When Apichatpong Weerasethakul's new film premiered it Cannes, it was like someone just opened the window and let in some much-needed fresh air into the festival. Relegated in a detail of obscure festival politics to the second-tier Un Certain Regard section, where in recent years such too-adventurous works like Jean-Luc Godard's Film socialisme and Claire Denis's Bastards were shunted aside, I came to Cemetery of Splendour assuming the director was going to follow-up on his Palme d'Or of Uncle Boonmee Who Can Recall His Past Lives with something as grand if not grander, and as bizarre if not even more bizarre. I should have known Apichatpong would move in mysterious ways and defy expectations.A small, humble film, in fact the most constricted of his full features, Cemetery of Splendour rather than working the surface of story, the surface of space, and the surface of drama and reality,...
- 5/26/2015
- by Daniel Kasman
- MUBI
Star-powered photo shoots currently dominate our covers, but over the years, TV Guide Magazine has also put illustrations, caricatures, collages and paintings front and center. A few of these canvases came from some of the most important artists of their times, including Salvador Dalí, Andy Warhol, Norman Rockwell, Peter Max and LeRoy Neiman. Our archive of 60 years' worth of covers comprises a veritable museum of pop art. And the stories behind these masterpieces are often as fascinating as the images themselves...
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- 4/23/2013
- by Elizabeth Wagmeister
- TVGuide - Breaking News
His films captured John Lennon in bed, the Velvet Underground deafening a roomful of psychiatrists, and New York during the high point of the last real avant garde. Adrian Searle tunes into a remarkable retrospective
The films of Jonas Mekas are fragments of a life passing. His show at London's Serpentine Gallery is filled with these moments from his long and interesting life; people he has met, events he witnessed and took part in, places he has been. And everywhere we keep coming across his voice, recalling the past, composing a love letter to his adopted New York, commenting, reading a poem, singing.
And always there are images. Images projected and playing on banks of monitors. Cacophanies, excerpts, new things and old footage, portraits, stills and blow-ups. You plunge in to this partial and personal selection of work, never quite knowing how long you'll be detained. The filmmaker's voice, engaged,...
The films of Jonas Mekas are fragments of a life passing. His show at London's Serpentine Gallery is filled with these moments from his long and interesting life; people he has met, events he witnessed and took part in, places he has been. And everywhere we keep coming across his voice, recalling the past, composing a love letter to his adopted New York, commenting, reading a poem, singing.
And always there are images. Images projected and playing on banks of monitors. Cacophanies, excerpts, new things and old footage, portraits, stills and blow-ups. You plunge in to this partial and personal selection of work, never quite knowing how long you'll be detained. The filmmaker's voice, engaged,...
- 12/10/2012
- by Adrian Searle
- The Guardian - Film News
Met Opera Live | Jonas Mekas | Sigur Rós: Valtari Mystery Film Experiment | Bristol Palestine Film Festival
Met Opera Live, Nationwide
Opera is supposed to be elitist and inaccessible, but ironically cinema is coming to its rescue. New York's Metropolitan Opera has become a global leader in the field, and three of its productions stream live in HD in cinemas across the country this month: Mozart's La Clemenza Di Tito, Verdi's Un Ballo In Maschera (updated to a film-noirish context) and his Egyptian epic, Aïda. It might not be the same as the live experience, but it's a damn sight cheaper, and truly different.
Picturehouse & Curzon cinemas & various venues, Sat to 27 Dec
Jonas Mekas, London
Mekas is just about the last surviving link to the golden postwar age of American avant garde film-making, which has been a well of inspiration for modern cinema, indie and mainstream. He helped preserve the work of Andy Warhol,...
Met Opera Live, Nationwide
Opera is supposed to be elitist and inaccessible, but ironically cinema is coming to its rescue. New York's Metropolitan Opera has become a global leader in the field, and three of its productions stream live in HD in cinemas across the country this month: Mozart's La Clemenza Di Tito, Verdi's Un Ballo In Maschera (updated to a film-noirish context) and his Egyptian epic, Aïda. It might not be the same as the live experience, but it's a damn sight cheaper, and truly different.
Picturehouse & Curzon cinemas & various venues, Sat to 27 Dec
Jonas Mekas, London
Mekas is just about the last surviving link to the golden postwar age of American avant garde film-making, which has been a well of inspiration for modern cinema, indie and mainstream. He helped preserve the work of Andy Warhol,...
- 12/1/2012
- by Steve Rose
- The Guardian - Film News
Sotheby's to auction off trove of art treasures and memorabilia owned by the renowned playboy. Mark Brown, meets his son Rolf
Picture the scene. A ruggedly handsome, impeccably dressed man is enjoying a snack with his superstar wife, Brigitte Bardot, in St Tropez's Gorilla bar in the late spring of 1967. A pale, odd-looking white-haired man with a large entourage notices him and marches straight over, complaining that the Cannes film festival, of all places, has refused to screen his film because of its nudity. The man agrees to see the film, Chelsea Girls, and everyone bundles into speedboats and heads for the Carlton Hotel on La Croisette.
That chance meeting between the millionaire playboy Gunter Sachs and artist Andy Warhol had a profound effect on both men. For Sachs, a serious collector, it led to a sea change in his art buying; for Warhol it marked a vital first foothold in Europe.
Picture the scene. A ruggedly handsome, impeccably dressed man is enjoying a snack with his superstar wife, Brigitte Bardot, in St Tropez's Gorilla bar in the late spring of 1967. A pale, odd-looking white-haired man with a large entourage notices him and marches straight over, complaining that the Cannes film festival, of all places, has refused to screen his film because of its nudity. The man agrees to see the film, Chelsea Girls, and everyone bundles into speedboats and heads for the Carlton Hotel on La Croisette.
That chance meeting between the millionaire playboy Gunter Sachs and artist Andy Warhol had a profound effect on both men. For Sachs, a serious collector, it led to a sea change in his art buying; for Warhol it marked a vital first foothold in Europe.
- 5/7/2012
- by Mark Brown
- The Guardian - Film News
Industrialist, playboy and former husband of Brigitte Bardot
The term "playboy" was more than a century old before Gunter Sachs, who has taken his own life aged 78, ordered the first magnum of champagne to be sent up to his suite, yet he defined the job description during its era of optimum use, the 1960s. He later took seriously his roles as a photographer, documentary film-maker and industrialist, but fellow Germans thought of him as the crown prince of pleasure, living it up internationally on their behalf while they were at work on the production line, bolting together the postwar German miracle. He led those who made St Tropez fashionable and for three years (1966-69) was married to the queen regnant of the Côte d'Azur, Brigitte Bardot.
The money for Sachs's toys (yacht, planes, handbuilt cars, go-karts and sports gear, cameras and a navy's worth of chronometers) came from his maternal great-grandfather,...
The term "playboy" was more than a century old before Gunter Sachs, who has taken his own life aged 78, ordered the first magnum of champagne to be sent up to his suite, yet he defined the job description during its era of optimum use, the 1960s. He later took seriously his roles as a photographer, documentary film-maker and industrialist, but fellow Germans thought of him as the crown prince of pleasure, living it up internationally on their behalf while they were at work on the production line, bolting together the postwar German miracle. He led those who made St Tropez fashionable and for three years (1966-69) was married to the queen regnant of the Côte d'Azur, Brigitte Bardot.
The money for Sachs's toys (yacht, planes, handbuilt cars, go-karts and sports gear, cameras and a navy's worth of chronometers) came from his maternal great-grandfather,...
- 5/9/2011
- by Veronica Horwell
- The Guardian - Film News
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