Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSStranger by the Lake.Production has begun on Alain Guiraudie’s next noir-esque feature, Miséricorde, with Dp Claire Mathon—their third collaboration after Stranger by the Lake (2013) and Staying Vertical (2016). The plot centers on a 30-year-old man named Jérémie who returns to a village in southern France, his prior home, for an old friend’s funeral, only to find himself at the center of a police investigation.Recommended VIEWINGJanus Films have shared a trailer for a new 4K restoration of Glauber Rocha’s Black God, White Devil (1964). A virtuosic, formally experimental work of militant cinema, it tells the story of Manoel, a cowherd who, after murdering a ranch owner, flees to join a religious cult headed by a self-proclaimed saint, only to find himself back among violence. A landmark of Brazil’s Cinema Novo...
- 11/9/2023
- MUBI
Stars: Ryan Gosling, Carey Mulligan, Bryan Cranston, Albert Brooks, Oscar Isaac, Christina Hendricks, Ron Perlman | Directed by Nicolas Winding Refn
I often start by saying that Second Sight give us the ability to revisit classics or discover diamonds we’ve not yet seen. With their Drive: Limited Edition, this has never been truer. Drive is a movie that doesn’t apologise for the violence on screen, and the characters that it shows.
When a mysterious Hollywood stuntman (Ryan Gosling) who moonlights as a getaway driver meets one of his neighbours (Carey Mulligan) a softer side of him is exposed. When her husband returns from jail and gets the driver into major conflict with the people he works for.
Ryan Gosling’s character is simply named The Driver, we never learn anything more about him. We do get to see what could be a softer side, but the fact is this...
I often start by saying that Second Sight give us the ability to revisit classics or discover diamonds we’ve not yet seen. With their Drive: Limited Edition, this has never been truer. Drive is a movie that doesn’t apologise for the violence on screen, and the characters that it shows.
When a mysterious Hollywood stuntman (Ryan Gosling) who moonlights as a getaway driver meets one of his neighbours (Carey Mulligan) a softer side of him is exposed. When her husband returns from jail and gets the driver into major conflict with the people he works for.
Ryan Gosling’s character is simply named The Driver, we never learn anything more about him. We do get to see what could be a softer side, but the fact is this...
- 7/20/2022
- by Paul Metcalf
- Nerdly
Eureka Entertainment to release Last Hurrah For Chivalry & Hand Of Death: Two Films By John Woo, an essential pair of early films from one of the greatest action directors of all time, presented for the first time ever on Blu-ray in the UK in a 2-disc set taken from brand new 2K restorations. Released as part of the Eureka Classics range from 24 June 2019, the first 2000 copies will feature a Limited Edition Collector’s booklet.
A decade before he would change action filmmaking forever with “A Better Tomorrow” and “The Killer”, director John Woo was directing martial-arts films for the two biggest studios in Hong Kong, Shaw Brothers and Golden Harvest. Under the mentorship of the great Chang Cheh (“Five Deadly Venoms”), Woo began to develop his signature style, films that featured slick, stylish and often violent choreography, with dramatic plots that revolved around brotherhood, honour and redemption.
A decade before he would change action filmmaking forever with “A Better Tomorrow” and “The Killer”, director John Woo was directing martial-arts films for the two biggest studios in Hong Kong, Shaw Brothers and Golden Harvest. Under the mentorship of the great Chang Cheh (“Five Deadly Venoms”), Woo began to develop his signature style, films that featured slick, stylish and often violent choreography, with dramatic plots that revolved around brotherhood, honour and redemption.
- 5/15/2019
- by Adriana Rosati
- AsianMoviePulse
Synopsis
A decade before he would change action filmmaking forever with A Better Tomorrow and The Killer, director John Woo was directing martial-arts films for the two biggest studios in Hong Kong, Shaw Brothers and Golden Harvest. Under the mentorship of the great Chang Cheh (Five Deadly Venoms), Woo began to develop his signature style, films that featured slick, stylish and often violent choreography, with dramatic plots that revolved around brotherhood, honour and redemption. Presented here are two of his early works from this period.
In Last Hurrah for Chivalry, two killers (Wei Pai and Damian Lau) agree to help a man exact revenge upon a kung fu master. Woo’s first cinematic masterpiece, Last Hurrah for Chivalry is a dark and violent revenge film, featuring lightning fast swordplay and stylish cinematography.
In Hand of Death, a young Shaolin monk must train to defeat a dangerous Manchu...
A decade before he would change action filmmaking forever with A Better Tomorrow and The Killer, director John Woo was directing martial-arts films for the two biggest studios in Hong Kong, Shaw Brothers and Golden Harvest. Under the mentorship of the great Chang Cheh (Five Deadly Venoms), Woo began to develop his signature style, films that featured slick, stylish and often violent choreography, with dramatic plots that revolved around brotherhood, honour and redemption. Presented here are two of his early works from this period.
In Last Hurrah for Chivalry, two killers (Wei Pai and Damian Lau) agree to help a man exact revenge upon a kung fu master. Woo’s first cinematic masterpiece, Last Hurrah for Chivalry is a dark and violent revenge film, featuring lightning fast swordplay and stylish cinematography.
In Hand of Death, a young Shaolin monk must train to defeat a dangerous Manchu...
- 4/12/2019
- by Rouven Linnarz
- AsianMoviePulse
Fritz Lang was born on this day 125 years ago and, to celebrate, Matthew Thrift has drawn up a list of "10 essential films" for the BFI. Also in today's roundup: Claude Chabrol's episodes for the 1980 television series Fantômas, the Chiseler on William Dieterle, Eddie Cantor and Houseley Stevenson, Yorgos Lanthimos on Nikos Papatakis's The Shepherds of Calamity, a wide-ranging interview with D.A. Pennebaker, John Waters on Christmas, a new restoration of Jean-Luc Godard's A Married Woman (1964), David Lynch and Ringo Starr on music and meditation, video essays on Luis Buñuel, remembering Robert Loggia—and more. » - David Hudson...
- 12/5/2015
- Keyframe
Fritz Lang was born on this day 125 years ago and, to celebrate, Matthew Thrift has drawn up a list of "10 essential films" for the BFI. Also in today's roundup: Claude Chabrol's episodes for the 1980 television series Fantômas, the Chiseler on William Dieterle, Eddie Cantor and Houseley Stevenson, Yorgos Lanthimos on Nikos Papatakis's The Shepherds of Calamity, a wide-ranging interview with D.A. Pennebaker, John Waters on Christmas, a new restoration of Jean-Luc Godard's A Married Woman (1964), David Lynch and Ringo Starr on music and meditation, video essays on Luis Buñuel, remembering Robert Loggia—and more. » - David Hudson...
- 12/5/2015
- Fandor: Keyframe
Reimagining Hollywood classics – no happy endings allowed
Happy endings are over-rated. Sure, it's nice to walk out of a cinema with a smile on your face and a song in your heart. But isn't it much more fulfilling to stumble out of a cinema shaken to your very core, dumbstruck by the cavalcade of bleak events a film-maker has served up in the name of 'entertainment'? Right?
A bleak ending can so much more memorable than a happy one – and it's not hard to see where Jane Campion's coming from when she says she wishes she'd stuck with her plans to give The Piano a much more downbeat ending than the final version.
With that in mind, we took to Twitter to gather suggestions for other films that could be improved with a bleaker ending. Here's a handful – share yours in the comment thread below, or tweet us @guardianfilm with the hashtag #bleakerendings.
Happy endings are over-rated. Sure, it's nice to walk out of a cinema with a smile on your face and a song in your heart. But isn't it much more fulfilling to stumble out of a cinema shaken to your very core, dumbstruck by the cavalcade of bleak events a film-maker has served up in the name of 'entertainment'? Right?
A bleak ending can so much more memorable than a happy one – and it's not hard to see where Jane Campion's coming from when she says she wishes she'd stuck with her plans to give The Piano a much more downbeat ending than the final version.
With that in mind, we took to Twitter to gather suggestions for other films that could be improved with a bleaker ending. Here's a handful – share yours in the comment thread below, or tweet us @guardianfilm with the hashtag #bleakerendings.
- 7/8/2013
- by Adam Boult
- The Guardian - Film News
A bar-slash-cinema offering an eclectic mix of arthouse and grindhouse
• Check out our Google map and flickr group
Every week we invite our readers to tell us about where they go to watch films. This week it's the turn of London-based blogger Matthew Thrift, who edits the film site Cinephile.
Location
In the heart of London, a short stroll from London Bridge station and Borough Market.
Building
Although not strictly a cinema, the Roxy boasts a top-notch HD projection set-up and ferocious sound system at the rear of the premises, where its film club is in residence most nights. The entrance on Borough High Street leads directly into the bar area, perfect for grabbing an ace mojito prior to settling in for the evening's entertainment. One of London's best-kept secrets and with something of the speakeasy feel about it, the screening room behind the thick red curtains features a higgledy-piggledy...
• Check out our Google map and flickr group
Every week we invite our readers to tell us about where they go to watch films. This week it's the turn of London-based blogger Matthew Thrift, who edits the film site Cinephile.
Location
In the heart of London, a short stroll from London Bridge station and Borough Market.
Building
Although not strictly a cinema, the Roxy boasts a top-notch HD projection set-up and ferocious sound system at the rear of the premises, where its film club is in residence most nights. The entrance on Borough High Street leads directly into the bar area, perfect for grabbing an ace mojito prior to settling in for the evening's entertainment. One of London's best-kept secrets and with something of the speakeasy feel about it, the screening room behind the thick red curtains features a higgledy-piggledy...
- 2/29/2012
- The Guardian - Film News
"Over eighty percent of silent films are lost. I've always considered a lost film as a narrative with no known final resting place — doomed to wander the landscape of film history, sad, miserable and unable to project itself to the people who might love it." That's Guy Maddin, as quoted by Kim Morgan, introducing Maddin's Spiritismes, happening now at the Centre Pompidou in Paris ("During 'séances'... Maddin and his actors will allow themselves to be possessed by the wandering spirits of the dead, to bring their movies back to life") through March 12:
Filmmaking, dead made undead, is happening live at the Centre — lost or unrealized films by directors as diverse as Jean Vigo, Kenji Mizoguchi, Lois Weber, William Wellman, von Stroheim (I will appear in that particular Poto-Poto), Alexandre Dovjenko and more are coming — rising from the dead, in their own unique way. Maddin will be shooting one film a day.
Filmmaking, dead made undead, is happening live at the Centre — lost or unrealized films by directors as diverse as Jean Vigo, Kenji Mizoguchi, Lois Weber, William Wellman, von Stroheim (I will appear in that particular Poto-Poto), Alexandre Dovjenko and more are coming — rising from the dead, in their own unique way. Maddin will be shooting one film a day.
- 2/24/2012
- MUBI
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