mercoledì 31 gennaio 2018

Sono tornato

Preparatevi: dopo 80 anni lui è ancora tra noi
* * 1/2 - - (mymonetro: 2,50)

Regia di Luca Miniero. Con Massimo Popolizio, Frank Matano, Stefania Rocca, Gioele Dix, Guglielmo Favilla.
Genere Commedia - Italia, 2018. Durata 100 minuti circa.

28 aprile 2017. Nel bel mezzo di Piazza Vittorio, cuore multietnico della Capitale, si materializza il Duce in persona, risorto proprio nel giorno della sua morte. Dopo un breve smarrimento iniziale ("Sono a Roma o ad Addis Abeba?") Mussolini decide di riprendere in mano le redini del Paese, e invece di venire rinchiuso in un ospedale psichiatrico accanto al matto che si crede Napoleone viene "scoperto" da un aspirante documentarista, Andrea Canaletti, che lo crede un attore perfettamente in parte.

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via Cinema Studi - Lo studio del cinema è sul web

Slumber - Il demone del sonno

Il film riesce a tenere alta la tensione, grazie anche a una buona gestione dei jump scares
* * 1/2 - - (mymonetro: 2,50)

Regia di Jonathan Hopkins. Con Maggie Q, Kristen Bush, Sam Troughton, Will Kemp, William Hope, Sylvester McCoy, Honor Kneafsey, Susan Fordham, Mark Preston, Charlie Bond.
Genere Horror - USA, Gran Bretagna, 2017. Durata 84 minuti circa.

Da bambina, Alice è stata testimone della morte del fratellino sonnambulo, preda di strane visioni. Adesso Alice, felice madre di famiglia, è una dottoressa e si occupa di disturbi del sonno in un ospedale specializzato. Una famiglia molto turbata, i Morgan, viene a chiedere il suo aiuto professionale. Uno dei loro figli è morto nel sonno e un altro, Daniel, cammina e parla nel sonno, a volte urla. Ma tutta la famiglia, compresa la sorellina di Daniel, soffre di turbe del sonno.

from Cinema -

via Cinema Studi - Lo studio del cinema è sul web

[The Daily] SXSW 2018 Features Lineup


The SXSW Film Festival, whose 2018 edition runs from March 9 through 18, has announced a lineup of 132 features—with more on the way. With descriptions from the festival . . .


Family. Director/Screenwriter: Laura Steinel. When an emotionally stunted thirty-year-old woman is tasked with watching her awkward and bullied 12 year old niece for the week, she finds her life unfurling when the girl runs away to be a juggalo. Cast: Taylor Schilling, Bryn Vale, Brian Tyree Henry, Jessie Ennis, Blair Beeken, Matt Walsh, Allison Tolman, Eric Edelstein, Kate McKinnon, and Fabrizio Guido. World Premiere.

First Match. Director/Screenwriter: Olivia Newman. Hardened by years in foster care, a teenage girl from Brooklyn's Brownsville neighborhood decides that wrestling boys is the only way back to her estranged father. Cast: Elvire Emanuelle, Yahya Abdul-Mateen II, Colman Domingo, Jharrel Jerome, and Jared Kemp. World Premiere.

Jinn. Director/Screenwriter: Nijla Mu'min. A shape-shifting, pepperoni-loving, black teenage Instagram celebrity explores her identity and sexuality in the midst of her mother's conversion to Islam. Cast: Zoe Renee, Simone Missick, Kelvin Harrison, Jr., Hisham Tawfiq, Kelly Jenrette, Dorian Missick, Ashlei Foushee, Maya Morales, and Damien D. Smith. World Premiere.

The New Romantic. Director/Screenwriter: Carly Stone. Frustrated with the lack of chivalrous guys her own age, a college senior gives up on dating for love to date an older man in exchange for gifts instead. Cast: Jessica Barden, Hayley Law, Brett Dier, Timm Sharp, Avan Jogia, and Camila Mendes. World Premiere.

Sadie. Director/Screenwriter: Megan Griffiths. While her father is away serving in the military, Sadie battles to preserve his place on the home front when her mother takes an interest in a new man. Cast: Melanie Lynskey, Sophia Mitri Schloss, John Gallagher Jr., Danielle Brooks, Tony Hale, Keith Williams, and Tee Dennard. World Premiere.

Shotgun. Directors/Screenwriters: Hannah Marks and Joey Power. A young couple's relationship develops quickly when one of them is diagnosed with a life-changing illness. Cast: Maika Monroe, Jeremy Allen White, DeRon Horton, Marisa Tomei, Sasha Lane, Joe Keery, Gina Gershon, Dean Winters, and Olivia Luccardi. World Premiere.

Summer ’03. Director/Screenwriter: Becca Gleason. On her deathbed, Jamie’s grandmother leaves her with two pieces of information: one involves a baptism, the other a blowjob. This sets Jamie and her family on an emotional roller coaster ride while she falls for the wrong guy at the wrong time. Cast: Joey King, Andrea Savage, Paul Scheer, Jack Kilmer, Erin Darke, Stephen Ruffin, Kelly Lamor Wilson, Logan Medina, and June Squibb. World Premiere.

Thunder Road. Director/Screenwriter: Jim Cummings. Officer Arnaud loved his Mom. Cast: Kendal Farr, Jim Cummings, Nican Robinson, Jocelyn DeBoer, Macon Blair, Bill Wise, Jordan Fox, and Chelsea Edmondson. World Premiere.

The Unicorn. Director: Robert Schwartzman. Screenwriters: Nick Rutherford, Kirk C. Johnson, and Will Elliott. Facing the fourth year of their engagement, an indecisive couple is thrust into the most uncomfortable night of their lives by intentionally and unintentionally involving a third party in their relationship. Cast: Lauren Lapkus, Nick Rutherford, Lucy Hale, Beck Bennett, Dree Hemingway, Beverly D’Angelo, John Kapelos, Maya Kazan, Darrell Britt-Gibson, and Kyle Mooney. World Premiere.

Write When You Get Work. Director/Screenwriter: Stacy Cochran. Write When You Get Work is a comedy of money and access, a NY love story set in the Bronx and at a pricey school for girls on the Upper East Side of Manhattan. Years after they’ve parted ways, Jonny Collins pursues Ruth Duffy for love—and profit. Cast: Emily Mortimer, Finn Wittrock, Rachel Keller, Scott Cohen, Jessica Hecht, James Ransone, Andrew Schulz, Tess Frazer, Afton Williamson, and Zarif Kabier. World Premiere.


Chi-Town. Director: Nick Budabin. An underdog basketball player from Chicago goes on a meteoric rise to become one of the best college point guards in the nation. But while he pursues dreams of the NBA, his success contrasts with the effects of gun violence on his friends back home. World Premiere.

Garry Winogrand: All Things Are Photographable. Director: Sasha Waters. Freyer Artist. Iconoclast. Man of his time. All Things Are Photographable is a revealing documentary portrait of the life and work of acclaimed photographer Garry Winogrand—the epic storyteller in pictures of America across three turbulent decades. World Premiere.

The Gospel of Eureka. Directors: Michael Palmieri and Donal Mosher. Screenwriter: Donal Mosher. Faith, love and civil rights collide on voting day in a small Southern town that hosts a famous performance of the last days of Christ and an infamous gospel drag show. The new documentary by the award-winning directors of October Country. World Premiere.

¡Las Sandinistas! Director: Jenny Murray. ¡Las Sandinistas! uncovers the disappearing stories of women who shattered barriers to lead combat and social reform during Nicaragua’s 1979 Sandinista Revolution, and who continue to lead Nicaragua's current struggle for democracy and equality. World Premiere.

People’s Republic of Desire. Director: Hao Wu. In China’s popular live-streaming showrooms, three millennials—a karaoke singer, a migrant worker and a rags-to-riches comedian—seek fame, fortune and human connection, ultimately finding the same promises and perils online as in their real lives. World Premiere.

Social Animals. Director: Jonathan Green. Screenwriters: Carol Martori, Jonathan Green, and Peter Garriott. A daredevil photographer, an aspiring swimsuit model, and a midwest girl next door are all looking for the same things from their Instagram accounts—a little love, acceptance and, of course, fame—and they’ll do just about anything to get it. World Premiere.

This One’s for the Ladies. Director: Gene Graham. This One’s for the Ladies explores the sexual and social identity of contemporary black America through intimate, eye opening and often hilarious accounts from women and men who find love and community in the underground world of exotic dancing. World Premiere.

TransMilitary. Directors: Gabriel Silverman and Fiona Dawson. Screenwriters: Jamie Coughlin and Gabriel Silverman. At a time when transgender people are banned from serving in the U.S. military, four of the thousands of transgender troops risking discharge fight to attain the freedom they so fiercely protect. World Premiere.

Weed the People. Director: Abby Epstein. Weed the People captures the uplifting and heart-wrenching struggles of families who treat their cancer-stricken children with marijuana, some with astonishing results. World Premiere.

The World Before Your Feet. Director: Jeremy Workman. For over six years, Matt Green, 37, has been walking every street in New York City—a total of more than 8000 miles. The World Before Your Feet tells the story of one man’s unusual quest and the journey of discovery, humanity, and wonder that ensues. World Premiere.


A Quiet Place. Director: John Krasinski. Screenwriters: Bryan Woods, Scott Beck, and John Krasinski. Producers: Platinum Dunes. If they can’t hear you, they can’t hunt you. Cast: Emily Blunt, John Krasinski, Noah Jupe, and Millicent Simmonds. World Premiere.

Blockers. Director: Kay Cannon. Screenwriters: Brian Kehoe, Jim Kehoe, Jon Hurwitz, Hayden Schlossberg, and Eben Russell. When three parents discover their daughters’ pact to lose their virginity at prom, they launch a covert one-night operation to stop the teens from sealing the deal. Cast: Leslie Mann, Ike Barinholtz, John Cena, Kathryn Newton, Geraldine Indira Viswanathan, and Gideon Adlon. World Premiere.

Boundaries. Director/Screenwriter: Shana Feste. Laura and her troubled son Henry are forced to drive her estranged, pot-dealing, carefree father Jack across country after being kicked out of a nursing home. Cast: Vera Farmiga, Christopher Plummer, Lewis MacDougall, Bobby Cannavale, Kristen Schaal, Dolly Wells, Yahya Abdul-Mateen, Christopher Lloyd, and Peter Fonda. World Premiere.

Paradox. Director/Screenwriter: Daryl Hannah. A loud Poem. A whimsical western tale of music and love. Cast: Neil Young, Lukas Nelson, Micah Nelson, Corey McCormick, Anthony LoGerfo, Tato Melgar, Willie Nelson, Charris Ford, and Dulcie Clarkson Ford. World Premiere.

Final Portrait. Director/Screenwriter: Stanley Tucci. Final Portrait is the story of the touching and offbeat friendship between world renowned artist Alberto Giacometti and American writer and art-lover James Lord, based on Lord’s memoir. Cast: Geoffrey Rush, Armie Hammer, Clémence Poésy, Tony Shalhoub, and Sylvie Testud. North American Premiere.


6 Balloons. Director/Screenwriter: Marja Lewis Ryan. Over the course of one night, a woman drives across LA with her heroin addict brother in search of a detox center, with his two year old daughter in tow. Cast: Abbi Jacobson, Dave Franco, Charlotte Carel, Madison Carel, Jane Kaczmarek, Dewan Owens, Tim Matheson, Jen Tullock, Maya Erskine, and Heidi Sulzman. World Premiere.

All Square. Director: John Hyams. Screenwriter: Timothy Brady. A down-on-his-luck bookie befriends an ex-girlfriend's son and gets the bright idea to take bets on his youth league baseball games; only to realize he's killed what's pure about the sport as the games turn ugly when money is on the line. Cast: Michael Kelly, Josh Lucas, Pamela Adlon, Tom Everett Scott, Isiah Whitlock Jr., Harris Yulin, Yeardley Smith, Jesse Ray Sheps, Jay Larson, and Craig Walker. World Premiere.

Anchor and Hope. Director/Screenwriter: Carlos Marques-Marcet. When the best friend of a bohemian lesbian couple agrees to be their surrogate, the three friends set out on an unconventional journey to start a family. Cast: Natalia Tena, Oona Chaplin, David Verdaguer, and Geraldine Chaplin. North American Premiere.

A Bluebird in My Heart. Director/Screenwriter: Jérémie Guez. Attempting to lead a quiet reformed life, an ex-con finds refuge in a motel run by a single mother and her daughter Clara. The peace and freedom he has found in this safe haven disappears when Clara is assaulted, forcing him to face his old demons. Cast: Roland Moller, Veerle Baetens, Lola Le Lann, and Lubna Azabal. World Premiere.

The Breaker Upperers. Directors/Screenwriters: Jackie van Beek and Madeleine Sami. Two women run a business breaking up couples for cash but when one develops a conscience their friendship unravels. Cast: Jackie van Beek, Madeleine Sami, Celia Pacquola, James Rolleston, and Ana Scotney. World Premiere.

Fast Color. Director: Julia Hart. Screenwriters: Julia Hart and Jordan Horowitz. In this genre-bending supernatural drama, a woman is forced to go on the run when her extraordinary abilities are discovered. Years after having abandoned her family, the only place she has left to hide is home. Cast: Gugu Mbatha-Raw, Lorraine Toussaint, Saniyya Sidney, Christopher Denham, and David Strathairn. World Premiere.

First Light. Director/Screenwriter: Jason Stone. A close encounter with mysterious lights sends two teens on the run after one discovers she has extraordinary but dangerous powers. Cast: Stefanie Scott, Theodore Pelerine, and Said Taghmaoui. World Premiere.

The Legacy of the Whitetail Deer Hunter. Director: Jody Hill. The great hunter Buck Ferguson (Josh Brolin) and his trusted cameraman Don (Danny McBride) set out for an epic weekend adventure to reconnect with Buck’s young son (Montana Jordan). World Premiere.

Neurotic Quest for Serenity. Directors/Screenwriters: Paulinho Caruso and Teodoro Poppovic. Kika is going through a lot. She’s a famous actress. She has millions of fans. She’s about to star in a post apocalyptic soap opera. And she has obsessive compulsive disorder. Cast: Tatá Werneck, Vera Holtz, Bruno Gagliasso, and Daniel Furlan. North American Premiere.

Outside In. Director: Lynn Shelton. Screenwriters: Lynn Shelton and Jay Duplass. An ex-con struggling to readjust to life in his small town forms an intense bond with his former high-school teacher. Cast: Jay Duplass, Edie Falco, Kaitlyn Dever, and Ben Schwartz. U.S. Premiere.

Support the Girls. Director/Screenwriter: Andrew Bujalski. The general manager at a highway-side ‘breastaurant’ has her incurable optimism and faith—in her girls, her customers, and herself—tested over the course of a long, strange day. Cast: fRegina Hall, Haley Lu Richardson, Shayna McHale, James LeGros, Dylan Gelula, AJ Michalka, Brooklyn Decker, Lea DeLaria, Jana Kramer, and John Elvis. World Premiere.

Unlovable. Director: Suzi Yoonessi. Screenwriters: Mark Duplass, Sarah Adina Smith, and Charlene deGuzman. A sex- and love-addicted woman learns what real intimacy is when she starts making music with a reclusive man. Cast: Charlene deGuzman, John Hawkes, Melissa Leo, Paul James, Ellen Geer, and Gigette Reyes. World Premiere.

A Vigilante. Director/Screenwriter: Sarah Daggar Nickson. A once abused woman, Sadie (Olivia Wilde), devotes herself to ridding victims of their domestic abusers while hunting down the husband she must kill to truly be free. Cast: Olivia Wilde, Morgan Spector, Kyle Catlett, CJ Wilson, Tonye Patano, Chuck Cooper, Betsy Aidem, and Jusy Marte. World Premiere.

Who We Are Now. Director/Screenwriter: Matthew Newton. Beth, recently released from prison, tries to get custody of her son again and find her way back into the outside world, along the way realizing who she is isn't about where she’s been, it’s about where she's going. Cast: Julianne Nicholson, Emma Roberts, Zachary Quinto, Jess Weixler, Jimmy Smits, Jason Biggs, Lea Thompson, Scott Cohen, Octavia Chavez-Richmond, and J. Mallory McCree. U.S. Premiere.

Wild Nights With Emily. Director/Screenwriter: Madeleine Olnek. Molly Shannon plays Emily Dickinson in Wild Nights With Emily, a humorous drama. This independent film explores her vivacious, irreverent side that was covered up for years—most notably Emily’s lifelong romantic relationship with another woman. Cast: Molly Shannon, Amy Seimetz, Susan Ziegler, Brett Gelman, Jackie Monahan, Kevin Seal, Dana Melanie, Sasha Frolova, Lisa Haas, and Al Sutton. World Premiere.

Wildling. Director: Fritz Bohm. Screenwriters: Fritz Bohm and Florian Eder. A blossoming teenager uncovers the dark secret behind her traumatic childhood. Cast: Bel Powley, Brad Dourif, Liv Tyler, Collin Kelly-Sordelet, James Le Gros, Troy Ruptash, Arlo Mertz, and Aviva Winick. World Premiere.

You Can Choose Your Family. Director: Miranda Bailey. Screenwriter: Glen Lakin. A seventeen-year-old boy blackmails his father after discovering his secret second family. Cast: Jim Gaffigan, Logan Miller, Anna Gunn, Samantha Mathis, Alex Karpovsky, Hayes MacArthur, and Michelle Hurd. World Premiere.


Agave: The Spirit of a Nation. Directors: Nicholas Kovacic and Matthew Riggieri. Screenwriter: Chantal Martineau. In Mexico, families have passed down the tradition of distilling agave for generations and now, this once obscure Mexican drink is everywhere. Discover, how one delicate plant has carried the weight of a nation and the people trying to protect it. World Premiere.

Ali & Cavett: The Tale of the Tapes. Director: Robert Bader. Screenwriters: Robert S. Bader and Dick Cavett. The life and times of Muhammed Ali shown through the lens of his numerous appearances on The Dick Cavett Show. The film features new interviews with Dick Cavett, Rev. Al Sharpton, and Larry Merchant, as well as archival material from the Cavett Show. World Premiere.

Alt-Right: Age of Rage. Director/Screenwriter: Adam Bhala Lough. In the first year of Trump’s presidency, Daryle Lamont Jenkins, an Antifa activist, combats the rise of the Alt-Right movement, while Richard Spencer, an Alt-Right leader, fights to gain ground, culminating in a tragic showdown in Charlottesville. World Premiere.

The Bill Murray Stories: Life Lessons Learned from a Mythical Man. Director: Tommy Avallone. Screenwriters: Tommy Avallone and Max Paolucci. One man's journey to find meaning in Bill Murray's many unexpected adventures with everyday people, rare and never-before seen footage of the comedic icon participating in stories previously presumed to be urban legend. World Premiere.

Brewmaster. Director/Screenwriter: Douglas Tirola. Brewmaster follows a young ambitious New York lawyer who struggles to chase his American dream of becoming a brewmaster and a Milwaukee-based professional beer educator, as he attempts to become a Master Cicerone. World Premiere.

Daughters of the Sexual Revolution: The Untold Story of the Dallas Cowboys Cheerleaders. Director: Dana Adam Shapiro. Daughters of the Sexual Revolution is the never-before-told story of Suzanne Mitchell, the fiercely-loyal den mother of the original Dallas Cowboys Cheerleaders. World Premiere.

The Dawn Wall. Directors: Josh Lowell and Peter Mortimer. Legendary free climber Tommy Caldwell tries to get over heartbreak by scaling 3000ft of an impossible rock face: The Dawn Wall of El Capitan. North American Premiere.

From All Corners. Director: Ryusuke Okajima. Fuyuki Shimazu, the cardboard picker and artist, creates wallets made from used cardboard which he picks up from twenty-five countries. His wallets travel around the world to advocate the concept of “upcycling” which is the mind beyond recycling or re-use. World Premiere.

Getting Over. Director/Screenwriter: Jason Charnick. A man discovers a box of interviews with his father, a lifelong heroin addict who died of AIDS in 1997. What he finds will uncover generations of family secrets, forcing him to redefine his own past, doubt his present, and question his future. World Premiere.

Nossa Chape. Directors/Screenwriters: Jeff Zimbalist and Michael Zimbalist. Nossa Chape tracks the rebuilding of the Chapecoense football club in Brazil after an airplane carrying the team crashed on November 28th, 2016, and left all but three of the players dead. World Premiere.

Operation Odessa. Director: Tiller Russell. The stranger-than-fiction true story of a Russian mobster, a Miami playboy, and a Cuban spy who teamed up in the early 90’s to sell a Soviet submarine to the Cali Carte. World Premiere.

Take Your Pills. Director: Alison Klayman. Every era gets the drug it deserves. In America today, where competition is ceaseless from school to the workforce and everyone wants a performance edge, Adderall and other prescription stimulants are the defining drugs of this generation. World Premiere.

Time Trial. Director: Finlay Pretsell. Time Trial takes us into the final races of cyclist David Millar’s career, leading to his last encounter with the Tour de France. The film reveals how the human spirit is driven by forces deeper than success and glory. North American Premiere.


1985. Director/Screenwriter: Yen Tan. A young man goes home for the holidays and struggles to reveal a distressing secret to his loved ones. Cast: Cory Michael Smith, Virginia Madsen, Michael Chiklis, Jamie Chung, Aidan Langford, and Ryan Piers Williams. World Premiere. Image at the top: Cory Michael Smith as Adrian. Photo: Dutch All.

Don’t Leave Home. Director/Screenwriter: Michael Tully. An American artist’s obsession with a disturbing urban legend leads her to an investigation of the story’s origins at the crumbling estate of a reclusive painter in Ireland. Cast: Anna Margaret Hollyman, Lalor Roddy, Helena Bereen, David McSavage, and Karrie Cox. World Premiere.

Elizabeth Harvest. Director/Screenwriter: Sebastian Gutierrez. Elizabeth Harvest is a science fiction reimagining of the French folktale of Bluebeard, in which a violent nobleman in the habit of murdering his wives is confronted by a new wife trying to avoid the fate of her predecessors. Cast: Abbey Lee, Ciaran Hinds, Carla Gugino, Matthew Beard, and Dylan Baker. World Premiere.

Friday's Child. Director/Screenwriter: A.J. Edwards. Fresh out of foster care at age 18, a young drifter turns to petty crime to survive, and discovers an impossible love in an unlikely friend. Cast: Tye Sheridan, Imogen Poots, Jeffrey Wright, and Caleb Landry Jones. World Premiere.

Meow Wolf: Origin Story. Directors: Morgan Capps and Jilann Spitzmiller. Screenwriters: Jilann Spitzmiller, Morgan Capps, and Christina Procter. A group of artists, punks, and weirdos create a subversive DIY collective to disrupt the art establishment in Santa Fe, NM, which in the face of internal turmoil evolves into a cultural phenomenon on the path to becoming a global creative empire. World Premiere.

More Human Than Human. Directors: Tommy Pallotta and Femke Wolting. More Human Than Human explores what it means to live in the age of intelligent machines. During this quest, the filmmaker finds out how much of his creativity and human values are at stake as he builds his own robot to replace himself as a filmmaker. World Premiere.

Perfect Director: Eddie Alcazar. Screenwriter: Ted Kupper. A young man with a violent past enters a mysterious clinic where the patients wildly transform their bodies and minds using genetic engineering. Cast: Garrett Wareing, Courtney Eaton, Tao Okamoto, Maurice Compte, Abbie Cornish, Martin Sensmeier, Sarah McDaniel, Chris Santos, Leonardo Nam, and Regan “Busdriver” Farquhar. World Premiere.

Pet Names. Director: Carol Brandt. Screenwriter: Meredith Johnston. When her ill mother urges her to take a vacation from her caretaking, grad-school-dropout Leigh invites her ex along on the camping trip. The two soon find that confronting old wounds during a weekend in the woods is anything but restful. Cast: Meredith Johnston, Rene Cruz, Stacy Parish, Chelsea Norment, Jake Bradley, Lilliana Winkworth, and Christina Seo. World Premiere.

Profile. Director: Timur Bekmambetov. Screenwriters: Britt Poulton, Timur Bekmambetov, and Olga Kharina. Looking to investigate recruitment techniques of ISIS to lure women into Syria, Amy Whitaker, a journalist, creates a Facebook profile of a Muslim convert. When an ISIS recruiter contacts her online character, she experiences the process first hand. Cast: Valene Kane, Shazad Latif, Christine Adams, Morgan Watkins, and Amir Rahimzadeh. North American Premiere.

Prospect. Directors/Screenwriters: Zeek Earl and Chris Caldwell. A teenage girl and her father travel to a remote moon on the hunt for elusive riches. But there are others roving the moon's toxic forest and the job quickly devolves into a desperate fight to escape. Cast: Sophie Thatcher, Pedro Pascal, Jay Duplass, Andre Royo, Sheila Vand, and Anwan Glover. World Premiere.

Relaxer. Director/Screenwriter: Joel Potrykus. Y2K is approaching fast, but Abbie can't get off the couch until he beats an unbeatable level on Pac-Man. Cast: Joshua Burge, David Dastmalchian, Andre Hyland, Adina Howard, and Amari Cheatom. World Premiere.

Rukus. Director: Brett Hanover. Screenwriters: Brett Hanover, Alanna Stewart, and Rukus. A hybrid of documentary and fiction, Rukus is a queer coming-of-age story set in the liminal spaces of furry conventions, southern punk houses, and virtual worlds.

Thy Kingdom Come. Director: Eugene Richards. A cancer patient mad at God; a Klansman seeking redemption; a mother blamed for her baby’s death; an elderly woman never not in love; a priest who doesn’t pass judgment, who listens: Interwoven, unscripted stories of life in a small mid-America town. Cast: Javier Bardem, Callie Eldred, Tasia Moore, Joshua Collins, Adam Watters, Samantha Jo Chism Watters, Melvin Kemp, Melvin Cook, Kathryn Von Glahn, and Eric Eudy. World Premiere.

Wild Honey Pie! Director/Screenwriter: Jamie Adams. Gillian and Oliver have reached the Seven Year Itch moment in their Marriage, being of the melodramatic persuasion they itch till their relationship bleeds! Cast: Jemima Kirke, Alice Lowe, Sarah Solemani, Brett Goldstein, Joanna Scanlon, Richard Elis, Dan Clark, and William Thomas. World Premiere.

Wobble Palace. Director: Eugene Kotlyarenko. Screenwriters: Story by Dasha Nekrasova and Eugene Kotlyarenko. A week before the 2016 election, a couple on the verge of a nervous break-up decide to split their home over the weekend and test the waters of independence. Cast: Dasha Nekrasova, Eugene Kotlyarenko, Jack Kilmer, Paige Elkington, Caroline Hebert, Casey Jane Ellison, Vishwam Velandy, Janiva Ellis, Kim Ye, and Elisha Drons. World Premiere.


Barry. Director: Bill Hader. Screenwriters: Alec Berg and Bill Hader. Barry features Bill Hader as a low-rent hitman from the Midwest. Lonely and dissatisfied in his life he begrudgingly travels to Los Angeles to kill someone and ends up finding an accepting community in a group of eager hopefuls within the LA theater scene. Cast: Bill Hader, Henry Winkler, Stephen Root, Sarah Goldberg, Glenn Fleshler, and Anthony Carrigan. World Premiere.

Condor. Directors: Lawrence Trilling and Andrew McCarthy. Screenwriters: Jason Smilovic and Todd Katzberg. Inspired by Paramount’s Sydney Pollack 1975 political thriller Three Days of the Condor. Condor follows Joe Turner (Max Irons), a young CIA analyst whose idealism is tested when he stumbles onto a terrible plan that threatens millions of lives. Cast: Max Irons, William Hurt, Leem Lubany, Mira Sorvino, Brendan Fraser, Bob Balaban, Angel Bonnani, Katherine Cunningham, Christina Moses, and Kristen Hager. World Premiere.

Krypton. Directors: Colm McCarthy and Ciaran Donnelly. Screenwriters: Cameron Welsh, Damian Kindler, and David S. Goyer. Story by David S. Goyer and Ian Goldberg. What if Superman had never existed? Seg-El, Superman’s grandfather, is faced with a conflict: Save Krypton? Or let it be destroyed in order to secure the future of his grandson-to-be? Cast: Cameron Cuffe, Georgina Campbell, Elliot Cowan, Ann Ogbomo, Aaron Pierre, Rasmus Hardiker, Wallis Day, Blake Ritson, Ian McElhinney, Shaun Sipos, and Colin Salmon. World Premiere.

The Last O.G. Director: Jordan Peele. Screenwriters: Jordan Peele and John Carcieri. The Last O.G. is a show about humanity, second chances and redemption. Morgan plays Tray an ex-con who is shocked to see just how much the world has changed when he returns to the free world after 15 years in prison. Cast: Tracy Morgan, Cedric the Entertainer, Allen Maldonado, Tiffany Haddish, Joel Marsh Garland, Gino Vento, Natalie Carter, Taylor Mosby, and Ryan Gaul. World Premiere.

Vida. Directors: Alonso Ruizpalacios and So Yong Kim. Vida is about two estranged Mexican-American sisters from the Eastside of Los Angeles who couldn't be more different. Circumstances force them to return home where they are confronted by the past and surprising truth about their mother's identity. Cast: Melissa Barrera, Mishel Prada, Ser Anzoategui, Chelsea Rendon, Carlos Miranda, and Maria Elena Laas. World Premiere.

Warriors of Liberty City. Directors: Evan Rosenfeld and Andrew Cohn. Warriors of Liberty City from showrunner Evan Rosenfeld follows a season with the Liberty City Warriors, a youth football program founded by an unlikely mentor: Luther Campbell, better known as Uncle Luke from 2 Live Crew. Cast: Luther “Uncle Luke” Campbell, Chad “Ochocinco” Johnson, Lavalrick Lucas, Jr., Lavalrick “Dread” Lucas, Sr. , George Harris, Jr. , George Harris, Sr., Barry Jenkins, Herbert Ritchie, Chatarius “Tutu” Atwell, Jr., Robert “Lamont” Beneby, Jr. World Premiere.


Blaze. Director: Ethan Hawke. Screenwriters: Ethan Hawke and Sybil Rosen. The story of an unsung country music legend who gave up paradise for the sake of a song. Cast: Benjamin Dickey, Alia Shawkat, Charlie Sexton, Josh Hamilton, Wyatt Russell, Jenn Lyon, Kris Kristofferson, Sam Rockwell, Steve Zahn, and Richard Linklater.

Elvis Presley the Searcher (Film 1 and 2). Director: Thom Zimny. The documentary focuses on Elvis Presley as a musical artist. It explores how he accumulated his influences, deconstructs why his sound and his style were so revolutionary and examines the creative and personal struggles that preceded his death. World Premiere.

Heavy Trip. Directors: Jukka Vidgren and Juuso Laatio. Screenwriters: Jukka Vidgren, Juuso Laatio, Aleksi Puranen, and Jari Olavi Rantala. A young man is trying to overcome his fears by leading the most unknown heavy metal band in to the hottest metal festival of Norway. The journey includes heavy metal, grave robbing, Viking heaven and an armed conflict between Finland and Norway. Cast: Johannes Holopainen, Minka Kuustonen, Max Ovaska, Antti Heikkinen, Samuli Jaskio, Chike Ohanwe, and Ville Tiihonen. World Premiere.

If I Leave Here Tomorrow: A Film About Lynyrd Skynyrd. Director: Stephen Kijak. The story of Lynyrd Skynyrd; The Greatest American Rock Band Ever. We fly beyond Free Bird to celebrate the life & times of leader Ronnie Van Zant, from boogie-woogie beginnings in Jacksonville’s Shantytown to a tragic end in a Mississippi swamp. World Premiere

Making the Grade. Director: Ken Wardrop. A feel-good musical journey of piano playing from absolute beginner through to accomplished pianist. North American Premiere.

Milford Graves Full Mantis. Directors: Jake Meginsky and Neil Young (Co-Director). Milford Graves Full Mantis weaves blistering performance footage from Europe, Japan, and the U.S. with a sublimely restrained, intimate glimpse into a world-renowned jazz percussionist’s singular voice and complex cosmology. World Premiere.

The Potential of Noise: Conny Plank. Directors: Stephan Plank and Reto Caduff. Screenwriters: Stephan Plank, Reto Caduff, and Zisak Riemann. A movie about Conny Plank, the famous German music producer. North American Premiere.

Rapture. Directors: Sacha Jenkins, Ben Selkow, Geeta Gandbhir, Steven Caple Jr., Marcus A. Clarke, and Gabriel Noble. Rapture showcases the definitive impact of hip hop on global culture. Over 8 episodes featuring Nas, Dave East, T.I., Rapsody, Logic, G-Eazy, A Boogie wit da Hoodie, 2 Chainz and Just Blaze. World Premiere.

Ruben Blades Is Not My Name. Director/Screenwriter: Abner Benaim. Ruben Blades Is Not My Name portrays one of Latin America´s most beloved singer-songwriters in a journey across his fifty-year career. In an intimate way, the film gives us a chance to get to know the artist, his music, and the stories behind them. World Premiere.

A Tuba to Cuba. Directors: T.G Herrington and Danny Clinch. Screenwriter: T.G Herrington. A son seeking to fulfill his late father’s dream takes his band from the storied city of New Orleans to the shores of Cuba, where—through the universal language of music—dark and ancient connections between their peoples reveal the roots of jazz. World Premiere.


A Little Wisdom. Director: Yuqi Kang. See the world through the eyes of five-year-old Tibetan novice monk Hopakuli and share in his joys and sorrows as he endures the rigors of monastic life. A Little Wisdom endeavors to tell a story of children who find happiness through religious life. North American Premiere.

Martyr. Director/Screenwriter: Mazen Khaled. A young man’s tragic death at Beirut's seaside causes his friends to grapple with loss and to partake in his community’s rites and ceremonies, exposing the city’s schisms and its society’s fault lines. Cast: Carol Abboud, Hamza Mekdad, Mostafa Fahs, Hady Bou Ayash, Rachad Nassereddine, Rabih el Zaher, and Raneem Mourad. North American Premiere.

Number 37. Director/Screenwriter: Nosioho Dumisa. Number 37 is the story of Randall, wheelchair bound, playing a cat and mouse game blackmailing a powerful criminal whilst evading a sadistic loan shark who will kill him and his girlfriend if his loan is not paid back by the end of the week. Cast: Irshaad Ally, Monique Rockman, Ephraim Gordon, David Manuel, Sandy Schultz, Deon Lotz, Danny Ross, Amrain Essop, Elton Landrew, and Jeff Moss. World Premiere.

Rush Hour. Director: Luciana Kaplan. Rush Hour is an intimate approach to personal stories of three commuters who spend hours of their lives going from home to work and back, reflection a common reality shared by billions of people. U.S. Premiere.

Team Hurricane. Director/Screenwriter: Annika Berg. Team Hurricane – Radical Girls in an Ordinary World is a punk chick flick that mixes documentary material with highly stylized fiction. Cast: Eja Penelope Roepstorff, Ida Glitre, Ira Rønnenfelt, Maja Leth Bang, Mathilde Linnea Daugaard Jensen, Mia My Elise Pedersen, Sara Morling, and Zara Munch Bjarnum. U.S. Premiere.

Theatre of War. Director/Screenwriter: Lola Arias. Theatre of War is an essay on how to represent war, performed by former enemies. British and Argentinian veterans of the Falklands war come together to discuss, rehearse and re-enact their memories 35 years after the conflict. U.S. Premiere.

Virus Tropical. Director: Santiago Caicedo. Born in a not-so-conventional family, Paola grows up between Ecuador and Colombia and finds herself unable to fit in any mold. With a unique feminine vision of the world, she will have to fight against prejudice and struggle for her independence. Cast: María Cecilia Sánchez, Alejandra Borrero, Diego León Hoyos, Martina Toro, Mara Gutiérrez, Camila Valenzuela, and María Parada.


American Animals. Director/Screenwriter: Bart Layton. The unbelievable but true story of four young men who mistake their lives for a movie and attempt one of the most audacious art heists in US history. Cast: Evan Peters, Barry Keoghan, Blake Jenner, Jared Abrahamson, Ann Dowd, and Udo Kier.

Chef Flynn. Director: Cameron Yates. Chef Flynn captures the coming of age of a prodigy chef, as he navigates a sea of sudden fame, bullying, and his mother’s camera.

Constructing Albert. Directors: Laura Collado and Jim Loomis. Screenwriter: Laura Collado. In the world of haute cuisine, the name Adrià is synonymous with creativity. Constructing Albert is a portrait of the younger brother Albert as he strives to establish his own reputation in the world of international haute cuisine after elBulli.

Damsel. Directors/Screenwriters: David Zellner and Nathan Zellner. An affluent pioneer ventures deep into the wilderness of the American West to join his fiancée. Cast: Robert Pattinson, Mia Wasikowska, David Zellner, Nathan Zellner, Robert Forster, and Joe Billingiere.

Eighth Grade. Director/Screenwriter: Bo Burnham. Thirteen-year-old Kayla endures the tidal wave of contemporary suburban adolescence as she makes her way through the last week of middle school—the end of her thus far disastrous eighth grade year—before she begins high school. Cast: Elsie Fisher, Josh Hamilton, Emily Robinson, and Jake Ryan.

First Reformed. Director/Screenwriter: Paul Schrader. The pastor of a small New England church (Ethan Hawke) spirals out of control after a soul-shaking encounter with an unstable environmental activist and his pregnant wife (Amanda Seyfried) in this taut, chilling thriller. Cast: Ethan Hawke, Amanda Seyfried, Cedric Kyles, Michael Gaston, Philip Ettinger, and Victoria Hill.

Generation Wealth. Director/Screenwriter: Lauren Greenfield. Simultaneously personal journey and historical essay, Lauren Greenfield’s latest documentary bears witness to the global boom–bust economy, the corrupted American Dream, and the human costs of late stage capitalism, narcissism, and greed.

Half the Picture. Director/Screenwriter: Amy Adrion. Half the Picture is a feature length documentary about the dismal number of women directors working in Hollywood, featuring top female directors sharing their experiences in the industry.

Lean on Pete. Director/Screenwriter: Andrew Haigh. From acclaimed filmmaker Andrew Haigh (Weekend; 45 Years), and based on the beloved novel by Willy Vlautin, comes Lean on Pete—a deeply moving story about love, loneliness, family, and friendship, told through the unique prism of one boy’s connection to a very special racehorse. Cast: Charlie Plummer, Chloë Sevigny, Steve Buscemi, and Travis Fimmel.

Narcissister Organ Player. Director/Screenwriter: Narcissister. This hybrid performance/documentary film explores how the artist's complex family history, in particular her relationship with her mother, compelled her to create the masked, erotic performance character Narcissister.

Never Goin’ Back. Director/Screenwriter: Augustine Frizzell. Jessie and Angela, high school dropouts, are taking a week off to chill at the beach. Too bad their house got robbed, rent's due, they're about to get fired and they're broke. Now to avoid eviction and get to the beach, no matter what! Cast: Maia Mitchell, Cami Morrone, Kyle Mooney, Joel Allen, Kendal Smith, Matthew Holcomb, Atheena Frizzell, Spencer Rayshon, Marcus Mauldin, and Liz Cardenas.

On Her Shoulders. Director: Alexandria Bombach. Nadia Murad is a twenty—three-year-old Yazidi survivor of genocide and sexual slavery by ISIS. Repeating her horrific story to politicians, the media, and the United Nations, she must navigate bureaucracy, politics and sudden fame to get the world to listen.

Pass Over. Director: Spike Lee. Screenwriter: Antoinette Nwandu. Academy Award nominee and Honorary Oscar winner Spike Lee captures the poetry, humor and humanity of this urgent and timely play about two young black men talking trash, passing the time, and dreaming of the promised land. A provocative riff on Waiting for Godot, Pass Over is written by newcomer Antoinette Nwandu. Cast: Jon Michael Hill, Julian Parker, Ryan Hallahan, and Blake DeLong,

The Rider. Director/Screenwriter: Chloé Zhao. After a tragic riding accident, a young cowboy, once a rising star of the rodeo circuit, is warned that his competition days are over. Back home, he struggles to find himself when he can no longer do what what gives him a sense of purpose. Cast: Brady Jandreau, Tim Jandreau, Lilly Jandreau, Lane Scott, and Cat Clifford.

Won’t You Be My Neighbor? Director: Morgan Neville. Won’t You Be My Neighbor? looks at children’s television host Mr. Rogers' hard-fought campaign to influence generations of kids and adults in the ways of kindness.


The Atomic Café. Directors: Kevin Rafferty, Jayne Loader, and Pierce Rafferty. A black comedy on the nuclear age, The Atomic Cafe opened in 1982 to worldwide critical and popular acclaim. In 2016, it was honored by the National Film Registry, Library of Congress, as “culturally, historically, or aesthetically significant.” World Premiere of the 4K digital restoration.

This Is Us. Director: Various. Everyone has a family. And every family has a story. This grounded, life-affirming dramedy reveals how the tiniest events in our lives impact who we become, and how the connections we share with each other can transcend time, distance and even death. Cast: Milo Ventimiglia, Mandy Moore, Chrissy Metz, Sterling K. Brown, and Justin Hartley. World Premiere.

For news and items of interest throughout the day, every day, follow @CriterionDaily.

from The Criterion Current

On the Channel: Introducing 10 Minutes or Less

No time for a whole movie? 10 Minutes or Less, a weekly updated selection of short videos featured right underneath the spotlight on the Criterion Channel on FilmStruck, makes it easy to dip in anytime and find a little something to watch. To give you a sense of what this new section offers, we’re sharing On the Nose, an investigation into one of Orson Welles’s favorite actorly aids: prosthetics. The piece, by visual effects artist Randall William Cook and critic and video essayist David Cairns, sniffs out the actor’s motivations for using “a false nose, usually as large as I can find,” to get into character for many of his most towering screen performances.

from The Criterion Current

PRIMA VISIONE: THE POST L'ultimo film di Steven Spielberg con Meryl Streep e Tom Hanks candidato a due Premi Oscar. Dal 1° febbraio. Guarda il trailer.

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Prima visione: 'Tre manifesti a Ebbing, Missouri'

Fino a mercoledì 7, in v.o. con sottotitoli, il tragicomico affresco americano firmato dall'anglo-irlandese Martin McDonagh, fresco candidato a 7 Premi Oscar.

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New UK Releases for January 2018


This month, we’re bringing two essential Criterion editions to the United Kingdom: Andrei Tarkovsky’s 1962 debut feature, Ivan’s Childhood, a haunting depiction of World War II through the eyes of a young boy; and Delmer Daves’s 1957 western 3:10 to Yuma, a psychologically probing tale of a cattle rancher hired to watch over a captured outlaw.

Head over to Amazon to check out our full list of UK releases.

from The Criterion Current

Cinenido - Visione disturbate

from Cineteca di Bologna
via Cinema Studi

Presentato il VII festival del Cinema Città di Spello ed i Borghi Umbri

Presentata la rassegna Concorso Le Professioni del Cinema, che parte con un'anteprima romana il 9 febbraio alla presenza del maestro Ennio Morricone.

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Submergence: Alicia Vikander e James McAvoy nel primo trailer del nuovo film di Wim Wenders

Sarà nei cinema americani dal prossimo 13 aprile.

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Cinecittà presenta il suo futuro e si prepara a omaggiare Fellini

Tornati in mano pubblica, i Cinecittà Studios si rilanciano.

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[The Daily] Awards: Skandies, Césars, and More


This year’s Skandies countdown has begun. Mike D’Angelo’s twenty-third annual survey of critics he knows and trusts is always one of most interesting of the many best-of-the-year lists to spend time with. There are nine categories, including best scene, which we often get to revisit as a clip, and each day, over period of twenty days, offers a new round. The countdown began on Monday with all the titles and names that have placed twentieth, for example; yesterday, nineteenth; and so it goes. What’s more, D’Angelo places each day’s results within the context of Skandies history.

“Robin Campillo’s BPM (Beats Per Minute), Albert Dupontel’s Au revoir là-haut, Mathieu Amalric’s Barbara, and Eric Toledano and Olivier Nakache’s C’est la Vie lead the nominations for the César Awards, France’s equivalent of the Oscars,” reports Variety’s Elsa Keslassy. Have a look at the breakdown by category at Movie On.

BPM has also scored with the French Union of Critics (Syndicat Français de la Critique de Cinéma), winning Best French Film of the Year, as Fabien Lemercier reports for Cineuropa, where he lists all of last night’s winners.

The British Academy of Film and Television Arts has announced that it’ll bestow its “highest accolade,” a Fellowship, to Ridley Scott at the BAFTA awards ceremony on February 18.

For news and items of interest throughout the day, every day, follow @CriterionDaily.

from The Criterion Current

C'est la vie e altre memorabili wedding comedy

Il nuovo film dei registi di Quasi amici, ambientato durante l'organizzazione e lo svolgimento di una festa di matrimonio, arriva al cinema il 1 febbraio.

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Il Prigioniero Coreano: in anteprima esclusiva il poster italiano del nuovo film di Kim Ki-duk

Lontanissimo dalle tinte forti dell'Isola o di Moebius, Il prigioniero coreano di Kim Ki-duk parla del presente, parla di una nazione divisa e in perenne stato di guerra, utilizzando - ovviamente a modo suo - la grammatica del thriller. Un autentico thriller dell'anima che la Tucker Film porterà nei cinema italiani il 12 aprile e che trova nell'interpretazione di Ryoo Seung-bum (The Berlin File) tutta la potenza espressiva di cui ha bisogno.

"Fai attenzione: oggi la corrente va verso Sud", lo avvisa una sentinella, ma a fare attenzione, a farne sempre molta, il pescatore Nam Chul-woo ci è abituato. Del resto, non puoi permetterti distrazioni quando abiti in un villaggio della Corea del Nord e ti muovi ogni giorno sulla linea di confine. Confine d'acqua, nel caso di Nam, ed è proprio l'acqua a tradirlo: una delle reti, infatti, si aggroviglia attorno all'elica della sua piccola barca, il motore si blocca e la corrente che «va verso Sud» trascina lentamente (inesorabilmente) il povero Nam in zona nemica...

Si apre così Il prigioniero coreano, l'atteso ritorno di Kim Ki-duk alla narrazione politica. Un dramma che sviluppa e moltiplica il tema del doppio, così com'è doppia la Corea, raccontando intensamente una grande storia collettiva attraverso la storia (l'innocenza) di un singolo individuo. Riuscirà Nam, dopo pressanti interrogatori, a convincere le forze di sicurezza sudcoreane di non essere una spia? Ma soprattutto: riuscirà Nam, dopo il proprio faticoso rilascio, a convincere il potere nordcoreano della propria integrità?

In attesa di scoprire il film al cinema, ve ne mostriamo, in anteprima esclusiva, il poster ufficiale italiano:

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[The Daily] Sundance 2018: Robert Greene’s Bisbee ’17


“Originality has never been a problem for documentarian Robert Greene, whose films Actress and Kate Plays Christine have freely crossed the lines between fly-on-the-wall realism and overt artificiality,” writes Noel Murray for the Week.Bisbee ’17 is Greene's masterwork. Shot during one Arizona town’s commemoration of an infamous 1917 labor dispute, the film combines reenactments of the deadly miners’ strike with the wry observations and deeply entrenched political opinions of the townsfolk and actors (some of whom are one and the same). Bisbee ’17 is about what divides Americans, then and now, and also about the ghosts that keep haunting us whenever we default to enmity rather than empathy.”

In the Los Angeles Times, Justin Chang notes that an end was put to the 1917 standoff in Bisbee when a thousand “striking German and Mexican miners were shipped off at gunpoint and left for dead in the New Mexico desert. Greene doesn’t just revisit this traumatic event; he reinhabits it, not only conducting interviews with the town’s present-day residents but also staging a dramatic re-creation of the deportation. It’s a completely rigged, artificial conceit that—as with so many of the completely rigged, artificial conceits in Greene’s work—turns out to be a surprisingly direct route to the truth.”

“In effect,” writes the New Yorker’s Ricard Brody, “Greene is impersonating a Hollywood filmmaker of historical dramas, a Steven Spielberg or an Edward Zwick, in order to film a documentary about the town of Bisbee today and the still-powerful traces of its stifled history—to film a behind-the-scenes and making-of documentary about a film that he would make if he were such a filmmaker. . . . With microcosms of microcosms and reflections of reflections, Greene offers a passionately ambitious, patiently empathetic mapping of modern times.”

Bisbee ’17 “hits a lot of my aesthetic sweet spots,” writes Filmmaker’s Vadim Rizov: “there are Gerry-esque walking shots for days, and the widescreen framing perfectly fits the expansive landscape tableau. Where Greene’s previous work purposefully set about muddling the boundaries between straight documentary and ambiguous staged narrative, here the lines are clear: observational footage on one hand, completely staged reenactments on the other, including musical numbers.”

“Greene’s aesthetics prove not only arresting, but in sync with his larger depiction of a community wracked by dissonance and in search of unique ways to come to terms with its heritage,” writes Nick Schager for Variety. “Lawrence Everson’s soundtrack is marked by anxiously strident strings and thudding foot-stomping beats. Jarred Alterman’s cinematography, generates unease from gliding pans and interview set-ups that begin before the speaker starts talking and end long after they’ve finished. It’s a formally dexterous portrait of a municipality and its people, using both drama and documentary filmmaking to look in the mirror, and—by finally seeing, and confronting, an ugly truth—discovering a measure of healing and solidarity.”

This is “a singularly American riff on The Act of Killing,” writes IndieWire’s David Ehrlich, “a fascinating and dream-like mosaic that’s less driven by residual anger than by cockeyed concern, less interested in exhuming the past than in revealing its value to the present.”

“Greene is not interested in streamlining anything,” writes Ben Umstead at ScreenAnarchy. “Just as he is with the residents of Bisbee, he is asking all of us to confront and challenge our notions of cinema, of story, of memory, both personal and collective, and of the very bone marrow of society itself.”

More from Jason Bailey (Flavorwire), Mike D’Angelo (57/100), David Fear (Rolling Stone), Victor Morton (Salt Lake City Weekly, 3/4), Daniel Schindel (Film Stage, B+), and Brian Tallerico (

Lauren Wissot interviews Greene for Filmmaker, where you’ll also find cinematographer Jarred Alterman talking about his experience: “Driving through the desert on our first scout, I realized how important the landscape was going to be for this picture. The psychedelic colors of the earth, the dramatic shifts of light and color temperature, turning mountains blue and sagauro cacti fluorescent green was awe inspiring (and terrifying.)”

Sundance 2018 Index. For news and items of interest throughout the day, every day, follow @CriterionDaily.

from The Criterion Current

Denzel Washington torna alla regia con A Journal For Jordan

L'attore torna dietro alla macchina da presa per raccontare una storia vera e un po’ triste.

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Oscar: L'Academy cambia le regole per l'edizione 2019

Ancora cambiamenti, stavolta riguardanti la promozione dei candidati.

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La passione di Cristo di Mel Gibson avrà un sequel

Lo conferma Jim Caviezel, che parla di un film straordinario e ambizioso.

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martedì 30 gennaio 2018

Emily Blunt raggiunge Dwayne Johnson in Jungle Cruise

La nuova Mary Poppins è sempre più inserita nel progetti futuri della Disney

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Il prequel de La notte del giudizio si intitolerà The First Purge

Annunciato con un'immagine che ricorda (volutamente) la campagna di Donald Trump il quarto film della saga che ci racconterà come nacque lo Sfogo.

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[The Daily] Rotterdam 2018: Jan Svankmajer’s Insect


“In what he describes as a ‘forward’ to this film, director Jan Svankmajer—talking straight to the camera and fluffing his lines repeatedly—admits that he doesn’t actually know what this, apparently his final picture, is about.” So begins Wendy Ide in Screen. “Insect, which was crowdfunded via Indiegogo, is the result of what the veteran animator and filmmaker describes as a process akin to ‘automatic writing,’ and brings a meta twist to the 1922 satirical work, The Insect Play, by the brothers Karel and Josef Capek.”

As Roberto Oggiano explains at Cineuropa, Insect “is a hybrid film that works on various levels: a theatrical company prepares a play with two endings—one is optimistic, the other is pessimistic, the making of the film and the making of the making of. . . . Every actor in the film plays three parts, and each actor is also an insect. No one is exempt from the continuous metamorphosis that we witness, while the film’s surrealism also has a palliative function, [even if] ridiculing power only serves to alleviate its crushing weight.”

“It’s not an adaptation of From the Life of the Insects [aka The Insect Play],” Svankmajer reiterates, talking to Martin Kudlac at Cineuropa. He’s “mentioned Franz Kafka mainly in terms of grasping the film imaginatively, contrary to the allegorical image conjured up by the Capek brothers. Metamorphosis occurs in the film when an actor embodies his or her character perfectly. I think the Capek brothers’ juvenile misanthropy is usable. They were attacked by critics at the time because of it, and they re-wrote the ending under pressure, eventually opting for a more optimistic outcome. I play on their meagerness in the film.”

For news and items of interest throughout the day, every day, follow @CriterionDaily.

from The Criterion Current

Mute: ecco il primo trailer del film di Duncan Jones con Alexander Skarsgård

Debutterà su Netflix il prossimo 23 febbraio.

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Jamie Lee Curtis twitta la prima foto dal set di Halloween!

L'attrice torna nel ruolo di Laurie Strode nel sequel del primo film e si mostra a fianco del regista David Gordon Green.

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Westfront 1918: War Is Hell


Georg Wilhelm Pabst (1885–1967) is one of the least appreciated of the early directors. His films are much better known than he is; despite the fact that he made at least eight pictures of major significance, there have been only two book-length studies of his work in English, both of them now out of print—compare this with the masses of text on his Weimar-cinema contemporaries Fritz Lang and F. W. Murnau. And yet he brought Greta Garbo to international fame in her second starring role (The Joyless Street, 1925), made a strange and evocative attempt to put Freud’s ideas into cinematic form (Secrets of a Soul, 1926), made Louise Brooks into an icon (with Pandora’s Box and Diary of a Lost Girl, both 1929), and directed a raucously effective adaptation of The Threepenny Opera in 1931 (although the play’s author and composer, Bertolt Brecht and Kurt Weill, both sued him for his trouble).

He also made The Love of Jeanne Ney (1927), which in its obsessive fascination with reflective surfaces is one of the most beautiful silent films—and which is also, thanks to its screenplay, one of the silliest. It’s hard to get a bead on Pabst. He made every sort of picture—fables, fantasies, historical reconstructions, spy thrillers, comedies, sex farces, literary adaptations, mountain sagas (he codirected the Leni Riefenstahl star vehicle The White Hell of Pitz Palu, 1929)—and worked in Germany, Austria, France, Italy, and even, briefly and bitterly, the United States (the widely derided A Modern Hero, 1934). Despite his international career, he made the fateful decision to return to the Axis states in 1938, ostensibly to take care of family business in Austria, which did not assist his reputation abroad (although he later tried to repair it by directing both the first Hitler-in-the-bunker drama, The Last Ten Days, and one of the first plot-against-Hitler movies, Jackboot Mutiny, both 1955).

Perhaps the trouble with Pabst was that he was a purely visual filmmaker. He was at his best in the silent era and made little of note after 1931. Even at his peak, he often seems to have given insufficient consideration to the quality of his screenplays, and by all accounts he was deaf to dialogue. He might be seen, therefore, as a directorial counterpart to those stars whose careers plummeted with the coming of sound, were it not for his first sound film, 1930’s Westfront 1918, along with 1931’s Kameradschaft (Comradeship), both of which employ the medium brilliantly. They use sound in ways that had no parallel at that time, in fact, since sound recorders on a set were then generally sealed in a booth, while Pabst insisted on using a mobile soundproof case; he and his colleagues also took an adventurous approach to verisimilitude in the sound editing. The results are often eerie: the blasts and the uncanny silence between them in Westfront 1918; the trapped miners frantically tapping on pipes in Kameradschaft. Pabst was fully in command of his senses; what he lacked, perhaps, was language.

Such was the pace of Pabst’s production that although Westfront 1918 and Kameradschaft were made in adjacent years, they were separated by The Threepenny Opera as well as a picture called Scandalous Eva. You could nevertheless see them as twins; if they were the only two films by Pabst you ever saw, you would have a fairly clear notion of his auteurial stamp: men in groups; societies in stress; tight, enclosed spaces; bitter, foolish, ordinary heroism. That he nevertheless doesn’t seem to have ever made another film quite like them further strengthens the idea that they are paired, one idea in two parts. One of them is a war picture, the other a mining-disaster story, but both involve the two warring sides of Germany and France. Since the war in question is the First World War, fought in the trenches, it follows that both films contain digging, explosions, buckling walls and collapsing ceilings, chest-deep pools of muddy water. Since the stories are about group efforts, the movies are ensemble productions and their actors are character players; these are not star vehicles. And they are action pictures: the dialogue is minimal and instrumental, and social relations are summarily accounted for, often wordlessly.

Westfront 1918 came out almost simultaneously with Lewis Milestone’s adaptation of Erich Maria Remarque’s novel All Quiet on the Western Front, which it resembles in many outward particulars: it is set on the German side; it focuses on a tight unit; it is structured so that a character’s furlough falls halfway through the film and separates everything into before and after; it kills or maims all its principals by the end. The differences between the two films, meanwhile, are instructive. Milestone’s picture, a huge international hit, had Hollywood financing and Hollywood equipment; its cast, including extras, ran to the hundreds, whereas that of Westfront 1918 is in the dozens. Furthermore, All Quiet serves up moral lessons and engages its characters in philosophical discussions. There are no discussions of much moment in Westfront 1918, and its only formulated message comes in its very last shot. And Pabst’s movie is much smaller-scale, having disturbed maybe a couple of acres of ground and demanded only three or four sets to be built, yet its setting is more viscerally credible than that of the Milestone picture, perhaps because it is that much more intimate. And, unlike a Hollywood movie rigged with moments of comedy and romance to appeal to the broadest swath of viewers, it does not let up for long from its bleak intensity of purpose.

That is to say, it includes both romance and comedy, although neither of them takes up much time or ends up being much fun. Westfront 1918 allows only fleeting instances of ordinary human emotion to point toward hope before summarily obliterating them. The major one of these emotions is fellowship—the film’s title could just as easily also be Kameradschaft. The unit’s composition follows the now-familiar principle, then perhaps in its infancy, of apparent ill assortment: thrown together by large impersonal forces, characters who might have been taken from all four corners of the potential audience find themselves drawn by battle into a bond that is nearly familial in its adhesive strength. Thus we have the wide-eyed student (Hans-Joachim Moebis), the crusty but good-hearted prole known as the Bavarian (Fritz Kampers, who appeared in more than 250 movies between 1913 and his death in 1950), the cleft-chinned unwilling hero Karl (Gustav Diessl, a Pabst standby), and the lieutenant (Claus Clausen), who struggles all through the picture to keep his agreeable, rubber-mouthed comedian’s face in a cast of Nordic severity. They each wear the outward signs of their dramatic and social rank, until such nuances are dissolved by the leveling imminence of death.

The characters’ four arcs proceed differently: The student loses his virginity both literally and, in the trenches, figuratively. Karl, the everyman who is accorded an actual name, is also accorded an actual, ongoing life—a spouse, a mother, and a Berlin apartment—outside the war, but the strain and privation of that life destroy him even before bullets finish him off. The Bavarian, who is perhaps a career grunt, needs no more than a song and a laugh to preserve his emotional balance in the midst of devastation, but that of course proves insufficient. The lieutenant, who for most of the picture appears to be less a person than a military rank, unleashes all his bottled-up humanity when he finally goes floridly to pieces at the close. None of their ends is explicitly foreshadowed, and yet we know early on that nothing will turn out well. Even before the student’s fate is sealed by his night of love, Pabst, to make doubly certain that we get it, has him walk past an improvised sawmill where soldiers are turning out wooden crosses for graves by the hundreds.

Westfront 1918 alternates fleeting pleasure with durable horror in a rhythm that gradually abbreviates the former and extends the latter. The strangest interlude occurs a bit past a third of the way through, when suddenly the picture takes leave of the action for an entire music-hall performance at the soldiers’ canteen, including a short-skirted chanteuse, musical clowns, and a military band, an extravaganza that occupies a mere seven minutes of screen time but feels much longer. None of this is presented to us from any particular point of view. We are simply there, in the audience, taking in the tawdry, cheerless professionalism of the routines as if the bit were a simple entr’acte, devoid of authorial signposting—as if we were soldiers who needed a break, whatever form that break might assume.

Death, when it arrives, is incidental and almost low-key. The claustrophobia of the trenches, with their rivers of mud and cascades of dirt; the intensity of the shelling, which might come from any direction (our heroes are besieged early on by friendly fire); the suddenness of the appearance of French helmets from over the top or from the rear—these are dramatic and unsettling but ultimately have nothing on the single rifle shot that arrives invisibly. The focus through most of the picture is relentlessly on the up-close and immediate, perhaps to counter the effects of the martial and patriotic rhetoric that by 1930 veiled official memory of the war in Germany. Pabst limits his forays into symbolism to the very end of Westfront 1918, when an improvised field hospital in a church supplies it all: a man who realizes he is blind, another man who finds that he has no legs, a toppled crucifix the Christ figure on which looks like all the other bodies, a collective admission of guilt voiced by one of the four leads, an invasion of the soundtrack by organ notes.

Westfront 1918 does a signal job of conveying the fear, monotony, dirt, and exhaustion of the trenches, the boredom and uncertainty so poisonous that men would risk their lives just to leave the holes in which they were stuck. The camera is stationary in the trenches but runs wobbling along the surface up top with the soldiers. You see the blackout at night and the whiteout in daytime, hear the unsettling clicks and whirs that fill the silences between blasts. The process takes its toll on the viewer, who has been accorded ninety-six grimly visceral minutes of the outward signs of war. What the movie does not do is take any larger view. The men at the front are being butchered on both sides; at home, the people starve. No one, apparently, is to blame. War is a natural disaster, an act of God, though perhaps it could be alleviated if only we learned to love one another.

Luc Sante’s most recent book is The Other Paris. He is also the author of Low Life and Kill All Your Darlings.

from The Criterion Current

Ant-Man And The Wasp: è arrivato il primo trailer in italiano

Anche se lo vedremo apparire in Avengers: Infinity War, al 25 aprile al cinema, il ritorno da protagonista di Ant Man nei cinema italiani è previsto tra 7 mesi, nel mese di agosto 2018. Ma già da oggi è posibile vedere le prime immagini del nuovo cinecomic con Paul Rudd nei panni del più piccolo dei supereoi Marvel.
Ecco, infatti, il primissimo trailer in italiano di Ant-Man and The Wasp.

Il sequel diretto nuovamente da Peyton Reed, vede tra i suoi altri protagonisti Michael Douglas (che ritorna nei panni del Dr. Hank Pym), Evangeline Lilly, in quelli di The Wasp, Michelle Pfeiffer, Walton Goggins, Judy Greer, Michael Peña e Laurence Fishburne.

Ecco la trama ufficiale del film:

Dall'universo cinematografico Marvel arriva Ant-Man and The Wasp, nuovo capitolo con protagonista l'eroe con la sorprendente capacità di rimpicciolirsi. Dopo le vicende di Captain America: Civil War, Scott Lang (Paul Rudd) deve affrontare le conseguenze della sua scelta di essere un supereroe ma anche un padre. Mentre si dà da fare per conciliare la sua vita famigliare con le sue responsabilità da Ant Man, deve confrontarsi con Hope van Dyne (Evangeline Lilly) e Dr. Hank Pym (Michael Douglas) su una nuova missione della massima urgenza. Scott deve indossare nuovamente la sua tuta, imparare a volare con The Wasp e insieme scoprire un segreto del loro passato.

Ecco il teaser trailer del film anche nella sua versione originale:

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Hereditary: ecco il trailer del film horror acclamato al Sundance da pubblico e critica

Si chiama Hereditary ed è un film horror diretto da Ari Aster che è stato presentato al Sundance che si è concluso da pochi giorni. Esattamente come avvenuto tre anni fa con The Witch, anche quello prodotto dalla A24, se ne parla come di un capolavoro del genere, di un horror che segnerà un'epoca e farà scuola.
Interpretato da  Toni Collette, Alex Wolff, Milly Shapiro, Ann Dowd e Gabriel Byrne, Hereditary racconta la storia di una donna che, con la sua famiglia, inizia a scoprire terrificanti segreti riguardanti la sua famigli dopo la morte della madre. Quelli della A24 hanno deciso di diffondere in fretta un trailer che, secondo noi, fa sperare assai bene per tutto il film. Reggetevi forte.

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Crank, il regista Brian Taylor sogna un terzo capitolo o addirittura uno universe

Brian Taylor spiega perché non abbiamo ancora rivisto Jason Statham in un terzo scatenato episodio della serie.

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La forma dell'acqua - The Shape of Water: con Guillermo del Toro sul set del film

Il film candidato a 13 Pemi Oscar sarà nelle nostre sale a partire dal 14 febbraio.

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[The Daily] Interviews: PTA and DDL and More


With Phantom Thread opening in the UK on Friday, Screen’s Andreas Wiseman gets Daniel Day-Lewis talking about working with Paul Thomas Anderson. “There’s nothing mad you can do that he won’t encourage you to be madder. I love that. You are always so close to the line of chaos, which you have to be for it to be alive. There’s so much misunderstanding about preparation. You prepare for a long time, of course, if you are lucky, but the only reason you prepare is so that you don’t have a clue what you’re doing when you start, and to have the confidence not to have a clue what’s going to happen. I think Paul loves that element of risk.”

Talking to Anderson for Little White Lies, Adam Woodward brings up Day-Lewis’s retirement. “My take is just to embrace whatever it is he feels he needs to do,” says Anderson, “but I’d be lying if I said I didn’t secretly have something in the back of my mind hoping that we’ll do something else together.” As for himself, “I fucking love doing this. I can’t see myself losing that love. I feel so fulfilled by it. There’s only two places I want to be and that’s with my family or making a movie.”

Earlier this month, Anderson went on “an online publicity tour, dropping into Reddit for an AMA” and “fielding Twitter questions under the #AskPTA hashtag, and generally giving ordinary moviegoers a chance to ask one of the most obsessively studied American filmmakers of his generation whatever they want,” wrote Ignatiy Vishnevetsky at the A.V. Club, noting that “there are some minor insights scattered throughout Anderson’s terse, good-sport answers, from his favorite characters in his own films (Magnolia’s Claudia Wilson Gator and Jim Kurring, Punch-Drunk Love’s Barry Egan, The Master’s Freddie Quell and Peggy Dodd) to his preferred lenses for close-ups (between 50 mm and 85 mm with spherical lenses, either a 75 mm or a 100 mm with anamorphics) to his memories of the young David Foster Wallace, who was Anderson’s English professor before he found fame as a writer. (‘He looked at us like we were all failing him . . . sweetly.’).”


The Guardian’s launched a new podcast, The Start, in which artists discuss their beginnings. The first guest is Sofia Coppola, who talks about her debut feature, The Virgin Suicides (1999): “I remember my Dad telling me that your movie’s never as good as the dailies—everything shot that day—and never as terrible as the first rough cut. When I saw the first rough cut, I thought: ‘Oh no, this is terrible, what have I done? I’ve talked all these people into letting me make a movie and it’s terrible.’ Then, little by little, we pieced it together and made it into a film.”

Earlier this month, John Boorman turned eighty-five, and for Little White Lies, Matt Thrift talks with him about working with Lee Marvin on Point Blank (1967), with Toshiro Mifune on Hell in the Pacific (1968), and with Marcello Mastroianni on Leo the Last (1970), about making Deliverance (1972), his friendship with Stanley Kubrick (“He was so cut off”), and about why Excalibur (1981) resonates with him so deeply and personally.

“This year, two of the finest performances by women were not recognized in many of the awards shows at all,” Meryl Streep tells Tribeca’s Matthew Eng, “and either of them merited walking away with every prize out there: Annette Bening in Film Stars Don't Die in Liverpool and Cynthia Nixon in A Quiet Passion. Incomparable performances, right up there with the ones that are winning everything. Sometimes momentum trumps everything, and life and show business are never entirely fair.”

Quincy Jones’s life has been “punctuated by so many disparate encounters and achievements and circumstances that it is hard to believe they are the experiences of a single man,” writes Chris Heath at the top of his interview for GQ. “There is a lot of talking to do. . . . He tells me about all the celebrations planned for his eighty-fifth year: a Netflix documentary, a prospective ten-part TV biopic he hopes will star Donald Glover, a star-studded TV event on CBS that he tells me Oprah will host.” But first, a look back. To breakfasts with Miles Davis, Frank Sinatra’s pasta, downthumbing Spielberg’s first prototype for E.T., dinners with Elon Musk, and that’s before the conversation turns to music.

“I love South Park,” legendary producer Norman Lear tells Vulture’s Matt Zoller Seitz, who, hearing this from “one of the most important sitcom creators in TV history,” seems a bit surprised: “Those guys are kind of libertarian anarchists with some reactionary tendencies,” says Seitz. “Politically, it’s diametrically opposed to what you believe.” Lear: “It’s doing what All in the Family did in the sense that it’s letting characters express these inappropriate thoughts that people can then argue about.”

Maureen Ryan introduces a roundtable for Variety: “On a sunny day in Beverly Hills almost exactly a decade after the show’s debut, Breaking Bad creator Vince Gilligan met up with Peter Gould, Thomas Schnauz, Moira Walley-Beckett, Sam Catlin, George Mastras and Gennifer Hutchison, the core team of writers who cooked up the saga of Walt, Jesse and their memorable friends, families and criminal associates. During an hour-long conversation, they shared memories of the show’s early days, its characters’ intense journeys and how it all came together in that spectacular final season.” And the conversation’s laced with video clips.

“I remember reading this classic phrase, ‘after all, the human brain is just a computer made of meat,’” Don Hertzfeldt tells Sonia Shechet Epstein at Sloan Science & Film, “and whether or not that’s even remotely accurate, it’s spooky and interesting enough to have really stuck with me over the years. So much of World of Tomorrow is that one little weird theory, and a few others, taken to really over-the-top places. Non-fiction is usually where I find the best little threads of inspiration like that–you don’t need very much.”

Directed by Paul Thomas Anderson

Charlotte Rampling tells Screen’s Geoffrey Macnab that her experiences working with Luchino Visconti and Woody Allen were quite positive—and that she’s still proud of her work on Liliana Cavani’s The Night Porter (1974), a film of “great beauty” and a “tortured, strange, decadent love story.”

“When I was younger, I’d made fewer films but I had a lot of advice to give other people,” Paolo Sorrentino tells Bénédicte Prot at Cineuropa. “Now that I’ve made more films, I’m less certain. Over time, you have more of a desire to make films than to talk about them.”

“I was on an airplane and Ethan [Coen] was sitting behind me,” Michael Shannon tells Anna Peele in GQ. “He said, ‘What are you doing here?’ And I said, ‘I’m shooting Waco.’ And he’s like, ‘And playing Koresh?’ I’m like, ‘Damn! Why does everybody always ask me if I’m playing Koresh?’ I forgot for a second I was talking to Ethan Coen.” Peele: “Waco is launching the Paramount Network. Do you care about stuff like that?” Shannon: “Yes. I hope to launch several networks before I die. Look what it did for Rupert Murdoch.”

“Everything I am doing creatively right now seems to point to the awareness of a lack of self,” Jim Carrey tells Rüdiger Sturm at the Talks. “What are we? Why are we here? And the answer to both of those questions is: nothing, no reason, as far as I am concerned.”

For the New York Times, Michael Cooper talks with Jane Birkin about living and working with Serge Gainsbourg and singing the songs he wrote for her even after she’d left him.

In the third and final part of their conversation at Vague Visages, Adam Nayman, talking with Manuela Lazic, brings up the question of “whether or not a critic’s role is to ‘solve’ works—to use writing as a skeleton key to open them up and then, after taking inventory, lock the door behind us.” But “it seems like a contradiction that the things I love most about cinema—sensations of being unnerved, surprised, made helpless, manipulated, taken out of one’s own immediate reality—are the same ones I’m compelled to try to ‘explain’ in my own work, out of respect, of course, for the intelligent design that went into generating them.”

FilmStruck has six questions for Justine Bateman: “I was really weaned on metaphor-heavy, conceptual films and honestly, it’s the only type of film I truly enjoy watching.”

“What Secret Cinema really represents for me is an exploration of how we can use storytelling as a way of reimagining reality.” Fabien Riggall is the founder and creative director of Secret Cinema, and Lucy Marx has interviewed him for Bright Lights Film Journal.


On the new episode of The Director’s Cut, Michael Mann (Heat, Blackhat) talks with Ridley Scott about All the Money in the World (36’16”).

WTF host Marc Maron gets Rita Moreno talking “about the ups and downs of her seventy-year career as a singer, dancer, and actor, from the highs of working with people like Jack Nicholson and Gene Kelly to the lows of racial typecasting and sexual harassment. They also talk about relief work in Puerto Rico and why Norman Lear's reboot of One Day at a Time is Rita's dream project.” (73’12”).

We’ve got two episodes of Filmwax Radio to catch up with. On the first (77’50”), Adam Schartoff talks with Mark Webber and his mother, Cheri Honkala, about the film he directed and she features in, Flesh and Blood; and with Joe Purdy and Amber Rubarth, singer-songwriters who appear in David Heinz’s American Folk. And on the second (58’19”), Schartoff spends the entire hour with Henry Jaglom.

On the new episode of Supporting Characters (129’31”), Bill Ackerman talks with Maitland McDonagh, author of Broken Mirrors/Broken Minds: The Dark Dreams of Dario Argento and founder of 120 Days Books.

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from The Criterion Current