After four years Martin Scorsese is back with another six filmic gems from all corners of the Earth. Love struggles in the slums of Thailand and the economic boom town of Taipei; underdog heroes undertake troubled missions in Turkey and Kazakhstan, a Malay storyteller plays cinematic games with basic narrative, and a vintage Brazilian art film is pure visual poetry. They’ve all been rescued by the World Cinema Project.
Martin Scorsese’s World Cinema Project No. 2
Blu-ray + DVD
The Criterion Collection 873-879
1931 – 2000 / Color + B&W / available through The Criterion Collection / Street Date May 30, 2017 / 124.95
Directed by Lino Brocka, Apichatpong Weerasethakul, Ermek Shinarbaev, Mário Peixoto, Lütfi Ö. Akad, Edward Yang
I readily confess that in my patchy history of film festival attendance, I gravitated not toward the really obscure foreign films, unless they promise to be as entertaining as things I’m more familiar with. Based on the results, one of...
Martin Scorsese’s World Cinema Project No. 2
Blu-ray + DVD
The Criterion Collection 873-879
1931 – 2000 / Color + B&W / available through The Criterion Collection / Street Date May 30, 2017 / 124.95
Directed by Lino Brocka, Apichatpong Weerasethakul, Ermek Shinarbaev, Mário Peixoto, Lütfi Ö. Akad, Edward Yang
I readily confess that in my patchy history of film festival attendance, I gravitated not toward the really obscure foreign films, unless they promise to be as entertaining as things I’m more familiar with. Based on the results, one of...
- 5/23/2017
- by Glenn Erickson
- Trailers from Hell
The Venice Film Festival has unveiled the 21 restored films – 18 features and 3 shorts - that will screen in its Classics section of restored films.
The section, introduced in 2012, features a selection of classic film restorations completed over the past year by film libraries, cultural institutions or production companies around the world.
Director Giuliano Montaldo will chair the jury of film students which will award the Venice Classics Award for Best Restored Film and for Best Documentary on Cinema.
The 2014 Venice Classics line up:
Features
Baisers volés (Stolen Kisses), dir François Truffaut (France, 1968, Colour) restored by : Mk2
Bez końca (No End), dir Krzysztof Kieślowski (Poland, 1984, 108’, Colour) restored by: Studio Filmowe Tor with the support of the National Audiovisual Institute (the Multiannual Government Programme Culture +) and the Polish Film Institute
Gelin (Bride), dir Omer Lütfi Akad (Turkey, 1973, 92’, Colour) restored by: Erman Film
Guys and Dolls, dir Joseph L. Mankiewicz (USA, 1955, 150’, Colour) restored by: Warner Bros. Motion Pictures Imaging and [link...
The section, introduced in 2012, features a selection of classic film restorations completed over the past year by film libraries, cultural institutions or production companies around the world.
Director Giuliano Montaldo will chair the jury of film students which will award the Venice Classics Award for Best Restored Film and for Best Documentary on Cinema.
The 2014 Venice Classics line up:
Features
Baisers volés (Stolen Kisses), dir François Truffaut (France, 1968, Colour) restored by : Mk2
Bez końca (No End), dir Krzysztof Kieślowski (Poland, 1984, 108’, Colour) restored by: Studio Filmowe Tor with the support of the National Audiovisual Institute (the Multiannual Government Programme Culture +) and the Polish Film Institute
Gelin (Bride), dir Omer Lütfi Akad (Turkey, 1973, 92’, Colour) restored by: Erman Film
Guys and Dolls, dir Joseph L. Mankiewicz (USA, 1955, 150’, Colour) restored by: Warner Bros. Motion Pictures Imaging and [link...
- 7/15/2014
- by sarah.cooper@screendaily.com (Sarah Cooper)
- ScreenDaily
Ömer Lütfi Akad, a pioneer of Turkish cinema who made over 40 films between 1948 and 1974 (and would carry on directing for television through 1979), died yesterday at the age of 95. Bilge Ebiri has essentially broken the news to the English-speaking world:
Along with Metin Erksan (director of the recently-restored Dry Summer), Akad was probably one of the two senior giants of Turkish cinema during a rather significant time — the period in the 1950s and 60s when the medium was moving away from the canned-theater efforts of early pioneers like Muhsin Ertugrul and starting to tackle more complicated material, against pretty much every odd in the universe. Neither society nor technology had yet caught up to the imaginations of these artists. The equipment was still ancient (the first Turkish film to edit together two separate audio tracks wouldn't come until 1978) and so was the political atmosphere: the country was at the time entering...
Along with Metin Erksan (director of the recently-restored Dry Summer), Akad was probably one of the two senior giants of Turkish cinema during a rather significant time — the period in the 1950s and 60s when the medium was moving away from the canned-theater efforts of early pioneers like Muhsin Ertugrul and starting to tackle more complicated material, against pretty much every odd in the universe. Neither society nor technology had yet caught up to the imaginations of these artists. The equipment was still ancient (the first Turkish film to edit together two separate audio tracks wouldn't come until 1978) and so was the political atmosphere: the country was at the time entering...
- 11/20/2011
- MUBI
"I was not angry since I came to France / Until this instant." Yes, that's how this article started out last year and lest the Ferroni Brigade be accused of (self-)plagiarism, let us point out that the only conceivable way of representing the grinding experience of the eternal Cannes rerun is by conjuring the endless feeling of repetition, be it standing in line or staring at the lineup, with its unchanging core of brand names, few of them inspiring real interest. Make no mistake, despite constant assertions to the contrary, this is a truly cursed place—last year upon arrival, the representative of the Ferroni Brigade was robbed on the first evening, this year one of our best friends suffered a compound fracture of her leg moments after she arrived in her apartment—and the toasted programming mostly just bears it out, really. One should not be deceived by a...
- 8/8/2011
- MUBI
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