#anton bitel

[youngmonsters]

Here’s a lovely new review of my short film ‘Malacostraca’ from critic Anton Bitel.

[geekynerfherder]

'The VVitch' limited edition 4K bluray.

Limited edition includes:

Rigid slipcase with new artwork by Peter Diamond

150 page hardback book with new essays by Emerson W Baker, Daniel Bird, Anton Bitel, Charles Bramesco, Lillian Crawford, Shelagh Rowan-Legg and Anya Stanley plus stills, costume and production design gallery.

6 collectors' art cards

Bonus features include:

Feature 4K UHD and Blu-ray with bonus features on both formats

4K UHD presented in Dolby Vision HDR

Archive audio commentary by Director Robert Eggers

New audio commentary by film writer and broadcaster Anna Bogutskaya

A Puritan Nightmare: A new interview with Robert Eggers

Embracing Darkness: A new interview with Anya Taylor-Joy

Love Thy Father: A new interview Ralph Ineson

A Pious Wife: A new interview with Kate Dickie

Caleb’s Lament: A new interview with Harvey Scrimshaw

A Primal Folktale: Features interviews with Robert Eggers and cast

BFI London Film Festival Q&A with Robert Eggers, Anya Taylor-Joy, Ralph Ineson and Producer Jay Van Hoy

Brothers: A short film by Robert Eggers

Optional English subtitles for the hearing impaired

On sale for preorder now for £42.99 through Zavvi. (Release date: July 25 2022)

[brokehorrorfan]

Donnie Darko will be released on 4K Ultra HD on April 27 via Arrow Video. Luke Preece designed the new cover art for the 2001 sci-fi psychological thriller; the original poster is on the reverse side.

The two-disc limited edition set include the theatrical and director's cuts, a 100-page book, a double-sided fold out poster with Preece's artwork, and six double-sided postcards, all housed inside a slipbox.

Celebrating its 20th anniversary, the cult classic is written and directed by Richard Kelly (The Box). Jake Gyllenhaal, Jena Malone, Maggie Gyllenhaal, Drew Barrymore, Mary McDonnell, Katharine Ross, Patrick Swayze, Noah Wyle and James Duval star.

Both cuts of the film have been newly restored in 4K from the original camera negatives, supervised by Kelly and cinematographer Steven Poster. It’s presented in Dolby Vision HDR with original DTS-HD Master Audio 5.1 audio.

The copies special features are listed below, where you can also get another look at the packaging.

Disc 1: Theatrical Cut special features:

Audio commentary by writer-director Richard Kelly and actor Jake Gyllenhaal

Audio commentary by writer-director Richard Kelly, producer Sean McKittrick and actors Drew Barrymore, Jena Malone, Beth Grant, Mary McDonnell, Holmes Osborne, Katharine Ross, and James Duval

Deus ex Machina: The Philosophy of Donnie Darko - Interviews with Richard Kelly, producer Sean McKittrick, cinematographer Steven Poster, editor Sam Bauer, composer Michael Edwards, costume designer April Ferry, production designer Alec Hammond, and actor James Duval

The Goodbye Place - 1996 short film directed by Richard Kelly

Deleted and alternate scenes with optional audio commentary by director Richard Kelly

Trailer

Disc 2: Director’s Cut special features:

Audio commentary by writer-director Richard Kelly and filmmaker Kevin Smith

The Donnie Darko Production Diary featurette with optional commentary by cinematographer Steven Poster

Interviews with writer-director Richard Kelly, actors Jake Gyllenhaal, Jena Malone, Drew Barrymore, James Duval, Maggie Gyllenhaal, Holmes Osborne, Noah Wyle and Katharine Ross, producers Sean McKittrick, Nancy Juvonen, Hunt Lowry and Casey La Scala, and cinematographer Steven Poster

They Made Me Do It featurette

They Made Me Do It Too featurette

#1 Fan: A Darkomentary featurette

Storyboard comparisons

B-roll footage

Cunning Visions infomercials

"Mad World” music video by Gary Jules

Galleries

Trailer

TV spots

Limited edition contents:

100-page hardcover book featuring writing by Nathan Rabin, Anton Bitel, and Jamie Graham, an interview with writer-director Richard Kelly, an introduction by Jake Gyllenhaal, and contemporary coverage

Double-sided fold-out poster featuring artwork by Luke Preece

Six double-sided collector’s postcards

Donnie is a troubled high school student: in therapy, prone to sleepwalking and in possession of an imaginary friend, a six-foot rabbit named Frank, who tells him the world is going to end in 28 days, 06 hours, 42 minutes and 12 seconds. During that time he will navigate teenage life, narrowly avoid death in the form of a falling jet engine, follow Frank’s maladjusted instructions and try to maintain the space-time continuum.

[24footsquare-blog]

Frightfest: Beneath the Dark Heart of Cinema review by Anton Bitel.

[vfsalumni]

“In the prestigious Sight & Sound magazine of the British Film Institute, critic Anton Bitel placed Violentia among the top 10 films of the Science Fiction London Fest 2018 held in May.“

Violentia is the science fiction feature film debut for director and VFS graduate Ray Raghavan, exploring the reasons that people choose or resort to violence. With the desire to make hard-hitting films, Ray’s freshman foray has earned him esteem and regards on an international stage!

[mcbastardsmausoleum]

'The Witch' gets a spellbinding Limited Edition 4K/Blu-ray Release this Easter from Second Sight Films on 4/19

Label: Second Sight Films

Release Date: April 19th 2022

Rating: Cert: 15

Duration: 92 mins

Region: UHD region free / Blu-ray region B

Pre-order here: bit.ly/Witch4KBluLtd

Robert Eggers’ internationally lauded directorial debut feature The Witch (2016), features a spellbinding performance from a young Anya Taylor-Joy early on in a career that has seen her become a force to be reckoned with. Now this chilling, fear-filled film gets the highly anticipated Limited Edition 4K UHD/Blu-ray treatment, packed full of bonus features, courtesy of Second Sight Films.

This terrifying, enthralling horror has earned plaudits galore from across the globe, including the auspicious Sundance best director prize, along with a London Film Festival award and a double win at the Empire Awards and now gets a stunning, collectable box set release including both 4K UHD and Blu-ray versions, on April 18th 2022.

New England, 1630: An English farmer (Ralph Ineson – Game of Thrones, The Green Knight) – upon threat of banishment by the church – leaves his colonial plantation and relocates to a remote plot, surrounded by an ominous forest, with his wife (Kate Dickie – Prevenge, Red Road) and their children… But deep in the dark woods lurks an unknown evil.

Strange and unsettling things start to occur, animals turn malevolent, crops start to fail. Then one of the children disappears and another becomes worryingly sick, could he be possessed by an evil spirit? With mounting paranoia, suspicion falls on eldest daughter Thomasin (Joy – The Queen’s Gambit, Last Night in Soho) and they accuse her of witchcraft… then darkness descends.

The Witch Limited Edition comes with special features on both discs, brand new interviews with Robert Eggers, Anya Taylor-Joy, Kate Dickie, Ralph Ineson and Harvey Scrimshaw, new and archive commentaries, a short film by the director and more! The set is presented in a rigid slipcase with new artwork by Peter Diamond, a 150-page hardback book featuring brand new essays and collector’s art cards, please see full list below.

Special Features

- Features 4K UHD and Blu-ray with bonus features on both formats

-4K UHD presented in Dolby Vision HDR

- Archive audio commentary by Director Robert Eggers

- New audio commentary by film writer and broadcaster Anna Bogutskaya

- A Puritan Nightmare: a new interview with Robert Eggers

- Embracing Darkness: a new interview with Anya Taylor-Joy

- Love Thy Father: a new interview Ralph Ineson

- A Pious Wife: a new interview with Actor Kate Dickie

- Caleb’s Lament: a new interview with Actor Harvey Scrimshaw

- A Primal Folktale: features interviews with Robert Eggers and cast

- BFI London Film Festival Q&A with Robert Eggers, Anya Taylor-Joy, Ralph Ineson and Producer Jay Van Hoy

- Brothers: a short film by Robert Eggers

- Optional English subtitles for the hearing impaired

Limited Edition Contents

- Rigid slipcase with new artwork by Peter Diamond

- 150-page hardback book with new essays by Emerson W Baker, Daniel Bird, Anton Bitel, Charles Bramesco, Lillian Crawford, Shelagh Rowan-Legg and Anya Stanley plus stills, costume and production design gallery.

[hadarlaskey]

LWLies 90: The Dune issue – On sale now!

Prior to embarking on this issue, I’d never had the pleasure of tackling Frank Herbert’s vaunted sci-fi doorstop, ‘Dune’, but thought if there was any occasion to tick that planet-sized box, then the release of a big, new movie adaptation was it. I was about half-way in when the lure of this story became crystal clear – that is, why people have obsessed over it for nearly half a century, and also why it has been something of an untapped goldmine when it comes to big screen adaptations.

The story so far: Chilean cine-sorcerer Alejandro Jodorowsky discovered that his reach exceeded his grasp in his wild, eye-wateringly expensive attempt to film Herbert’s rich tome, while David Lynch delivered an enjoyably gaudy rendition of this laconic space opera in 1987 that ended up being sliced and diced by his producers and led the filmmaker to all but disown his work.

And now we’re back once more, as ‘Dune’ superfan Denis Villeneuve has earned enough tokens in Hollywood to fulfil a childhood fantasy and make a modern epic that does justice to Herbert’s densely layered and politically ripe narrative. This new issue of LWLies – our 90th! – jumps into a purring ’thopter and takes an aerial tour of the godforsaken plains of the desert planet Arrakis, with Timothée Chalamet’s spiritual messiah-in-waiting, Paul Attredes, as our guide. It’s a magazine for both the battle-hardened Dune-o-phile, and any newbies looking for an entry point into this enthrallingly complex world.

Order Your Copy

On the cover

If you hold Lola Beltrán’s extraordinary cover illustration up to the light, you’ll get a little surprise, as this issue comes with a bonus twinkle. The orange glow of the spice melange – the most valuable material in the Duneiverse – was the inspiration for the colour route of this cover, and the concept draws on Beltrán’s love of mid-century sci-fi imagery while also keeping a foot in the realms of the modern. The duel layer effect is a subtle hint at the man that this boy is set to become.

Illustrators in this issue include Alex Fine, Adriana Bellet, Emma Balebela, Nick Taylor and Rumbidzai Savanhu.

In this issue

Enter the Duneiverse Tom Huddleston offers a whistle-stop tour of Arrakis through the ages, and the various iterations of Frank Herbert’s beloved book.

The Sandman Anton Bitel talks big screens and small gestures with Quebec’s modernist sci-fi maestro, Denis Villeneuve.

Farewell My Concubine Leila Latif meets one of Hollywood’s most wanted, Rebecca Ferguson, to chat about progressive interpretations of 1960s characters.

Timothée Chalamet in Five Acts Philippa Snow deconstructs the image of the accidental idol across five of his recent starring roles.

Arrakis Rising Dune production designer Patrice Vermette discusses his dream mission.

Desert Movies: A Taxonomy A short, sharp round-up of the deserts in which filmmakers love to make movies.

Go See a Star War David Jenkins explores the alterno space race to cash in on the surprise success of George Lucas’ Star Wars.

Woman of the Dunes The authors of a new book on Studio Ghibli ask whether 1984’s Nausicaä of the Valley of the Wind has any link to ‘Dune’.

They Shoot, He Scores Lillian Crawford talks to film composer extraordinaire Hans Zimmer about how he draws on the classics of the past.

Threads #19 Christina Newland looks at the diverse iconography of the veil in her regular column on clothes and movies.

In the back section

Sparks Hannah Strong meets the hard-bopping brothers who have supplied music and lyrics to Leos Carax’s Annette, and who also reveal their formative run-ins with the great Jacques Tati.

Ulrike Ottinger Caitlin Quinlan profiles this unique German filmmaker in tandem with the release of a new documentary about her formative years, Paris Calligrammes.

Cary Joji Fukunaga The director of Bond 25, No Time To Die, talks Charles Bramesco through the process of how an industrious indie director scores such a prestigious gig.

Jeymes Samuel Rōgan Graham meets the director of the forthcoming politically-infused action western, The Harder They Fall.

Marley Morrison Josh Slater-Williams chats to the director of Sweetheart, a British gay romcom with a twist.

Bette Davis Ahead of a major retrospective at London’s BFI Southbank, Soma Ghosh deconstructs the queer appeal of one of Hollywood’s grandest dames.

Journeys: The Cannes Film Festival Hannah Strong reports on a vintage crop of films, a great Palme d’Or winner, and lots of time spent spitting in a test tube.

In review

Leos Carax’s Annette Wes Anderson’s The French Dispatch Liesl Tommy’s Respect Sean Durkin’s The Nest Ayten Amin’s Souad Joe Lawlor and Christine Molloy’s Rose Plays Julie Darragh Carey and Bertrand Desrochers’ A Brixton Tale Nia DaCosta’s Candyman Ulrika Ottinger’s Paris Calligrammes Anne Zohra Berrached’s Copilot Sam Hobkinson’s Misha and the Wolves Marley Morrison’s Sweetheart Michael Sarnoski’s Pig Mark Cousins’ The Story of Looking Jeanette Nordahl’s Wildland

LWLies 90 is available to order online now from our online shop. Become a Member or subscribe today to make sure you never miss an issue.

The post LWLies 90: The Dune issue – On sale now! appeared first on Little White Lies.

source https://lwlies.com/articles/lwlies-90-the-dune-issue/

[abattoirferme]

By the end of this psychodrama, you may be left not entirely sure what you have just seen, but certainly disoriented and rattled by it, ensuring that your own mind’s stay in these narrative corridors long outlasts the film’s actual duration.

Anton Bitel on “HOTEL POSEIDON” - full review here.

[danschaffer]

Bite the Hand, the inflammatory debut novel of Bobbi Johnson (Hannah Arterton), spoke to the frustrations of Britain’s youth, leading to actual rioting in the streets. Now faced with writing her follow-up, the reclusive author must battle poverty, drug addiction, a crazed stalker (Rosie Day) and her own sense of inadequacy, isolation and fear – but mostly she must set aside her beloved old typewriter and, at the insistence of corporate publisher Jordan (Belinda Stewart-Wilson), start writing on a new state-of-the-art computer that might just represent Bobbi’s surrender to the establishment ‘machine’ to which her work is supposed to be a radical antidote.

David Cronenberg made his own writer’s block movie, Naked Lunch, reimagining the surreal travails of William S. Burroughs’ alter ego William Lee. For inspiration, Bobbi keeps on her wall posters of old-school novelists such as Burroughs – yet it is another Cronenberg film, Videodrome, as well as David Lynch’s Eraserhead, that are the biggest influences on Peripheral’s visualisation of Bobbi’s writing process, here figured both as monitor-induced body horror and (pro)creative ordeal. Even as Bobbi finally reads the small print of her contracts with both her readership and her employer (Jenny Seagrove), her own voice, though altered, exaggerated and literally shredded, survives the ensuing compromises to be reconstructed and decoded. The ink-stained results, messy and unnerving, are an introspective oddity and a dystopian satire of the individual’s place in a closed political system. It’s easily Hyett’s finest film.

[musemash]

CINEMA & THE SHOCK OF THE NEW By David D. Fowler

The inspiration for this post came from a video essay I happened to stumble across recently on the YouTube channel operated by Blame It On Jorge. The video presented an intelligent take on movies that are still considered too disturbing for a wide audience; the images above illustrate all 10 films.

I was impressed by the diversity of reasons why the films were considered shocking; also by the fact that the selections ranged through cinematic history, from 1905 to 1960; and finally by the variety of choices – from lurid exploitation schlock and innovative special effects, to big-budget productions and bona fide avant-garde classics.

Driven by curiousity, I managed to track down online copies of all these films; and in the process, I found reviews for them, and some fascinating background materials. A couple of these flicks are indeed wretchedly awful, but most of them are well worth watching; and all of them, in their own way, were milestones in film history.

The oddball festivities begin in the first section, with the video that inspired this post – followed by creative ways to startle audiences, and overviews of various controversial movies. After that, you'll see 10 other sections, showcasing trailers, reviews, and detailed profiles of filmmakers; the final link in each section goes to one of the chosen films. Prepare to be entertained – and disturbed!

SHOCK CINEMA Top 10 Disturbing Films https://www.youtube.com/watch?v=8aICVBnO4Us Rule Breaking Films https://www.youtube.com/watch?v=w-mGzVdTVUI Surrealist Cinema https://www.youtube.com/watch?v=LBLvGOuDCls Banned Films https://theculturetrip.com/europe/articles/top-12-banned-movies-you-should-watch-anyway/ https://www.rd.com/culture/banned-movies/ https://io9.gizmodo.com/10-banned-censored-and-controversial-movies-that-are-1793464050 http://www.the13thfloor.tv/2017/01/05/banned-10-horror-movies-you-werent-supposed-to-see/ Cinematic Shockers https://www.shortlist.com/entertainment/films/cinemas-15-most-shocking-moments/84445 https://www.raindance.org/the-15-most-shocking-moments-in-film/ http://ca.ign.com/articles/2017/11/03/9-shocking-movie-transformations https://www.highsnobiety.com/2016/11/08/most-disturbing-movies-of-all-time/ http://www.digitalspy.com/movies/feature/a836300/most-shocking-movie-moments/ https://www.thecinemaholic.com/most-shocking-deaths-in-cinema/ https://parade.com/609938/samuelmurrian/5-classic-horror-movies-that-are-still-shocking-today/ https://www.independent.co.uk/arts-entertainment/films/features/ten-of-the-most-shocking-movies-ever-made-8156395.html https://www.cbsnews.com/pictures/truly-bizarre-great-horror-movies/ http://moviemezzanine.com/20-best-french-horror-films-ever/ https://www.complex.com/pop-culture/the-50-most-disturbing-movies/mother http://www.filmsite.org/controversialfilms.html

AH! THE BEARD Chomón Tribute https://www.youtube.com/watch?v=1hzBYkbvgvQ Chomón Profiles https://www.slantmagazine.com/house/article/new-york-film-festival-2010-the-marvelous-world-of-segundo-de-chomon http://www.electricsheepmagazine.co.uk/features/2010/12/02/the-spanish-weirdness-of-segundo-de-chomon/ http://moviessilently.com/2016/09/11/an-excursion-to-the-moon-1908/ https://drnorth.wordpress.com/2009/05/27/an-excursion-to-the-moon-segundo-de-chomon-1908i/ Chomón Highlights https://thebioscope.net/2010/12/20/the-genius-of-segundo-de-chomon/ http://filmdirtblog.blogspot.com/2015/10/the-short-spooky-films-of-segundo-de.html http://animacam.tv/en/the-beginnings-of-animation-segundo-de-chomon/ http://observationalepidemiology.blogspot.com/2018/04/segundo-de-chomon-and-pushbutton-age.html https://archive.org/details/segundodechomon Ah! La Barbe 1905 https://www.youtube.com/watch?v=gnU6QKWXKnk

EYES WITHOUT A FACE Trailer https://www.youtube.com/watch?v=2BY6syEApk8 Franju Profile http://thequietus.com/articles/13890-georges-franju-eyes-without-a-face-judex-review Reviews https://www.rogerebert.com/reviews/eyes-without-a-face-2003 https://www.eyeforfilm.co.uk/review/eyes-without-a-face-film-review-by-anton-bitel http://www.culturenorthernireland.org/reviews/film/eyes-without-face https://medium.com/@1005696/les-yeux-sans-visage-578411782ea https://movietime.guru/eyes-without-a-face-e503fc1584ba Billy Idol Video https://www.youtube.com/watch?v=NZMbdd4bnJY Les Yeux Sans Visage 1960 https://www.youtube.com/watch?v=-61XL_TNY1U https://www.youtube.com/watch?v=bIuBQAiJOt0 https://www.youtube.com/watch?v=Mn9JNGqHy2o https://www.youtube.com/watch?v=1nI2HA8XLOQ https://www.youtube.com/watch?v=f7oehCYZlmE https://www.youtube.com/watch?v=fj803N5EexE https://www.youtube.com/watch?v=67lI9_z_fjc https://www.youtube.com/watch?v=pmt_VAuAuxM

THE HEAD THAT WOULDN'T DIE Trailer https://www.youtube.com/watch?v=BqKv_kLZZGQ Reviews http://www.1000misspenthours.com/reviews/reviewsa-d/brainthatwouldntdie.htm https://dailydead.com/drive-dust-offs-brain-wouldnt-die-1962/ http://www.tcm.com/this-month/article/218673%7C151934/The-Brain-That-Wouldn-t-Die.html http://publicdomainmovie.net/movie/the-brain-that-wouldnt-die http://bryininberlin.blogspot.com/2012/12/the-brain-that-wouldnt-die-usa-1959.html The Brain That Wouldn't Die 1959 https://www.youtube.com/watch?v=j_4uHlSITlE

FREAKS Trailer https://www.youtube.com/watch?v=vJVXTKkjsxA Browning Profile http://www.tcm.com/this-month/article/38116%7C0/Tod-Browning-Profile.html Freaks Unseen https://birthmoviesdeath.com/2014/10/03/the-unseen-freaks http://www.coolasscinema.com/2016/10/the-unseen-freaks-lost-scenes-from-tod.html Cast Photos https://dangerousminds.net/comments/gorgeous_cast_portraits_from_tod_brownings_freaks_1932 Reviews https://www.electric-shadows.com/freaks-1932/ https://mainlymoviesreview.wordpress.com/2014/03/31/classic-movie-review-freaks-1932/ http://www.thedoublenegative.co.uk/2015/04/in-profile-tod-brownings-freaks-1932/ http://www.derekwinnert.com/freaks-1932-wallace-ford-olga-baclanova-leila-hyams-roscoe-ates-harry-earles-daisy-earles-henry-victor-classic-movie-review-2462/ Freaks 1932 https://vimeo.com/257932547

MANIAC Trailer https://vimeo.com/128558960 Reviews https://nitratediva.wordpress.com/2014/07/16/maniac-1934/ http://www.1000misspenthours.com/reviews/reviewsh-m/maniac1934.htm http://www.horrorhomeroom.com/maniac-1934-crazy-gets/ http://www.classichorror.free-online.co.uk/maniac.htm https://classic-horror.com/reviews/maniac_1934 Maniac 1934 https://www.youtube.com/watch?v=WKh1TQKM_rY

THE WITCHES Trailers https://www.youtube.com/watch?v=qYTv7mIBfdY https://www.youtube.com/watch?v=NFI3PzGow0s Christensen Profile https://en.wikipedia.org/wiki/Benjamin_Christensen Reviews https://macguff.in/macguffin-spotlight/an-analysis-haxan-1922/ http://thedevilsmanor.blogspot.com/2012/08/witchcraft-through-ages-haxan-1922.html http://www.the13thfloor.tv/2015/10/19/satanic-nude-debauchery-a-look-back-at-haxan-1922/ http://moria.co.nz/horror/haxan-1922-witchcraft-through-the-ages.htm https://celluloidwickerman.com/2014/08/14/the-uncanny-in-haxan-witchcraft-through-the-ages-1922-benjamin-christensen/ Haxan 1922 https://www.youtube.com/watch?v=CkXlXc0lA9c

THE MAN WHO LAUGHS Preview https://www.youtube.com/watch?v=3DOAJQVDieM Leni Profile http://www.classichorror.free-online.co.uk/leni.htm Behind The Scenes https://www.youtube.com/watch?v=a2cFBrvHP2A Reviews https://www.themarysue.com/the-man-who-laughs-the-movie-that-inspired-batmans-joker-sort-of-turns-86/ http://silentfilm.org/archive/the-man-who-laughs-1928 https://www.rogerebert.com/reviews/great-movie-the-man-who-laughs-1928 http://silentfilm.org/archive-by-year/2018-festival/the-man-who-laughs http://ryanmccormickfilmhistory.blogspot.com/2010/09/man-who-laughs-1928.html The Man Who Laughs 1928 https://www.youtube.com/watch?v=iKhrcMvSfaQ

INFERNO Trailers https://www.youtube.com/watch?v=J7XqTq831Xo https://www.youtube.com/watch?v=2vYFGh07iOw Reviews https://www.eyesonthescreen.co.uk/linferno-1911/ http://www.silentera.com/video/infernoHV.html https://silentsplease.wordpress.com/2014/05/20/inferno/ http://filmabinitio.blogspot.com/2011/03/criminally-overlooked-masterpiece-1911.html https://medium.com/@trettleman/the-1911-dantes-inferno-film-is-a-hellish-delight-7b0ab547f2a2 http://digitalsilents.com/Digital_Silents/LInferno.html https://filmschoolrejects.com/old-ass-movies-happy-100th-birthday-linferno-58d043d7d423/ Tangerine Dream Inferno https://www.youtube.com/watch?v=3M9e6jxA9tA https://www.youtube.com/watch?v=hiAPNqGNW-o&list=PL0D001E6BCA7A454A L'Inferno 1911 https://www.youtube.com/watch?v=BRUkyHvsvfg

AN ANDALUSIAN DOG Trailers https://www.youtube.com/watch?v=AEQIDCTk6GU https://www.youtube.com/watch?v=R5K1ARvyvAc Bunuel Profiles http://www.bfi.org.uk/news-opinion/news-bfi/features/where-begin-luis-bunuel http://www.tasteofcinema.com/2014/20-masterpieces-of-luis-bunuel-every-film-fan-should-see/ http://www.indiewire.com/2013/03/the-essentials-luis-bunuel-100543/ https://www.theartstory.org/artist-bunuel-luis.htm Reviews http://www.derekwinnert.com/un-chien-andalou-an-andalusian-dog-1929-luis-bunuel-classic-movie-review-1949/ https://www.cinemarevisited.com/the-greatest-films-of-all-time/the-greatest-films-of-all-time-14-un-chien-andalou-an-andalusian-dog-1929/ http://www.filmsdefrance.com/review/un-chien-andalou-1929.html http://www.public.asu.edu/~aarios/resourcebank/andalusiandog/index.html https://silentlondon.co.uk/2014/03/14/surrealism-hands-and-sexuality-in-un-chien-andalou-1929-and-lage-dor-1930/ Bunuel Interview https://www.youtube.com/watch?v=AdYFngjF8XQ Un Chien Andalou 1929 https://www.youtube.com/watch?v=054OIVlmjUM

MESHES OF THE AFTERNOON Maya Deren's Philosophy https://www.youtube.com/watch?v=fblCLnugDpc Deren Profiles http://sensesofcinema.com/2002/great-directors/deren-2/ http://www.bfi.org.uk/news-opinion/news-bfi/features/maya-deren-meshes-of-the-afternoon https://www.brainpickings.org/2015/01/23/maya-deren-advice-on-film-letter/ https://expcinema.org/site/en/wiki/artist/maya-deren https://jwa.org/encyclopedia/article/deren-maya https://filmschoolrejects.com/filmmaking-tips-maya-deren-a6ddb39a6442/ http://www.jonathanlack.com/2014/06/essay-day-maya-deren-in-3d-meshes-of.html Reviews https://www.fandor.com/films/meshes_of_the_afternoon http://366weirdmovies.com/119-meshes-of-the-afternoon-1943/ https://ludditerobot.com/great-movies-counter-programming/meshes-of-the-afternoon/ http://www.thecine-files.com/teaching-meshes-of-the-afternoon/ http://www.academia.edu/1143516/Maya_Deren_Meshes_of_the_Afternoon_1943_A_Critical_Commentary Meshes Of The Afternoon 1943 https://vimeo.com/235941044

[ritchiepage2001newaccount]

#CorpMedia #Idiocracy #Oligarchs #MegaBanks vs #Union #Occupy #BLM #SDF #AFRIN #Humanity

REVIEWED - Furyô anego den: Inoshika Ochô (aka Sex And Fury)[EXPLICIT]

https://www.eyeforfilm.co.uk/review/sex-and-fury-film-review-by-anton-bitel

While Female Convict Scorpion and Lady Snowblood (both played with cold-eyed relish by the incomparable Meiko Kaji) were two of the most memorable heroines of Japan's 'pinky violence' (pinku eiga) cinema, they certainly did not hold the monopoly on eastern kick-ass sex-kittens. Coming from the same period of the early seventies, although perhaps not quite so well known, was Ocho Inoshika, whose bloody exploits were first made flesh in Sex And Fury (1973) - a film which, in fact, falls neatly between the period-set vengeance plotting (not to mention snow-set fighting) of Lady Snowblood and the art-house sensibilities of the Female Convict franchise.

In 1886, a detective is cut down by unknown assailants while out walking with his young daughter. His last dying act is to clutch three blood-soaked animal cards in his hand – clues to the identities of his killers. Nineteen years later the orphaned girl (now played by Reiko Ike) has become an expert gambler and skilled pickpocket, but her true life's calling – revenge - is encoded in the three animal tattoos on her flesh, and in the very name that she has adopted: Ocho Inoshika (ocho 'butterfly', ino 'boar', shika 'deer')...

[ttnj1999-blog]

Contemporary Hollywood The Dark Knight  

 In this essay I will be talking about the Contemporary Hollywood film industry which started around the late 60s up until now. Big blockbuster films like star wars started around this time which changed the industry because it made more people to start watching films in the cinema and start buying merchandise. I will talk about Christopher Nolan’s The Dark Knight which was released in 2008 and how it is more than the average blockbuster.

 How the film was funded

The film was funded by warner bros, legendary entertainment, Syncopy, DC comics and several more from different places around the world who helped to film cast and produce the film. Companies like warner bros are largely popular as they often fund big blockbuster films such as the matrix and harry potter and they continue to do the same, companies like DC comics who play a large role in the comics also helped to fund the comics as well as the adaptations based on their comic books. Syncopy is a smaller company which is owns by Christopher Nolan who directed and screenwriter for the film and at the time had helped him fund his previous films like Memento and the other Batman film. According to IMDB the films estimated budget was $185,000,000 which covered the films filming costs and the promotions and made $1,004,558,444 as of 19 July 2012 worldwide which is generally seen in a blockbuster of this scale. The film also is different because of the way that the gritty nature and the darker narrative was still able to attract a similar amount of money that a blockbuster would generally be expected to make if it was based on the same stuff. This is due to the way that the film was able to be based around a popular comic book franchise so it was able to attract both new and existing fans to experience both the film and the merchandise that came with it. The money made from this film then allowed the funding for the next film in the trilogy called The Dark Knight Rises.

 How the film was distributed and the impact on audiences

The film was released in the cinemas on 21st of July 2008 in the UK and it received a high number of awards including 2 Oscars and over 100 others with several nominations, the film also became the highest grossing Batman film since Batman from 1989. The film has been ranked as one of the top 25 superhero films so far and has been labelled as the best superhero film due to its unique story and approach and gritty characters, many people praised the cast and Christopher Nolan’s unique way of structuring the story of the films narrative which made the film stand out from its predecessors. The film was the first feature length film to be released on IMAX which caused lots of people to go and watch it in the new cinemas for the first time. The film was later released on DVD December 9th 2008 in USA and also on Blu-ray around the same month, the film was showed in some theatres in early 2018 in the USA due to the large impact it had on the fans so they would be able to see it again in the cinemas for its 10-year anniversary. The films cast were praised for their performance especially Heath Ledger who received lots of awards including a BAFTA for the best supporting actor which were received after his death which occurred before the film was released.

 How the stars and genre relate to the film

The cast stars are mostly popular among the audience which is a common trait for a blockbuster film with the likes of Gary Oldman, Michael Cane and Heath ledger who are known for their unique acting abilities and methods. The stars in this film are held in high regards in the industry as they have been critically acclaimed in previous films and some of which have won academy awards like Michael Cane, most of the actors and actresses have been a part of popular films and the audience would have heard of them and would be more likely to watch the film and the same applies for the director who is popular for his style in movies such as Memento which got him awards for his screenwriting which would attract fans of his previous films which make people more inclined to see it when they see its by Christopher Nolan. Like some blockbuster films released at the time; the film was based on the comic books making it a Crime drama genre which borrowed from thriller genres and was darker and grittier than the typical film based on comic books which allowed the franchise to be seen in a different way.  

 Any political or social issues dealt with

The film deals with a lot of issues such as morals that are presented through the characters of batman and the joker who is constantly pushing him to go against his moral code that he goes by such as revealing himself and his uneasy reputation with the city as the city start to question whether he is considered as a hero or a vigilante and if he’s doing any good for the city. The Joker’s character also added another aspect to the issues with him having different motives to any other criminal which allows him to test Batman’s capabilities, morals and also his reputation. The film focuses on whether or not it’s better to fight crime with the police and the government in place and if they are able to fight back against such a threat like the joker. The film also focused on how the world is after the events of 9/11 by using scenes and imagery that reflects that of the events by showing scenes such as buildings being blown up which focused on the impact of terrorism which is one of the themes in the film.

  References

 ANTON BITEL. (2016). Why The Dark Knight is the greatest blockbuster of the 21st century. Available: http://lwlies.com/articles/why-the-dark-knight-is-the-greatest-blockbuster-of-the-21st-century/. Last accessed 29/3/2016.

All other information was taken from IMDB 

http://www.imdb.com/title/tt0468569/

[geekynerfherder]

'Donnie Darko' limited edition 4K bluray.

Limited edition includes:

New 4K restorations of both the Theatrical Cut and the Director’s Cut from the original camera negatives by Arrow Films, supervised and approved by director Richard Kelly and cinematographer Steven Poster

4K (2160p) UHD Blu-ray presentations of both cuts in Dolby Vision (HDR10 compatible)

Original DTS-HD Master Audio 5.1 audio

Optional English subtitles for the deaf and hard of hearing

100-page hardcover book featuring writing by Nathan Rabin, Anton Bitel and Jamie Graham, an in-depth interview with Richard Kelly, an introduction by Jake Gyllenhaal and contemporary coverage, illustrated with original stills and promotional materials

Double-sided fold-out poster featuring newly commissioned artwork by Luke Preece

Six double-sided collector’s postcards

Limited Edition packaging with reversible sleeve featuring original and newly commissioned artwork by Luke Preece

DISC 1 – THE THEATRICAL CUT [4K UHD BLU-RAY]

Audio commentary by writer-director Richard Kelly and actor Jake Gyllenhaal

Audio commentary by Kelly, producer Sean McKittrick and actors Drew Barrymore, Jena Malone, Beth Grant, Mary McDonnell, Holmes Osborne, Katharine Ross and James Duval

Deus ex Machina: The Philosophy of Donnie Darko, a documentary by Ballyhoo Motion Pictures on the making of Donnie Darko, containing interviews with writer-director Richard Kelly, producer Sean McKittrick, cinematographer Steven Poster, editor Sam Bauer, composer Michael Edwards, costume designer April Ferry, production designer Alec Hammond and actor James Duval

The Goodbye Place, Kelly’s 1996 short film, which anticipates some of the themes and ideas of his feature films

20 deleted and alternate scenes with optional commentary by Kelly

Trailer

DISC 2 – THE DIRECTOR’S CUT [4K UHD BLU-RAY]

Audio commentary by Kelly and filmmaker Kevin Smith

The Donnie Darko Production Diary, an archival documentary charting the film’s production, with optional commentary by cinematographer Steven Poster

Archive interviews with Kelly, actors Jake Gyllenhaal, Jena Malone, Drew Barrymore, James Duval, Maggie Gyllenhaal, Holmes Osborne, Noah Wyle and Katharine Ross, producers Sean McKittrick, Nancy Juvonen, Hunt Lowry and Casey La Scala, and cinematographer Steven Poster

Three archive featurettes: They Made Me Do It, They Made Me Do It Too and #1 Fan: A Darkomentary

Storyboard comparisons

B-roll footage

Cunning Visions infomercials

Music video: Mad World by Gary Jules

Galleries

Director’s Cut trailer

TV spots

On sale for pre-order for £34.99 now through Zavvi. (Release date: April 26 2021)

[brokehorrorfan]

The Bloodhound will be released on Blu-ray on March 23 via Arrow Video. Tony Stella designed the cover art. The 2020 horror film is currently streaming on Arrow Player.

Based on Edgar Allan Poe’s “The Fall of the House of Usher,” it marks the feature debut of writer-director Patrick Picard. Liam Aiken, Joe Adler, and Annalise Basso star.

Special feature are listed below, where you can also watch the trailer.

Special features:

Audio commentary by director Patrick Picard and editor David Scorca

On the Trail of The Bloodhound: Behind the Scenes of a Modern Chiller

Four experiment short films directed by Patrick Picard: bad dream, the muffled hammerfall in action, the mosaic code, and wiggleworm

Booklet featuring new writing by film critic Anton Bitel (first pressing only)

Francis (Liam Aiken), a dispossessed young man, is summoned to the secluded home of his wealthy childhood friend, JP Luret (Joe Adler), who is suffering from a mysterious affliction. Upon his arrival, Francis realizes that JP and his ethereal twin sister Vivian (Annalise Basso) are the sole surviving members of the privileged Luret family, whose legacy has been one of depression and self-destruction, and the only occupants of their family estate. As the old friends attempt to reconnect, a number of inexplicable incidents begin to occur within the house, and Francis finds himself drawn into a world of malaise and despair, where an act of betrayal might provide his only way out…

[djgblogger-blog]

The 'real' St. Valentine was no patron of love

http://bit.ly/2EnDHRL

Relics of St. Valentine of Terni at the basilica of Saint Mary in Cosmedin. Dnalor 01 (Own work) , CC BY-SA

On Feb. 14, sweethearts of all ages will exchange cards, flowers, candy, and more lavish gifts in the name of St. Valentine. But as a historian of Christianity, I can tell you that at the root of our modern holiday is a beautiful fiction. St. Valentine was no lover or patron of love.

Valentine’s Day, in fact, originated as a liturgical feast to celebrate the decapitation of a third-century Christian martyr, or perhaps two. So, how did we get from beheading to betrothing on Valentine’s Day?

Early origins of St. Valentine

Ancient sources reveal that there were several St. Valentines who died on Feb. 14. Two of them were executed during the reign of Roman Emperor Claudius Gothicus in 269-270 A.D., at a time when persecution of Christians was common.

How do we know this? Because, an order of Belgian monks spent three centuries collecting evidence for the lives of saints from manuscript archives around the known world.

They were called Bollandists after Jean Bolland, a Jesuit scholar who began publishing the massive 68-folio volumes of “Acta Sanctorum,” or “Lives of the Saints,” beginning in 1643.

Since then, successive generations of monks continued the work until the last volume was published in 1940. The Brothers dug up every scrap of information about every saint on the liturgical calendar and printed the texts arranged according to the saint’s feast day.

The Valentine martyrs

The volume encompassing Feb. 14 contains the stories of a handful of “Valentini,” including the earliest three of whom died in the third century.

St. Valentine blessing an epileptic. Wellcome Images, CC BY

The earliest Valentinus is said to have died in Africa, along with 24 soldiers. Unfortunately, even the Bollandists could not find any more information about him. As the monks knew, sometimes all that the saints left behind was a name and day of death.

We know only a little more about the other two Valentines.

According to a late medieval legend reprinted in the “Acta,” which was accompanied by Bollandist critique about its historical value, a Roman priest named Valentinus was arrested during the reign of Emperor Gothicus and put into the custody of an aristocrat named Asterius.

As the story goes, Asterius made the mistake of letting the preacher talk. Father Valentinus went on and on about Christ leading pagans out of the shadow of darkness and into the light of truth and salvation. Asterius made a bargain with Valentinus: If the Christian could cure Asterius’s foster-daughter of blindness, he would convert. Valentinus put his hands over the girl’s eyes and chanted:

“Lord Jesus Christ, en-lighten your handmaid, because you are God, the True Light.”

Easy as that. The child could see, according to the medieval legend. Asterius and his whole family were baptized. Unfortunately, when Emperor Gothicus heard the news, he ordered them all to be executed. But Valentinus was the only one to be beheaded. A pious widow, though, made off with his body and had it buried at the site of his martyrdom on the Via Flaminia, the ancient highway stretching from Rome to present-day Rimini. Later, a chapel was built over the saint’s remains.

St. Valentine was not a romantic

The third third-century Valentinus was a bishop of Terni in the province of Umbria, Italy.

St. Valentine kneeling. David Teniers III

According to his equally dodgy legend, Terni’s bishop got into a situation like the other Valentinus by debating a potential convert and afterward healing his son. The rest of story is quite similar as well: He too, was beheaded on the orders of Emperor Gothicus and his body buried along the Via Flaminia.

It is likely, as the Bollandists suggested, that there weren’t actually two decapitated Valentines, but that two different versions of one saint’s legend appeared in both Rome and Terni.

Nonetheless, African, Roman or Umbrian, none of the Valentines seems to have been a romantic.

Indeed, medieval legends, repeated in modern media, had St. Valentine performing Christian marriage rituals or passing notes between Christian lovers jailed by Gothicus. Still other stories romantically involved him with the blind girl whom he allegedly healed. Yet none of these medieval tales had any basis in third-century history, as the Bollandists pointed out.

St. Valentine baptizing St. Lucilla. Jacopo Bassano (Jacopo da Ponte)

In any case, historical veracity did not count for much with medieval Christians. What they cared about were stories of miracles and martyrdoms, and the physical remains or relics of the saint. To be sure, many different churches and monasteries around medieval Europe claimed to have bits of a St. Valentinus’ skull in their treasuries.

Santa Maria in Cosmedin in Rome, for example, still displays a whole skull. According to the Bollandists, other churches across Europe also claim to own slivers and bits of one or the other St. Valentinus’ body: For example, San Anton Church in Madrid, Whitefriar Street Church in Dublin, the Church of Sts. Peter and Paul in Prague, Saint Mary’s Assumption in Chelmno, Poland, as well as churches in Malta, Birmingham, Glasgow, and on the Greek isle of Lesbos, among others.

For believers, relics of the martyrs signified the saints’ continuing their invisible presence among communities of pious Christians. In 11th-century Brittany, for instance, one bishop used what was purported to be Valentine’s head to halt fires, prevent epidemics, and cure all sorts of illnesses, including demonic possession.

As far as we know, though, the saint’s bones did nothing special for lovers.

Unlikely pagan origins

Many scholars have deconstructed Valentine and his day in books, articles and blog postings. Some suggest that the modern holiday is a Christian cover-up of the more ancient Roman celebration of Lupercalia in mid-February.

Lupercalia originated as a ritual in a rural masculine cult involving the sacrifice of goats and dogs and evolved later into an urban carnival. During the festivities half-naked young men ran through the streets of Rome, streaking people with thongs cut from the skins of newly killed goats. Pregnant women thought it brought them healthy babies. In 496 A.D., however, Pope Gelasius supposedly denounced the rowdy festival.

Still, there is no evidence that the pope purposely replaced Lupercalia with the more sedate cult of the martyred St. Valentine or any other Christian celebration.

Chaucer and the love birds

The love connection probably appeared more than a thousand years after the martyrs’ death, when Geoffrey Chaucer, author of “The Canterbury Tales” decreed the February feast of St. Valentinus to the mating of birds. He wrote in his “Parlement of Foules”:

“For this was on seynt Volantynys day. Whan euery bryd comyth there to chese his make.”

It seems that, in Chaucer’s day, English birds paired off to produce eggs in February. Soon, nature-minded European nobility began sending love notes during bird-mating season. For example, the French Duke of Orléans, who spent some years as a prisoner in the Tower of London, wrote to his wife in February 1415 that he was “already sick of love” (by which he meant lovesick.) And he called her his “very gentle Valentine.”

English audiences embraced the idea of February mating. Shakespeare’s lovestruck Ophelia spoke of herself as Hamlet’s Valentine.

In the following centuries, Englishmen and women began using Feb. 14 as an excuse to pen verses to their love objects. Industrialization made it easier with mass-produced illustrated cards adorned with smarmy poetry. Then along came Cadbury, Hershey’s, and other chocolate manufacturers marketing sweets for one’s sweetheart on Valentine’s Day.

Valentine’s Day chocolates. GillianVann/Shutterstock.com

Today, shops everywhere in England and the U.S. decorate their windows with hearts and banners proclaiming the annual Day of Love. Merchants stock their shelves with candy, jewelry and Cupid-related trinkets begging “Be My Valentine.” For most lovers, this request does not require beheading.

Invisible Valentines

It seems that the erstwhile saint behind the holiday of love remains as elusive as love itself. Still, as St. Augustine, the great fifth-century theologian and philosopher argued in his treatise on “Faith in Invisible Things,” someone does not have to be standing before our eyes for us to love them.

And much like love itself, St. Valentine and his reputation as the patron saint of love are not matters of verifiable history, but of faith.

Lisa Bitel ne travaille pas, ne conseille pas, ne possède pas de parts, ne reçoit pas de fonds d'une organisation qui pourrait tirer profit de cet article, et n'a déclaré aucune autre affiliation que son poste universitaire.

[sergeparakovsky-blog]

Favorite tweets

just watched STALKER - my wife and son’s first time, and my first without the reels being played in the wrong order…

— Anton Bitel (@AntBit) July 8, 2017

from http://twitter.com/AntBit