Daily | L’ACID, Tarr, the Safdies


This year’s poster

L’ACID, the Association du Cinéma Indépendant pour sa Diffusion, has been screening its own program at Cannes since 1993 and claims to have “discovered” the likes of Serge Bozon, Djinn Carrénard, Ursula Meier, Avi Mograbi, Nicolás Pereda and Claire Simon. Nine features are selected each year, and these are the films slated to screen from May 15 through 24:

Bruce LaBruce will preside over the Queer Palm Jury this year. The independent award was established in 2010.

And the Director’s Fortnight now has a trailer (1’16”).

Godard interviews Fritz Lang in Le dinosaure et le bébé (1967); via David Davidson


“If you do any reading about early film comedy, sooner or later you’ll run into Clyde Bruckman,” writes Matthew Dessem. “With the exceptions of Charlie Chaplin and the Marx Brothers, he worked with all the great early comedians: Buster Keaton, Harold Lloyd, W.C. Fields, Laurel & Hardy, the Three Stooges, Abbott & Costello…. He’s not a lost auteur—the kind of work he did bears little relation to what we now know as screenwriting, and no one’s ever said he was anything more than an adequate director. And he’s not a hero—his life ended in shame, dissolution, and tragedy. But at the height of his powers, Bruckman worked on a series of masterpieces that built film comedy as we know it today.” Including, as a gag man, Sherlock Jr. (1924), the subject of Noel Murray, Keith Phipps, Nathan Rabin and Scott Tobias‘s discussion.

Also at the Dissolve, Scott Tobias: “Béla Tarr’s The Turin Horse takes place in a windswept farm so removed from humanity that it might as well be another planet…. One of the problems inherent to Tarr Béla: I Used to Be a Filmmaker, a behind-the-scenes documentary about the making of The Turin Horse, is that it spoils the illusion of this place, which in the context of the film seems as much existential as real. By going inside the sausage factory, it effectively demystifies a one-of-a-kind vision.”

If you don’t want to see the sausage innards, don’t watch this:

For Cine-File, Kathleen Sachs talks with Christina Rice about her book, Ann Dvorak: Hollywood’s Forgotten Rebel.

This year’s Time 100 is out, so you can read J.J. Abrams on Alfonso Cuarón, Richard Linklater on Matthew McConaughey, Lupita Nyong’o on Steve McQueen, Emily Blunt on Amy Adams, Colin Firth on Benedict Cumberbatch, Harvey Weinstein on Robert Redford, Jessica Chastain on producer Megan Ellison and more.

At Grantland, Wesley Morris previews this summer’s movies: “Seventeen of the 40 major or majorish studio movies scheduled for release between May and Labor Day… star a woman or prominently feature women in an ensemble. It’s true that only one of those movies is directed by a woman (that would be Lana Wachowski), but the number of non-male faces fronting those movies represents a significant improvement over last summer, when The Heat’s Sandra Bullock and Melissa McCarthy were almost the only non-girlfriend, non-sidekick women you could find. In 2014, the air of womanliness is strong.”


At Indiewire, Eric Eidelstein reports that Josh and Benny Safdie are at work on a new narrative feature: “Based on the experiences faced by Arielle Holmes, a street kid the brothers met on a subway, the film is said to be a tumultuous drama (starring Holmes) about a couple who face addiction. Heaven Knows What was co-written by Ronald Bronstein, who starred in the Safdie’s film Daddy Longlegs.” The brothers are also co-founding a new production company, Elara Pictures, with actor-director Sebastian Bear-McClard and Oscar Boyson, co-producer of Frances Ha.

Trailer for Takashi Murakami’s debut feature, Jellyfish Eyes

Ron Howard will direct The Truth About the Harry Quebert Affair, based on Joel Dicker’s novel, reports Variety‘s Dave McNary. “The story centers on a young novelist who heads to New Hampshire to solve a 33-year-old murder—with his former college professor and mentor accused of the killing.”


As the Nashville Film Festival heads into its final weekend, the Scene‘s Jim Ridley looks ahead to the highlights to come. Also, “if talking a Jodorowsky movie is a lot more fun than watching one, let it be said that nobody talks a better one than Jodorowsky himself.” He’s “a galvanizing presence in Frank Pavich’s documentary,” Jodorowsky’s Dune, which opens Friday at the Belcourt, which “has cleverly programmed as a midnight movie Friday and Saturday for comparison’s sake” David Lynch’s Dune (1984).

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