Stars: Karlheinz Bohm, Maxine Audley, Anna Massey, Moira Shearer, Brenda Bruce, Esmond Knight, Martin Miller, Michael Goodliffe, Jack Watson, Shirley Anne Field | Written by Leo Marks | Directed by Michael Powell
Originally released 64 years ago (!) and a Martin Scorsese favourite, Peeping Tom has already had a UK release from StudioCanal, with a print restored in association with The Film Foundation and the BFI National Archive; and now comes another release, this time in the US courtesy of the Criterion Collection.
My immediate reaction, almost from the opening scene is that for a film that was made so long ago, it has aged extremely well and I imagine it might have seemed quite shocking at the time.
That does seem to be the case as “on its initial release in 1960, Peeping Tom received a savage reception from critics who were dismayed by its controversial subject matter and the sympathy it seems to engender for its murderous protagonist.
Originally released 64 years ago (!) and a Martin Scorsese favourite, Peeping Tom has already had a UK release from StudioCanal, with a print restored in association with The Film Foundation and the BFI National Archive; and now comes another release, this time in the US courtesy of the Criterion Collection.
My immediate reaction, almost from the opening scene is that for a film that was made so long ago, it has aged extremely well and I imagine it might have seemed quite shocking at the time.
That does seem to be the case as “on its initial release in 1960, Peeping Tom received a savage reception from critics who were dismayed by its controversial subject matter and the sympathy it seems to engender for its murderous protagonist.
- 5/14/2024
- by Alain Elliott
- Nerdly
Before praising the 2024 Oscars and their approach to sex, we need to acknowledge one truth. The Academy of Motion Picture Arts and Sciences completely ignored one of the best movies of the year, and a movie that features one of the most frank and vulnerable sexual scenes committed to film. It, of course, involves a bathtub, where one man’s desire for another becomes clear in a way that not even he had heretofore acknowledged.
What? No, not Saltburn. I said a good movie, not a loud nothing that approaches sex like a 12-year-old who just learned a few rude words.
I’m referring to the beautiful Andrew Haigh film All of Us Strangers, which received no Oscar attention, not even for its outstanding leads Andrew Scott and Paul Mescal. The scene in question occurs after screenwriter Adam (Scott) returns from his parents’ home, where he just came out to his mother,...
What? No, not Saltburn. I said a good movie, not a loud nothing that approaches sex like a 12-year-old who just learned a few rude words.
I’m referring to the beautiful Andrew Haigh film All of Us Strangers, which received no Oscar attention, not even for its outstanding leads Andrew Scott and Paul Mescal. The scene in question occurs after screenwriter Adam (Scott) returns from his parents’ home, where he just came out to his mother,...
- 3/7/2024
- by Joe George
- Den of Geek
Killer Collectibles highlights five of the most exciting new horror products announced each and every week, from toys and apparel to artwork, records, and much more.
Here are the coolest horror collectibles unveiled this week!
Peeping Tom 4K Uhd from Criterion
Peeping Tom will join The Criterion Collection on 4K Ultra HD and Blu-ray on May 14. The 1960 British horror-thriller has been newly restored in 4K with Dolby Vision Hdr and uncompressed monaural sound.
A progenitor of the contemporary slasher, Michael Powell (The Red Shoes) produces and directs from a script by Leo Marks. Carl Boehm, Moira Shearer, Anna Massey, and Maxine Audley star.
Special features include: a new introduction by Martin Scorsese; a new interview with Thelma Schoonmaker; a new featurette with Scorsese, Schoonmaker, and Boehm; audio commentaries by film scholar Laura Mulvey and film historian Ian Christie; featurettes Marks and on the restoration; and more.
Chucky Talking Board from...
Here are the coolest horror collectibles unveiled this week!
Peeping Tom 4K Uhd from Criterion
Peeping Tom will join The Criterion Collection on 4K Ultra HD and Blu-ray on May 14. The 1960 British horror-thriller has been newly restored in 4K with Dolby Vision Hdr and uncompressed monaural sound.
A progenitor of the contemporary slasher, Michael Powell (The Red Shoes) produces and directs from a script by Leo Marks. Carl Boehm, Moira Shearer, Anna Massey, and Maxine Audley star.
Special features include: a new introduction by Martin Scorsese; a new interview with Thelma Schoonmaker; a new featurette with Scorsese, Schoonmaker, and Boehm; audio commentaries by film scholar Laura Mulvey and film historian Ian Christie; featurettes Marks and on the restoration; and more.
Chucky Talking Board from...
- 2/23/2024
- by Alex DiVincenzo
- bloody-disgusting.com
A classic that predates the slasher movie by a decade and played a hugely influential role on the sub-genre, Michael Powell’s Peeping Tom (1960) returns to The Criterion Collection.
The film hits Criterion Blu-ray and 4K Ultra HD on May 14, 2024.
Criterion announces today, “Having brought British cinema into exalted realms of fantasy and imagination, Michael Powell took a dark detour into obsession, voyeurism, and violence with this groundbreaking metacinematic investigation into the mechanics of fear.
“Armed with his killer camera, photographer and filmmaker Mark Lewis (Carl Boehm) unleashes the traumas of his childhood by murdering women and recording their deaths—until he falls for his downstairs neighbor, and finds himself struggling against his dark compulsions. Received with revulsion upon its release only to be reclaimed as a masterpiece, the endlessly analyzed, still-shocking Peeping Tom dares viewers to confront their own relationship to the violence on-screen.”
4K Uhd + Blu-ray Special Edition Features:
New 4K digital restoration,...
The film hits Criterion Blu-ray and 4K Ultra HD on May 14, 2024.
Criterion announces today, “Having brought British cinema into exalted realms of fantasy and imagination, Michael Powell took a dark detour into obsession, voyeurism, and violence with this groundbreaking metacinematic investigation into the mechanics of fear.
“Armed with his killer camera, photographer and filmmaker Mark Lewis (Carl Boehm) unleashes the traumas of his childhood by murdering women and recording their deaths—until he falls for his downstairs neighbor, and finds himself struggling against his dark compulsions. Received with revulsion upon its release only to be reclaimed as a masterpiece, the endlessly analyzed, still-shocking Peeping Tom dares viewers to confront their own relationship to the violence on-screen.”
4K Uhd + Blu-ray Special Edition Features:
New 4K digital restoration,...
- 2/15/2024
- by John Squires
- bloody-disgusting.com
Get in touch to send in cinephile news and discoveries. For regular updates, sign up for our weekly email newsletter and follow us @NotebookMUBI.NEWSEvil Does Not Exist.We are saddened to learn that Issue 97 will be Cinema Scope’s last in its current form. To “do something valuable in this field,” editor and publisher Mark Peranson writes, “one needs creative freedom.” This is exactly what, for twenty-five years and just under 100 issues, Cinema Scope was able to provide, offering a space that allowed, per Peranson, “a certain kind of filmmaker’s work to be treated with the intellect and respect they deserve.” The print issue is on its way to subscribers now, and its entire contents—including interviews with Ryusuke Hamaguchi, Rodrigo Moreno, and Alex Ross Perry—can also be read online.Sandra Milo has died at the age of 90. She starred in Federico Fellini’s 8½ (1963) and Juliet of the Spirits...
- 1/31/2024
- MUBI
Kevin B. Lee (left) in conversation with Tsai Ming-liang.Even though he didn't have a new film to premiere, Tsai Ming-liang was the guest of honor at this year's Locarno Film Festival. Tsai received the Pardo alla carriera achievement award at the Piazza Grande; was the subject of Moving Portraits, an exhibition at the Il Rivellino gallery; presented a screening of his 2020 film Days; and delivered several talks and masterclasses. One such talk was “On the Future of Cinema”: the centerpiece of a Locarno Film Festival initiative exploring the medium’s technological and cultural transformations. The face of Locarno’s Future of Cinema programming is the scholar, media artist, and critic Kevin B. Lee. A prolific video essayist, Lee has produced over 350 works of audiovisual criticism, and with his award-winning Transformers: The Premake (2014), he introduced and popularized the “desktop documentary” format. Unfolding as a real-time screen recording of Lee’s MacBook,...
- 10/26/2023
- MUBI
The following interview was originally published in the second issue of Outskirts Film Magazine, an independent print magazine on the past and present of cinema. Issue two is now available from the Outskirts e-shop.At 189 pages, Outskirts Nº2 is made up of original essays, interviews, reviews, translations, and a single large dossier dedicated to Japanese filmmaker and actress Tanaka Kinuyo.Forever a Woman.During the last edition of the Locarno Film Festival, a retrospective dedicated to Douglas Sirk took place, organised by Bernard Eisenschitz and Roberto Turigliatto. Among the many incredible guests invited to introduce Sirk’s films, such as Miguel Marías, Jon Halliday, Olaf Möller, Martina Müller, was Laura Mulvey. In speaking to her several months later, what started out initially as a conversation between myself and Mulvey about Sirk, unexpectedly morphed into a broader investigation that included the work of Tanaka Kinuyo, the subject of our dossier.The...
- 8/8/2023
- MUBI
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSOn July 13, SAG-AFTRA issued a strike order, joining the WGA, who have been striking since May. In an incendiary speech, the guild’s president, Fran Drescher, said: “SAG-AFTRA negotiated in good faith and was eager to reach a deal that sufficiently addressed performer needs, but the AMPTP’s responses to the union’s most important proposals have been insulting and disrespectful of our massive contributions to this industry…Until they do negotiate in good faith, we cannot begin to reach a deal.” This Vulture Q&a with Jonathan Handel, author of Hollywood on Strike!: An Industry at War in the Internet Age, delves into the details of the work stoppage.Applications are open for Open City Documentary Festival & Another Gaze’s third annual critics’ workshop, which will take place in early September during the festival.
- 7/19/2023
- MUBI
As the first season of Netflix’s Sex/Life wrapped up, our heroine Billie (Sarah Shahi) found herself in a bit of a pickle. On the one hand, she had Cooper (Mike Vogel), her drop-dead gorgeous, chiseled husband, a great father to her two small children with a lucrative job that was helping save the world. But the sex? Meh. On the other hand, she had Brad (Adam Demos), her drop-dead gorgeous, chiseled past love, a mega-rich music producer unfortunately burdened with abandonment issues that made him a bit of a douchebag.
- 3/4/2023
- by Chris Vognar
- Rollingstone.com
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI, and sign up for our email newsletter by clicking here.NEWSJeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles.At last, Sight & Sound have released the results of the 2022 Greatest Films of All Time critics’ poll. 1,639 ballots later, Chantal Akerman’s Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) has risen to the number-one spot, accompanied by a new piece from Laura Mulvey. The New York Times offers a useful interactive feature to unpack how the rankings have evolved over time.The American documentarian Julia Reichert—best known for Growing Up Female (1971), Union Maids (1976), and the Oscar-winning American Factory (2019)—died last week of cancer at age 76. Eric Hynes wrote an elegant appreciation of her work in a 2020 piece for Crosscuts, published by the Walker Art Center: Consistently through half a century of filmmaking, Reichert spends time with people.
- 12/6/2022
- MUBI
Nina Menkes’ bracing 1991 feature Queen of Diamonds is one of a group of notable films by female auteurs that have recently been restored and brought back into wider circulation. But rather than using the momentum as of yet to get another fictional film in production, Menkes has adapted a lecture presentation she began giving in 2018 entitled “Sex and Power: The Visual Language of Oppression” into Brainwashed: Sex-Camera-Power, the first solo-directed non-fiction work in her filmography.
Surveying how the male gaze, as theorized by Laura Mulvey in her pathbreaking essay “Visual Pleasure and Narrative Cinema,” has influenced and hamstrung the medium across its history, Menkes has received some critical pushback for this film, including from those who were supportive of her more experimental fiction work, which is considered ahead-of-its-time and certainly would’ve received greater attention in today’s more egalitarian independent film climate. Yet the documentary still alights on an...
Surveying how the male gaze, as theorized by Laura Mulvey in her pathbreaking essay “Visual Pleasure and Narrative Cinema,” has influenced and hamstrung the medium across its history, Menkes has received some critical pushback for this film, including from those who were supportive of her more experimental fiction work, which is considered ahead-of-its-time and certainly would’ve received greater attention in today’s more egalitarian independent film climate. Yet the documentary still alights on an...
- 10/25/2022
- by David Katz
- The Film Stage
Early in “Brainwashed,” filmmaker and cinema studies professor Nina Menkes quotes author James Baldwin when she says, “Nothing can be changed until it is fixed.” But before a broken system can be fixed, it first needs to be acknowledged. That’s Menkes’ job, and she does it so well that her lecture — which forms the basis of the movie — should be seen by everyone.
As a substitute for a Feminist Film Studies 101 class, “Brainwashed” gets the job done a lot more quickly and cheaply than if you registered for grad school. In sharing her academic talk, “Sex and Power: The Visual Language of Oppression,” Menkes gives us a base from which to understand the visual language of movies. She interviews seminal theorist Laura Mulvey, who popularized the concept of the “male gaze.” And she talks to a range of filmmakers, academics, and performers, who expand on what that concept has meant to them professionally.
As a substitute for a Feminist Film Studies 101 class, “Brainwashed” gets the job done a lot more quickly and cheaply than if you registered for grad school. In sharing her academic talk, “Sex and Power: The Visual Language of Oppression,” Menkes gives us a base from which to understand the visual language of movies. She interviews seminal theorist Laura Mulvey, who popularized the concept of the “male gaze.” And she talks to a range of filmmakers, academics, and performers, who expand on what that concept has meant to them professionally.
- 10/20/2022
- by Elizabeth Weitzman
- The Wrap
Nina Menkes’s rigorous film-theory docu-essay teases out the differences in the ways men and women are treated, both on screen and in the industry
Film-maker and theorist Nina Menkes takes to the stage in this docu-essay slash movie lecture: a fierce and focused polemic reviving the subject of the “male gaze” for the #MeToo era. Starting with an interview with British critic Laura Mulvey (described by Menkes as the “original gangster” who invented the term), Menkes shows us that the way the camera looks at women, and everything else, is not a transparent, value-free business. On the contrary: with men so overwhelmingly in charge, it is an activity of coercion and imposition, determined by gender politics. And sexuality as it appears on screen is not the natural, unmediated free expression of equal pleasure, but deeply embedded in male power relations.
One movie clip Menkes could have cited but doesn...
Film-maker and theorist Nina Menkes takes to the stage in this docu-essay slash movie lecture: a fierce and focused polemic reviving the subject of the “male gaze” for the #MeToo era. Starting with an interview with British critic Laura Mulvey (described by Menkes as the “original gangster” who invented the term), Menkes shows us that the way the camera looks at women, and everything else, is not a transparent, value-free business. On the contrary: with men so overwhelmingly in charge, it is an activity of coercion and imposition, determined by gender politics. And sexuality as it appears on screen is not the natural, unmediated free expression of equal pleasure, but deeply embedded in male power relations.
One movie clip Menkes could have cited but doesn...
- 10/15/2022
- by Peter Bradshaw
- The Guardian - Film News
Documentarian Nina Menkes is turning her camera on cinema history itself.
Menkes’ “Brainwashed: Sex-Camera-Power” centers on the cultural normalization of the exploitative male gaze found in cinema. Using clips from more than 175 films ranging from “Sleeping Beauty” to “Eyes Wide Shut” and “Spring Breakers,” Menkes deconstructs how the visual language of cinema is connected to “employment discrimination against women and an environment of pervasive sexual harassment, abuse, and assault.”
The film premieres October 21 via Kino Lorber at the new Dctv Firehouse Cinema in New York City and the Laemmle in Los Angeles, with a national rollout to follow.
Based on Menkes’ acclaimed talk “Sex & Power: The Visual Language of Cinema,” the film made its world premiere at 2022 Sundance. Award-winning documentarian Menkes argues that shot design is gendered, with “Brainwashed” seeking to illuminate the patriarchal narrative codes that hide within supposedly “classic” set-ups and camera angles, and demonstrates how women are...
Menkes’ “Brainwashed: Sex-Camera-Power” centers on the cultural normalization of the exploitative male gaze found in cinema. Using clips from more than 175 films ranging from “Sleeping Beauty” to “Eyes Wide Shut” and “Spring Breakers,” Menkes deconstructs how the visual language of cinema is connected to “employment discrimination against women and an environment of pervasive sexual harassment, abuse, and assault.”
The film premieres October 21 via Kino Lorber at the new Dctv Firehouse Cinema in New York City and the Laemmle in Los Angeles, with a national rollout to follow.
Based on Menkes’ acclaimed talk “Sex & Power: The Visual Language of Cinema,” the film made its world premiere at 2022 Sundance. Award-winning documentarian Menkes argues that shot design is gendered, with “Brainwashed” seeking to illuminate the patriarchal narrative codes that hide within supposedly “classic” set-ups and camera angles, and demonstrates how women are...
- 9/26/2022
- by Samantha Bergeson
- Indiewire
For the tenth time in 11 years, the Locarno Film Festival is hosting 10 international film critics from various stages of development during the 10 days of the A-list Swiss festival.
Coming from places as far from the Swiss resort town as Bangalore, Melbourne, Rio de Janeiro and Jakarta, and from an even more varied matrix of backgrounds, disciplines, writing styles, and interests, participants in the anniversary edition of the Critics Academy will have the chance to interact face-to-face with a wealth of major critics, programmers, and filmmakers in attendance at Locarno.
Returning after one aborted edition in the first year of the pandemic and another for which there was no public call for applications, Locarno’s incubator for aspiring professional critics takes place once again in the midst of an extraordinarily trying moment both for the art and commerce of cinema but also, perhaps even more acutely, for writing about it.
While...
Coming from places as far from the Swiss resort town as Bangalore, Melbourne, Rio de Janeiro and Jakarta, and from an even more varied matrix of backgrounds, disciplines, writing styles, and interests, participants in the anniversary edition of the Critics Academy will have the chance to interact face-to-face with a wealth of major critics, programmers, and filmmakers in attendance at Locarno.
Returning after one aborted edition in the first year of the pandemic and another for which there was no public call for applications, Locarno’s incubator for aspiring professional critics takes place once again in the midst of an extraordinarily trying moment both for the art and commerce of cinema but also, perhaps even more acutely, for writing about it.
While...
- 8/5/2022
- by Christopher Small
- Variety Film + TV
Edinburgh International Film Festival has announced the programme for its fully in-person 75th Anniversary edition this year. The dynamic programme of cinema screenings, live performance and industry dialogues in Edinburgh in the heart of the August festival season welcomes attending UK & international filmmakers to present their work.
Full programme includes 87 new features, 12 short film programmes, and two large scale retrospectives that celebrate the 2022 Theme of the 50th Anniversary of the Women’s Film Festival in new Creative Director Kristy Matheson’s inaugural edition. 10 international feature films with over 50 female Directors or Co-Directors for the brand-new competitive section for ‘The Powell and Pressburger Award for Best Feature Film’.
Eiff 2022 Festival Theme:
In 1972, the Edinburgh International Film Festival presented the first global film event entirely dedicated to the cinematic achievements of female directors, curated by Claire Johnston, Lynda Myles, and Laura Mulvey. Honouring the spirit of this original programme provocation, Eiff’s...
Full programme includes 87 new features, 12 short film programmes, and two large scale retrospectives that celebrate the 2022 Theme of the 50th Anniversary of the Women’s Film Festival in new Creative Director Kristy Matheson’s inaugural edition. 10 international feature films with over 50 female Directors or Co-Directors for the brand-new competitive section for ‘The Powell and Pressburger Award for Best Feature Film’.
Eiff 2022 Festival Theme:
In 1972, the Edinburgh International Film Festival presented the first global film event entirely dedicated to the cinematic achievements of female directors, curated by Claire Johnston, Lynda Myles, and Laura Mulvey. Honouring the spirit of this original programme provocation, Eiff’s...
- 7/22/2022
- by Adriana Rosati
- AsianMoviePulse
The festival runs from August 12-20.
The closing night film of the UK’s Edinburgh International Film Festival (Eiff), which is running August 12-20, is to be Kogonada’s After Yang.
South Korean-American director Kogonada is expected to attend in-person to present the film, which is the first title to be announced from this year’s Eiff line-up.
The feature is Kogonada’s follow-up to his debut Columbus, and is set in a future America influenced by Asian culture, where intelligent artificial humanoids – ‘techno sapiens’ – are standard household items. One such family is left bereft by the loss of their android helper,...
The closing night film of the UK’s Edinburgh International Film Festival (Eiff), which is running August 12-20, is to be Kogonada’s After Yang.
South Korean-American director Kogonada is expected to attend in-person to present the film, which is the first title to be announced from this year’s Eiff line-up.
The feature is Kogonada’s follow-up to his debut Columbus, and is set in a future America influenced by Asian culture, where intelligent artificial humanoids – ‘techno sapiens’ – are standard household items. One such family is left bereft by the loss of their android helper,...
- 6/21/2022
- by Mona Tabbara
- ScreenDaily
Trixi (1971).“When I first saw Steve’s films, I actually very often had to leave the cinema,” Laura Mulvey once recalled. Dwoskin’s shorts and early features, shown in alternative venues around London in the late 1960s and early ’70s, tended to show a woman alone in a room, often naked, responding to the camera, sometimes seducing it: Alone (1964), Soliloquy (1964/7), Take Me (1969), Moment (1969), and Girl (1971)... At the time she saw them, Mulvey was working on what became her famous essay “Visual Pleasure and Narrative Cinema,” published in 1975. Having been repelled at first, she began to find that Dwoskin’s films “opened a completely new perspective for me on cinematic voyeurism.” The first draft included a section discussing them, particularly the half-hour Trixi (1971), an “overtly ‘voyeuristic’ film” in which the seduction is consummated. In Mulvey’s words, Dwoskin’s handheld camera facilitated his “intimate involvement as an equal participant in the erotic drama,...
- 6/16/2022
- MUBI
The documentary, which premiered at Sundance, has also scored international deals.
Kino Lorber has acquired North American distribution rights to Nina Menkes documentary Brainwashed: Sex-Camera-Power and is teaming with library streaming platform Kanopy to release the film.
Billed as an “interrogation of the male gaze in cinema,” Brainwashed will be released theatrically in the US and Canada this autumn, with an educational streaming launch exclusively on Kanopy to follow.
Cinephil is handling international sales at the Cannes Marche and has secured deals for UK/Ireland with the BFI, for the Nordics and Baltics with Non Stop Entertainment, for Poland with New Horizons,...
Kino Lorber has acquired North American distribution rights to Nina Menkes documentary Brainwashed: Sex-Camera-Power and is teaming with library streaming platform Kanopy to release the film.
Billed as an “interrogation of the male gaze in cinema,” Brainwashed will be released theatrically in the US and Canada this autumn, with an educational streaming launch exclusively on Kanopy to follow.
Cinephil is handling international sales at the Cannes Marche and has secured deals for UK/Ireland with the BFI, for the Nordics and Baltics with Non Stop Entertainment, for Poland with New Horizons,...
- 5/19/2022
- by John Hazelton
- ScreenDaily
Photo: ‘Marie Antoinette’ A gentle dive into film theory and you will face the decades-old term “The Male Gaze” coined by Laura Mulvey- a feminist film theorist who challenged the established sexism that seethed through the film industry. Mulvey employed psychoanalysis and feminism in her concepts which eventually led her to “The Male Gaze” theory. It’s a complicated web of misogyny through the objectification of women and their bodies. Decades later, we’re finally adopting the progressive ideas of Mulvey and gravitating toward the refreshing lens of “The Female Gaze,” and it’s long overdue. Now, film enthusiasts are embracing the female gaze with lectures that celebrate underrepresented female cinematographers. Long are the days of the American Society of Cinematographers excluding women. Related article: Oscar-nominated - Exclusive: 'Dune' Full Commentary, Reactions, Making Of - Timothee Chalamet, Zendaya, Oscar Isaac Related article: Oscar-nominated - 'House of Gucci'...
- 2/23/2022
- by Gina Michele Yaniz
- Hollywood Insider - Substance & Meaningful Entertainment
“Perception is not whimsical, but fatal.” — Ralph Waldo Emerson Movies turn viewers into willing participants looking to break through the screen—the “fourth wall”—and temporarily adopt the Pov of the camera and taking on its surveying gaze. Your own emotional response may vary—excitement, titillation, utter boredom—but the camera’s eye is your own, if only for the duration of the film. In her landmark essay, “Visual Pleasure and Narrative Cinema,” written in the 1970s, scholar and filmmaker Laura Mulvey introduced the concept of the “male gaze,” arguing that the camera’s eye was inherently male and could often be misogynistic in its depiction […]
The post “120 Years of the Male Gaze On Our Backs”: Nina Menkes on Brainwashed: Sex-Camera-Power first appeared on Filmmaker Magazine.
The post “120 Years of the Male Gaze On Our Backs”: Nina Menkes on Brainwashed: Sex-Camera-Power first appeared on Filmmaker Magazine.
- 2/4/2022
- by Erik Luers
- Filmmaker Magazine-Director Interviews
“Perception is not whimsical, but fatal.” — Ralph Waldo Emerson Movies turn viewers into willing participants looking to break through the screen—the “fourth wall”—and temporarily adopt the Pov of the camera and taking on its surveying gaze. Your own emotional response may vary—excitement, titillation, utter boredom—but the camera’s eye is your own, if only for the duration of the film. In her landmark essay, “Visual Pleasure and Narrative Cinema,” written in the 1970s, scholar and filmmaker Laura Mulvey introduced the concept of the “male gaze,” arguing that the camera’s eye was inherently male and could often be misogynistic in its depiction […]
The post “120 Years of the Male Gaze On Our Backs”: Nina Menkes on Brainwashed: Sex-Camera-Power first appeared on Filmmaker Magazine.
The post “120 Years of the Male Gaze On Our Backs”: Nina Menkes on Brainwashed: Sex-Camera-Power first appeared on Filmmaker Magazine.
- 2/4/2022
- by Erik Luers
- Filmmaker Magazine - Blog
Though the different eras of global feminist thought are known as “waves,” which implies successive awakenings of liberation and critique, the film world takes an inordinately long time to develop alongside it. Amidst the social upheavals of the ‘60s, where previously “permissive” sexual content was finally allowed to be seen in mainstream cinema, the industry arguably became even more sexist, lecherous, and restrictive around female subjects.
There’s also a more subtle way to see the pervasive sexism of film culture: through documentaries, and broadcast TV on film criticism and history. While a titan like Pauline Kael could flourish on public radio (leading to her influential reign at the New Yorker), from Siskel & Ebert, to Scorsese’s Journey Through American Movies and onto the video-essay era, it is a sausage fest. Faint as it may seem, it makes a difference when an authoritative-seeming, patriarchal figure is alone on that pedestal,...
There’s also a more subtle way to see the pervasive sexism of film culture: through documentaries, and broadcast TV on film criticism and history. While a titan like Pauline Kael could flourish on public radio (leading to her influential reign at the New Yorker), from Siskel & Ebert, to Scorsese’s Journey Through American Movies and onto the video-essay era, it is a sausage fest. Faint as it may seem, it makes a difference when an authoritative-seeming, patriarchal figure is alone on that pedestal,...
- 1/22/2022
- by David Katz
- The Film Stage
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSAbove: M. Night Shyamalan on the set of Old (2021). Berlinale has announced that the one and only M. Night Shyamalan will serve as the Jury President for the festival's 2022 edition. In a statement, Shyamalan said: "I have always felt like an independent filmmaker within the system of Hollywood. It is exactly those things in us that are different and unorthodox that define our voice. I have tried to maintain these things in myself and cheer others on to protect those aspects in their art and in themselves. Being asked to be a part of Berlinale is deeply meaningful to me. It represents the highest imprimatur for a filmmaker. Being able to support and celebrate the world’s very best talent in storytelling is a gift I happily accepted.”David Fincher is partnering with Netflix...
- 10/20/2021
- MUBI
If you’ve been jealous of those across the pond that get access to The British Film Institute’s streaming service BFI Player Classics, one will be delighted to hear it’s now coming to the United States. Launching on May 14, the curated collection––which will have offering distinct from its UK counterpart––will kick off with over 200 British or British co-production films picked by BFI experts.
With work by legendary directors Alfred Hitchcock, Michael Powell, Ken Russell, and Ken Loach, it also includes a number of ground-breaking British filmmakers who deserve more attention, including Horace Ové, Laura Mulvey, Ron Peck; Menelik Shabazz, Sally Potter, Gurinder Chadha (I’m British But… 1989), Waris Hussein, and John Akomfrah.
“BFI Player Classics brings together a collection of British films – the cinematic DNA of the UK – that is essential for anyone who wants to see and understand the best of British film,” said Robin Baker,...
With work by legendary directors Alfred Hitchcock, Michael Powell, Ken Russell, and Ken Loach, it also includes a number of ground-breaking British filmmakers who deserve more attention, including Horace Ové, Laura Mulvey, Ron Peck; Menelik Shabazz, Sally Potter, Gurinder Chadha (I’m British But… 1989), Waris Hussein, and John Akomfrah.
“BFI Player Classics brings together a collection of British films – the cinematic DNA of the UK – that is essential for anyone who wants to see and understand the best of British film,” said Robin Baker,...
- 4/26/2021
- by Jordan Raup
- The Film Stage
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSThe poster for Hong Sang-soo's latest, Introduction, which will compete at this year's Berlinale. The competition slate for the 71st Berlin International Film Festival features a wide range of heavy hitters, from Hong and Radu Jude to Aleksandre Koberidze and Céline Sciamma. The competing titles, as well as the rest of the lineup, can be found here.The lineup for this year's SXSW Film Festival has been announced. The roster includes the directorial debut of House of Psychotic Women author Kier-La Janisse, a documentary on musician William Basinski's The Disintegration Loops, and a restoration of Les Blank's I Went to the Dance. Recommended VIEWINGFrom February 17 to February 23, the National Gallery of Art is screening the series "The Voice and Vision of Billy Woodberry." The series includes Woodberry's Bless Their Little Hearts, a landmark work of the L.
- 2/19/2021
- MUBI
Film gender equality organisation Bev analysed every film on digital or theatrical release in 2020.
The percentage of films by and about women released theatrically or online in the UK in 2020 increased to 25% of the total number of films, up 5% on those released in 2019, according to new figures from the UK’s Birds Eye View (Bev), the campaigning gender equality organisation dedicated to showcasing the female perspective in all film spaces.
Of these, 33% were made by women of colour and 22% were by writers of colour.
Mia Bays, director-at-large of Bev suggested the increase in the number of films by women was...
The percentage of films by and about women released theatrically or online in the UK in 2020 increased to 25% of the total number of films, up 5% on those released in 2019, according to new figures from the UK’s Birds Eye View (Bev), the campaigning gender equality organisation dedicated to showcasing the female perspective in all film spaces.
Of these, 33% were made by women of colour and 22% were by writers of colour.
Mia Bays, director-at-large of Bev suggested the increase in the number of films by women was...
- 2/16/2021
- by Louise Tutt
- ScreenDaily
Olaf Möller is a film programmer and critic, as well as a Professor in the Department of Film, Television and Scenographyat Aalto University in Finland. He regularly collaborates with prestigious film magazines such as Sight & Sound, Cinema Scope, Mubi Notebook, Eye for Film and Film Comment, among others. He is considered one of the most authoritative voices of film history and criticism, along with Jonathan Rosenbaum, Laura Mulvey or David Bordwell. He has curated cycles and retrospectives for festivals such as Rotterdam, the Viennale or Locarno, and was a member of the Selection Committee of the International Short Film Festival Oberhausen. Möller is the author of numerous publications, including Fragmentos de búsqueda (2013), focusing on the cinema of Thomas Heisse, Romuald Karmakar (2013), about the German filmmaker, or Geliebt und Verdrängt: Das Kino der jungen Bundesrepublik Deutschland von 1949 bis 1963/ Loved and repressed: the cinema of the young Federal Republic of Germany from...
- 11/3/2020
- by Panos Kotzathanasis
- AsianMoviePulse
OpinionWhat we see in adult films like 'Irandam Kuthu' is only an extension of what's normalised in 'U' rated films that are marketed as 'family' films.Sowmya RajendranVeteran director Bharathiraja is upset with Santhosh P Jayakumar's upcoming adult horror comedy Irandam Kuthu. The teaser of the film has plenty of references to masturbation and explicit scenes, besides dialogues that are filled with innuendo. In a strongly worded letter, Bharathiraja termed the promo 'unbearable' and even asked for the government and the Cbfc to step in. Not to take the reprimand lying down, Santhosh shot back with a tweet that shows a still of Kamal Haasan with three women actors in swimsuits from the 1981 Bharathiraja film Tik Tik Tik. Santhosh asked if the director didn't find this unbearable in 1981. But even as social media users take sides on the issue, the debate is largely on whether Bharathiraja is a hypocrite or not.
- 10/9/2020
- by Sowmya
- The News Minute
Editor’s note: The following review contains spoilers for the ending of “Violation.”
In their Master Class during 2016 Toronto International Film Festival, “Transparent” creator Joey Soloway posits that the female gaze, a term originated by film theorist Laura Mulvey, should not strive to be the direct inverse of the male gaze. While women, trans, and non-binary filmmakers are well within their rights to subvert conventional norms around nudity, sexuality, and the framing of bodies, a truly “other gaze” (Soloway’s inclusive amendment of the term) should aim to create new imagery outside of established cinematic tropes. That brings us to Madeleine Sims-Fewer and Dusty Mancinelli’s unflinchingly grotesque “Violation,” which hammers the bluntest of female gazes into the rape-revenge thriller. Rich in sumptuous visuals that portend its nasty undercurrent,
A resolutely disturbing genre thriller, it opens with the ominous image of a pitch black wolf feasting on a rabbit carcass...
In their Master Class during 2016 Toronto International Film Festival, “Transparent” creator Joey Soloway posits that the female gaze, a term originated by film theorist Laura Mulvey, should not strive to be the direct inverse of the male gaze. While women, trans, and non-binary filmmakers are well within their rights to subvert conventional norms around nudity, sexuality, and the framing of bodies, a truly “other gaze” (Soloway’s inclusive amendment of the term) should aim to create new imagery outside of established cinematic tropes. That brings us to Madeleine Sims-Fewer and Dusty Mancinelli’s unflinchingly grotesque “Violation,” which hammers the bluntest of female gazes into the rape-revenge thriller. Rich in sumptuous visuals that portend its nasty undercurrent,
A resolutely disturbing genre thriller, it opens with the ominous image of a pitch black wolf feasting on a rabbit carcass...
- 9/16/2020
- by Jude Dry
- Indiewire
Tammes was the first woman to graduate in camera from the UK’s Nfts.
Pioneering British cinematographer Diane Tammes – the first woman to graduate in camera from the UK’s National Film and Television School (Nfts) – has died, on May 30 aged 78.
Tammes began her career as a stills photographer in Scotland, working at Edinburgh’s Royal Lyceum and Glasgow’s Scottish Opera and Citizens Theatre.
After attending the Nfts in 1971 – the school’s second year in existence – Tammes became the first woman to be accredited by the Association of Cinematograph, Television and Allied Technicians.
Her membership brought about a change...
Pioneering British cinematographer Diane Tammes – the first woman to graduate in camera from the UK’s National Film and Television School (Nfts) – has died, on May 30 aged 78.
Tammes began her career as a stills photographer in Scotland, working at Edinburgh’s Royal Lyceum and Glasgow’s Scottish Opera and Citizens Theatre.
After attending the Nfts in 1971 – the school’s second year in existence – Tammes became the first woman to be accredited by the Association of Cinematograph, Television and Allied Technicians.
Her membership brought about a change...
- 6/5/2020
- by 1101321¦Ben Dalton¦26¦
- ScreenDaily
You don’t need any prior knowledge in order to be wowed by Céline Sciamma’s “Portrait of a Lady on Fire,” a visually ravishing period drama.
Walk in blind and take in all that this piercingly intelligent treatise on art, agency and queer love in the 18th century has to offer. Go in with a touch more context, however, and this already self-reflexive work takes on an entirely new dimension.
The story of a brief but passionate affair between a portrait artist and her subject, the film sets its sight on the gaze. Laced with bittersweet romanticism, the strong prize contender is fundamentally about the act of looking, of watching somebody else with intense yearning and seeing them stare back at you.
We follow talented artist Marianne (Noémie Merlant) from Paris to Brittany, where she is commissioned to paint the pre-wedding portrait of a young noblewoman, Héloïse (Adèle Haenel...
Walk in blind and take in all that this piercingly intelligent treatise on art, agency and queer love in the 18th century has to offer. Go in with a touch more context, however, and this already self-reflexive work takes on an entirely new dimension.
The story of a brief but passionate affair between a portrait artist and her subject, the film sets its sight on the gaze. Laced with bittersweet romanticism, the strong prize contender is fundamentally about the act of looking, of watching somebody else with intense yearning and seeing them stare back at you.
We follow talented artist Marianne (Noémie Merlant) from Paris to Brittany, where she is commissioned to paint the pre-wedding portrait of a young noblewoman, Héloïse (Adèle Haenel...
- 3/26/2020
- by Ben Croll
- The Wrap
CinemaParvathy and other Wcc members were on a panel with feminist film theorist Laura Mulvey, that was held at Sacred Hearts College in Kochi.Neethu Joseph“How do you feel about the transition of the audience from [viewing you as a] ‘hated feminist’ to ‘feminichi love’?” When this question was asked by one of the audience members at the event on ‘Women in Cinema Collective (Wcc) in conversation with Professor Laura Mulvey (a feminist film theorist)’ to actor Parvathy Thiruvothu, it became the most applauded question of the evening. Parvathy, along with Wcc members like Beena Paul, Rima Kallingal, and Anjali Menon, among others, was speaking at the panel that was part of a two-day international seminar on ‘Gender, Body and Discourse’, held at Sacred Hearts College in Kochi. “It was the collective attitude of ‘never give up’; it was a matter of not giving up persistence. It was a matter of individual dignity,...
- 2/15/2020
- by Neethu
- The News Minute
[This story contains spoilers for Birds of Prey]
Birds of Prey is a comic book film that is quietly yet profoundly different, not in the story it shares but in how it is told. From director Cathy Yan, screenwriter Christina Hodson and star and producer Margot Robbie, Birds of Prey is one of the more cognizant and thorough deconstructions of the male gaze to hit recent mainstream cinema, particularly as it relates to the superhero genre.
Both films and comic books have a long history of being dominated by the male gaze, a term coined by film theorist Laura Mulvey in ...
Birds of Prey is a comic book film that is quietly yet profoundly different, not in the story it shares but in how it is told. From director Cathy Yan, screenwriter Christina Hodson and star and producer Margot Robbie, Birds of Prey is one of the more cognizant and thorough deconstructions of the male gaze to hit recent mainstream cinema, particularly as it relates to the superhero genre.
Both films and comic books have a long history of being dominated by the male gaze, a term coined by film theorist Laura Mulvey in ...
[This story contains spoilers for Birds of Prey]
Birds of Prey is a comic book film that is quietly yet profoundly different, not in the story it shares but in how it is told. From director Cathy Yan, screenwriter Christina Hodson and star and producer Margot Robbie, Birds of Prey is one of the more cognizant and thorough deconstructions of the male gaze to hit recent mainstream cinema, particularly as it relates to the superhero genre.
Both films and comic books have a long history of being dominated by the male gaze, a term coined by film theorist Laura Mulvey in ...
Birds of Prey is a comic book film that is quietly yet profoundly different, not in the story it shares but in how it is told. From director Cathy Yan, screenwriter Christina Hodson and star and producer Margot Robbie, Birds of Prey is one of the more cognizant and thorough deconstructions of the male gaze to hit recent mainstream cinema, particularly as it relates to the superhero genre.
Both films and comic books have a long history of being dominated by the male gaze, a term coined by film theorist Laura Mulvey in ...
Kayti Burt Feb 5, 2020
We talked to Birds of Prey director Cathy Yan, screenwriter Christina Hodson, and star Margot Robbie about their female-driven action flick.
When the first image of Margot Robbie as Harley Quinn in Birds of Prey was released, Vanity Fair writer Joanna Robinson tweeted the photo alongside a promotional image of Robbie as Harley in Suicide Squad, writing: "I can’t always exactly explain the different between the male and female gaze, but I do know it when I see it." The tweet went viral, obvously striking a chord with viewers who are sick of seeing girls and women objectified by the camera in the same boring ways.
As most of our commercial film history has seen predominantly men in positions of creative control, our film language has been shaped by the "male gaze," a term film theorist Laura Mulvey coined in 1975. It sinks into so much of our film language.
We talked to Birds of Prey director Cathy Yan, screenwriter Christina Hodson, and star Margot Robbie about their female-driven action flick.
When the first image of Margot Robbie as Harley Quinn in Birds of Prey was released, Vanity Fair writer Joanna Robinson tweeted the photo alongside a promotional image of Robbie as Harley in Suicide Squad, writing: "I can’t always exactly explain the different between the male and female gaze, but I do know it when I see it." The tweet went viral, obvously striking a chord with viewers who are sick of seeing girls and women objectified by the camera in the same boring ways.
As most of our commercial film history has seen predominantly men in positions of creative control, our film language has been shaped by the "male gaze," a term film theorist Laura Mulvey coined in 1975. It sinks into so much of our film language.
- 2/5/2020
- Den of Geek
Nowadays there appears to be an increasing awareness in the theatre about presenting women characters through the aesthetic of male playwrights and directors, much of it involving the movie term 'male gaze' which was coined by Laura Mulvey in the 70s to describe the disproportionately sexualized manner in which women were presented in film. From that context, it's possible to conclude that this is what playwrightactor Charles Busch has been commenting on all along.
- 1/30/2020
- by Michael Dale
- BroadwayWorld.com
In the opening shot of Sofia Coppola’s “Lost in Translation” (2003), Scarlett Johansson is lying on a bed, back to the camera, shown in partial view, wearing underpants. In Ridley Scott’s “Blade Runner 2049” (2017) a banged-up Ryan Gosling stares up at a bone-thin, enormous nude projection of a woman. More recently, Jay Roach’s “Bombshell” (2019) featured Margot Robbie lifting her dress for John Lithgow as the camera takes in her legs.
All typical images from Hollywood films, all doing their job: telling story, building character and providing context. These are images that have been used in cinema almost since its beginnings more than 100 years ago. But what if many shots framed and filmed by directors and cinematographers — men, women, nonbinary — actually do something else, too — like undercut every other progressive stride women make on the camera, and in real life?
That thesis is being put forward by independent filmmaker Nina Menkes,...
All typical images from Hollywood films, all doing their job: telling story, building character and providing context. These are images that have been used in cinema almost since its beginnings more than 100 years ago. But what if many shots framed and filmed by directors and cinematographers — men, women, nonbinary — actually do something else, too — like undercut every other progressive stride women make on the camera, and in real life?
That thesis is being put forward by independent filmmaker Nina Menkes,...
- 1/23/2020
- by Randee Dawn
- Variety Film + TV
Peter Wollen, who wrote and directed the early Tilda Swinton movie Friendship's Death and penned Signs and Meaning in the Cinema, an influential 1969 book about film theory, has died. He was 81.
Wollen died Tuesday in Haslemere, Surrey, after a long struggle with Alzheimer's, his son, Chad Wollen, announced.
Wollen also co-wrote with Mark Peploe the screenplay for Michelangelo Antonioni's The Passenger (1975), starring Jack Nicholson and Maria Schneider, and collaborated with fellow film theorist Laura Mulvey, his first wife, on several projects, including the documentary Penthesilea: Queen of the Amazons (1974) and the features Riddles of ...
Wollen died Tuesday in Haslemere, Surrey, after a long struggle with Alzheimer's, his son, Chad Wollen, announced.
Wollen also co-wrote with Mark Peploe the screenplay for Michelangelo Antonioni's The Passenger (1975), starring Jack Nicholson and Maria Schneider, and collaborated with fellow film theorist Laura Mulvey, his first wife, on several projects, including the documentary Penthesilea: Queen of the Amazons (1974) and the features Riddles of ...
- 12/20/2019
- The Hollywood Reporter - Film + TV
Peter Wollen, who wrote and directed the early Tilda Swinton movie Friendship's Death and penned Signs and Meaning in the Cinema, an influential 1969 book about film theory, has died. He was 81.
Wollen died Tuesday in Haslemere, Surrey, after a long struggle with Alzheimer's, his son, Chad Wollen, announced.
Wollen also co-wrote with Mark Peploe the screenplay for Michelangelo Antonioni's The Passenger (1975), starring Jack Nicholson and Maria Schneider, and collaborated with fellow film theorist Laura Mulvey, his first wife, on several projects, including the documentary Penthesilea: Queen of the Amazons (1974) and the features Riddles of ...
Wollen died Tuesday in Haslemere, Surrey, after a long struggle with Alzheimer's, his son, Chad Wollen, announced.
Wollen also co-wrote with Mark Peploe the screenplay for Michelangelo Antonioni's The Passenger (1975), starring Jack Nicholson and Maria Schneider, and collaborated with fellow film theorist Laura Mulvey, his first wife, on several projects, including the documentary Penthesilea: Queen of the Amazons (1974) and the features Riddles of ...
- 12/20/2019
- The Hollywood Reporter - Movie News
Peter Wollen, film theorist and filmmaker, has died at the age of 81. Wollen is best known for writing the 1969 film theory book “Signs and Meaning in the Cinema,” which became famous for approaching film studies through structuralism and semiotics. “Signs and Meaning” was one of over two dozen film theory books Wollen wrote or contributed to over nearly four decades.
In the film industry itself, Wollen got his start by sharing a screenwriting credit on Michelangelo Antonioni’s 1975 drama “The Passenger,” starring Jack Nicholson and Maria Schneider. Wollen made his directorial debut with “Penthesilea: Queen of the Amazons,” which he directed alongside his wife, legendary film scholar Laura Mulvey. The two made several films together. The only film to be solo-directed by Wollen was the 1987 science-fiction romance “Friendship’s Death,” starring Bill Paxton and Tilda Swinton. The latter played a female extraterrestrial robot who crash lands on earth and meets a British war correspondent.
In the film industry itself, Wollen got his start by sharing a screenwriting credit on Michelangelo Antonioni’s 1975 drama “The Passenger,” starring Jack Nicholson and Maria Schneider. Wollen made his directorial debut with “Penthesilea: Queen of the Amazons,” which he directed alongside his wife, legendary film scholar Laura Mulvey. The two made several films together. The only film to be solo-directed by Wollen was the 1987 science-fiction romance “Friendship’s Death,” starring Bill Paxton and Tilda Swinton. The latter played a female extraterrestrial robot who crash lands on earth and meets a British war correspondent.
- 12/19/2019
- by Zack Sharf
- Indiewire
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSAvant-garde filmmaker Peter Tscherkassky has provided a new ident for Mubi that displays his "sensory and tactile view on cinema." The ident features strips of film negative overlapping and whirring to the sounds of a passing train. Recommended VIEWINGThe official trailer for Clint Eastwood's Richard Jewell, based on the true story of a security guard falsely accused of planting a bomb at the 1996 Olympics. An investigation into the "real fake cameras" used to create Toy Story 4, which emulates a variety of camera lenses, from anamorphic to spherical. The elusive Roger Avary, co-writer of Pulp Fiction and director of The Rules of Attraction, returns from a long hiatus with what looks to be a delightful crime romp complete with Crispin Glover as a fake Frenchman-assassin.Mati Diop's Atlantics, which follows a woman...
- 10/9/2019
- MUBI
“I’ve never met anyone in my entire life like Jules,” says Rue, the tomboy drug addict played by Zendaya on “Euphoria,” HBO’s provocative teen-drama-for-adults and the network’s newest hit of the summer. And chances are, most viewers haven’t either. As the series’ endlessly compelling protagonist, Rue narrates the events of the show in a sleepy voiceover that is equal parts profoundly intimate and archly blasé. Newly sober at 16 after an overdose that nearly tore her family apart, Rue has found the one thing that can rival drugs for her affection: Jules.
Emanating a manic pixie trans girl energy unlike anything seen onscreen before, Jules floats magically through every frame in which she appears. Whether she’s biking giddily through an orchard or reciting Shakespeare in a pool without smudging her killer eye make-up, it’s hard not to fall in love with her. Played by newcomer...
Emanating a manic pixie trans girl energy unlike anything seen onscreen before, Jules floats magically through every frame in which she appears. Whether she’s biking giddily through an orchard or reciting Shakespeare in a pool without smudging her killer eye make-up, it’s hard not to fall in love with her. Played by newcomer...
- 8/5/2019
- by Jude Dry
- Indiewire
In the quietly revelatory short film “For Nonna Anna,” tenderness passes between generations as gently as sweeping stray hair behind a loved one’s ear. The short, directed by trans femme filmmaker Luis De Filippis, premiered at Tiff before receiving a Special Jury Prize at Sundance and now arrives online as a Vimeo Staff Pick Premiere. “For Nonna Anna” follows a trans girl as the drudgery of caring for her elderly Italian grandmother unearths her earliest memories of acceptance. The film stars Maya Henry in her first screen role opposite ballet dancer Jacqueline Tarne (who recently passed away). The story is close to the filmmaker’s heart.
“My grandmother was illiterate, spoke almost no English and was a devout Catholic, yet, her house was my safe space,” De Filippis told IndieWire by email. “She encouraged my early exploration of gender; beyond her walls I knew shame, within them, I knew love and acceptance.
“My grandmother was illiterate, spoke almost no English and was a devout Catholic, yet, her house was my safe space,” De Filippis told IndieWire by email. “She encouraged my early exploration of gender; beyond her walls I knew shame, within them, I knew love and acceptance.
- 6/6/2019
- by Jude Dry
- Indiewire
Close-Up is a feature that spotlights films now playing on Mubi. Bertrand Mandico's The Wild Boys (2017), which is receiving an exclusive global online premiere on Mubi, is showing from September 14 – October 14, 2018 as a Special Discovery.“I’m sick to death of this self. I want another.”—Orlando, Virginia Woolf, 1928Bertrand Mandico’s The Wild Boys depicts a metamorphosis from male to female, set against a landscape of gender fluidity. Upon a cursory glance, Mandico’s cinema seems to exist to be deconstructed. Like his short films, his first feature occupies an epicene world that collapses the binaries of biological sex and gender, extrapolating a dilemma described in Laura Mulvey’s “Visual Pleasure and Narrative Cinema,” which addresses men’s creation and spectatorship of images of women on film. In The Wild Boys, Mandico complicates the spectatorship of biological sex in that the titular boys are all played by women.
- 9/14/2018
- MUBI
Since 2012, IndieWire has lent its support to the Locarno Critics Academy, a workshop developed as part of the Summer Academy initiative at the Locarno Film Festival designed to foster aspiring film critics. This year’s participants will contribute essays on the 71st edition of the festival, currently underway in Switzerland. Here’s an overview of their backgrounds and interests.
Name: Pedro Emilio Segura Bernal
Age: 28
Twitter Handle: @PedroEmilioSB / @LAOLACine
Home: Mexico City
Cinematic Area of Expertise: I can’t say I have expertise in anything… I can confess certain predilection for “non-traditional” narratives.
Best You’ve Seen in 2018: “Le Livre d’Image” (“The Image Book”) – Jlg
Movie You’re Most Looking Forward to Seeing At Locarno: It’s a tie between Mariano Llinas’ “La Flor” and “Gangbyeon Hotel” by Hong Sang Soo
Favorite Book or Piece of Writing About Film: The poem-essay used and composed by Godard as a...
Name: Pedro Emilio Segura Bernal
Age: 28
Twitter Handle: @PedroEmilioSB / @LAOLACine
Home: Mexico City
Cinematic Area of Expertise: I can’t say I have expertise in anything… I can confess certain predilection for “non-traditional” narratives.
Best You’ve Seen in 2018: “Le Livre d’Image” (“The Image Book”) – Jlg
Movie You’re Most Looking Forward to Seeing At Locarno: It’s a tie between Mariano Llinas’ “La Flor” and “Gangbyeon Hotel” by Hong Sang Soo
Favorite Book or Piece of Writing About Film: The poem-essay used and composed by Godard as a...
- 8/4/2018
- by Eric Kohn
- Indiewire
This summer, New York is playing home to one of the biggest film events of the season: the Film Society of Lincoln Center’s packed 36-film retrospective featuring the work of 23 women cinematographers. Keying off Rachel Morrison’s first-ever Oscar nomination for a female cinematographer, the series serves the dual purposes of celebrating the incredible work of the pioneering artists who broke into the male-dominated field, as well of re-examining Laura Mulvey’s seminal essay about the male gaze by asking if there is such a thing as the “The Female Gaze?”
In the spirit of the series, IndieWire, with the help of some of our subjects’ closest collaborators and fiercest admirers, took a deeper look at 11 of the DPs featured in the series to discover what makes their work so great.
Maryse Alberti
Key Films: “The Golden Boat,” “Poison,” “Crumb,” “Happiness,” “Velvet Goldmine,” “The Wrestler,” “Creed,” “Chappaquiddick.”
When someone...
In the spirit of the series, IndieWire, with the help of some of our subjects’ closest collaborators and fiercest admirers, took a deeper look at 11 of the DPs featured in the series to discover what makes their work so great.
Maryse Alberti
Key Films: “The Golden Boat,” “Poison,” “Crumb,” “Happiness,” “Velvet Goldmine,” “The Wrestler,” “Creed,” “Chappaquiddick.”
When someone...
- 8/3/2018
- by Chris O'Falt
- Indiewire
In an interview with The Criterion Collection in preparation for the release of her masterpiece Jeanne Dielman, 23 Commerce Quay, 1080 Brussels, released in 1975, director Chantal Akerman was asked about why she hired women for nearly every job available on set. She elaborated on the history of the film business and eloquently spoke about the lack of opportunities women get with technical jobs in the film industry. She pointed out that it wasn’t rare to see a woman work in costuming or hair and make-up or even editing, but it was rare to see a woman in the director’s chair or work as a director of photography. She wanted to prove a point that women could work any job a man could on a film set, and she did. It was also in 1975 when Laura Mulvey wrote her landmark essay Visual Pleasure in Narrative Cinema on the theory of the...
- 7/27/2018
- by The Film Stage
- The Film Stage
A series of film festivals celebrating political and cinematic resistance puts women firmly back in the centre of the frame
The summer season at the movies is traditionally a time for tentpoles and blockbusters, but this year’s wonder women don’t wear bulletproof bracelets. Independent cinemas are offering a sizzling summer of radical, intersectional film as an alternative to the franchise releases. A revival of radical movies made by feminist and queer film-makers from the 60s promises to show that revolutionary cinema and the spirit of 1968 isn’t all about angry young men.
As the weather sizzles, provocative films by directors including Věra Chytilová, Agnès Varda, Laura Mulvey, Greta Schiller and Mai Zetterling will raise the temperature inside the cinema, too. Leading the charge, the queer feminist collective Club des Femmes has collaborated with the Independent Cinema Office, the BFI and several international archives to roll out a programme called Revolt,...
The summer season at the movies is traditionally a time for tentpoles and blockbusters, but this year’s wonder women don’t wear bulletproof bracelets. Independent cinemas are offering a sizzling summer of radical, intersectional film as an alternative to the franchise releases. A revival of radical movies made by feminist and queer film-makers from the 60s promises to show that revolutionary cinema and the spirit of 1968 isn’t all about angry young men.
As the weather sizzles, provocative films by directors including Věra Chytilová, Agnès Varda, Laura Mulvey, Greta Schiller and Mai Zetterling will raise the temperature inside the cinema, too. Leading the charge, the queer feminist collective Club des Femmes has collaborated with the Independent Cinema Office, the BFI and several international archives to roll out a programme called Revolt,...
- 7/13/2018
- by Pamela Hutchinson
- The Guardian - Film News
Hitchcock’s masterpiece, rereleased after 60 years, combines his flair for psychological shocks with a genius for dapper stylishness
The unbearably sad, exquisitely macabre love story that is Vertigo now reaches its 60th birthday, and this week sees its rerelease, not much liked on first appearing in 1958 but now hugely canonical and prestigious, recently unseating Citizen Kane at the top of the Sight and Sound critics’ poll, due very much to unending critical interest in “the male gaze”, pioneered by theorists such as Michel Foucault and Laura Mulvey. This is that act of seeing that, so far from being transparent and neutral, is an imposition of power, and therefore extremely applicable to this drama of obsession and voyeurism, although I never tire of pointing out that there are very few members of the hetero-patriarchy who have the confidence or fanatical connoisseurship to pick out a woman’s clothes or exactly specify her hairstyle.
The unbearably sad, exquisitely macabre love story that is Vertigo now reaches its 60th birthday, and this week sees its rerelease, not much liked on first appearing in 1958 but now hugely canonical and prestigious, recently unseating Citizen Kane at the top of the Sight and Sound critics’ poll, due very much to unending critical interest in “the male gaze”, pioneered by theorists such as Michel Foucault and Laura Mulvey. This is that act of seeing that, so far from being transparent and neutral, is an imposition of power, and therefore extremely applicable to this drama of obsession and voyeurism, although I never tire of pointing out that there are very few members of the hetero-patriarchy who have the confidence or fanatical connoisseurship to pick out a woman’s clothes or exactly specify her hairstyle.
- 7/12/2018
- by Peter Bradshaw
- The Guardian - Film News
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