Film writing that isn’t a review — the people who make pictures away from the picture, the arguments the industry is having, how the work gets done, and what to watch next. Everything here is ours, and everything that makes a claim about a person says where the claim came from.
Nine years shooting advertisements, then a debut that made him the house eye of a certain kind of Tamil thriller. The washed-out look people remember from Kaakha Kaakha has a name and a chemical process behind it, and the award-winning one after it took two months of deciding what to remove.
CinePixo
She was in front of a camera in 1907 and still in front of one in 1957 — aunts, neighbours, housekeepers, forty-nine films. A supporting career is the only kind long enough to be a record of the industry it happened inside, and hers runs straight through the part of German film history that is hardest to write about.
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She was born in San Francisco in 1877, died at Rancho Santa Fe in 1958, and in between she wrote Joan Crawford's breakthrough and got an Academy Award nomination for it. Eighteen of her thirty-three credits were directed by her husband, which is the fact her biography usually leads with and the least interesting thing about her.
CinePixo
Twenty-one documentaries, opening with Megan Rapinoe and built around Alex Gibney's nearly four-hour Musk — a film its subject has already called a hit piece. Against a man whose native medium is the instant post, length is a position.
CinePixo
Promise is making an AI-assisted horror film within sight of the lots where Singin' in the Rain was shot, on a budget in the low millions. The unsettling part of the reporting is not what the software can draw. It is the list of things the software makes unnecessary.
CinePixo
May el-Toukhy's Woman Unknown is the only film directed by a woman competing for this year's Golden Lion. Alberto Barbera says the films were not there. The section he programmed one floor down, where a record forty-two per cent of the directors are women, is the problem with that answer.
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The director of On Golden Pond and The Rose died on Thursday, August 13, aged 97. He had spent six years on a soap opera and about a decade as a working actor before he ever gave a note, and it shows in every performance he got.
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Bucking Fastard premieres in competition at Venice on September 3, with Rooney and Kate Mara as inseparable twins tunnelling through a mountain range toward a country where love is possible. Forty-four years after Fitzcarraldo, Herzog is still moving earth to measure what a person wants.
CinePixo
The people who make films, away from the film: what they are working on, what they have said, where they have gone.
She was in front of a camera in 1907 and still in front of one in 1957 — aunts, neighbours, housekeepers, forty-nine films. A supporting career is the only kind long enough to be a record of the industry it happened inside, and hers runs straight through the part of German film history that is hardest to write about.
CinePixo
She was born in San Francisco in 1877, died at Rancho Santa Fe in 1958, and in between she wrote Joan Crawford's breakthrough and got an Academy Award nomination for it. Eighteen of her thirty-three credits were directed by her husband, which is the fact her biography usually leads with and the least interesting thing about her.
CinePixo
The director of On Golden Pond and The Rose died on Thursday, August 13, aged 97. He had spent six years on a soap opera and about a decade as a working actor before he ever gave a note, and it shows in every performance he got.
CinePixo
An argument the film world is having, explained — what happened, who is on which side, and what actually turns on it.
The business of pictures: what got made, what it cost, what it took, and which festival said so.
Promise is making an AI-assisted horror film within sight of the lots where Singin' in the Rain was shot, on a budget in the low millions. The unsettling part of the reporting is not what the software can draw. It is the list of things the software makes unnecessary.
CinePixo
Possible Love premieres in Venice competition on September 6, opens in Korean cinemas on September 23 and reaches Netflix on November 6. It is Lee Chang-dong's first film in eight years, and the order of those three dates is the most interesting decision anyone made about it.
CinePixo
Paul Mescal, Harris Dickinson, Joseph Quinn and Barry Keoghan have recreated the Abbey Road crossing for Sam Mendes' four-film Beatles project. The perfect replica is less interesting than the four competing memories around it.
CinePixo
How films are made — the camera, the cut, the score, the design — read closely on the films that show it best.
Nine years shooting advertisements, then a debut that made him the house eye of a certain kind of Tamil thriller. The washed-out look people remember from Kaakha Kaakha has a name and a chemical process behind it, and the award-winning one after it took two months of deciding what to remove.
CinePixo
Bucking Fastard premieres in competition at Venice on September 3, with Rooney and Kate Mara as inseparable twins tunnelling through a mountain range toward a country where love is possible. Forty-four years after Fitzcarraldo, Herzog is still moving earth to measure what a person wants.
CinePixo
Jeremy Strong says he contacted Mark Zuckerberg before playing him in The Social Reckoning. His promise to approach the role with respect raises a sharper question: what does accuracy owe a living, powerful subject?
CinePixo
What to watch, in what order, and why that order.
Twenty-one documentaries, opening with Megan Rapinoe and built around Alex Gibney's nearly four-hour Musk — a film its subject has already called a hit piece. Against a man whose native medium is the instant post, length is a position.
CinePixo
Maite Alberdi’s A Child of My Own reaches Netflix after its festival run. Its mixture of reenactment and documentary evidence asks viewers to understand a desperate act without confusing understanding with acquittal.
CinePixo
