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A Grin Without a Cat (1977, 1993)

DVD review

Last week, Icarus Films released the latest DVD in their excellent Chris Marker series, A Grin Without a Cat (originally released in 1977 but shortened with an added coda in ’93). Not only is this one of his most acclaimed documentaries, summarizing the decade of the New Left worldwide as well as his own globetrotting SLON collective filmmaking period, the DVD also comes amid a flurry of new Marker events:

• Cannes Classics has announced it’s debuting a new and restored print of Far from Vietnam (1967), the protest film Marker organized and edited with contributions by Joris Ivens, Claude …

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Oshima: Death by Hanging (1968) and Boy (1969)

Film review


A cemetery mound initiates a conical motif in Oshima’s Boy.

The new retrospective of Nagisa Oshima–widely regarded among experts as the most important filmmaker of the Japanese New Wave–is currently poised between its Los Angeles hosts, the American Cinematheque and the Los Angeles County Museum of Art; LACMA begins its half of the series tonight with two masterpieces: Death By Hanging (1968) and Boy (1969).  Both films showcase Oshima’s ferocious sociopolitical edge and preoccupation with the interplay of fantasy and reality, as well as his stylistic diversity: the former is a black-and-white melange of Bretchian techniques and mobile camerawork …

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Los Angeles Film Festival Line-up

Commentary, Film festival

The Los Angeles Film Festival announced its line-up today, and any fears that its new director might steer the festival–with its solid line-up several years running–in an untoward direction have been put to rest. Some of the highlights follow.

The latest edition of the always excellent “The Films That Got Away” series programmed by the Los Angeles Film Critics Association:

• Musica Nocturna, described by Robert Koehler as “the most realistic depiction of a married couple that I’ve seen on screen since Cassavetes.”

• The Silence Before Bach, which I’ve been dying to see ever since it earned …

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Cannes Bloody Cannes

Commentary, Film festival


Drag Me to Hell (left); Enter the Void (top right); Thirst (bottom right)

By Robert Koehler

Lost amid the general, conventional sense of the Cannes competition lineup (see here) as a colloquium of auteurs–from Haneke to Campion, Audiard to Tsai, To to Resnais–is the fact that, for better or worse, the Palais will be the site of a bloodbath this year. There will be a whole lot of killers stalking around the lineup that Thierry Fremaux and Gilles Jacob have constructed. In his good rundown of all the sections announced today, complete with reference links, IFC Daily‘s David …

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Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975)

Film review

Last weekend, LACMA screened the new print of Chantal Akerman’s riveting portrait of life as a series of imprisoning rituals, Jeanne Dielman: 23 Quai du Commerce, 1080 Bruxelles (1975), a film that charts the actions of a matronly widow (Delphine Seyrig)–and covert prostitute–as she performs house chores and errands over a three day period. Comprised of lingering, static shots of Dielman in her apartment and around town, and clocking in well over three hours, its uncompromising and provocative vision has long been an inspiration to those lucky enough to see it. It’s never been released on video in the US, …

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Days in Buenos Aires: Lisandro Alonso

Film festival

By Robert Koehler

Was this the single most memorable image of the entire BAFICI? Perhaps. Just as Godard’s festival trailer for last year’s Viennale, Une Catastrophe, stamped the entire festival with the filmmaker’s own form of visual-audio music and sense of the Zeitgeist, so Lisandro Alonso’s BAFICI trailer, mysteriously titled S/T, seemed to stamp this edition of BAFICI. I would say that it’s the single greatest festival trailer I’ve ever seen: A close, static shot trained on an owl, in turn very much trained on the camera, its whole body undulating with the inhaling and exhaling of breath …

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