Karina Longworth's marvelous podcast, You Must Remember This, returns from a summer break with a new series on Joan Crawford. The first episode (44'18") focuses on the young Lucille LeSueur and swerves off on an entertaining detour for background on Douglas Fairbanks and Mary Pickford. More listening: Werner Herzog is impressed by Kanye West's Famous; Joseph McBride discusses Charles Chaplin's City Lights; Sam Fragoso talks with Ira Sachs about Little Men and more; White Reindeer director Zach Clark talks with John Waters about Multiple Maniacs, Rainer Werner Fassbinder, Justin Bieber and Terrence Malick; and the latest edition of Illusion Travels By Streetcar is about "The Madness of Busby Berkeley." » - David Hudson...
- 8/15/2016
- Keyframe
Karina Longworth's marvelous podcast, You Must Remember This, returns from a summer break with a new series on Joan Crawford. The first episode (44'18") focuses on the young Lucille LeSueur and swerves off on an entertaining detour for background on Douglas Fairbanks and Mary Pickford. More listening: Werner Herzog is impressed by Kanye West's Famous; Joseph McBride discusses Charles Chaplin's City Lights; Sam Fragoso talks with Ira Sachs about Little Men and more; White Reindeer director Zach Clark talks with John Waters about Multiple Maniacs, Rainer Werner Fassbinder, Justin Bieber and Terrence Malick; and the latest edition of Illusion Travels By Streetcar is about "The Madness of Busby Berkeley." » - David Hudson...
- 8/15/2016
- Fandor: Keyframe
This podcast focuses on Criterion’s Eclipse Series of DVDs. Hosts David Blakeslee and Trevor Berrett give an overview of each box and offer their perspectives on the unique treasures they find inside. In this episode, David and Trevor conclude their two-part discussion of Eclipse Series 39: Early Fassbinder.
About the films:
From the very beginning of his incandescent career, the New German Cinema enfant terrible Rainer Werner Fassbinder refused to play by the rules. His politically charged, experimental first films, made at an astonishingly rapid rate between 1969 and 1970, were influenced by the work of the Antiteater, an avant-garde stage troupe that he had helped found in Munich. Collected here are five of those fascinating and confrontational works. Whether a self- conscious meditation on American crime movies, a scathing indictment of xenophobia in contemporary Germany, or an off-the-wall look at the dysfunctional relationships on film sets, each is a startling...
About the films:
From the very beginning of his incandescent career, the New German Cinema enfant terrible Rainer Werner Fassbinder refused to play by the rules. His politically charged, experimental first films, made at an astonishingly rapid rate between 1969 and 1970, were influenced by the work of the Antiteater, an avant-garde stage troupe that he had helped found in Munich. Collected here are five of those fascinating and confrontational works. Whether a self- conscious meditation on American crime movies, a scathing indictment of xenophobia in contemporary Germany, or an off-the-wall look at the dysfunctional relationships on film sets, each is a startling...
- 6/30/2015
- by David Blakeslee
- CriterionCast
Above: Two Museums
After war comes peace. It isn't all cinematic onslaught found in the festival's shelter from constantly surprising drizzle. There is a sweet serenity to be found at Rotterdam, if you know where to go looking, or if you are lucky enough to stumble into the darkness and discover it.
Certainly the retrospective on Heinz Emigholz is a continued source of tranquil power—excepting for the moment the horrors of D'Annunzio's Cave and the abbrasive modernist of his lone fiction film here, The Holy Bunch (1991). His curious gaze, absolutely synonymous with that of the camera and thus while cooly analytic, also absolutely personal, investigates modern architecture with a fleet-footed patience that is remarkable to behold.
In such films as Sullivan's Banks (2000), on American architect Louis H. Sullivan's stalwartly solid, guardedly precious Midwestern, early 20th century banks, and Two Museums, a new premiere discovering, among many other things, the...
After war comes peace. It isn't all cinematic onslaught found in the festival's shelter from constantly surprising drizzle. There is a sweet serenity to be found at Rotterdam, if you know where to go looking, or if you are lucky enough to stumble into the darkness and discover it.
Certainly the retrospective on Heinz Emigholz is a continued source of tranquil power—excepting for the moment the horrors of D'Annunzio's Cave and the abbrasive modernist of his lone fiction film here, The Holy Bunch (1991). His curious gaze, absolutely synonymous with that of the camera and thus while cooly analytic, also absolutely personal, investigates modern architecture with a fleet-footed patience that is remarkable to behold.
In such films as Sullivan's Banks (2000), on American architect Louis H. Sullivan's stalwartly solid, guardedly precious Midwestern, early 20th century banks, and Two Museums, a new premiere discovering, among many other things, the...
- 1/31/2014
- by Daniel Kasman
- MUBI
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.