Jonathan Rosenbaum “is one of our keenest observers of contemporary ‘film culture,’ and has written about the experience of contemporary moviegoing better than anyone I know,” writes John Lingan early on in a profile for the Los Angeles Review of Books. Lingan sketches the life, reads the books, attends a class and a panel, interviews one of our own favorite film critics, of course, and recommends JonathanRosenbaum.com: “This homemade HTML affair is one of the great film sites on the Internet: a regularly updated, nonchronological tour through a four-decade career and one of the most movie-soaked brains in existence.”
In just the past few days, Jonathan Rosenbaum has posted his lengthy 2001 interview with Jim Jarmusch and re-recommended Mark Rappaport‘s collection of fiction and essays, The Moviegoer Who Knew Too Much: “[I]f you haven’t yet checked this sucker out, you’ve got a lot of unhealthy fun awaiting you.”
“Already the most written-about cultural product of 2013, it’s a movie seemingly made to beg the subtext.” Sarah Nicole Prickett introduces an eight-essay collection on Harmony Korine’s Spring Breakers; this is the first free supplement from the New Inquiry.
Un été brûlant (A Burning Hot Summer, 2011) “marks at last the achievement of a novelistic mode in [Philippe] Garrel’s cinema,” argues Adrian Martin in Transit.
For BlackBook, Hillary Weston strikes up an email conversation with John Lurie “about his early jazz days, the late-night inception of Fishing With John, and his more recent work as a highly acclaimed painter.”
New York. Mónica López-González for Cinespect: “Fraught with a film industry that has gone through various politico-economic ups and downs since its ‘golden age’ during the 1960s, Cambodia is in the midst of creating its collective societal memory since its independence from France in 1954. The calm, reflective voices and tears of desperation and hope that flow unashamed on the silver screen form part of a set of stories–about victimization, economic helplessness, societal resentment, and hesitant resignation–which will be presented in the Film Society of Lincoln Center’s newest series Old Ghosts, New Dreams: The Emerging Cambodian Cinema from April 19 through April 25.”
Los Angeles. “Since the 1950s,” writes Doug Cummings in the Weekly, “Nelson Pereira dos Santos has been a model for independent filmmaking in Brazil, where he both predated and later participated in its celebrated Cinema Novo movement of politically and aesthetically challenging films. If he’s not yet a fixture of world cinema repertory, UCLA Film & Television Archive hopes to rectify that with its seven-film, in-person tribute to the filmmaker, now well into his 80s and still working.” Cinema According to Nelson Pereira dos Santos is on from Saturday through May 12.
Philadelphia. Jonas Mekas will be at the International House for three evenings, starting tomorrow for Q&A’s, panels, and of course, screenings.
In the works. David Cronenberg’s Maps to the Stars has received a financial boost and a fresh cast, reports Deadline‘s Nancy Tartaglione: “Julianne Moore, John Cusack, Robert Pattinson and Sarah Gadon are to star in the ghost story that’s described as a scathing attack on celebrity-obsessed LA. The script is by Wild Palms‘ Bruce Wagner.”
“After spending years in limbo, the adaptation of Torso, the graphic novel by comics superstar Brian Michael Bendis and Marc Andreyko, is coming back to life.” Borys Kit in the Hollywood Reporter: “David Lowery, the filmmaker who drew much praise for his Sundance film Ain’t Them Bodies Saints, has come aboard to write and direct the thriller… The true story of Elliot Ness’ time after his Al Capone days, when he moved to Cleveland and got embroiled in the hunt of serial killer who was leaving torsos in the river and taunting notes to police, attracted David Fincher, Ehren Kruger, Bill Mechanic, Todd McFarlane and Don Murphy in the mid-2000s.”
“Tron: Legacy and Oblivion director Joseph Kosinski is teaming with Pacific Rim writer Travis Beacham for the pretty awesomely titled Ballistic City,” a television series for AMC, reports the Playlist‘s Kevin Jagernauth. “The ambitious premise is set in a city contained within a spaceship that’s headed to an unknown world, following a former cop who falls into the criminal underworld, in something that’s described as a cross between Blade Runner and Battlestar Galactica.”