“You sound like you’re bragging,” an ex tells novelist-on-the-cusp Philip (Jason Schwartzman). “That’s because I am bragging,” he answers without missing a beat at the start of this trailer for Alex Ross Perry’s acerbically witty, keenly anticipated third feature Listen Up Philip. Entering limited release on October 17 and hitting VOD four days later, Perry’s follow-up to The Color Wheel has great parts for Schwartzman, Elisabeth Moss as his long-suffering girlfriend and Jonathan Pryce as the young writer’s Philip Roth-esque mentor. (Dig the title card font, taken from the hardcovers of Roth’s ’70s novels.) It’s a funny and depressing work […]
by Vadim Rizov on Sep 18, 2014
Here’s a change of pace for David Lynch: a video in which he’s silent. Apparently coveting the type of foot traffic drawn by MoMA’s Tim Burton retrospective in 2010, which (at least at the time) drew the third-largest attendance numbers in the museum’s history, the Pennsylvania Academy of Fine Arts is hosting the first big US retro of its alumnus’ artwork. Here, Lynch strides through the museum, looking at the fruits of his work to the strains of his own “The Night Bell With Lightning” from 2011’s album Crazy Clown Time. If you want a quick walk through this part of the art-school […]
by Vadim Rizov on Sep 17, 2014
When I wrote about Manakamana last year, I noted that it’s a bit disorienting, more so than the “11 rides in a cable car” premise suggests: The car can go up or down and its passengers can sit facing the direction they’re going or with their back toward it, affecting the camera’s placement opposite. Even before considering the number onboard, that’s four variables that make orientation — knowing what to anticipate in the background, which posts will be passed with a clang at what time, whether a village mid-way through the journey will be visible on the left or right, […]
by Vadim Rizov on Sep 15, 2014
Gabe Polsky’s first documentary Red Army briskly reconstructs the story of the fiercely dominant Soviet hockey team of the late ’70s and ’80s. Out of the team, five players coalesced as an unbeatable combination, and their interviews form the backbone of Polsky’s story, fleshed out with a smart selection of archival footage from both sides of the Cold War. Teasing out hockey’s role as a not-so-subtle worldwide representation of the USSR’s success and masculine pride (per a song sung in archival footage by a boy’s choir, “cowards don’t play hockey”), Red Army is also propelled by the light director-subject sparring […]
by Vadim Rizov on Sep 9, 2014
The future of 35mm rep cinema, a personal history of cinephilia as mediated by changing archival access, how the garbage heap of “hot takes” colonizes the internet and more in this week’s round-up of assorted reading: • Quentin Tarantino has owned Los Angeles’ beloved New Beverly Cinema since 2007; now he plans to take over programming himself, drawing extensively upon his private collection of prints. Talking with the LA Weekly‘s Chuck Wilson, Tarantino repeatedly goes off on the crappiness of DCP, including this gem: I have all three Sergio Leone Clint Eastwood movies in I.B. Technicolor. Magnificent looking. I just […]
by Vadim Rizov on Sep 5, 2014
Earlier this week we ran Jamie Stuart’s short film Learning to Like It as part of his detailed review of the Blackmagic Production and Pocket cameras. Now we’re posting the short as a stand-alone film in its own right rather than as a technical exercise. Stuart’s behind and in front of the camera as a lonely guy hoping for reconciliation with his ex-girlfriend, but his attempts to get back to her lead to a cavalcade of street confrontations and complications in this zippy, wordless five-minute comedy.
by Vadim Rizov on Sep 5, 2014
“As long as we could pay the printer, we could publish anything we wanted,” says New York Review of Books co-founder Robert H. Silvers in this trailer for The 50 Year Argument, a documentary about the literary institution. It’s co-directed by Martin Scorsese and David Tedeschi, the director’s editor on recent documentaries including Rolling Stones concert movie Shine a Light and the Fran Lebowitz profile Public Speaking. The film will be playing at NYFF before debuting on HBO on September 29th. It looks to be catnip for longtime readers of the publication, which in a just world would be just […]
by Vadim Rizov on Sep 4, 2014
There’s a certain rhetoric about the “perfect pop song” that feels like it peaked 25ish years ago somewhere on a bus in the UK, where earnest young people bonded over shared cultdom to pass the time, the guiding sensibility that (random example) led Orange Juice frontman Edwyn Collins to approach future bandmate Steve Daly because of a Buddy Holly button he was wearing — a sign they had more to talk about than initially evident. This kind of living through music is the force powering Belle and Sebastian leader Stuart Murdoch’s directorial debut God Help The Girl, an indie pop […]
by Vadim Rizov on Sep 4, 2014
“I’m going to be frank with you,” says Willem Dafoe’s Pier Paolo Pasolini in this trailer for Abel Ferrara’s keenly anticipated biopic of the Italian director, killed under still mysterious circumstances in 1975. “I’ve been to Hell, and I know things that don’t disturb other people’s dreams.” The musically-literally-operatic trailer for Pasolini is subtitled in French but mostly in English, save for a brief, easy-to-follow French passage (asked whether he considers himself a screenwriter, critic, actor, etc., Pasolini replies that on his passport it simply says writer) and a tiny bit in Italian. This is mildly NSFW, as there are […]
by Vadim Rizov on Sep 2, 2014
Last month we shared the first test footage shot with the Blackmagic URSA camera, and now we’ve got more samples to look at. This time around the footage was shot using Canon’s EF line of lenses and looks very sharp. Full tech specs can be found here; thanks to No Film School for the heads up.
by Vadim Rizov on Sep 2, 2014