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Paul Williams Still Alive directed by Stephen Kessler
I’d never heard of this guy but it looks pretty good, Kessler interview here
This is a very scrappy trailer for Dead Man Down directed by Niels Arden Oplev who seems to have really lifted his game style wise since that Dragon Tattoo film. Hopefully the excellent cast can save it from winding up another generic Jason-Stathom-esk shoot em up. It’s low res and out of sync but you can get the gist of it…
El Bulli: Cooking In Progress scored number nine of Mubi’s top film posters of the year
A film about food as art needs a poster that is a work of art in itself. While the original festival poster for this documentary about the titular Michelin-starred Spanish restaurant cleverly channeled Picasso, it was the British quad by a company called Fluid, based on a photograph by El Bulli’s star photographer Francesc Guillamet, that conveyed the invention and joie de vivre (or joie of cooking) of Ferran Adrià’s creations. A poster in which the pull quotes, always an annoyance for poster designers, become an essential ingredient.
Here’s the newish UK trailer in case you missed it.
A lot of very serious looks are exchanged. I heard smiling is forbidden.
From Miguel Gomes’ Tabu
Baby I Love You —The Ramones
Calling this as the second best film of 2012
As with Gomes’ other films, pop music pays a big part of the film, most notably a gorgeous Portuguese-language cover of “Be My Baby” that proves to be the crucial link between the film’s first and second half. Much of these song moments come courtesy of Mario’s Band, the snappily-dressed group that hero Ventura, and his best friend Mario, belong to. Ventura is sleeping with the beautiful Aurora, married to a powerful local man, and is starting to reach the end of his tether. At a local party, Ventura drums along to a mimed, deeply anachronistic version of “Baby I Love You,” the Ramones’ cover of the Phil Spector hit. The band lined up alongside a half-empty swimming pool, as if to drive home the chasm between Ventura and Aurora, who dances on the other side. It’s a great reminder of a somewhat overlooked track by the seminal punk band, and is one of those times when it makes perfect sense, historical accuracy be damned.
—The Playlist
‘And this idea of thinking that what the characters are missing—more than the loss of the Portuguese Empire or the land loss of the land—I think its their youth. I think that cinema, also, in a way is missing its youth. Back then in the youth of cinema, the viewers would be more available, there would be a larger ability to believe in things. It’s like the process of aging as you were talking, there is a moment when you believe in Santa Clause or whatever and then you grow up and see—no, it does not exist. But in a way, cinema can restore this belief even if you’re believing in unbelievable things, which is I think is far more moving to believe in unbelievable things. So you know it’s fiction, it’s a lie but somehow it gets you back in time into the moment where you believe these things. I think that, for instance, people that were seeing 1920s Morneau’s films, maybe they had a larger ability to believe in these vampires and these love stories. Because cinema is now more than 100 years old, it’s much tougher to believe and we are much more aware of things. This is a problem for us to believe in a very direct way.’
-Miguel Gomes
The Tadao Ando designed Benesse Art site in Naoshima
Photo: Alex Roman
This is the trailer for Kochuu: Japanese Architecture / Influence & Origin, a film by Jesper Wachtmeister. But I can’t seem to find it anywhere… Bummer.
Dillinger is Dead 1969
In this magnificently inscrutable late-sixties masterpiece, Marco Ferreri, one of European cinema’s most idiosyncratic auteurs, takes us through the looking glass to one seemingly routine night in the life of an Italian gas mask designer, played by Michel Piccoli.
Poster by Kellerhouse
The Law In These Parts by Ra’anan Alexandrowicz and Liran Atzmor
Can a modern democracy impose a prolonged military occupation on another people while retaining its core democratic values?
Since Israel conquered the territories of the West Bank and Gaza Strip in the 1967 war, the military has imposed thousands of orders and laws, established military courts, sentenced hundreds of thousands of Palestinians, enabled half a million Israeli “settlers” to move to the Occupied Territories and developed a system of long-term jurisdiction by an occupying army that is unique in the entire world.
The men entrusted with creating this new legal framework were the members of Israel’s military legal corps. Responding to a constantly changing reality, these legal professionals have faced (and continue to face) complex judicial and moral dilemmas in order to develop and uphold a system of long-term military “rule by law” of an occupied population, all under the supervision of Israel’s Supreme Court, and, according to Israel, in complete accordance with international law.
The Law In These Parts explores this unprecedented and little-known story through testimonies of the military legal professionals who were the architects of the system and helped run it in its formative years. The film attempts to ask some crucial questions that are often skirted or avoided: Can such an occupation be achieved within a legal framework that includes genuine adherence to the principles of rule-of-law? Should it? What are the costs that a society engaged in such a long term exercise must bear? And what are the implications of the very effort to make a documentary film about such a system?
Almayer’s Folly directed by Chantal Akerman, starring Stanislas Merhar, Aurora Marion and Marc Barbé. That’s got to be the tune from Melancholia right
The Three Disappearances of Soad Hosni by Rania Stephan
This haunting and beautifully formed documentary is a meditation on the life of Egyptian screen legend Soad Hosni, who starred in eighty-two feature films between 1959 and 1991. Hosni’s mysterious death in London in 2001 sent shockwaves through the Arab world, and this is the first film which look into her life and work. Using filmic montage, director and video artist Rania Stephan reveals the diverse modes of female representation embodied in Hosni’s charismatic roles, and creates an ebullient picture of the iconic actress who captivated the modern Arab imagination.
Life and Freaky Times of Uncle Luke
A modern Miami adaptation of the 1962 French short film La Jetee, the film recounts Luke’s (Uncle Luke, legendary rapper from the hip-hop group 2 Live Crew) rise to fame as he changes the face of hip-hop and fights for first amendment rights- and later as he ushers Miami into a golden era of peace and prosperity as Mayor. Everything changes when the Turkey Point Nuclear Reactor has a meltdown and turns Miami into a post-apocayptic wasteland.
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