Quentin Dupieux is stuck in a time warp. His new film “Reality” has a texture so washed out that it looks like it was shot in 1974 and has just been unearthed from some film vault in Paris. This is no accident. “Reality,” just like his hilarious killer tire movie “Rubber,” is an unapologetic tribute to B-movies — especially those with a high-concept plot, a dash of science fiction and actors determinedly chewing up the set.
There are several plot strands that come together like elegantly crafted origami. It’s only by watching each fold intertwine that we arrive at the beautiful final product. Continue reading
In this inspired, genre-twisting new film, Oscar®-nominated writer/director Sarah Polley discovers that the truth depends on who’s telling it. Polley is both filmmaker and detective as she investigates the secrets kept by a family of storytellers. She playfully interviews and interrogates a cast of characters of varying reliability, eliciting refreshingly candid, yet mostly contradictory, answers to the same questions. As each relates their version of the family mythology, present-day recollections shift into nostalgia-tinged glimpses of their mother, who departed too soon, leaving a trail of unanswered questions. Polley unravels the paradoxes to reveal the essence of family: always complicated, warmly messy and fiercely loving. Stories We Tell explores the elusive nature of truth and memory, but at its core is a deeply personal film about how our narratives shape and define us as individuals and families, all interconnecting to paint a profound, funny and poignant picture of the …
Written by The National Film Board of Canada Continue reading
In the badlands of Delhi’s dystopic underbelly, Titli, the youngest member of a violent car-jacking brotherhood, plots a desperate bid to escape the ‘family’ business.
Bitcoin: The End Of Money As We Know It traces the history of money from the bartering societies of the ancient world to the trading floors of Wall St.
The documentary exposes the practices of central banks and the dubious financial actors who brought the world to its knees in the last crisis. It highlights the Government influence on the money creation process and how it causes inflation. Moreover, this film explains how most money we use today is created out of thin air by banks when they create debt.
Epic in scope, this film examines the patterns of technological innovation and questions everything you thought you knew about money.
Is Bitcoin an alternative to national currencies backed by debt? Will Bitcoin and cryptocurrency spark a revolution in how we use money peer to peer? Is it a gift to criminals? Or is it the next bubble waiting to burst? If you trust in your money just as it is – this film has news for you.
(Written by Torsten Hoffmann) Continue reading
A man walks, step by step, through the grass, first in black-and-white, later in pale colour. We see nothing of his face, just his boots and legs, clad in camouflage trousers and filmed from above. In the background we can hear machine guns rattling, a squawking walkie-talkie, the drone of an airplane attacking, a long beep and a chord played on the piano. The boots continue to stomp over grass, sand, rock, rusty metal and loose planks. Sometimes they come to a halt before walking on through clear, shallow water. More planks, metal, broken household items, rubble, a blanket, a bicycle, an air duct and a doll. Suddenly, the man’s boots are standing in front of the naked feet of a girl holding a cuddly toy in her hand. An atmospheric, experimental piece, from a country ravaged by catastrophes. Continue reading
Cosmotropia de Xam is back with more “arthouse horror” with his latest feature, MALACREANZA: FROM THE DIARY OF A BROKEN DOLL.
JASON COFFMAN wrote:
This film, his follow-up to DIABOLIQUE, is touted as both “arthouse horror” and “experimental giallo,” and while it is similar in tone to DIABOLIQUE, it is even further removed from standard narrative than that film. MALACREANZA only features one actor on screen during its entire running time, and features imagery more traditionally associated with experimental film than narrative features.
Anna (Shivabel) wakes up, nude, near what appears to be an abandoned factory. She wanders around and hears voices that seem to control her. These voices are the only other presences in the film—other than Anna, no actors appear on-screen. The voices taunt and command, as Anna wanders from one bizarre nightmare world to the next, similarly to how the characters in DIABOLIQUE would float from one place to another, but even more abstract in both its narrative structure and visual style. Continue reading
A lavishly illustrated coffee-table book celebrating thirty years of artwork from the Criterion Collection. The most exciting names in design and illustration today apply their talents to some of the most important and influential films of all time. This volume gathers highlights from designs commissioned by the Criterion Collection, featuring covers, supplemental art, and never-before-seen sketches and concept art plus a gallery of every Criterion cover since the collection’s first laserdisc in 1984. From avant-garde experiments to big-budget blockbusters, cult favorites to the towering classics of world cinema, the depth and breadth of what film can be is on display in these striking images. Whether painstakingly faithful re-creations or bold reimaginings, the diverse designs collected here offer new ways for cinephiles and design aficionados alike to engage with the world’s greatest filmmakers . Continue reading