It’s the first weekend in May, so you know what that means: there’s a new Marvel movie in theaters, and the summer movie season has officially begun. It’s a tricky minefield to navigate, rife with sequels and reboots and sequels and adaptations and sequels, but Flavorwire is here to help: our summer movie guide takes you through the entire season, month by month, spotlighting the films that might be worth seeing (Might! Maybe! No promises!) and delicately averting your eyes from the certain dogs. Take a deep breath and put on your 3D glasses; here we… Read More
A couple of weeks back, we combed through our favorite quotes and offered up a few words from some of our favorite musicians about why they do what they do. That post was so well liked that we decided to seek out similar thoughts from some of our favorite moviemakers, to find out what drives them, what motivates them, and what pushes them to create. The best are collected after the jump; feel free to add your own in the comments. … Read More
Movie lovers around the world were saddened last week by news of the death of Harris Savides, the acclaimed cinematographer best known for his collaborations with Gus Van Sant (on Milk, Elephant, Gerry, Last Days, Restless, and Finding Forrester), but whose credits also included Zodiac, The Game, Somewhere, American Gangster, Whatever Works, and Birth. Savides was a true artist, one who brought a distinctive eye and sense of craft to his work, and merged his unique sensibility with the directors he collaborated with. But the cinematographer is often an underappreciated and overlooked part of the filmmaking process, their gifts and style too often solely attributed to their directors.
In an attempt to acknowledge some of the other true artists in Savides’ field, we put together a brief survey of some of the most important working cinematographers today; in the interest of keeping it manageable, we’ve confined ourselves to those who work primarily in American film, and those who are still prolific in the industry. Our list is after the jump, and we welcome your favorites in the comments. … Read More
This Friday marks the theatrical release of V/H/S, a chilling and genuinely effective found-footage anthology from directors Adam Wingard, David Bruckner, Ti West, Glenn McQuaid, Joe Swanberg, and Radio Silence. (It’s available on demand now.) As scary and unnerving as it is, however, it does fall prey to the seemingly inevitable pitfall of a multi-director anthology film: there are a couple of sections that simply aren’t as good as the rest of the film. When you think about it, it’s bound to happen; even if the filmmakers assembled are all talented, there’s a pretty good chance at least one participant will have difficulty conforming to the short form, or will have trouble measuring up to the others, or just might be off their game. As a result, very few completely great anthology movies have been made — most at least have a couple of segments that don’t fit.
But that’s the joy of DVD: in your living room, you can do the editing job that their fellow filmmakers were too polite to perform. After the jump, we’ll take a look at a few of the best-known multi-director anthology movies, and offer up some viewing suggestions for them. … Read More
What do the makeup ads you’re used to seeing look like? Perhaps there’s some fresh-faced 19-year-old explaining how a certain foundation keeps her looking young, against a fresh, white background, as some vibrant, focus group-approved music plays? Well, get ready for something completely different. Wong Kar-Wai, the Hong Kong filmmaker known for such slow, stylish spectacles as Chungking Express and In the Mood for Love, was enlisted to make a commercial for cosmetics company Shu Uemera’s Christmas collection — and what he gave them was something slow, glittery, and graceful, featuring a lovely pair of false eyelashes.
Wong says that the 47-second clip is inspired by the Charles Bukowski poem “Burning in water, drowning in flames.” In an interview with the French site Puretrend, he explains, “This poem by Charles Bukowski is a paradox. My film explores this contradiction of passion. I thought that the contrast of red and blue, which reflects the opposition between the hot and cold, was ideal.” That makes sense — but we could swear we see hints of Marilyn Minter-style glamour and damage in there, too. … Read More
An article by Salon’s Andrew O’Hehir laments that few of the films currently screening at this year’s New York Asian Film Festival will flicker on American screens after the prints have been spirited away to the other side of the world. Sure, but what the article doesn’t say, is that thanks to the boom Asian cinema experienced in the early 2000s, it not only has a permanent home in American Art-houses, it’s well on its way to losing that ridiculous moniker (why not just call it Half the World Cinema?).… Read More