Wim Wenders's Perfect Days is now showing on Mubi in many countries.Perfect Days.“She uses the same words we do, yet there’s something so special.” This commentary is delivered by a bookseller (Inuko Inuyama) in Wim Wenders’s Perfect Days (2023). The woman behind the counter is recommending the works of Japanese author Aya Kōda to the film’s protagonist, Hirayama (Kōji Yakusho). But she could just as easily be describing the spell cast by the movie itself, which uses familiar settings and understated dialogue to summon a quiet, pervasive magic. In the New German Cinema director’s latest feature, which takes place in present-day Tokyo, sudden waves of hope, gratitude, and meaning can arrive through brief interactions with strangers, a tall glass of ice water, a beloved song heard through car speakers, or just an upward glance at the sky upon leaving the house in the morning.Through these simple encounters,...
- 4/19/2024
- MUBI
"When I can make place and story cross, and then have a character that belongs [in] that place, then I feel I have a movie." This lovely video tribute to the acclaimed German filmmaker Wim Wenders is also a look back at his Road Trilogy and many beloved films over his 50+ year career. This video from Little Whie Lies and video editor Luís Azevedo is framed around his latest creation Perfect Days, which already opened in theaters (and earned him an Oscar nomination) and is now streaming on Mubi. "Wenders' restless spirit is evident across a filmography invariably characterized by the possibilities of travel. Meditations on identity and displacement, his road movies began in Germany before taking to the freeways of the [USA] for some of cinema's most profound explorations into the American condition. Burning rubber across continents, this collection brings together some of the legendary German filmmaker's greatest works. So pack...
- 4/17/2024
- by Alex Billington
- firstshowing.net
You may know Kōji Yakusho as the oyster-slurping mystery man from the noodle-Western extraordinaire Tampopo (1985). Perhaps you remember him as the depressed suburbanite who ballroom dances his blues away in the international feel-good hit Shall We Dance? (1996). He’s the reformed felon in the Cannes-winning character study The Eel (1997), a former muse to filmmaker Kiyoshi Kurosawa in the late Nineties and early aughts, the familiar face who graced Hollywood fare like Memoirs of a Geisha (2005) and Babel (2006), and — if you’ve followed his 40-plus years as a major figure in...
- 2/7/2024
- by David Fear
- Rollingstone.com
Road to Nowhere: Wenders Welcomes the Pleasures of a Simple Life in Quiet Drama
In his most successfully realized narrative feature in years, Wim Wenders returns to the road in Perfect Days, a thematic motif upon which he built his early career with his thematic trilogy, Alice in the Cities (1974), Wrong Move (1974), and Kings of the Road (1975). His latest is an elliptical essay on human connection through journeying, this time through the contained, repetitive work of a Tokyo toilet cleaner, whom we learn about through his kindness, work ethic, and the fleeting connections he makes with others during his daily routine.…...
In his most successfully realized narrative feature in years, Wim Wenders returns to the road in Perfect Days, a thematic motif upon which he built his early career with his thematic trilogy, Alice in the Cities (1974), Wrong Move (1974), and Kings of the Road (1975). His latest is an elliptical essay on human connection through journeying, this time through the contained, repetitive work of a Tokyo toilet cleaner, whom we learn about through his kindness, work ethic, and the fleeting connections he makes with others during his daily routine.…...
- 2/2/2024
- by Nicholas Bell
- IONCINEMA.com
Robby Müller: Living The Light director Claire Pijman will do a Q&a with Andrea Müller-Schirmer following the 2:30pm screening at Metrograph on Sunday, October 1 Photo: Claire Pijman
Claire Pijman’s resourceful and enlightening documentary, Robby Müller: Living The Light (with a score by Jim Jarmusch and Carter Logan’s Sqùrl), is a big part of the series, Robby Müller: Remain in Light, at Metrograph that celebrates the legendary cinematographer, who died in 2018. Films by Wim Wenders, Jim Jarmusch, Sara Driver’s When Pigs Fly, Andrzej Wajda’s Korczak, Alex Cox’s Repo Man, Peter Bogdanovich’s Saint Jack, William Friedkin’s To Live And Die In LA, and Michael Winterbottom’s 24 Hour Party People will all be shown.
Claire Pijman with Anne-Katrin Titze on Robby Müller and Wim Wenders’ Buena Vista Social Club: “That’s how I got to know him, and since then we stayed...
Claire Pijman’s resourceful and enlightening documentary, Robby Müller: Living The Light (with a score by Jim Jarmusch and Carter Logan’s Sqùrl), is a big part of the series, Robby Müller: Remain in Light, at Metrograph that celebrates the legendary cinematographer, who died in 2018. Films by Wim Wenders, Jim Jarmusch, Sara Driver’s When Pigs Fly, Andrzej Wajda’s Korczak, Alex Cox’s Repo Man, Peter Bogdanovich’s Saint Jack, William Friedkin’s To Live And Die In LA, and Michael Winterbottom’s 24 Hour Party People will all be shown.
Claire Pijman with Anne-Katrin Titze on Robby Müller and Wim Wenders’ Buena Vista Social Club: “That’s how I got to know him, and since then we stayed...
- 9/27/2023
- by Anne-Katrin Titze
- eyeforfilm.co.uk
The list of directors who put their trust in Robby Müller could constitute a nice history of post-war cinema. A retrospective of films on which he served as Dp reflects accordingly––so’s the case with Metrograph’s “Robby Müller: Remain in Light,” which starts on Friday, September 29, and for which we’re glad to debut the trailer.
Contained therein are bits and pieces of what Metrograph attendees can anticipate. The series will offer a chance to see (among others) 24 Hour Party People, Alice in the Cities, The American Friend, Barfly, Breaking the Waves, Dead Man, Down by Law, Ghost Dog: Way of the Samurai, Kings of the Road, Korczak, Living the Light – Robby Müller, Mystery Train, Repo Man, Saint Jack, To Live and Die in L.A., When Pigs Fly, The Wrong Move, and Paris, Texas. The opening night will be anchored by “a panel on Müller’s continued influence on filmmaking,...
Contained therein are bits and pieces of what Metrograph attendees can anticipate. The series will offer a chance to see (among others) 24 Hour Party People, Alice in the Cities, The American Friend, Barfly, Breaking the Waves, Dead Man, Down by Law, Ghost Dog: Way of the Samurai, Kings of the Road, Korczak, Living the Light – Robby Müller, Mystery Train, Repo Man, Saint Jack, To Live and Die in L.A., When Pigs Fly, The Wrong Move, and Paris, Texas. The opening night will be anchored by “a panel on Müller’s continued influence on filmmaking,...
- 9/21/2023
- by Nick Newman
- The Film Stage
One of the pleasures of Telluride is watching a master auteur accept the Silver Medallion. Telluride Executive Director Julie Huntsinger was shocked to discover that in the 50 years of the festival, no Silver Medallion was ever awarded to German filmmaker Wim Wenders. So this year, he brought his two Cannes selections, 3D documentary “Anselm” (Sideshow and Janus) and Competition title “Perfect Days” (Neon), whose star Koji Yakusho (“Shall We Dance?”) won Best Actor at Cannes. Despite its German director, Japan has chosen to submit the film for the Oscar.
At Thursday night’s first tribute, Werner Herzog dug into his pocket to fish out the Silver Medallion, and placed it around his old friend’s neck. “The same time several years ago Tom Luddy put this on my neck,” said Herzog. “I kept thinking, ‘this is an injustice if you hadn’t received this medallion in 1978, and 1981, and 1995, and 2015.’ Because...
At Thursday night’s first tribute, Werner Herzog dug into his pocket to fish out the Silver Medallion, and placed it around his old friend’s neck. “The same time several years ago Tom Luddy put this on my neck,” said Herzog. “I kept thinking, ‘this is an injustice if you hadn’t received this medallion in 1978, and 1981, and 1995, and 2015.’ Because...
- 9/3/2023
- by Anne Thompson
- Indiewire
Editors note: Deadline’s Read the Screenplay series debuts and celebrates the scripts of films that will be factors in this year’s movie awards race.
“There’s a constantly interesting back-and-forth you have with a child that we rarely talk about,” C’mon C’mon writer-director Mike Mills says. “It can be as light as playing but then it can be as deep as any adult relationship you’ve ever had.”
That broad spectrum between loose and playful and soberingly serious drives the dynamic between the A24 film’s two leads. In the midst of cross-country travels for an ambitious assignment documenting young people’s visions of the future, Johnny (Joaquin Phoenix), a driven, independent, unrooted middle-aged radio journalist, is unexpectedly thrown into taking on the care of his bright, perceptive 10-year-old nephew Jesse (Woody Norman), which proves both a shock to Johnny’s system and a balm for his soul.
“There’s a constantly interesting back-and-forth you have with a child that we rarely talk about,” C’mon C’mon writer-director Mike Mills says. “It can be as light as playing but then it can be as deep as any adult relationship you’ve ever had.”
That broad spectrum between loose and playful and soberingly serious drives the dynamic between the A24 film’s two leads. In the midst of cross-country travels for an ambitious assignment documenting young people’s visions of the future, Johnny (Joaquin Phoenix), a driven, independent, unrooted middle-aged radio journalist, is unexpectedly thrown into taking on the care of his bright, perceptive 10-year-old nephew Jesse (Woody Norman), which proves both a shock to Johnny’s system and a balm for his soul.
- 1/11/2022
- by Scott Huver
- Deadline Film + TV
Inés Toharia on the Wim Wenders Foundation clips of The Goalie's Anxiety at the Penalty Kick and Alice in the Cities chosen: “We picked the pieces that we used, but I would have loved to talk to him personally, too.” Photo: Anne-Katrin Titze
In the second instalment with Inés Toharia on Film, The Living Record Of Our Memory (a highlight of the 12th edition of Doc NYC), we discuss Wim Wenders’ participation through his foundation, finding Lon Chaney’s The Unknown, the Mostly Lost Film Festival, Lotte Reiniger’s The Adventures Of Prince Achmed, Disney and Pixar preserving their films on film, Questlove’s Summer Of Soul, the USC Shoah Foundation, and a wide representation of film archives and locations around the world.
Inés Toharia on Ken Loach getting coding tape from Pixar: “It was so funny, the correspondence between them. I loved also what he said about light.”
From Spain,...
In the second instalment with Inés Toharia on Film, The Living Record Of Our Memory (a highlight of the 12th edition of Doc NYC), we discuss Wim Wenders’ participation through his foundation, finding Lon Chaney’s The Unknown, the Mostly Lost Film Festival, Lotte Reiniger’s The Adventures Of Prince Achmed, Disney and Pixar preserving their films on film, Questlove’s Summer Of Soul, the USC Shoah Foundation, and a wide representation of film archives and locations around the world.
Inés Toharia on Ken Loach getting coding tape from Pixar: “It was so funny, the correspondence between them. I loved also what he said about light.”
From Spain,...
- 12/15/2021
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Monochrome is in vogue this awards season as major contenders including “Belfast,” “The Tragedy of Macbeth” and “Passing” have all opted for lush black-and-white cinematography. Mike Mills called on “The Favourite” Dp Robbie Ryan to shoot his latest project, “C’mon C’mon,” with similar rich imagery.
“I freaking love black-and-white movies,” Mills says. “It’s not a binary choice. It’s part of the history of cinema.” The movie, which A24 releases Nov. 19, centers on Joaquin Phoenix’s character, Johnny, a grizzled documentary filmmaker who has never had children, and his precocious, inquisitive 9-year-old nephew Jesse (Woody Norman), who embark on a road trip across the U.S. Mills says there’s something archetypal about the image of the two opposite characters thrust together. “I wanted to play that out — this documentary strand and this child fable. It felt old, like a drawing.”
Mills pointed Ryan to the 1974 Wim Wenders film...
“I freaking love black-and-white movies,” Mills says. “It’s not a binary choice. It’s part of the history of cinema.” The movie, which A24 releases Nov. 19, centers on Joaquin Phoenix’s character, Johnny, a grizzled documentary filmmaker who has never had children, and his precocious, inquisitive 9-year-old nephew Jesse (Woody Norman), who embark on a road trip across the U.S. Mills says there’s something archetypal about the image of the two opposite characters thrust together. “I wanted to play that out — this documentary strand and this child fable. It felt old, like a drawing.”
Mills pointed Ryan to the 1974 Wim Wenders film...
- 11/21/2021
- by Jazz Tangcay
- Variety Film + TV
Wim Wenders says cinema is facing an “existential crisis” brought on by the coronavirus pandemic and the rise of streaming services, urging film lovers to “fight” for movie theaters, and calling on his fellow filmmakers to rise to the challenge at a time when their voices are needed more than ever before.
“[The pandemic] made me realize how much responsibility we have as filmmakers, and that this crisis that the whole of humanity is going through is also a task for us filmmakers,” he said, speaking to Variety at the Sarajevo Film Festival.
Wenders is at the Bosnian fest this week to accept an honorary Heart of Sarajevo Award in recognition of a lifetime’s achievement in film. “I think no other city in the world could have a heart as a symbol,” he said of the Bosnian capital. “It’s a city that embodies gentleness, and a kindness to communicate between cultures,...
“[The pandemic] made me realize how much responsibility we have as filmmakers, and that this crisis that the whole of humanity is going through is also a task for us filmmakers,” he said, speaking to Variety at the Sarajevo Film Festival.
Wenders is at the Bosnian fest this week to accept an honorary Heart of Sarajevo Award in recognition of a lifetime’s achievement in film. “I think no other city in the world could have a heart as a symbol,” he said of the Bosnian capital. “It’s a city that embodies gentleness, and a kindness to communicate between cultures,...
- 8/16/2021
- by Christopher Vourlias
- Variety Film + TV
Wenders: “The heart is the most important organ of a filmmaker.”
The 27th Sarajevo Film Festival kicked off last night (August 13) with German filmmaker Wim Wenders receiving the Heart of Sarajevo honorary award.
“The eyes are a precious instrument, but the most important organ of a filmmaker is his heart,” said Wenders, to an audience in the city’s National Theatre.
“It’s the heart that sees the beauty and despises ugliness,” continued Wenders. “It’s the heart that sees peace and suffers from war. It’s the heart that sees truth and despises lies.”
“This is really the most...
The 27th Sarajevo Film Festival kicked off last night (August 13) with German filmmaker Wim Wenders receiving the Heart of Sarajevo honorary award.
“The eyes are a precious instrument, but the most important organ of a filmmaker is his heart,” said Wenders, to an audience in the city’s National Theatre.
“It’s the heart that sees the beauty and despises ugliness,” continued Wenders. “It’s the heart that sees peace and suffers from war. It’s the heart that sees truth and despises lies.”
“This is really the most...
- 8/14/2021
- by Ben Dalton
- ScreenDaily
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For those who collect Blu-rays and DVDs, one name stands above the rest: Criterion. With its impeccable eye for curation and excellent restorations and bonus features, the Criterion Collection has established itself as the definitive home video release company. The Criterion Collection is reserved for “important classic and contemporary films;” for directors, receiving that stamp of approval is almost as good as an Oscar. Criterion honors obscure foreign films and popular contemporary work with equal zeal; the only criteria is the brand’s high standards.
Many movie lovers outsource the legwork of collecting to Criterion, using their annual releases as a barometer of the films that are worth owning. Browsing the Criterion website...
For those who collect Blu-rays and DVDs, one name stands above the rest: Criterion. With its impeccable eye for curation and excellent restorations and bonus features, the Criterion Collection has established itself as the definitive home video release company. The Criterion Collection is reserved for “important classic and contemporary films;” for directors, receiving that stamp of approval is almost as good as an Oscar. Criterion honors obscure foreign films and popular contemporary work with equal zeal; the only criteria is the brand’s high standards.
Many movie lovers outsource the legwork of collecting to Criterion, using their annual releases as a barometer of the films that are worth owning. Browsing the Criterion website...
- 4/5/2021
- by Christian Zilko
- Indiewire
With a seemingly endless amount of streaming options—not only the titles at our disposal, but services themselves–each week we highlight the noteworthy titles that have recently hit platforms. Check out this week’s selections below and past round-ups here.
Afterschool, Christine, and Simon Killer (Antonio Campos)
Before his star-studded gothic drama The Devil All the Time lands on Netflix in a few weeks, Antonio Campos’ first three features arrive on the streaming platform this week. Each a fascinating career study in isolation and loneliness, captured with a formally controlled eye, it’ll be curious in comparison to see how Campos tackles his first true ensemble film. For now, it’s the perfect time to revisit this trio of impressive indies. – Jordan R.
Where to Stream: Netflix
The August Virgin (Jonás Trueba)
In the new movie The August Virgin, a young woman named Eva wanders the sidewalks and watering...
Afterschool, Christine, and Simon Killer (Antonio Campos)
Before his star-studded gothic drama The Devil All the Time lands on Netflix in a few weeks, Antonio Campos’ first three features arrive on the streaming platform this week. Each a fascinating career study in isolation and loneliness, captured with a formally controlled eye, it’ll be curious in comparison to see how Campos tackles his first true ensemble film. For now, it’s the perfect time to revisit this trio of impressive indies. – Jordan R.
Where to Stream: Netflix
The August Virgin (Jonás Trueba)
In the new movie The August Virgin, a young woman named Eva wanders the sidewalks and watering...
- 8/21/2020
- by Jordan Raup
- The Film Stage
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Bam
“On Memory” offers The Tree of Life, The Mirror, Uncle Boonmee, Last Year at Marienbad and more.
Wim Wenders’ Alice in the Cities screens with Wadjda in a two-for-one double feature.
Film at Lincoln Center
The J. Hoberman-curated “Make My Day: American Movies in the Age of Reagan” kicks off with RoboCop, The Last Temptation of Christ,...
Bam
“On Memory” offers The Tree of Life, The Mirror, Uncle Boonmee, Last Year at Marienbad and more.
Wim Wenders’ Alice in the Cities screens with Wadjda in a two-for-one double feature.
Film at Lincoln Center
The J. Hoberman-curated “Make My Day: American Movies in the Age of Reagan” kicks off with RoboCop, The Last Temptation of Christ,...
- 8/30/2019
- by Nick Newman
- The Film Stage
For auteurists in New York there can hardly be a better series playing right now than "Trilogies" at Film Forum: a four-week extravaganza of 78 films comprising 26 mini director retrospectives from Angelopoulos to Wenders and 24 other auteurs in between. Many of the groupings in the series are actual sequential trilogies, like Kobayashi’s The Human Condition or Satyajit Ray’s Apu Trilogy, while others more loosely stretch the term, such as Lucrecia Martel’s "Salta Trilogy" or Hou Hsiao-hsien’s "Coming of Age Trilogy," very welcome though those are.Very few of the trilogies in the series, however, have posters that were conceived as trios themselves, the French posters for Kieslowski’s Three Colors, above, and Albert Dubout’s cartoony designs for Marcel Pagnol’s Marseilles Trilogy being the major exceptions. There are two terrific matching posters by Jan Lenica for the first two films in Mark Donskoy's Maxim Gorky Trilogy,...
- 4/25/2019
- MUBI
When he died in July this year at the age of 78, Robby Müller left behind a glorious legacy of more than 70 feature films and a reputation as one of the finest cinematographers in the business. Beginning in Germany, where his collaborations with Wim Wenders resulted in such seminal, early-70s European classics as “Kings of the Road,” “The Goalkeeper’s Fear of the Penalty” and “Alice in the Cities,” Müller enjoyed a brief vogue in the U.S. in the early ’80s, which is how he came to be closely associated with New York indie director Jim Jarmusch, starting with “Down By Law” in 1986. When the shift to digital occurred, Müller jumped right in at the deep end, finding an ally in Lars Von Trier, the provocative Danish auteur behind “Breaking the Waves” (1996) and “Dancer in the Dark” (2000).
Directed by Claire Pijman and scored with a piece written specially for...
Directed by Claire Pijman and scored with a piece written specially for...
- 9/7/2018
- by Damon Wise
- Variety Film + TV
Dutch cinematographer Robby Muller, whose credits spanned such films as Repo Man; Paris, Texas; Breaking The Waves; and To Live And Die In La, has passed away. His family told local media in Amsterdam that he died on Tuesday after a long illness. He was 78.
Müller was known as the “Master of Light” and drew comparisons to another famous Dutchman, “Girl With A Pearl Earring” painter Johannes Vermeer. Trained at the Netherlands Film Academy, Müller began his feature career with Wim Wenders’ German title Summer In The City in 1970. That kicked off a long collaboration with Wenders which went on to include The Scarlet Letter, Alice In The Cities, Kings Of The Road, The American Friend, Until The End Of The World and Paris, Texas.
Müller was also a frequent Dp for Jim Jarmusch with whom he made Down By Law, Mystery Train, Dead Man, Ghost Dog: The Way Of The Samurai...
Müller was known as the “Master of Light” and drew comparisons to another famous Dutchman, “Girl With A Pearl Earring” painter Johannes Vermeer. Trained at the Netherlands Film Academy, Müller began his feature career with Wim Wenders’ German title Summer In The City in 1970. That kicked off a long collaboration with Wenders which went on to include The Scarlet Letter, Alice In The Cities, Kings Of The Road, The American Friend, Until The End Of The World and Paris, Texas.
Müller was also a frequent Dp for Jim Jarmusch with whom he made Down By Law, Mystery Train, Dead Man, Ghost Dog: The Way Of The Samurai...
- 7/4/2018
- by Nancy Tartaglione
- Deadline Film + TV
Robby Muller, the Dutch director of photography of such striking ’80s and ’90s films as “Dancer in the Dark,” “Down by Law,” “Repo Man” and “Paris, Texas,” died July 4 in Amsterdam. He was 78 and according to Dutch publication Het Parool had been suffering from vascular dementia for several years.
Muller was known for his collaboration with filmmakers including Wim Wenders, Jim Jarmusch, Lars von Trier, Alex Cox and Barbet Schroeder, who created some of the most notable auteur films of the 1980s and 1990s.
As a European, he brought a memorable approach to portraying Los Angeles on film in William Friedkin’s “To Live and Die in L.A.,” Schroeder’s “Barfly” and Cox’s “Repo Man.”
The last feature-length film he shot was Michael Winterbottom’s 2002 “24 Hour Party People,” which vividly captured the Manchester music scene of the 1980s. That same year, he collaborated with director Steve McQueen on an art installation,...
Muller was known for his collaboration with filmmakers including Wim Wenders, Jim Jarmusch, Lars von Trier, Alex Cox and Barbet Schroeder, who created some of the most notable auteur films of the 1980s and 1990s.
As a European, he brought a memorable approach to portraying Los Angeles on film in William Friedkin’s “To Live and Die in L.A.,” Schroeder’s “Barfly” and Cox’s “Repo Man.”
The last feature-length film he shot was Michael Winterbottom’s 2002 “24 Hour Party People,” which vividly captured the Manchester music scene of the 1980s. That same year, he collaborated with director Steve McQueen on an art installation,...
- 7/4/2018
- by Pat Saperstein
- Variety Film + TV
“Inside the theater he breathed freely.” –Peter Handke, The Anxiety of the Goalie at the Penalty KickARRIVALBefore I attended the International Short Film Festival Oberhausen for the first time in early May, the place-name had already been linked to a handful of geographical-cultural associations in my mind: the site of the legendary declaration of the 1962 Oberhausen Manifesto by a new generation of German filmmakers that announced the official break from Germany’s post-war cinema (‘The old is dead. We believe in the new’ was their dictum); the place where Wim Wenders grew up and shot a portion of his film Alice in the Cities (remember Alice and Philip Winter driving around town and its environs searching for her grandmother?); the city where Peter Handke premiered his earliest play ‘Self-Accusation’ in 1966; and, most importantly, its centrality in the Ruhr Region—the industrial rust belt of Germany. Some of these things were...
- 5/25/2018
- MUBI
In an eclectic career spanning half a century, Wim Wenders continues to channel the zeitgeist: his romantic thriller “Submergence” recently opened in the U.S. and his documentary “Pope Francis: A Man of His Word” is set to premiere at Cannes.
Wenders helped define New German Cinema with his road-movie trilogy starting in 1974, “Alice in the Cities,” “Wrong Move” and “Kings of the Road”). Over the years, he has also brought to the big screen timely social commentary, a unique perspective on the American experience, and exuberant celebrations of music and dance in “Buena Vista Social Club,” “The Soul of a Man” and “Pina.” The filmmaker is also busy restoring past films, including 1987 classic “Wings of Desire.”
Variety first mentioned Wenders in an Aug. 26, 1970 report about financing for his upcoming project “The Goalie’s Anxiety at the Penalty Kick” (based on a novel and referred to as “Goal Keeper Frightened...
Wenders helped define New German Cinema with his road-movie trilogy starting in 1974, “Alice in the Cities,” “Wrong Move” and “Kings of the Road”). Over the years, he has also brought to the big screen timely social commentary, a unique perspective on the American experience, and exuberant celebrations of music and dance in “Buena Vista Social Club,” “The Soul of a Man” and “Pina.” The filmmaker is also busy restoring past films, including 1987 classic “Wings of Desire.”
Variety first mentioned Wenders in an Aug. 26, 1970 report about financing for his upcoming project “The Goalie’s Anxiety at the Penalty Kick” (based on a novel and referred to as “Goal Keeper Frightened...
- 5/4/2018
- by Ed Meza
- Variety Film + TV
by StaffDirectors’ cinema, now: Tiff’s three-year-old Platform program returns for 2017 with more original voices and visionary films.
Last year, Platform included celebrated works such as William Oldroyd’s Lady Macbeth — currently playing at Tiff Bell Lightbox — Pablo Larraín’s Jackie, and Barry Jenkins’ Academy Award Best Picture winner, Moonlight. The 12 films in this year’s programme are another showcase for the artistry of a group of bold, dynamic voices in contemporary cinema.
Sweet CountryIf You Saw His Heart
This year’s lineup presents 12 films from eight countries on five continents. All selected films will compete for the Platform Prize, to be awarded by a jury made up of award-winning filmmakers Chen Kaige, Małgorzata Szumowska, and Wim Wenders.
The program will open with the world premiere of The Death of Stalin, from award-winning director-writer Armando Iannucci (In the Loop, Veep). The historical epic follows the final days leading up to the Soviet dictator’s death.
Last year, Platform included celebrated works such as William Oldroyd’s Lady Macbeth — currently playing at Tiff Bell Lightbox — Pablo Larraín’s Jackie, and Barry Jenkins’ Academy Award Best Picture winner, Moonlight. The 12 films in this year’s programme are another showcase for the artistry of a group of bold, dynamic voices in contemporary cinema.
Sweet CountryIf You Saw His Heart
This year’s lineup presents 12 films from eight countries on five continents. All selected films will compete for the Platform Prize, to be awarded by a jury made up of award-winning filmmakers Chen Kaige, Małgorzata Szumowska, and Wim Wenders.
The program will open with the world premiere of The Death of Stalin, from award-winning director-writer Armando Iannucci (In the Loop, Veep). The historical epic follows the final days leading up to the Soviet dictator’s death.
- 8/3/2017
- by Sydney Levine
- Sydney's Buzz
Exclusive: Lionsgate’s Stephen Chbosky-directed drama will screen in Rome’s youth-oriented Alice In The City strand.
Julia Roberts-Jacob Tremblay drama Wonder will get a special screening at the Rome Film Festival’s autonomous sidebar Alice In The City on November 3.
The screening, the film’s first at a festival, will be for students and teachers but not for press and no talent will be present.
Directed by Stephen Chbosky (The Perks Of Being A Wallflower) and inspired by R. J. Palacio’s book of the same name, Wonder charts the story of a young boy - August Pullman - with a facial deformity who enters fifth grade, attending a mainstream elementary school for the first time.
By the time he’s 10, August has had 27 surgeries to help him breathe, see, and hear without a hearing aid.
Room star Tremblay features in the lead role alongside Roberts, Owen Wilson, [link...
Julia Roberts-Jacob Tremblay drama Wonder will get a special screening at the Rome Film Festival’s autonomous sidebar Alice In The City on November 3.
The screening, the film’s first at a festival, will be for students and teachers but not for press and no talent will be present.
Directed by Stephen Chbosky (The Perks Of Being A Wallflower) and inspired by R. J. Palacio’s book of the same name, Wonder charts the story of a young boy - August Pullman - with a facial deformity who enters fifth grade, attending a mainstream elementary school for the first time.
By the time he’s 10, August has had 27 surgeries to help him breathe, see, and hear without a hearing aid.
Room star Tremblay features in the lead role alongside Roberts, Owen Wilson, [link...
- 7/31/2017
- ScreenDaily
Exclusive: Lionsgate’s Stephen Chbosky-directed drama to debut in Rome’s Alice In The City strand.
Julia Roberts-Jacob Tremblay drama Wonder will get its world premiere at the Rome Film Festival’s autonomous sidebar Alice In The City on November 3.
Directed by Stephen Chbosky (The Perks Of Being A Wallflower) and inspired by R. J. Palacio’s book of the same name, Wonder charts the story of a young boy - August Pullman - with a facial deformity who enters fifth grade, attending a mainstream elementary school for the first time.
By the time he’s 10, August has had 27 surgeries to help him breathe, see, and hear without a hearing aid.
Room star Tremblay features in the lead role alongside Roberts, Owen Wilson, Sonia Braga and Mandy Patinkin.
Script comes from Chbosky, Jack Thorne and Steve Conrad. Producers are David Hoberman and Todd Lieberman. Executive Producers are Jeff Skoll, Robert Kessel, [link...
Julia Roberts-Jacob Tremblay drama Wonder will get its world premiere at the Rome Film Festival’s autonomous sidebar Alice In The City on November 3.
Directed by Stephen Chbosky (The Perks Of Being A Wallflower) and inspired by R. J. Palacio’s book of the same name, Wonder charts the story of a young boy - August Pullman - with a facial deformity who enters fifth grade, attending a mainstream elementary school for the first time.
By the time he’s 10, August has had 27 surgeries to help him breathe, see, and hear without a hearing aid.
Room star Tremblay features in the lead role alongside Roberts, Owen Wilson, Sonia Braga and Mandy Patinkin.
Script comes from Chbosky, Jack Thorne and Steve Conrad. Producers are David Hoberman and Todd Lieberman. Executive Producers are Jeff Skoll, Robert Kessel, [link...
- 7/31/2017
- ScreenDaily
Editor’s note: This article is presented in partnership with the Holland Marketing Alliance and their award-winning “Holland. The Original Cool” travel series. You can watch their new short film, “The Tale of Kat & Dog: A Holland Cool Movie,” below.
Try as some filmmakers might, it’s impossible for a single movie to represent an entire country. With all the different perspectives and geographical locations that a nation has to offer, it’s difficult to pinpoint all of those diverse experiences in a neat package.
Luckily, the Netherlands has decades of history and cinematic depictions to dive into, from Dutch filmmakers and those telling their stories far from home. The short film that got us thinking about this? “The Tale of Kat & Dog: A Holland Cool Movie,” a 17-minute tour across Amsterdam with an adorable canine as a guide:
Now that you’ve seen a bit of the country through...
Try as some filmmakers might, it’s impossible for a single movie to represent an entire country. With all the different perspectives and geographical locations that a nation has to offer, it’s difficult to pinpoint all of those diverse experiences in a neat package.
Luckily, the Netherlands has decades of history and cinematic depictions to dive into, from Dutch filmmakers and those telling their stories far from home. The short film that got us thinking about this? “The Tale of Kat & Dog: A Holland Cool Movie,” a 17-minute tour across Amsterdam with an adorable canine as a guide:
Now that you’ve seen a bit of the country through...
- 11/2/2016
- by Indiewire Staff
- Indiewire
Wim Wenders’ “The Beautiful Days of Aranjuez” has received mostly negative reviews on this year’s fall festival circuit. IndieWire’s own Ben Croll gave the film a D grade and said that it’s “ploddingly, achingly dull,” and other reviews have described it as “inert and exasperatingly supercilious,” “prettily sunlit but otherwise insufferable,” and “a literal representation of how creatively bankrupt Wim Wenders has become.” An adaptation of Peter Handke’s two-hander play by the same name, the film features a conversation between a man (Reda Kateb) and a woman (Sophie Semin) as they discuss their childhoods, memories, sexual experiences, and more. Watch a trailer and clips from the film below.
Read More: The Essentials: The 10 Best Wim Wenders Films
Wenders has made plenty of acclaimed films over the course of his four-decade long career. His Road Movie trilogy – “Alice in the Cities,” “The Wrong Move,” “Kings of the Road...
Read More: The Essentials: The 10 Best Wim Wenders Films
Wenders has made plenty of acclaimed films over the course of his four-decade long career. His Road Movie trilogy – “Alice in the Cities,” “The Wrong Move,” “Kings of the Road...
- 9/16/2016
- by Vikram Murthi
- Indiewire
In this episode of CriterionCast Chronicles, Ryan is joined by David Blakeslee, Arik Devens, and Mark Hurne to discuss the Criterion Collection releases for May 2016.
Subscribe in iTunes or RSS.
Links Easy Rider Rumor: Criterion To Release New Hollywood Box Set This November Wacky Criterion Newsletter Drawing Hints At Upcoming New Hollywood Box Set Easy Rider (1969) America Lost and Found: The Bbs Story Amazon.com: Easy Rider Amazon.com: America Lost and Found: The Bbs Story Blu-ray.com: Easy Rider CriterionForum.org: Easy Rider Wacky New Years Drawing Hints At The Criterion Collection’s 2016 Line-Up IMDb: Easy Rider In A Lonely Place The latest wacky email newsletter drawing from the… In a Lonely Place (1950) In a Lonely Place: An Epitaph for Love Amazon.com: In a Lonely Place Blu-ray.com: In a Lonely Place DVDBeaver: In a Lonely Place The Newsstand – Episode 53 – In A Lonely Place, Gance’s Napoleon and more!
Subscribe in iTunes or RSS.
Links Easy Rider Rumor: Criterion To Release New Hollywood Box Set This November Wacky Criterion Newsletter Drawing Hints At Upcoming New Hollywood Box Set Easy Rider (1969) America Lost and Found: The Bbs Story Amazon.com: Easy Rider Amazon.com: America Lost and Found: The Bbs Story Blu-ray.com: Easy Rider CriterionForum.org: Easy Rider Wacky New Years Drawing Hints At The Criterion Collection’s 2016 Line-Up IMDb: Easy Rider In A Lonely Place The latest wacky email newsletter drawing from the… In a Lonely Place (1950) In a Lonely Place: An Epitaph for Love Amazon.com: In a Lonely Place Blu-ray.com: In a Lonely Place DVDBeaver: In a Lonely Place The Newsstand – Episode 53 – In A Lonely Place, Gance’s Napoleon and more!
- 6/12/2016
- by Ryan Gallagher
- CriterionCast
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit the interwebs. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon Instant Video, and more (note: U.S. only). Check out our rundown for this week’s selections below.
10 Cloverfield Lane (Dan Trachtenberg)
Forget the Cloverfield connection. The actors who were in this film didn’t even know what the title was until moments before the first trailer dropped. Producer J.J. Abrams used that branding as part of the wrapping for its promotional mystery box, but the movie stands perfectly alone from 2008’s found-footage monster picture. Hell, 10 Cloverfield Lane perhaps doesn’t even take place...
10 Cloverfield Lane (Dan Trachtenberg)
Forget the Cloverfield connection. The actors who were in this film didn’t even know what the title was until moments before the first trailer dropped. Producer J.J. Abrams used that branding as part of the wrapping for its promotional mystery box, but the movie stands perfectly alone from 2008’s found-footage monster picture. Hell, 10 Cloverfield Lane perhaps doesn’t even take place...
- 6/3/2016
- by The Film Stage
- The Film Stage
A major talent of the New German Cinema finds his footing out on the open highway, in a trio of intensely creative pictures that capture the pace and feel of living off the beaten path. All three star Rüdiger Vogler, an actor who could be director Wim Wenders' alter ego. Wim Wenders' The Road Trilogy Blu-ray The Criterion Collection 813 1974-1976 / B&W and Color / 1:66 widescreen / 113, 104, 176 min. / available through The Criterion Collection / Street Date May 30, 2016 / 99.95 Starring Rüdiger Vogler, Lisa Kreuzer, Yetta Rottländer; Hannah Schygulla, Nasstasja Kinski, Hans Christian Blech, Ivan Desny; Robert Zischler. Cinematography Robby Müller, Martin Schäfer Film Editor Peter Przygodda, Barbara von Weltershausen Original Music Can, Jürgen Knieper, Axel Linstädt. Directed by Wim Wenders
Reviewed by Glenn Erickson
This morning I 'fessed up to never having seen David Lynch's Lost Highway. Now I get to say that until now I've never seen Wim Wenders'...
Reviewed by Glenn Erickson
This morning I 'fessed up to never having seen David Lynch's Lost Highway. Now I get to say that until now I've never seen Wim Wenders'...
- 5/16/2016
- by Glenn Erickson
- Trailers from Hell
Since any New York cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
BAMcinématek
“Chantal Akerman: Images Between the Images” continues with Night and Day on Friday, News from Home this Saturday, and, on Sunday, Golden Eighties and The Meetings of Anna.
Metrograph
“Welcome to Metrograph: A to Z” offers The Eight-Diagram Pole Fighter on Friday, Deux Fois on Saturday, and, this Sunday, three short films by Julie Dash.
BAMcinématek
“Chantal Akerman: Images Between the Images” continues with Night and Day on Friday, News from Home this Saturday, and, on Sunday, Golden Eighties and The Meetings of Anna.
Metrograph
“Welcome to Metrograph: A to Z” offers The Eight-Diagram Pole Fighter on Friday, Deux Fois on Saturday, and, this Sunday, three short films by Julie Dash.
- 4/15/2016
- by Nick Newman
- The Film Stage
It's time to start budgeting for the next wave of Criterion releases. The boutique home-video label have unveiled their slate for May, and it's even more impressive than usual, with some true treats for cinema buffs. So you might want to start clearing some space on your shelves. The big attraction of the month is the release of Wim Wenders' Road Trilogy. Comprised of "Alice In The Cities," "Wrong Move," and "Kings Of The Road," these are a terrific trio of early works by the director, and for those only familiar with his more recent films, they may be surprised by their looseness and how much different in tone they are. Criterion will be bulking up the box set with shorts "Same Player Shoots Again" and "Silver City Revisited," plus audio commentaries, interviews, and more. Read More: The Essentials: The 10 Best Wim Wenders Films Shifting gears, Robert Altman's...
- 2/17/2016
- by Kevin Jagernauth
- The Playlist
In his 1969 short film 3 American LP’s, the 24-year-old Wim Wenders, in the kind of feat of earnestness that can befit a young man, attempts to match his two greatest interests” America’s landscapes and its rock-and-roll music. If we’re to pick perhaps the most endearing eye-roller from this “rockist” mission statement, one can look no further than Wenders describing a Creedence Clearwater Revival album as being “like chocolate.”
But this isn’t necessarily an atypical moment in his filmography, as Wenders has always skirted the line of, for lack of a better word, corniness — if not just telegraphing his influences to at-times-obnoxious degrees, also with a kind of sentimentality both formally and politically speaking. Consider Wings of Desire‘s glossy look, which could so easily be reconfigured into a perfume-commercial aesthetic, or even just the title of one of his later, forgotten films; The End of Violence.
Yet...
But this isn’t necessarily an atypical moment in his filmography, as Wenders has always skirted the line of, for lack of a better word, corniness — if not just telegraphing his influences to at-times-obnoxious degrees, also with a kind of sentimentality both formally and politically speaking. Consider Wings of Desire‘s glossy look, which could so easily be reconfigured into a perfume-commercial aesthetic, or even just the title of one of his later, forgotten films; The End of Violence.
Yet...
- 1/29/2016
- by Ethan Vestby
- The Film Stage
Very few movements in film history have been as rewarding, and yet as undervalued among film fans, as that of the New German Cinema. With names like Rainer Werner Fassbinder now beginning to be muttered in broad collections of film fans, the world of German filmmaking that came to light in the late 1960s has birthed some of the greatest auteurs of its generation, even a handful that are still turning out some of their best work. Most notably filmmakers like Werner Herzog have transitioned from this movement into worlds that they themselves have broken the ground on.
Same could be said for one Wim Wenders.
Best known for masterpieces like Wings Of Desire and Paris, Texas, the filmmaker is to this day pushing the boundaries of what cinema can do. With 3D films like Pina and his startlingly poignant Salt Of The Earth, Wenders has had a more than productive career spanning 5 decades,...
Same could be said for one Wim Wenders.
Best known for masterpieces like Wings Of Desire and Paris, Texas, the filmmaker is to this day pushing the boundaries of what cinema can do. With 3D films like Pina and his startlingly poignant Salt Of The Earth, Wenders has had a more than productive career spanning 5 decades,...
- 8/28/2015
- by Joshua Brunsting
- CriterionCast
Starring William Hurt, the five-hour director’s cut of Wim Wenders’s 1991 global road-trip movie seems even more miraculous than the leaner original
The end of the world won’t come from a nuclear blast, but from an abundance of selfies. That’s part of the message gleaned from Wim Wenders’s Until the End of the World, the 1991 film that is only now getting a Us theatrical release for its full, almost-five-hour version. Back when smartphones, Gps devices and open European borders were considered sci-fi, the two-and-a-half-hour version of this futurist’s detective story was impressive. But this movie has always had its eye on the future’s potential.
The multinational co-production was enormous in its scope, especially considering the director’s roots as an arthouse film-maker. Budgeted at more than $20m (£13m) and shot all over the world, it was conceived as the “ultimate road picture”. It was...
The end of the world won’t come from a nuclear blast, but from an abundance of selfies. That’s part of the message gleaned from Wim Wenders’s Until the End of the World, the 1991 film that is only now getting a Us theatrical release for its full, almost-five-hour version. Back when smartphones, Gps devices and open European borders were considered sci-fi, the two-and-a-half-hour version of this futurist’s detective story was impressive. But this movie has always had its eye on the future’s potential.
The multinational co-production was enormous in its scope, especially considering the director’s roots as an arthouse film-maker. Budgeted at more than $20m (£13m) and shot all over the world, it was conceived as the “ultimate road picture”. It was...
- 8/27/2015
- by Jordan Hoffman
- The Guardian - Film News
This Friday, the IFC Center begins the monthlong series Wim Wenders: Portraits Along the Road, a career-spanning retrospective of the director's work. This past March, we spoke to Wenders about his career and what was then his latest release, the documentary The Salt of the Earth. We are republishing that interview now. In the late 1970s and '80s, if you were into serious cinema, you had to be into Wim Wenders. The German director of Paris, Texas, Alice in the Cities, and Wings of Desire was the international poster-child for artful ennui and existential despair. But his films were also remarkable for the way they mixed a very continental brooding with a love of pop culture, usually American. That’s what made his films so brilliant, in a way — they were serious, but accessible. As evidenced by his triumphant recent MoMA retrospective, which screened brand-new restorations of his films,...
- 8/26/2015
- by Bilge Ebiri
- Vulture
Read More: Berlin: Wim Wenders on the Trap of Awards, His Approach to 3D and His Love for James Franco IFC Center will celebrate Wim Wenders throughout September in the retrospective program, "Wim Wenders: Portraits Along the Road." The event is a four-week, 28-film retrospective celebrating the work of the prolific filmmaker. The program includes 22 features and 6 short films and will also feature in-depth conversations with Wenders. The program opens Friday, August 28 with weeklong runs of new 4K restorations of two early masterworks, both landmarks of the New German Cinema: "Alice In The Cities" and "The Goalie’s Anxiety At The Penalty Kick." A complete schedule is below. Check out the IFC website for more information. *In-person appearance by Wim Wenders Friday, August 28: "Alice In The Cities" 10:40am, 2:50pm, 7:20pm*, 12.00am "The Goalie’s Anxiety At The...
- 8/21/2015
- by Jessica Cariaga
- Indiewire
After half a century of making films, the director is back on form with The Salt of the Earth and shows no signs slowing down
Wim Wenders is responsible for some of the most profound films made about America – quite a feat considering he doesn’t have a drop of starred-and-striped blood in his body. Paris, Texas is the obvious example: a western in mood and iconography, no matter that it is set in 1980s Los Angeles. It won the Palme d’Or at Cannes in 1984 and remains the director’s masterpiece. In that film, and many others, he showed the world what America looked like, and helped America to see itself through foreign eyes. Even those pictures not set in the Us – such as the great 1970s road movies Alice in the Cities and Kings of the Road, which made Wenders an arthouse darling – explore the influence, the voodoo romanticism,...
Wim Wenders is responsible for some of the most profound films made about America – quite a feat considering he doesn’t have a drop of starred-and-striped blood in his body. Paris, Texas is the obvious example: a western in mood and iconography, no matter that it is set in 1980s Los Angeles. It won the Palme d’Or at Cannes in 1984 and remains the director’s masterpiece. In that film, and many others, he showed the world what America looked like, and helped America to see itself through foreign eyes. Even those pictures not set in the Us – such as the great 1970s road movies Alice in the Cities and Kings of the Road, which made Wenders an arthouse darling – explore the influence, the voodoo romanticism,...
- 6/27/2015
- by Ryan Gilbey
- The Guardian - Film News
All week long our writers will debate: Which was the greatest film year of the past half century. Click here for a complete list of our essays. I was one of the first to select years for this particular exercise, which probably allowed me to select the correct year. The answer is, of course, 1974 and all other answers are wrong. No matter what your criteria happens to be, 1974 is going to come out on top. Again, this is not ambiguous or open to debate. We have to start, of course, with the best of the best. "Chinatown" is one of the greatest movies ever made. You can't structure a thriller better than Robert Towne and Roman Polanski do, nor shoot a Los Angeles movie better than John Alonzo has done. Jack Nicholson and Faye Dunaway give the best performances of their careers, which is no small achievement. If you ask...
- 4/29/2015
- by Daniel Fienberg
- Hitfix
Dutch-born D.P. Robby Muller has never been a household name in the way that someone like, say, Roger Deakins is. And yet his influence on cinema, particularly of the independent and world variety, is impossible to deny. Known primarily for his work with Wim Wenders (“Alice in the Cities,” “Kings of the Road”) and Jim Jarmusch (“Down by Law,” “Mystery Train”), Muller has also offered his considerable talents to filmmakers like William Friedkin (in his neon-slicked sleazebag thriller “To Live and Die in L.A.”) and Alex Cox (in the watershed proto-punk classic “Repo Man”). His is a relaxed, understated style of shooting. Whereas someone like Deakins plays with visual artifice to achieve something akin to cinematic mythology, Muller’s approach is naturalistic and pared-down. It’s also far from simple. For the most part, Muller prefers working with independent filmmakers and rarely, if ever, says the words “that’s not possible.
- 12/10/2014
- by Nicholas Laskin
- The Playlist
Ten strong line-up of titles unveiled; Wenders to take part in on stage conversation.
The Berlin International Film Festival (Feb 5-15) has revealed the ten titles that will make up its Homage to German filmmaker Wim Wenders.
As previously announced, Wenders will also be awarded an Honorary Golden Bear for lifetime achievement at the 65th Berlinale.
The award ceremony on Feb 12 in the Berlinale Palast will include a new digitally restored screening of The American Friend, Wenders’ 1977 thriller based on a book by Patricia Highsmith, which tells the story of a fatal friendship between two men, played by Bruno Ganz and Dennis Hopper.
“The American Friend was Wim Wenders’ international breakthrough film. And we were so impressed by the brilliance of the recently completed digital restoration that we decided to premiere it as part of the award ceremony for the Honorary Golden Bear,” said festival director Dieter Kosslick.
Wenders’ early work The Goalie’s Anxiety at the...
The Berlin International Film Festival (Feb 5-15) has revealed the ten titles that will make up its Homage to German filmmaker Wim Wenders.
As previously announced, Wenders will also be awarded an Honorary Golden Bear for lifetime achievement at the 65th Berlinale.
The award ceremony on Feb 12 in the Berlinale Palast will include a new digitally restored screening of The American Friend, Wenders’ 1977 thriller based on a book by Patricia Highsmith, which tells the story of a fatal friendship between two men, played by Bruno Ganz and Dennis Hopper.
“The American Friend was Wim Wenders’ international breakthrough film. And we were so impressed by the brilliance of the recently completed digital restoration that we decided to premiere it as part of the award ceremony for the Honorary Golden Bear,” said festival director Dieter Kosslick.
Wenders’ early work The Goalie’s Anxiety at the...
- 11/27/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
By Anjelica Oswald
Managing Editor
Where feature filmmakers head into a project with a script and a plan, the path for documentarians is unpredictable. They follow real subjects and real issues often in real time — and sometimes for years at a time — and piece everything together as the footage comes along. Sometimes, things fall apart or the subject has to change, such as it with Alex Gibney’s The Armstrong Lie (2013). Though different skill sets go into the distinct film forms, some documentary filmmakers choose to transition to narrative features and vice versa, such as Spike Lee, whose next release will be a documentary titled Go Brasil Go!.
Rob Epstein and Jeff Friedman have made the jump from documentaries to feature films and have said that they intend on continuing to make both types of film. Epstein and Friedman won an Oscar for their first co-directed documentary, Common Threads: Stories from the Quilt...
Managing Editor
Where feature filmmakers head into a project with a script and a plan, the path for documentarians is unpredictable. They follow real subjects and real issues often in real time — and sometimes for years at a time — and piece everything together as the footage comes along. Sometimes, things fall apart or the subject has to change, such as it with Alex Gibney’s The Armstrong Lie (2013). Though different skill sets go into the distinct film forms, some documentary filmmakers choose to transition to narrative features and vice versa, such as Spike Lee, whose next release will be a documentary titled Go Brasil Go!.
Rob Epstein and Jeff Friedman have made the jump from documentaries to feature films and have said that they intend on continuing to make both types of film. Epstein and Friedman won an Oscar for their first co-directed documentary, Common Threads: Stories from the Quilt...
- 9/23/2014
- by Anjelica Oswald
- Scott Feinberg
The 65th Berlin International Film Festival will dedicate an homage to Wim Wenders and present him with an Honorary Golden Bear for his lifetime achievement. Since his 1970 debut Summer In The City, the Germany native has made about 50 films including Alice In The Cities (1973), Kings of the Road (1976), Paris, Texas (1984) Wings Of Desire (1987), The State Of Things (1982), The Million Dollar Hotel (2000) and Pina (2011). Ten films from Wenders’ feature and documentary repertoire will be shown, with titles to be announced in the fall. “In dedicating the homage to Wim Wenders, we honor one of the most noted contemporary auteurs,” said Dieter Kosslick, Director of the Berlinale. “His cross-genre and multifaceted work as a filmmaker, photographer and author has shaped our living memory of cinema, and continues to inspire other filmmakers.” The festival runs February 5-15.
BBC Two has commissioned Stonemouth, based on the novel by Iain Banks. A BBC Scotland/Slate...
BBC Two has commissioned Stonemouth, based on the novel by Iain Banks. A BBC Scotland/Slate...
- 8/22/2014
- by Nancy Tartaglione
- Deadline
Ten films from the Wings of Desire director to be shown as part of a homage at the next Berlinale.
The 65th Berlin International Film Festival (Feb 5-15) is to dedicate the Homage strand to German filmmaker Wim Wenders and present him with an Honorary Golden Bear for lifetime achievement.
Ten films from Wenders’ feature and documentary repertoire will be shown as part of the Homage, the line-up of which will be revealed this autumn.
In the 1970s, Wenders was part of a young generation of filmmakers who heavily influenced New German Cinema, working against a backdrop of the economic and artistic crisis in commercial film of that time.
Since feature debut Summer in the City in 1970, Wenders has made roughly 50 films.
Following his international breakthrough with the early road movies Alice in the Cities (1973) and Kings of the Road (1976) he worked in Europe, the Us, Latin America and Asia, and has received...
The 65th Berlin International Film Festival (Feb 5-15) is to dedicate the Homage strand to German filmmaker Wim Wenders and present him with an Honorary Golden Bear for lifetime achievement.
Ten films from Wenders’ feature and documentary repertoire will be shown as part of the Homage, the line-up of which will be revealed this autumn.
In the 1970s, Wenders was part of a young generation of filmmakers who heavily influenced New German Cinema, working against a backdrop of the economic and artistic crisis in commercial film of that time.
Since feature debut Summer in the City in 1970, Wenders has made roughly 50 films.
Following his international breakthrough with the early road movies Alice in the Cities (1973) and Kings of the Road (1976) he worked in Europe, the Us, Latin America and Asia, and has received...
- 8/21/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
There are very few awards given out for movie posters these days. The Cannes Film Festival used to have one, and though the Chicago Film Festival revived their prestigious poster competition two years ago (Uncle Boonmee was their runner-up) they don’t seem to have repeated it since. The two major exceptions are the Hollywood Reporter Key Art Awards in the Us and The Screen Awards in the UK, both of whose ceremonies were held over the last couple of weeks. Both are industry-centric award shows run by trade magazines, so the results tend more towards design in the service of commerce than design for design’s sake—the Screen Awards website says “the category is judged not just on aesthetic appeal but how the poster represents the film, and how it enticed audiences”—though good design still shines through for the most part.
Ironically neither organization provides images of...
Ironically neither organization provides images of...
- 11/2/2013
- by Adrian Curry
- MUBI
In last week’s rundown of my favorite posters of 2012 I included the work of a young British designer named Sam Ashby who had created two witty, rule-bending posters for two of my very favorite films of the year: The Turin Horse and Two Years at Sea. Both of those played with type over a single stark black and white image so it was a surprise to see his newest poster—unveiled here for the first time—which is a riot of color, detail and illustration.
The delightfully titled Fuck for Forest, or Fff, is a brand new documentary by Polish director Michał Marczak about the radical German eco-charity of the same name.
The film—which had its world premiere at the Warsaw Film Festival last October where it won the Best Documentary prize—will play at the Rotterdam Film Festival next month and will be distributed in the UK by Dogwoof in March.
The delightfully titled Fuck for Forest, or Fff, is a brand new documentary by Polish director Michał Marczak about the radical German eco-charity of the same name.
The film—which had its world premiere at the Warsaw Film Festival last October where it won the Best Documentary prize—will play at the Rotterdam Film Festival next month and will be distributed in the UK by Dogwoof in March.
- 1/4/2013
- by Adrian Curry
- MUBI
Stay off the streets and stay in with a movie…that takes to the streets.
Los Angelenos are aflutter with impending chaos. And, if you don’t live in Los Angeles, you probably don’t understand. (I live here and I’m not sure I fully understand.) But this weekend (July 15-17), the City of Los Angeles has gotten it in its mind to shut down the 405 Freeway, one of the central lifelines for the (frankly absurd) amount of traffic that hits Los Angeles on a daily basis. This means that, functionally, no one’s going anywhere this weekend and the entire West side of Los Angeles is going to be choked off by the cold, unrelenting hands of the Los Angeles Dot.
Naturally, this has become a bit of a cultural meme (surely confusing anyone who doesn’t live in Los Angeles) dubbed by internet pun genii as “Carmageddon.
Los Angelenos are aflutter with impending chaos. And, if you don’t live in Los Angeles, you probably don’t understand. (I live here and I’m not sure I fully understand.) But this weekend (July 15-17), the City of Los Angeles has gotten it in its mind to shut down the 405 Freeway, one of the central lifelines for the (frankly absurd) amount of traffic that hits Los Angeles on a daily basis. This means that, functionally, no one’s going anywhere this weekend and the entire West side of Los Angeles is going to be choked off by the cold, unrelenting hands of the Los Angeles Dot.
Naturally, this has become a bit of a cultural meme (surely confusing anyone who doesn’t live in Los Angeles) dubbed by internet pun genii as “Carmageddon.
- 7/14/2011
- by Danny
- Trailers from Hell
From the invention of horror under the Weimar republic to recent re-examinations of the second world war, German cinema has an amazingly creative history
German cinema got off to a fantastic start straight after the first world war, as the liberal atmosphere of the Weimar republic triggered an explosion across all creative disciplines. Film-makers responded by appropriating the techniques of expressionist painting and theatre, incorporating them into twisted tales of madness and terror – thereby virtually inventing what would become known as the horror film. With its angled, distorted set designs, tortured eye-rolling, and layers of dreams and visions, The Cabinet of Dr Caligari (1920) is generally acknowledged as a landmark of international cinema, not just Germany's own. Two years later came an equally groundbreaking film, Nosferatu – an unauthorised adaptation of Bram Stoker's novel Dracula that enshrined some of the creepiest cinema images ever recorded.
They also marked the beginning of...
German cinema got off to a fantastic start straight after the first world war, as the liberal atmosphere of the Weimar republic triggered an explosion across all creative disciplines. Film-makers responded by appropriating the techniques of expressionist painting and theatre, incorporating them into twisted tales of madness and terror – thereby virtually inventing what would become known as the horror film. With its angled, distorted set designs, tortured eye-rolling, and layers of dreams and visions, The Cabinet of Dr Caligari (1920) is generally acknowledged as a landmark of international cinema, not just Germany's own. Two years later came an equally groundbreaking film, Nosferatu – an unauthorised adaptation of Bram Stoker's novel Dracula that enshrined some of the creepiest cinema images ever recorded.
They also marked the beginning of...
- 3/15/2011
- by Andrew Pulver
- The Guardian - Film News
The use of Can's music in Norwegian Wood confirms the krautrock pioneers have always made sounds fit for cinema
He hardly needs to give up his day job, but Radiohead's Jonny Greenwood seems to have a pretty good alternative career lined up as a film composer. After his dissonant, overpowering strings on There Will Be Blood, he does sterling work on this week's excellent Norwegian Wood, adding to the Japanese teen gloom with sheets of orchestral noise and tender acoustic guitar melodies. But what caught my attention on the soundtrack was the welcome reappearance of Can, whose music not only fits the late-60s setting, but also reminds us how much Radiohead are indebted to the trailblazing krautrockers. They've made no secret of it, even covering Can's The Thief, but listening to The King of Limbs' precision clattering, jazzy guitars, slightly slurred vocals and unorthodox song structures,...
He hardly needs to give up his day job, but Radiohead's Jonny Greenwood seems to have a pretty good alternative career lined up as a film composer. After his dissonant, overpowering strings on There Will Be Blood, he does sterling work on this week's excellent Norwegian Wood, adding to the Japanese teen gloom with sheets of orchestral noise and tender acoustic guitar melodies. But what caught my attention on the soundtrack was the welcome reappearance of Can, whose music not only fits the late-60s setting, but also reminds us how much Radiohead are indebted to the trailblazing krautrockers. They've made no secret of it, even covering Can's The Thief, but listening to The King of Limbs' precision clattering, jazzy guitars, slightly slurred vocals and unorthodox song structures,...
- 3/11/2011
- by Steve Rose
- The Guardian - Film News
The veteran German film writer and producer died earlier this week aged 61. We look back over his career in clips
The sudden death of Bernd Eichinger has left German cinema reeling, as arguably its most powerful and influential figure is no longer around. Eichinger started writing and directing in the early 70s New German Cinema ferment, but really made his mark as a producer – his first serious credit was on the 1975 movie The Wrong Movement, directed by Ngc wunderkind Wim Wenders. The Wrong Movement is one of those odd Wim Wenders road movies featuring Rüdiger Vogler, made in between Alice in the Cities and Kings of the Road, that were so bafflingly influential at the time. (Try watching Chris Petit's Radio On, you'll see what I mean.)
But Eichinger's production career didn't take proper wing until the New German Cinema wave was all but over. In 1978 he bought an established distribution company,...
The sudden death of Bernd Eichinger has left German cinema reeling, as arguably its most powerful and influential figure is no longer around. Eichinger started writing and directing in the early 70s New German Cinema ferment, but really made his mark as a producer – his first serious credit was on the 1975 movie The Wrong Movement, directed by Ngc wunderkind Wim Wenders. The Wrong Movement is one of those odd Wim Wenders road movies featuring Rüdiger Vogler, made in between Alice in the Cities and Kings of the Road, that were so bafflingly influential at the time. (Try watching Chris Petit's Radio On, you'll see what I mean.)
But Eichinger's production career didn't take proper wing until the New German Cinema wave was all but over. In 1978 he bought an established distribution company,...
- 1/28/2011
- by Andrew Pulver
- The Guardian - Film News
In a 20-minute interview that is one of the supplements to this excellent DVD edition (a Region 2 Pal UK set from the label Axiom) of Kings of the Road, a contemporary Wenders considers this film and all of his films prior and subsequent to it, and tries to tie them together. "All these films have in common," he says (in German), "is not a theme, but what ties them together, from this one, to Buena Vista Social Club, to Until The End Of The World, is the question: 'How should one live?''' In this case, for one of its characters, Robert (Hanns Zischler), the question might better be put, "How can one live?" He has driven his car into a river, and instead of drowning, he is left bereft of personal possessions. Including the car. Wenders knows his Kristofferson, that is, that freedom's just another word for nothing left to lose.
- 7/25/2010
- MUBI
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