- The fight continues. Mark Rappaport is still struggling to regain possession of his work from Ray Carney. For an up to date take on the ordeal, check out Craig Hubert's piece in Artinfo.
- The team behind the 2011 film Bellflower have another project in the works and will be looking to crowdfunding.
- Above: the trailer for Denis Côté's new film, Vic+Flo Saw a Bear, set to premiere in Berlin later this week.
- Aaron Cutler reports on Rotterdam for Fandor:
"Each year, it seems, the retrospectives and sidebar programs of rare treasures merit the eagerness of IFFR attendees, many of whom share the open secret that the programming’s ostensible central sections—competitions between new films, many receiving their world premieres—contain several of the weakest films in town. While lightning sometimes strikes (such as last year’s Neighboring Sounds), it’s rare for a wonder to debut here. What’s much more prone to happen at IFFR is that the programs other festivals might consider marginal become central."
- More from Cutler: questioning the questioning of Zero Dark Thirty. He suggests refocusing the debate and directs his attention to Francis Alÿs’ REEL - UNREEL.
- David Bordwell writes on the recently departed Tony Scott and Theo Angelopoulos and poses the question: "Both men mattered to cinema. But which cinema?"
- Serge Daney on Jean-Marie Straub and Danièle Huillet's Too Early, Too Late (and, um, John Travolta) by way of a Jonathan Rosenbaum translation.
- Above: the trailer for new Coen bros. joint is a breath of fresh air, relatively speaking.
- Writing for The Jewish Daily Forward, Jonathan Rosenbaum explores the "Unjust Obscurity" of Michael Roemer.
- Over at Vulgar Auteurism we are celebrating Michael Mann's 70th birthday by compiling key frames from his films.
From the archives.
"In Bellflower, the screen is drenched with smeary yellow-orange hues evocative of a feverish world—Southern California as seen by a pair of thirtysomething Wisconsian slackers—continually splashed by its denizens' hormonal juices. Lit like a sun-stroked trance and composed in frame-crumbling partial focus, it’s a world ready for an apocalypse, which the characters await eagerly"