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Rushes. What Does “2001” Look Like?, Claire Denis’s Rare Dance, Singular Women

This week’s essential news, articles, sounds, videos and more from the film world.
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.
  • The conversation surrounding the liberties of restorations continues with this eye-opening new video from Krishna Ramesh Kumar comparing different versions of Stanley Kubrick's 2001: A Space Odyssey.
  • With Claire Denis's new film Let the Sunshine In currently in cinemas, we're delighted to discover that one of the director's rarest films, her 2005 documentary Towards Mathilde—which was for a long time only available on MUBI, back when the platform was called The Auteurs—will finally be receiving distribution in the US. Below is the magnetic new trailer for this largely undiscovered gem:
  • Gus Van Sant returns to the biopic genre with Don't Worry, He Won't Get Far on Foot, about Portland cartoonist John Callahan, played in the film by Joaquin Phoenix. We caught it at the Berlin Film Festival and found it sweet and moving, told with an unusually (and subtly complex) fragmented approach.
  • At Artforum, Melissa Anderson provides a thoughtful defense, polemic, and consideration of one of America's finest actresses: Shelley Duvall.
  • On the topic of New Hollywood, and in light of a triumphant feminist program at BAMcinématek, Manohla Dargis offers an examination of women's trials and contributions during this turbulent and largely exclusive period of Hollywood filmmaking.
  • Furthermore: Mayukh Sen has penned a lovely, must-read piece on Barbara Streisand as a singular woman.
  • The singular political filmmaker Peter Watkins (Wargame, La Commune [Paris, 1871]) offers his incisive take on what he dubs the "global media crisis" for the Berlin micro-cinema, Wolf, which will be soon presenting a retrospective devoted to the director.
  • With a similar thesis as Watkins, Nick Pinkerton considers Steven Spielberg's Ready Player One from a fresh angle for Film Comment (which, by the way, has a new issue out, some of which is available online).
  • In the event of the first US retrospective of Alan Rudolph's underestimated rainy, neon love stories, a significant number of quality criticism has been published, celebrating the wonderful director's entirely distinct cinematic vision. Check out: Nick Pinkerton for Artforum, Ignatiy Vishnevetsky for A.V. Club, Jame N. Christley for the Village Voice, Courtney Duckworth for Screen Slate, and Greg Cwik here at the Notebook.
  • Last but certainly not least, Simran Hans interviews American filmmaker Josephine Decker for SSENSE regarding her latest innovation in independent cinema, Madeline's Madeline.
  • In the case you're not able to make it to Rudolph's retrospective (or even if you do—and especially if you love his films!), the director's aesthetic expression continues and is extrapolated in his revelatory paintings, some of which can be found here. (Found via Marcine Miller.)

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