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Like to sleep at the movies? Apichatpong Weerasethakul is collaborating with the International Film Festival Rotterdam (January 24 - February 4, 2018), to launch a hotel. Yes, that's right.
Cinema's have been banned in Saudi Arabia since the 1970s, but in 2018 that's about to change.
The Golden Globes nominations have been announced. We're rooting for Greta Gerwig and Jonny Greenwood.
Grasshopper Film have kindly shared En rachâchant, a 1982 short film by Jean-Marie Straub & Danièle Huillet adapted from a Marguerite Duras story. Available to view until December 15th so watch it now!
For IndieWire, David Ehrlich provides an ecstatic rush of montage through this year's commercial cinema.
A moving and enveloping trailer from one of the year's best discoveries: Summer 1993, the feature debut of Spanish filmmaker Carla Simón.
The first trailer for the latest analysis of American myth-making from Clint Eastwood, The 15:17 to Paris, in which real-life participants play themselves and lead the film in this adaptation of a true story.
We’ve enjoyed superstar video game designer Hideo Kojima’s past flirtations with cinema in his Metal Gear Solid series, but going off this bewitching trailer for his latest game, the forthcoming Death Stranding, this appears to be his most inventive blending of games and moviemaking yet.
They did or said something awful, and made something great. The awful thing disrupts the great work; we can’t watch or listen to or read the great work without remembering the awful thing. Flooded with knowledge of the maker’s monstrousness, we turn away, overcome by disgust. Or … we don’t. We continue watching, separating or trying to separate the artist from the art. Either way: disruption. They are monster geniuses, and I don’t know what to do about them.
On the topic of #MeToo, Claire Dederer writes for The Paris Reviewwrites on the challenges of separating art from the artist. Conversely, curator & critic Miriam Bale elaborates for The Hollywood Reporter on her decision to forgo all of Woody Allen's present and future endeavors. Finally, at The New York Times, Wesley Morris surveys and celebrates the compromised career of one of our favorite American actors: Annabella Sciorra.
UnionDocs, a terrific New York non-profit center for documentary filmmaking, has a new semi-annual journal, World Records, launching in January, 2018.
Denzel Washington and co., on the set of Malcolm X.
In the event of the 25th anniversary of Spike Lee's Malcolm X, Hilton Als' 1992 all-encompassing portrait of the production and release of the film has been republished at The Village Voice.
For n+1, Richard Beck disassembles the politics and aesthetics of Ken Burns' latest, The Vietnam War:
The goal of The Vietnam War, as stated explicitly by one of its directors, Ken Burns (the other is Lynn Novick), is reconciliation: to account for the war in such a way that patriotic veterans and peace activists alike could each nod their heads in quiet approval and finally lay their grievances to rest. On these terms, the film is a failure. The only way to reconcile yourself to something is to acknowledge the truth about it, and Burns and Novick either soften or avoid or misrepresent the truth frequently enough to deal their own project a fatal blow, or rather, a series of little blows that have the same cumulative effect.
Don Cheadle by Emiliano Granado.
For The New York Times, Bilge Ebiri has penned a thoughtful appreciation of America's greatest contemporary character actors, ranging from Don Cheadle to Ben Mendelsohn.
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