#lisandro alonso

[letterboxd-loggd]

Queer (2024) Luca Guadagnino

January 17th 2025

[kino51]

Eureka 2023

[chinchillasorchildren]

Films of 2024: Eureka (dir. Lisandro Alonso)

(2.5/5)

Well at least the last section was good.

[idleberg]

Eureka

Letterboxd | IMDb

[kansassire]

Eureka, 2023, Lisandro Alonso

[randomrichards]

EUREKA:

A violent cowboy

Cops patrol in a reserve

Tribesman becomes miner

[moviemosaics]

Jauja

directed by Lisandro Alonso, 2014

[filmhoundsmag]

“I hope people can learn what’s happening with the Natives in the US” — Lisandro Alonso talks Eureka

Continue reading “I hope people can learn what’s happening with the Natives in the US” — Lisandro Alonso talks Eureka

[mycinematheque]

[hayaomiyazaki]

as i mentioned last week, i have refreshed about 300gb of content on my public googledrive 😙

an overview of most of what i added...

features

Olivia (1951) dir. Jacqueline Audry 🇫🇷🏳️‍🌈

A Child Is Waiting (1963) dir. John Cassavetes 🇺🇸

Thoroughly Modern Millie (1967) dir. George Roy Hill 🇺🇸

Personal Best (1982) dir. Robert Towne 🇺🇸🏳️‍🌈

Threads (1984) dir. Mick Jackson 🇬🇧

How to Get Ahead in Advertising (1989) dir. Bruce Robinson 🇬🇧

Salaam Bombay! (1988) dir. Mira Nair 🇮🇳

Romuald et Juliette (1989) dir. Coline Serreau 🇫🇷

And Life Goes On… /ㅤزندگی و دیگر هیچㅤ(1992) dir. Abbas Kiarostami 🇮🇷

Clean, Shaven (1993) dir. Lodge Kerrigan 🇺🇸

Wittgenstein (1993) dir. Derek Jarman 🇬🇧🏳️‍🌈

Butterfly Kiss (1995) dir. Michael Winterbottom 🇬🇧🏳️‍🌈

The Portrait of a Lady (1996) dir. Jane Campion 🇺🇸🇬🇧

Still Life / 三峡好人 (2006) dir. Jia Zhangke 🇨🇳

The Lives of Others / Das Leben der Anderen (2006) dir. Florian Henckel von Donnersmarck 🇩🇪

Syndromes and a Century / แสงศตวรรษ (2006) dir. Apichatpong Weerasethakul 🇹🇭

Lust, Caution / 色, 戒 (2007) dir. Ang Lee 🇺🇸🇨🇳🇹🇼

Liverpool (2008) dir. Lisandro Alonso 🇦🇷

The Secret Diaries of Miss Anne Lister (2010) dir. James Kent 🇬🇧🏳️‍🌈

Tabu (2012) dir. Miguel Gomes 🇵🇹

No (2012) dir. Pablo Larraín 🇨🇱

The Blue Room / La Chambre bleue (2014) dir. Mathieu Amalric 🇫🇷

P'tit Quinquin (2014) dir. Bruno Dumont 🇫🇷

Still the Water / 2つ目の窓 (2014) dir. Naomi Kawase 🇯🇵

Paris 05:59: Théo & Hugo (2016) dir. Olivier Ducastel, Jacques Martineau 🇫🇷🏳️‍🌈

The Breaking Ice / 燃冬 (2023) dir. Anthony Chen 🇨🇳🇸🇬

Do Not Expect Too Much from the End of the World / Nu aștepta prea mult de la sfârșitul lumii (2023) dir. Radu Jude 🇷🇴

Scrapper (2023) dir. Charlotte Regan 🇬🇧

Kneecap (2024) dir. Rich Peppiatt 🇮🇪

documentaries

Night and Fog / Nuit et brouillard (1956) dir. Alain Resnais 🇫🇷

Chronicle of a Summer / Chronique d'un été (1961) dir. Jean Rouch, Edgar Morin 🇫🇷

In the Rearview / Skąd dokąd / Звідки куди (2023) dir. Maciek Hamela 🇵🇱🇺🇦

Christopher Eccleston Remembers… Jude (BBC, 2024)

Mick Jackson Remembers… Threads (BBC, 2024)

Joan Bakewell Remembers… Bette Davis at the NFT (BBC, 2024)

television

Love in the Big City / 대도시의 사랑법 (2024) 🇰🇷🏳️‍🌈

Wolf Hall (2024) 🇬🇧

books

William S. Burroughs – Queer (1985) 🇺🇸🏳️‍🌈

Claire Keegan – Small Things Like These (2021) 🇮🇪

[sleepythug]

could you list movies that has a sense of realism, like cinema verite type films?

broadening the definition to make a bigger eclectic list lol - some films with documentary-like approach to cinematography, or social-realism, or descend from (or in dialogue with) italian neo-realism.

mikey and nicky (elaine may, 1976)

stroszek (werner herzog, 1977)

through the olive trees (abbas kiarostami, 1994)

pixote (hector babenco, 1983)

cockfighter (monte hellman, 1973)

a man escaped (robert bresson, 1956)

made in britain (alan clarke, 1983)

bless their little hearts (billy woodberry, 1983)

breaking the waves (lars von trier, 1996)

julien donkey boy (harmony korine, 1999)

touki bouki (djibril diop mambety, 1973)

the breaking point (michael curtiz, 1950)

ossos (pedro costa, 1997)

wendy and lucy (kelly reichardt, 2008)

the son (jean-pierre dardenne, luc dardenne, 2002)

faster faster (carlos saura, 1981)

hi mom! (brian de palma, 1971)

la libertad (lisandro alonso, 2001)

japón (carlos reygadas, 2002)

medicine for melancholy (barry jenkins, 2008)

[randomluck-ofthe-universe]

"Queer will be my most personal film."

"It's a tribute to Powell & Pressburger. I've seen Red Shoes at least 50 times and I think Queer's sex scenes, which are numerous and quite outrageous, would be appreciated."

In the film, he reveals, will also have a role 3 famous directors, David Lowery, Ariel Schulman and Lisandro Alonso.

Everything, for Guadagnino, can become cinema. "They are Trojan horses, to say that nothing is as it seems, to tell something through another".

cr. video X La_van_da_

[davidhudson]

Happy 65th, Viggo Mortensen.

Lisandro Alonso’s Eureka (2023).

[sonyclasica]

VIGGO MORTENSEN

MÚSICA DE LA PELÍCULA THE DEAD DON'T HURT

Milan Records anuncia el lanzamiento de THE DEAD DON'T HURT (MUSIC FROM THE MOVIE) del escritor, director, productor y coprotagonista de la película VIGGO MORTENSEN.

Consíguelo AQUÍ

 Ya disponible , el álbum cuenta con música original compuesta por Mortensen para su nuevo largometraje, que sigue a dos pioneros en el oeste americano mientras se embarcan en un viaje de vida lleno de obstáculos. Utilizando una paleta de piano solo, violín y violonchelo, Mortensen ha creado un paisaje sonoro de melodías íntimamente conmovedoras, a veces reservadas y meditativas y otras profundamente llenas de suspenso y quejumbroso, capturando tanto la acción en pantalla como el retrato profundamente matizado de la venganza y el perdón de la película. The Dead Don't Hurt de Viggo Mortensen llega exclusivamente a los cines el viernes 31 de mayo de la mano de Shout! Estudios.

SOBRE THE DEAD DON’T HURT

The Dead Don't Hurt es una historia de amantes desafortunados en la frontera occidental de Estados Unidos en la década de 1860. Vivienne Le Coudy (Vicky Krieps) es una mujer ferozmente independiente que se embarca en una relación con el inmigrante danés Holger Olsen (Viggo Mortensen). Después de conocer a Olsen en San Francisco, ella acepta viajar con él a su casa cerca de la tranquila ciudad de Elk Flats, Nevada, donde comienzan una vida juntos. El estallido de la guerra civil los separa cuando Olsen toma la fatídica decisión de luchar por la Unión. Esto deja a Vivienne a su suerte en un lugar controlado por el corrupto alcalde Rudolph Schiller (Danny Huston) y su socio comercial sin escrúpulos, el poderoso ranchero Alfred Jeffries (Garrett Dillahunt). El violento y caprichoso hijo de Alfred, Weston (Solly McLeod), persigue agresivamente a Vivienne, quien está decidida a resistir sus avances no deseados. Cuando Olsen regresa de la guerra, él y Vivienne deben confrontar y hacer las paces con la persona en la que se han convertido. A la vez una trágica historia de amor y una representación matizada del conflicto entre la venganza y el perdón, la película es un retrato de una mujer apasionada decidida a defenderse en un mundo implacable dominado por hombres despiadados.

The Dead Don't Hurt marca la segunda salida de Mortensen como guionista y director después de su aclamado debut cinematográfico, Falling de 2020. La película reúne a Mortensen con miembros clave del  equipo creativo de Falling: el director de fotografía Marcel Zyskind (As in Heaven), los diseñadores de producción Carol Spier (Eastern Promises) y Jason Clarke (Black Mirror), y la diseñadora de vestuario Anne Dixon (The Song of Names).

SITIO WEB | TRAILER

Viggo Mortensen ha sido aclamado por su trabajo como actor en una amplia gama de películas. Algunas de ellas son Trece vidas, Crímenes del futuro, Libro verde, Capitán fantástico, Promesas del Este, Una historia de violencia, La carretera, Appaloosa, Lejos de los hombres, Las dos caras de enero y El señor de los anillos trilogía. Logró notables elogios por su debut como director, Falling, que también escribió y produjo. Además, fue productor de Jauja de Lisandro Alonso, Loin des hommes de David Oelhoffen, Todos tenemos un plan de Ana Piterbarg  y Ugly Pop de Henry Mortensen. Ha recibido varias nominaciones y premios de grupos que incluyen; el Sindicato de Actores, la Academia de Artes y Ciencias Cinematográficas, la Asociación de la Prensa Extranjera de Hollywood y la Academia Británica de las Artes Cinematográficas y de la Televisión. También es poeta, fotógrafo, pintor y editor de Perceval Press, una compañía independiente que fundó en 2002.

Sony Music Masterworks comprende los sellos Masterworks, Sony Classical, Milan Records, XXIM Records y Masterworks Broadway. Para obtener actualizaciones e información por correo electrónico, visite https://lnk.to/milanrecords.

[aaroncutler]

Two Year-End Lists

January 7th: This post contains links to two sets of year-end lists, both in the Spanish language, and both of which include my contributions (as have multiple past editions). One is “La Internacional Cinéfila” (“The International Cinephile”), a polling of various people that work with cinema in different contexts (primarily critics, filmmakers, and festival programmers) that is organized annually by the Argentinian critic and programmer Roger Koza through his website, Con los ojos abiertos ("With open eyes"). The other is a polling of a wide range of film personalities (that additionally includes scholars and moving image-based artists who work primarily with expanded cinema) for the website desistfilm that was organized by the site's editor, the Peruvian critic Mónica Delgado.

As I allude to in both of my contributions, I watched an unusually low number of new films this year, the vast majority of which were seen through preview screeners with my attention wavering – the major reason, of course, being the presence in my and my wife Mariana’s lives of a newborn daughter named Ava who has been recently joining us at the cinema. Under such circumstances, I find it hard to feel bad about falling behind, including because certain recently premiered works that I have not seen and that are beloved by peers (for example, Victor Erice’s Close Your Eyes) will almost certainly stand the test of time.

As I have done in the past, I chose to send different lists of films to the two publications for the sake of drawing attention to a greater number of worthy works. I feel a few immediate reactions now as I peruse the two documents overall. One is the feeling of simple amazement at perceiving how many important films premiered in non-competition slots at the most recent edition of Cannes, including the latest works by vital contemporary filmmakers such as Erice, Lisandro Alonso, Pedro Costa, Jean-Luc Godard, Steve McQueen, Kleber Mendonça Filho, Martin Scorsese, and Wang Bing – a gathering that could credibly serve as a “year’s best” list unto itself. For all its problems (which have been discussed by critics elsewhere), to me this gesture of simultaneous consolidation and marginalization on the part of Cannes's organizers offers the hope of reminding cinephiles of the importance of looking beyond a narrowly defined center.

Otherwise, I was pleasantly surprised to see how many colleagues in the “La Internacional Cinéfila” gathering shared my regard for María Aparicio’s Undefined Things, a nuanced Argentinian metafiction about an older female film editor in crisis that observes its characters keenly and with tremendous love. And, although I wasn’t especially surprised at the outcome, I was nonetheless gladdened to see the top spot in both aggregate polls go to a film that appeared on my desistfilm list, Aki Kaurismäki’s Fallen Leaves (which indeed premiered in Cannes’s main competition).

I find a charming and even heroic quality in the Finnish filmmaker’s decision to present something like a 1930s Hollywood urban romance for our own particular modern times. The film inspires with its commitment to human values and envisioning of a reality in which people continue to consciously regard each other in spite of the innumerable forces that tell them to look away. As has almost always been the case for me with Kaurismäki’s work, I find the care that the filmmaker takes with his actors on multiple levels (casting, framing, editing, directing) to be especially extraordinary. The key idea in the film, for me at this moment, is the necessity of living one’s life with full attention on the local. And, as is pointed out in Mónica Delgado’s marvelous review of Fallen Leaves for desistfilm, that attention has always been present on Kaurismäki’s part. The changes that have made his new film land so firmly with so many spectators, perhaps, lie with the contemporary needs that it addresses. In any case, we are fortunate to continue to find artworks that argue in favor of a more humane world.

On that note: One of the chief pleasures of perusing best-of lists, of course, is reading about great works of which one was not previously aware. I look forward to discovering these films for myself, both in 2024 and beyond.     

[double-croche1]

[CANNES 2023] NOTRE TOP

Le Festival de Cannes est désormais terminé. On a vu pas moins de 85 films (dont 19 sur les 21 de la Compétition), toutes catégories confondues ! Le classement de nos films préférés parmi ceux-ci, avec les dates annoncées de sortie en salles, ci-dessous :  1. ‘Eureka’ de Lisandro Alonso (CPR) 2. ‘Le Procès Goldman’ de Cédric Kahn (QC, 27/09) 3. ‘Anatomie d’une chute’ de Justine Triet (SOC, 23/08) 4. ‘Jeunesse (Le Printemps)’ de Wang Bing (SOC, 03/01/24) 5. ‘L'Enlèvement’ de Marco Bellocchio (SOC, 01/11) 6. ‘Les Feuilles mortes’ d’Aki Kaurismaki (SOC, 20/09) 7. ‘Fermer les yeux’ de Victor Erice (CPR, 16/08)  8. ‘May December’ de Todd Haynes (SOC) 9. ‘La Zone d’intérêt’ de Jonathan Glazer (SOC, 31/01/24) 10. ‘L'Eté dernier’ de Catherine Breillat (SOC, 13/09) 11. ‘The Sweet East’ de Sean Price Williams (QC) 12. ‘Los Delincuentes’ de Rodrigo Moreno (UCR, 27/03/24) 13. ‘La Grâce’ d’Ilya Povolotsky (QC) 14. ‘Only the River Flows’ de Shujun Wei (UCR) 15. ‘Les Herbes sèches’ de Nuri Bilge Ceylan (SOC, 12/07) 16. ‘Conann’ de Bertrand Mandico (QC, 28/11) 17. ‘La Chimère’ d’Alice Rohrwacher (SOC, 06/12) 18. ’La Fille de son père’ d’Erwan Le Duc (SM, 20/12) 19. ’Lost Country’ de Vladimir Perisič (SC, 11/10) 20. ‘Conte de feu’ de Weston Razooli (QC) 21. ‘Mars Express’ de Jérémie Périn (CPL, 22/11) 22. ‘Vers un avenir radieux’ de Nanni Moretti (SOC, 28/06) 23. ‘L’Autre Laurens’ de Claude Schmitz (QC, 04/10) 24. ‘Elémentaire’ de Peter Sohn (HC, 21/06) 25. ‘Banel & Adama’ de Ramata-Toulaye Sy (SOC, 30/08) 26. ‘Anselm, le bruit du temps’ de Wim Wenders (SS, 18/10) 27. ‘Le Règne animal’ de Thomas Cailley (UCR, 04/10) 28. ‘Simple comme Sylvain’ de Monia Chokri (UCR, 08/11) 29. ‘Ama Gloria’ de Marie Amachoukeli (SC, 30/08) 30. ‘Club Zéro’ de Jessica Hausner (SOC, 27/09) 31. ‘Linda veut du poulet !’ de Chiara Malta et Sébastien Laudenbach (ACID, 18/10) 32. ‘Si seulement je pouvais hiberner’ de Zoljargal Purevdash (UCR, 27/12) 33. ‘L’Amour et les forêts’ de Valérie Donzelli (CPR, en salles) 34. ‘La Mère de tous les mensonges’ d’Asmae El Moudir (UCR) 35. ‘Légua’ de Filipa Reis et João Miller Guerra 36. ‘The Feeling That the Time for Doing Something Has Passed’ de Joanna Arnow (QC) 37. ‘Augure’ de Baloji (UCR, 22/11) 38. ‘Les Colons’ de Felipe Galvez (UCR, 20/12) 39. ‘Vincent doit mourir’ de Stéphan Castang (SC, 15/11) 40. ‘De nos jours...’ de Hong Sang-soo (QC, 19/07) 41. ‘Merle merle mûre’ d’Elene Naveriani (QC) 42. ‘Dans la toile’ de Kim Jee-woon (HC, 08/11) 43. ‘The Old Oak’ de Ken Loach (SOC, 25/10) 44. ‘Monster’ de Hirokazu Kore-eda (SOC, 27/12) 45. ’Sleep’ de Jason Yu (SC) 46. ‘Occupied City’ de Steve McQueen (SS) 47. ‘Bonnard, Pierre et Marthe’ de Martin Provost (CPR) 48 ‘Goodbye Julia’ de Mohamed Kordofani (UCR, 08/11) 49. ‘L’Arbre aux papillons d’or’ de Thien An Pham (QC, 13/09) 50. ‘Chambre 999’ de Lubna Playoust (CC) 51. ‘Le Livre des solutions’ de Michel Gondry (QC, 13/09) 52. ‘Les Meutes’ de Kamal Lazraq (UCR, 19/07) 53. ‘Le Ravissement’ d’Iris Kaltenbäck (SC, 11/10) 54. ‘Little Girl Blue’ de Mona Achache (SS, 01/11) 55. ‘Creatura’ d’Elena Martín Gimeno (QC) 56. ‘Perfect Days’ de Wim Wenders (SOC, 29/11) 57. ‘Lost in the Night’ d’Amat Escalante (CPR, 04/10) 58. ‘La Fleur de Buriti’ de João Salaviza et Renée Nader (UCR) 59. ‘Le Syndrome des amours passées’ d’Ann Sirot et Raphaël Balboni (SC, 25/10) 60. ‘Un hiver à Yanji’ d’Anthony Chen (UCR, 22/11) 61. ’Power Alley’ de Lillah Halla (SC, 22/11) 62. ‘Asteroid City’ de Wes Anderson (SOC, 21/06) 63. ‘Une nuit’ d’Alex Lutz (UCR, 05/07) 64. ‘Les Filles d'Olfa’ de Kaouther Ben Hania (SOC, 05/07) 65. ‘Indiana Jones et le cadran de la destinée’ de James Mangold (HC, 28/06) 66. ‘Chroniques de Téhéran’ d’Ali Asgari & Alireza Khatami (UCR, 27/12) 67. ‘Acide’ de Just Philippot (SM, 20/09) 68. ‘Un prince’ de Pierre Creton (QC, 18/10) 69. ‘Déserts’ de Faouzi Bensaïdi (QC, 20/09) 70. ’Il pleut dans la maison’ de Paloma Sermon-Daï (SC) 71. ‘Rien à perdre’ de Delphine Deloget (UCR, 22/11) 72. ‘La Passion de Dodin Bouffant’ de Tran Anh Hung (SOC, 08/11) 73. ‘How to Have Sex’ de Molly Manning Walker (UCR, 15/11) 74. ‘Le Jeu de la reine’ de Karim Aïnouz (SOC, 28/02/24) 75. ‘A Song Sung Blue’ de Zihan Geng (QC, 06/12) 76. ‘Jeanne du Barry’ de Maïwenn (HC, en salles) 77. ‘Rosalie’ de Stéphanie di Giusto (UCR, 24/01/24) 78. ‘In Flames’ de Zarrar Kahn (QC) 79. ‘Hopeless’ de Kim Chang-hoon (UCR) 80. ’Tiger Stripes’ d’Amanda Nell Eu (SC, 13/03/24) 81. ‘The Idol’ (série, épisodes 1 et 2) de Sam Levinson (HC, 05/06) 82. ‘The New Boy’ de Warwick Thornton (UCR) 83. ‘Omar la Fraise’ d’Elias Belkeddar (SM, en salles) 84. ‘Hypnotic’ de Robert Rodriguez (SM, 23/08) 85. ‘Agra’ de Kanu Behl (QC) SOC : Sélection Officielle - Compétition UCR : Un Certain Regard CPR : Cannes Première CPL : Cinéma de la Plage HC : Hors Compétition QC : Quinzaine des Cinéastes SC : Semaine de la Critique SM : Séances de Minuit CC : Cannes Classics ACID : L’ACID Nos chroniques de ces films sont à retrouver dans les articles Daily #1 à #11 sur notre page dédiée.

A&B