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“I saw a picture of the volcano Mt. St. Helens exploding and when you look at the smoke, it’s thick and it flows and roils a certain way. This is exactly the way the Elephant Man’s flesh looked. It was like a slow-motion explosion of flesh. Here’s the thing: just like in a painting, there are fast areas, and slow areas. These relationships are kind of critical, and how a thing flows is critical, but again, it’s not an intellectual thing. It’s an intuitive thing. You can’t really talk about it, but things have a way of wanting to be.” —David Lynch
Read the rest of the interview with David Lynch, America’s foremost auteur about the principles powering his unique vision, here
A surrealist journey through colours and shapes inspired by the poem Romance Sonámbulo by Federico García Lorca. Visual poetry in the rhythm of fantastic dreams and passionate nights. A film by Theodore Ushev. Music by Kottarashky
Via The New Yorker
The “Photography and Discovery” show at the Clark Art Institute, in Williamstown, Massachusetts, is small (around thirty photographs, mostly pre-1900, all from the Clark’s own amazing collections), curatorially unpretentious (no challenging art-historical theses are advanced), and well worth a visit, especially for people, like me, whose interest in photography is mainly indulged through books or online. Because one of the things in the show you’re quickly struck by is the painterliness of the pre-digital photographic image. It’s not surprising; painting was the paradigm for visual art in the nineteenth century. But it’s not only the composition that’s painterly; it’s also the tactility.
Read the rest from The New Yorker
“I don’t consciously work within any genre, although I often get labeled a ‘genre director’. I’m very conscious of creating certain moods to enhance drama, though. I want a sexy scene to feel sexy for instance, a scary scene to feel scary, and a love scene to feel romantic. But I don’t think that means I’m working in erotica, horror or romantic genres, it just means I’m good at creating atmosphere.” –Anna Biller
More from Another
A short film by Riley Hooper and Noah Wagner follows an eighty-seven-year-old mime through the streets of New York City.
Source: The New Yorker
A lot of people didn’t want John Lennon to enter America, he told a teenage fan in 1969: “They think I’m going to cause a violent revolution, which I’m not.” 14-year-old Jerry Levitan had snuck into Lennon’s Toronto hotel room with a tape recorder and probed the English singer about the state of the Beatles, their dwindling American fan base, and the meaning behind his music. In 2007, the conversation was animated by James Braithwaite and turned into a short film, I Met the Walrus, which went on to win an Emmy and be nominated for an Oscar.
Via The Atlantic
This year’s Sundance Grand Jury Prize winner (U.S. Documentary) “The Wolfpack” tells a story that’s almost too strange to believe: It centers on six teen brothers whose father forced them to spend their entire childhoods locked away from the outside world. With the film opening Friday, here are 16 other unbelievable documentaries.
—A message from Neil Young:
As I write this, the dark act is up for a vote in the House of Representatives; representatives of the people. The dark act takes away the rights of those people to vote for or against things like GMO labeling in their states. It does seem ironic. If the act is passed, it will truly be a dark day for America.
Monsanto is a corporation with great wealth, now controlling over 90% of soybean and corn growth in America. Family farms have been replaced by giant agri corp farms across this great vast country we call home. Farm aid and other organizations have been fighting the losing battle against this for 30 years now.
Dairy and meat farming is done in those white sheds you see from the freeway, no longer on the green pastures of home with the old farmhouses and barns. Those beautiful buildings now stand in ruin across the country. This has happened on our watch while the country slept, distracted by advertising and false information from the corporations. Monsanto and others simply pay the politicians for voting their way. This is because of “Citizens United”, a legislation that has made it possible for corporations to have the same rights as people, while remaining immune to people’s laws.
Both Democratic and Republican front runners are in bed with Monsanto, from Clinton to Bush, as many government branches are and have been for years. This presidential election could further cement the dominance of corporation’s rights over people’s rights in America. If you have a voice you have a choice. Use it.
On the human side, the film I would like you to see tells the story of a farming family in America, but the same thing is happening around the world. It is a story that takes 10 minutes of your time to see. It is a simple human one, telling the heartbreaking story of one man who fought the corporate behemoth Monsanto, and it illustrates why I was moved to write The Monsanto Years.
The film presents a rare opportunity to hear from the source as Mr. White is one of only four farmers who is still legally allowed to speak about his case as all the others have been effectively silenced.
Thanks for reading this and I hope you look at this simple and powerful film, “Seeding Fear”.
For many modern audiences, silent films are virtually synonymous with black and white. Yet as far back as 1895, more than 80 percent of them were all or somewhat colored with dyes, stencils, color baths, and tints. These additives and techniques transformed an already magical medium into transcendent dreamscapes that were colored by craftspeople—mostly women—who painted every tiny black-and-white frame one-by-one, prefiguring the colorization process developed in the 1970s. Archived at Holland’s EYE Filmmuseum, more than 250 still images culled from 96 of these largely forgotten films are featured in an eye-popping new book, Fantasia of Color in Early Cinema.
“Dreaming of Buster’s voice is a natural activity. Some peculiar flutter in the mind always makes you lend voices to silent things. A sudden pall of sadness is perhaps natural, too, on hearing it for the first time, as he doesn’t produce the angelic mumble you might imagine but the parched groan of something that lives in the dark.”
Read the rest: Cabinet Magazine
Here are the winners from the 2015 Cannes Film Festival, as chosen by a jury led by US director siblings Joel and Ethan Coen:
Palme d’Or: “Dheepan”
(French director Jacques Audiard)
A thriller spotlighting the plight of Sri Lankan refugees, including a traumatised former insurgent, as they try to build new lives in France.
Grand Prize: “Son of Saul”
(Hungarian director Laszlo Nemes)
The 38-year-old Nemes’s first feature, this movie was widely acclaimed for taking audiences into a Nazi concentration camp and showing the Holocaust in a different way.
Jury Prize: “The Lobster”
(Greek director Yorgos Lanthimos)
Starring a paunchy, deadpan Colin Farrell, “The Lobster” is a weird but well-received movie about single people who are transformed into animals if they don’t find a mate.
Best actor: Vincent Lindon
(“The Measure of a Man”)
Talented, gruff French character actor Lindon scooped the prize for his performance as a laid-off factory worker desperately searching for a job.
Best actress: Rooney Mara, Emmanuelle Bercot
(“Carol”, “Mon Roi”)
Mara won the award for her part in lesbian love affair “Carol” in which she co-starred with Cate Blanchett, while France’s Emmanuelle Bercot was also awarded for her performance as a woman looking back on a destructive relationship with a deceitful but charming boyfriend.
Best director: Hou Hsiao-hsien
A leading figure in Taiwan’s “New Wave” cinema, Hou won for his slow-burning minimalist drama set in ninth-century China featuring Asian megastar Shu Qi as a female assassin who, after failing in one mission, is sent back to her home province to kill its governor, who is also the man she loves.
Best screenplay: Chronic
Mexican writer-director Franco won for his bleak film about an end-of-life nurse played by Tim Roth who grows too close to some of his patients and faces difficult moral choices about assisted suicide.
This black-hatted long-taloned snaggletoothed pen and ink pop-up scare.
A six-minute video fragment from the Fricke-Magidson non-verbal documentary “Samsara.” Filmed over five years in twenty-five countries, Samsara (which is Sanskrit for “the ever turning wheel of life”) is one of only a handful of films shot on 70mm in the past forty years.