Noticias

High on Fire have announced their first album in six years and ninth overall. The LP, titled Cometh the Storm, will arrive on April 19th, and includes the just-released first single “Burning Down.”

Cometh the Storm serves as the highly-anticipated follow-up to 2018’s Electric Messiah. The 11-song album was recorded at GodCity Studio in Salem, Massachusetts, and produced by Converge guitarist Kurt Ballou.

The album is the first High on Fire LP to feature drummer Coady Willis, who joined the band in 2021. The trio is rounded out by founding frontman Matt Pike and longtime bassist Jeff Matz.

“‘Burning Down’ kicks off with a classic Pike riff,” said Matz of the first single. “I think this song harkens back to the early High on Fire sound, but infused with fresh, new elements. It has a killer groove that you can really sink into.”

Speaking about High on Fire’s current dynamic,...

Melvin Van Peebles, revolutionary independent filmmaker whose credits include Sweet Sweetback’s Baadasssss Song, Watermelon Man and La Permission, died Tuesday in Manhattan. He was 89. On this sad occasion we’re reprinting Brandon Harris’s profile of Van Peebles from Filmmaker‘s Fall, 2008 issue. It isn’t the first thing you notice when you walk into Melvin Van Peebles’s Columbus Circle South digs, but very few items within his intimate, eclectically appointed apartment — one that sports the back end of a Vw bus jutting out of one parlor wall and a giant sculpture of a hot dog near the window — speak […]

The post Remembering Melvin Van Peebles, 1932 – 2021 first appeared on Filmmaker Magazine.

Melvin Van Peebles, the influential indie filmmaker who helped spawn the Blaxploitation genre with his 1971 film Sweet Sweetback’s Baadassss Song, has died at the age of 89.

The director/actor/composer/novelist/playwright — among many other talents — died Wednesday night at his home with his family. The Criterion Collection, which will release a retrospective box set of Van Peebles’ work next week, announced his death in a statement. “Van Peebles made an indelible mark on the international cultural landscape. He will be deeply missed,” Criterion added. No cause of death was revealed.

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Each month, the Criterion Collection gives us a new batch of digitally remastered movies from across the globe. If you’re looking to discover new classics, or maybe check out an old favorite, try the vast collection of gems the Criterion Collection has to offer. The upcoming releases for the month of September (and a couple from October) range from drama to horror, film noir, and more. To help with your love of discovering films, we’ve put together a list of films that have been restored like never before and contain exclusive bonus content. The roster not only contains great options for your next movie night, but great gift options as well.

Kate Winslet is the first honoree to be announced by Joana Vicente and Cameron Bailey, co-heads of the Toronto Film Festival, as recipient of this year’s TIFF Tribute Actor Award. It will be presented September 15 during a “virtual ceremony” as part of the 45th edition of the slimmed-down fest, which like everything else has been deeply impacted by the worldwide coronavirus pandemic.

Winslet’s film Ammonite was previously announced as a TIFF official selection where, after Telluride’s cancellation Tuesday, it is likely to be the first fest where the Neon Oscar-season hopeful will be seen. Last month, the Cannes Film Festival revealed the movie was a main competition selection for that fest, which of course did not take place. Nevertheless, the Cannes logo will appear on the film anyway.

“Kate’s brilliant and compelling onscreen presence continues to captivate, entertain, and inspire audiences and actors alike,” said Vicente.

One of the most interesting sections of Cannes Film Festival each year is their Classics section, which is made up of new restorations and filmmaking-related documentaries. The lineup often gives a look ahead at what classic and overlooked films may be getting new Blu-ray editions, as well as digital debuts, and theatrical re-releases. Following the reveal of Cannes-selected premieres this year, they’ve now unveiled their Classics lineup.

This year’s slate, made up of 25 features and 7 documentaries, will screen at the Lumière festival in Lyon and by the Rencontres Cinématographiques de Cannes. Leading the pack, and announced a few months ago, is the new 20th anniversary restoration of In the Mood for Love by Wong Kar-wai. Also in the lineup is 60th anniversary restorations of Jean-Luc Godard’s Breathless and Michelangelo Antonioni’s L’Avventura, while a selection of Federico Fellini classics have been restored for this 100th birthday.

Peter Wollen’s Friendship’s Death,...

Greetings from Free Forests“And even if nothing turned out how we'd hoped; it would not have changed what we'd hoped for.”–Jean-Luc Godard, The Image Book Two weeks before the opening of Doclisboa, one of the world’s most respected festivals of non-fiction cinema, Artistic Director Cíntia Gil sent out a press release revealing pressure the festival faced from the Ukrainian and Turkish embassies. The former accused Doclisboa of supporting terrorism for programming the world premiere of Aliona Polunina’s Their Own Republic, a film which takes a pro-Russian battalion in the Donetsk People’s Republic as its subject. It is also a film made with artistry that shows us a window into a point of view our liberal bubble may prevent us from seeing—the sort of expansion of our purview which makes festivals so valuable, especially when we are confronted with positions to which we are opposed.

Strand will focus on the history of Cannes for the festival’s 70th anniversary.

Cannes Film Festival (May 17-28) has unveiled the line-up for this year’s Classic programme, with 24 screenings set to take place alongside five documentaries and one short film.

Documentaries about cinema including Filmworker - which focuses of Stanley Kubrick’s right hand man Leon Vitali, who played a crucial role behind the scenes of the director’s films - as well as Cary Grant doc Becoming Cary Grant, are set to feature.

This year’s selection is also set to focus on the history of the festival itself, with prize-winning films such as Michelangelo Antonioni Grand 1966 Prix winning film Blow-Up and Henri-Georges Clouzot’s Le Salaire de la peur (The Wages of Fear) from 1952 screening.

Nagisa Oshima’s 1976 film Ai No Korîda (In The Realm Of The Senses/L’Empire Des Sens), Luis Buñuel’s 1967 classic Belle De Jour (Beauty Of The Day...

While Cannes Film Festival premieres some of the best new films of the year, they also have a rich history of highlighting cinema history with their Cannes Classics line-up, many of which are new restorations of films that previously premiered at the festival. This year they are taking that idea further, featuring 16 films that made history at the festival, along with a handful of others, and five new documentaries. So, if you can’t make it to Cannes, to get a sense of restorations that may come to your city (or on Blu-ray) in the coming months/years, check out the line-up below.

From 1946 to 1992, from René Clément to Victor Erice, sixteen history-making films of the Festival de Cannes

1946: La Bataille du Rail (Battle of the Rails) by René Clément (1h25, France): Grand Prix International de la mise en scène and Prix du Jury International.

Presented by Ina.

The rapid strides taken by auteur Turkish cinema in recent times owes not a little to the daredevil, pioneering spirit of Yilmaz Güney who left a message to succeeding generations that they can achieve great things only if they are prepared to abandon the beaten track and set their sights on challenging summits.

Yilmaz Güney (1937 – 1984)

The seventy-fifth birth anniversary this year of Yilmaz Güney (1937 – 1984), the stormy petrel of modern Turkish cinema, is certain to set the Bosphorus on fire. Güney’s phenomenal many-sided genius made him a force to reckon with when he came to direction after a long stint as Turkey’s most popular film hero. But in the post-Second World War history of the Turkish State and society, Güney occupies a higher place than just that of a trail-blazing film personality. His strong sympathies for the inhabitants of the ‘lower depths’ – a recurring theme in his films – combined...

This Is Not A Film was smuggled out of Iran inside a birthday cake. Long may film-makers continue to take risks for art

Jafar Panahi's This Is Not A Film demonstrates by the simple fact of its existence that the political oppression of difficult artists – a tradition as ancient and venerable as art itself – is alive and well in modern Iran. No surprises there, perhaps, but more encouragingly it also shows that Iranian responses to being silenced are as inventive as any ever developed by film-makers in repressive regimes. Given the formal and stylistic adventurousness of many movies made under arduous political circumstances, you might even argue that a bracing dose of aggressive censorship and brutal repression can sometimes do wonders for a director's formal and intellectual development.

Panahi had no need of such spurs to creativity; he was Abbas Kiarostami's assistant while Kiarostami was making films set...

Ask a random sampling of cinephiles - let's even make a rule that they must be well-researched in and fanatic about European cinema - to name a significant Turkish filmmaker, living or dead, and by far the most common answer will be Nuri Bilge Ceylan. Runners-up will be 2010 Golden Bear-winner Semih Kaplanoğlu and German filmmaker Fatih Akin (he's of Turkish descent), and way down at a very distant fourth place will be a man by the name of Yilmaz Güney. Winner of the 1982 Palme d'Or by proxy for Yol (he was imprisoned during production and gave detailed directions to Şerif Gören, the 'official' director, on how to make the film), Güney is the most influential Turkish filmmaker in the country's history, and, frankly, still probably the greatest of them all (Ceylan may well surpass him, though, especially if he makes any more films on the plane as Once Upon a Time in Anatolia,...

Animated Exeter, Exeter

Last year it was Exeter Castle, this year the animation festival spills over on to the city's best-known landmark, with a son-et-lumière piece projected on to Exeter Cathedral (graphics by artists Tundra* and music from Portishead's Beth Gibbons). Free exhibitions and events include a helpful workshop on how to animate vegetables, while guest of honour Joanna Quinn looks back on her distinctive body of work. Plus, of course, over 140 films, from shorts compilations (like the return of Spike And Mike's "Sick And Twisted" programme) to recent features The Illusionist and A Town Called Panic.

Various venues, Mon to 26 Feb

Glasgow Film Festival, Glasgow

Perhaps Edinburgh should start looking over its shoulder at "the fastest-growing film event in the UK". But Scotland's big enough for the both of them, for now. This one's almost too big for itself, as evidenced by the mini-festivals within it: a promising music and film festival,...

Photo: Wild Bunch I have never seen a Ken Loach film, but if I time things properly I will be seeing his latest feature, Route Irish as it was announced this morning as the nineteenth and final entry into the Competition category and will have its first screening on May 20.

Cannes General Delegate Thierry Fremaux commented on that addition saying, "The opportunity of adding another film to the Competition brings the total number of films presented to 19. So it is manageable and we decided to go for it."

He also points out this isn't the first time last minute additions have been made, and to impressive results. "Gilles Jacob included Yilmaz Guney and et Serif Goren's film Yol, Andej Wajda's L'Homme de fer and Abbas Kiarostami's Le Goût de la cerise at the last minute. That's not the end of the story: all three won the Palme d'Or for that year.