, Van Sant convinced River Phoenix and Keanu Reeves, two rising Tinseltown heart-throbs, to take a serious risk, committing themselves, against the loudly voiced opinions of their agents, to a pair of overtly homosexual roles in a film that opens with an off-screen blowjob. After River was awarded the prizes for Best Actor from the Venice International Film Festival, the Independent Spirit Awards and the National Society of Film Critics Awards...
- 10/20/2015
- by Jordan M. Smith
- IONCINEMA.com
Pray for the Wounded Planet: Wenders’ Belabored Road Trip to the Apocalypse
The troubled production and following critical ambivalence towards Wim Wenders’ 1991 film Until the End of the World launched it into a sort of oblivion. Nearly twenty five years after its ill-fated reception, initially released as a three hour film which the director bitterly deigned the Reader’s Digest version of his epic, the near four hour and forty minute director’s cut premiered at the 2015 Berlin International Film Festival to coincide with the premiere of his first narrative feature in seven years, Every Thing Will Be Fine. Now, this complete version is finally seeing a Us theatrical release courtesy of a fifteen city national touring retrospective of Wenders’ films kicking off in New York at the IFC Center. In retrospect, time has been much kinder to the mishandled title than anticipated. Restored as Wenders’ complete vision, it’s...
The troubled production and following critical ambivalence towards Wim Wenders’ 1991 film Until the End of the World launched it into a sort of oblivion. Nearly twenty five years after its ill-fated reception, initially released as a three hour film which the director bitterly deigned the Reader’s Digest version of his epic, the near four hour and forty minute director’s cut premiered at the 2015 Berlin International Film Festival to coincide with the premiere of his first narrative feature in seven years, Every Thing Will Be Fine. Now, this complete version is finally seeing a Us theatrical release courtesy of a fifteen city national touring retrospective of Wenders’ films kicking off in New York at the IFC Center. In retrospect, time has been much kinder to the mishandled title than anticipated. Restored as Wenders’ complete vision, it’s...
- 8/30/2015
- by Nicholas Bell
- IONCINEMA.com
Starring William Hurt, the five-hour director’s cut of Wim Wenders’s 1991 global road-trip movie seems even more miraculous than the leaner original
The end of the world won’t come from a nuclear blast, but from an abundance of selfies. That’s part of the message gleaned from Wim Wenders’s Until the End of the World, the 1991 film that is only now getting a Us theatrical release for its full, almost-five-hour version. Back when smartphones, Gps devices and open European borders were considered sci-fi, the two-and-a-half-hour version of this futurist’s detective story was impressive. But this movie has always had its eye on the future’s potential.
The multinational co-production was enormous in its scope, especially considering the director’s roots as an arthouse film-maker. Budgeted at more than $20m (£13m) and shot all over the world, it was conceived as the “ultimate road picture”. It was...
The end of the world won’t come from a nuclear blast, but from an abundance of selfies. That’s part of the message gleaned from Wim Wenders’s Until the End of the World, the 1991 film that is only now getting a Us theatrical release for its full, almost-five-hour version. Back when smartphones, Gps devices and open European borders were considered sci-fi, the two-and-a-half-hour version of this futurist’s detective story was impressive. But this movie has always had its eye on the future’s potential.
The multinational co-production was enormous in its scope, especially considering the director’s roots as an arthouse film-maker. Budgeted at more than $20m (£13m) and shot all over the world, it was conceived as the “ultimate road picture”. It was...
- 8/27/2015
- by Jordan Hoffman
- The Guardian - Film News
After half a century of making films, the director is back on form with The Salt of the Earth and shows no signs slowing down
Wim Wenders is responsible for some of the most profound films made about America – quite a feat considering he doesn’t have a drop of starred-and-striped blood in his body. Paris, Texas is the obvious example: a western in mood and iconography, no matter that it is set in 1980s Los Angeles. It won the Palme d’Or at Cannes in 1984 and remains the director’s masterpiece. In that film, and many others, he showed the world what America looked like, and helped America to see itself through foreign eyes. Even those pictures not set in the Us – such as the great 1970s road movies Alice in the Cities and Kings of the Road, which made Wenders an arthouse darling – explore the influence, the voodoo romanticism,...
Wim Wenders is responsible for some of the most profound films made about America – quite a feat considering he doesn’t have a drop of starred-and-striped blood in his body. Paris, Texas is the obvious example: a western in mood and iconography, no matter that it is set in 1980s Los Angeles. It won the Palme d’Or at Cannes in 1984 and remains the director’s masterpiece. In that film, and many others, he showed the world what America looked like, and helped America to see itself through foreign eyes. Even those pictures not set in the Us – such as the great 1970s road movies Alice in the Cities and Kings of the Road, which made Wenders an arthouse darling – explore the influence, the voodoo romanticism,...
- 6/27/2015
- by Ryan Gilbey
- The Guardian - Film News
Dutch-born D.P. Robby Muller has never been a household name in the way that someone like, say, Roger Deakins is. And yet his influence on cinema, particularly of the independent and world variety, is impossible to deny. Known primarily for his work with Wim Wenders (“Alice in the Cities,” “Kings of the Road”) and Jim Jarmusch (“Down by Law,” “Mystery Train”), Muller has also offered his considerable talents to filmmakers like William Friedkin (in his neon-slicked sleazebag thriller “To Live and Die in L.A.”) and Alex Cox (in the watershed proto-punk classic “Repo Man”). His is a relaxed, understated style of shooting. Whereas someone like Deakins plays with visual artifice to achieve something akin to cinematic mythology, Muller’s approach is naturalistic and pared-down. It’s also far from simple. For the most part, Muller prefers working with independent filmmakers and rarely, if ever, says the words “that’s not possible.
- 12/10/2014
- by Nicholas Laskin
- The Playlist
The shortlist for France’s Louis Delluc Prize, one of the country’s highest film honors, has been released with 14 films making the cut across two categories: Best Film and Best Debut Feature. Among the eight main movies, six hail from this year’s Cannes crop. Saint Laurent – which is France’s entry for the Foreign Language Oscar – by Bertrand Bonello; Olivier Assayas’ Juliette Binoche/Kristen Stewart-starrer Clouds Of Sils Maria; veteran Jean-Luc Godard’s 3D Goodbye To Language; Abderrahmane Sissako’s Timbuktu; Pascale Ferran’s Bird People, starring Josh Charles; and Claus Drexel’s Au Bord Du Monde will vie alongside Venice pics Trois Coeurs, by Benoît Jacquot, and Robin Campillo’s Eastern Boys. Godard, Ferran and Jacquot are all former Delluc laureates. The Debut Feature shortlist is made up of Thomas Cailley’s well-received Fortnight film Love At First Fight; Camera d’Or winner Party Girl; Virgil Vernier...
- 11/28/2014
- by Nancy Tartaglione
- Deadline
Ten strong line-up of titles unveiled; Wenders to take part in on stage conversation.
The Berlin International Film Festival (Feb 5-15) has revealed the ten titles that will make up its Homage to German filmmaker Wim Wenders.
As previously announced, Wenders will also be awarded an Honorary Golden Bear for lifetime achievement at the 65th Berlinale.
The award ceremony on Feb 12 in the Berlinale Palast will include a new digitally restored screening of The American Friend, Wenders’ 1977 thriller based on a book by Patricia Highsmith, which tells the story of a fatal friendship between two men, played by Bruno Ganz and Dennis Hopper.
“The American Friend was Wim Wenders’ international breakthrough film. And we were so impressed by the brilliance of the recently completed digital restoration that we decided to premiere it as part of the award ceremony for the Honorary Golden Bear,” said festival director Dieter Kosslick.
Wenders’ early work The Goalie’s Anxiety at the...
The Berlin International Film Festival (Feb 5-15) has revealed the ten titles that will make up its Homage to German filmmaker Wim Wenders.
As previously announced, Wenders will also be awarded an Honorary Golden Bear for lifetime achievement at the 65th Berlinale.
The award ceremony on Feb 12 in the Berlinale Palast will include a new digitally restored screening of The American Friend, Wenders’ 1977 thriller based on a book by Patricia Highsmith, which tells the story of a fatal friendship between two men, played by Bruno Ganz and Dennis Hopper.
“The American Friend was Wim Wenders’ international breakthrough film. And we were so impressed by the brilliance of the recently completed digital restoration that we decided to premiere it as part of the award ceremony for the Honorary Golden Bear,” said festival director Dieter Kosslick.
Wenders’ early work The Goalie’s Anxiety at the...
- 11/27/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
The 65th Berlin International Film Festival will dedicate an homage to Wim Wenders and present him with an Honorary Golden Bear for his lifetime achievement. Since his 1970 debut Summer In The City, the Germany native has made about 50 films including Alice In The Cities (1973), Kings of the Road (1976), Paris, Texas (1984) Wings Of Desire (1987), The State Of Things (1982), The Million Dollar Hotel (2000) and Pina (2011). Ten films from Wenders’ feature and documentary repertoire will be shown, with titles to be announced in the fall. “In dedicating the homage to Wim Wenders, we honor one of the most noted contemporary auteurs,” said Dieter Kosslick, Director of the Berlinale. “His cross-genre and multifaceted work as a filmmaker, photographer and author has shaped our living memory of cinema, and continues to inspire other filmmakers.” The festival runs February 5-15.
BBC Two has commissioned Stonemouth, based on the novel by Iain Banks. A BBC Scotland/Slate...
BBC Two has commissioned Stonemouth, based on the novel by Iain Banks. A BBC Scotland/Slate...
- 8/22/2014
- by Nancy Tartaglione
- Deadline
Ten films from the Wings of Desire director to be shown as part of a homage at the next Berlinale.
The 65th Berlin International Film Festival (Feb 5-15) is to dedicate the Homage strand to German filmmaker Wim Wenders and present him with an Honorary Golden Bear for lifetime achievement.
Ten films from Wenders’ feature and documentary repertoire will be shown as part of the Homage, the line-up of which will be revealed this autumn.
In the 1970s, Wenders was part of a young generation of filmmakers who heavily influenced New German Cinema, working against a backdrop of the economic and artistic crisis in commercial film of that time.
Since feature debut Summer in the City in 1970, Wenders has made roughly 50 films.
Following his international breakthrough with the early road movies Alice in the Cities (1973) and Kings of the Road (1976) he worked in Europe, the Us, Latin America and Asia, and has received...
The 65th Berlin International Film Festival (Feb 5-15) is to dedicate the Homage strand to German filmmaker Wim Wenders and present him with an Honorary Golden Bear for lifetime achievement.
Ten films from Wenders’ feature and documentary repertoire will be shown as part of the Homage, the line-up of which will be revealed this autumn.
In the 1970s, Wenders was part of a young generation of filmmakers who heavily influenced New German Cinema, working against a backdrop of the economic and artistic crisis in commercial film of that time.
Since feature debut Summer in the City in 1970, Wenders has made roughly 50 films.
Following his international breakthrough with the early road movies Alice in the Cities (1973) and Kings of the Road (1976) he worked in Europe, the Us, Latin America and Asia, and has received...
- 8/21/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
The American Midwest's spare, glum beauty is conjured in Alexander Payne's lugubrious road comedy
At the start of Nebraska, Woody Grant (Bruce Dern), confused and old, is seen slouching doggedly along a highway on the outskirts of his town. "Hey, bud, where ya headed?" asks a solicitous cop. But where can Woody possibly be headed? It takes just one look at the nondescript urban expanse; at the chimney belching out fumes in the background; at the sign reading "Billings City Limits" (that's Billings, Montana) to know he can't be going anywhere special. This is the back of beyond, right? And Woody's surely on the proverbial Road to Nowhere.
In fact, Woody is determined to get to Lincoln, Nebraska, where he's convinced that a million dollars are his for the claiming. It's usual in American cinema to assume that areas such as the stretch between Billings and Lincoln, some 800 miles away,...
At the start of Nebraska, Woody Grant (Bruce Dern), confused and old, is seen slouching doggedly along a highway on the outskirts of his town. "Hey, bud, where ya headed?" asks a solicitous cop. But where can Woody possibly be headed? It takes just one look at the nondescript urban expanse; at the chimney belching out fumes in the background; at the sign reading "Billings City Limits" (that's Billings, Montana) to know he can't be going anywhere special. This is the back of beyond, right? And Woody's surely on the proverbial Road to Nowhere.
In fact, Woody is determined to get to Lincoln, Nebraska, where he's convinced that a million dollars are his for the claiming. It's usual in American cinema to assume that areas such as the stretch between Billings and Lincoln, some 800 miles away,...
- 12/1/2013
- by Jonathan Romney
- The Guardian - Film News
After much media hoopla about "Vertigo" toppling "Citizen Kane" in its poll, Sight and Sound magazine have now released the full version of its once a decade 'Top 250 greatest films of all time' poll results via its website. The site also includes full on links showcasing Top Tens of the hundreds of film industry professionals who participated in the project.
For those who don't want to bother with the individual lists and to save you a bunch of clicking, below is a copy of the full 250 films that made the lists and how many votes they got to be considered for their positions:
1 - Vertigo (Hitchcock, 1958) [191 votes]
2 - Citizen Kane (Welles, 1941) [157 votes]
3 - Tokyo Story (Ozu, 1953) [107 votes]
4 - La Règle du jeu (Renoir, 1939) [100 votes]
5 - Sunrise: a Song for Two Humans (Murnau, 1927) [93 votes]
6 - 2001: A Space Odyssey (Kubrick, 1968) [90 votes]
7 - The Searchers (Ford, 1956) [78 votes]
8 - Man with a Movie Camera (Vertov, 1929) [68 votes]
9 - The Passion of Joan of Arc (Dreyer,...
For those who don't want to bother with the individual lists and to save you a bunch of clicking, below is a copy of the full 250 films that made the lists and how many votes they got to be considered for their positions:
1 - Vertigo (Hitchcock, 1958) [191 votes]
2 - Citizen Kane (Welles, 1941) [157 votes]
3 - Tokyo Story (Ozu, 1953) [107 votes]
4 - La Règle du jeu (Renoir, 1939) [100 votes]
5 - Sunrise: a Song for Two Humans (Murnau, 1927) [93 votes]
6 - 2001: A Space Odyssey (Kubrick, 1968) [90 votes]
7 - The Searchers (Ford, 1956) [78 votes]
8 - Man with a Movie Camera (Vertov, 1929) [68 votes]
9 - The Passion of Joan of Arc (Dreyer,...
- 8/18/2012
- by Garth Franklin
- Dark Horizons
In conjunction with La Furia Umana, Notebook is very happy to present Ted Fendt's original English translation of Luc Moullet's "Rockefeller's Melancholy," on Michelangelo Antonioni. Moullet's original French version can be found at La Furia Umana. Our special thanks to Mr. Moullet, La Furia Umana and Ted Fendt for making this possible.
Above: "John D. Rockefeller" (1917) by John Singer Sargent.
Drifting is the fundamental subject of Antonioni’s films. They are about beings who don’t know where they are going, who constantly contradict themselves, and are guided by their momentary impulses. We don’t understand what they feel or why they act as they do.
Psychological cinema could be defined in this way: it is psychological when you don’t understand the motivation of emotions and behaviors. If you understand, it means it’s easy, immediately, at a very superficial level... The filmmaker must therefore let it be...
Above: "John D. Rockefeller" (1917) by John Singer Sargent.
Drifting is the fundamental subject of Antonioni’s films. They are about beings who don’t know where they are going, who constantly contradict themselves, and are guided by their momentary impulses. We don’t understand what they feel or why they act as they do.
Psychological cinema could be defined in this way: it is psychological when you don’t understand the motivation of emotions and behaviors. If you understand, it means it’s easy, immediately, at a very superficial level... The filmmaker must therefore let it be...
- 4/2/2012
- MUBI
Young filmmaker Colin Levy reached out to Martin Scorsese asking him for some film recommendations to further his cinematic education and Scorsese's assistant responded with the following list and a note that read: Mr. Scorsese asked that I send this your way. This should be a jump start to your film education! The list is comprised of 39 foreign films and I've gone through and put a little check mark next to those that I have personally seen, which, I guess, means I have 19 films I need to begin to explore. Of those I haven't seen, Rocco and His Brothers and Children of Paradise are two I've meant to watch for a long time. Rocco was one Francis Ford Coppola told me was one of his favorite films back when I interviewed him for Tetro and I've still yet to give it a watch. (slacking) According to the post from Colin at Reddit,...
- 3/26/2012
- by Brad Brevet
- Rope of Silicon
Alexander Kluge speaks at the Oberhausen Manifesto press conference 1962
For all the news tumbling out of Rotterdam and Berlin over the past couple of weeks, we don't want to overlook a couple of pretty major announcements coming from other festivals regarding their upcoming editions. Starting with this one: "The 58th International Short Film Festival Oberhausen will celebrate the 50th anniversary of the Oberhausen Manifesto (February 28, 2012) with a large-scale thematic program entitled Provoking Reality: Mavericks, Mouvements, Manifesto. To honor the anniversary of the Manifesto, perhaps the single most important group document in German film history, the festival has compiled a selection of films of the signatories, many of which have not been shown for decades and had to be restored expressly for the program."
In addition to the inevitable panel discussion, there'll also be a double DVD from Edition Filmmuseum and, in German, a collection of essays. Before moving on, this...
For all the news tumbling out of Rotterdam and Berlin over the past couple of weeks, we don't want to overlook a couple of pretty major announcements coming from other festivals regarding their upcoming editions. Starting with this one: "The 58th International Short Film Festival Oberhausen will celebrate the 50th anniversary of the Oberhausen Manifesto (February 28, 2012) with a large-scale thematic program entitled Provoking Reality: Mavericks, Mouvements, Manifesto. To honor the anniversary of the Manifesto, perhaps the single most important group document in German film history, the festival has compiled a selection of films of the signatories, many of which have not been shown for decades and had to be restored expressly for the program."
In addition to the inevitable panel discussion, there'll also be a double DVD from Edition Filmmuseum and, in German, a collection of essays. Before moving on, this...
- 1/15/2012
- MUBI
Review of Wim Wenders' Pina. Wim Wenders takes 3D moviemaking to a new level with dance documentary Pina. The cinematic examples of lightning in a bottle are those rare films that capture an artist at work and preserve it for all to see. Pablo Picasso takes his paintbrush to a pane of glass in Henri-Georges Clouzot's The Mystery of Picasso. Sibling filmmakers Albert and David Maysles capture the glory of The Rolling Stones and the tragic violence at their concert at California’s Altamont Speedway in the 1970 documentary Gimme Shelter. German filmmaker Wim Wenders claims his share of acclaim thanks to beloved movies Kings of the Road (1976), Paris, Texas (1984) and Wings of Desire (1987) but he makes a movie for the ages via his 3D dance documentary Pina...
- 12/24/2011
- Upcoming-Movies.com
Review of Wim Wenders' Pina. Wim Wenders takes 3D moviemaking to a new level with dance documentary Pina. The cinematic examples of lightning in a bottle are those rare films that capture an artist at work and preserve it for all to see. Pablo Picasso takes his paintbrush to a pane of glass in Henri-Georges Clouzot's The Mystery of Picasso. Sibling filmmakers Albert and David Maysles capture the glory of The Rolling Stones and the tragic violence at their concert at California’s Altamont Speedway in the 1970 documentary Gimme Shelter. German filmmaker Wim Wenders claims his share of acclaim thanks to beloved movies Kings of the Road (1976), Paris, Texas (1984) and Wings of Desire (1987) but he makes a movie for the ages via his 3D dance documentary Pina...
- 12/24/2011
- Upcoming-Movies.com
Review of Wim Wenders' Pina. Wim Wenders takes 3D moviemaking to a new level with dance documentary Pina. The cinematic examples of lightning in a bottle are those rare films that capture an artist at work and preserve it for all to see. Pablo Picasso takes his paintbrush to a pane of glass in Henri-Georges Clouzot's The Mystery of Picasso. Sibling filmmakers Albert and David Maysles capture the glory of The Rolling Stones and the tragic violence at their concert at California’s Altamont Speedway in the 1970 documentary Gimme Shelter. German filmmaker Wim Wenders claims his share of acclaim thanks to beloved movies Kings of the Road (1976), Paris, Texas (1984) and Wings of Desire (1987) but he makes a movie for the ages via his 3D dance documentary Pina...
- 12/24/2011
- Upcoming-Movies.com
The fine folks at The Film Society of Lincoln Center never seem to fail when it comes to providing a cinephile with year-long movie goodness. Come January and February, a near dozen films will be playing as part of their Nyff 50th Anniversary series. Films on tap include Wim Wender's Kings of the Road, Werner Herzog's The Enigma of Kasper Hauser and Truffaut's The Last Metro. Full list of films and play dates are below! 50 Years of the New York Film Festival The Film Society of Lincoln Center's year-long countdown to the New York Film Festival's historic 50th edition continues through January and February, offering the rare opportunity to view several undisputed classics of the big screen, many of which were introduced to...
- 12/19/2011
- Screen Anarchy
Stay off the streets and stay in with a movie…that takes to the streets.
Los Angelenos are aflutter with impending chaos. And, if you don’t live in Los Angeles, you probably don’t understand. (I live here and I’m not sure I fully understand.) But this weekend (July 15-17), the City of Los Angeles has gotten it in its mind to shut down the 405 Freeway, one of the central lifelines for the (frankly absurd) amount of traffic that hits Los Angeles on a daily basis. This means that, functionally, no one’s going anywhere this weekend and the entire West side of Los Angeles is going to be choked off by the cold, unrelenting hands of the Los Angeles Dot.
Naturally, this has become a bit of a cultural meme (surely confusing anyone who doesn’t live in Los Angeles) dubbed by internet pun genii as “Carmageddon.
Los Angelenos are aflutter with impending chaos. And, if you don’t live in Los Angeles, you probably don’t understand. (I live here and I’m not sure I fully understand.) But this weekend (July 15-17), the City of Los Angeles has gotten it in its mind to shut down the 405 Freeway, one of the central lifelines for the (frankly absurd) amount of traffic that hits Los Angeles on a daily basis. This means that, functionally, no one’s going anywhere this weekend and the entire West side of Los Angeles is going to be choked off by the cold, unrelenting hands of the Los Angeles Dot.
Naturally, this has become a bit of a cultural meme (surely confusing anyone who doesn’t live in Los Angeles) dubbed by internet pun genii as “Carmageddon.
- 7/14/2011
- by Danny
- Trailers from Hell
The veteran German film writer and producer died earlier this week aged 61. We look back over his career in clips
The sudden death of Bernd Eichinger has left German cinema reeling, as arguably its most powerful and influential figure is no longer around. Eichinger started writing and directing in the early 70s New German Cinema ferment, but really made his mark as a producer – his first serious credit was on the 1975 movie The Wrong Movement, directed by Ngc wunderkind Wim Wenders. The Wrong Movement is one of those odd Wim Wenders road movies featuring Rüdiger Vogler, made in between Alice in the Cities and Kings of the Road, that were so bafflingly influential at the time. (Try watching Chris Petit's Radio On, you'll see what I mean.)
But Eichinger's production career didn't take proper wing until the New German Cinema wave was all but over. In 1978 he bought an established distribution company,...
The sudden death of Bernd Eichinger has left German cinema reeling, as arguably its most powerful and influential figure is no longer around. Eichinger started writing and directing in the early 70s New German Cinema ferment, but really made his mark as a producer – his first serious credit was on the 1975 movie The Wrong Movement, directed by Ngc wunderkind Wim Wenders. The Wrong Movement is one of those odd Wim Wenders road movies featuring Rüdiger Vogler, made in between Alice in the Cities and Kings of the Road, that were so bafflingly influential at the time. (Try watching Chris Petit's Radio On, you'll see what I mean.)
But Eichinger's production career didn't take proper wing until the New German Cinema wave was all but over. In 1978 he bought an established distribution company,...
- 1/28/2011
- by Andrew Pulver
- The Guardian - Film News
Video of the day. First Full Trailer for David Fincher's "The Social Network"
Video of the day. New Film by Kenneth Anger
Image of the day. Marilyn Monroe
Miriam Bale
The Game
David Cairns
The Forgotten: The Filth
The Forgotten: Lady Killer
The Forgotten: Dance of Death
The Forgotten: One Way Street
The Forgotten: Swift Boat Veterans
Doug Cummings
The 2010 Los Angeles Film Festival Shifts Direction
Adrian Curry
Movie Poster of the Week: "Independence Day"
Movie Poster of the Week: The Movie Posters of Norman Rockwell
Movie Poster of the Week: "Life During Wartime"
Movie Poster of the Week: "Betty Blue"
Movie Poster of the Week: "Summer Holiday"
Doug Dibbern
Jimmy Stewart: Angel of Death
Philippe Garrel
Quote of the day
Leo Goldsmith
Robert Flaherty Seminar 2010, Part 2: Work Forces
S. Hahn
Telling Pictures
Darren Hughes
The Details: "Les rendez-vous d'Anna" (Akerman, 1978)
Daniel Kasman
Image of the Day.
Video of the day. New Film by Kenneth Anger
Image of the day. Marilyn Monroe
Miriam Bale
The Game
David Cairns
The Forgotten: The Filth
The Forgotten: Lady Killer
The Forgotten: Dance of Death
The Forgotten: One Way Street
The Forgotten: Swift Boat Veterans
Doug Cummings
The 2010 Los Angeles Film Festival Shifts Direction
Adrian Curry
Movie Poster of the Week: "Independence Day"
Movie Poster of the Week: The Movie Posters of Norman Rockwell
Movie Poster of the Week: "Life During Wartime"
Movie Poster of the Week: "Betty Blue"
Movie Poster of the Week: "Summer Holiday"
Doug Dibbern
Jimmy Stewart: Angel of Death
Philippe Garrel
Quote of the day
Leo Goldsmith
Robert Flaherty Seminar 2010, Part 2: Work Forces
S. Hahn
Telling Pictures
Darren Hughes
The Details: "Les rendez-vous d'Anna" (Akerman, 1978)
Daniel Kasman
Image of the Day.
- 8/1/2010
- MUBI
In a 20-minute interview that is one of the supplements to this excellent DVD edition (a Region 2 Pal UK set from the label Axiom) of Kings of the Road, a contemporary Wenders considers this film and all of his films prior and subsequent to it, and tries to tie them together. "All these films have in common," he says (in German), "is not a theme, but what ties them together, from this one, to Buena Vista Social Club, to Until The End Of The World, is the question: 'How should one live?''' In this case, for one of its characters, Robert (Hanns Zischler), the question might better be put, "How can one live?" He has driven his car into a river, and instead of drowning, he is left bereft of personal possessions. Including the car. Wenders knows his Kristofferson, that is, that freedom's just another word for nothing left to lose.
- 7/25/2010
- MUBI
The Barbican's decision to shut two of its three screens to placate luxury-flat owners is a slap in the face for everyone who cares about cinema
What's the best way for an arts centre to celebrate a year of record ticket sales and an unexpected 13% increase in visitors to its hallowed space? Experiment with cutting-edge programming? Fill the foyer with bunting? Taunt the competition?
Well, if you're the Barbican, you put the party hats away and, instead, close down two of your three cinema screens with the hope that punters will be too distracted by the rumours of a swanky new caff to notice.
The Barbican, London's beloved concrete Rubik's cube of an arts complex, spent millions in 2007 to refurbish its three cinemas, nicing up the lighting and putting in quality digital projectors – that kind of thing. Now, two of those very busy screening rooms are set to close in...
What's the best way for an arts centre to celebrate a year of record ticket sales and an unexpected 13% increase in visitors to its hallowed space? Experiment with cutting-edge programming? Fill the foyer with bunting? Taunt the competition?
Well, if you're the Barbican, you put the party hats away and, instead, close down two of your three cinema screens with the hope that punters will be too distracted by the rumours of a swanky new caff to notice.
The Barbican, London's beloved concrete Rubik's cube of an arts complex, spent millions in 2007 to refurbish its three cinemas, nicing up the lighting and putting in quality digital projectors – that kind of thing. Now, two of those very busy screening rooms are set to close in...
- 1/7/2010
- by Nosheen Iqbal
- The Guardian - Film News
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.