Never Coming to a Cinema Near You - Arthouse Cinema 2015

IaWLife is worth seeing but not worth seeing more than once every two decades; kinda weird how this generally angry death fantasy became a holiday family favorite

covering up anger and desperation, that universal holiday feelin'

Yeah I'm going to the chytilová season for sure, can't wait

Saw the Chytilova screenings a few weeks back, indeed great. Waiting to bump into xyzzzz at one of these viewings. His next chance is in half an hour, at Freak Scene. Dare he?

Denys Irving's 'Exit' is...fuck

saw the first ever screening of this film, presumed lost - a psychotic, anti-philosophical cry for help, an affirmation of the abyss, a murderous and intense headlong dive into the cultural revolution, finding only sadness, high speed and contempt

utterly singular & perhaps brilliant. made me feel truly frightened.

makes pejoratives like 'amoral' or 'pretentious' fairly moot - it is not concerned with how we feel

Rewatched Amour Fou today. Got even more out of it, so many layers, and so wonderfully constructed. It will get distribution in Denmark in june, can't wait to see it again.

A screening and discussion with Jeff Krulik, director of "Heavy Metal Parking Lot"

Date: Tuesday, April 28th
Time: 8pm

Location: Morbid Anatomy Museum, 424 Third Avenue, 11215 Brooklyn

In 2003, The Travel Channel commissioned a one hour documentary on circus sideshows that was rarely screened after completion. Tonight, join filmmaker Jeff Krulik--director of the legendary "Heavy Metal Parking Lot"--as he introduces and presents outtakes and unseen footage from the endless hours he recorded for the documentary, entitled "Traveling Sideshow: Shocked and Amazed," which was based on James Taylor's "Shocked and Amazed! On & Off The Midway."

Along with Jenni Olson's hourlong The Royal Road (Junipero Serra, manifest destiny, El Camino Real, Vertigo, the pining of a butch dyke), I saw two newish Mark Rappaport video essays on cinema and its signifiers, Becoming Anita Ekberg and The Vanity Tables of Douglas Sirk, mentioned below. He has a still newer one. I, Dalio, on the great French actor. (All three available on Fandor.)

https://www.fandor.com/keyframe/image-and-voice-the-audiovisual-essays-of-mark-rappaport

https://www.fandor.com/keyframe/how-the-video-essays-of-mark-rappaport-break-through-movies

https://www.fandor.com/keyframe/sundance-2015-the-storied-path-to-the-royal-road

https://vimeo.com/116711175

Found Amour Fou hard going myself, even if enjoying some of the almost painterly compositions.

(Caught the Austrain Cultural Institute free showing this evening)

I found the chairs hard going.

Was also there (hi ledge!)...yes its a funny place to have a screening. A bit cramped, if people get up they can block the projector.

Loved Amour Fou a lot though. And it was a great place to enjoy the German granny telling von Kleist that his story was nonsense and that she "loved Goethe more". Got the loudest laughs!

Was that the 'best joke' referred to by Dr Morbius above, I wonder.

Morbs - please confirm.

royal road is such a pile of ass, saw it at the london lgbt film festival, preferred the bob mizer dvd they showed

tell us how u really feel, plax.

no, i was thinking of that aristo woman's line to vK about "life is meaningless but don't take it so seriously"

i'd go to the straub/huillet if i didn't already have matinee theatre tickets that day but a tip off to those that hadn't spotted this

http://am-london.tumblr.com/events

Thanks plax(ico) I'll try and make that.

http://www.regentstreetcinema.com/

this is basically the new riverside (same programmer). definitely going to go just to see what the actual place is like now.

From the dbl bills (Diary of a Chambermaid/Duke of Burgundy!) this looks interesting.

riverside always did good doubles... nice to see a place like this in central london too.

These are more interesting, usually dbl bills at Riverside were two films by the same director. This one is aiming at making connections. 15 quid per dbl bill isn't bad either.

not really. its about the same mix of director and thematic doubles from the looks of things.

I don't recall seeing anything but [x auteur] dbl bill @ Riverside, and always old films.

ok Frederik... anything on this Argentine guy Rejtman?

http://www.filmlinc.com/films/series/sounds-like-music-the-films-of-martin-rejtman

Oh, that's probably why Filmcomment had this article: http://www.filmcomment.com/article/martin-rejtman-two-shots-fired-dos-disparos

I knew nothing about him before I read that article. Actually, I knew nothing about Argentine cinema before 2001. I was thinking of starting a new thread, because I find it so weird. Nothing, no film at all, that I'd heard about before 01, and all of a sudden it's a major hotbed of cinema. That's weird. Iran or Romania, there's a couple old films I've heard about. Nothing in Argentina. Tell me if they're good, especially Rapado!

Also, anyone up for a thread on Argentine cinema? They're having a good year. The new Pineiro is good, and two films called Parabellum and Dog Lady was some of the best surprises at the latest PIX. There's a few films of a guy called Mauro Andrizzi up for stream at DAfilm: http://dafilms.com/event/208-mauro_andrizzi/ Seems kinda interesting. Anybody have some good articles/books on what happened that made Argentina great all of a sudden?

I found Two Shots very droll, but also frustratingly mysterious. (It's probably the most Madness of Mobile Phones-centric film I've yet seen; they ring throughout, and pretty much nothing gets communicated.) Rejtman did a Q&A, emphasizing how slowly he writes and works.

roundup:

https://www.fandor.com/keyframe/daily-sounds-like-music-the-films-of-martin-rejtman

This is the only pre-2001 Argentinian movie that comes to mind:

http://en.wikipedia.org/wiki/The_Official_Story

well Rejtman's debut Rapado was '92, apparently got some attention.

Halfway point poll. Multiplex wins decisively:

http://www.indiewire.com/survey/the-best-films-of-2015-so-far/best-film/

aside from Duke of Burgundy, feel like i haven't missed anything.

(Amour Fou and Gueros at the top for me)

Locarno Lineup:

Concorso Internazionale:

BELLA E PERDUTA by Pietro Marcello
BRAT DEJAN (Brother Dejan) by Bakur Bakuradze
CHEVALIER by Athina Rachel Tsangari
COSMOS by Andrzej Zulawski
ENTERTAINMENT by Rick Alverson
HAPPY HOUR by Ryusuke Hamaguchi
HEIMATLAND by Lisa Blatter, Gregor Frei, Jan Gassmann, Benny Jaberg, Carmen Jaquier, Michael Krummenacher, Jonas Meier, Tobias Nölle, Lionel Rupp, Mike Scheiwiller
JAMES WHITE by Josh Mond
JIGEUMEUN MATGO GEUTTAENEUN TEULLIDA (Right Now, Wrong Then) by HONG Sangsoo
MA DAR BEHESHT (Paradise) by Sina Ataeian Dena
NO HOME MOVIE by Chantal Akerman
O FUTEBOL by Sergio Oksman
SCHNEIDER VS. BAX by Alex van Warmerdam
SUITE ARMORICAINE by Pascale Breton
SULANGA GINI ARAN (Dark in the White Light) by Vimukthi Jayasund4ra
TE PROMETO ANARQUÍA by Julio Hernández Cordón
THE SKY TREMBLES AND THE EARTH IS AFRAID AND THE TWO EYES ARE NOT BROTHERS by Ben Rivers
TIKKUN by Avishai Sivan

Concorso Cineasti del presente:

DEAD SLOW AHEAD by Mauro Herce
DER NACHTMAHR by AKIZ
DOM JUAN by Vincent Macaigne
DREAM LAND by Steve Chen
EL MOVIMIENTO by Benjamín Naishtat
KEEPER by Guillaume Senez
LE GRAND JEU by Nicolas Pariser
LES ÊTRES CHERS by Anne Émond
LU BIAN YE CAN (Kaili Blues) by BI Gan
MOJ BRATE – MIO FRATELLO by Nazareno Manuel Nicoletti
OLMO & THE SEAGULL by Petra Costa, Lea Glob
SIEMBRA by Ángela Osorio Rojas, Santiago Lozano Álvarez
THE WAITING ROOM by Igor Drljaca
THITHI by Raam Reddy

Not as cool as last year, but new Akerman, Warmerdam, Rivers, Hong, Naishtat and Tsangari is cool. And Happy Hour by Hamaguchi is six-and-a-half hours long, so that's cool.

Stations of the Cross, anyone? Its austerity impressed Schrader.

http://www.littlewhitelies.co.uk/theatrical-reviews/stations-of-the-cross-28544

Alverson seems destined to make the same movie over and over but I am p into that movie

I saw it a couple weeks back. Loved it. Lead performance and the long shots are hard to deny.

Venice lineup:

Frenzy (Emin Alper, Turkey/France/Qatar)
Heart of a Dog (Laurie Anderson, US)
Blood of My Blood (Marco Bellocchio, Italy)
Looking for Grace (Sue Brooks, Australia)
Equals (Drake Doremus, US)
Remember (Atom Egoyan, Canada/Germany)
Beasts of No Nation (Cary Fukunaga, US)
Per amor vostro (Giuseppe M. Gaudino, Italy/France)
Marguerite (Xavier Giannoli, France/Czech Republic/Belgium)
Rabin, the Last Day (Amos Gitai, Israel/France)
A Bigger Splash (Luca Guadagnino, Italy/France)
The Endless River (Oliver Hermanus, South Africa/France)
The Danish Girl (Tom Hooper, UK/US)
Anomalisa (Charlie Kaufman/Duke Johnson, US)
L'attesa (Piero Mesina, Italy)
11 Minutes (Jerzy Skolimowski, Poland)
Francofonia (Aleksandr Sokurov, France/Germany/Netherlands)
The Clan (Pablo Trapero, Argentina/Spain)
Desde alla (Lorenza Vigas, Venezuela/Mexico)
L'hermine (Christian Vincent, France)
Behemoth (Zhao Liang, China/France)

Docs from Wiseman, Loznitsa and Tsai out of competition is very exciting. And Danish filmmedia is excited that Tobias Lindholm's (A Hijacking) new film A War is in Horizons. Though six months ago they were complaining he wasn't in competition at Cannes, and now the side-competition at Venice is ever so prestigious. Danish filmmedia is weird.

Schrader and stations of the cross go together like a horse and carriage

cool, didn't know there was a new skolimowski

The Indian film Court (ludicrous trial of an elderly protest singer for abetting a suicide through music): understated, funny, angry, little speechifying (even by lawyers).

(Venice prizewinner last year, i think?)

Drake Doremus must be the worst working filmmaker alive

Raves abound for Petzold's Phoenix but I found his last one just OK, so I'm a bit skeptical.

I didn't like it anywhere as much as Barbara.

It's a good genre piece, with a great ending. I'm watching a lot of the old Petzold, and the thing is that he just straight up copies old films and stories and twists them into a German context. Phoenix is basically Vertigo as a rubble film. Which is cool. But aesthetically, it's nothing special.

yeah it's a pulp movie done arty.

Yup. And it's perhaps not very good art, but it's thoughtful pulp. His film Jerichow is just a remake of The Postman Rings Twice, but it's twisted into telling a story about immigration to Germany. I like that style, just doing old and wellknown stories, but using that framework to make new images of your country. Plus it never gets too pretentious, I don't think, which is always a danger with this sort of thing.

after using actors last time, Jem Cohen has a new one more in line with his previous work, which i will likely see tonight as i have little faith it will run more than a week in NY.

http://www.ifccenter.com/films/counting/

i need to get out to that quick myself!

Didn't much care for Jerichow but liked Barbara, which puts me in a good place for Phoenix.

has anyone seen Hard To Be A God?

https://www.youtube.com/watch?v=11sMDQIgggA

i'm not sure i could bear 3 hours of that level of grotesquerie but the FT called it "maybe the greatest film since the millennium began."