{"id":43274,"date":"2020-08-16T22:36:44","date_gmt":"2020-08-16T20:36:44","guid":{"rendered":"http:\/\/film-mag.net\/wp\/?p=43274"},"modified":"2020-08-16T22:36:44","modified_gmt":"2020-08-16T20:36:44","slug":"whats-playing-fellini-forever-introducing-the-currents-first-newsletter","status":"publish","type":"post","link":"http:\/\/film-mag.net\/wp\/?p=43274","title":{"rendered":"What\u2019s Playing, Fellini Forever & Introducing the Current\u2019s first newsletter"},"content":{"rendered":"\n\n\n
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If looks could kill . . . Plus: Humberto Sol\u00e1s\u2019s Cuban epic<\/h2>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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A guide to the Criterion<\/span> Channel. If you haven\u2019t already subscribed, click\u00a0here<\/a>\u00a0for a 14-day free trial and explore the more than 2,000 titles and thousands of supplemental features available to stream.<\/h2>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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Starring Alain Delon<\/a><\/h3>\n

The beautiful boy of French cinema whose steely, ice-blue gaze betrayed more than a hint of danger, Alain Delon was a favorite of modernists like Luchino Visconti, Jean-Pierre Melville, and Michelangelo Antonioni, all of whom were seduced by his impossible good looks and air of cool detachment. This selection spotlights many of Delon\u2019s finest moments, from his star-making performance as the gorgeous, duplicitous Tom Ripley in Purple Noon<\/strong><\/em> to his enigmatic turns in a\u00a0trio of minimalist crime dramas directed by Melville.<\/p>\n

Looking for a place to start?<\/strong>
\nBegin with Delon\u2019s career-defining role as\u00a0zen contract killer Jef Costello in Melville\u2019s elegantly stylized Le samoura\u00ef.<\/strong><\/em> Then turn to Joseph Losey\u2019s unsung classic Mr. Klein, <\/strong><\/em>in which Delon gives one of his subtlest performances\u00a0as an amoral art dealer in Nazi-occupied Paris.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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We\u2019re Here to Help<\/h3>\n

If you have questions, comments, or feedback about the Criterion<\/span> Channel, please reach out to channelhelp@criterion<\/span>.com<\/a>! We\u2019d love to hear from you.<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n

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Starstruck<\/a><\/em><\/h3>\n

Australian New Wave leader Gillian Armstrong\u2019s celebrated sophomore feature is a gloriously over-the-top, shiny pop musical with\u00a0infectiously catchy tunes by Kiwi legends Split Enz.<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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Four Documentaries\u00a0by Ron Mann<\/a><\/h3>\n

Pop-culture chronicler Ron Mann introduces\u00a0his\u00a0idiosyncratic odes to free-jazz players, comic-book artists, radical poets, and twist dancers.<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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Luc\u00eda<\/a><\/em><\/h3>\n

Exclusive streaming premiere: Humberto Sol\u00e1s\u2019s\u00a0breathtaking vision of Cuban revolutionary history is a long-unavailable landmark of radical cinema, newly restored by the World Cinema Project.<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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The Decline of Midwestern Civilization<\/a><\/h3>\n

\u201cWhere\u2019s the rest of me!?\u201d cry Orson Welles\u2019s studio-butchered masterpiece and a maimed Ronald Reagan in these Midwest-set highlights from 1942.<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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Storm Boy<\/a><\/em><\/h3>\n

Shot amid the scenic splendor of South Australia\u2019s coast, Storm Boy<\/strong><\/em> weaves a simple but profound fable about friendship and loss\u00a0that\u2019s beautifully attuned to the natural world.<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n

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Fellini Forever<\/h2>\n\n\n\n
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Essential Fellini<\/a><\/h1>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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Joining in the international\u00a0celebration of Federico Fellini\u2019s 100th birthday, Criterion<\/span> is thrilled to announce\u00a0Essential Fellini,<\/em> a fifteen-Blu-ray box set that brings together fourteen of the director\u2019s most imaginative and\u00a0uncompromising works for the first time. Alongside new restorations of the theatrical features, the set also includes short and full-length documentaries about Fellini\u2019s life\u00a0and work, archival interviews with his friends and collaborators, commentaries on six of the films, video essays, the director\u2019s 1968 short\u00a0Toby Dammit,<\/em> and much more.<\/p>\n

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\nThe edition is accompanied by two lavishly illustrated books with hundreds of pages of notes and essays on the films\u00a0by writers and filmmakers, as well as\u00a0dozens of images\u00a0of Fellini memorabilia.\u00a0Essential Fellini<\/i>\u00a0is a fitting tribute to the maestro of Italian cinema!<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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An underappreciated visionary of independent cinema . . . Plus: L\u00f8ve stories<\/h2>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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A guide to the Criterion<\/span> Channel. If you haven\u2019t already subscribed, click\u00a0here<\/a>\u00a0for a 14-day free trial and explore the more than 2,000 titles and thousands of supplemental features available to stream.<\/h2>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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Three by Bill Gunn<\/a><\/h3>\n

One of the most electrifying but unjustly neglected talents to emerge from the creative ferment of 1970s American cinema, actor, writer, and director Bill Gunn blazed a new trail for Black independent filmmakers.\u00a0With their bold, iconoclastic style and focus on the lives of intellectual and middle-class Black characters, Gunn\u2019s uncompromising films were decades ahead of their time\u2014only now is the world beginning to catch up.\u00a0This selection pairs his twin masterpieces as a director with the long-overlooked\u00a0The Angel Levine, <\/strong><\/em>a Bernard Malamud adaptation for which he cowrote the screenplay, and a revelatory 1984 interview with Gunn.<\/p>\n

Looking for a place to start?<\/strong>
\nFar from the simple genre exercise suggested by its Blaxploitation premise, Gunn\u2019s visionary vampire movie Ganja & Hess<\/strong><\/em>\u00a0is an utterly original treatise on sex, religion, and African American identity. His follow-up,\u00a0Personal Problems,\u00a0<\/strong><\/em>is an extraordinary collaboration with writer Ishmael Reed, who described it as\u00a0a \u201cmeta\u2013soap opera\u201d and \u201ca look at the triteness of everyday life in Black middle-class America.\u201d<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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We\u2019re Here to Help<\/h3>\n

If you have questions, comments, or feedback about the Criterion<\/span> Channel, please reach out to channelhelp@criterion<\/span>.com<\/a>! We\u2019d love to hear from you.<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n

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Directed by Wim Wenders<\/a><\/h3>\n

Turning seventy-five today, Wim Wenders is cinema\u2019s preeminent poet of the open road, soulfully tracing the journeys of wanderers\u00a0searching for themselves.<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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Behind the Screens<\/a><\/h3>\n

Robert Townsend and Robert Altman, both\u00a0maverick filmmakers with uneasy relationships to Hollywood, offer scathing satires of the film industry in this one-two punch of Tinseltown sendups.<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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Three by Mia Hansen-L\u00f8ve<\/a><\/h3>\n

These three empathetic explorations of emotional upheaval are accompanied by a new interview with the director, a master of naturalistic humanism.<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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Hands of Fate<\/a><\/h3>\n

Radical minimalism is wielded with extraordinary power by cinematic ascetics Kazik Radwanski and Robert Bresson in these shattering stories conveyed largely through a focus on hands.<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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The Secret Garden<\/a><\/em><\/h3>\n

Frances Hodgson Burnett\u2019s beloved novel\u00a0 blossoms to enchanting life in a superb adaptation featuring two of golden-age Hollywood\u2019s greatest child stars: Margaret O\u2019Brien and Dean Stockwell.<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n

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EDITION #51<\/strong><\/h4>\n

Brazil<\/a><\/em><\/h3>\n

Terry Gilliam\u2019s dystopian masterpiece stars Jonathan Pryce as a daydreaming everyman caught in the soul-crushing gears of a nightmarish bureaucracy.<\/p>\n

SUPPLEMENTAL FEATURES: <\/strong>Interviews, video essays, programs about the film\u2019s production and release, and the alternate \u201cLove Conquers All\u201d version.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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The Current<\/a><\/h1>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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HIGHLIGHTS AUGUST 16, 2020<\/h4>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
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A roundup of recent articles from Criterion<\/span>\u2019s online magazine. Happy reading!<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n

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A Walk to Remember<\/a><\/h2>\n

Mapping a Vanished New York. The author of Call Me by Your Name remembers the first time he saw The Apartment and the Upper West Side pilgrimage the film inspired him to make.<\/p>\n

By Andr\u00e9 Aciman<\/h6>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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MEET THE ILLUSTRATOR<\/h4>\n

The New York\u2013based artist Xia Gordon talks with us about her creative background and how she brought Aciman\u2019s Manhattan memory to visual life.<\/a><\/em><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n

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Four Ways of Looking at Agn\u00e8s Varda<\/a><\/h2>\n

Scenes from a Career. To celebrate this week\u2019s release of The Complete Films of Agn\u00e8s Varda, <\/em>we spoke with four contemporary filmmakers about the moments in her oeuvre that\u00a0resonate most deeply with them.<\/p>\n

By Ashley Connor, Anna Rose Holmer, Kirsten Johnson, and Lauren Wolkstein<\/h6>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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READ MORE<\/h4>\n

Scholar Ginette Vincendeau reflects on Varda\u2019s legacy in this essay from the box set.<\/a><\/em><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n

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INTERVIEW<\/h4>\n

Mia Hansen-L\u00f8ve in Conversation<\/a><\/h2>\n

The acclaimed writer-director opens up about how she found her salvation and her vocation in filmmaking.<\/p>\n

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WATCH<\/h4>\n

Three of Hansen-L\u00f8ve\u2019s films and a new video introduction are now playing on the Criterion<\/span> Channel.<\/a><\/em><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n

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In the Nick of Time<\/a><\/h2>\n

Behind the Scenes of Our Dance, Girl, Dance Restoration. Our plans to release Dorothy Arzner\u2019s feminist classic led to the rescue of a nitrate negative in peril.<\/p>\n

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WATCH<\/h4>\n

In this video, critic B. Ruby Rich pays tribute to Arzner, the only woman directing movies in the Hollywood studio system during its heyday.<\/a><\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n

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If He Had Wings<\/a><\/h2>\n

Inside Llewyn Davis\u2019<\/em>s Valedictory Anthem. The ballad \u201cFare Thee Well\u201d builds in resonance as it drifts through multiple scenes in the Coen brothers\u2019 folk-music drama.<\/p>\n

By Nate Chinen<\/h6>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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READ MORE<\/h4>\n

Past highlights in our Songbook series include articles on the music in\u00a0Chungking Express, The Breakfast Club, and Career Girls.<\/a><\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n

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OLDIE BUT GOODIE<\/h4>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n\n
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\u201cWim moved through this world with an air of diffidence and comfortable detachment. Just another lug at the bar, soaking it all in.\u201d<\/a><\/em><\/h5>\n<\/td>\n<\/tr>\n
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\u2014Michael Almereyda on his memories of collaborating with Wim Wenders, whose films take the spotlight in a Criterion<\/span> Channel retrospective this weekend<\/h6>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n
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THE DAILY<\/h1>\n

Festivals on the Horizon<\/a><\/h2>\n

News from New York, Venice, and Telluride. The NYFF brings us three films by Steve McQueen, Venice adds two titles, and Telluride reveals the lineup for the edition that would have been.<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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WATCH<\/h4>\n

McQueen\u2019s debut feature, <\/em>Hunger, is playing now on the Criterion<\/span> Channel. <\/em><\/a><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n

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[izvor informacije Criterion<\/strong><\/a>]<\/p>\n

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