- This year’s Venice Film Festival will premiere a brand new 4K restoration of David Cronenberg’s cult classic Crash (in its uncut, NC-17 version). “Seems like only yesterday that we were shooting it,” Cronenberg says.
- Iranian filmmaker Mohammad Rasoulof, best known for films Manuscripts Don’t Burn (2013) and A Man of Integrity (2017), has been sentenced to one year in prison for “propaganda against the state,” highlighting the plight of artists in Iran.
- Behold, the official trailer for Martin Scorsese’s The Irishman, starring Robert De Niro, Al Pacino, and Joe Pesci.
- A first look at Robert Eggers’ The Lighthouse, the follow-up to The Witch, which follows two men struggling for both physical and mental survival in a tower on an isolated island. Notebook’s Cannes correspondent Leonardo Goi describes the film as “an entrancing and feverish descent into hell, peppered and sustained by a dark, alcohol-fueled, wry comic edge.”
- Here is another black-and-white trailer: Vaclav Marhoul’s The Painted Bird, which competes at the Venice Film Festival this year. Based on Jerzy Kosiński’s novel of the same title, the film portrays a young Jewish boy wandering across Eastern Europe for refuge. (For more on the fascinating novel and its controversies, read Ruth Franklin’s profile of the author.)
- A sparkly and sweet trailer for Weathering With You, the latest by Your Name director Makoto Shinkai.
- Netflix has released an official teaser for the second season of Mindhunter, which looks to be far more harrowing and tumultuous than before. Two episodes of the show are directed by David Fincher.
- “[The film is] motivated less by an impulse to reverse the clock, return to the past and change everything back to the way it was […] than by a fury at the fact that it all changed in the first place” K. Austin Collins reviews Quentin Tarantino’s Once Upon a Time In Hollywood, the filmmaker’s latest revenge fantasy.
- Film Comment provides a look at the art of “back-ting,” or acting with one’s back to the camera, from Martin Scorsese’s Taxi Driver to Bette Davis (“the gold standard”) in William Wyler’s The Letter.
- Nick Pinkerton considers the “pleasures and punishments of long-ass films,” from Jacques Rivette’s Out 1 to the “fifty-nine-hour superstructure of the [Marvel Cinematic Universe].”
- Durga Chew-Bose at Vanity Fair profiles Kristen Stewart, moving past her role as “the girl from Twilight” and looking ahead to her upcoming part as Jean Seberg and venture into feature filmmaking.
RECENTLY ON THE NOTEBOOK
- Lav Diaz discusses his bold, brazenly political historical musical, Season of the Devil, with editor Daniel Kasman. The film is receiving an exclusive global online premiere on MUBI, and is showing from July 30 – August 28, 2019 in MUBI’s Luminaries series.
- Tom Concannon has a three-essay series on “midnight movies” with an investigation of the form, and its spread across the West Coast.
- The latest in Kelley Dong’s Under Childhood column analyzes the fixed notion of evil in Jon Favreau’s remake of The Lion King.
- Lawrence Garcia explores the range and continual interaction of pedagogy and play present in the films of Abbas Kiarostami.
- “Céline ultimately demonstrates is that life is always in motion, that it is not made of fixed identities, but of encounters.” Cristina Álvarez López and Adrian Martin give Jean-Claude Brisseau’s Céline (showing July 20 – August 18, 2019 in the United States) its Close-Up.
- The ultimate (and most terrifying) cross-over: