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 platforms. 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, and more (note: U.S. only). Check out our rundown for this week’s selections below.
Beauty and the Beast (Bill Condon)
The near-ubiquitous familiarity with the majority of Disney animations make the financial proposition of a live-action remake a no-brainer greenlight. In aiming to appeal to those experiencing these stories for the first time, the generation prior, and the generation that brought that generation to the theater, it can also be as creatively risk-averse as one might imagine. As these cultural touchstones get dusted...
Beauty and the Beast (Bill Condon)
The near-ubiquitous familiarity with the majority of Disney animations make the financial proposition of a live-action remake a no-brainer greenlight. In aiming to appeal to those experiencing these stories for the first time, the generation prior, and the generation that brought that generation to the theater, it can also be as creatively risk-averse as one might imagine. As these cultural touchstones get dusted...
- 6/9/2017
- by The Film Stage
- The Film Stage
L’ombre des femmes
Director: Philippe Garrel // Writers: Jean-Claude Carriere, Caroline Deruas-Garrel, Arlette Langman, Philippe Garrel
The 66 year old filmmaker makes his 25th feature this year, and the past decade has been one of his most active yet, perhaps due to the rising international of his son, actor Louis Garrel, who has starred in several of his father’s features. 2013’s Jealousy took a while to come to the Us, but he’s a name that’s been able to garner international distribution successfully. With The Shadow Women (L’ombre des femmes), this will be the first feature that won’t include his son in the cast since 2001’s Wild Innocence, and one should note that Jean-Claude Carriere, favored screenwriter of Luis Bunuel (including a filmography that includes many other auteurs), is part of the mix. The story revolves around Pierre and Manon, a couple of poverty-stricken documentary filmmakers (see...
Director: Philippe Garrel // Writers: Jean-Claude Carriere, Caroline Deruas-Garrel, Arlette Langman, Philippe Garrel
The 66 year old filmmaker makes his 25th feature this year, and the past decade has been one of his most active yet, perhaps due to the rising international of his son, actor Louis Garrel, who has starred in several of his father’s features. 2013’s Jealousy took a while to come to the Us, but he’s a name that’s been able to garner international distribution successfully. With The Shadow Women (L’ombre des femmes), this will be the first feature that won’t include his son in the cast since 2001’s Wild Innocence, and one should note that Jean-Claude Carriere, favored screenwriter of Luis Bunuel (including a filmography that includes many other auteurs), is part of the mix. The story revolves around Pierre and Manon, a couple of poverty-stricken documentary filmmakers (see...
- 1/5/2015
- by Nicholas Bell
- IONCINEMA.com
The first entry in a new and on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin.
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When asked about the central dance scene in Regular Lovers (Les amants réguliers, 2005), director Philippe Garrel testified that, as he and his closest co-workers get older, they more naturally collaborate – in order to get things done more efficiently, creatively and pleasantly. So did Garrel plot every camera move, choreograph every gesture, set the entire mise en scène of this dance, or any of the similar scenes in his films of the 21st century? It’s unlikely. This is not the awesome, choreographic, one-man mastery of a Max Ophüls, but a collectively shaped vibration or wave: actors, cinematographer, off-screen advisers, director, all mucking in together to capture a particular swirl of sensations and associations clustered around the motif of dance.
The songs, we imagine, are chosen (or at least vetted) by Garrel:...
***
When asked about the central dance scene in Regular Lovers (Les amants réguliers, 2005), director Philippe Garrel testified that, as he and his closest co-workers get older, they more naturally collaborate – in order to get things done more efficiently, creatively and pleasantly. So did Garrel plot every camera move, choreograph every gesture, set the entire mise en scène of this dance, or any of the similar scenes in his films of the 21st century? It’s unlikely. This is not the awesome, choreographic, one-man mastery of a Max Ophüls, but a collectively shaped vibration or wave: actors, cinematographer, off-screen advisers, director, all mucking in together to capture a particular swirl of sensations and associations clustered around the motif of dance.
The songs, we imagine, are chosen (or at least vetted) by Garrel:...
- 1/21/2014
- by Cristina Álvarez López & Adrian Martin
- MUBI
It's been two years on the dot since Maurice Garrel and his grandson Louis were last paired on screen in the criminally misunderstood Un été brûlant, an elaborate treatise on authenticity and imitation, as well as on experience and its reluctance to be imparted. In the film's final scene, Philippe Garrel bestows a generous gift on the medium as such when Maurice's ghost visits the dying youth in a hospital room to tell stories about his involvement in the Resistance and miraculous survival on the battlefield. The actor died shortly before the film was completed. Basking in the bright sunshine, the old man, all pigment spots and with an incessant tick, is playing the part of a dead man, all the while professing his love of life.
La jalousie (Jealousy) finds Louis Garrel back in the hospital where he lies motionless, oxygen mask over his face, recovering from a failed suicide attempt.
La jalousie (Jealousy) finds Louis Garrel back in the hospital where he lies motionless, oxygen mask over his face, recovering from a failed suicide attempt.
- 10/3/2013
- by Boris Nelepo
- MUBI
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