Abba guitarist Lasse Wellander has died at 70 years old, the musician’s family announced. The Sweden native died on Friday, April 7 after a battle with cancer.
Taking to Wellander’s official Facebook page, his family wrote, “It is with indescribable sadness that we have to announce that our beloved Lasse has fallen asleep. Lasse recently fell ill in what turned out to be spread cancer and early on Good Friday he passed away, surrounded by his loved ones.”
“You were an amazing musician and humble as few, but above all you were a wonderful husband, father, brother, uncle and grandfather. Kind, safe, caring and loving… and so much more, that cannot be described in words. A hub in our lives, and it’s unbelievable that we now have to live on without you.”
The post, written by his family members, Lena, Ludvig and Andréas, concluded, “We love and miss you so much.
Taking to Wellander’s official Facebook page, his family wrote, “It is with indescribable sadness that we have to announce that our beloved Lasse has fallen asleep. Lasse recently fell ill in what turned out to be spread cancer and early on Good Friday he passed away, surrounded by his loved ones.”
“You were an amazing musician and humble as few, but above all you were a wonderful husband, father, brother, uncle and grandfather. Kind, safe, caring and loving… and so much more, that cannot be described in words. A hub in our lives, and it’s unbelievable that we now have to live on without you.”
The post, written by his family members, Lena, Ludvig and Andréas, concluded, “We love and miss you so much.
- 4/9/2023
- by Emerson Pearson
- ET Canada
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 platforms. 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, and more (note: U.S. only). Check out our rundown for this week’s selections below.
Blow Out (Brian De Palma)
In a career fixated on the machinations of filmmaking presented through both a carnal and political eye, Brian De Palma’s fascinations converged idyllically with Blow Out. In his ode to the conceit of Blow Up — Michelangelo Antonioni’s deeply influential English-language debut, released 15 years prior — as well as the aural intrigue of Francis Ford Coppola’s The Conversation, De Palma constructs a conspiracy...
Blow Out (Brian De Palma)
In a career fixated on the machinations of filmmaking presented through both a carnal and political eye, Brian De Palma’s fascinations converged idyllically with Blow Out. In his ode to the conceit of Blow Up — Michelangelo Antonioni’s deeply influential English-language debut, released 15 years prior — as well as the aural intrigue of Francis Ford Coppola’s The Conversation, De Palma constructs a conspiracy...
- 5/5/2017
- by The Film Stage
- The Film Stage
Although François Truffaut has written that the New Wave began “thanks to Jacquette Rivette,” the films of this masterful French director are not well known. Rivette, like his “Cahiers du Cinéma” colleagues Truffaut, Jean-Luc Godard, Claude Chabrol and Éric Rohmer, did graduate to filmmaking but, like Rohmer, was something of a late bloomer as a director.
In 1969, he directed the 4-hour L’amour fou (1969), the now legendary 13-hour Out 1 (1971) (made for French TV in 1970 but never broadcast; edited to a 4-hour feature and retitled Out 1: Spectre (1972)), and the 3-hour Celine and Julie Go Boating (1974), his most entertaining and widely seen picture. In these three films, Rivette began to construct what has come to be called his “House of Fiction”–an enigmatic filmmaking style involving improvisation, ellipsis and considerable narrative experimentation.
Celine and Julie Go Boating
In 1975, Jacques Rivette reunited with Out 1 producer Stéphane Tchal Gadjieff with the idea of a four-film cycle.
In 1969, he directed the 4-hour L’amour fou (1969), the now legendary 13-hour Out 1 (1971) (made for French TV in 1970 but never broadcast; edited to a 4-hour feature and retitled Out 1: Spectre (1972)), and the 3-hour Celine and Julie Go Boating (1974), his most entertaining and widely seen picture. In these three films, Rivette began to construct what has come to be called his “House of Fiction”–an enigmatic filmmaking style involving improvisation, ellipsis and considerable narrative experimentation.
Celine and Julie Go Boating
In 1975, Jacques Rivette reunited with Out 1 producer Stéphane Tchal Gadjieff with the idea of a four-film cycle.
- 5/1/2017
- by Tom Stockman
- WeAreMovieGeeks.com
This August, Mubi is paying tribute to the great, but too-often-forgotten, Jacques Rivette. His conspiratorial films, deliciously and collaboratively playing with genre, theatre, painting, literature and cinema itself, constitute the best kept secret of the French New Wave. Only a precious few, including sprawling magnum opus Out 1: noli me tangere (1971), mostly unseen until recently, and his canonical masterpiece that he made immediately after that 12-hour experiment, Celine and Julie Go Boating (1974), could be described as well known. In a belated tribute to one of our very favorite filmmakers, we're showing three rarities by Jacques Rivette, hardly screened in most countries.Additionally, for those in Los Angeles we're presenting our three films plus Celine and Julie Go Boating at the Cinefamily and for New Yorkers, we're presenting Rivette's 1981 masterpiece Le Pont du Nord at Videology in Brooklyn.Duelle (1976), August 7The Queen of the Night (Juliet Berto) battles the Queen...
- 8/7/2016
- MUBI
As an supplement to our Recommended Discs weekly feature, Peter Labuza regularly highlights notable recent home video releases with expanded reviews. See this week’s selections below.
The American Friend (Criterion)
“What’s wrong with a cowboy in Hamburg?” Wim Wenders’ ode to American crime films of the ’50s remains his most idiosyncratic work, teetering between absurdist comedy and strained psycho-drama. Bruno Ganz stars as an art framer — a metaphor for the impossible boundaries he can no longer contain — tempted by the opportunity of earning money for murder, a profession he has no experience in. It’s hard to know when to take Wenders seriously — Ganz’s trip to Paris begins with a conspiracy-ridden doctor’s visit that sets up the film for more absurdist laughs than a “state of the continent” manifesto (the target is noted as an “American Jew”). But the film’s murder in a Paris metro...
The American Friend (Criterion)
“What’s wrong with a cowboy in Hamburg?” Wim Wenders’ ode to American crime films of the ’50s remains his most idiosyncratic work, teetering between absurdist comedy and strained psycho-drama. Bruno Ganz stars as an art framer — a metaphor for the impossible boundaries he can no longer contain — tempted by the opportunity of earning money for murder, a profession he has no experience in. It’s hard to know when to take Wenders seriously — Ganz’s trip to Paris begins with a conspiracy-ridden doctor’s visit that sets up the film for more absurdist laughs than a “state of the continent” manifesto (the target is noted as an “American Jew”). But the film’s murder in a Paris metro...
- 2/8/2016
- by Peter Labuza
- The Film Stage
Above: French poster for Paris Belongs to Us (Jacques Rivette, France, 1960).Over the years I have often wanted to write about the films of Jacques Rivette, but I have always been disappointed by the quality both of the posters for many of his films and of the scans available for even the better designs. With the sad news that Rivette has left us this morning at the age of 87—so soon after the triumphant resurrection of his magnum opus Out 1—I feel I should at least showcase the handful of posters that do this great director justice.The best Rivette posters are top-loaded at the beginning of his career. His adaptation of Denis Diderot’s La religieuse, starring Anna Karina, seems to have inspired the most varied work (so much in fact that I will save most of it for a later post). And there are a few other terrific designs,...
- 1/29/2016
- by Adrian Curry
- MUBI
Photo © 2013 Wild Bunch - Alcatraz Movies - Arte France Cinema - Pandora Film Produktion.
Bastards [Les salauds] begins, like Garrel's Un été brûlant, at night, with a suicide. An explanation for the gesture will never come, although, through the film's near imperceptible ellipses, it comes close. A film of profoundly somber gloam, of loneliness and anger and even stifled madness, of complicity and solitude, its sadness is almost absolute.
A torrid string connects a cast predominantly made up from Claire Denis' family of actors: Vincent Lindon, Michel Subor, Alex Descas, Grégoire Colin. There are so many of them that they stand out as coming from somewhere before, some shared place, and their figures seem at once human and also something more so, grander, archetypal. (Lola Créton creates a similar effect in a small role with such a brief but so recognizable presence that it both reaches outside the story, as well as expanding something within.
Bastards [Les salauds] begins, like Garrel's Un été brûlant, at night, with a suicide. An explanation for the gesture will never come, although, through the film's near imperceptible ellipses, it comes close. A film of profoundly somber gloam, of loneliness and anger and even stifled madness, of complicity and solitude, its sadness is almost absolute.
A torrid string connects a cast predominantly made up from Claire Denis' family of actors: Vincent Lindon, Michel Subor, Alex Descas, Grégoire Colin. There are so many of them that they stand out as coming from somewhere before, some shared place, and their figures seem at once human and also something more so, grander, archetypal. (Lola Créton creates a similar effect in a small role with such a brief but so recognizable presence that it both reaches outside the story, as well as expanding something within.
- 10/11/2013
- by Daniel Kasman
- MUBI
Argentinian director whose films drew heavily on the stories of Jorge Luis Borges
Although the Argentinian director and screenwriter Eduardo de Gregorio, who has died aged 70, had lived in Paris since 1970, his work was always identifiably South American. This can be attributed to the overpowering influence of the labyrinthine stories of Jorge Luis Borges on a generation of South American artists.
De Gregorio brought this Borgesian aura to bear on the five features he directed, and on the screenplays he wrote with Jacques Rivette and Bernardo Bertolucci. In fact, for the latter's The Spider's Stratagem (1970), De Gregorio adapted the Borges story Theme of the Traitor and the Hero, smoothly transposing it from Ireland to Italy. It was an elaborate piece of Oedipal plotting in which, revisiting the village in the Po valley where his father was murdered in 1936, a young man discovers that his father was not a hero, but a traitor.
Although the Argentinian director and screenwriter Eduardo de Gregorio, who has died aged 70, had lived in Paris since 1970, his work was always identifiably South American. This can be attributed to the overpowering influence of the labyrinthine stories of Jorge Luis Borges on a generation of South American artists.
De Gregorio brought this Borgesian aura to bear on the five features he directed, and on the screenplays he wrote with Jacques Rivette and Bernardo Bertolucci. In fact, for the latter's The Spider's Stratagem (1970), De Gregorio adapted the Borges story Theme of the Traitor and the Hero, smoothly transposing it from Ireland to Italy. It was an elaborate piece of Oedipal plotting in which, revisiting the village in the Po valley where his father was murdered in 1936, a young man discovers that his father was not a hero, but a traitor.
- 10/19/2012
- by Ronald Bergan
- The Guardian - Film News
News.
Above: Harris Savides. Photo by Brigette Lancombe for Interview magazine.
We were saddened and shocked to hear of the passing of one of film's great cinematographers, Harris Savides. Our brief note includes an indelible clip from Gerry, one of his collaborations with Gus Van Sant. David Hudson has rounded up commentary at Fandor.
One of Savides' chief collaborators, director David Fincher, is also in the news with an animated film project that's appealing to Kickstarter to get funded.
Two big trailer debuts have sprung on us over the last week. One's the second trailer for Quentin Tarantino's Django Unchained:
...and the other is the first full trailer for Kathryn Bigelow's Zero Dark Thirty:
Filmmaker Jon Jost has started a petition calling for Ray Carney to return underground director Mark Rappaport's film materials. As the petition explains:
"In 2005, when Mark Rappaport moved to France, Ray Carney,...
Above: Harris Savides. Photo by Brigette Lancombe for Interview magazine.
We were saddened and shocked to hear of the passing of one of film's great cinematographers, Harris Savides. Our brief note includes an indelible clip from Gerry, one of his collaborations with Gus Van Sant. David Hudson has rounded up commentary at Fandor.
One of Savides' chief collaborators, director David Fincher, is also in the news with an animated film project that's appealing to Kickstarter to get funded.
Two big trailer debuts have sprung on us over the last week. One's the second trailer for Quentin Tarantino's Django Unchained:
...and the other is the first full trailer for Kathryn Bigelow's Zero Dark Thirty:
Filmmaker Jon Jost has started a petition calling for Ray Carney to return underground director Mark Rappaport's film materials. As the petition explains:
"In 2005, when Mark Rappaport moved to France, Ray Carney,...
- 10/17/2012
- by Notebook
- MUBI
In today's Libération, Didier Péron remembers Maurice Garrel, who passed away on Saturday at the age of 88. Father of producer Thierry Garrel and director Philippe and, of course, grandfather of Louis and Esther, Maurice Garrel performed in over a hundred films and was twice nominated for a César for best supporting actor: in 1991 for Christian Vincent's La Discrète and in 2005 for Arnaud Desplechin's Kings and Queen. In a career spanning over five decades, Garrel appeared in films as varied as François Truffaut's The Soft Skin, Jacques Rivette's Merry-Go-Round, Claude Lelouch's Edith and Marcel, Claude Chabrol's Nada and Claude Sautet's A Heart in Winter.
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For news and tips throughout the day every day, follow @thedailyMUBI on Twitter and/or the RSS feed.
- 6/6/2011
- MUBI
Joe Dallesandro, Maria Schneider in Jacques Rivette's Merry-Go-Round (Photo: Des Filles des Garçons) Maria Schneider Obit Pt.2: Ingmar Bergman – Last Tango In Paris "About Homosexuals" In fact, bouts of mental illness and drug addiction, and even a suicide attempt — Daniel Gélin had similar problems in his life — helped to prevent Schneider from forging ahead professionally. Compounding matters, she also feared being typecast as a young sexpot ever ready to get naked on camera. "Never take your clothes off for a middle-aged man who claims that it's art," she would later tell the Daily Mail. Well, if Luis Buñuel asked Schneider to take her clothes off for Cet obscur objet du désir / That Obscure Object of Desire (1977), she probably should have, as that political allegory remains one of Buñuel's most fascinating works. Schneider had been cast as Fernando Rey's "object of desire," but withdrew following a nasty...
- 2/4/2011
- by Andre Soares
- Alt Film Guide
French actor whose youthful role in Last Tango in Paris was to dominate her career
Bernardo Bertolucci's Last Tango in Paris (1972) revolves around the spontaneous sexual chemistry between a bitter middle-aged American widower and a naive French girl about to be married. They are drawn into an entirely physical relationship, some of it involving butter, after a chance meeting in an empty Paris apartment. They know nothing about each other, not even their names. The man was played by one of the most famous and admired actors in the world, Marlon Brando. The woman, Maria Schneider, was completely unknown. For better or worse, it was the role with which Schneider, who has died of cancer aged 58, would always be associated.
According to the critic Roger Ebert: "Maria Schneider doesn't seem to act her role so much as to exude it. On the basis of this movie, indeed, it's...
Bernardo Bertolucci's Last Tango in Paris (1972) revolves around the spontaneous sexual chemistry between a bitter middle-aged American widower and a naive French girl about to be married. They are drawn into an entirely physical relationship, some of it involving butter, after a chance meeting in an empty Paris apartment. They know nothing about each other, not even their names. The man was played by one of the most famous and admired actors in the world, Marlon Brando. The woman, Maria Schneider, was completely unknown. For better or worse, it was the role with which Schneider, who has died of cancer aged 58, would always be associated.
According to the critic Roger Ebert: "Maria Schneider doesn't seem to act her role so much as to exude it. On the basis of this movie, indeed, it's...
- 2/4/2011
- by Ronald Bergan
- The Guardian - Film News
French actress Maria Schneider has died in Paris after a long illness reports Reuters. She was 58 years old.
Daughter of late French actor Daniel Gélin and model Marie-Christine Schneider, she became internationally famous at just 20 years old when she starred alongside then 48-year-old Marlon Brando in Bernardo Bertolucci’s infamous 1972 romance "Last Tango in Paris".
Other roles include Franco Zeffirelli’s 1992 adaptation of "Jane Eyre", Jacques Rivette's "Merry-Go-Round," Dominique Goult's "Haine," Nouchka van Brakel's "A Woman Like Eve," Cyril Collard's "Savage Nights", Josiane Balasko’s "Cliente", and Michelangelo Antonioni's "The Passenger" alongside Jack Nicholson.
Daughter of late French actor Daniel Gélin and model Marie-Christine Schneider, she became internationally famous at just 20 years old when she starred alongside then 48-year-old Marlon Brando in Bernardo Bertolucci’s infamous 1972 romance "Last Tango in Paris".
Other roles include Franco Zeffirelli’s 1992 adaptation of "Jane Eyre", Jacques Rivette's "Merry-Go-Round," Dominique Goult's "Haine," Nouchka van Brakel's "A Woman Like Eve," Cyril Collard's "Savage Nights", Josiane Balasko’s "Cliente", and Michelangelo Antonioni's "The Passenger" alongside Jack Nicholson.
- 2/3/2011
- by Garth Franklin
- Dark Horizons
"No more Lubitsch," said Billy Wilder, at the Great Man's funeral.
"Worse than that," said William Wyler. "No more Lubitsch movies."
The suspicion, amounting almost to a certainty, that Jacques Rivette will make no more feature films to follow the very lovely Around a Small Mountain, can inspire the fan with an irrational, vertiginous fear: no more Rivette movies? But in fact, there are numerous existing Rivette movies still not seen, or not seen in anything like ideal circumstances. The iceberg-tip of his oeuvre that's commercially available is supported by a vast submerged continent of unreleased work. And the films themselves are so rich, so palatial, exploring them would take lifetimes.
Still, if one was looking either for Rivette-related work to supplement his great mad corpus, or something that sheds an interesting sidelight on a major Rivette work, Sérail (a.k.a. Surreal Estate, 1976), by the Argentinian writer-director and...
"Worse than that," said William Wyler. "No more Lubitsch movies."
The suspicion, amounting almost to a certainty, that Jacques Rivette will make no more feature films to follow the very lovely Around a Small Mountain, can inspire the fan with an irrational, vertiginous fear: no more Rivette movies? But in fact, there are numerous existing Rivette movies still not seen, or not seen in anything like ideal circumstances. The iceberg-tip of his oeuvre that's commercially available is supported by a vast submerged continent of unreleased work. And the films themselves are so rich, so palatial, exploring them would take lifetimes.
Still, if one was looking either for Rivette-related work to supplement his great mad corpus, or something that sheds an interesting sidelight on a major Rivette work, Sérail (a.k.a. Surreal Estate, 1976), by the Argentinian writer-director and...
- 8/19/2010
- MUBI
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