The 61st New York Film Festival kicks off Sept. 29 with Todd Haynes’ drama “May December” starring Julianne Moore and Natalie Portman. Sofia Coppola’s well-received Venice hit “Priscilla” about Priscilla Presley is the fest’s Centerpiece. Michael Mann’s biopic “Ferrari” with Adam Driver and Penelope Cruz the closing night feature while Bradley Cooper’s portrait of composer/conductor Leonard Bernstein “Maestro,” which had a seven-minute standing ovation in Venice, is the festival’s spotlight gala. Other films screening include Yorgos Lanthimos “Poor Things,” which won the Golden Lion and best actress for Emma Stone at Venice, as well as Andrew Haigh’s “All of us Strangers” and Jonathan Glazer’s “The Zone of Interest.”
A director came into his own 50 years ago at the New York Film Festival: Martin Scorsese. He’s of cinema’s greatest directors, who has made such landmark films as ‘Taxi Driver,” “Raging Bull,” Goodfellas,...
A director came into his own 50 years ago at the New York Film Festival: Martin Scorsese. He’s of cinema’s greatest directors, who has made such landmark films as ‘Taxi Driver,” “Raging Bull,” Goodfellas,...
- 9/28/2023
- by Susan King
- Gold Derby
La BêteCOMPETITIONComandante (Edoardo De Angelis)The Promised Land (Nikolaj Arcel)Dogman (Luc Besson) La Bête (Bertrand Bonello) Hors-Saison (Stéphane Brizé) Enea (Pietro Castellitto) Maestro (Bradley Cooper)Priscilla (Sofia Coppola)Finalmente L’Alba (Saverio Costanzo)Lubo (Giorgio Diritti) Origin (Ava DuVernay) The Killer (David Fincher)Memory (Michel Franco)Io capitano (Matteo Garrone)Evil Does Not Exist (Ryûsuke Hamaguchi)The Green Border (Agnieszka Holland)The Theory of Everything (Timm Kröger)Poor Things (Yorgos Lanthimos)El conde (Pablo Larrain)Ferrari (Michael Mann)Adagio (Stefano Sollima)Woman OfHolly (Fien Troch)Out Of COMPETITIONFictionSociety of the Snow (J.A. Bayona)Coup de Chance (Woody Allen)The Wonderful Story of Henry Sugar (Wes Anderson)The Penitent (Luca Barbareschi)L’Ordine Del Tempo (Liliana Cavani)Vivants (Alix Delaporte)Welcome to Paradise (Leonardo di Constanzo)Daaaaaali! (Quentin Dupieux)The Caine Mutiny Court-Martial (William Friedkin)Making of (Cedric Kahn)Aggro Dr1ft (Harmony Korine)Hitman (Richard Linklater)The Palace (Roman Polanski...
- 7/29/2023
- MUBI
With the full Venice Immersive slate announced yesterday, the Venice Classics lineup has now been revealed ahead of the 80th edition of the Venice International Film Festival. Curated by Alberto Barbera in collaboration with Federico Gironi, this year’s Venice Classics slate features newly restored versions of William Friedkin’s The Exorcist, Terrence Malick’s Days of Heaven, Agnès Varda’s The Creatures and much more. Alongside recent restorations, several films in the lineup boast new “Director’s Cut” labels, including Andrei Tarkovsky’s masterpiece Andrei Rublev, which, according to the curators, “will be presented in the reconstruction of the complete original version, which was censored […]
The post 2023 Venice Classics Lineup Includes The Exorcist, Andrei Rublev, Days of Heaven and More first appeared on Filmmaker Magazine.
The post 2023 Venice Classics Lineup Includes The Exorcist, Andrei Rublev, Days of Heaven and More first appeared on Filmmaker Magazine.
- 7/21/2023
- by Filmmaker Staff
- Filmmaker Magazine-Director Interviews
With the full Venice Immersive slate announced yesterday, the Venice Classics lineup has now been revealed ahead of the 80th edition of the Venice International Film Festival. Curated by Alberto Barbera in collaboration with Federico Gironi, this year’s Venice Classics slate features newly restored versions of William Friedkin’s The Exorcist, Terrence Malick’s Days of Heaven, Agnès Varda’s The Creatures and much more. Alongside recent restorations, several films in the lineup boast new “Director’s Cut” labels, including Andrei Tarkovsky’s masterpiece Andrei Rublev, which, according to the curators, “will be presented in the reconstruction of the complete original version, which was censored […]
The post 2023 Venice Classics Lineup Includes The Exorcist, Andrei Rublev, Days of Heaven and More first appeared on Filmmaker Magazine.
The post 2023 Venice Classics Lineup Includes The Exorcist, Andrei Rublev, Days of Heaven and More first appeared on Filmmaker Magazine.
- 7/21/2023
- by Filmmaker Staff
- Filmmaker Magazine - Blog
At a certain point you care less about world premieres and fixate mostly on a festival’s repertory slate. And even by the high standards set with Cannes Classics or NYFF Revivals is this year’s Venice Classics in a class of its own. We could start at the new cuts for three of the greatest directors ever: One from the Heart is the latest film to be given a revision by Francis Ford Coppola, following recuts of Apocalypse Now, Twixt, and Dementia 13––to say nothing of restorations like The Rain People, of which we’re hosting the New York premiere next weekend––while Andrei Tarkovsky’s Andrei Rublev will debut in “the reconstruction of the complete original version, which was censored before its release and has never been seen until now.” Meanwhile one of Yasujiro Ozu’s greatest films, There Was a Father, has been amended by “recent rediscovery...
- 7/21/2023
- by Leonard Pearce
- The Film Stage
The first screening of the uncensored version of ’Andrei Rublev’ by Andrei Tarkovsky has also been programmed.
Venice Classics will include a screening of ‘The Exorcist’ and tributes to late filmmakers Ruggero Deodato and Carlos Saura as part of its line-up of restored features for the 2023 edition.
The Exorcist, by William Friedkin, returns in a restored version, to mark the 100th anniversary of its distributor, Warner Bros.
Italian genre master Deodato passed away last year. One of his most extreme films, Ultimo Mondo Cannibale, has been programmed in tribute. This edition also pays homage to Italian actor Gina Lollobrigida, who died in January,...
Venice Classics will include a screening of ‘The Exorcist’ and tributes to late filmmakers Ruggero Deodato and Carlos Saura as part of its line-up of restored features for the 2023 edition.
The Exorcist, by William Friedkin, returns in a restored version, to mark the 100th anniversary of its distributor, Warner Bros.
Italian genre master Deodato passed away last year. One of his most extreme films, Ultimo Mondo Cannibale, has been programmed in tribute. This edition also pays homage to Italian actor Gina Lollobrigida, who died in January,...
- 7/21/2023
- by Mona Tabbara
- ScreenDaily
Recently restored versions of William Friedkin’s “The Exorcist,” Terrence Malick’s “Days of Heaven” and Francis Ford Coppola’s “One From the Heart” feature in the Venice Classics section of the 80th Venice Film Festival.
The lineup of recently restored films in Venice Classics, which is curated by the festival’s artistic director Alberto Barbera in collaboration with Federico Gironi, was unveiled on Friday.
“The Exorcist” is screened, 50 years after it was produced by Warner Bros., alongside Disney’s “Rebecca of Sunnybrook Farm,” starring Shirley Temple and directed by “the prolific and sometimes brilliant” Allan Dwan, to mark the Hollywood studios’ 100th anniversaries.
“One From the Heart” and Arturo Ripstein’s “Deep Crimson” are “not just restored, but also revised by the filmmakers themselves in what are genuine Director’s Cuts,” Barbera and Gironi said, while Andrei Tarkovsky’s masterpiece “Andrei Rublev” will be presented in the reconstruction of the original version,...
The lineup of recently restored films in Venice Classics, which is curated by the festival’s artistic director Alberto Barbera in collaboration with Federico Gironi, was unveiled on Friday.
“The Exorcist” is screened, 50 years after it was produced by Warner Bros., alongside Disney’s “Rebecca of Sunnybrook Farm,” starring Shirley Temple and directed by “the prolific and sometimes brilliant” Allan Dwan, to mark the Hollywood studios’ 100th anniversaries.
“One From the Heart” and Arturo Ripstein’s “Deep Crimson” are “not just restored, but also revised by the filmmakers themselves in what are genuine Director’s Cuts,” Barbera and Gironi said, while Andrei Tarkovsky’s masterpiece “Andrei Rublev” will be presented in the reconstruction of the original version,...
- 7/21/2023
- by Leo Barraclough
- Variety Film + TV
Polish box office king Patryk Vega has set his sights on Vladimir Putin.
Vega, who now goes by the artistic name Besaleel, is best known for his gangster films, including local hits Pitbull and Women of Mafia, which have grossed a cumulative $100 million plus at the Polish box office. But for his English-language debut, the director is taking on the man he sees as the world’s biggest mafia boss: The Russian President.
Putin is pitched as a political thriller and psychological portrait of the Russian leader for an international audience. Originally titled The Vor in Law, a reference to a Russian mafia term akin to “the godfather,” the film posits connections between Putin’s links to organized crime in his time as mayor of St. Petersburg and his approach to politics, both inside Russia and on the international stage. Besaleel has called the film an artistic protest against “the...
Vega, who now goes by the artistic name Besaleel, is best known for his gangster films, including local hits Pitbull and Women of Mafia, which have grossed a cumulative $100 million plus at the Polish box office. But for his English-language debut, the director is taking on the man he sees as the world’s biggest mafia boss: The Russian President.
Putin is pitched as a political thriller and psychological portrait of the Russian leader for an international audience. Originally titled The Vor in Law, a reference to a Russian mafia term akin to “the godfather,” the film posits connections between Putin’s links to organized crime in his time as mayor of St. Petersburg and his approach to politics, both inside Russia and on the international stage. Besaleel has called the film an artistic protest against “the...
- 6/2/2023
- by Scott Roxborough
- The Hollywood Reporter - Movie News
NYC Weekend Watch is our weekly round-up of repertory offerings.
Film at Lincoln Center
As the 4K restoration of Keane opens (read our interview with Lodge Kerrigan here) and Three Colors: Blue continues alongside Three Colors: White, the series “Animating Funny Pages” shows the inspiration of Owen Kline’s new feature—work by Robert Downey Sr, Frank Tashlin, and more.
Film Forum
To mark the great Alain Resnias’ centennial, a massive retrospective continues with Marienbad, Hiroshima, Je t’aime, je t’aime, and some of his lesser-seen (but no less great) features—Mélo, Stavisky, Love Unto Death, and Life is a Bed of Roses.
Bam
“Intimate Epics” continues with Happy Hour, Barry Lyndon, Andrei Rublev, and Sátántangó.
Museum of the Moving Image
Once Upon a Time in Hollywood, Licorice Pizza, and Sleeping Beauty all play on 70mm this weekend, while one of cinema’s most unsung heroes—women in Australian cinema—get...
Film at Lincoln Center
As the 4K restoration of Keane opens (read our interview with Lodge Kerrigan here) and Three Colors: Blue continues alongside Three Colors: White, the series “Animating Funny Pages” shows the inspiration of Owen Kline’s new feature—work by Robert Downey Sr, Frank Tashlin, and more.
Film Forum
To mark the great Alain Resnias’ centennial, a massive retrospective continues with Marienbad, Hiroshima, Je t’aime, je t’aime, and some of his lesser-seen (but no less great) features—Mélo, Stavisky, Love Unto Death, and Life is a Bed of Roses.
Bam
“Intimate Epics” continues with Happy Hour, Barry Lyndon, Andrei Rublev, and Sátántangó.
Museum of the Moving Image
Once Upon a Time in Hollywood, Licorice Pizza, and Sleeping Beauty all play on 70mm this weekend, while one of cinema’s most unsung heroes—women in Australian cinema—get...
- 8/18/2022
- by Nick Newman
- The Film Stage
It’s August at the Locarno Film Festival and Gaspar Noé is in a philosophical mood: “In life there are not two doors. There is just one door. There is an entrance door and there is a wall, and that’s it. When you are aging you are getting closer to the wall, and at a point you crash.” One month on from his race to finish Vortex in time for the Cannes Film Festival (it eventually premiered on the final day at 11pm), he appears mellowed by its well-earned acclaim.
Set in Paris and presented almost entirely in split-screen, it tells the story of an elderly couple, played by the filmmaker Dario Argento and veteran French actress Françoise Lebrun. He is a film critic working on a book about the nature of cinema and dreams; she is a retired psychiatrist fighting a losing battle with dementia. “It’s the...
Set in Paris and presented almost entirely in split-screen, it tells the story of an elderly couple, played by the filmmaker Dario Argento and veteran French actress Françoise Lebrun. He is a film critic working on a book about the nature of cinema and dreams; she is a retired psychiatrist fighting a losing battle with dementia. “It’s the...
- 9/28/2021
- by Rory O'Connor
- The Film Stage
Andrei Konchalovsky's Sin is showing on Mubi starting June 18, 2021 in the United States.Not once does Michelangelo pick up a brush—or a chisel—in Andrei Konchalovsky’s Sin. Like the Russian icon painter in Tarkovsky’s Andrei Rublev, which Konchalovsky co-wrote over five decades ago, the artist is never captured at work and is instead plunged into a war-stricken wasteland, a 16th century Italy that feels, looks, and probably smells like a pestilential nightmare straight out of Dante’s Inferno. There are wars, murders, plots, crooked aristocrats and ungrateful relatives; early on, Alberto Testone’s Michelangelo staggers into Florence’s Piazza della Signoria to see his monumental David preside over a swamp of corpses and severed heads. Time and again, the genius casts his eyes skyward, searching for someone who’ll only show up in the film’s closing shot. There’s a biblical quality to his helplessness, a...
- 6/21/2021
- MUBI
With a seemingly endless amount of streaming options—not only the titles at our disposal, but services themselves–each week we highlight the noteworthy titles that have recently hit platforms. Check out this week’s selections below and past round-ups here.
Beginning (Dea Kulumbegashvili)
Originally a Cannes selection, then coming to San Sebastian, TIFF, and NYFF where it picked up deserved awards, the Georgian film Beginning is a difficult, sometimes brutal film to watch and then unpack. Déa Kulumbegashvili’s debut is a look at the confines, both religious and familial, put on one woman’s (Ia Sukhitashvili) life as she wrestles with outer and inner demons. Both a lonely and patient film, Beginning acts as mirror and portal, creating turmoil and strife for audience and subject. Challenging yet rewarding, Beginning is phenomenal. – Michael F.
Where to Stream: Mubi (free for 30 days)
The Dig (Simon Stone)
When Simon Stone’s...
Beginning (Dea Kulumbegashvili)
Originally a Cannes selection, then coming to San Sebastian, TIFF, and NYFF where it picked up deserved awards, the Georgian film Beginning is a difficult, sometimes brutal film to watch and then unpack. Déa Kulumbegashvili’s debut is a look at the confines, both religious and familial, put on one woman’s (Ia Sukhitashvili) life as she wrestles with outer and inner demons. Both a lonely and patient film, Beginning acts as mirror and portal, creating turmoil and strife for audience and subject. Challenging yet rewarding, Beginning is phenomenal. – Michael F.
Where to Stream: Mubi (free for 30 days)
The Dig (Simon Stone)
When Simon Stone’s...
- 1/29/2021
- by Jordan Raup
- The Film Stage
"Everything will be... all right." Janus Films + Film at Lincoln Center have revealed a new trailer for the restored re-release of Andrei Tarkovsky's 1975 film Mirror, also known as The Mirror, originally Зеркало (Zerkalo) in Russian. Tarkovsky made this one right after finishing both Andrei Rublev and Solaris, but it got lost in time as it didn't even make its way to America until five years later, first showing at the Telluride Film Festival, then opening in cinemas in 1983. A dying man in his 40s remembers his past. His childhood, his mother, the war, personal moments and things that tell of the recent history of all the Russian nation. Mirror features Margarita Terekhova, Filipp Yankovsky, Oleg Yankovsky, Ignat Daniltsev, and Maria Tarkovskaya. For those who haven't seen it and need convincing: "Mirror stands as perhaps the most extraordinary triumph of Tarkovsky’s short yet remarkable career, fashioning an originally lyrical...
- 1/24/2021
- by Alex Billington
- firstshowing.net
“...with music, cinema is an art which operates with reality.”—Andrei Tarkovsky, Sculpting in TimeAndrei Tarkovsky felt music was most acceptable in film when used like a refrain in poetry, bringing the audience back to their first experience upon entering the poetic world of the film; at once the material is experienced as new, and yet part of the initial memory. Tarkovsky used music sparingly over his feature film work but with the belief that music and sound should become a part of the experience itself, folding into the dream logic and memory of the work. At the beginning of his career his work with composer Vyacheslav Ovchinnikov brought impressive orchestral pieces and traditional Russian song, later, the composer Eduard Artemyev explored the possibilities of electronic music and sound design. Tarkovsky stated in his seminal book Sculpting in Time (1984) that he felt electronic music had rich possibilities for cinema and...
- 3/30/2020
- MUBI
Dear Comrades (Dorogie tovarishchi)
Russian director Andrei Konchalovsky continues his prolific chameleonic streak with his latest project, Dear Comrades, which will feature, once again, the director’s wife, actress Julia Vysotkaya. Konchalovsky famously collaborated with Andrey Tarkovsky on several projects, notably writing 1966’s Andrei Rublev before eventually breaking out as prestigious director with a string of celebrated titles which would lead him to Hollywood…and back. After winning the Crystal Globe at Karlovy Vary for 1974’s A Lover’s Romance, Konchalovksy competed four times for the Palme d’Or with 1979’s Siberiade (winning the Grand Jury Prize), 1986’s Runaway Train (which netted Eric Roberts an Oscar nod), 1987’s Shy People (for which Barbara Hershey won Best Actress at the fest), and 1994’s Assia and the Hen with the Golden Eggs.…...
Russian director Andrei Konchalovsky continues his prolific chameleonic streak with his latest project, Dear Comrades, which will feature, once again, the director’s wife, actress Julia Vysotkaya. Konchalovsky famously collaborated with Andrey Tarkovsky on several projects, notably writing 1966’s Andrei Rublev before eventually breaking out as prestigious director with a string of celebrated titles which would lead him to Hollywood…and back. After winning the Crystal Globe at Karlovy Vary for 1974’s A Lover’s Romance, Konchalovksy competed four times for the Palme d’Or with 1979’s Siberiade (winning the Grand Jury Prize), 1986’s Runaway Train (which netted Eric Roberts an Oscar nod), 1987’s Shy People (for which Barbara Hershey won Best Actress at the fest), and 1994’s Assia and the Hen with the Golden Eggs.…...
- 1/3/2020
- by Nicholas Bell
- IONCINEMA.com
Moviegoing Memories is a series of short interviews with filmmakers about going to the movies. Victor Kossakovsky's Aquarela is Mubi Go's Film of the Week of December 13, 2019.Notebook: How would you describe your movie in the least amount of words?Victor Kossakovsky: What if we do not talk about water but just look to it! This is an example of how a film can show a story instead of telling a story.Notebook: Where and what is your favorite movie theater? Why is it your favorite?Kossakovsky: My favorite cinema theater is the Aurora on the main street of St.Petersburg - Nevsky Prospect. It is oldest cinema in Russia; it was opened in 1913. It is not a huge cinema theater—only 590 seats—but it has perfect proportions of the room and a 100 square meters screen. I loved to go there since my childhood. I saw many great films there,...
- 12/13/2019
- MUBI
Above: detail from 2018 UK quad for Khrustalyov, My Car!.One of the most beautiful and confounding of modern masterpieces, Aleksei German’s Khrustalyov, My Car! is getting a 20th anniversary restoration release in both the U.K. and the U.S. on December 14 courtesy of Arrow Films. A potent source for Armando Ianucci’s The Death of Stalin, German’s fever dream of a satire has some the most gorgeous high-contrast black and white cinematography I’ve ever seen (watch the trailer here). It is fitting then that the new poster for the film, by the great Andrzej Klimowski, is in such stark black and white.A new film poster by Klimowski is an event. Born in London to Polish parents in 1949, the designer emigrated to Poland in 1973 to study under the legendary Henryk Tomaszewski at the Academy of Fine Arts. By 1976 he was designing posters for the state-run Film...
- 11/27/2018
- MUBI
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Metrograph
Two essential restorations begin this weekend: Akira and Terence Davies’ Distant Voices, Still Lives.
Three Isabelle Adjani-starrers screen, all on 35mm.
Anthology
Films from Fuller, Ray, Mann and more play in “Women of the West.”
Quad Cinema
Before Let the Corpses Tan, discover the inspirations for its filmmakers; meanwhile, an Alain Delon retro is underway.
Metrograph
Two essential restorations begin this weekend: Akira and Terence Davies’ Distant Voices, Still Lives.
Three Isabelle Adjani-starrers screen, all on 35mm.
Anthology
Films from Fuller, Ray, Mann and more play in “Women of the West.”
Quad Cinema
Before Let the Corpses Tan, discover the inspirations for its filmmakers; meanwhile, an Alain Delon retro is underway.
- 8/30/2018
- by Nick Newman
- The Film Stage
A studio limited release made the final weekend in August notable. Screen Gems bowed mystery-thriller Searching in 9 theaters, for an impressive $360K, giving the Sundance Audience Award-winner a $40K average. The title is easily the best per theater average of all titles reporting numbers this weekend.
Greenwich Entertainment opened Spanish filmmaker Isabel Coixet’s The Bookshop with Emily Mortimer, Bill Nighy and Patricia Clarkson with four runs, grossing $48K ($12K average), while Oscilloscope doc John McEnroe: In The Realm Of Perfection followed up with an exclusive engagement at $8K.
Last weekend’s number one debut, The Wife, from Sony Classics expanded to 18 theaters with solid numbers, taking in over $217K ($12K average). Ethan Hawke’s Blaze lit up seven Texas theaters after debuting in Austin last week, grossing $51,286.
And Spc’s Puzzle crossed seven figures in its fifth weekend, grossing $372K in 265 theaters, piecing together $1.2M as of Sunday.
Greenwich Entertainment opened Spanish filmmaker Isabel Coixet’s The Bookshop with Emily Mortimer, Bill Nighy and Patricia Clarkson with four runs, grossing $48K ($12K average), while Oscilloscope doc John McEnroe: In The Realm Of Perfection followed up with an exclusive engagement at $8K.
Last weekend’s number one debut, The Wife, from Sony Classics expanded to 18 theaters with solid numbers, taking in over $217K ($12K average). Ethan Hawke’s Blaze lit up seven Texas theaters after debuting in Austin last week, grossing $51,286.
And Spc’s Puzzle crossed seven figures in its fifth weekend, grossing $372K in 265 theaters, piecing together $1.2M as of Sunday.
- 8/26/2018
- by Brian Brooks
- Deadline Film + TV
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Film Society of Lincoln Center
As the restoration of Andrei Rublev begins its run, a Germaine Dulac series commences.
Spectacle
Fans of Asian cinema (or anything remotely outside the mainstream) cannot miss the series on Sogo Ishii, “the godfather of Japanese cyberpunk cinema.”
A one-night retrospective of actor-director Frank Mosley is being held, as the below trailer will evince.
Film Society of Lincoln Center
As the restoration of Andrei Rublev begins its run, a Germaine Dulac series commences.
Spectacle
Fans of Asian cinema (or anything remotely outside the mainstream) cannot miss the series on Sogo Ishii, “the godfather of Japanese cyberpunk cinema.”
A one-night retrospective of actor-director Frank Mosley is being held, as the below trailer will evince.
- 8/24/2018
- by Nick Newman
- The Film Stage
It took six years for Andrei Tarkovsky’s somber epic Andrei Rublev to be publicly released in the former Ussr. By the time people flocked to sold-out Moscow theaters in 1971—nine years after Tarkovsky’s feature debut Ivan’s Childhood nabbed the Golden Lion at the 1962 Venice Festival, and six after Rublev’s production wrapped in 1965—the cultural Thaw granted under Khrushchev’s leadership had frozen over. Judged too controversial by Soviet authorities—all the more so as the Ussr braced for the 50th anniversary of the 1917 Revolution—the film was shelved after a single screening at Moscow’s Dom Kino, chopped from 205 to 186 minutes (a version Tarkovsky would later approve) and only sent abroad in 1969, when Cannes squeezed it in a 4:00 am out of competition screening that earned Tarkovsky the edition’s Fipresci award.For audiences nurtured on bombastic patriotic epics concerned primarily with the need to trace...
- 8/23/2018
- MUBI
Most movies don’t make the effort to challenge their viewers, and there’s nothing wrong with that. Diversion and entertainment add necessary spice to our media consumption diets, and besides, diversion and entertainment can lend its own profound insight into our life and times, as well as the travails we face on this planet we call home. But movies that do challenge viewers, that make nothing easy for whoever watches them, but reward the intrepid cineastes who do, are a rare sort, worth seeking out when opportunity affords, and in their complexity enhance one’s appreciation for all other movies in history’s canon.
Continue reading Andrei Tarkovsky’s ‘Andrei Rublev’ Is A Classic That Is Just As Relevant Today As It Was 50 Years Ago [Re-Release Review] at The Playlist.
Continue reading Andrei Tarkovsky’s ‘Andrei Rublev’ Is A Classic That Is Just As Relevant Today As It Was 50 Years Ago [Re-Release Review] at The Playlist.
- 8/22/2018
- by Andrew Crump
- The Playlist
Review by Roger Carpenter
Widely considered the greatest Russian director since Eisenstein, Andrei Tarkovsky’s relatively brief career as a director produced several classics of world cinema such as Andrei Rublev, Solaris, Stalker, Nostalghia, and his final film, The Sacrifice. By the time of The Sacrifice, Tarkovsky was a living legend, having won Venice’s Golden Lion and Cannes’ Fipresci four times, the Prize of the Ecumenical Jury three times, and the Special Grand Prix twice. No less a filmmaker than Ingmar Bergman considered Tarkovsky the world’s greatest filmmaker.
The Sacrifice was made during a challenging time for Tarkovsky. After Communist censors shut production on a different film down in 1979, he left the Ussr for Sweden where he publicly swore to never make a film in the Motherland again. For revenge, the Ussr kept Tarkovsky’s young son from traveling to Europe. He spent long amounts of time away...
Widely considered the greatest Russian director since Eisenstein, Andrei Tarkovsky’s relatively brief career as a director produced several classics of world cinema such as Andrei Rublev, Solaris, Stalker, Nostalghia, and his final film, The Sacrifice. By the time of The Sacrifice, Tarkovsky was a living legend, having won Venice’s Golden Lion and Cannes’ Fipresci four times, the Prize of the Ecumenical Jury three times, and the Special Grand Prix twice. No less a filmmaker than Ingmar Bergman considered Tarkovsky the world’s greatest filmmaker.
The Sacrifice was made during a challenging time for Tarkovsky. After Communist censors shut production on a different film down in 1979, he left the Ussr for Sweden where he publicly swore to never make a film in the Motherland again. For revenge, the Ussr kept Tarkovsky’s young son from traveling to Europe. He spent long amounts of time away...
- 7/12/2018
- by Movie Geeks
- WeAreMovieGeeks.com
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