Ioncinema’s created a list of the top 100 most anticipated films of 2012.
This is Zhang Ziyi in Wong Kar-wai’s The Grandmasters.
- Carlos Reygadas's Post Tenebras Lux.
- Michael Haneke's Love.
- Paul Thomas Anderson's The Master.
- Terrence Malick's The Burial (that title’s likely to change).
- Olivier Assayas's Something in the Air.
- Wong Kar-wai's The Grandmasters.
- Abbas Kiarostami's Like Someone in Love.
- Antonio Campos's Simon Killer.
- Derek Cianfrance's Place Beyond the Plains.
- Jacques Audiard's Rust and Bone.
- Terrence Malick’s Voyage of Time.
- Cristian Mungiu's Provizoriu.
- Jeff Nichols's Mud.
- Joel and Ethan Coen's Inside Llewyn Davis.
- Quentin Tarantino's Django Unchained.
- Kelly Reichardt's Night Moves.
- Sergei Loznitsa's In the Fog.
- Park Chan-wook's Stoker.
- Walter Salles's On the Road.
- John Hillcoat's Wettest County.
Carry on clicking through the list here.
Lost, a High Quality Georgia Coffee commercial by David Lynch
'When Lynch was asked a few years ago how he felt about product placement in movies, his videotaped answer went viral on YouTube: “Bullshit. That’s how I feel. Total fucking bullshit.” So it’s strange to think that Lynch once agreed to place the entire fictional world of one of his most famous creations, Twin Peaks, at the service of a Japanese coffee company. But that’s what he did in 1991, for Georgia Coffee. In Lynch on Lynch, the filmmaker was asked whether he was concerned about what the commercials might do to the Twin Peaks image. “Yes,” he replied. “I’m really against it in principle, but they were so much fun to do, and they were only running in Japan and so it just felt OK.”
(Source:OC) (Click through, there’s some more Lynch commercials from over the years)
The NY Times has a short documentary film by Errol Morris on El Wingador, a five-time winner of the Wing Bowl. My favorite line from the film, uttered by an off-camera Morris:
'Wait a second.That's cannibalism!'
Though his several wins came early on in the competition’s history, El Wingador is still competing in the Wing Bowl. In the 2012 competition, held today, El Wingador came in third while Takeru Kobayashi completely demolished the competition in his first attempt, eating 337 wings in the process.
Besides the two dozen operas, the symphonies, concertos and solo works, Philip Glass, who turns 75 today, has composed literally scores of scores for films, beginning most famously with Koyaanisqatsi (1982), an essay film as dependent on its music as any other. Glass and Godfrey Reggio would complete the trilogy with Powaqqatsi (1988) and Naqoyqatsi (2002). Another crucial cinematic collaboration has been with Errol Morris (The Thin Blue Line (1988), The Fog of War (2003)), and other notable scores would be, for example, those for Paul Schrader’s Mishima: A Life in Four Chapters (1985; sample it here) and Martin Scorsese’s Kundun (1997). And whatever you think of Stephen Daldry’s The Hours (2002) — and chances are, if you’re reading this, you may not think much of it at all — that soundtrack, aimed straight at the mainstream and nominated for an Oscar, holds up better than you might remember.
"Glass is the only living classical composer with anything approaching a household name in America," writes Mark Stryker in the Detroit Free Press. "A seminal minimalist, he pioneered a radically distilled language of rippling arpeggios and scales, pulsating rhythm, repetition and glacial harmony."Einstein on the Beach, the opera co-created with director Robert Wilson and first produced in Avignon, France in 1976, "completed a decade of experiments with process, repetition and additive forms (12, 123, 1234, 432, etc). The music is hypnotic, easy to understand, meticulously organized and deeply groove-oriented. Like Glass’s early work, it is more about process than marching toward a goal. Shifts in texture, rhythm or harmony carry the force of revelation, what critic Alex Ross once called the ‘Ah! Effect.’"
A little over a week ago, Ross caught a preview of the revival of Einstein in Ann Arbor: “I’ve waited half my life to see the piece, and I was decidedly undisappointed: what an ecstatically dumbfounding thing this is.” And he notes that the official premiere will take place in March in Montpellier, France before the show rolls on to Reggio Emilia, London in May, Toronto in June, Brooklyn in September and Berkeley in October.
Glass, to NPR’s Tom Vitale: “What this amount of music has done for me is taught me how to write music. Oh, I had great teachers. Boulanger was one. Another was Ravi Shankar. And I went through the Juilliard process, and that was good, too. But I really learned from writing, which is how painters learn to paint, and writers learn to write, and how even dancers learn to dance. In a way, that’s true. But what was the value of being so prolific? It’s how I learned my trade.”
Here’s The Adventures of Buckaroo Banzai Across the 8th Dimension from 1984. It was directed and produced by W. D. Richter, and concerns the efforts of the multi-talented Dr. Buckaroo Banzai (Peter Weller), a physicist, neurosurgeon, test pilot, and rock musician, to save the world by defeating a band of inter-dimensional aliens called Red Lectroids from Planet 10.
Click through to Bibliokept for a peek at the bizarre end titles.
If you’ve not seen Enter the Void, then you should.
'Gaspar Noé planned it over a period of 15 years - before his short film Carne. He was around 23 years old, when he saw Robert Montgomery's Lady in the Lake while on drugs. The film is shot in subjective camera, entirely from the point of view of the main character. For Enter the Void, Noé uses a subjective camera in the same manner. The main character Oscar is seen just once while the character is alive, in a mirror.’
Skull with a Burning Cigarette — Vincent Van Gogh
As if that wasn’t enough, here’s the segment titled Crows from Akira Kurasawa’s Dreams.
'A brilliantly-coloured vignette featuring director Martin Scorsese as Vincent Van Gogh. An art student (a character wearing Kurosawa's trademark hat who provides the POV for the rest of the film) finds himself inside the vibrant and sometimes chaotic world inside Van Gogh's artwork, where he meets the artist in a field and converses with him. The student loses track of the artist (who is missing an ear and nearing the end of his life) and travels through other works trying to find him.'
I just couldn’t get the ear right, so i cut it off and threw it away.