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Posts Tagged ‘Michelangelo Antonioni’

The Summer 2011 issue of Requited is now online. It features: fiction by Josh Collins, Jess Upshaw Glass, Suzanne Scanlon, Ben Slotzky, and Simon A. Smith; poetry by Kristy Bowen, Nicelle Davis, Eric Ellingson, Molly Gaudry, Monica Gomery, Rich Ives, Alyse Knorr, Kate Martin Rowe, and J. A. Tyler; essays by Steve Katz, Mark Rappaport, [...]

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From Yahoo Mail: Cf. Antonioni’s 1975 masterpiece The Passenger: (Notice how this clip’s presented by Audi? Even horrible corporations love Maria Schneider!)

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Maria Schneider, the female lead in two of my all-time favorite films, Bernardo Bertolucci’s Last Tango in Paris (1972) and Michelangelo Antonioni’s The Passenger (1975), died yesterday from cancer. This depresses me quite a bit, actually—Schneider was a tremendous actor who never really got the credit she deserved for her remarkable performances in each of [...]

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Some good questions came up in the comments section of my lengthy Inception critique (“Seventeen Ways of Criticizing Inception“), and I thought it made the most sense to respond to them with a new post. So let’s wade back into Limbo, shall we…

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After college, a friend and I went on a tear, spending our weekends watching everything we could find by Godard, Bergman, Tarkovsky, Kurosawa, others. My friend’s father, a former cinephile who’d seen many of these movies during their initial US releases, occasionally poked his head into the living room, watching a few minutes here and [...]

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Last night I had the pleasure of seeing Giorgos Lanthimos‘s third feature-length film, Dogtooth (Kynodontas, 2009), which is the kind of movie that makes one want to immediately write something about it.

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July 30, 2007   Morning: Bush lied, Bergman died.   Evening: Bush lied, Antonioni died.

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     Kathryn Bigelow and her film The Hurt Locker are on tap to win Oscars and make history for becoming the first woman to win best director. The largest irony is that it would be for a film that is totally devoid of any significant female characters. It is a MAN’s film, a war film. [...]

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While writing my previous post, I grew aware that I wasn’t mentioning any women filmmakers. So I’d like to add something addressing that (because of course one can find numerous examples). And along the way, I’ll also try to say more in general about the power—and limitations—of the long take.

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Some of us have been discussing long takes in movies, and John mentioned that he’d like seeing a list of films that consist primarily of the beautiful things. So here is a start at such a list. (And here is another one, which like this list embeds many YouTube clips, such as the magnificent opening [...]

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