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|Thursday, June 7th, 2007|
La belle noiseuse
La belle noiseuse (Jacques Rivette, 1991)
Cross-posted at Melbourne Film Blog
La belle noiseuse, the final film of the Jacques Rivette mini-season at Melbourne Cinémathèque screened last night at ACMI. Of the several films shown over the last three weeks, this was my clear favourite. The contemplative nature of the narrative - an exploration of an acclaimed artist in decline, his subject and their relationships with their significant others - is nothing short of sublime. Emmanuelle Béart quietly smoulders on screen as Marianne and Michel Piccoli brilliantly portrays artist Edouard Frenhofer who appears to be moulded as a Rivette surrogate (other than being heavier-set, he even looks somewhat similar).
At four hours long, this is the longest film I have ever sat through - and without a toilet break! After an hour or so, I wondered how this could maintain interest in an audience for another three hours, yet with an hour to go, it got more and more engaging. That final hour was truly rewarding. Up until that point, the narrative had been relatively straight-forward (at least for a Rivette film). Then it adopted the elusiveness that I have been describing in my summation of the other films screening at Cinémathèque. Critical pieces of information are glaringly and teasingly kept out of our sight. The ambiguity is absolutely effective in arousing a sense of wonder and mystery.
Bernard Dufour is credited as the artist who painted the artwork, though the film was cleverly edited to make it appear that Piccoli was indeed the artist. At times we saw Piccoli painting or sketching but then the closeups did not reveal the artist's face. There were long takes where we got to see paintings created in real-time before our eyes. That was fascinating, and reminded me of the brilliance of Ed Harris' portrayal of artist Jackson Pollock (in Pollock) in which he replicated the artist's works on camera in similar long takes. In Harris' case, he did the artwork himself without a stand-in.
Béart appears nude for much of her screen time, though the nudity is neither gratuitous nor erotic. There is a whole spectrum of nuanced emotions she depicts as Marianne evolves through the process of modelling for Frenhofer. Her acting was of a quality that reminds me of that other great French actress that I've posted about recently, Isabelle Huppert. Towards the end, she has subtly lost some of her inhibition as she moves around the studio without covering up. I liked the way this was done without being spelt out to the audience. And I also loved that Béart is not a classic beauty in the film - many bodily imperfections are evident, which adds much to the verisimilitude.
The rural residence Frenhofer and his wife Liz (played by Jane Birkin) live in is almost another character in the film. Its antiquity and decay were beautiful, with black and white tiled floors like the Red Room in Twin Peaks. The vastness and labyrinthine nature of the buildings added to building a unique atmosphere that complemented the development of friction between various protagonists. The front of the building looked similar to the fantasy/dream house in Céline and Julie Go Boating.
The film had various unexpected moments, including the development of Liz's character. She had lived much of her life in deferment to her illustrious husband, but found a quiet will at the end that challenged the status quo. Rivette is a director who portrays women in truly interesting and non-stereotypical but believable roles.
The documentary Jacques Rivette - The Night Watchman that screened a few weeks ago was helpful for me to get an insight into this curious and elusive film-maker. La Belle Noiseuse is based on a Balzac novella called Le chef-d'oeuvre inconnu. I expect many people who have seen this film watched it on DVD. It was a delight to get the opportunity to see it on the big screen, and was a great way to end the Rivette season.
Previous Rivette posts (Melbourne Film Blog):
Jacques Rivette - The Night Watchman
Paris Belongs to Us / Duelle
Le coup du berger / Céline and Julie Go Boating
Selected Senses of Cinema articles about Jacques Rivette:
Jacques Rivette - the Night Watchman
Paris Belongs To Us
Céline and Julie Go Boating
La Belle Noiseuse
Other links: Wikipedia / IMDB
|Monday, June 4th, 2007|
La Belle Noiseuse and Other News
Tonight Melbourne Cinematheque has a very special screening - La Belle Noiseuse"
is the last film presented in the Jacques Rivette season.
Based on a story by Balzac & a script by Pascal Bonitzer, Rivette fashioned one of the most profound & philosophical films ever made about the relationship between an artist & his work. A famous but now inactive painter (Michel Piccoli) strives to complete a final masterpiece, inspired & questioned by the model (Emmanuelle Béart) who has become his muse. A monumental but intimate, airy & conversational work that hauntingly speaks of the end of a certain kind of artistic practice & statement. With Jane Birkin.
After tonight we can summarise and share our views on the Jacques Rivette season. I found him a more difficult director than I have expected, challenging and enchanting at the same time.
"Paris belongs to us" - is Rivette's first film and was the most difficult to watch, the camera never stops moving, people keep walking in and out of the frame and far from the vision of the magical Paris, Rivette presents the bleak vision of the post-war depression and paranoia, artistic freedom is stifled within this new France and the only outlet remaining for the artist is to take it to the streets. Some of the loveliest scences in this film are theatre rehearsals in the outdoor amphitheatre, the actual theatre production seems so far away it's no longer seems real or important, these rehearsals are the play themselves. The play is life and at this moment the time and space and Paris does belong to us. We'll always have Paris seems to be an appropriate alternative title to this film.
"Celine and Julie go boating" - I was absolutely smitten by this film and I really should have wrote about it last week, as I feel right now I have to rewatch it again before writing anything coherent. What I do recall is that it was playful, intelligent and had one of the most exciting narrative structures of any film in any time. This is one of those films you can write numerous PhDs about, and a separate pleasure is picking the film influences on Rivette in this film as well as the directors that he has consequently influenced. "Mulholland Drive" seems to owe a lot to this film, and a homeless man in MD also seems to be influenced by a similiar character in "Duelle", it would be interesting to watch both sequences side by the side - the two bearded strange man suddenly walking around the corner. In fact Lynch and Rivette seem to share common sensibility for the surreal surrouned by the ordinary.
|Thursday, May 3rd, 2007|
So, we had the last screening of the Mann season yesterday, I had to miss it unfortunately and I'm wondering how was the turn out, were there a lot of new faces? What was your favorite Mann's film of the season and do you think we should program more contemporary cinema or stick to classics?
If you have joined cinematheque during the Mann season, how did you find out about us?
AGM is next week at 6:30pm and after you are done throwing food at us teppanyaki style do stay for the Japanese film double.
Nagisa Oshima, 97 mins, Japan, 1960, 16mm
Two disaffected young lovers live on the edges of conventional society.
Deeply rooted in the socio-political climate of post-Occupation Japan, Oshima's second feature explores some of the themes and motifs he would soon become famous for, most notably the experience of post-war youth.
Three Resurrected Drunkards
Nagisa Oshima, 80 mins, Japan, 1968, 16mm
Beginning with a Korean army deserter stealing the clothes of a Japanese high school student, Oshima's sprawling, hilarious look at the confusion over who is Korean and who is not, achieves an appropriate balance of comedy without detracting from its more serious concerns - the maltreatment of Koreans by the Japanese.
A Brechtian bricolage that dazzles the mind.
|Monday, April 30th, 2007|
Film Writing on the Web
There's an interesting article in the latest Film Quarterly
called "Film Writing on the Web: Some Personal Reflections". The article discusses the changes in the film culture and advantages of global film buff niches, interestingly enough it has a lot of praise for the Senses of the Cinema
, The Rouge
and Screening of the Past
, according to the author from Chicago, Melbourne seems to be the center of film writing culture.
Mostly, I just wanted to share with you the links from the article and save myself 10 cents in photocopying the page from the library. So, here you go, top places for film writing on the web:
14. home.earthlin.net/-steevee (there should be a squiggle instead of dash before steevee which I can't find on this keyboard, edit later)
I'm really looking forward to some free time and browsing through these websites, I'm especially interested at looking at Serge Daney (this is a blog about him) after watching Denis' film on Rivette.
And also, considering we live in the centre of film writing culute I hope to see many Melbourne Cinematheque members contributing to this blog.
By the way, what are your favorite places for anything film related on the web?
|Saturday, April 28th, 2007|
Melbourne Cinémathèque Annual General Meeting 2007
The Melbourne Cinémathèque Inc. Annual General Meeting 2007 will be held on Wednesday 9th MAY at 6:40pm at ACMI Cinema 2
The Agenda will be as follows:
(ii) Minutes of 2006 AGM
(iii) President’s Report
(iv) Treasurer’s Report
(v) Election of committee of up to 20 members
(vi) Other Business
Proxies will be accepted in the form:
I ................................... of ........................................
.............being a member of The Melbourne Cinémathèque Incorporated hereby appoint ................................... of ........................................
. being also a member of The Melbourne Cinémathèque Incorporated, as my proxy to vote for me on my behalf at the meeting of The Melbourne Cinémathèque Incorporated (Annual General Meeting) to the held on the nineth day of MAY 2007 and at any adjournment of that meeting.
Nomination for the committee must be in writing, signed by two members and accompanied by written consent of the candidate and must be delivered to Michael Koller by 5:00pm on MAY 2nd. Postal Address for nominations is:
Level 12, 220 Collins St
NEWS: Mary Wiles to do Rivette lecture on 23 May
We're very excited to be having Dr Mary Wiles, Lecturer in Theatre & Film Studies at the University of Canterbury in New Zealand, coming over to give an introductory lecture on Jacques Rivette, before the first screening of the Jacques Rivette program on Wednesday 23 May.
Dr Wiles is currently writing a book - the first in the English language - on the work of Rivette. Don't miss this timely opportunity to get some background into some of the films you will then see over the next three weeks. PARIS BELONGS TO US will hit the screen at 7pm (as per the calendar) & DUELLE at 9.30pm, but arrive by 6.30pm for Dr Wiles' talk.
DETAILS: 6.30pm, Wednesday 23 May at ACMI Cinema 2, followed by screenings of PARIS BELONGS TO US and DUELLE. Usual membership conditions apply.
In the meantime, here is a recent picture of le vieux Jacques.
See you there!
Co-programmer, Melbourne Cinémathèque
|Thursday, April 26th, 2007|
Michael Mann's Crime Story - "Top of the World"
Michael Mann produced the Crime Story
series for NBC television, but Top of the World
was the only episode (21 of 44) directed by him. It depicts a Chicago police detective's determination to thwart a gangster's ruthless ambitions and bring him to justice. Scorsese's Casino
seems to have borrowed heavily from the narrative of this episode, though the plot was hardly original.
In the same way that Melbourne Cinémathèque's season of Kieslowski brought together a selection of varied works by one artist that demonstrated a common theme and evolution of style, the screening of Top of the World
gave an insight into an auteur's contribution to a different medium. Despite the episode's being full of clichés, there was still a freshness and vitality about it, in much the same way as under Don Siegel's direction, Clint Eastwood brought pizazz to his hackneyed character of Inspector Harry Callahan in Dirty Harry
There was a darkness (both visually and narratively) to the episode, and was more gutsy than the average television police show. I found it highly enjoyable.
This post will appear on Melbourne Film Blog
|Wednesday, April 18th, 2007|
Until now, The Insider
is the only Mann film I'd liked - I found Heat
ridiculously over-the-top and Collateral
ridiculously contrived and visually unappealing. I didn't see Miami Vice
because it held no appeal (especially after Heat
) and I didn't see Ali
because (1) I'm not a big fan of so-called biopics, and (2) I remember what Mohammed Ali looked like and it was nothing like Will Smith.
So I went to Melbourne Cinémathèque with fairly low expectations but was pleasantly surprised. I didn't know that this was the film that was remade as Silence of the Lambs, which I liked a lot. Manhunter has dated more than that film, particularly the music and clothing. However, I found it very chilling, and some of the characterisations more interesting than the remake. Brian Cox's Lektor and William Petersen's Will Graham were both excellent. There were a few contrivances (like Graham jumping through the window) that I could easily overlook because the film was so effective in keeping me on the edge of my seat. The film could also have benefited from a bit of tighter editing as the end seemed a little drawn out, but that's a small criticism. I found the film edgier than Mann's more recent work and compelling viewing.
This post will appear on Melbourne Film Blog under The Week in Review on Sunday.
|Monday, April 16th, 2007|
Denis' film on Rivette was quite different to what I was expecting, for some reason I have imagined this film as more a bio-documentary than the interview film that it is, I expected to see facts and fiction and numerous snippets of his wonderful films but here's was a different style of documentary - simple, grounded, one interview reel after another. And yet this is possibly more fascinating, as you become engaged in a conversation with Rivetter but you become even more pre-occupied with the study of his face, his humble manner, nimble hands and sad laughing eyes. Personally, I probably need to rewatch this film as I haven't seen any of the Rivette's films at all and I could appreciate his words to the extent that I would appreciate any filmmaker's comments and yet he comes from the same circle as Truffaut and Godard who I know so much better, so I suppose it wasn't complete blind date with the New Wave master.
I'm really looking forward to his season in May, one the big excitements of cinematheque is being introduced to the directors you haven't seen before and falling in love with their body of work. Can't wait till May 23rd:)
|Monday, April 2nd, 2007|
Eastern European Experimental Shorts, April 4th
Any feedback on Sam Fuller films? I quite liked "The Naked Kiss", it's a wonderfully hysterical film and expected just about anything except that ending, who knew what "naked kiss" actually meant.
This week we are showing a collection of Eastern European shorts including films by Hungarian Peter Forgacs, Pip Chodorov and Austrian Peter Tcherkassky, bring all your experimental friends along.
Next week's program features a double bill of Claire Denis' films, including "Jacques Rivette, the Night Watchman" which will be very interesting to see, anticipating Jacques Rivette's season coming up in May. And the week after will be the start of the three weeks season of Michael Mann' films, so if you have been wondering about the good time to join Melbourne Cinematheque - why not do it this week?( Read full program details for April 4thCollapse )
|Tuesday, March 27th, 2007|
Sam Fuller and Kieslowski Shorts @ Cinematheque TMRW!
omorrow is truly the last day of Kieslowski season, this time it's only two of his shorts films and we can sadly wave this great season goodbye. I was surprised by how much more impact his films had on me now, then when I watched them previously, I used to think he was good, but now I'm convinced that he's great. And there's also something unique in ability to watch directors seasons at cinematheque, spaced over a few weeks the screenings allow you to compare the different works, see the parrallels, similiar themes, development of style or sometimes the stark contrasts between the films. Often the films are paired up in such a way that one film compliments the other and in an instance you are outside both films, you can see them as one body of work, not individually and that's a great feeling. There were more than usual symmetries and patterns with the Kieslowsky season because of juxtoposition of the trilogy and the older films and this probably have made this season even more enjoyable.
I'm looking forward to Michael Mann's season in April and Jackques Rivette's season in May, more movie patterns to study. Next week should be very interesting with a collection of short experimental, philosophical and historical films, including films by Australian Peter Tcherkassky and Hungarian Peter Forgacs and Pip Chodorov and Jim Finn's East German mockumentary Intercosmos
And tomorrow's screening will be: Melbourne Cinematheque
ACMI Cinemas, Federation Square
Wed, 28 March from 7pmhttp://www.melbournecinematheque.org/7pm The Naked Kiss
Sam Fuller, 93 mins, USA, 1964
Fuller's most unsettling work features Constance Towers as a prostitute who vainly attempts to leave her life of sin and enter mainstream society, only to discover that it is even more deraved than the world she has fled.
Evocatively shot by Stanley Cortez, this emotionally raw, lurid, noirish melodrama is possibly the director's most potent and unkempt film.
Preceded by two Kieslowski shorts:Refrain
Krzysztof Kieslowski, 10 mins, 1972Factory
Krzysztof Kieslowski, 17 mins, 19709.10pm Park Row
Sam Fuller, 84 mins, USA, 1952
Set in 1880s New York, Fuller's homage to his journalistic origins is an offbeat, hard-hitting but surprisingly optimistic low budget film about a crusading editor (Fuller stalwart Gene Evans) who tries to publish his newspaper despite oppposition from a rival magnate.
Mostly self-funded, this is one of Fuller's most underrated and revealing works exploring the underpinnings of American society.
Preceded byIn the Street
James Agee, Janice Loeb & Helen Levitt, 15 mins, 1948
|Tuesday, March 20th, 2007|
French Film Festival
Are you planning to go to any of the sessions? I have been travelling with my aunt for the last couple of weeks and couldn't quite sit down to look at the brochure that I have carried in my bag for the last month, but I believe there's a couple of films worth watching, "The Singer" is one of them, but it's also going to get a general release, so I'm thinking of going to a film which would not get a release and be worth watching. Any ideas?
Parting with Kieslowsky - One Week Left
This is from a letter to my dear friend G., who has been a cinematheque member for over twenty years and probably should be on our committee:)
I liked all 4 films so far, although my favorite is still Blue. I can definitely relate to conversion, I always thought Kieslowsky was good, but didn't think of him as great, somehow this season changed my mind, the contrast of the old films and the trilogy gives you a real appreciation of his lower budged rougher intellectual films, esp. with cinema buff there's so much experimentation with narrative, the ability to rotate the viewpoint and see the amateur as director, all those big cinema as art or cinema as truth questions treated in a challenging, but very light manner, and then we have the trilogy which is far more polished and elevated, a visual poetry, but somehow seeing those old films gives the trilogy more credibility, as if they work not just by chance or through clever tricks but because there's a lot of substance and work behind them.
I'm really looking forward to the last Kieslowsky session. Which is:
Krzysztof Kieslowski, 99 mins, France/Swiss/Poland, 1994, 35mm
Kieslowski's final film (and the final of the Three Colours trilogy) explores the theme of 'fraternity' as the lives of a troubled young fashion model (Irène Jacob) and a reclusive retired judge (Jean-Louis Trintignant) are unexpectedly brought together.
9pm A Short Film about Love
Krzysztof Kieslowski, 86 mins, Poland, 1988, 35mm
A Short Film About Love is the feature-length version of episode 6 of Kieslowski's Biblically-inspired opus The Decalogue.
It is a characteristically layered portrait of the ethical, moral and sexual dilemmas encountered by a young postal worker and the older woman he becomes infatuated with. Imported print!
Comments? Feedback? Responses?
|Thursday, March 8th, 2007|
Kieslowski Double - 1
Cross-posted from Melbourne Film Blog
Last night Melbourne Cinémathèque screened the first of four weeks of films by Krzysztof Kieslowski. First up was Trois couleurs: Bleu (Three Colors: Blue, 1993) followed by Przypadek (Blind Chance, 1981). The latter didn’t receive a release until 1987 due to state censorship (the film takes a dim view of politics in Poland).
I discovered Cinémathèque last year but rarely stayed for the second screening because of work the next morning. This year I’ve made a commitment to myself to try to get to as many second screenings as possible, and this week’s was surely the pick of the season thus far for me. The Kieslowsi double was completely sublime.
Three Colors: Blue
I started watching films as an adult in 1992. The first three films were Shattered (Wolfgang Petersen, 1991), The Doctor (Randa Haines, 1991) and Black Robe (Bruce Beresford, 1991). I first saw Blue when released around 1993/94. It was the first ‘arthouse’ film I’d seen and struck me. It opened me up to the fact that there was a whole other world of cinema out there, other than mainstream Hollywood.
Thirteen or so years later and, though I knew basically what the film was about, both I and my appreciation of cinema have evolved and sufficient time has passed to the point that the second viewing was almost like seeing it for the first time. The film is emotionally powerful, confidently and competently directed, though I feel these descriptions to be understatements. For me, it must count as one of the best films I have ever seen.
The three colours in Kieslowski’s trilogy refer to the French flag (blue, white and red), and each colour represents liberty, equality and fraternity respectively. Kieslowski’s depiction of liberty is explored in the context of Julie, the survivor of a terrible car crash (Juliette Binoche) which claimed the lives of her husband and five year old daughter.
Grief is a terrible thing, and those of us who have experienced it first-hand know how disorienting it can be. It is also lonely – no-one else can relieve a person’s pain, and it must be worked through. Binoche’s depiction of a grieving person was a performance of a quality I have never seen her repeat.
Kieslowski delves into one person’s journey and offers tremendous insights. His sense of humanity without sentimentality is awesome. Though he is Polish, the film is in French language and filmed in France (mostly Paris). I can see now how this film on first viewing drew me into the darker French dramas, and each year I eagerly await the Melbourne French Film Festival (coming soon: 20/3/07 – 3/4/07). Films like Blue are, however, rare.
La double vie de Véronique (The Double Life of Veronique, 1991) and the colours trilogy are the only Kieslowski films that received a commercial release in Australia. The Cinémathèque screenings are a rare opportunity for Melbournians to see one of the world’s great director’s films on the big screen.
Blind Chance recalls for me various films that I have seen that were made later. Like Hollywood film Sliding Doors (Peter Howitt, 1998) with Gwyneth Paltrow, it asks the question “what if?”. What if that train you’re running to catch: (1) you just get it, (2) you miss because the station-master obstructs you, or (3) you miss without incident? This seemingly innocuous incident has a profound effect on Witek’s life. But unlike the romantic pop story in Sliding Doors, Kieslowski uses the scenarios to paint three different stories for one man torn between his sense of moral obligations, personal ambitions, grief at the recent loss of his father and mental weakness. All this is painted in the context of political unrest and upheaval in communist Poland.
Each outcome is completely plausible, and tragically ends in pain of one kind or another. A conjugal relationship is formed in each scenario, but with different women and with different outcomes. Kieslowski here is refuting the romantic concept that there is a thing called destiny which predetermines who we end up partnering with. Even if we choose left over right, the popular mythology would have us believe, we will end up with our true soul mate.
Run Lola Run (Lola Rennt, Tom Tykwer, 1998) was more like Blind Chance in content and theme than Sliding Doors. Tykwer’s energy-packed and unconventional romance thriller also used the ‘what-if’ concept to explore philosophical ideas and darker elements of society, though not with Kieslowski’s gritty realism. Tykwer had Lola and Manni die for each other in two scenarios, and a happy ending in the third. Kieslowski’s Witek joins the Party machine in one scenario, becomes a student rebel in another and struggling to remain impartial in the third. The film is profound and moving and the end is sudden and shocking. I sat agape for sometime while the credits rolled.
Based on week 1 of the Kieslowski screenings, I highly recommend the rest of the season at ACMI on Wednesday evenings, 7pm. On March 14 is screening Three Colors: White and Camera Buff. March 21: Three Colors: Red and A Short Film About Love as well as the short Bricklayer. March 28: 2 shorts: Refrain and Factory before two Sam Fuller features (The Naked Kiss and Park Row).
|Wednesday, March 7th, 2007|
Hi, everyone, I have been away and haven't updated in a while. I hope you all been well and have attended the first three weeks of 2007. Any feedback on the films you have seen so far? Feel free to post your reviews, it would be good to hear everyone's opinions esp. since I've missed those sessions.
Tonight is the first week of Kieslowski season and I'm very excited about it, as I love the Three Colours Trilogy and esp. Blue
which is the first film in the program. I have never seen it on the big screen, so I'm really looking forward to it and I'm very curious about the older Polish films, somehow I expect them to be similiar to Kundera's writing, the Unbearable Lightness of Being
of living in Soviet Poland. The moral matrix of Krzystof Kiewslowski
Krzystof Kiewslowski is undoubtedly Poland's best-known film director of the last two decades. He launched his career with a series of short documentaries whose depiction of everyday Polish life brought him into conflict with the authorities. His feature work in Poland attracted further controversy with several of his films being banned or shelved for long periods of time.
Krzysztof Kieslowski, 100 mins, France, 1993, 35mm
First in the Three Colours trilogy in which Kieslowski's close-ups explore ideas of 'liberty' from the personal perspective of his heroine Julie.
One of the most highly regarded films of the 1990s, Blue is characterised by hauntingly beautiful cinematography, a daring performance by Juliette Binoche and evocative score by Zbigniew Preisner.
Krzysztof Kieslowski, 122 mins, Poland, 1981/87, 35mm
Kieslowski expertly ties together three elliptical narratives in a strikingly modernist speculation on fate, chance and individual freedom. Freed by his father's dying words, a young medical student buys a ticket to Warsaw to pursue a new life.
Made on the eve of Communist crackdown in Poland, this film was suppressed for nearly seven years. Imported print!
14 March: White + Camera Buff
21 March: Red + A Short Film About Love
28 March: Kieslowski shorts (screened together with Sam Fuller double)
|Monday, February 5th, 2007|
Melbourne Cinematheque 2007
Hi, guys, here's the entire program for the Melbourne Cinematheque 2007. Please take your time to read through it, it's is a long program, and there's a lot of surprises and pleasures for everyone.
I would really like to hear what you are most excited about. Personally, I'm really looking forward to the Czech New Wave season
, I have read a lot about them but have seen very few films. The Russian Sci-Fi season sounds like a guilty pleasure, some of those films are gloriously cheesy but interesting nonetheless. I would have never imagined I would have an opportunity to watch "Man Amphibian" in an Australian cinema. Jacques Rivette
is another of those directors I've always wanted to see more. Dr Caligari
are the other highlights for me.
The hardcopy of the calendar can be picked from ACMI now and opening night is just a week away. Hope to see you all there. ( February - December 2007 ProgramCollapse )
I am Cuba and other what's too look out for films
Did anyone go to see Siberian Mammoth: I am Cuba
? I was pleasantly surprised that this documentary had more background about the history and people involved then just discussions of cinematography, I took quite a lot out of it.
The film itself (which is a must-see) will be screened next Thu-Fri-Sat-Sun at ACMI, I'm going on Friday personally, and I'm happy to catch up with people at 5pm or so before the screening at 7pm. You can read more info at ACMI's website.
Another film I'm looking forward to is Terrence Malick's New World
which will be screened on Saturday night at ACMI Malick hasn't done a lot of films, but the few that he has created are usually fascinating.
Finally, I'm looking forward to watching Aranofsky "The Fountain".
What films are you looking forward to?
|Saturday, February 3rd, 2007|
Cinematheque Returns - February 14th
Cinematheque veterans can be easily recognised by the Wednesday withdrawal summer syndrome, how do you spend a Wednesday night, what should I do with this free time? Some stay at home and stare at the wallpaper covered with the old calendars to replay some of the most favorite films from the old seasons.
But fortunately you do not have to wait too much longer and on the February 14th you can fall in love with cinema all over again. Our opening night films are designed to thrill and enchant, and surely you will not have to worry about what to do with you Wednesday nights untill next Christmas.
7:00pmEyes Without a Face
(Georges Franju) 1959 France 88 mins
Massively influential, chilling modernist horror classic featuring Pierre Brasseur as a genius plastic surgeon who uses scandalously unethical means to restore his daughter’s mutilated face. Alida Valli, who scours the streets kidnapping young women, soulfully inhabits his dutiful assistant. Franju’s haunting, oneiric, minimalist shocker is one of the great poetic works of French cinema. Moodily shot by Eugen Schufftan & scored by Maurice Jarre. Also stars Edith Scob. Imported 35mm print.
(Jack Clayton) 1961 Britain 100 mins PG
Freddie Francis’ luscious cinematography & Georges Auric’s atmospheric score enhance Jack Clayton’s eerie rendering of Henry James’ classic tale. Co-scripted by Truman Capote & featuring a tour-de-force performance from Deborah Kerr as a repressed governess whose charges appear possessed by ghostly apparitions. This chilling work remains one of the landmark horror films. With Michael Redgrave. Imported 35mm print. Preceded by Alfred Hitchcock Presents: The Perfect Crime
(1957) 24 mins. An arrogant detective is confronted with evidence that he helped execute an innocent man. Directed by Alfred Hitchcock & starring Vincent Price.
Venue: Australian Centre for The Moving Image at Federation Square.
Tickets: Purchase at the box office 15-30 mins before the film starts. Admission is by membership and comes in two flavours:
1)Annual pass will give you entrance to all the films for a year (counted from the date of purchase untill the same time next year, so this pass can be bought at any time of the year and offers the best value for money cinema ticket in Melbourne). Cost: $90 Full/$75 Conc
2)Mini pass - admission to four consecutive weeks of screenings, which means you have a ticket to all of the films on the night and the next three Wednesdays. Cost: $20 Full/ $15 Conc.
You can pick up the calendar for 2007 NOW at ACMI. The calendar contains the entire program for the year.
I will post regular updates about cteq in melbourne_cteq
and I would love to have some discussion about the cteq screenings, but also film culture in general. You are welcome to post film reviews or queries of any kind, as long as they are film related. Regular meet ups could and should be organised:)
Highlights of the 2007 include Krzysztof Kieslowski's season coming up in March, Jacques Rivette season in May and much much more.
for 2007 program details, to be posted very soon.