• Ivan_fg0_large

    • At Cannes, discussing her efforts at “awakening the need in men to talk about the feminine,” Juliette Binoche says she once phoned up director Olivier Assayas to talk to him about it. “You’re a lover of Bergman, who thought about women in the most beautiful ways. Why don’t you write for women?” she asked him. “And he did. That’s why we made Sils Maria.
    • A look at the career of title designer and filmmaker Elaine Bass
    • Injustice for All, a column at the Quietus that reappraises on underrated films, takes on Liliana Cavani’s 2002 adaptation of Patricia Highsmith’s Ripley’s Game, recommended to “anyone with a yen for the fun that Highsmith mines from Ripley's giddy sociopathy.”
    • For Artforum, Jonathan Rosenbaum writes about the life and legacy of Jacques Rivette, whose work, he writes, pivoted between the collectivity of production and the solitude of writing and editing. “Each of Rivette’s films proposed a somewhat different method for arriving at this dialectical combination of elements,” he writes, “but it’s hardly coincidental that the twin themes of togetherness and solitude are what invariably emerged from the alchemy.”
    • Analyzing the curious “transparency” of Mike Nichols’s direction
    • Werner Herzog’s $90, five-part online filmmaking seminar promises cinema lessons that will “save you from personally having to drag a ship over a mountain in the Amazon, or go to Antarctica in the freezing cold, or save 200 hundred monkeys from being shipped out of Peru.”
    • Revisiting Fritz Lang’s compassion for “figure[s] of doom,” as exemplified by Lang’s 1921 film Destiny, now screening in a new 2K restoration at Film Forum
    • Salman Rushdie talks about going to the movies in an interview streaming at Literary Hub. “It’s hard now,” he says, “to explain to people what it felt like when this week’s new movie was Pierrot le fou, by Godard. And how in the week that followed that there would be a new movie by Fellini, and in the week after that, a new movie by Kurosawa. And the week after that a new Ingmar Bergman movie. And the week after that the new Buñuel movie. And these films that we now think of as the great classics of world cinema were the new movies.”
    • As an entry point to the work of Russian filmmaker Andrei Tarkovsky, The Guardian recommends his 1962 debut feature, Ivan’s Childhood, which “stands among the greatest directorial debuts ever made” and is emblematic of the “short, ecstatic decade [when] Soviet film-making set the pace for the rest of the world.” Below, a trailer for Sculpting Time, a new UK-touring Tarkovsky retrospective:

7 comments

  • By thevoid99
    May 20, 2016
    07:54 PM

    Andrei Tarkovsky, a true artist.
    Reply
  • By David Hollingsworth
    May 20, 2016
    11:01 PM

    Tarkovsky, a true master of Cinema.
    Reply
  • By GregoryT
    May 21, 2016
    11:04 AM

    Tarkovsky, the truest artist of all cinema masters.
    Reply
  • By Alex D.
    May 21, 2016
    12:36 PM

    Tarkovsky seven films newly restored!!! This just made my year :) The master of all.
    Reply
    • By Scott B.
      May 21, 2016
      01:38 PM

      Is Criterion releasing a retrospective on Andrei Tarkovsky,or just restoring the seven movies that was written in your post?If they are not releasing a retrospective,which seven movies are you referring to?
  • By James L. Flaherty
    May 24, 2016
    12:17 PM

    Criterion, please get your hands on Tarkovsky's restored films and free us all from Kino's hideous editions.
    Reply
    • By mattheweg
      May 25, 2016
      09:37 AM

      I've never agreed with a comment more than this.