Posted by Nathaniel Thompson on January 18, 2017
Following up on my look at one of my favorite films of the Czech New Wave, Valerie and Her Week of Wonders (1970), it seems only appropriate to follow up with another astonishing film from that period told from the perspective of young women: Daisies (1966). However, this one’s a bit different as I’d also rank it as one of the most fascinating films ever from a female director, in this case the endlessly creative and unpredictable Věra Chytilová, who would likely have prime placement in the pantheon of great world directors if all of her films were easier to see.
There’s been a lot of discussion about diversity in cinema over the past few years, with a particular focus on female directors since Kathryn Bigelow’s breakthrough Oscar win for directing The Hurt Locker (2008). However, while American filmmaking has certainly made some progress in recent years (and we definitely have a healthy number of highly accomplished American female directors), Europe has been ahead of the curve for a much longer period thanks to helmers as disparate as Lina Wertmüller, Catherine Breillat, Liliana Cavani, Agnès Varda, Lucile Hadzihalilovic and Susanne Bier, to name but a few. There’s no way you could ever confuse any of their films for the work of anyone else, and that applies especially to Chytilová, who managed to make avant garde techniques fun, accessible, and even dangerous at a time when it was needed most.
Posted by Nathaniel Thompson on September 21, 2016
I have a real soft spot for that strange period after the ‘70s when all the British filmmaking enfants terribles tried to wedge their styles into a movie landscape that had radically changed in front of them. Ken Russell tore into the American cinematic arena with Altered States (1980) and Crimes of Passion (1984); Lindsay Anderson veered from satirical outrage with Britannia Hospital (1982) to genteel drama with The Whales of August (1987); John Boorman went phantasmagorical with Excalibur (1981) and primitive with The Emerald Forest (1985); Derek Jarman dispensed with narrative entirely for The Angelic Conversation (1985) and The Last of England (1988). Then there’s the strange case of Nicolas Roeg, who was riding high after the triple punch of Walkabout (1970), Don’t Look Now (1973), and The Man Who Fell to Earth (1976). Needless to say, the early ‘80s took him in some very surprising directions, first with the very ill-received Bad Timing (1980), which is now regarded as a transgressive classic, and what remains one of his most neglected and misunderstood films, Eureka (1983), airing on TCM in the appropriately wee hours of Friday. [...MORE]
Several weeks ago, I posted an essay that claimed that the reason movies get made is to make money. I stand by that claim, and have spent the many of the last several weeks trying to explore the edges of it, but I’d like to clarify that I’m not saying that everyone who works in film is motivated solely by greed. I am saying that the people who work in film have bills to pay, mouths to feed, kids to put through college, etc. I’m sure there are some lofty-minded artists who resist and reject all that, and are only motivated to realize their own personal visions—but even they are better served by enjoying a modicum of commercial success. And that’s where we are this week—to see what happens to artists so determined to buck the system they end up compromising their own art worse than any studio hack could.
Posted by David Kalat on August 31, 2013
Salvador Dali’s surrealist career was bookended by his experiences in the movies.
I have to couch that statement with the limiter “surrealist career” because Dali was a prolific and prodigious talent whose larger artistic career in toto is almost incomprehensibly vast—he was painting like a pro when he was a small child, and kept at it until 1989. That’s right, Dali was around to witness the first Internet virus. Just wrap your head around that.
But… he is known and celebrated primarily as a surrealist, and it is that phase of his career which intersects the world of movies. And therein lies our tale.
Posted by R. Emmet Sweeney on October 9, 2012
The New York Film Festival is in its final week, concluding on Sunday night with a screening of Robert Zemeckis’ return to live-action filmmaking, Flight. Most of the action this past weekend, though, took place during the Views From the Avant-Garde sidebar. In its 16th year, Views provides an increasingly large snapshot of experimental film practice around the globe. Taking place in the year-old Elinor Bunin Munroe Film Center, the series takes over two screens and an amphitheater space, where audiences can jump back and forth between programs, if they can afford it. This year’s slate includes festival mainstays like Nathaniel Dorsky, future fixtures Laida Lertxundi and Ben Rivers, and the unclassifiable duo of Apichatpong Weerasethakul and Raul Ruiz, who straddle the arthouse/avant-garde divide.
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