Le chinoise.Most serious writing about Jean-Luc Godard tends to be both high-flown and forbidding, rather like the films it’s discussing. Translations from French to English or vice versa can make things even dicier. But according to the literary scholar Fredric Jameson, who contributes an enthusiastic preface and afterword, Reading with Jean-Luc Godard—a compendium of 109 three-page essays by 50 writers from a dozen countries, announced as the first in a series—launches “a new form” and “a new genre.”The brevity of each entry tends to confirm Jameson’s claim. The book can be described as an audience-friendly volume designed to occupy the same space between academia and journalism staked out by Notebook while proposing routes into Godard’s work provided by his eclectic reading—a batch of writers ranged alphabetically and intellectually from Louis Aragon, Robert Ardrey, Hannah Arendt, and Honoré de Balzac to François Truffaut, Paul Valéry,...
- 1/30/2024
- MUBI
If you’re looking to take a summer film analysis course for free, David Bordwell and Kristin Thompson have graciously offered that opportunity. The invaluable film theorists, who previously hosted a selection of their digital books on PayPal, have now made them available at no cost in protest of Peter Thiel’s campaign contributions to J. D. Vance and other Maga cretins. “[We]e see no reason to add to PayPal’s revenues, not even the few cents it receives from a purchase here,” notes Bordwell on his site.
Freely available books include On the History of Film Style, in which Bordwell “scrutinizes the theories of style launched by André Bazin, Noël Burch, and other film historians” and looks at a wide-ranging span of cinema; Planet Hong Kong, an essential text featuring analysis on works from Wong Kar-wai, King Hu, Stephen Chow, Johnnie To; and many more. There are also books...
Freely available books include On the History of Film Style, in which Bordwell “scrutinizes the theories of style launched by André Bazin, Noël Burch, and other film historians” and looks at a wide-ranging span of cinema; Planet Hong Kong, an essential text featuring analysis on works from Wong Kar-wai, King Hu, Stephen Chow, Johnnie To; and many more. There are also books...
- 5/18/2022
- by Jordan Raup
- The Film Stage
Close-Up is a feature that spotlights films now playing on Mubi. Kiyoshi Kurosawa's Wife of a Spy is exclusively showing on Mubi in many countries.Late in Kiyoshi Kurosawa’s Wife of a Spy, a gripping espionage thriller set in Kobe on the eve of World War II, the film’s titular heroine Satoko Fukuhara (Yu Aoi) and her well-to-do merchant husband Yusaku (Issey Takahashi)—whose clandestine activities have aroused the suspicion of the Kempeitai, Japan’s feared military police—go on an outing to a local cinema, as if to evade their surveillance and to keep up a veneer of normalcy. There, at the downtown movie house, the couple catches a screening of Sadao Yamanaka’s historical drama, Kochiyama Soshun (1936).This minor, seemingly inconsequential detail in Kurosawa’s latest conceals a hidden subtext that hints at the ominous shadow of a grinding military campaign Japan was engaged in at the time in China.
- 12/15/2021
- MUBI
Whatever it is I am saying, I alwaysneed a leaf or a flower, if not anentire field.—Mary OliverFull Bloom is a series, written by Patrick Holzapfel and illustrated by Ivana Miloš, that reconsiders plants in cinema. Directors have given certain flowers, trees or herbs special attention for many different reasons. It’s time to give them the credit they deserve and highlight their contributions to cinema, in full bloom.Above: Ivana Miloš, What Did the Lady... (2021), monotype collage and gouache on paper, 33 x 24 cm.Caught up in our daily lives, we tend to forget about the existence of trees. Especially those growing close to us. I remember taking a large chestnut tree standing in front of my parents' apartment in a small city in Germany for granted. Sometimes I would marvel at the many blackbirds gathering in its crown but mostly I was just too busy with whatever was...
- 3/8/2021
- MUBI
Stereoscopic 3D Video students at Bard CollegeMy favorite class to teach is a seminar on how to make 3D movies. When I lead a course in this subject, I try to encourage students to explore the outer limits of the form. We begin with a description of what 3D movies are, and what they could be.To start, I explain that a 3D movie is nothing more (and nothing less) than two movies that a viewer happens to watch at the same time. A 3D movie's most fundamental property—the thing that makes it different from a regular 2D movie—it that it delivers separate streams of images for a viewer's left and right eyes. Most of the time, the "left eye movie" and the "right eye movie" are very similar to one another. 3D moviemakers usually manipulate the two-eye delivery system to create harmonious stereoscopic illusions, which give the...
- 5/15/2015
- by Ben Coonley
- MUBI
For our roundup of current goings on, we begin in New York, where you can see Ginger Rogers, Katharine Hepburn, Eve Arden and Lucille Ball in Gregory La Cava’s Stage Door (1937), surveys of the careers of John Carpenter, Lynn Hershman Leeson and John Boorman, a car company promo by Nagisa Oshima, Jim Jarmusch riffing on Man Ray and documentaries by Wang Bing and Lav Diaz at MoMA. Plus: Billy Wilder in Berkeley, Lewis Klahr in San Francisco, James Benning in Hamburg, Noël Burch in Brussels and more. » - David Hudson...
- 2/16/2015
- Fandor: Keyframe
For our roundup of current goings on, we begin in New York, where you can see Ginger Rogers, Katharine Hepburn, Eve Arden and Lucille Ball in Gregory La Cava’s Stage Door (1937), surveys of the careers of John Carpenter, Lynn Hershman Leeson and John Boorman, a car company promo by Nagisa Oshima, Jim Jarmusch riffing on Man Ray and documentaries by Wang Bing and Lav Diaz at MoMA. Plus: Billy Wilder in Berkeley, Lewis Klahr in San Francisco, James Benning in Hamburg, Noël Burch in Brussels and more. » - David Hudson...
- 2/16/2015
- Keyframe
The 52nd annual Ann Arbor Film Festival will be a jam-packed experimental feature and short film screening event running for six days and nights, this time on March 25-30.
Opening Night will feature a reception and an after-party, and stuffed between those will be a block of nine short films, including new ones by Bryan Boyce, Michael Robinson, Jennifer Reeder and Martha Colburn, as well as a never-before-released work by the legendary Bruce Baillie called Little Girl in which Baillie captured scenes of natural beauty.
Special Events scattered throughout the festival include a retrospective of indie filmmaker Penelope Spheeris that will feature her rock ‘n’ roll-based work, including the original The Decline of Western Civilization, plus The Decline of Western Civilization Part III, her influential punk film Suburbia (screening twice) and a collection of short films.
There will also be several films and presentations by filmmaking scholar Thom Andersen, such...
Opening Night will feature a reception and an after-party, and stuffed between those will be a block of nine short films, including new ones by Bryan Boyce, Michael Robinson, Jennifer Reeder and Martha Colburn, as well as a never-before-released work by the legendary Bruce Baillie called Little Girl in which Baillie captured scenes of natural beauty.
Special Events scattered throughout the festival include a retrospective of indie filmmaker Penelope Spheeris that will feature her rock ‘n’ roll-based work, including the original The Decline of Western Civilization, plus The Decline of Western Civilization Part III, her influential punk film Suburbia (screening twice) and a collection of short films.
There will also be several films and presentations by filmmaking scholar Thom Andersen, such...
- 3/18/2014
- by Mike Everleth
- Underground Film Journal
Mubi is proud to present the 2nd Dialogue of Culture International Film Festival (Dciff), hosted globally online by Mubi. This free film festival will run online from November 1 – 14, 2013, and be available exclusively on Mubi.
The Dciff is the world's first film festival dedicated to the worldwide phenomenon of people in search of their identity in the era of mass migration and globalization. Its goal is to jumpstart a dialogue between cultures through the universal language of cinema.
The festival program includes films from across the globe, giving voice to multiple perspectives on issues of culture and identity. To create a global dialogue and promote better understanding between cultures, the participating filmmakers, producers, and rights holders have agreed to show their films online for free. The Dciff and Mubi are proud to bring these vital and necessary films to a global audience.
The 2013 Program:
After the Battle (Yousry Nasrallah, Egypt/France) Alì Blue Eyes (Claudio Giovannesi,...
The Dciff is the world's first film festival dedicated to the worldwide phenomenon of people in search of their identity in the era of mass migration and globalization. Its goal is to jumpstart a dialogue between cultures through the universal language of cinema.
The festival program includes films from across the globe, giving voice to multiple perspectives on issues of culture and identity. To create a global dialogue and promote better understanding between cultures, the participating filmmakers, producers, and rights holders have agreed to show their films online for free. The Dciff and Mubi are proud to bring these vital and necessary films to a global audience.
The 2013 Program:
After the Battle (Yousry Nasrallah, Egypt/France) Alì Blue Eyes (Claudio Giovannesi,...
- 11/1/2013
- by Notebook
- MUBI
Dear Danny,
So here we are in Toronto, with a week and a half of cinema ahead of us. I make no secret of how eagerly I wait for this time of the year, which to a cinephile with my usual limited access to international releases plays like a veritable banquet. Even before the festival's first screening, however, the fact that this year the two of us are writing for the same outlet had me worrying over how we’d go about covering it. Who gets what? Do we do capsule reviews? Can we both discuss the same film? I liked your one-word solution: “Correspondence.” A report of what we’d seen, sure, but also a dialogue, a catalog of contrasts and overlaps, a record of experiences.
On to the first day, then, and on to the strange, remarkable Like Someone in Love. As that fantastic opening sequence unfurled—with its multiple levels of focus,...
So here we are in Toronto, with a week and a half of cinema ahead of us. I make no secret of how eagerly I wait for this time of the year, which to a cinephile with my usual limited access to international releases plays like a veritable banquet. Even before the festival's first screening, however, the fact that this year the two of us are writing for the same outlet had me worrying over how we’d go about covering it. Who gets what? Do we do capsule reviews? Can we both discuss the same film? I liked your one-word solution: “Correspondence.” A report of what we’d seen, sure, but also a dialogue, a catalog of contrasts and overlaps, a record of experiences.
On to the first day, then, and on to the strange, remarkable Like Someone in Love. As that fantastic opening sequence unfurled—with its multiple levels of focus,...
- 9/8/2012
- MUBI
Introduction
In Laissez-passer [Safe Conduct], the film that the French director Bertrand Tavernier made in 2002, we see the French film industry of the Occupation years as a ruined and almost shut-down institution that is highly dependent on the factor of chance. In his story, Tavernier exculpates one of the key figures of the occupation cinema, Henri-Georges Clouzot, from the accusation of collaborating with the Nazis. He pictures Clouzot as a man whose Jewish wife has been held hostage by the Nazis and, and against all odds, he finishes Le corbeau about the vicious and nasty people of a small town in France, where someone is sending poison pen letters to its "honourable" citizens. Le corbeau became a very popular box-office hit during the Occupation, and, at the same time, the underground press attacked it for showing France as a land of the degenerate and perverted people, a view that, according to accusers,...
In Laissez-passer [Safe Conduct], the film that the French director Bertrand Tavernier made in 2002, we see the French film industry of the Occupation years as a ruined and almost shut-down institution that is highly dependent on the factor of chance. In his story, Tavernier exculpates one of the key figures of the occupation cinema, Henri-Georges Clouzot, from the accusation of collaborating with the Nazis. He pictures Clouzot as a man whose Jewish wife has been held hostage by the Nazis and, and against all odds, he finishes Le corbeau about the vicious and nasty people of a small town in France, where someone is sending poison pen letters to its "honourable" citizens. Le corbeau became a very popular box-office hit during the Occupation, and, at the same time, the underground press attacked it for showing France as a land of the degenerate and perverted people, a view that, according to accusers,...
- 7/16/2012
- MUBI
"With regard to longevity and productivity, not to mention talent, the only peers of the great Spanish director Luis Buñuel (1900–83) are his contemporaries Fritz Lang and Alfred Hitchcock," writes J Hoberman, opening a review of Román Gubern and Paul Hammond's Luis Buñuel: The Red Years 1929-1939 for the Nation. Read of the day, obviously.
More reading. Carlos Saura on the five films that have most influenced his own work (via Criterion Cast).
Ed Howard on four shorts by Maurice Pialat.
Pat Jordan for the New York Times Magazine on "How Samuel L Jackson Became His Own Genre."
For the Wall Street Journal, John Jurgensen talks with Sissy Spacek about her forthcoming memoir, My Extraordinary Ordinary Life (via Movie City News).
In Reverse Shot, David Ehrlich argues that Spielberg's Indiana Jones and the Kingdom of the Crystal Skull (2008) is "a vital (if imperfect) chapter of this beloved saga, as...
More reading. Carlos Saura on the five films that have most influenced his own work (via Criterion Cast).
Ed Howard on four shorts by Maurice Pialat.
Pat Jordan for the New York Times Magazine on "How Samuel L Jackson Became His Own Genre."
For the Wall Street Journal, John Jurgensen talks with Sissy Spacek about her forthcoming memoir, My Extraordinary Ordinary Life (via Movie City News).
In Reverse Shot, David Ehrlich argues that Spielberg's Indiana Jones and the Kingdom of the Crystal Skull (2008) is "a vital (if imperfect) chapter of this beloved saga, as...
- 4/27/2012
- MUBI
Peter Jackson's The Hobbit: An Unexpected Journey, slated to open in mid-December, will be the first major feature to be screened at 48 frames per second. Both Mike Bracken (Movies.com) and Carolyn Giardina (Hollywood Reporter) wonder just how many theaters will be able to handle the High Frame Rate Jackson and James Cameron have been promoting.
In other news. Senses of Cinema is back online with a new look.
Books. Ada Calhoun finds that Frank Langella's new memoir, Dropped Names: Famous Men and Women as I Knew Them, "paints Hollywood and Broadway as teeming with vulgar, neurotic and irresistible company, and Langella as relentlessly affable in the face of nonstop groping by famous people in far-flung locations. He ambles into history and falls into notable beds like some kind of sexy Forrest Gump or beefcake Zelig."
Reviewing Claude Lanzmann's memoir The Patagonian Hare for the New Republic,...
In other news. Senses of Cinema is back online with a new look.
Books. Ada Calhoun finds that Frank Langella's new memoir, Dropped Names: Famous Men and Women as I Knew Them, "paints Hollywood and Broadway as teeming with vulgar, neurotic and irresistible company, and Langella as relentlessly affable in the face of nonstop groping by famous people in far-flung locations. He ambles into history and falls into notable beds like some kind of sexy Forrest Gump or beefcake Zelig."
Reviewing Claude Lanzmann's memoir The Patagonian Hare for the New Republic,...
- 4/24/2012
- MUBI
The photographer's new film, about global maritime trade, has been hailed by Occupy activists. Its maker has spent a life challenging new forms of capitalism
Water has always played a large part in the photographer Allan Sekula's life. As a student in San Diego at the end of the 1960s, he used to wander downtown and gaze up at the flophouse hotels through whose windows he could see money being exchanged between prostitutes and sailors. "It was Edward Hopper on military steroids," he recalls. "That was the time of Vietnam, and there were even mutinies on some ships – especially among African-American sailors who were protesting against racism in the navy. Young guys my age from the west coast were being dehumanised and turned into a few good men.
"They'd come to the fence of the Marine Corps Recruiting Depot and say: 'If I can get over this fence will...
Water has always played a large part in the photographer Allan Sekula's life. As a student in San Diego at the end of the 1960s, he used to wander downtown and gaze up at the flophouse hotels through whose windows he could see money being exchanged between prostitutes and sailors. "It was Edward Hopper on military steroids," he recalls. "That was the time of Vietnam, and there were even mutinies on some ships – especially among African-American sailors who were protesting against racism in the navy. Young guys my age from the west coast were being dehumanised and turned into a few good men.
"They'd come to the fence of the Marine Corps Recruiting Depot and say: 'If I can get over this fence will...
- 4/23/2012
- by Sukhdev Sandhu
- The Guardian - Film News
Konstantin Nikolaevič Leont'ev
"Radical Emma Goldman famously demanded 'fun' as a precondition of revolution (the nerve!), and Bl associate editor Andrew Grossman agrees," writes editor Gary Morris, introducing the new issue of Bright Lights Film Journal. "Leading off the Articles section, he collates the 'polka tremblante' (aka Bohemian polka) with strolls through Byzantine ascetic philosopher Leontev, Nosferatu, and Carl Sandburg in a magical riff. Equally dazzling is Dave Saunders's paean to the Connectitrons via Hugo, The Big Clock, and Jeanne La Pucelle (Parts 1 and 2)."
Also in Issue 75: "Every trip must end, and our 'empty guest room' is unusually full this time. Jack Stevenson, who knows all things underground, offers thoughtful tributes to two talents associated with, among other things, the Kuchars: Marion Eaton, star of Thundercrack!, and Bob Cowan, who appeared in various Kuchar efforts. These are the kinds of rare histories that would not be written but for Jack,...
"Radical Emma Goldman famously demanded 'fun' as a precondition of revolution (the nerve!), and Bl associate editor Andrew Grossman agrees," writes editor Gary Morris, introducing the new issue of Bright Lights Film Journal. "Leading off the Articles section, he collates the 'polka tremblante' (aka Bohemian polka) with strolls through Byzantine ascetic philosopher Leontev, Nosferatu, and Carl Sandburg in a magical riff. Equally dazzling is Dave Saunders's paean to the Connectitrons via Hugo, The Big Clock, and Jeanne La Pucelle (Parts 1 and 2)."
Also in Issue 75: "Every trip must end, and our 'empty guest room' is unusually full this time. Jack Stevenson, who knows all things underground, offers thoughtful tributes to two talents associated with, among other things, the Kuchars: Marion Eaton, star of Thundercrack!, and Bob Cowan, who appeared in various Kuchar efforts. These are the kinds of rare histories that would not be written but for Jack,...
- 2/15/2012
- MUBI
And here we are in October, my favorite month:
Some of you who have clicked on Phantom of Pulp links I’ve posted in the past may not realize that the ol’ Phantom is Australian filmmaker Mark Savage, who has posted up some great images from his upcoming horror flick fertISLE. How can you not love that title!Did you know that Roger Ebert used to write poetry for early sci-fi fanzines? Nerd. Bhob Stewart has the evidence.This weekend is the Wndx Film Festival, so the Winnipeg Free Press ran a nice rundown of what was screening.Meanwhile, Kenton Smith of Uptown Magazine interviewed filmmakers Darryl Nepinak and Deco Dawson on the occasion of Wndx.Also in Canada, Avenue Calgary interviewed filmmaker Mike Peterson about his new comedy Lloyd the Conqueror.SnuffBox Films rambles on a bit about Intensified Continuity editing and all its implications.I’ve already written...
Some of you who have clicked on Phantom of Pulp links I’ve posted in the past may not realize that the ol’ Phantom is Australian filmmaker Mark Savage, who has posted up some great images from his upcoming horror flick fertISLE. How can you not love that title!Did you know that Roger Ebert used to write poetry for early sci-fi fanzines? Nerd. Bhob Stewart has the evidence.This weekend is the Wndx Film Festival, so the Winnipeg Free Press ran a nice rundown of what was screening.Meanwhile, Kenton Smith of Uptown Magazine interviewed filmmakers Darryl Nepinak and Deco Dawson on the occasion of Wndx.Also in Canada, Avenue Calgary interviewed filmmaker Mike Peterson about his new comedy Lloyd the Conqueror.SnuffBox Films rambles on a bit about Intensified Continuity editing and all its implications.I’ve already written...
- 10/2/2011
- by Mike Everleth
- Underground Film Journal
A highlight of the "Illuminating the Shadows" conference: the first public American screening of Allan Sekula & Noël Burch's The Forgotten Space (an official "premiere," co-presented by the Whitney, is slated for May 15th at Cooper Union). Considering how overloaded with invective and metaphor-chains ("a velvet glove for the iron fist" is typical) Sekula's pamphlet-ready narration is, you'd expect a certain degree of pat neatness from the film. But The Forgotten Space—a documentary that is ostensibly about intermodal containers, and how their rise into prominence since the 1950s as the primary way of transporting goods by sea and rail has affected economics, landscapes, cities and labor—refuses to be compartmentalized; its parts, unlike its subjects, are not self-contained or ready-to-assemble, but are instead incomplete sections that play off of one another. These pieces become themes to be re-introduced and re-arranged. Furthermore, for a film about transcontinental drifts—not just of container-laden ships,...
- 4/30/2011
- MUBI
Illuminating the Shadows: Film Criticism in Focus is a free three-day event kicking off this evening at the Block Cinema at Northwestern University when Chicago Tribune film critic Michael Phillips introduces a screening of Errol Morris's Tabloid (2010). The panels start rolling out tomorrow when Nick Davis moderates a discussion of the history of film criticism with Farran Smith Nehme (whom many will know as the Self-Styled Siren), Jonathan Rosenbaum, Fred Camper, Dave Kehr and Gabe Klinger.
Dave Kehr will then introduce a screening of Raoul Walsh's Sailor's Luck (1933). When he presented the film at the Museum of the Moving Image last month, Moving Image Source ran the essay on Walsh that appears in Kehr's new book, When Movies Mattered: Reviews from a Transformative Decade: "I can think of no other case of a filmmaker whose work was so widely, and rightly, perceived as important, but yet received so little intelligent attention.
Dave Kehr will then introduce a screening of Raoul Walsh's Sailor's Luck (1933). When he presented the film at the Museum of the Moving Image last month, Moving Image Source ran the essay on Walsh that appears in Kehr's new book, When Movies Mattered: Reviews from a Transformative Decade: "I can think of no other case of a filmmaker whose work was so widely, and rightly, perceived as important, but yet received so little intelligent attention.
- 4/21/2011
- MUBI
Above: Zoulikha Bouabdellah's Al Attlal (Ruines), left, and Pierre Léon's À la barbe d'Ivan, right.
Nicole Brenez has curated two programs of new work from the French avant-garde for this year’s Rendezvous with French Cinema 2011 in New York; below she has offered her program notes in French. Program one (on Saturday) concentrates on filmmakers reappropriating images; program two (Sunday) is the new feature by Ange Leccia, Nuit bleue. Below, I’ve translated Brenez’s extended appreciation of Leccia and Nuit bleue; as usual, I’ve tried to stay faithful to the sound and rhythm of the original where possible. Beneath the translated extract you'll find the full article by Ms. Brenez in its original French. —David Phelps
***
…Although Ange Leccia has also practiced re-appropriating images (especially Jean Luc-Godard’s) in his installations and his films, Nuit bleuetakes up a different aesthetic vein, one rich with a long tradition of the French avant-garde.
Nicole Brenez has curated two programs of new work from the French avant-garde for this year’s Rendezvous with French Cinema 2011 in New York; below she has offered her program notes in French. Program one (on Saturday) concentrates on filmmakers reappropriating images; program two (Sunday) is the new feature by Ange Leccia, Nuit bleue. Below, I’ve translated Brenez’s extended appreciation of Leccia and Nuit bleue; as usual, I’ve tried to stay faithful to the sound and rhythm of the original where possible. Beneath the translated extract you'll find the full article by Ms. Brenez in its original French. —David Phelps
***
…Although Ange Leccia has also practiced re-appropriating images (especially Jean Luc-Godard’s) in his installations and his films, Nuit bleuetakes up a different aesthetic vein, one rich with a long tradition of the French avant-garde.
- 3/19/2011
- MUBI
By Dmitry Martov and Larysa Smirnova
The new film by Serge Bozon, L'Imprésario, is scheduled to have its world premiere this evening at the Centre Pompidou in Paris. The location is quite appropriate since the film was shot there — within the walls of Beaubourg, just a few months ago, in November of 2010. Before leaping to analogies with a handful of other recent and not-so-recent movies taking place in museums and even sponsored by them (Aleksandr Sokurov's Russian Ark, Olivier Assayas's L'heure d'été and Tsai Ming-liang's Visage), there are a few aspects of L'Imprésario to consider. Rather than a lavish extravaganza, the film is short (45 minutes), shot on video with next to no budget, in about a week, in a "primitive mode of representation" (to borrow Noël Burch's phrase describing the films made before — roughly — 1908, which were characterized by the "autarchy of the tableau…, horizontal and frontal camera placement,...
The new film by Serge Bozon, L'Imprésario, is scheduled to have its world premiere this evening at the Centre Pompidou in Paris. The location is quite appropriate since the film was shot there — within the walls of Beaubourg, just a few months ago, in November of 2010. Before leaping to analogies with a handful of other recent and not-so-recent movies taking place in museums and even sponsored by them (Aleksandr Sokurov's Russian Ark, Olivier Assayas's L'heure d'été and Tsai Ming-liang's Visage), there are a few aspects of L'Imprésario to consider. Rather than a lavish extravaganza, the film is short (45 minutes), shot on video with next to no budget, in about a week, in a "primitive mode of representation" (to borrow Noël Burch's phrase describing the films made before — roughly — 1908, which were characterized by the "autarchy of the tableau…, horizontal and frontal camera placement,...
- 2/4/2011
- MUBI
Sofia Coppola's Somewhere (roundup) has won the Golden Lion at this year's Venice Film Festival. Bloomberg reports that jury president Quentin Tarantino assures us that this was a unanimous decision: "This film enchanted us from its first screening. Yet from that first enchanting screening, it grew and grew and grew in both our hearts, in our analysis, in our minds, and in our affections."
The Silver Lion goes to Álex de la Iglesia's A Sad Trumpet Ballad, which also wins Best Screenplay (written by Álex de la Iglesia).
A Special Prize is awarded to Jerzy Skolimowski's Essential Killing (roundup), which also picks up the Coppa Volpi for Best Actor: Vincent Gallo.
Ariane Labed has won the Best Actress award for her performance in Athina Rachel Tsangari's Attenberg.
The International Federation of Film Critics (Fipresci) presents its prize this year to Aleksei Fedorchenko's Silent Souls.
The...
The Silver Lion goes to Álex de la Iglesia's A Sad Trumpet Ballad, which also wins Best Screenplay (written by Álex de la Iglesia).
A Special Prize is awarded to Jerzy Skolimowski's Essential Killing (roundup), which also picks up the Coppa Volpi for Best Actor: Vincent Gallo.
Ariane Labed has won the Best Actress award for her performance in Athina Rachel Tsangari's Attenberg.
The International Federation of Film Critics (Fipresci) presents its prize this year to Aleksei Fedorchenko's Silent Souls.
The...
- 9/13/2010
- MUBI
Sofia Coppola's "Somewhere" took home the Golden Lion prize at the 67th Venice International Film Festival Saturday. Alex de la Iglesia won the Silver Lion prize for Best Director for his Spanish civil war drama "Balada triste de trompeta" (A Sad Trumpet Ballad). Mila Kunis received the Mastroianni Prize for best young actress for her performance opposite Natalie Portman in Darren Aronofsky's "Black Swan."
The jury, chaired by Quentin Tarantino and comprised of Guillermo Arriaga, Ingeborga Dapkunaite, Arnaud Desplechin, Danny Elfman, Luca Guadagnino, Gabriele Salvatores, compiled the best of the fest after having viewed all twenty-four films in competition.
Here's the complete list of the winners at the 67th annual Venice International Film Festival:
Golden Lion for Best Film:
Somewhere by Sofia Coppola (USA)
Silver Lion for Best Director to:
Álex de la Iglesia for the film Balada Triste De Trompeta
(Spain, France)
Special Jury Prize to:
Essential KILLINGby Jerzy Skolimowski
(Poland,...
The jury, chaired by Quentin Tarantino and comprised of Guillermo Arriaga, Ingeborga Dapkunaite, Arnaud Desplechin, Danny Elfman, Luca Guadagnino, Gabriele Salvatores, compiled the best of the fest after having viewed all twenty-four films in competition.
Here's the complete list of the winners at the 67th annual Venice International Film Festival:
Golden Lion for Best Film:
Somewhere by Sofia Coppola (USA)
Silver Lion for Best Director to:
Álex de la Iglesia for the film Balada Triste De Trompeta
(Spain, France)
Special Jury Prize to:
Essential KILLINGby Jerzy Skolimowski
(Poland,...
- 9/13/2010
- by Manny
- Manny the Movie Guy
On September 11, the 67th Venice Film Festival came to a close. The awards ceremony began at 7:00 p.m. in the Palazzo del Cinema. The Golden Lion for best film went to Somewhere by Sofia Coppola. Silver Lion for best director to Alex de la Iglesia for Balada triste de trompeta. Special Jury Prize to Essential Killing by Jerzy Skolimowsi. Coppa Volpi for Best Actor to Vincent Gallo in the film Essential Killing by Jerzy Skolimowsi. Coppa Volpi for Best Actress to Ariane Labed in the film Attenberg by Athina Rachel Tsangari (Greece).
The Venezia 67 Jury, chaired by Quentin Tarantino and comprised of Guillermo Arriaga, Ingeborga Dapkunaite, Arnaud Desplechin, Danny Elfman, Luca Guadagnino, Gabriele Salvatores, having viewed all twenty-four films in competition, has decided as follows:
Golden Lion for Best Film:
Somewhere by Sofia Coppola (USA)
Silver Lion for Best Director to:
Álex de la Iglesia for the film Balada Triste De Trompeta (Spain,...
The Venezia 67 Jury, chaired by Quentin Tarantino and comprised of Guillermo Arriaga, Ingeborga Dapkunaite, Arnaud Desplechin, Danny Elfman, Luca Guadagnino, Gabriele Salvatores, having viewed all twenty-four films in competition, has decided as follows:
Golden Lion for Best Film:
Somewhere by Sofia Coppola (USA)
Silver Lion for Best Director to:
Álex de la Iglesia for the film Balada Triste De Trompeta (Spain,...
- 9/11/2010
- by Michelle McCue
- WeAreMovieGeeks.com
Festivals tend to have more than one jury so let's deal with the sidebar prizes first, before we get to the main competition jury, headed by Quentin Tarantino. But a little preview: Natalie Portman went home empty-handed for Black Swank but Mila Kunis didn't. Interesssssssting.
Various Sidebars
Europa Cinema Award: This honor comes from the Venice Days sidebar and the winning film was Bertrand Blier's Le Bruit des Glacons (The Clink of the Ice), a dark French comedy about an alcoholic dealing with cancer.
The Queer Lion: This prize focuses on the way films portray gay characters and themes. The winner was En el futuro (In the Future), a 62 minute black and white film directed by Mauro Andrizzi. None of the summaries seem to tell you what it's about. Hmmmm. It played in the Orizzonti sidebar of the festival. Guess they didn't like the disturbing sapphic tryst angle of Black Swan all that much.
Various Sidebars
Europa Cinema Award: This honor comes from the Venice Days sidebar and the winning film was Bertrand Blier's Le Bruit des Glacons (The Clink of the Ice), a dark French comedy about an alcoholic dealing with cancer.
The Queer Lion: This prize focuses on the way films portray gay characters and themes. The winner was En el futuro (In the Future), a 62 minute black and white film directed by Mauro Andrizzi. None of the summaries seem to tell you what it's about. Hmmmm. It played in the Orizzonti sidebar of the festival. Guess they didn't like the disturbing sapphic tryst angle of Black Swan all that much.
- 9/11/2010
- by NATHANIEL R
- FilmExperience
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