1. Carol(Todd Haynes) Haynes may have crafted his best feature, merging intelligence and emotion in a rich, immersive canvas. A society woman in an unsatisfying marriage, Cate Blanchett’s Carol is matched for emotional perplexity by Therese, Rooney Mara’s younger shop clerk and photographer manqué. What does it mean when the two of us are in the same room, they venture in a succession of gestures, ventures and setbacks. Hayne’s lapidary precision embraces the fall, the fear, the luxuriant allure of longing and maybe lasting love.
2. Anomalisa (Charlie Kaufman, Duke Johnson) All too human.
3. Taxi (Jafar Panahi) A film about films and filmmaking and a filmmaker barred from making films by a filmmaker who worships films and is barred from making films, Jafar Panahi’s blissfully kind, effortlessly wise third feature since being sentenced to silence by the Iranian regime is an elegant, minor-key masterpiece. [More.]
4. It Follows (David Robert Mitchell) “Your disease… it’s inside me,” to appropriately appropriate words from David Lynch.
5. The Mend (John Magary) Magary’s directorial debut is dauntingly, tumultuously, blindingly, batshit great. In modern-day New York, a figure arrives in our consciousness, after the shattering shards of a hopeless, hapless shrieking match of a breakup. He has had a drunk or a few. Then we find him, Mat (career-best Josh Lucas), on a couch, at a party, he’s all-but-homeless, a couch surfer, someone’s brother, kind of a ruffian, certainly a hairball. And a talker. He does not chat. He holds forth. He’s an American parallel to the bleak wisecracker named Johnny at the center of Mike Leigh’s apocalyptic/post-apocalyptic Naked, beyond offensive, from bullshit beyond shibboleths, articulating misery or misgivings to everyone reluctantly around him, repellently magnetic. (Netflix Instant.) [More.] Read the full article »
1. The Look Of Silence(Joshua Oppenheimer) While promoting The Act Of Killing, his punchy, audacious, madly performative, deeply troubling masterpiece about the legacy fifty years after the genocide in Indonesia of political opponents, Joshua Oppenheimer didn’t much let on that there was a second, complementary feature in the works. While editing the first film, before his secondary subjects in the government and paramilitaries, knew what a bold, damning document he had fashioned, Oppenheimer shot a round of elegant, formally restrained interviews with his earlier subjects through the offices of his collaborator, Adi Ruken, an optometrist whose older brother had been murdered. Among a range of substantial achievements, Oppenheimer formally anticipated the critique some purists would lodge—veteran documentary commissioner Nick Fraser among them—and embodying Godard’s dictum that the only true criticism of a film would be to make another film, even if it is self-critique. The Look Of Silence responds lucidly to those who found revulsion rather than revelation in his depiction of the gaudy cinema-fashioned fantasies of petty gangsters who still terrorized their neighbors decades later. Of his film about the eddying damage visited upon the victims, he’s talked about the impunity under which he and Adi were able to challenge the still-proud killers, from a strikingly different angle than their earlier interviews; what differentiates the “authentic” from the “typical” in documentary; how The Look Of Silence is like a poem as well as the films of Ozu; and how the metaphor of willful moral blindness and literal myopia, as demonstrated through eye exams performed by Adi while he gently prompts their subjects to once more describe their worst exploits, became a powerful and mysterious metaphor even though it began as a pragmatic choice to maintain their safety in the face of unapologetic murderers. [The link is to my Filmmaker cover story interview with Oppenheimer, which is behind the subscriber paywall.]
2. Amy (Asif Kapadia) Kapadia’s enveloping, harrowing, even revelatory second documentary with a posthumous subject is a musical, a tragedy, and a major mash-note to the too-soon-gone talent of Amy Winehouse. “Amy” also portrays a woman who was not so much an addict as someone consumed by feelings, the need to express them, and by brutally intense sensations of love. [More.]
Kino Lorber and Carlotta Films’ Blu-ray/DVD OUT 1 Box Set,
originally scheduled for release on November 24, 2015, will now become available on January 12, 2016
New Street Date: January 12, 2016
NEW YORK, NY – OCTOBER 26, 2015 – Kino Lorber and Carlotta Films US announce that the Blu-ray/DVD release of Jacques Rivette’s OUT 1, originally set to street on November 24, 2015, will now become available on January 12, 2016. The SRP is $99.95.
As previously announced, this release of OUT 1 is presented in a new 2k restoration supervised and approved by director of photography Pierre-William Glenn, and includes both the original 8-part series (Noli Me Tangere) alongside the shorter theatrical cut (Spectre), in a 13-disc, dual format (Blu-ray/DVD) special collector’s edition box set.
Special features include a new 120-page booklet, “OUT 1 and its Double” (bilingual English/French) featuring a new essay by film scholar and Jacques Rivette specialist Jonathan Rosenbaum, illustrated by numerous archival photographs and original stills by photographer Pierre Zucca, and a new full-length documentary, The Mysteries of Paris: Jacques Rivette’s OUT 1 Revisited (2015, 105 minutes), directed by Robert Fischer and Wilfried Reichart that includes interviews with the cast and crew and revisits some of the film’s most significant locations.
OUT 1 (13-disc Blu-ray/DVD Box Set)
Director: Jacques Rivette
Street Date: January 12, 2016
UPC: 7 38329 20158 6
6 BD * Mastered in High Definition * 1080/23.98p * AVC French 1.0 PCM * English Subtitles 1.37:1 Original Aspect Ratio * Color + B&W Total Running Time (Noli me tangere): 760 Minutes Running Time (Spectre): 255 Minutes
7 DVD * Mastered in High Definition * NTSC * MPEG-2 French 1.0 Dolby Digital * English Subtitles 1.33:1 Original Aspect Ratio * 4:3 * Color + B&W Total Running Time (Noli me tangere): 760 Minutes Running Time (Spectre): 255 Minutes
New Full-Length Documentary – The Mysteries of Paris: Jacques Rivettes’s “Out 1″ Revisited
directed by Robert Fischer and Wilfried Reichart (2015/Color/105 minutes)
Forty-five years after Out 1 was made, documentary filmmakers Robert Fischer and Wilfried Reichart interviewed cast and crew members and revisited some of the film’s most significant locations. The Mysteries of Paris features new contributions from actors Bulle Ogier, Michael Lonsdale and Hermine Karagheuz, cinematographer Pierre-William Glenn, assistant director Jean-François Stévenin and producer Stéphane Tchal Gadjieff, rare archival interviews with actors Jacques Doniol-Valcroze and Michel Delahaye and, most prominently, illuminating statements by director Jacques Rivette himself.
An Exclusive 120-page Booklet: “OUT 1 and its Double” (Bilingual English/French)
Featuring a new essay by Jonathan Rosenbaum (film scholar and Jacques Rivette specialist)
Illustrated by numerous archives and original stills by photographer Pierre Zucca
About Carlotta Films:
As an independent company, CARLOTTA FILMS has been promoting heritage cinema in France for 18 years: re-releasing restored classic films, cult films from the 70s & 80s, and also working specifically with young audiences.
Since its creation, CARLOTTA FILMS has steadily developed and supported every technological evolution, and released or re-released heritage films, using every medium: theatrical distribution, festivals attendance, DVD and Blu-ray editions, its own VoD platform (www.carlottavod.com), VoD distribution on major platforms, and more recently also an International Sales Section specialized in Independent Heritage Film.
With its work on Cinema History, the discovery of new horizons and new audience, CARLOTTA FILMS has decided to create its own company in the US, CARLOTTA FILMS US, in order to develop, with the same spirit as in France, an active distribution, specialized in revivals, with releases in theaters, as well as on DVD, Blu-ray, VoD, and TV in North America.
CARLOTTA FILMS US wishes to position itself in a complementary way as the already-existing independent American companies, who are doing a great job on Cinema History (both in theaters and DVD/Blu-ray). To do an important work on independent revivals and more especially, but not only, French films, especially from the ’70s, ’80s and ’90s, and to work on all media, starting with theatrical releases, festivals, then DVD/Blu-ray/VoD and TV.
And to create, from one side of the Atlantic to the other, bridges — links about Cinema History between France and America, with similar, different and new audiences.
About Kino Lorber:
With a library of 1,000 titles, Kino Lorber Inc. has been a leader in independent art house distribution for over 30 years, releasing over 25 films per year theatrically under its Kino Lorber, Kino Classics, and Alive Mind Cinema banners, including five Academy Award® nominated films in the last seven years. In addition, the company brings over 70 titles each year to the home entertainment market with DVD and Blu-ray releases under its five house brands, distributes a growing number of third party labels, and is a direct digital distributor to all major platforms including iTunes, Netflix, HULU, Amazon, Vimeo, Fandor and others.
“There are critics who see their job as to be on the side of the artist, or in a state of imaginative sympathy or alliance with the artist. I think it’s important for a critic to be populist in the sense that we’re on the side of the public. I think one of the reasons is, frankly, capitalism. Whether you’re talking about restaurants or you’re talking about movies, you’re talking about large-scale commercial enterprises that are trying to sell themselves and market themselves and publicize themselves. A critic is, in a way, offering consumer advice. I think it’s very, very important in a time where everything is commercialized, commodified, and branded, where advertising is constantly bleeding into other forms of discourse, for there to be an independent voice kind of speaking to—and to some extent on behalf of—the public.”
~ A. O. Scott On One Role Of The Critic
“Every night, we’d sit and talk for a long, long time and talk about the process and I knew he was very, very intrigued about what could be happening. Then of course, one of the fascinating things he told me about was how he had readers who were reading for him that never knew it was Stanley Kubrick. So if he heard of a novel, he would send it out to people. I think he did it through newspaper ads at the time. And he would send it out to people and ask for a kind of synopsis or a critique of the novel. And he would read those. And it was done anonymously. But he said there were housewives and there were barristers and all sorts of people doing that. And I thought, yeah, that’s a really good way to open up the possibilities. Because otherwise, you’re randomly looking, walking through a bookstore or an airport. I said, “How many people are doing this?” It was about 30 people.”
~ George Miller’s Conversations With Kubrick