Cahiers du Cinéma Nº. 208 - January 1969 - translated from the French.
1. Presentation of The Illiac ion by Gregory Markopoulos. (Louvain, 1968.)
I am in a very peculiar mood this evening, because this afternoon, I presented The Illiac ion to a distributor at Columbia Pictures and one of the questions he posed to me is: “You want to be a film director, and this is your first film?”
I do not know to what extent you have…
CINEMATECA PORTUGUESA-MUSEU DO CINEMA
QUE FAREI EU COM ESTA ESPADA? | FUTURE
2nd and 9th of August 2024 - translated from the Portuguese.
The last film made by Nicholas Ray for R.K.O. (where, by that point everything was falling apart and, more or less, at the time when Howard Hughes decided to liquidate the firm in a financial operation that gave much to talk about), The Lusty Men was always one of the works that…
Showgirls most simply operates via the abstraction of traditional narrative and theatrical convention (in the sense of Brecht) and through the emphasis on embellishment between mirror images. Every image crafted here has its counterimage, every thesis its antithesis, and this mirrored structure plays just as much into the literal mise en scène of the film as it does into the form. As well, in the Fordian sense, Showgirls is primed not just with dialectical, materialist genius but also with immense…
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To live and work as a Filmmaker in Europe requires direct confrontation with the interconnectedness of its geography. It requires an awareness of Europe’s national and regional traditions on both an emotional and cultural level. It is a life informed by the shifts of cross-national history and artistic tradition. Robert Beavers is one of, if not the only filmmaker that understood this and the implications this has on his life as Filmmaker, particularly in his youth, especially…
