background preloader


Facebook Twitter

Film is Here to Stay! Studios and Kodak Strike a Deal. By Paula Bernstein | Indiewire February 4, 2015 at 6:38PM Apparently, all that pressure from Christopher Nolan, Quentin Tarantino and J.J.

Film is Here to Stay! Studios and Kodak Strike a Deal

Abrams made a difference. Paramount Pictures Martin Scorsese in "Hugo" Last summer, Hollywood directors including Martin Scorsese, Quentin Tarantino, Christopher Nolan, J.J. Abrams and Judd Apatow urged Hollywood studios to support Kodak to keep film stock in use. "Film has long been – and will remain – a vital part of our culture," said Jeff Clarke, Kodak chief executive office, in a statement. Recently, such high-profile films such as Oscar-nominees "Boyhood," "The Grand Budapest Hotel," "Interstellar," "Foxcatcher" and "Into the Woods" were shot on Kodak film.

Apatow told The Wall Street Journal last summer that film and digital are "are valid choices, but it would be a tragedy if suddenly directors didn't have the opportunity to shoot on film. READ MORE: Here's What Sundance Cinematographers Think of Shooting Film vs. The Woody Allen Genome. Photo “The biggest influences on me,” once said, “have been Bergman and the Marx Brothers.”

The Woody Allen Genome

There’s more than a touch of both in Mr. Ten years of Eternal Sunshine of the Spotless Mind. How many filmmakers can claim to be as creative as Michel Gondry?

Ten years of Eternal Sunshine of the Spotless Mind

Not only does he fill his films with the kind of flourishes and eccentricities most directors would shy away from, but he somehow manages to pull them off, adding surreal and exciting touches to even the most heartbreaking of stories. It's been ten years since the release of his breakout film, Eternal Sunshine of the Spotless Mind, and his work remains as vital and eccentric as ever. «Only Lovers Left Alive», luth à mort.

Intelligences arty. C’est un tabou cinématographique que personne n’avait vraiment vu venir.

Intelligences arty

Et pour cause, puisque ce qui le définit est précisément son invisibilité ou, plus exactement, son caractère immatériel. Comment représenter à l’écran l’invraisemblable bazar qui remplit non seulement nos ordinateurs, disques durs et téléphones, mais aussi, dans une étrange confusion de tous les sentiments, nos affects les plus intimes ? Sans même convoquer ici les usages douteux de la NSA, Google, Facebook et compagnie sur nos données personnelles, c’est peu de dire que des artistes sont tarabustés par la question depuis un bon moment, légitimant la nécessité d’en montrer les effets pas virtuels du tout. Top 5 musical Xavier Dolan - Blow up - ARTE. David Cronenberg: Virtual Exhibition. La bonne cote du cinéma français. Le Musée au cinéma - Blow up - ARTE.

10 great concert films. Pulp: A Film about Life, Death and Supermarkets (2014) On 7 June, the annual Sheffield Doc/Fest – Britain’s largest festival of documentary film – kicks off with a screening of Florian Habicht’s Pulp: A Film about Life, Death and Supermarkets.

10 great concert films

After years of beloved cult obscurity, Jarvis Cocker’s arch pop outfit came to wider prominence in the mid-1990s with anthems like ‘Common People’ and ‘Disco 2000’. A quarter of a century on, they returned to their beloved hometown Sheffield for their final UK concert. Habicht blends footage of the band’s triumphant show with spoken contributions from Cocker and colleagues, and esoteric, specially-staged tableaux featuring a selection of ordinary Sheffield folk. The film is not just an invaluable record of an influential live band going out on a high, it also reveals the deep affection that the inhabitants of Sheffield (a fitting location for the film’s premiere) have for the band.

Monterey Pop (1968) Director D.A. Gimme Shelter (1970) Wattstax (1973) Les salles de cinéma ne vont pas mourir. Même Christopher Nolan explique pourquoi elles restent rentables financièrement.

Les salles de cinéma ne vont pas mourir

Les prophètes de malheur sont en pleine forme. A vrai dire, ils n’auront jamais désarmé. Depuis que Louis Lumière a déclaré que le cinématographe était une invention sans avenir au moment même où avec son frère Auguste ils le rendaient techniquement possible, depuis que, le jour même de la première projection publique et payante du 28 décembre 1895, le père Lumière, Antoine, décourageait un spectateur enthousiaste nommé Georges Méliès qui voulait acheter cet appareil extraordinaire en lui disant qu’il ne pourrait que le ruiner, les annonces funestes n’ont cessé d’accompagner un art qui se porte pourtant très bien. L’été des reprises : les meilleurs classiques de juillet. “Paris, Texas”, “Jeux interdits”, “La Mort aux trousses”… Parmi les chefs-d'œuvre qui ressortent en salles, nous en avons choisi six.

L’été des reprises : les meilleurs classiques de juillet

Retour sur l'accueil qu'ils ont reçu à leurs débuts. MARCUS HANEY: NO CAMERAS ALLOWED. Richard Ayoade's top ten cinematic creations from the states. Richard Ayoade first rose to fame as technically brilliant yet socially inept character Maurice Moss in the IT Crowd.

Richard Ayoade's top ten cinematic creations from the states

However, it was his directorial debut Submarine – adapted from the novel by Joe Dunthorne of the same name – that really won him critical acclaim, shaping his reputation as a talented indie filmmaker as well as a comic actor. That was back in 2010. His follow-up film, The Double (out on DVD and Blu-ray from 4 August), is a modernized adaptation of the 1846 Fyodor Dostoyevsky novella and was released earlier this year. It is is a darkly surreal black comedy in which timid and unlucky-in-love Simon James (Jesse Eisenburg) is driven to the brink of insanity by his co-worker James Simon, who is physically indistinguishable from himself, despite each possessing polarizing personalities. It’s a truly exceptional and experimental second film in which the dystopian universe that the characters inhabit is as creepy as it is hilarious.

“It's amazing. Woody Allen’s Manhattan. Woody Allen and Mariel Hemingway in Manhattan. 1979.

Woody Allen’s Manhattan

USA. Directed by Woody Allen. Tanger Jarmusch.