I would like to invite you to the screening of El Puma de Quelepa at the 2017 AFI Latin American Film Festival, as part of its selection of the best filmmaking from Latinoamérica. The first screening is this coming October 3rd at the AFI Silver Theatre and Cultural Center in DC metro area. Hope to see you there! More information here: https://silver.afi.com/Browsing/EventsAndExperiences/EventDetails/0000000008
Guy Maddin’s hypnotic and inventive cinematic worlds are complex assemblages of interwoven materials. So it comes as no surprise that Maddin is also a passionate collagist. In June, a collection of his collage work (presented along with collages by the poet John Ashbery) was even the subject of an exhibition at Tibor de Nagy Gallery in New York. But for Maddin, the physical act of creating these pieces is also a private, therapeutic affair. “I suppose the playroom of this gluey and scissory medium is where I find refuge whenever cinema’s laws feel too literal-minded,” Maddin recently told us, “where I can secretly fashion the blueprints for the little visual collisions I hope will work on the big screen.” His surreal collages exist somewhere between sensual reveries and portraits of a nightmare, through which Maddin explores the themes of nostalgia and memory present in his work.
“I’ve been going increasingly public with the results,” Maddin told us, “because the collage parties my friends and I throw, which are nothing less than Jack Smith-style happenings, but with more taffeta, are simply getting to be too much fun not to share with the world.” And he added a bit of advice to the amateur collagist: “Don’t throw out your old porn magazines, they can be recycled in far tonier ways than any old paper shredder could dream up!”
Guy Maddin is represented by Lisa Kehler Art + Projects in Winnipeg, MB Canada. www.LKAP.ca
In honor of Criterion’s 30th anniversary, Indiewire has singled out their most incredible cover designs.
How do you capture the essence of a classic? Every day, the designers at the Criterion Collection are tasked with reimagining some of the most iconic creations in the history of cinema. Together with their team, Head Art Director Sarah Habibi and Designer/Art Director Eric Skillman analyze each film’s historical context, director’s career and influence on the popular imagination in order to conceptualize cover designs (their new book, “Criterion Designs,” details the process.) In repackaging dated or overlooked gems, the Criterion Collection lifts films out of the folds of history and gives them new life. But above all, Criterion’s work celebrates the visual language of cinema — and its indelible impact on human culture.
By Emily Buder | Indiewire November 4, 2015 at 4:19PM
From the books and movies that inspired Guillermo del Toro, to his must travel guide (with all the spooky intel), here is what GDT is feeling.
Right now, Guillermo del Toro is everywhere. The group art show dedicated to his work may have recently ended, but with the October 16 premiere of his latest movie Crimson Peak, del Toro has kept busy with a press tour. Today, Bergdorf Goodman also unveiled the Fifth Avenue window they dedicated to the new gothic romance.
All this extra attention on del Toro couldn’t be better timed. We’ve decided to declare October the month of del Toro, Oct-Toro-ber if you will. After all, it’s pretty perfect that his birthday falls in the same month as Halloween, considering he’s the creator of some of the spookiest creatures in cinema.
In honor of his 51st, we are looking at the books, movies, and other influences that have impacted his life and art, according to his Twitter. Below are 13 things that have shaped del Toro.
Crimson Peak opens in theaters on October 16, 2015.
Chantal Akerman describes the effect of seeing Jean-Luc Godard’s PIERROT LE FOU for the first time in this 2009 interview for the Criterion Collection.
Out now on DVD: http://www.criterion.com/films/302-je…
– She describes perfectly the feeling of watching the film for the first time.
– I had precisely the same experience at the same age the first time i watched ‘pierrot le fou.’ it was the first film to make me see cinema as a form of art and not simply a medium of entertainment.
– Heh. I felt the same watching Jeanne Dielman! And, of course, also felt that way after watching Pierrot le fou.
Tributes to the pioneering director of “Jeanne Dielman” and “No Home Movie”
Chantal Akerman, whose movies revolutionized both feminist and structuralist cinema, has died at the age of 65. Her death leaves a gap as incalculable as her impact on the history of cinema; that she died, according to Le Monde, by her own hand is almost unfathomable. News of her death reaches the U.S. just a day before “No Home Movie’s” first screenings at the New York Film Festival…
A. O. Scott offers a challenge to the Yelp era, when everyone is a critic.
Is snobbery dead?
Before exploring the possible answers — Mais non! Good riddance! Who cares? — we should perhaps define our terms. The word “snob” has a contested etymology and an interestingly tangled set of uses. According to the Oxford English Dictionary (no second-rate sources here; what do you take me for?), it originated in the 18th century as a term for a shoemaker. For much of the 19th century, it was used to refer to persons of “no breeding.” According to the Oxford website, “in time the word came to describe someone with an exaggerated respect for high social position or wealth who looks down on those regarded as socially inferior.” A pretender. A poser. A wannabe. An arriviste.
Early film cameras used hand-cranks to advance the celluloid in the camera, and even though there were plenty of good operators, there was still a unique look to the resulting footage. There would usually be slight variations in the frame rate, which would give you faster/slower motion as well as changes in the exposure. You also get a lesser version of this effect at the beginning and end of a take with film.
Alejandro Jodorowsky isn’t just a world-class art-house filmmaker, he’s also a world-class spiritual guru. In his book The Spiritual Journey of Alejandro Jodorosky, the Chilean director details his experiences while on a spiritual journey that lead him to “discard his emotional armor,” namely one encounter with Reyna d’Assia, daughter of famed spiritual healer George Ivanovich Gurdjieff, in which she imparted her father’s many axioms about life.
This list, though clearly not directed at filmmakers specifically, certainly will reverberate with the artist in us all, as it did with Jodorowsky. Looking at each one through the eyes of a creator, you’ll start to learn a lot about yourself not only as a human, but as an artist.
- Ground your attention on yourself. Be conscious at every moment of what you are thinking, sensing, feeling, desiring, and doing.
- Always finish what you have begun.
- Whatever you are doing, do it as well as possible.
- Do not become attached to anything that can destroy you in the course of time.
- Develop your generosity ‒ but secretly.
- Treat everyone as if he or she was a close relative.
- Organize what you have disorganized.
- Learn to receive and give thanks for every gift.
- Stop defining yourself.
- Do not lie or steal, for you lie to yourself and steal from yourself.
- Help your neighbor, but do not make him dependent.
- Do not encourage others to imitate you.
- Make work plans and accomplish them.
- Do not take up too much space.
- Make no useless movements or sounds.
- If you lack faith, pretend to have it.
- Do not allow yourself to be impressed by strong personalities.
- Do not regard anyone or anything as your possession.
- Share fairly.
- Do not seduce.
- Sleep and eat only as much as necessary.
- Do not speak of your personal problems.
- Do not express judgment or criticism when you are ignorant of most of the factors involved.
- Do not establish useless friendships.
- Do not follow fashions.
- Do not sell yourself.
- Respect contracts you have signed.
- Be on time.
- Never envy the luck or success of anyone.
- Say no more than necessary.
- Do not think of the profits your work will engender.
- Never threaten anyone.
- Keep your promises.
- In any discussion, put yourself in the other person’s place.
- Admit that someone else may be superior to you.
- Do not eliminate, but transmute.
- Conquer your fears, for each of them represents a camouflaged desire.
- Help others to help themselves.
- Conquer your aversions and come closer to those who inspire rejection in you.
- Do not react to what others say about you, whether praise or blame.
- Transform your pride into dignity.
- Transform your anger into creativity.
- Transform your greed into respect for beauty.
- Transform your envy into admiration for the values of the other.
- Transform your hate into charity.
- Neither praise nor insult yourself.
- Regard what does not belong to you as if it did belong to you.
- Do not complain.
- Develop your imagination.
- Never give orders to gain the satisfaction of being obeyed.
- Pay for services performed for you.
- Do not proselytize your work or ideas.
- Do not try to make others feel for you emotions such as pity, admiration, sympathy, or complicity.
- Do not try to distinguish yourself by your appearance.
- Never contradict; instead, be silent.
- Do not contract debts; acquire and pay immediately.
- If you offend someone, ask his or her pardon; if you have offended a person publicly, apologize publicly.
- When you realize you have said something that is mistaken, do not persist in error through pride; instead, immediately retract it.
- Never defend your old ideas simply because you are the one who expressed them.
- Do not keep useless objects.
- Do not adorn yourself with exotic ideas.
- Do not have your photograph taken with famous people.
- Justify yourself to no one, and keep your own counsel.
- Never define yourself by what you possess.
- Never speak of yourself without considering that you might change.
- Accept that nothing belongs to you.
- When someone asks your opinion about something or someone, speak only of his or her qualities.
- When you become ill, regard your illness as your teacher, not as something to be hated.
- Look directly, and do not hide yourself.
- Do not forget your dead, but accord them a limited place and do not allow them to invade your life.
- Wherever you live, always find a space that you devote to the sacred.
- When you perform a service, make your effort inconspicuous.
- If you decide to work to help others, do it with pleasure.
- If you are hesitating between doing and not doing, take the risk of doing.
- Do not try to be everything to your spouse; accept that there are things that you cannot give him or her but which others can.
- When someone is speaking to an interested audience, do not contradict that person and steal his or her audience.
- Live on money you have earned.
- Never brag about amorous adventures.
- Never glorify your weaknesses.
- Never visit someone only to pass the time.
- Obtain things in order to share them.
- If you are meditating and a devil appears, make the devil meditate too.
Here are a few of my favorites that I think will help filmmakers especially.
Never define yourself by what you possess.
How many times have you had gear envy? You look at your buddy’s production and it looks so much more professional and “legit” — lights are everywhere, crew is everywhere — their craft services table isn’t just a pizza box opened on the hood of someone’s car. It’s easy to use gear and budgets as a ruler to measure the validity of your own project, as well as others’ projects, but we all have to remember: gear doesn’t make movies, filmmakers do.
Stop defining yourself.
To put it simply, the act of defining yourself means giving yourself a classification and putting yourself in a box. Boxes kill creativity. (The Dogme 95 filmmakers would disagree big time.) From my own experience I’ve found that defining yourself makes it that much harder to grow as an artist, because all you’re seeing is what you have contained inside of this rigid box.
If you are hesitating between doing and not doing, take the risk of doing.
If you want to make a film, do it. Whatever it takes.