Ever-moving, ever-changing — that’s the cinema of Bruce Baillie.
David Lynch has been a stranger to the director’s chair for almost a decade now — since 2006’s Inland Empire, to be exact.
In its day, Auguste Rodin’s now esteemed 1876 sculpture “The Bronze Age” roused the considerable ill will of art critics, most notably for the belief that it was cast from a live model.
The films of Nathaniel Dorsky and Jerome Hiler are silent, brief, and sagely meandering — luminous contemplations of life, film, and the intimacies between the two.
Real, surreal, not quite real, a spectacular con — truth is found in many forms.
Can a film program be too Gaudí? Graced with Stefan Haupt’s efficient, if a little odd, documentary on the architect’s famously unfinished church, Sagrada Família, the Film Society of Lincoln Center (and at least one other theater) saw a match made in Barcelona and paired it with Hiroshi Teshigahara’s Antonio Gaudí (1984), the rare architecture documentary that has achieved “cult” status.
The Film Society of Lincoln Center is honoring filmmaker John Waters with the first retrospective of his films in the United States. Over the course of ten days, they’ll be screening all twelve of his feature films and the early underground shorts he directed and shot financed by his father.
Just as the history of cinema is filled with questions and contestations — did the Lumière brothers invent motion pictures, or does the Edison company’s kinetoscope deserve the credit? — so too is the history of documentary.
Scorsese has recently organized a series, Masterpieces of Polish Cinema, comprised of 21 pristine digital restorations of Polish films released between 1957 and 1987.
CINCINNATI — Meet Portuguese filmmaker Miguel Gomes, who may be one of the last people to create a black-and-white movie. In order to make his art-house drama Tabu the way he wanted, Gomes searched and found one of the remaining labs in Europe capable of processing black and white 35mm film stock, right before it closed for good.
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