Francis Ford Coppola

Martin Sheen

Marlon Brando

Frederic Forrest

Albert Hall

Laurence Fishburne

Sam Bottoms

Robert Duvall

G. D. Spradlin

Harrison Ford

Jerry Ziesmer

Scott Glenn

Kerry Rossall

James Keane

Tom Mason

Cynthia Wood

Dennis Hopper

Colleen Camp

Linda Carpenter

Aurore Clément

Jack Thibeau

Glenn Walken

Damien Leake

Marc Coppola

Bill Graham

Herb Rice

Jerry Ross

Charles Robinson

Nick Nicholson

Don Gordon Bell

R. Lee Ermey

Jim Gaines

Vittorio Storaro

Evan A. Lottman

Henry Strzalkowski

William Upton

George Cantero

Joe Estevez

Bo Byers

Frank Villard

Christian Marquand

Michel Pitton

David Olivier

Chrystel Le Pelletier

Roman Coppola

Gian-Carlo Coppola

Robert Julian

Yvon LeSeaux

Daniel Kiewit

Hattie James

Tom Sternberg

Fred Roos

Mona Skager

John Ashley

Gray Frederickson

Eddie Romero

John Milius

Michael Herr

Gerald B. Greenberg

Lisa Fruchtman

Walter Murch

Dean Tavoularis

Angelo P. Graham

James J. Murakami

George R. Nelson

Carmine Coppola

Jay Miracle

Richard Beggs

Leslie Hodgson

Mark Berger

Nathan Boxer

Dale Strumpell

Thomas Scott

Richard P. Cirincione

Les Wiggins

Pat Jackson

Jack C. Jacobsen

Randy Thom

Jack H. Young

Fred C. Blau Jr.

American Zoetrope

At the height of the Vietnam war, Captain Benjamin Willard is sent on a dangerous mission that, officially, "does not exist, nor will it ever exist." His goal is to locate - and eliminate - a mysterious Green Beret Colonel named Walter Kurtz, who has been leading his personal army on illegal guerrilla missions into enemy territory.

Drama

Apocalypse Now

English

Starting this June, we’re turning up the temperature with Heatwave—a scorching summer-long film series that sweats, simmers, and seduces.From Brando in a clingy tee to Delon smoldering on the Riviera, from courtroom claustrophobia to steamy Southern nights, these are the films where the sun blazes and the tempers flare. Whether you’re into sun-soaked noir, poolside mind games, shirtless heartbreaks, or just want to relive your wildest summer crush, this is cinema at its hottest. Featuring thirty feverish classics, from <a href="https://boxd.it/2a6Q" rel="nofollow">Rear Window</a> to <a href="https://boxd.it/28QM" rel="nofollow">Y Tu Mamá También</a>, <a href="https://boxd.it/29bg" rel="nofollow">Dog Day Afternoon</a> to <a href="https://boxd.it/Arw0" rel="nofollow">Aftersun</a>, this is your ultimate heat-induced trip through cinematic desire, delirium, and daydreams. Come sweat it out with us. <a href="https://boxd.it/29Mc" rel="nofollow">A Streetcar Named Desire</a> (Elia Kazan, 1951) <a href="https://boxd.it/JZC" rel="nofollow">Summer With Monika</a> (Ingmar Bergman, 1953) <a href="https://boxd.it/2a6Q" rel="nofollow">Rear Window</a> (Alfred Hitchcock, 1954) <a href="https://boxd.it/2auI" rel="nofollow">12 Angry Men</a> (Sidney Lumet, 1957) <a href="https://boxd.it/1WrU" rel="nofollow">Plein Soleil</a> (René Clement, 1960) <a href="https://boxd.it/2aJe" rel="nofollow">Le Mépris</a> (4K Restoration - Jean-Luc Godard, 1963) <a href="https://boxd.it/29jY" rel="nofollow">Cool Hand Luke</a> (Stuart Rosenberg, 1967) <a href="https://boxd.it/18Im" rel="nofollow">The Graduate</a> - (4K Restoration - Mike Nichols, 1967) <a href="https://boxd.it/23BC" rel="nofollow">La Piscine</a> (Jacques Deray, 1969) <a href="https://boxd.it/29bg" rel="nofollow">Dog Day Afternoon</a> (Sidney Lumet, 1975) <a href="https://boxd.it/6ZS" rel="nofollow">Apocalypse Now: Final Cut </a>(Francis Ford Coppola, 1979) <a href="https://boxd.it/1YV8" rel="nofollow">Fitzcarraldo</a> (Werner Herzog, 1982) <a href="https://boxd.it/t8W" rel="nofollow">Le Rayon Vert</a> (Éric Rohmer, 1986) <a href="https://boxd.it/2aOe" rel="nofollow">Stand By Me</a> (Rob Reiner, 1986) <a href="https://boxd.it/2baY" rel="nofollow">Dirty Dancing</a> (Dance-Along - Emile Ardolino, 1987) <a href="https://boxd.it/29gA" rel="nofollow">Do The Right Thing</a> (Spike Lee, 1989) <a href="https://boxd.it/2aFQ" rel="nofollow">Barton Fink</a> (Joel Coen, 1991) <a href="https://boxd.it/24dQ" rel="nofollow">Jamón Jamón</a> (Bigas Luna, 1992) <a href="https://boxd.it/1Ylk" rel="nofollow">Dazed And Confused</a> (Richard Linklater, 1993) <a href="https://boxd.it/29Zq" rel="nofollow">Wild Things</a> (4K Restoration - John McNaughton, 1998) <a href="https://boxd.it/1XJq" rel="nofollow">The Parent Trap</a> (Nancy Meyers, 1998) <a href="https://boxd.it/2924" rel="nofollow">The Talented Mr. Ripley</a> (Anthony Minghella, 1999) <a href="https://boxd.it/1SZS" rel="nofollow">Sexy Beast</a> (Jonathan Glazer, 2000) <a href="https://boxd.it/28UE" rel="nofollow">Lucía Y El Sexo</a> (Julio Medem, 2001) <a href="https://boxd.it/kpk" rel="nofollow">La Ciénaga</a> (Lucrecia Martel, 2001) <a href="https://boxd.it/28QM" rel="nofollow">Y Tu Mamá También</a> (Alfonso Cuarón, 2001) <a href="https://boxd.it/1GDU" rel="nofollow">Morvern Callar</a> (Lynne Ramsay, 2002) <a href="https://boxd.it/49U" rel="nofollow">Tomboy</a> (Céline Sciamma, 2011) <a href="https://boxd.it/dYmm" rel="nofollow">Call Me By Your Name</a> (Luca Guadagnino, 2017) <a href="https://boxd.it/jhxe" rel="nofollow">Midsommar</a> (Ari Aster, 2019) <a href="https://boxd.it/Arw0" rel="nofollow">Aftersun</a> (Charlotte Wells, 2022) Info &amp; tickets: <a href="https://www.google.com/url?sa=E&amp;q=http%3A%2F%2Fwww.lab111.nl%2Fheatwave%2F" rel="nofollow">www.lab111.nl/heatwave/</a>

Starting this June, we’re turning up the temperature with Heatwave—a scorching summer-long film series that sweats, simmers, and seduces.

From Brando in a clingy tee to Delon smoldering on the Riviera, from courtroom claustrophobia to steamy Southern nights, these are the films where the sun blazes and the tempers flare. Whether you’re into sun-soaked noir, poolside mind games, shirtless heartbreaks, or just want to relive your wildest summer crush, this is cinema at its hottest. Featuring thirty feverish classics, from <a href="https://boxd.it/2a6Q">Rear Window</a> to <a href="https://boxd.it/28QM">Y Tu Mamá También</a>, <a href="https://boxd.it/29bg">Dog Day Afternoon</a> to <a href="https://boxd.it/Arw0">Aftersun</a>, this is your ultimate heat-induced trip through cinematic desire, delirium, and daydreams. Come sweat it out with us.


<a href="https://boxd.it/29Mc">A Streetcar Named Desire</a> (Elia Kazan, 1951)
<a href="https://boxd.it/JZC">Summer With Monika</a> (Ingmar Bergman, 1953)
<a href="https://boxd.it/2a6Q">Rear Window</a> (Alfred Hitchcock, 1954)
<a href="https://boxd.it/2auI">12 Angry Men</a> (Sidney Lumet, 1957)
<a href="https://boxd.it/1WrU">Plein Soleil</a> (René Clement, 1960)
<a href="https://boxd.it/2aJe">Le Mépris</a> (4K Restoration - Jean-Luc Godard, 1963)
<a href="https://boxd.it/29jY">Cool Hand Luke</a> (Stuart Rosenberg, 1967)
<a href="https://boxd.it/18Im">The Graduate</a> - (4K Restoration - Mike Nichols, 1967)
<a href="https://boxd.it/23BC">La Piscine</a> (Jacques Deray, 1969)
<a href="https://boxd.it/29bg">Dog Day Afternoon</a> (Sidney Lumet, 1975)
<a href="https://boxd.it/6ZS">Apocalypse Now: Final Cut </a>(Francis Ford Coppola, 1979)
<a href="https://boxd.it/1YV8">Fitzcarraldo</a> (Werner Herzog, 1982)
<a href="https://boxd.it/t8W">Le Rayon Vert</a> (Éric Rohmer, 1986)
<a href="https://boxd.it/2aOe">Stand By Me</a> (Rob Reiner, 1986)
<a href="https://boxd.it/2baY">Dirty Dancing</a> (Dance-Along - Emile Ardolino, 1987)
<a href="https://boxd.it/29gA">Do The Right Thing</a> (Spike Lee, 1989)
<a href="https://boxd.it/2aFQ">Barton Fink</a> (Joel Coen, 1991)
<a href="https://boxd.it/24dQ">Jamón Jamón</a> (Bigas Luna, 1992)
<a href="https://boxd.it/1Ylk">Dazed And Confused</a> (Richard Linklater, 1993)
<a href="https://boxd.it/29Zq">Wild Things</a> (4K Restoration - John McNaughton, 1998)
<a href="https://boxd.it/1XJq">The Parent Trap</a> (Nancy Meyers, 1998)
<a href="https://boxd.it/2924">The Talented Mr. Ripley</a> (Anthony Minghella, 1999)
<a href="https://boxd.it/1SZS">Sexy Beast</a> (Jonathan Glazer, 2000)
<a href="https://boxd.it/28UE">Lucía Y El Sexo</a> (Julio Medem, 2001)
<a href="https://boxd.it/kpk">La Ciénaga</a> (Lucrecia Martel, 2001)
<a href="https://boxd.it/28QM">Y Tu Mamá También</a> (Alfonso Cuarón, 2001)
<a href="https://boxd.it/1GDU">Morvern Callar</a> (Lynne Ramsay, 2002)
<a href="https://boxd.it/49U">Tomboy</a> (Céline Sciamma, 2011)
<a href="https://boxd.it/dYmm">Call Me By Your Name</a> (Luca Guadagnino, 2017)
<a href="https://boxd.it/jhxe">Midsommar</a> (Ari Aster, 2019)
<a href="https://boxd.it/Arw0">Aftersun</a> (Charlotte Wells, 2022)


Info & tickets: <a href="https://www.google.com/url?sa=E&q=http%3A%2F%2Fwww.lab111.nl%2Fheatwave%2F">www.lab111.nl/heatwave/</a>

Heatwave: Sweaty Summer Cinema

The Cannes Film Festival's coveted Palme d'Or has been awarded to some of the most outstanding films in cinematic history, showcasing a diverse array of storytelling brilliance. Francis Ford Coppola's "<a href="https://boxd.it/6ZS" rel="nofollow">Apocalypse Now</a>" (1979) masterfully captures the madness of the Vietnam War, while Quentin Tarantino's groundbreaking "<a href="https://boxd.it/29Pq" rel="nofollow">Pulp Fiction</a>" (1994) revolutionizes narrative structure. Martin Scorsese's gritty "<a href="https://boxd.it/2b8y" rel="nofollow">Taxi Driver</a>" (1976) explores the seedy underbelly of urban life, and Terrence Malick's ethereal "<a href="https://boxd.it/1Zu8" rel="nofollow">The Tree of Life</a>" (2011) poetically delves into the essence of existence. Bong Joon-ho's genre-defying "<a href="https://boxd.it/hTha" rel="nofollow">Parasite</a>" (2019) made history as a socially incisive thriller, while Federico Fellini's "<a href="https://boxd.it/2anC" rel="nofollow">La Dolce Vita</a>" (1960) immerses viewers in post-war Italian hedonism. Hirokazu Kore-eda's "<a href="https://boxd.it/ifY6" rel="nofollow">Shoplifters</a>" (2018) provides a poignant exploration of unconventional family bonds, and Agnès Varda's vibrant "<a href="https://boxd.it/22fK" rel="nofollow">The Umbrellas of Cherbourg</a>" (1964) showcases the beauty of musical romance. David Lynch's surreal "<a href="https://boxd.it/2aii" rel="nofollow">Wild at Heart</a>" (1990) and Justine Triet's poignant "<a href="https://boxd.it/yuDE" rel="nofollow">Anatomy of a Fall</a>" (2023) complete this illustrious list, representing a mosaic of cinematic excellence celebrated at Cannes.Here Are The 30 Greatest Cannes Palme d’Or Winners of All Time: <a href="https://www.highonfilms.com/greatest-palme-dor-winners/" rel="nofollow">www.highonfilms.com/greatest-palme-dor-winners/</a>

The Cannes Film Festival's coveted Palme d'Or has been awarded to some of the most outstanding films in cinematic history, showcasing a diverse array of storytelling brilliance. Francis Ford Coppola's "<a href="https://boxd.it/6ZS">Apocalypse Now</a>" (1979) masterfully captures the madness of the Vietnam War, while Quentin Tarantino's groundbreaking "<a href="https://boxd.it/29Pq">Pulp Fiction</a>" (1994) revolutionizes narrative structure. Martin Scorsese's gritty "<a href="https://boxd.it/2b8y">Taxi Driver</a>" (1976) explores the seedy underbelly of urban life, and Terrence Malick's ethereal "<a href="https://boxd.it/1Zu8">The Tree of Life</a>" (2011) poetically delves into the essence of existence. Bong Joon-ho's genre-defying "<a href="https://boxd.it/hTha">Parasite</a>" (2019) made history as a socially incisive thriller, while Federico Fellini's "<a href="https://boxd.it/2anC">La Dolce Vita</a>" (1960) immerses viewers in post-war Italian hedonism. Hirokazu Kore-eda's "<a href="https://boxd.it/ifY6">Shoplifters</a>" (2018) provides a poignant exploration of unconventional family bonds, and Agnès Varda's vibrant "<a href="https://boxd.it/22fK">The Umbrellas of Cherbourg</a>" (1964) showcases the beauty of musical romance. David Lynch's surreal "<a href="https://boxd.it/2aii">Wild at Heart</a>" (1990) and Justine Triet's poignant "<a href="https://boxd.it/yuDE">Anatomy of a Fall</a>" (2023) complete this illustrious list, representing a mosaic of cinematic excellence celebrated at Cannes.

Here Are The 30 Greatest Cannes Palme d’Or Winners of All Time:
https://www.highonfilms.com/greatest-palme-dor-winners/

The 30 Greatest Cannes Palme d’Or Winners of All Time

The conceit of Leonard Cohen’s ‘Is This What You Wanted’ is to self-deprecate at the cost of showing his soon-to-be ex-wife’s superiority. In one line, he says ‘You were Marlon Brando, I was Steve McQueen.’ This witty comparison upholds an indisputable idea – that McQueen, then Hollywood’s biggest box-office star (or any ‘star’), could never hold a candle to the finesse and brilliance of Marlon Brando. Indeed, perhaps no one in American cinema’s history can, to a man whose monumental ability and revolutionary methodology could never be put into words because of how natural it all was to him. From his iconic performances in '<a href="https://boxd.it/29Mc" rel="nofollow">A Streetcar Named Desire</a>,' '<a href="https://boxd.it/2aNK" rel="nofollow">The Godfather</a>,' '<a href="https://boxd.it/29TC" rel="nofollow">On the Waterfront</a>,' to '<a href="https://boxd.it/6ZS" rel="nofollow">Apocalypse Now</a>,' Brando's presence on screen remains unparalleled.Here Are The 10 Best Marlon Brando Performances: <a href="https://www.highonfilms.com/best-marlon-brando-performances/" rel="nofollow">www.highonfilms.com/best-marlon-brando-performances/</a>

The conceit of Leonard Cohen’s ‘Is This What You Wanted’ is to self-deprecate at the cost of showing his soon-to-be ex-wife’s superiority. In one line, he says ‘You were Marlon Brando, I was Steve McQueen.’ This witty comparison upholds an indisputable idea – that McQueen, then Hollywood’s biggest box-office star (or any ‘star’), could never hold a candle to the finesse and brilliance of Marlon Brando. Indeed, perhaps no one in American cinema’s history can, to a man whose monumental ability and revolutionary methodology could never be put into words because of how natural it all was to him. From his iconic performances in '<a href="https://boxd.it/29Mc">A Streetcar Named Desire</a>,' '<a href="https://boxd.it/2aNK">The Godfather</a>,' '<a href="https://boxd.it/29TC">On the Waterfront</a>,' to '<a href="https://boxd.it/6ZS">Apocalypse Now</a>,' Brando's presence on screen remains unparalleled.

Here Are The 10 Best Marlon Brando Performances:
https://www.highonfilms.com/best-marlon-brando-performances/

10 Best Marlon Brando Performances

AFI Life Achievement Award Retrospective: Francis Ford Coppola   In celebration of the <a href="https://boxd.it/1yMf" rel="nofollow">50th AFI Life Achievement Award honoree</a>, Francis Ford Coppola, the <a href="https://afisilver.afi.com/silver/" rel="nofollow">AFI Silver Theatre and Cultural Center</a> presents a tour through the filmography of this immensely talented and fiercely independent filmmaker whose work has inspired generations.   Over the course of a career spanning seven decades — with his latest film, MEGALOPOLIS, released just last year — Francis Ford Coppola has proven himself to be one of cinema’s most uncompromising rebels and a peerless artist. Cutting his teeth on Roger Corman’s film sets in the early 1960s, the maverick filmmaker made his debut with the 1963 Corman-produced horror flick DEMENTIA 13, presented in this series in its Director’s Cut version. A few years later, Coppola and fellow AFI Life Achievement Award recipient George Lucas founded American Zoetrope, the famed production studio that produced not only every Coppola film since 1969 but also works by Lucas, Jean-Luc Godard, Akira Kurosawa, Paul Schrader, Wim Wenders and Godfrey Reggio, among others.   Though the newly minted independent studio offered its founders ample creative control over their films, the box office results were lacking, leading Coppola to accept a work-for-hire assignment directing THE GODFATHER, a serendipitous opportunity for the fledgling filmmaker. Coppola would follow its sequel, THE GODFATHER PART II — which won six Academy Awards®, including Best Director — with his most ambitious project, made quite literally outside the studio deep in the jungles of Vietnam: APOCALYPSE NOW, whose notorious production is documented in HEARTS OF DARKNESS, co-directed by Eleanor Coppola. Despite the tumultuous shoot, the war epic proved to be a huge financial success and firmly cemented Coppola’s status in the American film canon. Saddled with massive debt, he spent the ‘80s churning out nearly a film per year, but much of this work — which includes THE OUTSIDERS, RUMBLE FISH and ONE FROM THE HEART (presented in its restored REPRISE edition) — equally shaped contemporary American cinema.   The full line-up includes:   <a href="https://boxd.it/1prs" rel="nofollow">DEMENTIA 13 - Director’s Cut</a> <a href="https://boxd.it/iya" rel="nofollow">THE RAIN PEOPLE</a> <a href="https://boxd.it/2aNK" rel="nofollow">THE GODFATHER</a> <a href="https://boxd.it/2a38" rel="nofollow">THE CONVERSATION</a> (1974) <a href="https://boxd.it/2aNq" rel="nofollow">THE GODFATHER PART II</a> <a href="https://boxd.it/6ZS" rel="nofollow">APOCALYPSE NOW: THE FINAL CUT</a> <a href="https://boxd.it/24ai" rel="nofollow">HEARTS OF DARKNESS: A FILMMAKER’S APOCALYPSE</a> <a href="https://boxd.it/ZJq" rel="nofollow">ONE FROM THE HEART: REPRISE</a> <a href="https://boxd.it/2aPw" rel="nofollow">THE OUTSIDERS: THE COMPLETE NOVEL</a> <a href="https://boxd.it/2aOI" rel="nofollow">RUMBLE FISH</a> <a href="https://boxd.it/2aN6" rel="nofollow">THE GODFATHER CODA: THE DEATH OF MICHAEL CORLEONE</a> <a href="https://boxd.it/lPBS" rel="nofollow">MEGALOPOLIS</a>   The AFI Life Achievement Award: Francis Ford Coppola retrospective will run from July 11–September 9. <a href="https://silver.afi.com/Browsing/EventsAndExperiences/EventDetails/0000000156" rel="nofollow">Tickets to all screenings are now on sale</a>.   The televised special, THE AFI LIFE ACHIEVEMENT AWARD: A TRIBUTE TO FRANCIS FORD COPPOLA, will premiere on TNT on June 18 at 10:00 p.m. EDT/PDT, with an encore airing on TCM on July 31 at 8:00 p.m. EDT/PDT.

AFI Life Achievement Award Retrospective: Francis Ford Coppola
 
In celebration of the <a href="https://boxd.it/1yMf">50th AFI Life Achievement Award honoree</a>, Francis Ford Coppola, the <a href="https://afisilver.afi.com/silver/">AFI Silver Theatre and Cultural Center</a> presents a tour through the filmography of this immensely talented and fiercely independent filmmaker whose work has inspired generations.
 
Over the course of a career spanning seven decades — with his latest film, MEGALOPOLIS, released just last year — Francis Ford Coppola has proven himself to be one of cinema’s most uncompromising rebels and a peerless artist. Cutting his teeth on Roger Corman’s film sets in the early 1960s, the maverick filmmaker made his debut with the 1963 Corman-produced horror flick DEMENTIA 13, presented in this series in its Director’s Cut version. A few years later, Coppola and fellow AFI Life Achievement Award recipient George Lucas founded American Zoetrope, the famed production studio that produced not only every Coppola film since 1969 but also works by Lucas, Jean-Luc Godard, Akira Kurosawa, Paul Schrader, Wim Wenders and Godfrey Reggio, among others.
 
Though the newly minted independent studio offered its founders ample creative control over their films, the box office results were lacking, leading Coppola to accept a work-for-hire assignment directing THE GODFATHER, a serendipitous opportunity for the fledgling filmmaker. Coppola would follow its sequel, THE GODFATHER PART II — which won six Academy Awards®, including Best Director — with his most ambitious project, made quite literally outside the studio deep in the jungles of Vietnam: APOCALYPSE NOW, whose notorious production is documented in HEARTS OF DARKNESS, co-directed by Eleanor Coppola. Despite the tumultuous shoot, the war epic proved to be a huge financial success and firmly cemented Coppola’s status in the American film canon. Saddled with massive debt, he spent the ‘80s churning out nearly a film per year, but much of this work — which includes THE OUTSIDERS, RUMBLE FISH and ONE FROM THE HEART (presented in its restored REPRISE edition) — equally shaped contemporary American cinema.
 
The full line-up includes:
 
<a href="https://boxd.it/1prs">DEMENTIA 13 - Director’s Cut</a>
<a href="https://boxd.it/iya">THE RAIN PEOPLE</a>
<a href="https://boxd.it/2aNK">THE GODFATHER</a>
<a href="https://boxd.it/2a38">THE CONVERSATION</a> (1974)
<a href="https://boxd.it/2aNq">THE GODFATHER PART II</a>
<a href="https://boxd.it/6ZS">APOCALYPSE NOW: THE FINAL CUT</a>
<a href="https://boxd.it/24ai">HEARTS OF DARKNESS: A FILMMAKER’S APOCALYPSE</a>
<a href="https://boxd.it/ZJq">ONE FROM THE HEART: REPRISE</a>
<a href="https://boxd.it/2aPw">THE OUTSIDERS: THE COMPLETE NOVEL</a>
<a href="https://boxd.it/2aOI">RUMBLE FISH</a>
<a href="https://boxd.it/2aN6">THE GODFATHER CODA: THE DEATH OF MICHAEL CORLEONE</a>
<a href="https://boxd.it/lPBS">MEGALOPOLIS</a>
 
The AFI Life Achievement Award: Francis Ford Coppola retrospective will run from July 11–September 9. <a href="https://silver.afi.com/Browsing/EventsAndExperiences/EventDetails/0000000156">Tickets to all screenings are now on sale</a>.
 
The televised special, THE AFI LIFE ACHIEVEMENT AWARD: A TRIBUTE TO FRANCIS FORD COPPOLA, will premiere on TNT on June 18 at 10:00 p.m. EDT/PDT, with an encore airing on TCM on July 31 at 8:00 p.m. EDT/PDT.

AFI Life Achievement Award Retrospective: Francis Ford Coppola 

As part of the 78th Cannes Film Festival, LaCinetek invites you to (re)discover the lists of filmmakers presenting their films in the festival's prestigious selections.  Screening on 14/05 in Quinzaine: <a href="https://boxd.it/MK4I" rel="nofollow">Enzo</a> <a href="https://www.quinzaine-cineastes.fr/fr/film/enzo" rel="nofollow">Learn more about the film</a> Robin Campillo' list of favorites includes: <a href="https://boxd.it/1E3g" rel="nofollow">Au Hasard Balthazar</a> directed by Robert Bresson <a href="https://boxd.it/6YmM" rel="nofollow">Aurélia Steiner (Melbourne)</a> and <a href="https://boxd.it/6Yms" rel="nofollow">Vancouver</a> directed by Marguerite Duras <a href="https://boxd.it/1u94" rel="nofollow">The Color of Pomegranates</a> directed by Sergei Parajanov(Re)Discover their full list: <a href="https://www.lacinetek.com/fr-en/director-list/robin-campillo" rel="nofollow">www.lacinetek.com/fr-en/director-list/robin-campillo</a> <a href="https://letterboxd.com/lacinetek/list/robin-campillos-list-of-50-favorite-films/" rel="nofollow">letterboxd.com/lacinetek/list/robin-campillos-list-of-50-favorite-films/</a> Laurent Cantet (co-founder of LaCinetek) list of favorites includes: <a href="https://boxd.it/6ZS" rel="nofollow">Apocalypse Now</a> directed by Francis Ford Coppola <a href="https://boxd.it/2aD6" rel="nofollow">Rome, Open City</a> directed by Roberto Rossellini <a href="https://boxd.it/22fK" rel="nofollow">The Umbrellas of Cherbourg</a> directed by Jacques Demy(Re)Discover their full list: <a href="https://www.lacinetek.com/fr-en/director-list/laurent-cantet" rel="nofollow">www.lacinetek.com/fr-en/director-list/laurent-cantet</a> <a href="https://letterboxd.com/lacinetek/list/laurent-cantets-list-of-50-favorite-films/" rel="nofollow">letterboxd.com/lacinetek/list/laurent-cantets-list-of-50-favorite-films/</a> Copyright Mireille Ampilhac

As part of the 78th Cannes Film Festival, LaCinetek invites you to (re)discover the lists of filmmakers presenting their films in the festival's prestigious selections. 


Screening on 14/05 in Quinzaine:
<a href="https://boxd.it/MK4I">Enzo</a>
<a href="https://www.quinzaine-cineastes.fr/fr/film/enzo">Learn more about the film</a>


Robin Campillo' list of favorites includes:
<a href="https://boxd.it/1E3g">Au Hasard Balthazar</a> directed by Robert Bresson
<a href="https://boxd.it/6YmM">Aurélia Steiner (Melbourne)</a> and <a href="https://boxd.it/6Yms">Vancouver</a> directed by Marguerite Duras
<a href="https://boxd.it/1u94">The Color of Pomegranates</a> directed by Sergei Parajanov

(Re)Discover their full list: <a href="https://www.lacinetek.com/fr-en/director-list/robin-campillo">www.lacinetek.com/fr-en/director-list/robin-campillo</a>
<a href="https://letterboxd.com/lacinetek/list/robin-campillos-list-of-50-favorite-films/">letterboxd.com/lacinetek/list/robin-campillos-list-of-50-favorite-films/</a>


Laurent Cantet (co-founder of LaCinetek) list of favorites includes:
<a href="https://boxd.it/6ZS">Apocalypse Now</a> directed by Francis Ford Coppola
<a href="https://boxd.it/2aD6">Rome, Open City</a> directed by Roberto Rossellini
<a href="https://boxd.it/22fK">The Umbrellas of Cherbourg</a> directed by Jacques Demy

(Re)Discover their full list: <a href="https://www.lacinetek.com/fr-en/director-list/laurent-cantet">www.lacinetek.com/fr-en/director-list/laurent-cantet</a>
<a href="https://letterboxd.com/lacinetek/list/laurent-cantets-list-of-50-favorite-films/">letterboxd.com/lacinetek/list/laurent-cantets-list-of-50-favorite-films/</a>


Copyright Mireille Ampilhac

Cannes Directors of the Day - Robin Campillo and Laurent Cantet

Witness “The Horror...” of Francis Ford Coppola’s APOCALYPSE NOW: FINAL CUT, the definitive version of one of cinema’s most ambitious and surreal war films, and Elenor Coppola’s infamous “making of” Oscar winning documentary HEARTS OF DARKNESS, returning to cinemas from a new 4K restoration! Both screen back-to-back in a “Make Your Own Double Feature” on 5th &amp; 10th July! - <a href="https://princecharlescinema.com/whats-on/?q=apoc" rel="nofollow">TICKETS HERE!</a>Adapted from Joseph Conrad’s Heart of Darkness, <a href="https://boxd.it/6ZS" rel="nofollow">APOCALYPSE NOW</a> transforms a harrowing 19th century journey up the Congo River into a psychedelic descent into the Vietnam War. With Martin Sheen as the tormented Captain Willard and Marlon Brando as the elusive Colonel Kurtz, Coppola’s epic blends madness, myth, and the brutality of war. Alongside unforgettable turns by Robert Duvall, Dennis Hopper, a young Laurence Fishburne and Harrison Ford, the film explores the darkest reaches of the human soul.The production of APOCALYPSE NOW is as infamous as the film itself. From Brando arriving overweight and unprepared, to Sheen’s on set heart attack and a typhoon that wiped out the sets, the shoot quickly spiralled into chaos. Coppola mortgaged everything, including his house, to fund the film through his American Zoetrope label. He battled breakdowns, rewrites, and budget overruns, yet emerged with a Palme d’Or winner and one of the most visually and sonically arresting films ever made. The FINAL CUT, released in 2019, features Coppola’s preferred edits and a pristine new 4K restoration from the original negative.To go deeper into the madness behind the masterpiece, we’re also excited to be screening <a href="https://boxd.it/24ai" rel="nofollow">HEARTS OF DARKNESS: A FILMMAKER’S APOCALYPSE</a>, the essential 1991 documentary directed by Coppola’s wife Eleanor, alongside Fax Bahr and George Hickenlooper, as it returns to cinemas from a new 4K restoration thanks to the good folks at StudioCanal. Shot during production of Francis’ troubling epic, it offers a raw, intimate look at the obsession, ambition, and near self-destruction that shaped APOCALYPSE NOW into a towering cinematic myth.Don’t miss this rare chance to experience both the legend and the making of one of the greatest films of all time, as both screen back to back on 5th and 10th July. See one or see both, tickets are sold separately, and are now on sale to everyone…

Witness “The Horror...” of Francis Ford Coppola’s APOCALYPSE NOW: FINAL CUT, the definitive version of one of cinema’s most ambitious and surreal war films, and Elenor Coppola’s infamous “making of” Oscar winning documentary HEARTS OF DARKNESS, returning to cinemas from a new 4K restoration! Both screen back-to-back in a “Make Your Own Double Feature” on 5th & 10th July! - <a href="https://princecharlescinema.com/whats-on/?q=apoc">TICKETS HERE!</a>

Adapted from Joseph Conrad’s Heart of Darkness, <a href="https://boxd.it/6ZS">APOCALYPSE NOW</a> transforms a harrowing 19th century journey up the Congo River into a psychedelic descent into the Vietnam War. With Martin Sheen as the tormented Captain Willard and Marlon Brando as the elusive Colonel Kurtz, Coppola’s epic blends madness, myth, and the brutality of war. Alongside unforgettable turns by Robert Duvall, Dennis Hopper, a young Laurence Fishburne and Harrison Ford, the film explores the darkest reaches of the human soul.

The production of APOCALYPSE NOW is as infamous as the film itself. From Brando arriving overweight and unprepared, to Sheen’s on set heart attack and a typhoon that wiped out the sets, the shoot quickly spiralled into chaos. Coppola mortgaged everything, including his house, to fund the film through his American Zoetrope label. He battled breakdowns, rewrites, and budget overruns, yet emerged with a Palme d’Or winner and one of the most visually and sonically arresting films ever made. The FINAL CUT, released in 2019, features Coppola’s preferred edits and a pristine new 4K restoration from the original negative.

To go deeper into the madness behind the masterpiece, we’re also excited to be screening <a href="https://boxd.it/24ai">HEARTS OF DARKNESS: A FILMMAKER’S APOCALYPSE</a>, the essential 1991 documentary directed by Coppola’s wife Eleanor, alongside Fax Bahr and George Hickenlooper, as it returns to cinemas from a new 4K restoration thanks to the good folks at StudioCanal. Shot during production of Francis’ troubling epic, it offers a raw, intimate look at the obsession, ambition, and near self-destruction that shaped APOCALYPSE NOW into a towering cinematic myth.

Don’t miss this rare chance to experience both the legend and the making of one of the greatest films of all time, as both screen back to back on 5th and 10th July. See one or see both, tickets are sold separately, and are now on sale to everyone…

Into the... HEART OF DARKNESS! 🚁

MUBI Picks at Posteritati is a series where we bring special guests to the prestigious movie art gallery in New York City to discuss their favorite movie posters of all time.In this episode of MUBI Picks at Posteritati, the one-of-a-kind filmmaker Paul Schrader graciously welcomed us into his New York City apartment for a close-up look at highlights from his personal poster collection. We dive into <a href="https://boxd.it/26l8" rel="nofollow">Schrader’s</a> memories of watching his first <a href="https://boxd.it/29O8" rel="nofollow">Bresson</a> in Los Angeles, working with Eiko Ishioka on <a href="https://boxd.it/1sBA" rel="nofollow">Mishima</a>, starting his <a href="https://boxd.it/6ZS" rel="nofollow">poster</a> <a href="https://boxd.it/2b8y" rel="nofollow">collection</a> at Larry Edmunds Bookshop, and many more illustrative stories from a life in <a href="https://boxd.it/XyA" rel="nofollow">cinema</a>.

MUBI Picks at Posteritati is a series where we bring special guests to the prestigious movie art gallery in New York City to discuss their favorite movie posters of all time.

In this episode of MUBI Picks at Posteritati, the one-of-a-kind filmmaker Paul Schrader graciously welcomed us into his New York City apartment for a close-up look at highlights from his personal poster collection. We dive into <a href="https://boxd.it/26l8">Schrader’s</a> memories of watching his first <a href="https://boxd.it/29O8">Bresson</a> in Los Angeles, working with Eiko Ishioka on <a href="https://boxd.it/1sBA">Mishima</a>, starting his <a href="https://boxd.it/6ZS">poster</a> <a href="https://boxd.it/2b8y">collection</a> at Larry Edmunds Bookshop, and many more illustrative stories from a life in <a href="https://boxd.it/XyA">cinema</a>.

Paul Schrader | MUBI Picks at Posteritati

We're showing three masterpieces from one of the all-time greats. Starting with THE CONVERSATION on 35mm, then APOCALYPSE NOW &amp; THE GODFATHER. Get your tickets <a href="https://princecharlescinema.com/whats-on/?q=coppola" rel="nofollow">HERE!</a>Let’s begin our triple Francis Ford Coppola journey with the Palme d'Or-winning 1974 mystery thriller, THE CONVERSATION starring the late great Gene Hackman and showing from 35mm in our biggest screen, on Wed 26th March &amp; Sat 12th April.Fresh off the massive success of The Godfather, Francis Ford Coppola cemented his place in cinematic history in 1974—not only releasing the Academy Award-winning The Godfather Part II but also writing, producing, and directing the masterful mystery thriller <a href="https://boxd.it/2a38" rel="nofollow">THE CONVERSATION. </a>One of the all-time greats, Gene Hackman, delivers a career-defining performance as Harry Caul, a secretive and paranoid surveillance expert who faces a crisis of conscience when he suspects a couple he is spying on may be in danger. As he obsessively replays the tapes, Caul fears that turning them over to his client (Robert Duvall) could lead to deadly consequences. Haunted by a past case that resulted in tragedy, Caul spirals into paranoia, forcing him into a harrowing moral dilemma.THE CONVERSATION was partially inspired by Michelangelo Antonioni’s 1966 thriller Blowup, which also influenced Brian De Palma’s Blow Out (1981). Though Coppola originally wrote the script in the mid-1960s, the film took on unexpected real-world relevance when the Watergate scandal broke. Audiences assumed it was a direct response to the era’s political paranoia, but Coppola maintained that the surveillance technology featured in the film was developed through meticulous research and the expertise of technical advisor Martin Kaiser.Upon release, THE CONVERSATION won the prestigious Palme d’Or at the 1974 Cannes Film Festival and earned three Academy Award nominations, including Best Picture—though Coppola lost out to himself with The Godfather Part II. The film also received BAFTA wins and several Golden Globe nominations, solidifying its status as one of the defining thrillers of the decade. RIP Gene. ------------------------------------------------------------------------------------------------------------------------------Some filmmakers spend their whole careers chasing cinema’s top honors, but Francis Ford Coppola is one of the rare few to take home the prestigious Palme d’Or not once, but twice. First with The Conversation, and then with his utterly jaw-dropping, mind-melting, "was-this-film-even-possible-to-make?" war epic – APOCALYPSE NOW.Set against the madness of the Vietnam War, Apocalypse Now takes Joseph Conrad’s classic novella Heart of Darkness and hurls it headfirst into the jungle. Martin Sheen stars as Captain Willard, sent on a dangerous mission to track down and terminate rogue Colonel Kurtz, played with eerie brilliance by Marlon Brando. Along the way? A hallucinatory, unforgettable trip featuring Robert Duvall, Dennis Hopper, Harrison Ford, and a baby-faced 17-year-old Laurence Fishburne. Coppola nearly lost his mind (and everything else) making this film, and if you want to see just how wild it got, the documentary Hearts of Darkness: A Filmmaker’s Apocalypse is an absolute must-watch.But here’s the big news: we’re bringing back <a href="https://boxd.it/6ZS" rel="nofollow">APOCALYPSE NOW: FINAL CUT</a> – personally restored by Coppola himself from the original negative, this is the version he considers the definitive cut. And we’re showing it in glorious 4K on the big screen!------------------------------------------------------------------------------------------------------------------------------ If you’re gearing up for the ultimate Coppola weekend with THE CONVERSATION &amp; APOCALYPSE NOW on Friday and Saturday, why not pre-prepare with the epic of all epics? Tomorrow night is our final forseeable screening of Francis Ford Coppola’s iconic THE GODFATHER, showing from a 35mm print.Widely considered the greatest film ever made, Coppola’s <a href="https://boxd.it/2aNK" rel="nofollow">THE GODFATHER</a> took Mario Puzo’s novel and turned it into an era-defining masterpiece. The film’s unprecedented success – eleven Oscar nominations, three wins, and two legendary sequels – cemented its place in cinema history.Spanning three decades of blood, power, and betrayal, we follow Al Pacino’s Michael Corleone as he’s unwillingly pulled into the family business after the assassination of his brother Sonny (James Caan) and an attempt on the life of his father, Don Vito Corleone (Marlon Brando). He promises his wife Kay (Diane Keaton) he won’t become like his father – but power has a way of changing people…

We're showing three masterpieces from one of the all-time greats. Starting with THE CONVERSATION on 35mm, then APOCALYPSE NOW & THE GODFATHER. Get your tickets <a href="https://princecharlescinema.com/whats-on/?q=coppola">HERE!</a>

Let’s begin our triple Francis Ford Coppola journey with the Palme d'Or-winning 1974 mystery thriller, THE CONVERSATION starring the late great Gene Hackman and showing from 35mm in our biggest screen, on Wed 26th March & Sat 12th April.

Fresh off the massive success of The Godfather, Francis Ford Coppola cemented his place in cinematic history in 1974—not only releasing the Academy Award-winning The Godfather Part II but also writing, producing, and directing the masterful mystery thriller <a href="https://boxd.it/2a38">THE CONVERSATION. </a>

One of the all-time greats, Gene Hackman, delivers a career-defining performance as Harry Caul, a secretive and paranoid surveillance expert who faces a crisis of conscience when he suspects a couple he is spying on may be in danger. As he obsessively replays the tapes, Caul fears that turning them over to his client (Robert Duvall) could lead to deadly consequences. Haunted by a past case that resulted in tragedy, Caul spirals into paranoia, forcing him into a harrowing moral dilemma.

THE CONVERSATION was partially inspired by Michelangelo Antonioni’s 1966 thriller Blowup, which also influenced Brian De Palma’s Blow Out (1981). Though Coppola originally wrote the script in the mid-1960s, the film took on unexpected real-world relevance when the Watergate scandal broke. Audiences assumed it was a direct response to the era’s political paranoia, but Coppola maintained that the surveillance technology featured in the film was developed through meticulous research and the expertise of technical advisor Martin Kaiser.

Upon release, THE CONVERSATION won the prestigious Palme d’Or at the 1974 Cannes Film Festival and earned three Academy Award nominations, including Best Picture—though Coppola lost out to himself with The Godfather Part II. The film also received BAFTA wins and several Golden Globe nominations, solidifying its status as one of the defining thrillers of the decade. RIP Gene. 

------------------------------------------------------------------------------------------------------------------------------

Some filmmakers spend their whole careers chasing cinema’s top honors, but Francis Ford Coppola is one of the rare few to take home the prestigious Palme d’Or not once, but twice. First with The Conversation, and then with his utterly jaw-dropping, mind-melting, "was-this-film-even-possible-to-make?" war epic – APOCALYPSE NOW.

Set against the madness of the Vietnam War, Apocalypse Now takes Joseph Conrad’s classic novella Heart of Darkness and hurls it headfirst into the jungle. Martin Sheen stars as Captain Willard, sent on a dangerous mission to track down and terminate rogue Colonel Kurtz, played with eerie brilliance by Marlon Brando. Along the way? A hallucinatory, unforgettable trip featuring Robert Duvall, Dennis Hopper, Harrison Ford, and a baby-faced 17-year-old Laurence Fishburne.
Coppola nearly lost his mind (and everything else) making this film, and if you want to see just how wild it got, the documentary Hearts of Darkness: A Filmmaker’s Apocalypse is an absolute must-watch.

But here’s the big news: we’re bringing back <a href="https://boxd.it/6ZS">APOCALYPSE NOW: FINAL CUT</a> – personally restored by Coppola himself from the original negative, this is the version he considers the definitive cut. And we’re showing it in glorious 4K on the big screen!

------------------------------------------------------------------------------------------------------------------------------
If you’re gearing up for the ultimate Coppola weekend with THE CONVERSATION & APOCALYPSE NOW on Friday and Saturday, why not pre-prepare with the epic of all epics? Tomorrow night is our final forseeable screening of Francis Ford Coppola’s iconic THE GODFATHER, showing from a 35mm print.

Widely considered the greatest film ever made, Coppola’s <a href="https://boxd.it/2aNK">THE GODFATHER</a> took Mario Puzo’s novel and turned it into an era-defining masterpiece. The film’s unprecedented success – eleven Oscar nominations, three wins, and two legendary sequels – cemented its place in cinema history.

Spanning three decades of blood, power, and betrayal, we follow Al Pacino’s Michael Corleone as he’s unwillingly pulled into the family business after the assassination of his brother Sonny (James Caan) and an attempt on the life of his father, Don Vito Corleone (Marlon Brando). He promises his wife Kay (Diane Keaton) he won’t become like his father – but power has a way of changing people…

Three Masterpieces from Francis Ford Coppola...

Marlon Brando's filmography stands as a testament to his unparalleled talent and profound impact on the world of cinema. From the 1950s to the 1970s, Brando delivered a series of transformative performances that redefined acting in Hollywood. His breakthrough role as Stanley Kowalski in "<a href="https://boxd.it/29Mc" rel="nofollow">A Streetcar Named Desire</a>" (1951) earned him the admiration of critics and audiences alike. Brando's portrayal of Terry Malloy in "<a href="https://boxd.it/29TC" rel="nofollow">On the Waterfront</a>" (1954) secured him an Academy Award, cementing his status as a cinematic force to be reckoned with. He further solidified his legacy with the legendary character of Vito Corleone in "<a href="https://boxd.it/2aNK" rel="nofollow">The Godfather</a>" (1972), which earned him another Oscar. Brando's portrayal of Colonel Walter E. Kurtz in "<a href="https://boxd.it/6ZS" rel="nofollow">Apocalypse Now</a>" (1979) showcased his versatility and commitment to complex roles. Even in blockbuster superhero movies, Brando's talent shone through, as seen in his portrayal of Jor-El in "<a href="https://boxd.it/27Qm" rel="nofollow">Superman</a>" (1978). His willingness to delve deeply into character and tackle challenging roles left an enduring mark on film history and continues to inspire actors and filmmakers today.

Marlon Brando's filmography stands as a testament to his unparalleled talent and profound impact on the world of cinema. From the 1950s to the 1970s, Brando delivered a series of transformative performances that redefined acting in Hollywood. His breakthrough role as Stanley Kowalski in "<a href="https://boxd.it/29Mc">A Streetcar Named Desire</a>" (1951) earned him the admiration of critics and audiences alike. Brando's portrayal of Terry Malloy in "<a href="https://boxd.it/29TC">On the Waterfront</a>" (1954) secured him an Academy Award, cementing his status as a cinematic force to be reckoned with. He further solidified his legacy with the legendary character of Vito Corleone in "<a href="https://boxd.it/2aNK">The Godfather</a>" (1972), which earned him another Oscar. Brando's portrayal of Colonel Walter E. Kurtz in "<a href="https://boxd.it/6ZS">Apocalypse Now</a>" (1979) showcased his versatility and commitment to complex roles. Even in blockbuster superhero movies, Brando's talent shone through, as seen in his portrayal of Jor-El in "<a href="https://boxd.it/27Qm">Superman</a>" (1978). His willingness to delve deeply into character and tackle challenging roles left an enduring mark on film history and continues to inspire actors and filmmakers today.

[Watch] 10 Best Performances of Marlon Brando

Pápai Zsolt: A Megalopolisz Coppola önvallomásaPápai Zsolt filmesztéta, az ELTE oktatója, fő érdeklődési területe a hatvanas-hetvenes évek hollywoodi reneszánsz időszaka, aminek kiemelkedő alakja volt Francis Ford Coppola. Vele beszélget a Mozinet Nagylátószög új adásában Kovács Gellért a már mozikban futó <a href="https://boxd.it/lPBS" rel="nofollow">Megalopolisz</a> kapcsán többek között arról, miért tekinthető önvallomásnak és búcsúfilmnek is Coppola legújabb alkotása. <a href="https://boxd.it/2aNK" rel="nofollow">A keresztapa</a>-trilógia és az <a href="https://boxd.it/6ZS" rel="nofollow">Apokalipszis most</a> rendezője négy évtizeden át hiába győzködte a hollywoodi stúdiókat, hogy finanszírozzák grandiózus tervét. Végül személyes vagyonának jelentős részét feláldozva valósította meg karrierjének legnagyszabásúbb filmjét. A Mozinet új bemutatójának, a Megalopolisznak a jövőképében Új Róma városának fényűző, hatalmas felhőkarcolói között komoly ellentétek feszülnek. Az ambiciózus és vizionárius építész, Cesar Catilina (a kétszeres Oscar-jelölt Adam Driver) progresszív gondolkodásával szemben áll Franklyn Cicero polgármester (Giancarlo Esposito) hatalmi beágyazottsága és kapzsiságtól hajtott játszmái. A kettejük közötti konfliktust tovább hevíti Cesar kapcsolata a polgármester lányával, aki számára a tét nemcsak a város jövője, hanem szerelme és családja is.<blockquote>„Teljesen mindegy, hogy egy film miről szól, hogy hol és mennyi pénzből készül. Egyetlen döntő szempont van, amitől egy film jó vagy rossz: jó a ritmusa, vagy nem jó a ritmusa. Ebben az értelemben a Sátántangónak, ami hét és fél órás, ugyanolyan perfekt a ritmusa, mint a Légy című filmnek, ami meg két perces.”</blockquote>A Coppola-életmű Pápai szerint nagyon egyenetlen, a filmek minőségét tekintve. Két tökéletes mestermű, A keresztapa és az Apokalipszis most után soha nem tudott nagy filmeket létrehozni, cserébe annál több átlagon aluli munkát adott ki a kezei közül.<blockquote>„Én valami hasonlót látok a Megalopolisz vállalása és az Apokalipszis most vállalása között. Csak az Apokalipszis most úgy készült, hogy még ott volt az a korszak, amelyben lehetett művészfilmes gondolkozással filmet készíteni. Amikor a Megalopoliszt elkészíti a Coppola, akkor már nincsen. A hollywoodi reneszánszon már 45 évvel túl vagyunk. A napjaink filmkultúrájában egy filozofikus és művészfilmes igényű látványfilmet elkészíteni egy nagyon kockázatos vállalkozás.”</blockquote>Pápai szerint Coppola a Megalapolisszal gyakorlatilag ugyanazt akarja megcsinálni, mint 45 évvel ezelőtt az Apokalipszis mosttal. Mindkettő egy filozofikus és művészfilmes igényű látványfilm, csak a mai mainstream filmkultúra nem teszi lehetővé egy ilyen film létrejöttét.<blockquote>„Az Adam Driver alakította Cesar Catilina nevű főszereplő a film közepén nagyon delírált állapotban folyamatosan ugyanazt a mondatot hajtogatja, ami a következőképpen szól: „Amikor az ismeretlenbe ugrik az ember, azzal bizonyítja a szabadságát.” És nem tudok szabadulni a gondolattól, hogy ez a mondat gyakorlatilag Coppolának az önvallomása.”</blockquote>A Megalopolisz főszereplője, Cesar Catilina Pápai szerint egyértelműen Coppola alterego-hőse. Az idézett mondata tükrözi Coppola rendezői hitvallását, aki azért ugrott fejest ebbe a közel lehetetlen vállalkozásba, mert ezzel is demonstrálni akarja az alkotói függetlenségét és szabadságát.A beszélgetésben szóba kerül még: 	- Mik Coppola életművének magasságai és mélységei? 	- Miért A keresztapa a világ egyik legjobb filmje? 	- Hogyan változott a „filmtörténeti klíma” az Apokalipszis mosttól a Megalopoliszig? 	- A Megalopolisz egy önironikus búcsúfilm? 	- A Megalopolisz már a mozikban!A magyar és külföldi díjnyertes művészfilmeket forgalmazó Mozinet Nagylátószög című műsorának célja, hogy izgalmas nézőpontokat ismertessen meg a vendégek által, akik különböző területek szakemberei. A Nagylátószög beszélgetései nem annyira a konkrét filmekről szólnak, inkább a filmekhez teremtenek kontextust – így válnak egyszerre informatív filmes és hétköznapi diskurzussá. A meghívott vendégekkel két állandó műsorvezető, Veiszer Alinda és Kovács Gellért Filmszerész beszélget. Előbbi a filmek által felvetett témákat vesézi ki közéleti szereplőkkel és szakértőkkel, utóbbi alkotókkal vagy filmkritikusokkal, filmesztétákkal bontja ki az épp aktuális film jelentésrétegeit, hátterét.A szövegben felhasznált idézeteket szerkesztve közöltük. A beszélgetés megtekinthető a Mozinet Youtube csatornáján és meghallgatható podcast formában a Spotifyon, illetve az Apple és a Google alkalmazásaiban.

Pápai Zsolt: A Megalopolisz Coppola önvallomása

Pápai Zsolt filmesztéta, az ELTE oktatója, fő érdeklődési területe a hatvanas-hetvenes évek hollywoodi reneszánsz időszaka, aminek kiemelkedő alakja volt Francis Ford Coppola. Vele beszélget a Mozinet Nagylátószög új adásában Kovács Gellért a már mozikban futó <a href="https://boxd.it/lPBS">Megalopolisz</a> kapcsán többek között arról, miért tekinthető önvallomásnak és búcsúfilmnek is Coppola legújabb alkotása. <a href="https://boxd.it/2aNK">A keresztapa</a>-trilógia és az <a href="https://boxd.it/6ZS">Apokalipszis most</a> rendezője négy évtizeden át hiába győzködte a hollywoodi stúdiókat, hogy finanszírozzák grandiózus tervét. Végül személyes vagyonának jelentős részét feláldozva valósította meg karrierjének legnagyszabásúbb filmjét. 

A Mozinet új bemutatójának, a Megalopolisznak a jövőképében Új Róma városának fényűző, hatalmas felhőkarcolói között komoly ellentétek feszülnek. Az ambiciózus és vizionárius építész, Cesar Catilina (a kétszeres Oscar-jelölt Adam Driver) progresszív gondolkodásával szemben áll Franklyn Cicero polgármester (Giancarlo Esposito) hatalmi beágyazottsága és kapzsiságtól hajtott játszmái. A kettejük közötti konfliktust tovább hevíti Cesar kapcsolata a polgármester lányával, aki számára a tét nemcsak a város jövője, hanem szerelme és családja is.

<blockquote>„Teljesen mindegy, hogy egy film miről szól, hogy hol és mennyi pénzből készül. Egyetlen döntő szempont van, amitől egy film jó vagy rossz: jó a ritmusa, vagy nem jó a ritmusa. Ebben az értelemben a Sátántangónak, ami hét és fél órás, ugyanolyan perfekt a ritmusa, mint a Légy című filmnek, ami meg két perces.”</blockquote>

A Coppola-életmű Pápai szerint nagyon egyenetlen, a filmek minőségét tekintve. Két tökéletes mestermű, A keresztapa és az Apokalipszis most után soha nem tudott nagy filmeket létrehozni, cserébe annál több átlagon aluli munkát adott ki a kezei közül.

<blockquote>„Én valami hasonlót látok a Megalopolisz vállalása és az Apokalipszis most vállalása között. Csak az Apokalipszis most úgy készült, hogy még ott volt az a korszak, amelyben lehetett művészfilmes gondolkozással filmet készíteni. Amikor a Megalopoliszt elkészíti a Coppola, akkor már nincsen. A hollywoodi reneszánszon már 45 évvel túl vagyunk. A napjaink filmkultúrájában egy filozofikus és művészfilmes igényű látványfilmet elkészíteni egy nagyon kockázatos vállalkozás.”</blockquote>

Pápai szerint Coppola a Megalapolisszal gyakorlatilag ugyanazt akarja megcsinálni, mint 45 évvel ezelőtt az Apokalipszis mosttal. Mindkettő egy filozofikus és művészfilmes igényű látványfilm, csak a mai mainstream filmkultúra nem teszi lehetővé egy ilyen film létrejöttét.

<blockquote>„Az Adam Driver alakította Cesar Catilina nevű főszereplő a film közepén nagyon delírált állapotban folyamatosan ugyanazt a mondatot hajtogatja, ami a következőképpen szól: „Amikor az ismeretlenbe ugrik az ember, azzal bizonyítja a szabadságát.” És nem tudok szabadulni a gondolattól, hogy ez a mondat gyakorlatilag Coppolának az önvallomása.”</blockquote>

A Megalopolisz főszereplője, Cesar Catilina Pápai szerint egyértelműen Coppola alterego-hőse. Az idézett mondata tükrözi Coppola rendezői hitvallását, aki azért ugrott fejest ebbe a közel lehetetlen vállalkozásba, mert ezzel is demonstrálni akarja az alkotói függetlenségét és szabadságát.

A beszélgetésben szóba kerül még:
	- Mik Coppola életművének magasságai és mélységei?
	- Miért A keresztapa a világ egyik legjobb filmje?
	- Hogyan változott a „filmtörténeti klíma” az Apokalipszis mosttól a Megalopoliszig?
	- A Megalopolisz egy önironikus búcsúfilm?
	- A Megalopolisz már a mozikban!

A magyar és külföldi díjnyertes művészfilmeket forgalmazó Mozinet Nagylátószög című műsorának célja, hogy izgalmas nézőpontokat ismertessen meg a vendégek által, akik különböző területek szakemberei. A Nagylátószög beszélgetései nem annyira a konkrét filmekről szólnak, inkább a filmekhez teremtenek kontextust – így válnak egyszerre informatív filmes és hétköznapi diskurzussá. A meghívott vendégekkel két állandó műsorvezető, Veiszer Alinda és Kovács Gellért Filmszerész beszélget. Előbbi a filmek által felvetett témákat vesézi ki közéleti szereplőkkel és szakértőkkel, utóbbi alkotókkal vagy filmkritikusokkal, filmesztétákkal bontja ki az épp aktuális film jelentésrétegeit, hátterét.

A szövegben felhasznált idézeteket szerkesztve közöltük. A beszélgetés megtekinthető a Mozinet Youtube csatornáján és meghallgatható podcast formában a Spotifyon, illetve az Apple és a Google alkalmazásaiban.

A Megalopolisz Coppola önvallomása - Pápai Zsolt a Nagylátószögben

Az első 10 regisztráló az alábbi linken kap egy páros jegyet Francis Ford Coppola közönséget és kritikusokat is megosztó, grandiózus alkotásának premier előtti vetítésére! Ha érdekel, <a href="https://docs.google.com/forms/d/e/1FAIpQLSd1aOaYaErDQfz2E-vk2kfAOLYttBQth-U830o0Wb6FpNkBsA/viewform?usp=sf_link " rel="nofollow">kattints ide!</a>A vetítés helye és ideje: Cinema City Mammut, 2024. szeptember 23. 19:00 Francis Ford Coppola, <a href="https://boxd.it/2aNK" rel="nofollow">A keresztapa</a>-trilógia és az <a href="https://boxd.it/6ZS" rel="nofollow">Apokalipszis most</a> rendezője négy évtizeden át hiába győzködte a hollywoodi stúdiókat, hogy finanszírozzák grandiózus tervét. Végül személyes vagyonának jelentős részét feláldozva valósította meg karrierjének legnagyszabásúbb filmjét. A <a href="https://boxd.it/lPBS" rel="nofollow">Megalopolisz</a> jövőképében Új Róma városának fényűző, hatalmas felhőkarcolói között komoly ellentétek feszülnek. Az ambiciózus és vizionárius építész, Cesar Catilina (a kétszeres Oscar-jelölt Adam Driver) progresszív gondolkodásával szemben áll Franklyn Cicero polgármester (Giancarlo Esposito) hatalmi beágyazottsága és kapzsiságtól hajtott játszmái. A kettejük közötti konfliktust tovább hevíti Cesar kapcsolata a polgármester lányával, Juliával (Nathalie Emmanuel), aki számára a tét nemcsak a város jövője, hanem szerelme és családja is.

Az első 10 regisztráló az alábbi linken kap egy páros jegyet Francis Ford Coppola közönséget és kritikusokat is megosztó, grandiózus alkotásának premier előtti vetítésére! Ha érdekel, <a href="https://docs.google.com/forms/d/e/1FAIpQLSd1aOaYaErDQfz2E-vk2kfAOLYttBQth-U830o0Wb6FpNkBsA/viewform?usp=sf_link ">kattints ide!</a>

A vetítés helye és ideje: Cinema City Mammut, 2024. szeptember 23. 19:00 

Francis Ford Coppola, <a href="https://boxd.it/2aNK">A keresztapa</a>-trilógia és az <a href="https://boxd.it/6ZS">Apokalipszis most</a> rendezője négy évtizeden át hiába győzködte a hollywoodi stúdiókat, hogy finanszírozzák grandiózus tervét. Végül személyes vagyonának jelentős részét feláldozva valósította meg karrierjének legnagyszabásúbb filmjét. 

A <a href="https://boxd.it/lPBS">Megalopolisz</a> jövőképében Új Róma városának fényűző, hatalmas felhőkarcolói között komoly ellentétek feszülnek. Az ambiciózus és vizionárius építész, Cesar Catilina (a kétszeres Oscar-jelölt Adam Driver) progresszív gondolkodásával szemben áll Franklyn Cicero polgármester (Giancarlo Esposito) hatalmi beágyazottsága és kapzsiságtól hajtott játszmái. A kettejük közötti konfliktust tovább hevíti Cesar kapcsolata a polgármester lányával, Juliával (Nathalie Emmanuel), aki számára a tét nemcsak a város jövője, hanem szerelme és családja is.

Giveaway a Letterboxdon - Szerezz jegyet a Megalopolisz premier előtti vetítésére! 

"In a sense, I think a movie is really a little like a question and when you make it, that's when you get the answer."With the maverick filmmaker's latest epic <a href="https://boxd.it/lPBS" rel="nofollow">Megalopolis</a><a href="https://boxd.it/lPBS" rel="nofollow">⁠</a> arriving in the UK and Ireland on 27 September, it's time to celebrate the career of Francis Ford Coppola on the big screen. Titles available to book include the entire <a href="https://boxd.it/2aNK" rel="nofollow">Godfather</a> trilogy on one cost-effective DCP combo drive, and <a href="https://boxd.it/ZJq" rel="nofollow">One From The Heart</a>: Reprise and <a href="https://boxd.it/223a" rel="nofollow">Bram Stoker's Dracula</a> with new marketing assets and DCP trailers.<blockquote><a href="http://parkcircus.com/latest/P2785-coppolopolis-collection" rel="nofollow">Browse the full collection and get in touch to build your Coppolopolis now!</a></blockquote>NOTE: combo drive and <a href="https://boxd.it/6ZS" rel="nofollow">Apocalypse Now</a>: The Final Cut, <a href="https://boxd.it/2aPw" rel="nofollow">The Outsiders</a>, and <a href="https://boxd.it/20Oe" rel="nofollow">Youth Without Youth</a> available in UK/EIRE only.

"In a sense, I think a movie is really a little like a question and when you make it, that's when you get the answer."

With the maverick filmmaker's latest epic <a href="https://boxd.it/lPBS">Megalopolis</a><a href="https://boxd.it/lPBS">⁠</a> arriving in the UK and Ireland on 27 September, it's time to celebrate the career of Francis Ford Coppola on the big screen. Titles available to book include the entire <a href="https://boxd.it/2aNK">Godfather</a> trilogy on one cost-effective DCP combo drive, and <a href="https://boxd.it/ZJq">One From The Heart</a>: Reprise and <a href="https://boxd.it/223a">Bram Stoker's Dracula</a> with new marketing assets and DCP trailers.

<blockquote><a href="http://parkcircus.com/latest/P2785-coppolopolis-collection">Browse the full collection and get in touch to build your Coppolopolis now!</a></blockquote>

NOTE: combo drive and <a href="https://boxd.it/6ZS">Apocalypse Now</a>: The Final Cut, <a href="https://boxd.it/2aPw">The Outsiders</a>, and <a href="https://boxd.it/20Oe">Youth Without Youth</a> available in UK/EIRE only.

Coppolopolis Collection

<h3>This is not a drill. Filmmaker <a href="https://letterboxd.com/director/michael-mann/" rel="nofollow">Michael Mann</a> has <a href="https://letterboxd.com/michaelmann/" rel="nofollow">joined Letterboxd</a>. To celebrate, our newest member shares a list of fourteen favorite movies—with reasons why, of course.</h3>First <a href="https://boxd.it/7ua3D" rel="nofollow">Marty</a>, now Michael—today marks the day that Michael Mann (yes, the maestro of <a href="https://boxd.it/1TEc" rel="nofollow">Thief</a>, <a href="https://boxd.it/2bg8" rel="nofollow">Heat</a>, <a href="https://boxd.it/cEtq" rel="nofollow">Ferrari</a>, <a href="https://boxd.it/28F0" rel="nofollow">Collateral</a> and so much more Michael Mann) joins Letterboxd. And naturally, we are all celebrating by diving into all the movies that he loves too. To mark the momentous occasion, Mann has graciously shared not just a list of the films (<a href="https://boxd.it/wKe5A/detail" rel="nofollow">full list here</a>), but also some notes on what they mean to him as well. The list is “in no particular order (except Potemkin)”, aka 1925’s <a href="https://boxd.it/29Vo" rel="nofollow">Battleship Potemkin</a>, which has long been Mann’s favorite—his filmmaker-origin story, if you will. In his list notes, Mann praises Sergei Eisenstein’s 75-minute classic for “applying theory to montage, composition and meaning,” adding that “its influence on British, Weimar and American cinema is huge.”  The list covers movies from cinematic titans including <a href="https://boxd.it/29eY" rel="nofollow">Stanley Kubrick</a>, <a href="https://boxd.it/Msm" rel="nofollow">Denis Villeneuve</a>, <a href="https://letterboxd.com/director/guillermo-del-toro/" rel="nofollow">Guillermo del Toro</a> and fellow Letterboxd member <a href="https://boxd.it/28yI" rel="nofollow">Martin Scorsese</a>. There’s Francis Ford Coppola’s <a href="https://boxd.it/6ZS" rel="nofollow">Apocalypse Now</a>, which Mann calls “an operatic masterpiece”, and even last year’s <a href="https://boxd.it/tNWU" rel="nofollow">Poor Things</a>, which he distinctly distils down to: “Kafka, if he was droll. Brilliant.” More pleasures on the list include Mann’s love for <a href="https://boxd.it/29PK" rel="nofollow">Out of the Past</a>, which he calls “a masterpiece of noir in the wake of WWII”, and Kathryn Bigelow’s multi-Oscar-winning <a href="https://boxd.it/1Soi" rel="nofollow">The Hurt Locker</a>, for “its brilliant directed performances, as penetrating into the psyches of combatants moving progressively, inexorably closer and closer to annihilation”. For a deeper dive into <a href="https://boxd.it/dGS" rel="nofollow">Japanese post-war noir</a>, <a href="https://boxd.it/29aW" rel="nofollow">James Wong Howe’s chiaroscuro lighting</a>, and <a href="https://boxd.it/OiI" rel="nofollow">poetry</a> and humanity at every turn, you can find it all over on <a href="https://boxd.it/ahF9j" rel="nofollow">Michael Mann’s Letterboxd account</a>. What a brilliant thing to say! — Reporting by <a href="https://letterboxd.com/ellakemp/" rel="nofollow">Ella Kemp</a>

<h3>This is not a drill. Filmmaker <a href="https://letterboxd.com/director/michael-mann/">Michael Mann</a> has <a href="https://letterboxd.com/michaelmann/">joined Letterboxd</a>. To celebrate, our newest member shares a list of fourteen favorite movies—with reasons why, of course.</h3>

First <a href="https://boxd.it/7ua3D">Marty</a>, now Michael—today marks the day that Michael Mann (yes, the maestro of <a href="https://boxd.it/1TEc">Thief</a>, <a href="https://boxd.it/2bg8">Heat</a>, <a href="https://boxd.it/cEtq">Ferrari</a>, <a href="https://boxd.it/28F0">Collateral</a> and so much more Michael Mann) joins Letterboxd. And naturally, we are all celebrating by diving into all the movies that he loves too. 

To mark the momentous occasion, Mann has graciously shared not just a list of the films (<a href="https://boxd.it/wKe5A/detail">full list here</a>), but also some notes on what they mean to him as well. The list is “in no particular order (except Potemkin)”, aka 1925’s <a href="https://boxd.it/29Vo">Battleship Potemkin</a>, which has long been Mann’s favorite—his filmmaker-origin story, if you will. In his list notes, Mann praises Sergei Eisenstein’s 75-minute classic for “applying theory to montage, composition and meaning,” adding that “its influence on British, Weimar and American cinema is huge.”  

The list covers movies from cinematic titans including <a href="https://boxd.it/29eY">Stanley Kubrick</a>, <a href="https://boxd.it/Msm">Denis Villeneuve</a>, <a href="https://letterboxd.com/director/guillermo-del-toro/">Guillermo del Toro</a> and fellow Letterboxd member <a href="https://boxd.it/28yI">Martin Scorsese</a>. There’s Francis Ford Coppola’s <a href="https://boxd.it/6ZS">Apocalypse Now</a>, which Mann calls “an operatic masterpiece”, and even last year’s <a href="https://boxd.it/tNWU">Poor Things</a>, which he distinctly distils down to: “Kafka, if he was droll. Brilliant.” 

More pleasures on the list include Mann’s love for <a href="https://boxd.it/29PK">Out of the Past</a>, which he calls “a masterpiece of noir in the wake of WWII”, and Kathryn Bigelow’s multi-Oscar-winning <a href="https://boxd.it/1Soi">The Hurt Locker</a>, for “its brilliant directed performances, as penetrating into the psyches of combatants moving progressively, inexorably closer and closer to annihilation”. 

For a deeper dive into <a href="https://boxd.it/dGS">Japanese post-war noir</a>, <a href="https://boxd.it/29aW">James Wong Howe’s chiaroscuro lighting</a>, and <a href="https://boxd.it/OiI">poetry</a> and humanity at every turn, you can find it all over on <a href="https://boxd.it/ahF9j">Michael Mann’s Letterboxd account</a>. What a brilliant thing to say! 

— Reporting by <a href="https://letterboxd.com/ellakemp/">Ella Kemp</a>

“Strong, human, authentic”: Letterboxd member Michael Mann shares fourteen favorite movies 

La 77e édition du Festival International du film de Cannes a débuté le 14 mai 2024 et nous promet, cette année encore, une bien rude compétition. <a href="https://boxd.it/lPBS" rel="nofollow">Megalopolis</a> de Francis Ford Coppola y est particulièrement attendu, puisqu’il n’est pas impossible qu’il fasse de son réalisateur le tout premier cinéaste à obtenir une troisième Palme d’or, après <a href="https://boxd.it/2a38" rel="nofollow">Conversation secrète</a> en 1974 et <a href="https://boxd.it/6ZS" rel="nofollow">Apocalypse Now</a> en 1979.À ce jour, ils sont neuf réalisateurs à avoir déjà reçu deux fois la plus haute distinction. UniversCiné vous propose une rétrospective de ces metteurs en scène de talent qui ont su conquérir le public comme le jury.<h3>Par Marie Beaufils et Alexia Tcheng</h3>Ruben Östlund : <a href="https://boxd.it/e5YW" rel="nofollow">The Square</a> (2017) et <a href="https://boxd.it/hXlq" rel="nofollow">Sans filtre</a> (2022)Fin observateur des excès des élites, mais paradoxalement membre actif et récompensé dans les compétitions internationales, Ruben Östlund semble maîtriser en société le port du masque qu’il dénonce dans ses films. Cette ascension du Suédois pour le moins fulgurante, incarne celle de la jeune génération de cinéastes à Cannes et a la particularité d’avoir mis la comédie grinçante à l’honneur au sein du Palmarès. Prix du Jury dans la catégorie Un Certain regard en 2014 avec l’hilarant Snow Therapy, il reçoit sa première Palme d’or en 2017 avec The Square, satire sociale incisive sur l’hypocrisie du monde de l’art, où l’on suit Christian, un conservateur de musée en plein montage de sa nouvelle exposition. En 2022, Sans Filtre, sa seconde Palme, vient de nouveau tendre un miroir déformant aux habitués de la Croisette. On y suit Carl, mannequin, et Yaya, influenceuse, invités sur une croisière de luxe qui vire au naufrage…Ken Loach : <a href="https://boxd.it/293Q" rel="nofollow">Le Vent se lève</a> (2006) et <a href="https://boxd.it/d0xa" rel="nofollow">Moi, Daniel Blake</a> (2016)Ken Loach, célèbre cinéaste britannique, a eu un impact significatif sur le Festival de Cannes au fil des ans, puisqu’il s’agit du réalisateur qui a participé au plus grand nombre de sélections officielles avec pas moins de quinze longs métrages. Son succès à Cannes souligne son statut de cinéaste qui n'a pas peur de s'attaquer à des questions sociales difficiles. Il remporte sa première Palme en 2006 avec Le Vent se lève, un drame puissant sur la guerre civile irlandaise, salué pour sa force émotionnelle et sa précision historique. Il obtient sa seconde Palme d'or dix ans plus tard, en 2016, pour Moi, Daniel Blake, film d’un réalisme cru, commentaire politique de l'histoire d'un charpentier d'âge moyen qui se débat avec le système d'aides sociales britannique après qu'une crise cardiaque l'a rendu incapable de travailler.Michael Haneke : <a href="https://boxd.it/17eU" rel="nofollow">Le Ruban blanc</a> (2009) et <a href="https://boxd.it/34Q6" rel="nofollow">Amour</a> (2012)Autre personnalité récurrente des tapis rouges de la Croisette, Michael Haneke s’est fait connaître à l’international avec l’implacable Funny Games. L’Autrichien a fortement marqué la décennie 2000-2010 de l’histoire du Festival en y étant invité à de multiples reprises, notamment avec Code Inconnu, La Pianiste ou encore Le Temps du loup. Une histoire commune entre Haneke et le Festival qui se confirme lorsque Le Ruban Blanc, film troublant qui propose une réflexion poignante sur la responsabilité collective, permet au réalisateur d'obtenir sa première Palme en 2009. En 2012, il remporte sa deuxième Palme et offre, avec Amour, l'un de ses plus beaux rôles à Jean-Louis Trintignant dans la peau d'un vieil homme qui doit faire face à l'irruption de la maladie et de la mort dans son couple.Les frères Dardenne : <a href="https://boxd.it/1TJw" rel="nofollow">Rosetta</a> (1999) et <a href="https://boxd.it/1TJm" rel="nofollow">L'Enfant</a> (2005)Dire que le duo de cinéastes fait partie des réguliers du Festival est un euphémisme. La majeure partie de leur filmographie y a fait sa Première, et en 2022 le public se demandait si les frères Dardenne n'allaient pas créer un précédent dans l'histoire du Festival et repartir avec une troisième Palme pour leur film Tori et Lokita. Les frères belges avaient remporté leur première Palme d’or en 1999 pour Rosetta. Depuis, le Festival leur a remis cinq autres prix et dix de leurs longs-métrages ont fait leur première en Sélection officielle, sur un total de douze réalisations. Ils doivent leur seconde Palme d’or à L’Enfant, récit réaliste sur les défis moraux auxquels sont confrontés les jeunes parents, présenté en 2005. Jean-Pierre et Luc Dardenne proposent un cinéma social qui est, avec celui de Ken Loach, l’un des plus plébiscités par les comités de sélection et les jurys au fil des éditions du Festival.La suite de l'article est à lire <a href="https://www.universcine.com/articles/cannes" rel="nofollow">ici</a>.

La 77e édition du Festival International du film de Cannes a débuté le 14 mai 2024 et nous promet, cette année encore, une bien rude compétition. <a href="https://boxd.it/lPBS">Megalopolis</a> de Francis Ford Coppola y est particulièrement attendu, puisqu’il n’est pas impossible qu’il fasse de son réalisateur le tout premier cinéaste à obtenir une troisième Palme d’or, après <a href="https://boxd.it/2a38">Conversation secrète</a> en 1974 et <a href="https://boxd.it/6ZS">Apocalypse Now</a> en 1979.

À ce jour, ils sont neuf réalisateurs à avoir déjà reçu deux fois la plus haute distinction. UniversCiné vous propose une rétrospective de ces metteurs en scène de talent qui ont su conquérir le public comme le jury.

<h3>Par Marie Beaufils et Alexia Tcheng</h3>

Ruben Östlund : <a href="https://boxd.it/e5YW">The Square</a> (2017) et <a href="https://boxd.it/hXlq">Sans filtre</a> (2022)

Fin observateur des excès des élites, mais paradoxalement membre actif et récompensé dans les compétitions internationales, Ruben Östlund semble maîtriser en société le port du masque qu’il dénonce dans ses films. Cette ascension du Suédois pour le moins fulgurante, incarne celle de la jeune génération de cinéastes à Cannes et a la particularité d’avoir mis la comédie grinçante à l’honneur au sein du Palmarès. Prix du Jury dans la catégorie Un Certain regard en 2014 avec l’hilarant Snow Therapy, il reçoit sa première Palme d’or en 2017 avec The Square, satire sociale incisive sur l’hypocrisie du monde de l’art, où l’on suit Christian, un conservateur de musée en plein montage de sa nouvelle exposition. En 2022, Sans Filtre, sa seconde Palme, vient de nouveau tendre un miroir déformant aux habitués de la Croisette. On y suit Carl, mannequin, et Yaya, influenceuse, invités sur une croisière de luxe qui vire au naufrage…

Ken Loach : <a href="https://boxd.it/293Q">Le Vent se lève</a> (2006) et <a href="https://boxd.it/d0xa">Moi, Daniel Blake</a> (2016)

Ken Loach, célèbre cinéaste britannique, a eu un impact significatif sur le Festival de Cannes au fil des ans, puisqu’il s’agit du réalisateur qui a participé au plus grand nombre de sélections officielles avec pas moins de quinze longs métrages. Son succès à Cannes souligne son statut de cinéaste qui n'a pas peur de s'attaquer à des questions sociales difficiles. Il remporte sa première Palme en 2006 avec Le Vent se lève, un drame puissant sur la guerre civile irlandaise, salué pour sa force émotionnelle et sa précision historique. Il obtient sa seconde Palme d'or dix ans plus tard, en 2016, pour Moi, Daniel Blake, film d’un réalisme cru, commentaire politique de l'histoire d'un charpentier d'âge moyen qui se débat avec le système d'aides sociales britannique après qu'une crise cardiaque l'a rendu incapable de travailler.

Michael Haneke : <a href="https://boxd.it/17eU">Le Ruban blanc</a> (2009) et <a href="https://boxd.it/34Q6">Amour</a> (2012)

Autre personnalité récurrente des tapis rouges de la Croisette, Michael Haneke s’est fait connaître à l’international avec l’implacable Funny Games. L’Autrichien a fortement marqué la décennie 2000-2010 de l’histoire du Festival en y étant invité à de multiples reprises, notamment avec Code Inconnu, La Pianiste ou encore Le Temps du loup. Une histoire commune entre Haneke et le Festival qui se confirme lorsque Le Ruban Blanc, film troublant qui propose une réflexion poignante sur la responsabilité collective, permet au réalisateur d'obtenir sa première Palme en 2009. En 2012, il remporte sa deuxième Palme et offre, avec Amour, l'un de ses plus beaux rôles à Jean-Louis Trintignant dans la peau d'un vieil homme qui doit faire face à l'irruption de la maladie et de la mort dans son couple.

Les frères Dardenne : <a href="https://boxd.it/1TJw">Rosetta</a> (1999) et <a href="https://boxd.it/1TJm">L'Enfant</a> (2005)

Dire que le duo de cinéastes fait partie des réguliers du Festival est un euphémisme. La majeure partie de leur filmographie y a fait sa Première, et en 2022 le public se demandait si les frères Dardenne n'allaient pas créer un précédent dans l'histoire du Festival et repartir avec une troisième Palme pour leur film Tori et Lokita. Les frères belges avaient remporté leur première Palme d’or en 1999 pour Rosetta. Depuis, le Festival leur a remis cinq autres prix et dix de leurs longs-métrages ont fait leur première en Sélection officielle, sur un total de douze réalisations. Ils doivent leur seconde Palme d’or à L’Enfant, récit réaliste sur les défis moraux auxquels sont confrontés les jeunes parents, présenté en 2005. Jean-Pierre et Luc Dardenne proposent un cinéma social qui est, avec celui de Ken Loach, l’un des plus plébiscités par les comités de sélection et les jurys au fil des éditions du Festival.

La suite de l'article est à lire <a href="https://www.universcine.com/articles/cannes">ici</a>.

Cannes : les doubles Palmes d'or

Among the most enduring film stars of all time, 2024 marks 100 years since the birth of <a href="https://letterboxd.com/actor/marlon-brando/" rel="nofollow">Marlon Brando</a>. The time has never been better to celebrate the remarkable career of a legendary star with a selection of all-time great performances, perfect for planning a retrospective season.Lead the celebrations with a 4K restoration of <a href="https://boxd.it/29TC" rel="nofollow">On The Waterfront</a> (returning to cinemas from 5 April in time for its 70th anniversary) and <a href="https://boxd.it/JLq" rel="nofollow">The Fugitive Kind</a>, available with new poster artwork.<blockquote><a href="https://www.parkcircus.com/latest/P2753-Marlon-Brando-Centenary-Collection" rel="nofollow">Browse the full collection and get in touch to book now!</a></blockquote>Additional titles available to book include <a href="https://boxd.it/6ZS" rel="nofollow">Apocalypse Now</a>, <a href="https://boxd.it/29Mc" rel="nofollow">A Streetcar Named Desire</a>, <a href="https://boxd.it/1p0G" rel="nofollow">The Wild One</a>, <a href="https://boxd.it/1HHy" rel="nofollow">Julius Caesar</a>, <a href="https://boxd.it/2aNK" rel="nofollow">The Godfather</a>, <a href="https://boxd.it/28pw" rel="nofollow">Last Tango In Paris</a>, <a href="https://boxd.it/286O" rel="nofollow">Viva Zapata</a>, <a href="https://boxd.it/27Qm" rel="nofollow">Superman</a>, and many more.

Among the most enduring film stars of all time, 2024 marks 100 years since the birth of <a href="https://letterboxd.com/actor/marlon-brando/">Marlon Brando</a>. The time has never been better to celebrate the remarkable career of a legendary star with a selection of all-time great performances, perfect for planning a retrospective season.

Lead the celebrations with a 4K restoration of <a href="https://boxd.it/29TC">On The Waterfront</a> (returning to cinemas from 5 April in time for its 70th anniversary) and <a href="https://boxd.it/JLq">The Fugitive Kind</a>, available with new poster artwork.

<blockquote><a href="https://www.parkcircus.com/latest/P2753-Marlon-Brando-Centenary-Collection">Browse the full collection and get in touch to book now!</a></blockquote>

Additional titles available to book include <a href="https://boxd.it/6ZS">Apocalypse Now</a>, <a href="https://boxd.it/29Mc">A Streetcar Named Desire</a>, <a href="https://boxd.it/1p0G">The Wild One</a>, <a href="https://boxd.it/1HHy">Julius Caesar</a>, <a href="https://boxd.it/2aNK">The Godfather</a>, <a href="https://boxd.it/28pw">Last Tango In Paris</a>, <a href="https://boxd.it/286O">Viva Zapata</a>, <a href="https://boxd.it/27Qm">Superman</a>, and many more.

Marlon Brando 100 Collection

*This photo was provided by [Victor Jucá]. The Master from Brazil has arrived. Kleber Mendonça Filho's films reflect our time and life. The suspense of <a href="https://boxd.it/fSUG" rel="nofollow">[Bacurau]</a> and the drama of <a href="https://boxd.it/d6YQ" rel="nofollow">[Aquarius]</a> bring us to the journey into ourselves. Yes, those stories are definitely about Brazil, and definitely about other lives of perfect strangers. However, you will know what I am talking. If this is the first time watching his films, Congrats- You are lucky. Try watching his movies and his [MY LG OLED PLAYLIST] as well.<a href="https://boxd.it/2a6Q" rel="nofollow">Rear Window</a> I first saw Alfred Hitchcock’s Rear Window (1954) in 1986 on television, after a game Brazil won during the World Cup at that time. I saw Rear Window with my brother and my mother at home, she had seen it many years earlier and liked that film very much. In the film, when Grace Kelly goes up to the empty neighbor’s apartment not knowing that the neighbor is coming back, my mother sank her nails into my arm and into my brother’s arm and said “No!! Do something!!”. Well, I could not do anything, but to take my arm away from her nails and watch the scene. So many years have passed and I have now seen Rear Window in many different ways. On VHS, in the cinema in 35mm, on DVD, bluray and DCP. It is a film that might have taught me much about Cinema, about how the camera can be used, it showed me images of apartments and windows. And I love the Technicolor in this film and how James Stewart, Thelma Ritter and Grace Kelly are photographed. It is a fantastic film. <a href="https://boxd.it/169Y" rel="nofollow">The Cranes Are Flying</a> The Cranes Are Flying (1957), by Mikhail Kalatozov. This film is - at heart - a love story from the point of view of the Soviet Union during the Second World War. It is a rich point of view, considering that a lot of what the world has seen in cinema about WW2 has been told from the point of view of the United States and Hollywood. This is certainly the case of how we Brazilians were led to look at the war. If Cinema may be defined by the images we can not forget, The Cranes Are Flying is proof that films are quite unique in the way they are able to suggest images. The visual narrative comes from the social experience of loss and destruction at a time of war. Kalatozov balances romanticism with a strong poetic sense of historical violence and sadness. This is the one pick in black and white for this special list. These days, watching black and white films at home can be a beautiful thing with wonderful image quality, strong blacks and shadows. It really is an unforgettable Film. <a href="https://boxd.it/XCs" rel="nofollow">Pixote</a> Pixote (1981), directed by Hector Babenco, is a Brazilian masterpiece that should be more well known today. It is a heartbreaking film about children and youngsters who live on the streets of São Paulo and Rio de Janeiro, in and out of reform schools. I Believe it expands the way we look at life in society and in cities. The reality we see in this film is very much Brazilian and captured 40 years ago, bug it says a lot about youth in the world and it is timeless. The way it was shot, staged and acted by a cast mixing professionals and non professionals is impressive and dramatically devastating. A commercial success seen in cinemas by four million Brazilians at the time, Pixote was restored in 4K six years ago by the Film Foundation and Cineteca di Bologna, in Italy, with the assistance of the Brazilian Cinemateque. It is a picture that should be discovered by new audiences. Normally, those who see Pixote will take the film with them for life. <a href="https://boxd.it/6ZS" rel="nofollow">Apocalypse Now</a> Another film I have seen many times in so many different ways is Francis Coppola’s Apocalypse Now (1979). Besides being regarded as a true classic of cinema, and an artistic interpretation of the United States getting lost in the Vietnam war, this film has somehow remained a reference of image and sound for each new generation of audiovisual technology in the last 44 years, from Cinema 35mm and 70mm to home video on VHS, laserdisc, DVD, bluray, UHD 4K and streaming with HDR. Vitorio Storaro’s photography, Walter Murch’s sound work and the images realized by Coppola for this spectacular and very serious film have become part of Culture. The action, the music and its visual and aural poetry. The colours pop out, the blacks are deep and the film is a nightmare adventure of the sort we Will never be seeing again in the future. Simply put, films are just not made like this anymore. <a href="https://boxd.it/28ZY" rel="nofollow">The Host</a> I discovered Bong Joon Ho’s The Host (2006) at the Quinzaine des Realizateurs in the Festival de Cannes, it was a midnight screening. I did not have much information on what I was going to see, that’s how I usually see films in Cannes. It was a great screening, the audience reaction, the strong sound, the mix of realistic family melodrama, political commentary and all out Science Fiction Monster Movie. Very impressive special effects and a great movie by a Great Filmmaker. During the pandemic, I screened The Host to my two kids, they were 8 at the time. During the scene with the visit to the monster’s hiding place, I almost regretted the decision to show them the film, but they were brave enough and we had a great screening at home. A modern classic so full of life and imagination.  | Check out the full list on our Letterboxd <a href="https://boxd.it/qN8MA" rel="nofollow">here.</a>For more immersive movie watching experience, visit the LG OLED Website <a href="https://www.lg.com/us/oled-evo-tvs/?utm_source=letterboxd&amp;utm_medium=webpage&amp;utm_campaign=_he_tvs_oled-movie-club_subcat_x_x_20231211&amp;utm_content=dxp_en_x_webpage_x_x" rel="nofollow">here.</a>

*This photo was provided by [Victor Jucá].


The Master from Brazil has arrived. Kleber Mendonça Filho's films reflect our time and life. The suspense of <a href="https://boxd.it/fSUG">[Bacurau]</a> and the drama of <a href="https://boxd.it/d6YQ">[Aquarius]</a> bring us to the journey into ourselves. Yes, those stories are definitely about Brazil, and definitely about other lives of perfect strangers. However, you will know what I am talking. If this is the first time watching his films, Congrats- You are lucky. Try watching his movies and his [MY LG OLED PLAYLIST] as well.

<a href="https://boxd.it/2a6Q">Rear Window</a>
I first saw Alfred Hitchcock’s Rear Window (1954) in 1986 on television, after a game Brazil won during the World Cup at that time. I saw Rear Window with my brother and my mother at home, she had seen it many years earlier and liked that film very much. In the film, when Grace Kelly goes up to the empty neighbor’s apartment not knowing that the neighbor is coming back, my mother sank her nails into my arm and into my brother’s arm and said “No!! Do something!!”. Well, I could not do anything, but to take my arm away from her nails and watch the scene. So many years have passed and I have now seen Rear Window in many different ways. On VHS, in the cinema in 35mm, on DVD, bluray and DCP. It is a film that might have taught me much about Cinema, about how the camera can be used, it showed me images of apartments and windows. And I love the Technicolor in this film and how James Stewart, Thelma Ritter and Grace Kelly are photographed. It is a fantastic film. 

<a href="https://boxd.it/169Y">The Cranes Are Flying</a>
The Cranes Are Flying (1957), by Mikhail Kalatozov. This film is - at heart - a love story from the point of view of the Soviet Union during the Second World War. It is a rich point of view, considering that a lot of what the world has seen in cinema about WW2 has been told from the point of view of the United States and Hollywood. This is certainly the case of how we Brazilians were led to look at the war. If Cinema may be defined by the images we can not forget, The Cranes Are Flying is proof that films are quite unique in the way they are able to suggest images. The visual narrative comes from the social experience of loss and destruction at a time of war. Kalatozov balances romanticism with a strong poetic sense of historical violence and sadness. This is the one pick in black and white for this special list. These days, watching black and white films at home can be a beautiful thing with wonderful image quality, strong blacks and shadows. It really is an unforgettable Film. 

<a href="https://boxd.it/XCs">Pixote</a>
Pixote (1981), directed by Hector Babenco, is a Brazilian masterpiece that should be more well known today. It is a heartbreaking film about children and youngsters who live on the streets of São Paulo and Rio de Janeiro, in and out of reform schools. I Believe it expands the way we look at life in society and in cities. The reality we see in this film is very much Brazilian and captured 40 years ago, bug it says a lot about youth in the world and it is timeless. The way it was shot, staged and acted by a cast mixing professionals and non professionals is impressive and dramatically devastating. A commercial success seen in cinemas by four million Brazilians at the time, Pixote was restored in 4K six years ago by the Film Foundation and Cineteca di Bologna, in Italy, with the assistance of the Brazilian Cinemateque. It is a picture that should be discovered by new audiences. Normally, those who see Pixote will take the film with them for life. 

<a href="https://boxd.it/6ZS">Apocalypse Now</a>
Another film I have seen many times in so many different ways is Francis Coppola’s Apocalypse Now (1979). Besides being regarded as a true classic of cinema, and an artistic interpretation of the United States getting lost in the Vietnam war, this film has somehow remained a reference of image and sound for each new generation of audiovisual technology in the last 44 years, from Cinema 35mm and 70mm to home video on VHS, laserdisc, DVD, bluray, UHD 4K and streaming with HDR. Vitorio Storaro’s photography, Walter Murch’s sound work and the images realized by Coppola for this spectacular and very serious film have become part of Culture. The action, the music and its visual and aural poetry. The colours pop out, the blacks are deep and the film is a nightmare adventure of the sort we Will never be seeing again in the future. Simply put, films are just not made like this anymore. 

<a href="https://boxd.it/28ZY">The Host</a>
I discovered Bong Joon Ho’s The Host (2006) at the Quinzaine des Realizateurs in the Festival de Cannes, it was a midnight screening. I did not have much information on what I was going to see, that’s how I usually see films in Cannes. It was a great screening, the audience reaction, the strong sound, the mix of realistic family melodrama, political commentary and all out Science Fiction Monster Movie. Very impressive special effects and a great movie by a Great Filmmaker. During the pandemic, I screened The Host to my two kids, they were 8 at the time. During the scene with the visit to the monster’s hiding place, I almost regretted the decision to show them the film, but they were brave enough and we had a great screening at home. A modern classic so full of life and imagination. 



| Check out the full list on our Letterboxd <a href="https://boxd.it/qN8MA">here.</a>

For more immersive movie watching experience, visit the LG OLED Website <a href="https://www.lg.com/us/oled-evo-tvs/?utm_source=letterboxd&utm_medium=webpage&utm_campaign=_he_tvs_oled-movie-club_subcat_x_x_20231211&utm_content=dxp_en_x_webpage_x_x">here.</a>

My LG OLED Playlist - Episode 04. Kleber Mendonça Filho, The Master from Brazil

Draken Film utökar filmbiblioteket med hundra nya filmer under hösten, bland höjdpunkterna märks stora retrospektiv med filmregissörer som Jean-Pierre Melville och David Lynch, Abel Gances nyrestaurerade krigsepos Napoléon och kritikerfavoriter från det senaste året som Ti WestsX, Gaspar Noés Vortex och Asghar Farhadis A Hero.Under de senaste åren har Draken Film tagit plats som Sveriges ledande plattform för arthousefilm – i höst utökas katalogen ytterligare med ett hundratal handplockade filmer, allt från nyrestaurerade premiärer av några av filmhistoriens största klassiker till de senaste årens stora publikfavoriter från festivalvärlden. Under hösten presenteras också omfattande retrospektiv över filmskapare som David Lynch, Catherine Breillat, Jean-Pierre Melville, Jean-Luc Godard och Kira Muratova, samt exklusiva släpp av enskilda svåråtkomliga rariteter som Abel Gances Napoléon, George Sluizers Spoorloos och Nanni Morettis Ett rum i våra hjärtan.Här är höstens alla filmer på Draken Film:September <a href="https://boxd.it/y3Ky" rel="nofollow">Miss Viborg</a> (Marianne Blicher, 2022) <a href="https://boxd.it/27DC" rel="nofollow">Persepolis</a> (Marjane Satrapi, 2007) <a href="https://boxd.it/2bdy" rel="nofollow">Billy Elliot</a> (Stephen Daldry, 2000) <a href="https://boxd.it/1Vqw" rel="nofollow">Infernal Affairs </a>(Andrew Lau, Alan Mak 2000) <a href="https://boxd.it/1Tla" rel="nofollow">Infernal Affairs 2</a> (Andrew Lau, Alan Mak 2003) <a href="https://boxd.it/1Okw" rel="nofollow">Infernal Affairs 3</a> (Andrew Lau, Alan Mak 2003) <a href="https://boxd.it/27LQ" rel="nofollow">Elefantmannen</a> (David Lynch, 1980) <a href="https://boxd.it/2ass" rel="nofollow">The Straight Story</a> (David Lynch, 1999) <a href="https://boxd.it/297o" rel="nofollow">Mulholland Drive</a> (David Lynch, 2001) <a href="https://boxd.it/28d6" rel="nofollow">Inland Empire</a> (David Lynch, 2006) <a href="https://boxd.it/2c6I" rel="nofollow">The Ice Storm</a> (Ang Lee, 1997) <a href="https://boxd.it/1QzI" rel="nofollow">The Devil and Daniel Johnston</a> (Jeff Feuerzeig, 2005) <a href="https://boxd.it/23xA" rel="nofollow">Under sanden</a> (François Ozon, 2000) <a href="https://boxd.it/2aDU" rel="nofollow">Swimming Pool</a> (François Ozon, 2003) <a href="https://boxd.it/uWQy" rel="nofollow">Filmtjuven</a> (Pan Nalin, 2021) <a href="https://boxd.it/2b3I" rel="nofollow">O Brother, Where art Thou?</a> (Joel Coen &amp; Ethan Coen, 2000) <a href="https://boxd.it/5ePG" rel="nofollow">Finding Vivian Maier</a> (John Maloof &amp; Charlie Siskel, 2013) <a href="https://boxd.it/1KnG" rel="nofollow">The Wicker Man </a>(Robin Hardy, 1973) <a href="https://boxd.it/sxVa" rel="nofollow">X</a> (Ti West, 2022) <a href="https://boxd.it/k1HY" rel="nofollow">Color Out of Space</a> (Richard Stanley, 2019) <a href="https://boxd.it/29as" rel="nofollow">Irréversible</a> (Gaspar Noé, 2002) <a href="https://boxd.it/uoni" rel="nofollow">Vortex</a> (Gaspar Noé, 2021) <a href="https://boxd.it/1zNS" rel="nofollow">Green Zone</a> (Paul Greengrass, 2010) <a href="https://boxd.it/1nSw" rel="nofollow">Hålet</a> (Jacques Becker, 1960) <a href="https://boxd.it/2aMC" rel="nofollow">Om en pojke </a>(Chris Weitz &amp; Paul Weitz, 2002) <a href="https://boxd.it/6ZS" rel="nofollow">Apocalypse Now - Final Cut </a>(Francis Ford Coppola, 1979) <a href="https://boxd.it/24ai" rel="nofollow">Hearts of Darkness: A Filmmaker's Apocalypse</a> (Eleanor Coppola, 1991) <a href="https://boxd.it/1u4y" rel="nofollow">Romance</a> (Catherine Breillat, 1999) <a href="https://boxd.it/2a6w" rel="nofollow">Till min syster</a> (Catherine Breillat, 2001) <a href="https://boxd.it/4HC" rel="nofollow">The Sleeping Beauty</a> (Catherine Breillat, 2010)Oktober <a href="https://boxd.it/p2zw" rel="nofollow">A Hero </a>(Asghar Farhadi, 2021) <a href="https://boxd.it/qV5S" rel="nofollow">Mothering Sunday </a>(Eva Husson, 2021) <a href="https://boxd.it/1ZTW" rel="nofollow">Spoorloos</a> (George Sluizer, 1988) <a href="https://boxd.it/jY2o" rel="nofollow">Shirley</a> (Josephine Decker, 2020) <a href="https://boxd.it/1T6O" rel="nofollow">The Deer Hunter </a>(Michael Cimino, 1978) <a href="https://boxd.it/2aIK" rel="nofollow">Till sist andetaget</a> (Jean-Luc Godard, 1960) <a href="https://boxd.it/2aJe" rel="nofollow">Föraktet</a> (Jean-Luc Godard, 1963) <a href="https://boxd.it/20AG" rel="nofollow">Alphaville</a> (Jean-Luc Godard, 1965) <a href="https://boxd.it/26j2" rel="nofollow">Tokstollen</a> (Jean-Luc Godard, 1965) <a href="https://boxd.it/1WrU" rel="nofollow">Het sol</a> (René Clément, 1960) <a href="https://boxd.it/XDq" rel="nofollow">Två tyska systrar</a> (Margarethe von Trotta, 1981) <a href="https://boxd.it/299u" rel="nofollow">Eraserhead</a> (David Lynch, 1977) <a href="https://boxd.it/27Qw" rel="nofollow">Twin Peaks - Fire Walk with Me</a> (David Lynch, 1992) <a href="https://boxd.it/29Wc" rel="nofollow">Lost Highway </a>(David Lynch, 1997) Short Films of David Lynch (David Lynch, 2002) <a href="https://boxd.it/UDC" rel="nofollow">Prästmans dagbok </a>(Robert Bresson, 1951) <a href="https://boxd.it/WbK" rel="nofollow">Nunnan</a> (Jacques Rivette, 1966) <a href="https://boxd.it/1TI4" rel="nofollow">Frost/Nixon</a> (Ron Howard, 2008) <a href="https://boxd.it/1JnA" rel="nofollow">State of Play</a> (Kevin Macdonald, 2009) <a href="https://boxd.it/jHWa" rel="nofollow">Ema</a> (Pablo Larraín, 2019) <a href="https://boxd.it/29lK" rel="nofollow">Delikatessen</a> (Marc Caro, Jean-Pierre Jeunet, 1991) <a href="https://boxd.it/29k8" rel="nofollow">De förlorade barnens stad </a>(Marc Caro, Jean-Pierre Jeunet, 1995) <a href="https://boxd.it/294E" rel="nofollow">Den tredje mannen </a>(Carol Reed, 1949) <a href="https://boxd.it/1Utk" rel="nofollow">Peeping Tom</a> (Michael Powell, 1960) <a href="https://boxd.it/29J8" rel="nofollow">Shaun of the Dead </a>(Edgar Wright, 2004) <a href="https://boxd.it/27H0" rel="nofollow">My Blueberry Nights </a>(Wong Kar-wai, 2007) <a href="https://boxd.it/1TPE" rel="nofollow">Ett rum i våra hjärtan</a> (Nanni Moretti, 2001)   November <a href="https://boxd.it/ffyw" rel="nofollow">The Endless </a>(Justin Benson, 2017) <a href="https://boxd.it/oJtY" rel="nofollow">Kill It and Leave this Town</a> (Mariusz Wilczynski, 2020) <a href="https://boxd.it/oIuG" rel="nofollow">She Dies Tomorrow </a>(Amy Seimetz, 2020) <a href="https://boxd.it/n0wc" rel="nofollow">The Vigil </a>(Keith Thomas, 2019) <a href="https://boxd.it/d93S" rel="nofollow">The Void </a>(Jeremy Gillespie &amp; Steven Kostanski, 2016) <a href="https://boxd.it/1uC6" rel="nofollow">Bob le flambeur </a>(Jean-Pierre Melville, 1956) <a href="https://boxd.it/1CVg" rel="nofollow">Ställd mot väggen</a> (Jean-Pierre Melville, 1962) <a href="https://boxd.it/1Mli" rel="nofollow">Skuggornas armé</a> (Jean-Pierre Melville, 1969) <a href="https://boxd.it/1Tjy" rel="nofollow">Den röda cirkeln </a>(Jean-Pierre Melville, 1970) <a href="https://boxd.it/1W7A" rel="nofollow">Perfect Blue</a> (Satoshi Kon, 1970) <a href="https://boxd.it/1fK0" rel="nofollow">Millennium Actress</a> (Satoshi Kon, 2001) <a href="https://boxd.it/2VQw" rel="nofollow">Korta möten</a> (Kira Muratova, 1967) <a href="https://boxd.it/4I3q" rel="nofollow">Ett långt avsked</a> (Kira Muratova, 1971) <a href="https://boxd.it/1CoG" rel="nofollow">Feber</a> (Michelangelo Antonioni, 1962) <a href="https://boxd.it/1xJa" rel="nofollow">Emmanuelle</a> (Just Jaeckin, 1974) <a href="https://boxd.it/ard6" rel="nofollow">A Perfect Day </a>(Fernando León de Aranoa, 2015) <a href="https://boxd.it/29Uq" rel="nofollow">Dagfjärilen</a> (Luis Buñuel, 1967) <a href="https://boxd.it/1bPg" rel="nofollow">Tristana</a> (Luis Buñuel, 1970) <a href="https://boxd.it/2440" rel="nofollow">Borgarklassens diskreta charm</a> (Luis Buñuel, 1972) <a rel="nofollow">Frihetens fantom</a> (Luis Buñuel, 1974) <a href="https://boxd.it/22zg" rel="nofollow">Begärets dunkla mål </a>(Luis Buñuel, 1977) <a href="https://boxd.it/1nr6" rel="nofollow">The Juniper Tree</a> (Nietzchka Keene, 1990) <a href="https://boxd.it/24Qe" rel="nofollow">Ifjol i Marienbad </a>(Alain Resnais, 1961) <a href="https://boxd.it/29fC" rel="nofollow">Don't Look Now</a> (Nicolas Roeg, 1973) <a href="https://boxd.it/298w" rel="nofollow">The Man who Fell to Earth</a> (Nicolas Roeg, 1976) <a href="https://boxd.it/hXho" rel="nofollow">Toppen av ingenting</a> (Axel Petersén &amp; Måns Månsson, 2018) <a href="https://boxd.it/WEC" rel="nofollow">Napoleon Bonaparte</a> (Abel Gance, 1927) <a href="https://boxd.it/fELU" rel="nofollow">Piercing</a> (Nicolas Pesce, 2018) <a href="https://boxd.it/29E8" rel="nofollow">Semestersabotören</a> (Jacques Tati, 1953) <a href="https://boxd.it/2apy" rel="nofollow">Mon onke</a>l (Jacques Tati, 1958) <a href="https://boxd.it/1WLK" rel="nofollow">Playtime</a> (Jacques Tati, 1967) <a href="https://boxd.it/1TZu" rel="nofollow">Trafic</a> (Jacques Tati, 1971)December <a href="https://boxd.it/u0rA" rel="nofollow">Nitram</a> (Justin Kurzel, 2021) <a href="https://boxd.it/rZCy" rel="nofollow">Utsökt</a> (Éric Besnard, 2021) <a rel="nofollow">Ran</a> (Akira Kurosawa, 1985) <a href="https://boxd.it/dSDQ" rel="nofollow">A.K. Akira Kurosawa</a> (Chris Marker, 1985) <a href="https://boxd.it/n5W" rel="nofollow">Pina</a> (Wim Wenders, 2011) <a href="https://boxd.it/byHO" rel="nofollow">Reverse Angle: Ein brief aus New York</a> (Wim Wenders, 1982) <a href="https://boxd.it/28So" rel="nofollow">Shortbus</a> (John Cameron Mitchell, 2006) <a href="https://boxd.it/22kK" rel="nofollow">Papillon</a> (Franklin J. Schaffner, 1973) <a rel="nofollow">Den stora illusionen</a> (Jean Renoir, 1937) <a href="https://boxd.it/13RS" rel="nofollow">Boy</a> (Taika Waititi, 2010) <a href="https://boxd.it/1ZSY" rel="nofollow">Eagle vs Shark</a> (Taika Waititi, 2007) <a href="https://boxd.it/1rWi" rel="nofollow">Hjärta av glas</a> (Werner Herzog, 1976) <a href="https://boxd.it/1WlM" rel="nofollow">The Player </a>(Robert Altman, 1992) <a href="https://boxd.it/hDMw" rel="nofollow">Blindspotting</a> (Carlos López Estrada, 2018) <a href="https://boxd.it/1F7e" rel="nofollow">Cabirias nätter</a> (Federico Fellini, 1957) <a href="https://boxd.it/22qS" rel="nofollow">In the Realm of the Senses </a>(Nagisa Ôshima, 1976) <a href="https://boxd.it/GSS" rel="nofollow">Empire of Passion</a> (Nagisa Ôshima, 1978) <a href="https://boxd.it/2CGW" rel="nofollow">Poor Cow (</a>Ken Loach, 1967) <a rel="nofollow">Sword of Trust</a> (Lynn Shelton, 2019)

Draken Film utökar filmbiblioteket med hundra nya filmer under hösten, bland höjdpunkterna märks stora retrospektiv med filmregissörer som Jean-Pierre Melville och David Lynch, Abel Gances nyrestaurerade krigsepos Napoléon och kritikerfavoriter från det senaste året som Ti WestsX, Gaspar Noés Vortex och Asghar Farhadis A Hero.

Under de senaste åren har Draken Film tagit plats som Sveriges ledande plattform för arthousefilm – i höst utökas katalogen ytterligare med ett hundratal handplockade filmer, allt från nyrestaurerade premiärer av några av filmhistoriens största klassiker till de senaste årens stora publikfavoriter från festivalvärlden. Under hösten presenteras också omfattande retrospektiv över filmskapare som David Lynch, Catherine Breillat, Jean-Pierre Melville, Jean-Luc Godard och Kira Muratova, samt exklusiva släpp av enskilda svåråtkomliga rariteter som Abel Gances Napoléon, George Sluizers Spoorloos och Nanni Morettis Ett rum i våra hjärtan.

Här är höstens alla filmer på Draken Film:

September
<a href="https://boxd.it/y3Ky">Miss Viborg</a> (Marianne Blicher, 2022)
<a href="https://boxd.it/27DC">Persepolis</a> (Marjane Satrapi, 2007)
<a href="https://boxd.it/2bdy">Billy Elliot</a> (Stephen Daldry, 2000)
<a href="https://boxd.it/1Vqw">Infernal Affairs </a>(Andrew Lau, Alan Mak 2000)
<a href="https://boxd.it/1Tla">Infernal Affairs 2</a> (Andrew Lau, Alan Mak 2003)
<a href="https://boxd.it/1Okw">Infernal Affairs 3</a> (Andrew Lau, Alan Mak 2003)
<a href="https://boxd.it/27LQ">Elefantmannen</a> (David Lynch, 1980)
<a href="https://boxd.it/2ass">The Straight Story</a> (David Lynch, 1999)
<a href="https://boxd.it/297o">Mulholland Drive</a> (David Lynch, 2001)
<a href="https://boxd.it/28d6">Inland Empire</a> (David Lynch, 2006)
<a href="https://boxd.it/2c6I">The Ice Storm</a> (Ang Lee, 1997)
<a href="https://boxd.it/1QzI">The Devil and Daniel Johnston</a> (Jeff Feuerzeig, 2005)
<a href="https://boxd.it/23xA">Under sanden</a> (François Ozon, 2000)
<a href="https://boxd.it/2aDU">Swimming Pool</a> (François Ozon, 2003)
<a href="https://boxd.it/uWQy">Filmtjuven</a> (Pan Nalin, 2021)
<a href="https://boxd.it/2b3I">O Brother, Where art Thou?</a> (Joel Coen & Ethan Coen, 2000)
<a href="https://boxd.it/5ePG">Finding Vivian Maier</a> (John Maloof & Charlie Siskel, 2013)
<a href="https://boxd.it/1KnG">The Wicker Man </a>(Robin Hardy, 1973)
<a href="https://boxd.it/sxVa">X</a> (Ti West, 2022)
<a href="https://boxd.it/k1HY">Color Out of Space</a> (Richard Stanley, 2019)
<a href="https://boxd.it/29as">Irréversible</a> (Gaspar Noé, 2002)
<a href="https://boxd.it/uoni">Vortex</a> (Gaspar Noé, 2021)
<a href="https://boxd.it/1zNS">Green Zone</a> (Paul Greengrass, 2010)
<a href="https://boxd.it/1nSw">Hålet</a> (Jacques Becker, 1960)
<a href="https://boxd.it/2aMC">Om en pojke </a>(Chris Weitz & Paul Weitz, 2002)
<a href="https://boxd.it/6ZS">Apocalypse Now - Final Cut </a>(Francis Ford Coppola, 1979)
<a href="https://boxd.it/24ai">Hearts of Darkness: A Filmmaker's Apocalypse</a> (Eleanor Coppola, 1991)
<a href="https://boxd.it/1u4y">Romance</a> (Catherine Breillat, 1999)
<a href="https://boxd.it/2a6w">Till min syster</a> (Catherine Breillat, 2001)
<a href="https://boxd.it/4HC">The Sleeping Beauty</a> (Catherine Breillat, 2010)

Oktober
<a href="https://boxd.it/p2zw">A Hero </a>(Asghar Farhadi, 2021)
<a href="https://boxd.it/qV5S">Mothering Sunday </a>(Eva Husson, 2021)
<a href="https://boxd.it/1ZTW">Spoorloos</a> (George Sluizer, 1988)
<a href="https://boxd.it/jY2o">Shirley</a> (Josephine Decker, 2020)
<a href="https://boxd.it/1T6O">The Deer Hunter </a>(Michael Cimino, 1978)
<a href="https://boxd.it/2aIK">Till sist andetaget</a> (Jean-Luc Godard, 1960)
<a href="https://boxd.it/2aJe">Föraktet</a> (Jean-Luc Godard, 1963)
<a href="https://boxd.it/20AG">Alphaville</a> (Jean-Luc Godard, 1965)
<a href="https://boxd.it/26j2">Tokstollen</a> (Jean-Luc Godard, 1965)
<a href="https://boxd.it/1WrU">Het sol</a> (René Clément, 1960)
<a href="https://boxd.it/XDq">Två tyska systrar</a> (Margarethe von Trotta, 1981)
<a href="https://boxd.it/299u">Eraserhead</a> (David Lynch, 1977)
<a href="https://boxd.it/27Qw">Twin Peaks - Fire Walk with Me</a> (David Lynch, 1992)
<a href="https://boxd.it/29Wc">Lost Highway </a>(David Lynch, 1997)
Short Films of David Lynch (David Lynch, 2002)
<a href="https://boxd.it/UDC">Prästmans dagbok </a>(Robert Bresson, 1951)
<a href="https://boxd.it/WbK">Nunnan</a> (Jacques Rivette, 1966)
<a href="https://boxd.it/1TI4">Frost/Nixon</a> (Ron Howard, 2008)
<a href="https://boxd.it/1JnA">State of Play</a> (Kevin Macdonald, 2009)
<a href="https://boxd.it/jHWa">Ema</a> (Pablo Larraín, 2019)
<a href="https://boxd.it/29lK">Delikatessen</a> (Marc Caro, Jean-Pierre Jeunet, 1991)
<a href="https://boxd.it/29k8">De förlorade barnens stad </a>(Marc Caro, Jean-Pierre Jeunet, 1995)
<a href="https://boxd.it/294E">Den tredje mannen </a>(Carol Reed, 1949)
<a href="https://boxd.it/1Utk">Peeping Tom</a> (Michael Powell, 1960)
<a href="https://boxd.it/29J8">Shaun of the Dead </a>(Edgar Wright, 2004)
<a href="https://boxd.it/27H0">My Blueberry Nights </a>(Wong Kar-wai, 2007)
<a href="https://boxd.it/1TPE">Ett rum i våra hjärtan</a> (Nanni Moretti, 2001)
 
November
<a href="https://boxd.it/ffyw">The Endless </a>(Justin Benson, 2017)
<a href="https://boxd.it/oJtY">Kill It and Leave this Town</a> (Mariusz Wilczynski, 2020)
<a href="https://boxd.it/oIuG">She Dies Tomorrow </a>(Amy Seimetz, 2020)
<a href="https://boxd.it/n0wc">The Vigil </a>(Keith Thomas, 2019)
<a href="https://boxd.it/d93S">The Void </a>(Jeremy Gillespie & Steven Kostanski, 2016)
<a href="https://boxd.it/1uC6">Bob le flambeur </a>(Jean-Pierre Melville, 1956)
<a href="https://boxd.it/1CVg">Ställd mot väggen</a> (Jean-Pierre Melville, 1962)
<a href="https://boxd.it/1Mli">Skuggornas armé</a> (Jean-Pierre Melville, 1969)
<a href="https://boxd.it/1Tjy">Den röda cirkeln </a>(Jean-Pierre Melville, 1970)
<a href="https://boxd.it/1W7A">Perfect Blue</a> (Satoshi Kon, 1970)
<a href="https://boxd.it/1fK0">Millennium Actress</a> (Satoshi Kon, 2001)
<a href="https://boxd.it/2VQw">Korta möten</a> (Kira Muratova, 1967)
<a href="https://boxd.it/4I3q">Ett långt avsked</a> (Kira Muratova, 1971)
<a href="https://boxd.it/1CoG">Feber</a> (Michelangelo Antonioni, 1962)
<a href="https://boxd.it/1xJa">Emmanuelle</a> (Just Jaeckin, 1974)
<a href="https://boxd.it/ard6">A Perfect Day </a>(Fernando León de Aranoa, 2015)
<a href="https://boxd.it/29Uq">Dagfjärilen</a> (Luis Buñuel, 1967)
<a href="https://boxd.it/1bPg">Tristana</a> (Luis Buñuel, 1970)
<a href="https://boxd.it/2440">Borgarklassens diskreta charm</a> (Luis Buñuel, 1972)
<a href="Frihetens fantom">Frihetens fantom</a> (Luis Buñuel, 1974)
<a href="https://boxd.it/22zg">Begärets dunkla mål </a>(Luis Buñuel, 1977)
<a href="https://boxd.it/1nr6">The Juniper Tree</a> (Nietzchka Keene, 1990)
<a href="https://boxd.it/24Qe">Ifjol i Marienbad </a>(Alain Resnais, 1961)
<a href="https://boxd.it/29fC">Don't Look Now</a> (Nicolas Roeg, 1973)
<a href="https://boxd.it/298w">The Man who Fell to Earth</a> (Nicolas Roeg, 1976)
<a href="https://boxd.it/hXho">Toppen av ingenting</a> (Axel Petersén & Måns Månsson, 2018)
<a href="https://boxd.it/WEC">Napoleon Bonaparte</a> (Abel Gance, 1927)
<a href="https://boxd.it/fELU">Piercing</a> (Nicolas Pesce, 2018)
<a href="https://boxd.it/29E8">Semestersabotören</a> (Jacques Tati, 1953)
<a href="https://boxd.it/2apy">Mon onke</a>l (Jacques Tati, 1958)
<a href="https://boxd.it/1WLK">Playtime</a> (Jacques Tati, 1967)
<a href="https://boxd.it/1TZu">Trafic</a> (Jacques Tati, 1971)

December
<a href="https://boxd.it/u0rA">Nitram</a> (Justin Kurzel, 2021)
<a href="https://boxd.it/rZCy">Utsökt</a> (Éric Besnard, 2021)
<a href="Ran">Ran</a> (Akira Kurosawa, 1985)
<a href="https://boxd.it/dSDQ">A.K. Akira Kurosawa</a> (Chris Marker, 1985)
<a href="https://boxd.it/n5W">Pina</a> (Wim Wenders, 2011)
<a href="https://boxd.it/byHO">Reverse Angle: Ein brief aus New York</a> (Wim Wenders, 1982)
<a href="https://boxd.it/28So">Shortbus</a> (John Cameron Mitchell, 2006)
<a href="https://boxd.it/22kK">Papillon</a> (Franklin J. Schaffner, 1973)
<a href="Den stora illusionen">Den stora illusionen</a> (Jean Renoir, 1937)
<a href="https://boxd.it/13RS">Boy</a> (Taika Waititi, 2010)
<a href="https://boxd.it/1ZSY">Eagle vs Shark</a> (Taika Waititi, 2007)
<a href="https://boxd.it/1rWi">Hjärta av glas</a> (Werner Herzog, 1976)
<a href="https://boxd.it/1WlM">The Player </a>(Robert Altman, 1992)
<a href="https://boxd.it/hDMw">Blindspotting</a> (Carlos López Estrada, 2018)
<a href="https://boxd.it/1F7e">Cabirias nätter</a> (Federico Fellini, 1957)
<a href="https://boxd.it/22qS">In the Realm of the Senses </a>(Nagisa Ôshima, 1976)
<a href="https://boxd.it/GSS">Empire of Passion</a> (Nagisa Ôshima, 1978)
<a href="https://boxd.it/2CGW">Poor Cow (</a>Ken Loach, 1967)
<a href="Sword of Trust">Sword of Trust</a> (Lynn Shelton, 2019)

Hundra nya filmer på Draken Film i höst

<h3>As Celine Song's Past Lives reaches VOD, its stars—Teo Yoo, Greta Lee and John Magaro—whip through their four favorite movies each, until one of them simply could not stop naming more. </h3>Asking for four favorite movies spooks some folks more than others—the cast of <a href="https://boxd.it/oNB8" rel="nofollow">Past Lives</a> did their best, but don't take it as gospel. For Teo Yoo, who plays Hae-sung in Celine Song's gorgeous debut feature, it's his "four favorites" of the day. Today, it's Wong Kar-wai forever, and a special shoutout for the recent Nicolas Cage beauty, <a href="https://boxd.it/nzoW" rel="nofollow">Pig</a>. Greta Lee rises to the challenge with expected wit, with a nod to Armando Ianucci's satire <a href="https://boxd.it/ea9Y" rel="nofollow">The Death of Stalin</a> (which is "tonally, exactly like our movie Past Lives," she jokes) and also to <a href="https://boxd.it/1YBi" rel="nofollow">Kung Fu Hustle</a>. For the third cast member John Magaro... it's a little bit trickier. <a href="https://boxd.it/2ahO" rel="nofollow">The Seventh Seal</a> and <a href="https://boxd.it/6ZS" rel="nofollow">Apocalypse Now</a>, so far, so good... but for the rest, you'll have to watch the video above. And never let Greta Lee choose any of your own favorite movies.For more in-depth conversation about this beautiful story, head over to Journal to both <a href="https://boxd.it/1wK" rel="nofollow">read Mia Lee Vicino's conversation with Celine Song</a>, as well as <a href="https://www.podchaser.com/podcasts/the-letterboxd-show-1110164/episodes/past-lives-with-celine-song-177110504" rel="nofollow">their podcast episode</a> as well—or you could just rewatch Past Lives, on VOD in the US now. And don't worry—a UK release is on the way so soon, via Studiocanal on September 8.

<h3>As Celine Song's Past Lives reaches VOD, its stars—Teo Yoo, Greta Lee and John Magaro—whip through their four favorite movies each, until one of them simply could not stop naming more. </h3>

Asking for four favorite movies spooks some folks more than others—the cast of <a href="https://boxd.it/oNB8">Past Lives</a> did their best, but don't take it as gospel. For Teo Yoo, who plays Hae-sung in Celine Song's gorgeous debut feature, it's his "four favorites" of the day. Today, it's Wong Kar-wai forever, and a special shoutout for the recent Nicolas Cage beauty, <a href="https://boxd.it/nzoW">Pig</a>. 

Greta Lee rises to the challenge with expected wit, with a nod to Armando Ianucci's satire <a href="https://boxd.it/ea9Y">The Death of Stalin</a> (which is "tonally, exactly like our movie Past Lives," she jokes) and also to <a href="https://boxd.it/1YBi">Kung Fu Hustle</a>. 

For the third cast member John Magaro... it's a little bit trickier. <a href="https://boxd.it/2ahO">The Seventh Seal</a> and <a href="https://boxd.it/6ZS">Apocalypse Now</a>, so far, so good... but for the rest, you'll have to watch the video above. And never let Greta Lee choose any of your own favorite movies.

For more in-depth conversation about this beautiful story, head over to Journal to both <a href="https://boxd.it/1wK">read Mia Lee Vicino's conversation with Celine Song</a>, as well as <a href="https://www.podchaser.com/podcasts/the-letterboxd-show-1110164/episodes/past-lives-with-celine-song-177110504">their podcast episode</a> as well—or you could just rewatch Past Lives, on VOD in the US now. 

And don't worry—a UK release is on the way so soon, via Studiocanal on September 8.

The cast of Past Lives try to tell us their four favorite movies

<h3>Unicorn Wars director Alberto Vázquez explains the bloody military mayhem of his Bambi-meets-Apocalypse Now war-epic, forest-survival movies, and working with friends.</h3>Bear witness to <a href="https://boxd.it/lBma" rel="nofollow">Unicorn Wars</a>, a harsh and bloody anti-war film told from the perspective of cute, heavily indoctrinated teddies in a war against those mythical horses. The war is presented as a righteous one by the bears’ leaders and religious figureheads, but is in fact a simple resource grab. Out on digital VOD this month, Unicorn Wars follows bear cub cadets as they train for their mission: two brothers join a group of inexperienced soldiers all about to be sent off to a horrifying war front in the Magic Forest. Dubbed “total nihilism in psychedlic rainbow hues” by Letterboxd member <a href="https://boxd.it/3Z2ri9" rel="nofollow">Charles Reece</a>, the combat chiller landed in twentieth position on the <a href="https://boxd.it/fnogk" rel="nofollow">official top 50 horror films of 2022</a> after festival screenings and a Spanish release.  “I’m so happy the characters were teddy bears cause I would’ve been fucking terrified otherwise,” <a href="https://boxd.it/2VSD0V" rel="nofollow">writes Jules</a>. Others have made comparisons to explain the stark contrasts at play, with <a href="https://boxd.it/3g6wEx" rel="nofollow">Guibob stating</a>: “It was like watching Happy Tree Friends [crossed] with the war chapter in the game Conker’s Bad Fur Day”; and <a href="https://boxd.it/402z5B" rel="nofollow">Michelle writing</a> that “the first third of the film has a <a href="https://boxd.it/1Uho" rel="nofollow">Care Bears</a> meets<a href="https://boxd.it/2a1Q" rel="nofollow"> Full Metal Jacket</a> (1987) feel to it.”Such contrast is a signature of Galician director Alberto Vázquez, who previously made a visually striking anti-war story in the short film <a href="https://boxd.it/qEWK" rel="nofollow">Homeless Home</a> (which won a jury award at Annecy—you can <a href="https://www.youtube.com/watch?v=8L0IuywROtE" rel="nofollow">watch it online here</a>) as well as the 2015 feature, <a href="https://boxd.it/cj8w" rel="nofollow">Birdboy: The Forgotten Children</a>, a similarly macabre adaptation of his own comic work and subsequent short film. The filmmaker’s work has earned him three Goya awards in Spain alone, including this year’s Goya for best animated feature film for Unicorn Wars.  &lt;h4&gt;&lt;/h4&gt; Much of the cartoonist and filmmaker’s work in animation is told through the visages of cutesy animal characters, perhaps in some kind of deference to <a href="https://boxd.it/1SYg" rel="nofollow">Watership Down</a> (one film that he brings up among those that left a lasting impact on him), or a subversion of the Disney pictures of his youth. Letterboxd’s Kambole Campbell spoke to Vázquez (via a translator) about making <a href="https://boxd.it/6ZS" rel="nofollow">Apocalypse Now</a> for cartoon teddy bears, his early inspirations and learning on the job. <h3><a href="https://boxd.it/1oQ" rel="nofollow">Read the full interview on Journal.</a></h3>

<h3>Unicorn Wars director Alberto Vázquez explains the bloody military mayhem of his Bambi-meets-Apocalypse Now war-epic, forest-survival movies, and working with friends.</h3>

Bear witness to <a href="https://boxd.it/lBma">Unicorn Wars</a>, a harsh and bloody anti-war film told from the perspective of cute, heavily indoctrinated teddies in a war against those mythical horses. The war is presented as a righteous one by the bears’ leaders and religious figureheads, but is in fact a simple resource grab. 

Out on digital VOD this month, Unicorn Wars follows bear cub cadets as they train for their mission: two brothers join a group of inexperienced soldiers all about to be sent off to a horrifying war front in the Magic Forest. Dubbed “total nihilism in psychedlic rainbow hues” by Letterboxd member <a href="https://boxd.it/3Z2ri9">Charles Reece</a>, the combat chiller landed in twentieth position on the <a href="https://boxd.it/fnogk">official top 50 horror films of 2022</a> after festival screenings and a Spanish release. 
“I’m so happy the characters were teddy bears cause I would’ve been fucking terrified otherwise,” <a href="https://boxd.it/2VSD0V">writes Jules</a>. Others have made comparisons to explain the stark contrasts at play, with <a href="https://boxd.it/3g6wEx">Guibob stating</a>: “It was like watching Happy Tree Friends [crossed] with the war chapter in the game Conker’s Bad Fur Day”; and <a href="https://boxd.it/402z5B">Michelle writing</a> that “the first third of the film has a <a href="https://boxd.it/1Uho">Care Bears</a> meets<a href="https://boxd.it/2a1Q"> Full Metal Jacket</a> (1987) feel to it.”

Such contrast is a signature of Galician director Alberto Vázquez, who previously made a visually striking anti-war story in the short film <a href="https://boxd.it/qEWK">Homeless Home</a> (which won a jury award at Annecy—you can <a href="https://www.youtube.com/watch?v=8L0IuywROtE">watch it online here</a>) as well as the 2015 feature, <a href="https://boxd.it/cj8w">Birdboy: The Forgotten Children</a>, a similarly macabre adaptation of his own comic work and subsequent short film. The filmmaker’s work has earned him three Goya awards in Spain alone, including this year’s Goya for best animated feature film for Unicorn Wars. 
<h4></h4>
Much of the cartoonist and filmmaker’s work in animation is told through the visages of cutesy animal characters, perhaps in some kind of deference to <a href="https://boxd.it/1SYg">Watership Down</a> (one film that he brings up among those that left a lasting impact on him), or a subversion of the Disney pictures of his youth. Letterboxd’s Kambole Campbell spoke to Vázquez (via a translator) about making <a href="https://boxd.it/6ZS">Apocalypse Now</a> for cartoon teddy bears, his early inspirations and learning on the job. 

<h3><a href="https://boxd.it/1oQ">Read the full interview on Journal.</a></h3>

Alberto Vázquez on the cuddly terror of Unicorn Wars

The Catalan provocateur delves into the unique process of creating his new film about imperialism and nuclear paranoia in Tahiti.By <a href="https://mubi.com/notebook/posts/author/266?utm_source=letterboxd&amp;utm_medium=social&amp;utm_campaign=letterboxdhq_notebook" rel="nofollow">Christopher Small</a>Pitched somewhere between Apocalypse<a href="https://boxd.it/6ZS" rel="nofollow"> </a>Now (1979), the early films of Alan J. Pakula, and Jacques Rivette’s Noroît (1976), Albert Serra’s loose, languorous 165-minute <a href="https://boxd.it/pOfa" rel="nofollow">Pacifiction</a> is, like all of the miscellania he has produced for cinema and elsewhere over the years, unlike anything else you can get your eyes on. Tedious, enchanting, and overlong, Serra’s magical, Graham Greene-like follow-up to <a href="https://boxd.it/lXB2" rel="nofollow">Liberté</a> (2019) is another diametric opposite in a career built on decisive variations and provocative contrasts. Serra’s orgiastic last film began with the slowly fading light of sunset and ended with it reappearing with the rising of the sun; in between, masked libertines tugged clumsily and fitfully at each other’s organs in lick-after-lick, grind-after-grind, and fuck-after-fuck of a protracted outdoor sex bonanza. That film was set entirely within the confines of a forest, in which aristocrats first elaborate on their most depraved sexual fantasies and then bask in some version of them. In the ever-expanding narrative of Pacifiction, a French politician (Benoît Magimel) struts around Tahiti, embroils himself in local disputes, and becomes increasingly paranoid over whether his government is hiding nuclear submarines off the coast (pacific fiction—get it?), the presence of which would be particularly foreboding given the history of nuclear testing in Polynesia the 20th century. In a reversal of Liberté, the interioristic fantasy (now paranoid and political and largely not sexual in nature) follows the physicality: at some point, quotidian practicalities (sinister political wheeling and dealing) gives way to a phantasmagorical world of irrepressible paranoid delusion.As is always the case in Serra, everything is loose and extreme: protracted stretches of uncanniness, portentously suggestive, improvised conversation, and an uneasily peaceful air of quiet—something, as Serra remarked in our conversation, exacerbated by the strictures imposed on a shoot that took place during the pandemic and evidently capitalized upon by the director—intermingled with spasmodic, ungainly, often thrilling bursts of action. After premiering in the Cannes Competition in May, Pacifiction then made its way along the coast to FIDMarseille, where it was the centerpiece of the seven-part retrospective “Albert Serra en libertés!” Against the backdrop of his previous films, with the single settings of Liberté and <a href="https://boxd.it/cTOo" rel="nofollow">The Death of Louis XIV</a> (2016), and the late medieval and early Renaissance settings of virtually all his other films, Serra’s shift to Pacifiction’s expansive environs of the Polynesian archipelago and delirious vision of the present day is startling. But the inclusion in Marseille’s retrospective of the lesser-known, thirteen-hour Warholian sitcom <a href="https://boxd.it/d31m" rel="nofollow">Singularity</a> (2015), originally produced as a multiscreen installation for the Venice Biennale, and his road movie about the shooting of <a href="https://boxd.it/31vY" rel="nofollow">Honor de cavalleria</a> (2006), the present-day-set <a href="https://boxd.it/6NLG" rel="nofollow">The Lord Worked Wonders in Me</a> (2011), belies the notion that Serra’s turn away from historical films is as unexpected as the director wryly suggests when he remarks that he made a change simply because he “got bored.” In Serra, the edge of failure must be aggressively courted, requiring constant shifts, breaks, adjustments, twists, and turns. Setting a film in the past or in the present for him is a matter more of texture than of cogent ideas or of intent; Pacifiction’s singular mood may have been spontaneously arrived at, but the intoxicating residue it leaves behind as a viewing experience is one difficult to shake off.I spoke with the Catalan director about Pacifiction in an extended conversation following his retrospective at FIDMarseille. Among other things, we discussed his decision to set the film in Tahiti, about his Frederick Wiseman-like accumulation of material inside a fictional apparatus, and how not even the best editor in the world could have improved any of his films.NOTEBOOK: Why Polynesia?ALBERT SERRA: Frankly, I don’t know. What I know for sure is that I wanted an exotic location; I wanted to deal with the subject of a politician, a representative of the state, but at the same time I thought it would be boring to put it in an urban context, bureaucratic buildings, whatever. That would be a little too serious. So I said OK, let’s try to escape this documentary-like, conventional approach. Let’s create something a bit more artificial, something artificial in itself—decorative, also in the possible negative sense of the word. Something that is a little superficial, maybe. But it works, it’s exotic, a little bit extravagant. I like these colonies, or ex-colonies: all the contrasts, all the problems that we see, or that we have the intuition that are there. In these countries, these things are more visible from a graphic point of view. There isn’t so much of a middle class. Very poor people. I like to put it in this fantasy context and also a little bit more tense than if it was in a more normal political situation in a more familiar place. To escape to the bourgeois side of these kinds of images, more specifically. Continue reading <a href="https://mubi.com/notebook/posts/on-the-edge-of-failure-albert-serra-discusses-pacifiction?utm_source=letterboxd&amp;utm_medium=social&amp;utm_campaign=letterboxdhq_notebook" rel="nofollow">here</a>.

The Catalan provocateur delves into the unique process of creating his new film about imperialism and nuclear paranoia in Tahiti.

By <a href="https://mubi.com/notebook/posts/author/266?utm_source=letterboxd&utm_medium=social&utm_campaign=letterboxdhq_notebook">Christopher Small</a>

Pitched somewhere between Apocalypse<a href="https://boxd.it/6ZS"> </a>Now (1979), the early films of Alan J. Pakula, and Jacques Rivette’s Noroît (1976), Albert Serra’s loose, languorous 165-minute <a href="https://boxd.it/pOfa">Pacifiction</a> is, like all of the miscellania he has produced for cinema and elsewhere over the years, unlike anything else you can get your eyes on. Tedious, enchanting, and overlong, Serra’s magical, Graham Greene-like follow-up to <a href="https://boxd.it/lXB2">Liberté</a> (2019) is another diametric opposite in a career built on decisive variations and provocative contrasts. Serra’s orgiastic last film began with the slowly fading light of sunset and ended with it reappearing with the rising of the sun; in between, masked libertines tugged clumsily and fitfully at each other’s organs in lick-after-lick, grind-after-grind, and fuck-after-fuck of a protracted outdoor sex bonanza. That film was set entirely within the confines of a forest, in which aristocrats first elaborate on their most depraved sexual fantasies and then bask in some version of them. In the ever-expanding narrative of Pacifiction, a French politician (Benoît Magimel) struts around Tahiti, embroils himself in local disputes, and becomes increasingly paranoid over whether his government is hiding nuclear submarines off the coast (pacific fiction—get it?), the presence of which would be particularly foreboding given the history of nuclear testing in Polynesia the 20th century. In a reversal of Liberté, the interioristic fantasy (now paranoid and political and largely not sexual in nature) follows the physicality: at some point, quotidian practicalities (sinister political wheeling and dealing) gives way to a phantasmagorical world of irrepressible paranoid delusion.

As is always the case in Serra, everything is loose and extreme: protracted stretches of uncanniness, portentously suggestive, improvised conversation, and an uneasily peaceful air of quiet—something, as Serra remarked in our conversation, exacerbated by the strictures imposed on a shoot that took place during the pandemic and evidently capitalized upon by the director—intermingled with spasmodic, ungainly, often thrilling bursts of action. After premiering in the Cannes Competition in May, Pacifiction then made its way along the coast to FIDMarseille, where it was the centerpiece of the seven-part retrospective “Albert Serra en libertés!” Against the backdrop of his previous films, with the single settings of Liberté and <a href="https://boxd.it/cTOo">The Death of Louis XIV</a> (2016), and the late medieval and early Renaissance settings of virtually all his other films, Serra’s shift to Pacifiction’s expansive environs of the Polynesian archipelago and delirious vision of the present day is startling. But the inclusion in Marseille’s retrospective of the lesser-known, thirteen-hour Warholian sitcom <a href="https://boxd.it/d31m">Singularity</a> (2015), originally produced as a multiscreen installation for the Venice Biennale, and his road movie about the shooting of <a href="https://boxd.it/31vY">Honor de cavalleria</a> (2006), the present-day-set <a href="https://boxd.it/6NLG">The Lord Worked Wonders in Me</a> (2011), belies the notion that Serra’s turn away from historical films is as unexpected as the director wryly suggests when he remarks that he made a change simply because he “got bored.” In Serra, the edge of failure must be aggressively courted, requiring constant shifts, breaks, adjustments, twists, and turns. Setting a film in the past or in the present for him is a matter more of texture than of cogent ideas or of intent; Pacifiction’s singular mood may have been spontaneously arrived at, but the intoxicating residue it leaves behind as a viewing experience is one difficult to shake off.

I spoke with the Catalan director about Pacifiction in an extended conversation following his retrospective at FIDMarseille. Among other things, we discussed his decision to set the film in Tahiti, about his Frederick Wiseman-like accumulation of material inside a fictional apparatus, and how not even the best editor in the world could have improved any of his films.

NOTEBOOK: Why Polynesia?

ALBERT SERRA: Frankly, I don’t know. What I know for sure is that I wanted an exotic location; I wanted to deal with the subject of a politician, a representative of the state, but at the same time I thought it would be boring to put it in an urban context, bureaucratic buildings, whatever. That would be a little too serious. So I said OK, let’s try to escape this documentary-like, conventional approach. Let’s create something a bit more artificial, something artificial in itself—decorative, also in the possible negative sense of the word. Something that is a little superficial, maybe. But it works, it’s exotic, a little bit extravagant. I like these colonies, or ex-colonies: all the contrasts, all the problems that we see, or that we have the intuition that are there. In these countries, these things are more visible from a graphic point of view. There isn’t so much of a middle class. Very poor people. I like to put it in this fantasy context and also a little bit more tense than if it was in a more normal political situation in a more familiar place. To escape to the bourgeois side of these kinds of images, more specifically. 

Continue reading <a href="https://mubi.com/notebook/posts/on-the-edge-of-failure-albert-serra-discusses-pacifiction?utm_source=letterboxd&utm_medium=social&utm_campaign=letterboxdhq_notebook">here</a>.

On the Edge of Failure: Albert Serra Discusses "Pacifiction"

<a href="https://boxd.it/xcA6" rel="nofollow">Wyrmwood: Apocalypse</a> is now available on Blu-ray, DVD &amp; Digital. You can follow the Wyrmwood films on Instagram <a href="https://www.instagram.com/wyrmwoodmovie/" rel="nofollow">here</a>.<blockquote>In a zombie-infested Australian wasteland, soldier Rhys has dedicated his life to tracking and capturing survivors for the Surgeon General in hopes of finding a cure.</blockquote>Check out the full list on Horrorville <a href="https://boxd.it/gNlcq" rel="nofollow">here</a>.1.     <a href="https://boxd.it/29Ge" rel="nofollow">EVIL DEAD 2</a>This darkly hilarious treasure of a film is a constant pool of inspiration that me and my brother dip into over and over again, because it’s something that we used to watch together almost once a month for years when we were kids (we’d rent it constantly at the local video store and wear out the tape through constant abuse). The insane tone of over-the-top cartoon horror, Raimi’s eye-hammering and constantly twisting and leaping gymnastic camera and the awesome practical SFX and demon makeup are all things that we unrepentantly stole from for Apocalypse. We also unashamedly ripped off the scene where Ash’s own hand attacks him because it’s a brilliant way to squeeze in an action set-piece that only requires a single actor to effectively beat the crap out of himself (great budget saving device!).   2.     <a href="https://boxd.it/29gU" rel="nofollow">DAWN OF THE DEAD</a>/<a href="https://boxd.it/20dM" rel="nofollow">DAY OF THE DEAD</a>   Without Dawn of the Dead there would be no Wyrmwood. Romero not only single-handedly invented the zombie genre but he was also the first filmmaker to realize how much FUN a zombie apocalypse could be. Dawn posits the idea that if swarms of slow moving undead cannibals took over the streets, all you need is a couple of shotguns and some trigger-happy mates with you and the whole experience could be a total blast! This sense of carnival fun amidst monstrous horror is something that we tried to mirror in the Wyrmwood world. The thing that I reacted to most in Day of the Dead was the way that Romero humanized the central zombie ‘Bub’. In a way, Bub is one of the most relatable characters in the film. He’s just a chill zombie who likes to wander around and listen to music on his headphones (who can’t relate to THAT?). I really love the idea of a horror movie where you care more about the monsters the humans– that’s definitively a theme that we work off for Wyrmwood.   3.     <a href="https://boxd.it/1ZPg" rel="nofollow">MAD MAX 2</a> (ROADWARRIOR)   We’ve always said that Wyrmwood is basically ‘Mad Max meets Dawn of the Dead’ so if Wyrmwood: Road of the Dead is our Mad Max we desperately wanted Apocalypse to be our Roadwarrior. So, it had to be bigger, faster, more action, more explosions and scarier bad guys – and more car chases! No film is burned into my consciousness as a filmmaker in quite the way Mad Max 2 is. For a young Australian filmmaker born in the late 70’s the Mad Max films are less like film history than straight up myth. They loom very large in our culture and no film permeated into the construction of Wyrmwood Apocalypse as intensely as Roadwarrior. The isolated environment, the ragged warlike costumes, the themes of a desolate wasteland where leather-clad apocalyptic cowboys ride armoured cars like metal steeds through a violent, hostile landscape... that’s all classic George Miller territory.   4.     <a href="https://boxd.it/6ZS" rel="nofollow">APOCALYPSE NOW</a>   <a href="https://boxd.it/2bcA" rel="nofollow">Blade Runner</a> and Apocalypse Now are two of my favorite films. They are like two gleaming cinematic Rosetta Stones to which all aspiring filmmakers must attempt to rise. If Nekrotronic was me attempting to elbow a tiny bit of Blade Runner’s aesthetic into a horror-comedy context, then this is me trying to do the same with Apocalypse Now. Everything about Copolla’s masterpiece is pure cinematic gold that I aggressively mined for this Wyrmwood sequel: the look, the sound design, the color palette, the art direction, the proliferation of bald heads – it’s all in there. I even stole half the bloody title for godsakes!   5.     <a href="https://boxd.it/29lK" rel="nofollow">DELICATESSEN </a>   This is a weird one to throw in and I’m not sure how many people know about this film, but if you were an even slightly knowledgeable film geek in the early 90’s then you know about it. It’s so brilliantly directed and the production design still stands up to this day as feverishly gorgeous. It has a crazy semi-cartoon tone mixed with genuinely disturbing menace and flashes of brutal violence with an undertone of naïve sweetness. The lighting schemes and cinematography are brilliantly intense, the sound design is one parts goofy and one parts pure genius (very much like a Coen Brothers movie) and Jeunet has an amazing way of structuring his set-pieces like mini-visual symphonies that mathematically build to these incredible heights of visual dynamism and craft. I would constantly reference the weird ‘underground sewer dwellers from Delicatessen’ when discussing the design for the Surgeon Generals outfit. This film is a MUST SEE for those people who like their cinema weird, very artistic and totally messed up in the head.   6.     <a href="https://boxd.it/1Xq4" rel="nofollow">BAD TASTE</a>   Peter Jackson’s first film is a towering inspiration for any filmmaker who wants to know how far you can push a film with no budget, one camera and some mates who don’t mind getting a little dirty (and hurt). We had a lot more money on Apocalypse than we did on the first one but our budget still wouldn’t have even paid for the extras catering on a big budget Hollywood movie so we still had to go in with a ‘scrimp and save’ attitude. Bad Taste teaches you to just grab a camera and do it yourself and have ambitions waaaaaaaay in excess of your budget and then pull it all off with sheer bloody mindedness and a commitment to the craft. It’s crazy-funny, has bloody gory humour and more machine guns, monsters and explosions than any low budget horror film has any right to have and these are all elements that we tried to inject into Apocalypse.   7.     <a href="https://boxd.it/1Iik" rel="nofollow">DISTRICT 9 </a>   I just LOVE this film. I still think it is one of the greatest science fiction films of all time and probably doesn’t get enough credit for its ground-breaking take on the genre. It has near flawless direction, great performances, awesome effects and art direction. It’s a true masterpiece of its kind and one of the most impressive first films in history in my opinion. I constantly referenced this film to my Production Designer when it came to set builds and weapons design and it’s another high watermark that any sci-fi director must leap for if just for its unadulterated kinetic explosiveness.   8.     <a href="https://boxd.it/2aoU" rel="nofollow">CUBE </a>   This film is another low budget masterpiece from the 90’s. The premise is beautifully simple and yet creatively approached in a breathtakingly well-crafted and meticulous fashion. Great production design and cinematography, clever and imaginative set-pieces and good character interaction. It is a masterclass in what you can do with very little money, LOTS of imagination and one single tiny studio space. As I knew that we would be working with basically a micro-budget and one set the size of a large two-car garage I knew we were going to have to get all ‘Cube’ in our approach to the studio action ... and that’s exactly what we did.     9.     <a href="https://boxd.it/2b1i" rel="nofollow">AKIRA</a>   This seems, on the surface, to be another weird one that is not a clear inspiration for Wyrmwood Apocalypse but this is a film that I saw when I was very young and it had such a gargantuan impact on my childish brain that it has influenced almost every artistic decision I have made into my adult life. One could make a case for this being one of the most influential science fiction films of the past 50 years. You can feel echoes of it in SO many flicks – The Matrix, Looper, Chronicle, Thor Ragnarok, to name a few. I steal from it constantly. Its epic tone, the hyper colours, the pumping soundtrack, the characters spontaneously developing wild and dangerous super powers, the hardboiled tough guy dialogue – not to mention some of the most beautiful and balletic comic book ‘ultra-violence’ ever committed to celluloid. Please excuse my French, but I fu**ing love this movie.    10. <a href="https://boxd.it/72s" rel="nofollow">STAR WARS</a>   How can you attempt cinematic world-building without mentioning this towering juggernaut of pop cultural radness? This is a film that so entertained a generation that it nearly transcended the whole concept of filmed entertainment to become a religious experience! I saw this film when I was about 6 years old and it changed my brain. I wanted to LIVE in that world and if I couldn’t then I would damn well dedicate my life to attempting to duplicate something like that for myself. It is the reason I make films. Every time I come up with a cool weapon I am trying to replicate the experience of seeing a Light Sabre for the first time. Every time I try to think of a cool monster I am trying to replicate the feeling of seeing the Sand People, or the Jawas, or the weird alien freaks in the Mos Eisley Cantina sequence when I was little. Every time I try to think up some cool powers that my characters can have I’m basically trying to recreate Jedi magic. I am now a 43 year old man and even today I am getting a little bit emotional just thinking about how much of an effect this film had on my life, on my imagination and on my ability to dream. It’s an important landmark for a lot of us. It felt like more than a movie. It felt like a portal to another universe. A more vibrant, exciting and magical universe than our own. The feeling it gave me is beyond words, I can’t express it, I can only try to get back to it again and again by making movies. ----- Kiah Roache-Turner is a writer/director who started his career in the commercial world directing hundreds of campaigns and music videos. His viral shorts (including Daemonrunner + Chronicles of the Dead) have been watched by over 50 million people worldwide. In 2015 he released his debut feature film Wyrmwood: Road of The Dead which premiered at Fantastic Fest in Austin Texas.

<a href="https://boxd.it/xcA6">Wyrmwood: Apocalypse</a> is now available on Blu-ray, DVD & Digital. You can follow the Wyrmwood films on Instagram <a href="https://www.instagram.com/wyrmwoodmovie/">here</a>.

<blockquote>In a zombie-infested Australian wasteland, soldier Rhys has dedicated his life to tracking and capturing survivors for the Surgeon General in hopes of finding a cure.</blockquote>

Check out the full list on Horrorville <a href="https://boxd.it/gNlcq">here</a>.

1.     <a href="https://boxd.it/29Ge">EVIL DEAD 2</a>

This darkly hilarious treasure of a film is a constant pool of inspiration that me and my brother dip into over and over again, because it’s something that we used to watch together almost once a month for years when we were kids (we’d rent it constantly at the local video store and wear out the tape through constant abuse). The insane tone of over-the-top cartoon horror, Raimi’s eye-hammering and constantly twisting and leaping gymnastic camera and the awesome practical SFX and demon makeup are all things that we unrepentantly stole from for Apocalypse. We also unashamedly ripped off the scene where Ash’s own hand attacks him because it’s a brilliant way to squeeze in an action set-piece that only requires a single actor to effectively beat the crap out of himself (great budget saving device!). 
 
2.     <a href="https://boxd.it/29gU">DAWN OF THE DEAD</a>/<a href="https://boxd.it/20dM">DAY OF THE DEAD</a>
 
Without Dawn of the Dead there would be no Wyrmwood. Romero not only single-handedly invented the zombie genre but he was also the first filmmaker to realize how much FUN a zombie apocalypse could be. Dawn posits the idea that if swarms of slow moving undead cannibals took over the streets, all you need is a couple of shotguns and some trigger-happy mates with you and the whole experience could be a total blast! This sense of carnival fun amidst monstrous horror is something that we tried to mirror in the Wyrmwood world. The thing that I reacted to most in Day of the Dead was the way that Romero humanized the central zombie ‘Bub’. In a way, Bub is one of the most relatable characters in the film. He’s just a chill zombie who likes to wander around and listen to music on his headphones (who can’t relate to THAT?). I really love the idea of a horror movie where you care more about the monsters the humans– that’s definitively a theme that we work off for Wyrmwood. 
 
3.     <a href="https://boxd.it/1ZPg">MAD MAX 2</a> (ROADWARRIOR)
 
We’ve always said that Wyrmwood is basically ‘Mad Max meets Dawn of the Dead’ so if Wyrmwood: Road of the Dead is our Mad Max we desperately wanted Apocalypse to be our Roadwarrior. So, it had to be bigger, faster, more action, more explosions and scarier bad guys – and more car chases! No film is burned into my consciousness as a filmmaker in quite the way Mad Max 2 is. For a young Australian filmmaker born in the late 70’s the Mad Max films are less like film history than straight up myth. They loom very large in our culture and no film permeated into the construction of Wyrmwood Apocalypse as intensely as Roadwarrior. The isolated environment, the ragged warlike costumes, the themes of a desolate wasteland where leather-clad apocalyptic cowboys ride armoured cars like metal steeds through a violent, hostile landscape... that’s all classic George Miller territory. 
 
4.     <a href="https://boxd.it/6ZS">APOCALYPSE NOW</a>
 
<a href="https://boxd.it/2bcA">Blade Runner</a> and Apocalypse Now are two of my favorite films. They are like two gleaming cinematic Rosetta Stones to which all aspiring filmmakers must attempt to rise. If Nekrotronic was me attempting to elbow a tiny bit of Blade Runner’s aesthetic into a horror-comedy context, then this is me trying to do the same with Apocalypse Now. Everything about Copolla’s masterpiece is pure cinematic gold that I aggressively mined for this Wyrmwood sequel: the look, the sound design, the color palette, the art direction, the proliferation of bald heads – it’s all in there. I even stole half the bloody title for godsakes! 
 
5.     <a href="https://boxd.it/29lK">DELICATESSEN </a>
 
This is a weird one to throw in and I’m not sure how many people know about this film, but if you were an even slightly knowledgeable film geek in the early 90’s then you know about it. It’s so brilliantly directed and the production design still stands up to this day as feverishly gorgeous. It has a crazy semi-cartoon tone mixed with genuinely disturbing menace and flashes of brutal violence with an undertone of naïve sweetness. The lighting schemes and cinematography are brilliantly intense, the sound design is one parts goofy and one parts pure genius (very much like a Coen Brothers movie) and Jeunet has an amazing way of structuring his set-pieces like mini-visual symphonies that mathematically build to these incredible heights of visual dynamism and craft. I would constantly reference the weird ‘underground sewer dwellers from Delicatessen’ when discussing the design for the Surgeon Generals outfit. This film is a MUST SEE for those people who like their cinema weird, very artistic and totally messed up in the head. 
 
6.     <a href="https://boxd.it/1Xq4">BAD TASTE</a>
 
Peter Jackson’s first film is a towering inspiration for any filmmaker who wants to know how far you can push a film with no budget, one camera and some mates who don’t mind getting a little dirty (and hurt). We had a lot more money on Apocalypse than we did on the first one but our budget still wouldn’t have even paid for the extras catering on a big budget Hollywood movie so we still had to go in with a ‘scrimp and save’ attitude. Bad Taste teaches you to just grab a camera and do it yourself and have ambitions waaaaaaaay in excess of your budget and then pull it all off with sheer bloody mindedness and a commitment to the craft. It’s crazy-funny, has bloody gory humour and more machine guns, monsters and explosions than any low budget horror film has any right to have and these are all elements that we tried to inject into Apocalypse. 
 
7.     <a href="https://boxd.it/1Iik">DISTRICT 9 </a>
 
I just LOVE this film. I still think it is one of the greatest science fiction films of all time and probably doesn’t get enough credit for its ground-breaking take on the genre. It has near flawless direction, great performances, awesome effects and art direction. It’s a true masterpiece of its kind and one of the most impressive first films in history in my opinion. I constantly referenced this film to my Production Designer when it came to set builds and weapons design and it’s another high watermark that any sci-fi director must leap for if just for its unadulterated kinetic explosiveness. 
 
8.     <a href="https://boxd.it/2aoU">CUBE </a>
 
This film is another low budget masterpiece from the 90’s. The premise is beautifully simple and yet creatively approached in a breathtakingly well-crafted and meticulous fashion. Great production design and cinematography, clever and imaginative set-pieces and good character interaction. It is a masterclass in what you can do with very little money, LOTS of imagination and one single tiny studio space. As I knew that we would be working with basically a micro-budget and one set the size of a large two-car garage I knew we were going to have to get all ‘Cube’ in our approach to the studio action ... and that’s exactly what we did.  
 
9.     <a href="https://boxd.it/2b1i">AKIRA</a>
 
This seems, on the surface, to be another weird one that is not a clear inspiration for Wyrmwood Apocalypse but this is a film that I saw when I was very young and it had such a gargantuan impact on my childish brain that it has influenced almost every artistic decision I have made into my adult life. One could make a case for this being one of the most influential science fiction films of the past 50 years. You can feel echoes of it in SO many flicks – The Matrix, Looper, Chronicle, Thor Ragnarok, to name a few. I steal from it constantly. Its epic tone, the hyper colours, the pumping soundtrack, the characters spontaneously developing wild and dangerous super powers, the hardboiled tough guy dialogue – not to mention some of the most beautiful and balletic comic book ‘ultra-violence’ ever committed to celluloid. Please excuse my French, but I fu**ing love this movie. 
 
10. <a href="https://boxd.it/72s">STAR WARS</a>
 
How can you attempt cinematic world-building without mentioning this towering juggernaut of pop cultural radness? This is a film that so entertained a generation that it nearly transcended the whole concept of filmed entertainment to become a religious experience! I saw this film when I was about 6 years old and it changed my brain. I wanted to LIVE in that world and if I couldn’t then I would damn well dedicate my life to attempting to duplicate something like that for myself. It is the reason I make films. Every time I come up with a cool weapon I am trying to replicate the experience of seeing a Light Sabre for the first time. Every time I try to think of a cool monster I am trying to replicate the feeling of seeing the Sand People, or the Jawas, or the weird alien freaks in the Mos Eisley Cantina sequence when I was little. Every time I try to think up some cool powers that my characters can have I’m basically trying to recreate Jedi magic. I am now a 43 year old man and even today I am getting a little bit emotional just thinking about how much of an effect this film had on my life, on my imagination and on my ability to dream. It’s an important landmark for a lot of us. It felt like more than a movie. It felt like a portal to another universe. A more vibrant, exciting and magical universe than our own. The feeling it gave me is beyond words, I can’t express it, I can only try to get back to it again and again by making movies. 

-----
Kiah Roache-Turner is a writer/director who started his career in the commercial world directing hundreds of campaigns and music videos. His viral shorts (including Daemonrunner + Chronicles of the Dead) have been watched by over 50 million people worldwide. In 2015 he released his debut feature film Wyrmwood: Road of The Dead which premiered at Fantastic Fest in Austin Texas.

10 Films That Inspired Kiah Roache-Turner's ‘WYRMWOOD: APOCALYPSE’ 

<a HREF="https://boxd.it/u8qU" rel="nofollow">The Stairs</a> will be available in theaters for one night only on August 12, 2021. Purchase tickets at <a HREF="https://www.fathomevents.com/events/The-Stairs" rel="nofollow">Fathom Events</a> and watch the trailer <a HREF="https://www.youtube.com/watch?v=Zd6Iuy78e4E" rel="nofollow">here</a>."I would wait until my mother would fall asleep, and then sneak out around midnight to watch Elvira's Movie Macabre in the 80’s. Sometimes, I would be so exhausted from not being able to sleep from the films that I was literally a zombie the next day."Films: <a href="https://boxd.it/1Suq" rel="nofollow">Village of the Damned</a>, <a href="https://boxd.it/1FtY" rel="nofollow">The Beyond</a>, <a href="https://boxd.it/20d8" rel="nofollow">Event Horizon</a>, <a href="https://boxd.it/294O" rel="nofollow">The Thing</a>, <a href="https://boxd.it/2awY" rel="nofollow">Alien</a>, <a href="https://boxd.it/2b8S" rel="nofollow">The Professional</a>, <a href="https://boxd.it/29Go" rel="nofollow">The Evil Dead</a>, <a href="https://boxd.it/1SxE" rel="nofollow">Soylent Green</a>, <a href="https://boxd.it/223a" rel="nofollow">Bram Stoker's Dracula</a>, <a href="https://boxd.it/29tY" rel="nofollow">Dune</a>, <a href="https://boxd.it/72s" rel="nofollow">Star Wars</a>, <a href="https://boxd.it/1YSe" rel="nofollow">Tremors</a>, <a href="https://boxd.it/2bcA" rel="nofollow">Blade Runner</a>, <a href="https://boxd.it/1Y7i" rel="nofollow">Mad Max</a>, <a href="https://boxd.it/6ZS" rel="nofollow">Apocalypse Now</a>.TV Shows: Elvira's Movie Macabre, The Outer Limits, The Twilight Zone, Tales from the Crypt, The X-Files, Twin Peaks, Battlestar Galactica----- You can follow Peter Tiemann on <a href="http://facebook.com/Peter.Drago.Tiemann" rel="nofollow">Facebook</a>, <a href="http://www.instagram.com/dragodirects" rel="nofollow">Instagram</a> and <a href="https://twitter.com/DragoDirects" rel="nofollow">Twitter</a>.

<A HREF="https://boxd.it/u8qU">The Stairs</A> will be available in theaters for one night only on August 12, 2021. Purchase tickets at <A HREF="https://www.fathomevents.com/events/The-Stairs>Fathom Events</A> and watch the trailer <A HREF="https://www.youtube.com/watch?v=Zd6Iuy78e4E">here</A>.

"I would wait until my mother would fall asleep, and then sneak out around midnight to watch Elvira's Movie Macabre in the 80’s. Sometimes, I would be so exhausted from not being able to sleep from the films that I was literally a zombie the next day."

Films:
<a href="https://boxd.it/1Suq">Village of the Damned</a>, <a href="https://boxd.it/1FtY">The Beyond</a>, <a href="https://boxd.it/20d8">Event Horizon</a>, <a href="https://boxd.it/294O">The Thing</a>, <a href="https://boxd.it/2awY">Alien</a>, <a href="https://boxd.it/2b8S">The Professional</a>, <a href="https://boxd.it/29Go">The Evil Dead</a>, <a href="https://boxd.it/1SxE">Soylent Green</a>, <a href="https://boxd.it/223a">Bram Stoker's Dracula</a>, <a href="https://boxd.it/29tY">Dune</a>, <a href="https://boxd.it/72s">Star Wars</a>, <a href="https://boxd.it/1YSe">Tremors</a>, <a href="https://boxd.it/2bcA">Blade Runner</a>, <a href="https://boxd.it/1Y7i">Mad Max</a>, <a href="https://boxd.it/6ZS">Apocalypse Now</a>.

TV Shows:
Elvira's Movie Macabre, The Outer Limits, The Twilight Zone, Tales from the Crypt, The X-Files, Twin Peaks, Battlestar Galactica

-----
You can follow Peter Tiemann on <a href="http://facebook.com/Peter.Drago.Tiemann">Facebook</a>, <a href="http://www.instagram.com/dragodirects">Instagram</a> and <a href="https://twitter.com/DragoDirects">Twitter</a>.

15 Films That Influenced Peter Tiemann, Director of THE STAIRS

<h3>As Roadrunner: A Film About Anthony Bourdain comes to PVOD, <a href="http://boxd.it/1hpZ" rel="nofollow">Jack Moulton</a> chats with the documentary’s director, Morgan Neville, about duty of care with mental health stories, and the films that influenced both filmmaker and famous chef alike. </h3>Made famous overnight by his unfiltered, smash-hit 2000 book Kitchen Confidential: Adventures in the Culinary Underbelly, Anthony Bourdain—Tony, to most—was known as the chef who broke the mold. He eventually became a documentarian in his own right, producing and starring in travelogue television series <a href="https://www.imdb.com/title/tt0475900/" rel="nofollow">No Reservations</a> and <a href="https://www.imdb.com/title/tt2845786/" rel="nofollow">Parts Unknown</a> among others, where he explored the world and the richness of its local cultures, racking up an armful of Primetime Emmy Awards along the way. Ultimately, he shocked the world when he took his own life in June 2018.Coming three years later, the profile documentary <a href="https://boxd.it/nRb2" rel="nofollow">Roadrunner: A Film About Anthony Bourdain</a>, directed by Oscar-winning documentarian <a href="https://letterboxd.com/director/morgan-neville/" rel="nofollow">Morgan Neville</a>, captures the spark that made Bourdain an icon—and exorcises the grief of his family, friends and colleagues. As with Neville’s 2018 <a href="https://boxd.it/2kO76" rel="nofollow">Year in Review-topping</a> hit <a href="https://boxd.it/hDPU" rel="nofollow">Won’t You Be My Neighbor?</a>, which celebrated television presenter Fred Rogers, Roadrunner is acting as a form of communal therapy for fans—as evidenced by many reactions to the film on Letterboxd.“Not just a wondrous journey into television celebrity and all the perks of a life well lived. This film f—king hurt,” proclaims Bourdain devotee <a href="https://boxd.it/1WzWix" rel="nofollow">Calvin Kemph</a>. “It will not process our grief for Anthony Bourdain for us. […] The important thing is that we go through the journey. We’re going to live and hurt anyway and Bourdain made sure it was all for something.”Coming from a prolific career in music-orientated documentaries, Neville examines Bourdain as a tragic rockstar—the title is plainly borrowed from The Modern Lovers’ quintessential proto-punk bash—featuring a killer soundtrack that would likely make Bourdain proud. On top of the mountain of archive footage, there is also a wealth of transportative classic film clips to match Bourdain’s <a href="https://boxd.it/bhLWK" rel="nofollow">love of cinema</a>, including many trips through <a href="https://boxd.it/6ZS" rel="nofollow">Apocalypse Now</a> alongside <a href="https://boxd.it/1SHu" rel="nofollow">Merry Christmas, Mr. Lawrence</a>, <a href="https://boxd.it/2ahO" rel="nofollow">The Seventh Seal</a> and <a href="https://boxd.it/29tE" rel="nofollow">In the Mood for Love</a>. When I spoke to Neville, I was specifically interested in how a director exercises duty of care when suicide is such a central part of the story, and the grief is still so fresh (“too soon” is a recurring theme of Letterboxd reviews). And, naturally for a film lover, I was also curious about the film’s many movie references, and Neville’s own film influences. It is worth noting that I spoke to the director before the details emerged of his use of AI-created audio emerged to posthumously bring a voice to some of Bourdain’s writings. This has generated as many opinions on Letterboxd: “The idea of using an AI voice to bring nonexistent parts of a person to the audience just deepens the slimy feeling. Left the theater feeling raw and guilty and like I’d seen something I shouldn’t have,” <a href="https://boxd.it/233hwR" rel="nofollow">writes Annie F</a>. “In that vein, this could also be taken as a cautionary tale for how we talk about Bourdain posthumously and how we treat the dead in the age of immortality through technology.” On this topic, <a href="https://www.newyorker.com/culture/annals-of-gastronomy/the-ethics-of-a-deepfake-anthony-bourdain-voice" rel="nofollow">Helen Rosner’s </a><a href="https://www.newyorker.com/culture/annals-of-gastronomy/the-ethics-of-a-deepfake-anthony-bourdain-voice" rel="nofollow">New Yorker</a><a href="https://www.newyorker.com/culture/annals-of-gastronomy/the-ethics-of-a-deepfake-anthony-bourdain-voice" rel="nofollow"> piece on the outcry</a> is very much worth a read. <h3>What did you want out to achieve with the documentary that Bourdain’s TV shows, books, and <a href="https://www.instagram.com/anthonybourdain/" rel="nofollow">Instagram</a> could not?</h3>Morgan Neville: I was just trying to understand this guy. Tony obviously documented his own life—he was his own protagonist through his books and his show—so everything he created was about his subjective perspective on the world. His death was so shocking because it just didn’t add up. How could this funny, smart, world-traveling guy kill himself? There was definitely this big gap between the Tony people thought they knew and who he was. When I stepped into this, I was trying to figure that out too. I feel like a lot of his superpowers were also his flaws, to the point where he didn’t really want to change them. Being a romantic about everything made him fun to watch and somebody people could connect to, but his sense of perpetual curiosity to the extreme is hard to live by. I have footage of him getting a tattoo which said in Ancient Greek “I am certain of nothing”. That sounds really cool and open-minded, however if you’re 60 and certain of nothing, there’s something kind of sad about that too. Being a total seeker is great, but ultimately if you’re seeking everything, you’re holding onto nothing. He had a hard time figuring out the boundaries and there was no differentiation between his life and work, so I think that was incredibly difficult for him.<h3>Your interviewees were clearly processing a lot of fresh trauma. How did you coordinate the mental health priorities on set?</h3>I spent a lot of time researching suicide while we were making the film and we shared the film with suicide experts to make sure we weren’t sending the wrong message. The biggest thing is that I went [into interviews] trying to be as vulnerable as possible myself. There were a lot of conversations that didn’t happen on-camera where people would talk about their anger towards Tony or their shame that they couldn’t have done more. These are very common reactions among something as brutal as suicide. A lot of it was being sympathetic to them and trying to help them process that. Something I saw again and again was that people blamed themselves [knowing] intellectually that it wasn’t rational, but finding it emotionally unavoidable to feel that way. I’m still talking to many [of the interviewees] as the film is coming out and having conversations about their feelings, so it’s a relationship, not just a sit-down interview.<h3>The use of film clips is a great tribute to Bourdain’s cinephilia. What guided the decisions on which scenes to include? </h3>There were a few things in there that I feel were Easter eggs for Tony himself, like if he were to see the film he would be like “ah, yeah, you got that right.” I saw he mentioned how much he loved <a href="https://boxd.it/1UkC" rel="nofollow">The American Friend</a> and <a href="https://boxd.it/27Fe" rel="nofollow">Aguirre, the Wrath of God</a>. There are other films by <a href="https://letterboxd.com/director/wong-kar-wai/" rel="nofollow">Wong Kar-wai</a> and <a href="https://letterboxd.com/director/michelangelo-antonioni/" rel="nofollow">Michelangelo Antonioni</a>, and I stuck a tiny shot of <a href="https://boxd.it/2aqm" rel="nofollow">8½</a> in there too. Tony often understood the world through movies long before he ever went anywhere, so that was his way of processing them. He says in the film how he was more comfortable in the illusion when his life felt like a movie. When he took authorship of his show later on, he would often send a film to the crew [to use as a reference]. For the Rome episode, he sent <a href="https://boxd.it/20cE" rel="nofollow">The Conformist</a> to everybody, and they ended up shooting in an anamorphic format and they even visited some of the locations from the movie. It was interesting how his ideas about places were shaped by movies and then he went to those places to emulate the movies that shaped his preconceptions. A lot of the time, his relationship to cinema and what he was doing were very closely connected.<h3>Which film made you want to become a filmmaker?</h3>Honestly, it was <a href="https://boxd.it/289I" rel="nofollow">Roger &amp; Me</a>. It’s not my favorite documentary, but I saw it at the right time. It came out right after I graduated from college when I was working as a journalist in San Francisco. I convinced my roommate to drive with me to L.A. to see a matinée screening on its opening weekend and then go back to San Francisco on the same day. I loved film and I liked journalism, but I felt like a lot of documentaries at the time were very old-school, either vérité filmmaking or PBS historical films, so that was a film that hinted at a whole new direction of non-fiction storytelling. Right around then, I also saw Orson Welles’ <a href="https://boxd.it/VxA" rel="nofollow">F For Fake</a>, which is an essayistic documentary that was breaking the forms of what documentary could be about. And seeing <a href="https://boxd.it/Zh2" rel="nofollow">Sherman’s March</a> when it came out in theaters [made me think] ‘is that possible? Are you allowed to do that?’ Later in the nineties, the few documentaries that found a sliver of attention were doing new things—such as <a href="https://boxd.it/1tfq" rel="nofollow">Brother’s Keeper</a>—those were the films that got me excited about what I was doing. <a href="https://boxd.it/1VZm" rel="nofollow">When We Were Kings</a> was a film that just killed me. I remember thinking if I could ever make a film like that, I would die happy.<h3>Who is the greatest documentarian in your opinion?</h3>There are way too many! There’s something that’s so great about the <a href="https://boxd.it/n5T8" rel="nofollow">Maysles brothers</a>, who work in a classic vérité way, to <a href="https://letterboxd.com/director/adam-curtis-1/" rel="nofollow">Adam Curtis</a>, which could not be more different, and I love them both. What’s interesting with documentaries is that you can’t just script your way out of anything. It’s always a relationship with reality and I feel like everytime you make a film, there’s a roll of the dice. You can’t make people say what you want them to say, so the film becomes something else and that’s a good thing. I often think about the quote from Albert Maysles where he says, “if you end up making the film you set out to make, then you weren’t listening along the way,” and I feel it’s so important that part of making documentaries is starting with an idea and then being massively distracted.<h3>What feel-good movie do you recommend we watch after Roadrunner?</h3>Yeah, Tony was not a feel-good guy. He loved movies like <a href="https://boxd.it/1vki" rel="nofollow">The Friends of Eddie Coyle</a> or <a href="https://boxd.it/IQ" rel="nofollow">Killing Them Softly</a> that had complicated and unresolved endings. That was Tony’s favorite thing. I have this fondness for a bittersweet ending that makes me feel-good, so for me a cinematic comfort food is a movie like <a href="https://boxd.it/glS" rel="nofollow">Moneyball</a>, oddly enough. I love the tone of that film and how it ends. There are certain films that feel emotionally honest to me, and that’s one of them.If you or anyone you know is having thoughts of suicide, please call the National Suicide Prevention Lifeline at 1-800-273-8255 or connect with a Crisis Counselor at the CrisisTextLine.org.‘<a href="https://boxd.it/nRb2" rel="nofollow">Roadrunner: A Film About Anthony Bourdain</a>’ is currently screening in select US theaters, available now on PVOD, and coming to HBO Max soon.

<h3>As Roadrunner: A Film About Anthony Bourdain comes to PVOD, <a href="http://boxd.it/1hpZ">Jack Moulton</a> chats with the documentary’s director, Morgan Neville, about duty of care with mental health stories, and the films that influenced both filmmaker and famous chef alike. </h3>

Made famous overnight by his unfiltered, smash-hit 2000 book Kitchen Confidential: Adventures in the Culinary Underbelly, Anthony Bourdain—Tony, to most—was known as the chef who broke the mold. 

He eventually became a documentarian in his own right, producing and starring in travelogue television series <a href="https://www.imdb.com/title/tt0475900/">No Reservations</a> and <a href="https://www.imdb.com/title/tt2845786/">Parts Unknown</a> among others, where he explored the world and the richness of its local cultures, racking up an armful of Primetime Emmy Awards along the way. Ultimately, he shocked the world when he took his own life in June 2018.

Coming three years later, the profile documentary <a href="https://boxd.it/nRb2">Roadrunner: A Film About Anthony Bourdain</a>, directed by Oscar-winning documentarian <a href="https://letterboxd.com/director/morgan-neville/">Morgan Neville</a>, captures the spark that made Bourdain an icon—and exorcises the grief of his family, friends and colleagues. As with Neville’s 2018 <a href="https://boxd.it/2kO76">Year in Review-topping</a> hit <a href="https://boxd.it/hDPU">Won’t You Be My Neighbor?</a>, which celebrated television presenter Fred Rogers, Roadrunner is acting as a form of communal therapy for fans—as evidenced by many reactions to the film on Letterboxd.

“Not just a wondrous journey into television celebrity and all the perks of a life well lived. This film f—king hurt,” proclaims Bourdain devotee <a href="https://boxd.it/1WzWix">Calvin Kemph</a>. “It will not process our grief for Anthony Bourdain for us. […] The important thing is that we go through the journey. We’re going to live and hurt anyway and Bourdain made sure it was all for something.”

Coming from a prolific career in music-orientated documentaries, Neville examines Bourdain as a tragic rockstar—the title is plainly borrowed from The Modern Lovers’ quintessential proto-punk bash—featuring a killer soundtrack that would likely make Bourdain proud. On top of the mountain of archive footage, there is also a wealth of transportative classic film clips to match Bourdain’s <a href="https://boxd.it/bhLWK">love of cinema</a>, including many trips through <a href="https://boxd.it/6ZS">Apocalypse Now</a> alongside <a href="https://boxd.it/1SHu">Merry Christmas, Mr. Lawrence</a>, <a href="https://boxd.it/2ahO">The Seventh Seal</a> and <a href="https://boxd.it/29tE">In the Mood for Love</a>. 

When I spoke to Neville, I was specifically interested in how a director exercises duty of care when suicide is such a central part of the story, and the grief is still so fresh (“too soon” is a recurring theme of Letterboxd reviews). And, naturally for a film lover, I was also curious about the film’s many movie references, and Neville’s own film influences. 

It is worth noting that I spoke to the director before the details emerged of his use of AI-created audio emerged to posthumously bring a voice to some of Bourdain’s writings. This has generated as many opinions on Letterboxd: “The idea of using an AI voice to bring nonexistent parts of a person to the audience just deepens the slimy feeling. Left the theater feeling raw and guilty and like I’d seen something I shouldn’t have,” <a href="https://boxd.it/233hwR">writes Annie F</a>. “In that vein, this could also be taken as a cautionary tale for how we talk about Bourdain posthumously and how we treat the dead in the age of immortality through technology.” On this topic, <a href="https://www.newyorker.com/culture/annals-of-gastronomy/the-ethics-of-a-deepfake-anthony-bourdain-voice">Helen Rosner’s </a><a href="https://www.newyorker.com/culture/annals-of-gastronomy/the-ethics-of-a-deepfake-anthony-bourdain-voice">New Yorker</a><a href="https://www.newyorker.com/culture/annals-of-gastronomy/the-ethics-of-a-deepfake-anthony-bourdain-voice"> piece on the outcry</a> is very much worth a read. 

<h3>What did you want out to achieve with the documentary that Bourdain’s TV shows, books, and <a href="https://www.instagram.com/anthonybourdain/">Instagram</a> could not?</h3>

Morgan Neville: I was just trying to understand this guy. Tony obviously documented his own life—he was his own protagonist through his books and his show—so everything he created was about his subjective perspective on the world. His death was so shocking because it just didn’t add up. How could this funny, smart, world-traveling guy kill himself? There was definitely this big gap between the Tony people thought they knew and who he was. When I stepped into this, I was trying to figure that out too. I feel like a lot of his superpowers were also his flaws, to the point where he didn’t really want to change them. 

Being a romantic about everything made him fun to watch and somebody people could connect to, but his sense of perpetual curiosity to the extreme is hard to live by. I have footage of him getting a tattoo which said in Ancient Greek “I am certain of nothing”. That sounds really cool and open-minded, however if you’re 60 and certain of nothing, there’s something kind of sad about that too. Being a total seeker is great, but ultimately if you’re seeking everything, you’re holding onto nothing. 

He had a hard time figuring out the boundaries and there was no differentiation between his life and work, so I think that was incredibly difficult for him.

<h3>Your interviewees were clearly processing a lot of fresh trauma. How did you coordinate the mental health priorities on set?</h3>

I spent a lot of time researching suicide while we were making the film and we shared the film with suicide experts to make sure we weren’t sending the wrong message. The biggest thing is that I went [into interviews] trying to be as vulnerable as possible myself. There were a lot of conversations that didn’t happen on-camera where people would talk about their anger towards Tony or their shame that they couldn’t have done more. These are very common reactions among something as brutal as suicide. A lot of it was being sympathetic to them and trying to help them process that. 

Something I saw again and again was that people blamed themselves [knowing] intellectually that it wasn’t rational, but finding it emotionally unavoidable to feel that way. I’m still talking to many [of the interviewees] as the film is coming out and having conversations about their feelings, so it’s a relationship, not just a sit-down interview.

<h3>The use of film clips is a great tribute to Bourdain’s cinephilia. What guided the decisions on which scenes to include? </h3>

There were a few things in there that I feel were Easter eggs for Tony himself, like if he were to see the film he would be like “ah, yeah, you got that right.” I saw he mentioned how much he loved <a href="https://boxd.it/1UkC">The American Friend</a> and <a href="https://boxd.it/27Fe">Aguirre, the Wrath of God</a>. There are other films by <a href="https://letterboxd.com/director/wong-kar-wai/">Wong Kar-wai</a> and <a href="https://letterboxd.com/director/michelangelo-antonioni/">Michelangelo Antonioni</a>, and I stuck a tiny shot of <a href="https://boxd.it/2aqm">8½</a> in there too. Tony often understood the world through movies long before he ever went anywhere, so that was his way of processing them. He says in the film how he was more comfortable in the illusion when his life felt like a movie. 

When he took authorship of his show later on, he would often send a film to the crew [to use as a reference]. For the Rome episode, he sent <a href="https://boxd.it/20cE">The Conformist</a> to everybody, and they ended up shooting in an anamorphic format and they even visited some of the locations from the movie. It was interesting how his ideas about places were shaped by movies and then he went to those places to emulate the movies that shaped his preconceptions. A lot of the time, his relationship to cinema and what he was doing were very closely connected.

<h3>Which film made you want to become a filmmaker?</h3>

Honestly, it was <a href="https://boxd.it/289I">Roger & Me</a>. It’s not my favorite documentary, but I saw it at the right time. It came out right after I graduated from college when I was working as a journalist in San Francisco. I convinced my roommate to drive with me to L.A. to see a matinée screening on its opening weekend and then go back to San Francisco on the same day. I loved film and I liked journalism, but I felt like a lot of documentaries at the time were very old-school, either vérité filmmaking or PBS historical films, so that was a film that hinted at a whole new direction of non-fiction storytelling. 

Right around then, I also saw Orson Welles’ <a href="https://boxd.it/VxA">F For Fake</a>, which is an essayistic documentary that was breaking the forms of what documentary could be about. And seeing <a href="https://boxd.it/Zh2">Sherman’s March</a> when it came out in theaters [made me think] ‘is that possible? Are you allowed to do that?’ 

Later in the nineties, the few documentaries that found a sliver of attention were doing new things—such as <a href="https://boxd.it/1tfq">Brother’s Keeper</a>—those were the films that got me excited about what I was doing. <a href="https://boxd.it/1VZm">When We Were Kings</a> was a film that just killed me. I remember thinking if I could ever make a film like that, I would die happy.

<h3>Who is the greatest documentarian in your opinion?</h3>

There are way too many! There’s something that’s so great about the <a href="https://boxd.it/n5T8">Maysles brothers</a>, who work in a classic vérité way, to <a href="https://letterboxd.com/director/adam-curtis-1/">Adam Curtis</a>, which could not be more different, and I love them both. What’s interesting with documentaries is that you can’t just script your way out of anything. It’s always a relationship with reality and I feel like everytime you make a film, there’s a roll of the dice. You can’t make people say what you want them to say, so the film becomes something else and that’s a good thing. 

I often think about the quote from Albert Maysles where he says, “if you end up making the film you set out to make, then you weren’t listening along the way,” and I feel it’s so important that part of making documentaries is starting with an idea and then being massively distracted.

<h3>What feel-good movie do you recommend we watch after Roadrunner?</h3>

Yeah, Tony was not a feel-good guy. He loved movies like <a href="https://boxd.it/1vki">The Friends of Eddie Coyle</a> or <a href="https://boxd.it/IQ">Killing Them Softly</a> that had complicated and unresolved endings. That was Tony’s favorite thing. I have this fondness for a bittersweet ending that makes me feel-good, so for me a cinematic comfort food is a movie like <a href="https://boxd.it/glS">Moneyball</a>, oddly enough. I love the tone of that film and how it ends. There are certain films that feel emotionally honest to me, and that’s one of them.

If you or anyone you know is having thoughts of suicide, please call the National Suicide Prevention Lifeline at 1-800-273-8255 or connect with a Crisis Counselor at the CrisisTextLine.org.

‘<a href="https://boxd.it/nRb2">Roadrunner: A Film About Anthony Bourdain</a>’ is currently screening in select US theaters, available now on PVOD, and coming to HBO Max soon.

Extreme Curiosity: Morgan Neville on Anthony Bourdain, Duty of Care, and Movies

slim’s ★★★★½ diary entry for Apocalypse Now

Martin Sheen's body hair is an inspiration. More on a <a href="http://www.70mmpod.com" rel="nofollow">very special 70mm podcast</a>.

Danny’s diary entry for Apocalypse Now

protolexus’s ★★★★ diary entry for Apocalypse Now

Larger than life, a picture that seems to have a mind of it's own. You can tell while watching it that something was happening beyond the producers/director's control and it spills out into the film. Almost too big to wrap your head around, full of performances that are career defining. If I saw the pitch for this on paper there is no way I would have thought it was possible, and that makes me thankful for creatives that will do the impossible to make their stories come to life.Hear more of my thoughts on <a href="https://open.spotify.com/episode/6vdbKzzqSnlwdt2VDcLOPY?si=Js-JWxDES1yqFxFECjHWyw" rel="nofollow">70mm</a>.

MacReady's Big Hat’s ★★★★½ diary entry for Apocalypse Now

Pure chaos. A beautifully shot film of contrasts and contradictions. Never get out of the boat. Absolutely goddamn right.

Gabb’s ★★★★ diary entry for Apocalypse Now

Thomas’s ★★★★ diary entry for Apocalypse Now

An even wilder ride than I imagined. The score, performances, sound design and most of the story are awesome. I am not super sure how I felt about the final 20 minutes or so. Considering the reputation the film has, I was surprised at how funny it was in parts, though in its own dark way.

Zachary Mulligan’s ★★★★ diary entry for Apocalypse Now

honestly not sure how to feel about this. thought about just not leaving a rating but i’ll stick with 4 for now.is it an incredibly well constructed, well written, artfully directed, highly influential, beautifully shot film? yes.did i enjoy it? not reallllyyyyyy 🤷🏼‍♂️

Diamond’s diary entry for Apocalypse Now

Paul’s ★★★★★ diary entry for Apocalypse Now

Even with the additional thirty minutes for the final cut version, this was still a tremendous experience on the big screen.

mosheal’s ★★★★★ diary entry for Apocalypse Now

KK’s ★★★★★ diary entry for Apocalypse Now

<blockquote>Someday this war will end.</blockquote>&lt;Final Cut @ AFS&gt;It's a huge misstep to include that entire segue at the French Plantation - The scene manages to derail literally all momentum and tension from the narrative just as it is supposed to be climbing into the climax. Any further thematic significance it brings serves only to moor the film tighter onto Heart of Darkness, instead of continuing in on its own path.A notable step down from the masterful Theatrical Cut. That being said - What a movie. An absolutely unbelievable film. Psychedelic, horrifying, all-consuming. The final act makes my head spin.

<blockquote>Do you know who's in command here?Yeah.</blockquote>An endless river of psychedelic horror. Panoptic only in the sense that to see the truth of men breaking puts into perspective the entire war.Terrible, riveting, and all-consuming. How did this get made?

Jordan Meyers’s ★★★★ diary entry for Apocalypse Now

Struggled a bit with my thoughts on this one. I've only seen the final cut and redux. I think I need to check out the theatrical. The plantation scene just grinds the whole thing to a halt for me. A bit more propulsion might make this a masterpiece in my eyes.

𝙬𝙚𝙨𝙡𝙚𝙮’s ★★½ diary entry for Apocalypse Now

Yet another film about war where the Western 'enemy' is portrayed as a faceless, homogenous mass and serve little purpose other than set dressing. Apocalypse Now isn't alone in this, and it goes further in its criticism of American imperialism than most war films of its era, but I am so bored of watching this shit. Almost as bored as when Brando appeared and sent me to sleep with that painfully slow, exposition-filled, monologue. Not for me.

Marcie’s ★★★½ diary entry for Apocalypse Now

The VHS Village is in for a wild ride this week.Robert Duvall has off the charts swagger when he works with Coppola. Flight of the Valkyries. I was not prepared. The tape recorder scene was devastating.I was not happy about the water buffalo scene at all. The first half of this is definitely better then the second.

Alex’s ★★★★★ diary entry for Apocalypse Now

did you guys know this movie is really good? cause it’s really good! Why do I keep pushing off watching classic movies?! This is so extremely my shit!!! Except for the stressful puppy content!!!! Otherwise!!!!!! nice to finally learn the backstory of President Bartlet

Christian Gutiérrez’s ★★★★★ diary entry for Apocalypse Now

jwhale’s ★★★ diary entry for Apocalypse Now

Watched this on my phone, just as our dear lord Coppola intended. The horror.

Kev’s ★★★★★ diary entry for Apocalypse Now

Sean Allen’s ★★★★½ diary entry for Apocalypse Now

"I love the smell of napalm in the morning!" I struggle to give this such a high rating considering I watched the Redux cut. But I'm making the decision to base this off of what is clearly an amazing film that for some reason has bloated extra material. For those wondering it's essentially two main additions, neither of which added anything and only bogged the movie down. I found the story itself captivating and the buildup to meeting Kurtz is what kept me watching. Loved so many of the visuals and hope to watch this with something better than a DVD player someday soon. The Vietnam War is filled with it's complexities and I feel like Apocalypse Now does a solid job of showing the wild/dark side of war. The highlight of this has to be the sequence with Dennis Hopper forcing the men to surf while the coast is in the midst of being bombed. Ultimately it's the grey area of good/evil that makes Vietnam such a ripe subject for filmmaking and this one sits up there with the best. Note to self: Actually finish Ken Burns Vietnam so you can understand the actual conflict. [ <a href="https://www.imdb.com/media/rm3324022785/tt0078788" rel="nofollow">Top Shot</a> ]

Ismael’s ★★★★★ diary entry for Apocalypse Now

The opening sequence is an absolute drunken trip mixed with PTSD and bloodthirst.The odyssey to find Col. Kurtz was long, arduous, and very artsy. A harrowing, realistic portrayal of the Vietnam War and how the soldiers acted.<blockquote>Charlie don't surf!</blockquote>This dude really was motivated to go kill, not for a mission but to catch some waves.The unsupervised use of power was gross and numb.It's absolute horror. Great, beautifully portrayed horror.

Sammy’s ★★★★★ diary entry for Apocalypse Now

Robert’s ★★★★½ diary entry for Apocalypse Now

#339 of my 2020 New-to-Me Marathon Apocalypse Now was undoubtedly the best looking war film I've ever seen, and maybe even the best in general. Coppola, Vittorio Storaro, etc. are geniuses. I need to watch this on a big screen at some point. The sound was incredible as well. Even with all that praise, though, I can't give it a perfect 5 stars because I found the story not very engaging at all. Sheen, Fishburne, and Hopper all had great performances. Brando and Duvall were brilliant when on screen, but they weren't in it enough! I was a lot more engaged in the narrative of Platoon.

ava’s ★★★★½ diary entry for Apocalypse Now

if chaos was a moviealso, i pointed out the “our motto: apocalypse now” sign to my dad and he said he’d never noticed it before. guess he never knew why the movie is called what it is 😅

Yoli_Zina’s ★★★★½ diary entry for Apocalypse Now

Okay, I see what all the fuss is about now. Really liked the psychological aspects...wasn’t expecting that.  Beautiful. Compelling. Surreal. Made me uncomfortable, but I would watch it again. And what a cast.

Ben Jessup’s ★★★★★ diary entry for Apocalypse Now

Brandon’s ★★★★★ diary entry for Apocalypse Now

Theatrical Cut……the only way to fly. First time in 4K and I’m in love all over again.

Emily’s ★★★★★ diary entry for Apocalypse Now

Where to start? There's no good place. It's spectacular. And spectacle is never better than it is here, a deluge of violence, madness, and horror.Every shot of some muddy man's face is a masterpiece. Every sound is poetry. It feels to me like an audiovisual tour of Bosch's Garden of Earthly Delights. It is uncanny, nightmarish, surreal yet completely grounded.Also straight up did not know Harrison Ford was in this and I am a fool for not watching it sooner.