Found this in the office. Turns out you can still buy it, too.
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Tag: film
Wherein hangs a bit of a story. I saw this pop up on Amazon around the turn of the year, and I thought, I’ll wait a bit. I was fascinated by the film, but I wasn’t necessarily up for paying full price on it. And then, back in July, I came across a curious fact. MEGALOPOLIS is not available for home viewing in the US and certain other territories. No streaming, no DVD, no Blu-Ray. Coppola reserved home video rights, and, instead, took MEGALOPOLIS out as a roadshow in the summer. He’s doing everything he can to preserve this as a cinema-only experience.
At which point I realised, eventually the European and UK home video rights will revert back to Coppola, and this Blu-Ray will go away. And I want to be able to study many of the film’s compositions at my own speed. So I clicked back to Amazon and found the price had dropped by a fiver. Therefore, I now own it, against the day when it becomes entirely unavailable.
MEGALOPOLIS (UK!)
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DOKU.
Before we parted ways the next morning at the Port of Tyne, Cindy handed me a small pamphlet, printed on soft, heavy paper. On the cover was a drawing of a woman walking in a snowstorm, face half-covered, hair and scarf blown out behind her, pine trees crowning the horizon overhead. In the top left corner was the name DORIS and in the snow at the bottom right #8. Some of the stories inside were handwritten, others typed out on typewriters or drawn as comic strips. All of them were hers. These stories were secrets shared, small human stories from her life among punks and anarchists, moments of beauty and kindness, lostness and brokenness and mending, intercut with stories that retraced younger experiences, trying to make sense of the things she had done and had done to her. Much of it was beyond my experience, places I’d never been, things I’d never even heard anyone talk about. She wrote like she was writing a letter to a friend, then she printed these letters and gave them away.
My work always involves a search for the sublime in some way, and explores perception and how we look at things, even if they are dangerous or catastrophic—like with my film Bending to Earth (2015), which shows a uranium field. But there is always this sense of fragility: catastrophe and beauty are often very much linked, and I’m interested in walking this line. I’m also interested in the unstableness of knowledge, and in what we as human beings want when we try to reach beyond knowledge, and in how we want to inscribe ourselves.
morning computer: some useful things first thing in the day.
My free weekly newsletter is at https://orbitaloperations.beehiiv.com/
Comments closed- Richard Linklater’s ‘Nouvelle Vague’ Sells to Netflix in $4M Deal – I actually want to see this film about Godard, but I was hoping to see it in a cinema
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- Enter the Twisted World of Overlooked Surrealist Bona de Mandiargues – ‘“I am self-taught and ignorant, but my knowledge is that of a magician,” the Italian artist Bona de Mandiargues once said.’
A split screen shows two tightly synchronized, “impossible” shots of the same scene: a moving POV camera showing what the central character is looking at, and a stationary wide shot, both framing the entire action simultaneously. The deliberate positioning of the static, detached view above the erratic, close-up subjective POV of the central character lends an uneasy feeling to it.
You don’t expect many surprises on a memoir book tour—unless, of course, you’re Barry Diller and you drop a nuclear-grade anecdote about Robert Altman’s “Popeye” being less a film shoot and more a Mediterranean coke-fueled fever dream (via Entertainment Weekly)
During a Q&A at New York’s 92Y, where Diller was promoting his new memoir “Who Knew,” Anderson Cooper asked the former Paramount CEO to name the most coked-up film set he ever visited. Diller didn’t even blink: “Popeye.”
Yes, that “Popeye” —the deranged 1980 musical oddity where Robin Williams muttered into his prosthetic chin as Shelley Duvall gave perhaps the most Olive Oyl performance in the history of Olive Oyls. A movie that plays like it was directed by someone who’d just crushed a Scarface-sized mound of blow
Sarah Maldoror refused to settle. In 1970, when the Guadeloupean-French filmmaker was living in Algeria with her partner, Angolan poet and revolutionary Mário Pinto de Andrade, she went to Guinea-Bissau to make a movie about the freedom struggle against Portuguese colonial rule. The project, titled Guns for Banta, was funded by the newly independent Algerian government, but when Maldoror returned and presented her first cut, the authorities were appalled at her choice of a female protagonist and her use of jazz, which was viewed as an American (and therefore imperialist) export. Maldoror was enraged, and cursed out the officer who delivered the news, calling him “capitaine de merde” (literally, “captain of shit”). She was given 48 hours to leave the country with her family, abandoning the footage she had shot, or she would face death.
morning computer: some useful things first thing in the day.
My free weekly newsletter is at https://orbitaloperations.beehiiv.com/
Comments closed- Leos Carax is making a new film (with Adam Driver and Lea Seydoux), all hail
- ten themes from the Venice Architecture Biennale. Gorgeous photos:
This is also where I do a search and find out Parfrey died nearly ten years ago. I knew nothing about him beyond having admired his book APOCALYPSE CULTURE back circa 1990. The article is a weird read.
Comments closedIn the following 1961 interview, Jean Renoir discusses with French New Wave director Jacques Rivette his design of the “seventh art” and art in general, demolishing certain generally accepted ideas, and evoking some memories from his own career.
English subtitles.
https://ok.ru/video/9323195206310
Here’s some THE BRUTALIST vibes: Arkpro Studio designs concrete church in Albania as “new village centre.”
As I noted here, the soundtrack for THE BRUTALIST was excellent. The soundtrack by Daniel Blumberg is being released on CD next month (UK) (US+). The cover, of course, is the still that’s going to become one of the defining filmic images of the first half of the 21st Century.
It’s even floating around as a phone wallpaper now.
Personally, I’ve gone with something else this season:
Blumberg has his own bandcamp page that I want to dig through soon.
morning computer: some useful things first thing in the day.
My free weekly newsletter is at https://orbitaloperations.beehiiv.com/
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“Even after the image of the running man is cut on screen, the viewer still imagines the runner completing his task. Deleuze references Aristotle and the notion of the first mover to explain how our mind continues a movement even after the image has gone. “Light is stronger than the story,” he wrote.”
– Paul Schrader