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tnyfrontrow.bsky.social @tnyfrontrow.bsky.social · 9m

Otto Preminger's 1947 melodrama Daisy Kenyon, with its frenzied trio of Joan Crawford, Henry Fonda, and Dana Andrews, is one of the great movies of wartime trauma and its distortions of intimate relationships and public life; on @tcmtv.bsky.social at 9:45pm (ET):
www.newyorker.com/goings-on-ab...

Daisy Kenyon

www.newyorker.com

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tnyfrontrow.bsky.social @tnyfrontrow.bsky.social · 16h

Thanks so much for word; I appreciate it; every film needs to be written about differently, and this one made unusual demands—both subjectively as experience and at an analytical distance, and both simultaneously.

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tnyfrontrow.bsky.social @tnyfrontrow.bsky.social · 17h

Spectacular, intricate, disconnected, profound: One Battle After Another is an immense experience that's best experienced twice:
www.newyorker.com/culture/the-...

The Real Battle of “One Battle After Another”

Paul Thomas Anderson’s spectacular, exquisitely detailed fantasy of revolution and resistance, starring Leonardo DiCaprio, looks to history for visions of hope.

www.newyorker.com

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tnyfrontrow.bsky.social @tnyfrontrow.bsky.social · 23h

It's already a year since last year's NYFF and one of its best films, Robinson Devor's documentary Suburban Fury, is still unreleased; also, just found out that its subject, Sara Jane Moore, died last week, at ninety-five.
apnews.com/article/sara...
www.newyorker.com/culture/the-...

What to See in the 2024 New York Film Festival’s Second Week

Recognized directors deliver surprising works that expand both their own horizons and the possibilities of the art at large.

www.newyorker.com

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tnyfrontrow.bsky.social @tnyfrontrow.bsky.social · 1d

Releases came more slowly, the chronology of prolific filmmakers such as Godard (if there even were other such...) must have been harder to follow. www.criterion.com/current/post...

Pierrot le fou: Self-Portrait in a Shattered Lens

Abandoning the cinematic conventions and references that informed his previous works, Jean-Luc Godard’s explosive crime drama reaches new heights of spontaneity and lightning invention.

www.criterion.com

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tnyfrontrow.bsky.social @tnyfrontrow.bsky.social · 1d

Pierrot le fou, which played at Venice and came out in France in 1965, screened at the NYFF in 1966, and was released here only in...1969, is playing tonight at the Paris in 35mm.; word on it from when @criterion.bsky.social put it out a while ago (and it's on the Criterion Channel now):...

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tnyfrontrow.bsky.social @tnyfrontrow.bsky.social · 1d

Delighted there's a forthcoming series about Lizzie Borden—excited to see a drama about the making of "Born in Flames."

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tnyfrontrow.bsky.social @tnyfrontrow.bsky.social · 2d

The only problem with Mary Stephen's terrific new film Palimpsest: The Story of a Name is that it's playing only once rather than getting an official release, which it deserves, since it's far superior than much that gets released.

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tnyfrontrow.bsky.social @tnyfrontrow.bsky.social · 4d

Essentials 3: Mary Stephen's Ombres de Soie (Shades of Silk), at the NYFF at 7 (also playing Monday and Wednesday) and her new film Palimpsest: The Story of a Name, at Metrograph tomorrow at 2:30pm, and she'll be at both screenings for a Q. & A.:
www.newyorker.com/culture/the-...

What to See in the 2025 New York Film Festival’s Second Week

This year’s Revivals section spotlights a hidden classic by a major modern filmmaker whose new movie is equally great.

www.newyorker.com

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tnyfrontrow.bsky.social @tnyfrontrow.bsky.social · 4d

Essentials 2: Ticket of No Return, Ulrike Ottinger's own legend of the holy drinker, with its riot of style matched by Tabea Blumenschein's performance of loopy melancholy; at Metrograph at 8:40pm, introduced by Ottinger: www.newyorker.com/culture/phot...

Style as Women’s Freedom: The Photographs of Ulrike Ottinger

In Ottinger’s work, the play of imagination is an essential realm of freedom, a way for women to liberate themselves from the misogyny that’s embedded as deeply in consensus styles as in consensus pol...

www.newyorker.com

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tnyfrontrow.bsky.social @tnyfrontrow.bsky.social · 4d

Essentials 1: Chantal Akerman's Toute Une Nuit, one of the few movies that reconceives the very nature of narrative and does so exquisitely—extensively, intensively, romantically; at 4 at @moma.bsky.social, introduced by Aurore Clément: www.newyorker.com/culture/the-...

The Nocturnal Masterwork “Toute Une Nuit” Comes to Light

Chantal Akerman’s rarely screened, dance-like drama of lovers’ encounters, separations, and reunions is newly available to stream.

www.newyorker.com

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Reposted

MidCenturyCinema @midcenturycinema.bsky.social · 4d

10/3/65 Otto Preminger's Bunny Lake is Missing
w/Keir Dullea, Carol Lynley, Olivier
Our take: midcenturycinema.org/node/41
More
@tasharobinson.bsky.social: avclub.com/bunny-lake-i...
@tnyfrontrow.bsky.social: www.newyorker.com/goings-on-ab...
@jhoberman.bsky.social
www.nytimes.com/2015/01/25/m...

Deciding Whether to Trust Your Senses. Or Not. (Published 2015)

www.nytimes.com

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tnyfrontrow.bsky.social @tnyfrontrow.bsky.social · 5d

Saw it in 2020, days before it was supposed to open there but then couldn't.

tnyfrontrow.bsky.social @tnyfrontrow.bsky.social · 5d

Metrograph's welcome retrospective of Ulrike Ottinger's films—crucial works of the substance of style, the power of beauty—starts tonight at 7:25pm with Paris Calligrammes, a personal documentary of historical scope (+ Q.&A. w/her, moderated by Michael M. Bilandic): www.newyorker.com/culture/the-...

“Paris Calligrammes”: The Berlin Première of Ulrike Ottinger’s Personal and Political Masterwork

The German filmmaker retraces the personal and intellectual influences that formed her artistry and her personality in postwar France.

www.newyorker.com

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tnyfrontrow.bsky.social @tnyfrontrow.bsky.social · 5d

Treasures in the second week of the NYFF: two thrilling rediscovered classics, one of which reintroduces a wonderful filmmaker whose new work is just as good (hint: also coming soon to Metrograph:
www.newyorker.com/culture/the-...

What to See in the 2025 New York Film Festival’s Second Week

This year’s Revivals section spotlights a hidden classic by a major modern filmmaker whose new movie is equally great.

www.newyorker.com

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tnyfrontrow.bsky.social @tnyfrontrow.bsky.social · 5d

Great news that Claire Denis's No Fear, No Die, long unavailable and one of her best films, is now streaming among the @criterionchannl.bsky.social October releases (along with Pierrot le fou, Ganja & Hess, and much more of note): www.newyorker.com/culture/the-...

The Return of “No Fear, No Die,” Claire Denis’s First Masterwork

This 1990 drama reveals, in documentary-like detail, the power and the politics of an illegal cockfighting ring.

www.newyorker.com

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tnyfrontrow.bsky.social @tnyfrontrow.bsky.social · 7d

Word on the excitement of first, Sundance viewing and another on revisiting at the time of release: www.newyorker.com/culture/the-...
www.newyorker.com/culture/the-...

The Two Best Films I Saw at Sundance

In a strong lineup, Ira Sachs’s “Passages” and Raven Jackson’s “All Dirt Roads Taste of Salt” would be among my favorites in any year.

www.newyorker.com

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tnyfrontrow.bsky.social @tnyfrontrow.bsky.social · 7d

Ira Sachs's film Passages has stayed with me more vividly than almost any other recent film, for its emotional power and candor, for its rejection of moralism and the cult of niceness, for recognizing that experience isn't thumbs-up or down; it's back tonight at @ifccenter.bsky.social at 7:20pm:...

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tnyfrontrow.bsky.social @tnyfrontrow.bsky.social · 7d

Ami(e)s français(es): ne ratez pas Invention, de Courtney Stephens et Callie Hernandez, un petit film en budget, équipe, et intimité mais un grand film en idées, émotions, paysages, résonances historiques—et inventions:
www.newyorker.com/culture/the-...

“Invention” Probes the American Mind in the Post-Truth Era

In Courtney Stephens and Callie Hernandez’s dizzying docu-fiction, an Edenic landscape becomes a backdrop for duplicity and paranoia.

www.newyorker.com

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tnyfrontrow.bsky.social @tnyfrontrow.bsky.social · 7d

Dwayne Johnson's performance as Mark Kerr in The Smashing Machine is terrific and unusual, but the movie, written and directed by Benny Safdie, is bland: it turns its back on the strong emotions—and even the surprising ideas—at its center: www.newyorker.com/culture/the-...

“The Smashing Machine” Pulls Its Punches

Despite Dwayne (the Rock) Johnson’s taut performance, Benny Safdie’s bio-pic about the mixed-martial-arts fighter Mark Kerr proves distanced and passionless.

www.newyorker.com

tnyfrontrow.bsky.social @tnyfrontrow.bsky.social · 7d

www.newyorker.com/culture/rich...

The Secrets of Silent-Film Footage Found Buried in the Earth

Bill Morrison’s new documentary, “Dawson City: Frozen Time,” links the gold rush with the rise of Hollywood.

www.newyorker.com

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tnyfrontrow.bsky.social @tnyfrontrow.bsky.social · 7d

Bill Morrison's documentary Dawson City: Frozen Time is a great detective story on many levels and in many domains, regarding the survival of films and what they show (as Chris Marker said, you never know what you're filming); at @ifccenter.bsky.social at 6:55pm +Q.&A. w/Morrison...:

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tnyfrontrow.bsky.social @tnyfrontrow.bsky.social · 8d

Here goes: www.newyorker.com/culture/the-...

Nicholas Ray’s Hollywood Counterculture

The freethinking director, admired by French critics but at odds with U.S. studios, based one of his greatest films, “Bigger Than Life,” on an article in The New Yorker.

www.newyorker.com

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tnyfrontrow.bsky.social @tnyfrontrow.bsky.social · 8d

It's Nicholas Ray Day on @tcmtv.bsky.social He's the most French and the most auteur of classic American directors—not only because he made an actual (great) French film (Bitter Victory) but because he exemplifies what the young French @cahiersducinema.bsky.social critics meant by that very idea:...

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tnyfrontrow.bsky.social @tnyfrontrow.bsky.social · 9d

1. L'Avventura
2. Zabriskie Point
3. Red Desert
4. L'Eclisse
5. I Vinti

MidCenturyCinema @midcenturycinema.bsky.social · 9d

BOTD Michelangelo Antonioni!!! MCCT5 5)L'Eclisse 4)L'Avventura 3)Blow Up 2)La Notte 1)The Passenger
More:
@tnyfrontrow.bsky.social: www.newyorker.com/culture/rich...
@hperryhorton.bsky.social: filmschoolrejects.com/rear-view-mi...
@geoff-andrew.bsky.social: geoffandrew.com/2019/01/11/m...

Mulling over Antonioni

Michelangelo Antonioni (1912-2007) was undoubtedly a major artist, and a hugely important, massively influential filmmaker, one of those few who really did change how people thought about the cinem…

geoffandrew.com

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