#film-aesthetics

#film-aesthetics

Julian Sklar, an artist past his prime, no longer paints and instead creates Cameos for his diehard fans, while his children seek to profit from his unfinished works.

"There's no case where those things aren't critical, but with a project like this, there is no 'fix it in post' because it just can't work like that. This is a show that has about 3,000 VFX shots, and we were working with up to five different VFX vendors at times."

"Cinematic Immunity" offers a workers'-eye view of Hollywood on the Hudson, revealing the intricate dynamics of filmmaking in New York City from 1954 to 9/11.

The illicit thrill of hidden desires definitely propels Night Stage, a riveting queer noir about an up-and-coming actor Matias and an aspiring politician Rafael who begin hooking up in public spaces.

The invention of the Cinématographe was ready right away. The process of the invention was longer, and there were a lot of inventors before Lumière.

Anticolonialism, Ontology, and Semiotics draws upon Africana anticolonial philosophy-especially the work of Frantz Fanon and two of his most influential interpreters, Eldridge Cleaver and Sylvia Wynter-to develop a basic analytical model for doing anticolonial political theory. I wanted to show that there is something distinctive, something special, to be found in this tradition of thought that has not been fully appreciated by philosophers and theorists in other fields.

Set on the blossom tree-lined fringes of Hyde Park in London, Herbert Wilcox's black-and-white rom-com blows in like a fresh spring breeze. The film charts the will-they-won't-they romance between Richard (Michael Wilding), a wealthy lord masquerading as a butler, and Judy (Anna Neagle), the niece of the family who employs him.

The inquiry was like thousands of others. Somebody had potentially cool films they thought might interest the Library of Congress. But it was brand new for Jason Evans Groth... In September, he stepped outside the National Audio-Visual Conservation Center in Culpeper, Virginia, to meet Bill and Mary McFarland, who had driven from Michigan with about 40 strips of celluloid that had once belonged to Bill's great-grandfather.

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

10 Cloverfield Lane Mary Elizabeth Winstead, John Goodman and John Gallagher Jr are locked in an underground bunker for the majority of this left-field sequel to Cloverfield, with thrilling results. In the film's final throes, Winstead's character exits the bunker, and finds that her captor was telling the truth about an alien invasion above - a twist that completely and ruinously dissipates the hard-earned tension that came before.

A quarter-century later, it's safe to say that those days have come to an end. Not only does the streaming-only Netflix of the twenty-twenties no longer transmit movies on DVD through the mail (a service its younger users have trouble even imagining), it ranks approximately nowhere as a preferred cinephile destination. That has to do with a selection much diminished since the DVD days

It's nice that you are asking about props, because they're not really acknowledged, says Jode Mann, a TV prop master in Los Angeles. When Mann worked on the children's comedy show Pee-wee's Playhouse in the 1980s, she got a call from its star, Paul Reubens, who said he was nominating her for an Emmy. It was only after Mann told her mother and promised to thank her if she won that Reubens called back to say he couldn't nominate her because there's no category for you.

In the case of the Hungarian filmmaker Béla Tarr, who has died after a long illness, at the age of seventy, I confess that I'd expected-without necessarily hoping for-a faint premonition, perhaps a grim tingle in our collective cinephile sixth sense. Tarr, unique among his European art-film contemporaries, cut an almost oracular figure. The greatest of the nine features he directed,

Filmmaker Simplice Ganou, from Burkina Faso, spends his time documenting people and relationships, but when he travels to Winterthur, Switzerland, he faces a new challenge: nobody wants to talk to him.

I'm thrilled with any chance to collaborate with the Harvard Film Archive and to make use of Harvard's collection. I've taught several of Kubrick's films in different courses over the years, but never all of them together and never on the big screen. It is a unique opportunity. The HFA is one of Harvard's treasures. I'm really grateful to them for making this happen.

As I devoted more time and energy to the Filmmaker newsletter throughout the last decade-plus, I'd often find myself in some form of dialogue with producer, strategist and consultant Brian Newman. His invaluable Sub-genre newsletter arrives on Thursdays (now, biweekly), mine on Fridays, and, like me, he'll often comment on the production and distribution challenges facing independent filmmakers in an increasingly commercialized, politically cautious and algorithmically-driven media landscape.

Anderson's One Battle After Another continues a resurgence of VistaVision that now includes The Brutalist and Yorgos Lanthimos' Poor Things and Bugonia. The format, which uses 8-perf 35mm traveling through the camera horizontally rather than vertically to create a larger negative, gained popularity as a non-anamorphic widescreen alternative in the mid-1950s. It was used for everything from Biblical epics ( The Ten Commandments) to musicals ( White Christmas) to Alfred Hitchcock thrillers ( Vertigo and North by Northwest).