The Telluride Film Festival has announced the lineup for its 41st edition, opening tomorrow and running through the Labor Day weekend. This entry will also serve as the index, linking to individual entries on films and updated below with various related odds and ends throughout the festival—and most likely, in the days and weeks that follow as well. All in all, we’re looking at “85 feature films, short films and revivals representing twenty-eight countries, along with special artist Tributes, Conversations, Panels, Education Programs and Festivities.”
The 2014 Silver Medallions, “given to recognize an artist’s significant contribution to the world of cinema,” Volker Schlöndorff, who’ll be presenting Billy, How Did You Do It? (1992) and Baal (1972); Hilary Swank; and Francis Ford Coppola’s Apocalypse Now, which’ll see a 35th anniversary screening.
The 2014 Special Medallion goes to Cineteca di Bologna and Gian Luca Farinelli “for the significant role played in film restoration and preservation of film culture.” The presentation will be accompanied by a screening of Mario Monicelli‘s Joyful Laughter (1960).
Ramin Bahrani‘s 99 Homes.
Sophie Barthes’s Madame Bovary.
Xavier Beauvois’s The Price of Fame.
Nick Broomfield‘s Tales of the Grim Reaper.
Jean-Pierre and Luc Dardenne’s Two Days, One Night. Reviews from Cannes.
Yann Demange’s ’71.
Xavier Dolan’s Mommy. Cannes.
Alejandro G. Iñárritu’s Birdman.
Tommy Lee Jones’s The Homesman. Cannes.
Robert Kenner’s Merchants of Doubt.
Vanessa Lapa’s The Decent One.
Mike Leigh’s Mr. Turner. Cannes.
Bennett Miller’s Foxcatcher. Cannes.
Joshua Oppenheimer’s The Look of Silence.
Gabe Polsky’s Red Army.
Volker Schlöndorff’s Diplomacy.
Martin Scorsese and David Tedeschi’s The 50 Year Argument.
Jon Stewart’s Rosewater.
Damián Szifrón’s Wild Tales. Cannes.
Morten Tyldum’s The Imitation Game.
Jean-Marc Valleé’s Wild.
Régis Wargnier’s The Gate.
Wim Wenders and Juliano Ribeiro Salgado’s The Salt of the Earth. Cannes. Update, 9/4: It’s about Brazilian photographer Sebastião Salgado, and at the Playlist, Rodrigo Perez calls it “a deeply moving and insightful portrait of the artist, his camera and his exceptionally sensitive observations of humanity.”
From the festival: “Additional Sneak Previews may play outside the main program and will be announced here over the course of the four-day weekend.”
Robert Altman’s California Split (1974).
Frank Borzage‘s A Man’s Castle (1933).
Howard Hawks’s The Road to Glory (1936).
Joseph Losey‘s M (1951).
Russell Rouse’s Wicked Woman (1953).
Carroll Ballard: Seems Like Only Yesterday, a collection of shorts.
Brian G. Hutton‘s Where Eagles Dare (1968).
Gerhard Lamprecht’s Children of No Importance (1926).
Gunilla Bresky’s I Stop Time. From the Hollywood Reporter‘s Todd McCarthy: “An archival-based documentary that uses exceptional battleground, homefront and travel footage to recast World War II as a sort of slow-motion black-and-white dream, I Stop Time expressively repurposes images taken by Russian cinematographer Vladislov Mikosha to create a poetic visual memoir of extraordinary places and times.”
Walter Fasano’s Bertolucci on Bertolucci.
Ethan Hawke‘s Seymour.
Alan Hicks’s Keep On Keepin’ On.
Felix Moeller’s Forbidden Films.
André Singer’s Night Will Fall.
Peter von Bagh’s Socialism.
Chuck Workman’s Magician.
Here in Keyframe, Jeffrey Ruoff talks with Bill and Stella Prince, now Telluride Directors Emeriti, about the origins of the festival. Bill Pence and our own Jonathan Marlow have curated the short film programs.
SHOWCASE FOR SHORTS
Tarik Abdel-Oawad’s Box.
Ramin Bahrani’s Lift You Up.
Frédéric Doazan’s Supervenus.
Tomek Ducki’s Laznia.
François Jaros’s Toutes des Connes.
James Ford Murphy’s Lava.
Patrick Osborne’s Feast.
Hugo Ramirez and Olivier Patté’s Invasion.
Matthew Saville’s A Writer and Three Script Editors Walk into a Bar.
Harold Shaw’s The Land Beyond the Sunset.
Becky Sloan and Joseph Pelling’s Don’t Hug Me I’m Scared II: Time.
Clément Tréhin-Lalanne’s Aïssa.
Elli Vuorinen’s Sock Skewer Street.
Brett Weiner’s Verbatim.
FILMMAKERS OF TOMORROW: STUDENT PRINTS
David Adler’s No Man’s Land.
Einar Baltin’s The Pride of Strathmoor.
Mark Columbus’s Guests.
Reinaldo Marcus Green’s Stone Cars.
Kevin McMullin’s First Prize.
Lennart Ruff’s Nocebo.
FILMMAKERS OF TOMORROW: CALLING CARDS
Réka Bucsi’s Symphony No.42.
Josh Gibson‘s Theoretical Architectures.
Jonn Herschend‘s Discussion Questions.
Konstantina Kotzamani’s Washintonia.
Matthias Müller and Christoph Girardet’s Cut.
Jerzy Rose‘s En Plein Air.
Jason Wishnow’s The Sand Storm.
Hallvar Witzø’s Yes We Love.
FILMMAKERS OF TOMORROW: GREAT EXPECTATIONS
Jonathan Romney’s The Absence.
Matthew Saville’s Dive.
Dominga Sotomayor and Katarzyna Klimkiewicz’s La Isla.
Lendita Zeqiraj’s Balcony.
Update, 8/29: Gary Meyer looks back: “Labor Day, 1975. I had heard so much about this unique little festival in the San Juan Mountains of Colorado after their first year that it seemed I could not miss it…. In 1998 brought the most wonderful surprise imaginable when I was asked to join the festival’s directors Tom Luddy, Bill and Stella Pence to program the 25th Anniversary Festival and I have been at it ever since.”
Updates, 8/30: Telluride has added Andrea Di Stefano’s Escobar: Paradise Lost and Errol Morris‘s project, The Clarity of Peace, to Saturday’s schedule, reports Variety‘s Dave McNary.
Updates, 9/2: As David Bloom reports for Deadline, Jason Wishnow’s The Sand Storm, “the third Fandor short film acquisition to premiere on the site the same day it appears at a festival,” hit a severe snag when one of its stars, none other than Ai Weiwei, objected to the Kickstarter campaign that raised the funds necessary to complete the sci-fi story “about four people in China dealing with a water shortage in the near future.” Wishnow’s chalked up Ai’s objections to a misunderstanding, and eventually, Ai did indeed relent.
Jeff Stafford‘s posted a lengthy tribute to the eighth edition of Telluride, which he attended in 1981.
And Todd McCarthy‘s interviewed Morgan and Maddin.