Daily | Linklater, Bordwell, Petzold



What a day. First we hear that Baal, Volker Schlöndorff’s adaptation of Brecht’s play with Rainer Werner Fassbinder in the lead role, having been stashed away for 44 years, has been restored and will screen at the Berlinale—and now this. The Sundance Film Festival, opening on Thursday and running through January 26, has announced that it’ll be hosting “special preview screenings” of Richard Linklater‘s Boyhood. Premieres this coming Sunday.

The description: “Filmed over short periods from 2002 to 2013, Boyhood is a groundbreaking cinematic experience covering 12 years in the life of a family. At the center is Mason, who with his sister Samantha, are taken on an emotional and transcendent journey through the years, from childhood to adulthood. Cast: Patricia Arquette, Ethan Hawke, Ellar Coltrane, Lorelei Linklater.”

Twitter’s all atwitter, of course. The film runs 160 minutes, and clearly, some have already seen it (and quite like it). Nick Dawson notes that, in an interview that ran in Filmmaker last year, Linklater told James Ponsoldt: “Time is really one of the more interesting properties of cinema: the way [cinema] exists in time and how you can manipulate time, like other art forms—it’s unique to cinema.”

Time, then, to revisit kogonada‘s video essay:

Linklater // On Cinema & Time from kogonada.


David Bordwell has posted “a corrected, slightly revised version” of “Three Dimensions of Film Narrative,” a chapter in his book, Poetics of Cinema. He then offers “a guide to the essay, or maybe just a trailer. As with a trailer, my use of The Wolf of Wall Street is illustrative.”

In the “excellent new book” Christian Petzold, Jaimey Fisher “seeks to contextualize Petzold‘s films within prior scholarship, which has generally discussed their ‘movement spaces’ (space remade by systems of mobility in modern society),” writes Clayton Dillard at the House Next Door, “but perhaps more importantly, he examines the ways in which neoliberal developments have ‘changed how individuals experience work, relationships, and themselves.’ These combined help articulate what Fisher deems Petzold’s ‘ghostly archeology,’ and terms his films ‘art-house genre cinema.'”


New York. Remastered & Restored: Treasures of French Cinema, a series at the French Institute Alliance Française, begins tomorrow and runs through March.

London. Isaac Julien’s Playtime, a seven-screen installation featuring Maggie Cheung, James Franco, and art auctioneer and collector Simon de Pury, opens at Victoria Miro Gallery on January 24 along with Kapital, a two-screen documentary centering on Julien’s conversations with David Harvey, Stuart Hall and other academics. Through March 1.


The Playlist‘s Kevin Jagernauth notes that production designer and art director Dave Warren has begun drawing up concept art for Terry Gilliam’s The Man Who Killed Don Quixote. “Will we get the old bastard back on his horse this year?” asks Gilliam on Facebook. “Human sacrifices welcomed. Stay tuned.”

Christian Marclay’s Telephones (1995)

Franco Nero returns to his most famous role in Django Lives, a sequel to the classic spaghetti western that marked Nero’s most famous role,” reports Twitch‘s Todd Brown. “And bringing Nero to the screen will be director Joe D’Augustine—part of Tarantino’s regular edit team—producer Lewis Black—best known as co-founder of SXSW—and DP Robert Yeoman (Moonrise Kingdom).”

As for Tarantino himself, he hopes to shoot The Hateful Eight, a western, this summer. Matt Singer has more on what’s known so far at the Dissolve.

Baltasar Kormákur (2 Guns) will begin shooting Everest with Jake Gyllenhaal, Josh Brolin, John Hawkes, Jason Clark and Icelandic actor Ingvar E. Sigurdsson next week in Nepal, reports Jorn Rossing Jensen for Cineuropa.

“Drafthouse Films has snapped up Michel Gondry’s Mood Indigo for US distribution,” reports Beth Hanna for Thompson on Hollywood. “The film, starring Audrey Tautou and Romain Duris, is a love story about a pair of Parisian newlyweds.”

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