Following yesterday’s news that David Cronenberg will be heading up the International Jury at the Neuchâtel International Fantastic Film Festival in July, the Venice International Film Festival has announced that Cronenberg will receive the Golden Lion for Lifetime Achievement for directors during its seventy-fifth edition running from August 29 through September 8. Says Cronenberg: “I’ve always loved the Golden Lion of Venice. A lion that flies on golden wings—that’s the essence of art, isn’t it? The essence of cinema. It will be almost unbearably thrilling to receive a Golden Lion of my own.”
Sundance London, running from May 31 through June 3, has announced its lineup, and Deadline’s Andreas Wiseman notes that “seven out of the eleven films showing at the festival are directed by women.” The selection:
- Amy Adrion’s Half the Picture
- Desiree Akhavan’s The Miseducation of Cameron Post
- Ari Aster’s Hereditary
- Bo Burnham’s Eighth Grade
- Idris Elba’s Yardie
- Jennifer Fox’s The Tale
- Augustine Frizzel’s Never Goin’ Back
- Debra Granik’s Winer’s Leave No Trace
- Lauren Greenfield’s Generation Wealth
- Jim Hosking’s An Evening with Beverly Luff Linn
- Crystal Moselle’s Skate Kitchen
More Goings On
First, check back every now and then on the entry on Lucrecia Martel as she makes her way across the country.
New York. In the run-up to tomorrow’s release of The Devil and Father Amorth, the Metrograph will screen four films by William Friedkin—The Exorcist (1973), Sorcerer (1977), To Live and Die in L.A. (1985), and Killer Joe (2011)—from today through Monday. “What’s immediately clear from this mini-retro is that Friedkin’s legacy is, and always will be, tethered to The Exorcist, the film about which he’s almost certainly asked the most during interviews,” writes Greg Cwik at Slant. “A visceral, tangible quality marks all of Friedkin's best work. His films are exhausting, almost punishing.”
Meantime, the entry on the Tribeca Film Festival has been updated through today.
Los Angeles. Nathaniel Bell rounds up the highlights of the coming week for the LA Weekly.
Tiburon. “Motivated by a dynamic mission of understanding the world through the art of cinema, the Tiburon International Film Festival returns this week to the tiny town on the bay, for yet another eye-opening seven-day bacchanalia of movies, meetups and global filmmaking inspiration,” writes David Templeton for the Pacific Sun. “Featuring a lyrical tribute to the late Italian filmmaker-poet Pier Paolo Pasolini, the other major highlights this year include a new documentary about legendary actor and filmmaker Dennis Hopper, Iranian filmmaker Hossein Shahabi’s feature about a parolee desperately avoiding a return to prison (Conditional Release), a number of films about Russian hackers, a colorful program of short films by Marin County filmmakers and a new UK documentary (The Beatles, Hippies, and Hells Angels) about the outlandish investment and philanthropic practices of Apple Corps, the Beatles’ own business corporation, founded in the late 1960s.” Tomorrow through April 26.
London. Frames of Representation: New Visions for Cinema 2018, opening tomorrow at the Institute for Contemporary Art and running through April 28, “is chiefly concerned in showcasing new works of independent cinema that operate within a field of seeming polarities,” writes David Perrin in the Notebook: “between fiction and non-fiction, the real and the imagined, the periphery and the center.” Perrin goes on to write about Salomé Lamas’s Extinction, Xu Bing’s Dragonfly Eyes, Clément Cogitore’s Braguino, and Hannah Ziegler’s Family Life.
For the Nation, Barry Schwabsky writes about the exhibition of work by Joan Jonas currently on view at the Tate Modern through August 5: “More than the objects she makes or finds, more than the moving and still images she creates with a camera or by her incessant practice of drawing, more than the bodies (her own or those of others) that appear in live or recorded performances, more than the words and sounds that accompany them, time itself seems to be the main material Jonas works with, manipulating it as a sculptor might mold, tear, and recombine bits of clay.”
Lausanne. In November, months after Le livre d’image will have premiered in Competition in Cannes, Jean-Luc Godard will present a version at the Théatre Vidy-Lausanne that’ll differ from the one for cinemas. Vidy director Vincent Baudriller tells Boris Senff—in the Tribune de Genève and in French—that the idea will be to “develop a more intimate relationship with images and sound using the flexible tools of the theater.” Baudriller has, of course, seen Godard’s new work: “This is a very strong, moving and intelligent work, by an artist full of creativity, a man always angry about the state of the world, questioning the truth, power, and the links between East and West.”
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