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    • In remembrance of the late, great David Bowie, Sight & Sound examines the icon’s connection to cinema. Apart from his on-screen appearances, the influence of film manifests in everything from his groundbreaking videos and “widescreen” musical arrangements to references in his lyrics.
    • In another piece about the intersection of film and music, Ehsan Khoshbakht recalls coming into possession of a Bill Evans mix CD made by Chris Marker.
    • Over on his blog at MUBI Notebook, Locarno Film Festival artistic director Carlo Chatrian explains how Gene Tierney embodied “a new kind of woman emerging in the movies in the 1940s. A woman who seizes her prey with her eyes and not with words, tempting men to become hunters.”
    • For Film Comment, Yonca Talu chats with cinematographer Vittorio Storaro about the “musical and painterly possibilities of moving images” and his work on films by Woody Allen, Bernardo Bertolucci, and Carlos Saura.
    • On the occasion of a new restoration, Michael Sragow explores the “tragicomic merry-go-round” of playwright-turned-filmmaker Marcel Pagnol’s Marseille Trilogy.
    • For more repertory coverage, read the Village Voice’s survey of Inventing Downtown, Anthology Film Archives’ spotlight on the experimentation of New York filmmakers “who grew tired of waiting to be anointed by the cultural gatekeepers uptown.”
    • In the New York Times, Amanda Hess explores how the depiction of sexual violence in certain contemporary films and TV shows can lure audiences “in to more complex and intriguing examinations of rape’s psychological consequences.”
    • On the heels of her Golden Globe win for Paul Verhoeven’s Elle, Isabelle Huppert gets profiled in this week’s New York magazine, which describes her as “the most self-actualized human being in the world.”
    • Speaking of iconic actresses, Vanity Fair has just published a selection of photos of Carrie Fisher and Debbie Reynolds from the 1960s, accompanied by a tribute from photojournalist Larry Schiller.
    • Allison Anders, a self-proclaimed “sucker for anything evoking the style of that vague transition between the sixties and seventies,” calls The Love Witch filmmaker Anna Biller “one of the most exciting directors in decades.”
    • At Artforum, Howard Hampton writes on the “mazy purgatory of socialized entropy, Catholic hypocrisy, and primal malevolence” in Luis Buñuel’s The Exterminating Angel.

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