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Following Hermia & Helena and Isabella, Matías Piñeiro’s new film You Burn Me playfully, gorgeously adapts “Sea Foam,” a chapter in Cesare Pavese’s Dialogues with Leucò. Centered around fictional dialogue between the ancient Greek poet Sappho and the nymph Britomartis, Piñeiro’s latest is a feat of effervescent poetic beauty, melding poignant words with stunning images to a dizzying, transcendent effect. With the Berlinale and NYFF selection picked up by Cinema Guild for a release beginning next week, we’re pleased to exclusively debut the first trailer.

You Burn Me will open on Friday, March 7 at New York’s Anthology Film Archives, accompanied by a special series curated by Matías himself, including works by Michelangelo Antonioni, Danièle Huillet & Jean-Marie Straub, Mariano Llinas, and more. For those in Los Angeles, don’t miss the LA premiere on March 15 at American Cinematheque as part of a series featuring films by the director.

The history of any important film festival is the history of the films and filmmakers they’ve showcased and championed: what’s their tally of breakthrough filmmakers and esteemed auteurs who have defined the past century of cinema?

This is why Berlin, Cannes and Venice, after nearly a century of annual unspoolings (as Variety likes to call them) retain their reputations and the vitality of their programming and festival operations.

There is a parallel history as well, one that charts the important fests’ cultural and economic impacts upon the communities and countries where they’re held.

The French film industry is a primary European powerhouse of collaborative private and public financing and film promotion, and it has coordinated beautifully for decades with the Cannes Film Festival. To the good fortunes of both.

Itay’s official cinematic and cultural organizations and departments have partnered effectively with the Venice Festival, even if...

Top Brazilian production company Gullane Entretenimento is ramping up efforts to widen its scope through Gullane+, the company’s fast-growing distribution arm. Partners Fabiano and Caio Gullane will now focus on production, with Débora Ivanov taking over the distribution operation. Gullane+ inherits the company’s rich catalog of over 40 projects, including Karim Aïnouz’s “Mariner of the Mountains” and Laís Bodanzky’s classic “Brainstorm,” as well as featuring a slate of new exciting projects by André Ristum and Flavia Moraes.

Speaking with Variety out of Berlin, where Gullane is heavily promoting its distribution efforts, Fabiano Gullane said the three partners always “really liked the distribution part of the process” and realized they could employ their many years of expertise in handling some of their titles. Initially, Gullane+ will focus on documentaries and smaller productions, with major projects still benefiting from their long-standing partnership with Brazilian distributors like Paris Filmes.

“The...

In a move aimed at strengthening its position in the global film and television arena, São Paulo State has unveiled an Audiovisual Industry Development Plan. The initiative, led by Marília Marton, the state’s secretary of culture, economy and creative industries, introduces grants for films produced through international co-productions and launches an on-site market event—the inaugural São Paulo Audiovisual Hub—scheduled for early July.

The plan builds on the momentum generated by the post-covid recovery efforts under the Paulo Gustavo Law, which infused 378.2 million reals into the state’s cultural sectors. Marton emphasized the need for consistent support beyond one-time funding, stating, “The Paulo Gustavo Law was one-off, unique funding. Talking to the sector, I realized it now needs a systematic, multi-year support to avoid having peaks and troughs.”

The Audiovisual Hub will host a Paulo Gustavo Showcase featuring projects financed by the law. Highlighted films include Carlos Saldanha’s “100 Days,...

Paolo Sorrentino is a filmmaker who is no stranger to spectacle and has succeeded thus far in merging maximalist viscerality with surprisingly sensitive examinations of the human condition. Although it is easy to compare his dreamlike, esoteric work to other international auteurs like Frederico Fellini or Michelangelo Antonioni, it would be disingenuous to suggest that Sorrentino lacks perspective. In fact, the wry sense of humor, interest in pop music, and playful skips through time that may have once been derided as lazy have become integral to his style. Indulgence in itself is not a bad thing, as Sorrentino usually finds a way to justify waxing poetic about the past.

Although much of Sorrentino’s work thus far has been purposefully reflective of his own past, “Parnthenope” dives deep into Greek mythology as a source of inspiration. Set throughout the second half of the 20th century, the film focuses on the...

It may have taken 12 years for Walter Salles to direct another feature after his 2012 adaptation of Jack Kerouac’s “On the Road,” but with his awards-buzzy political bio-drama “I’m Still Here,” the Brazillian filmmaker proves that cinema will always remain in his veins. Extolling the power of the form, Salles took to the Criterion Closet recently to share his appreciation for a number of films that have shaped him as an artist and continue to inspire. After starting with Andrei Tarkovsky’s “Andrei Rublev,” Salles went on to select Jim Jarmusch’s absurdist comedy “Stranger than Paradise.”

“I think it was so refreshing to…starting to do films and see that narratives could be actually told in a different manner than the Greeks had teached us at the beginning, you know, the structure with five acts and character arcs and everything else,” said Salles, “and what Jim Jarmusch offers us...

“I feel like this will all close in on me and I’ll disappear, which wouldn’t be such a bad fate, actually,” said “Emilia Pérez” writer/director Jacques Audiard as he surveyed the contents of the Criterion Closet.

The French filmmaker has been on a hot streak lately with his gonzo crime musical sweeping the European Film Awards last month and this month earning Outstanding Motion Picture – Musical or Comedy at the Golden Globes, as well as Outstanding Motion Picture – Non-English Language, Outstanding Supporting Actress for Zoe Saldaña, and Outstanding Original Song for “El Mal.” To celebrate these wins and potential Oscar fortune, Audiard took a brief trip off the red carpet to Criterion’s offices in New York City, where he selected a bagful of cinema’s finest, including Fritz Lang’s expressionistic serial-killer thriller starring Peter Lorre, “M.”

“For me, Lang is synonymous with silent films, even...

We can debate whether or not we take the masters of cinema for granted or not, but there is always hope in the future filmmakers to build on what they did. Maybe some of the legends dismiss things like Marvel as not being true cinema but it all came from somewhere; that is, influences carry on through generations. And that will be true forever, whether we can imagine it or not.

Francis Ford Coppola recently stopped by The Criterion Collection’s famed closet to not only take home a tote bag full of movies but give his thoughts on the state of cinema and where it might be headed. Speaking on influences and where he sees the next generation of filmmakers headed, Coppola stated, “All of us are on the shoulders of giants. And hopefully will provide that same kind of inspiration to the wonderful young people coming along. And...

Known as the queen of Italian pop, Mina has sold over 150 million records worldwide and remains a music legend who’s been captivating fans since the ’60s. Her new album, Gassa d’Amante, drops on November 22, and its title — named after an essential sailing knot — represents the solid and yet easily untangled nature of love. Just like the knot, the album explores the twists and turns of love in all of its beauty and complexity. At 84, Mina is still going strong, and she’s as iconic as ever.

Mina, born Mina Anna Mazzini, is one of the most adored pop stars in Italy. She is a cult figure who can be compared to Liza Minelli and Bette Midler; a musical diva who is as great a superstar to the Italians as Lady Gaga or Taylor Swift today. Like a 21st century Greta Garbo, she lives in exile in Lugano, Switzerland,...

NYC Weekend Watch is our weekly round-up of repertory offerings.

Roxy Cinema

The Limits of Control and Unfaithful screen on 35mm; Claire Denis’ No Fear, No Die and the rare Turkish film Yol play Sunday.

Film Forum

An Ealing Studios retrospective starts; the 4K restoration of Michelangelo Antonioni’s Il Grido continues and Willy Wonka screens on Sunday.

Bam

Films by Harmony Korine, Todd Haynes, and Martin Scorsese play this weekend in “Outrage: Movies and the Culture Wars, 1987–1996.”

Museum of the Moving Image

The Frank Oz series continues, while Vanishing Point screens on Sunday.

Metrograph

Napoleon Dynamite, Throne of Blood, and Wild at Heart show on 35mm; a Lev Kalman and Whitney Horn program begins; The World Is a Stage, Nicolas Uncaged, My Crazy Uncle (or Aunt), Insomnia, and Crush the Strong, Help the Weak continue.

Museum of Modern Art

A massive retrospective of Portuguese cinema continues.

IFC Center

A...

NYC Weekend Watch is our weekly round-up of repertory offerings.

Roxy Cinema

In honor of Ken Kelsch, Abel Ferrara’s The Blackout and The Addiction screen on 35mm; prints of Douglas Buck’s Family Portraits: A Trilogy of America and the 2006 Sisters remake screen Saturday and Sunday, respectively.

Film Forum

A 4K restoration of Michelangelo Antonioni’s Il Grido begins; 42 screens on Sunday.

Bam

A series of New York coming-of-age movies begins, including Crooklyn on 35mm.

Film at Lincoln Center

The new 4K restoration of Sergei Parajanov’s Shadows of Forgotten Ancestors continues.

Museum of the Moving Image

Paul Morrissey’s Flesh for Frankenstein plays in 3D on Friday; a Frank Oz series.

Metrograph

Light Sleeper and The White Ribbon show on 35mm; Around Ludlow, The World Is a Stage, and a Jeff Wall program begins; My Crazy Uncle (or Aunt) and Insomnia continue.

Museum of Modern Art

A massive...

Ahhh, fall. It’s finally here. The leaves are dropping, pumpkin spice is in the air (and everyone’s coffee), and the holidays are close enough where we’re all either rushing to get our work done before the end of the year or starting to wind down in hopes that people will soon stop bothering us. It’s a magical time, especially with new awards contenders like “Anora” and “Conclave” finally releasing to wide audiences, but let’s not forget that older films deserve some love too. Especially around Thanksgiving, a holiday specifically designed for reflection. What better way to celebrate than looking back on some classics of cinema, both the widely seen and the obscure.

While October may have provided the spooks in New York and Los Angeles repertory theaters, November aims to calm things down with light offerings for youngsters like “Willy Wonka & the Chocolate Factory,...

French actress Christine Boisson, who got her big-screen break as a 17-year-old in Emmanuelle, has died at the age of 68 in Paris.

Boisson had just left school and was still a minor when Just Jaeckin cast her in his 1974 erotic classic as the sexually adventurous teenager Marie-Ange, who introduces Emmanuelle (Sylvia Kristel) to the shady libertine figure of Mario.

After being cast in a handful of smaller roles purely on the basis of her physique, Boisson decided to go back to school and studied acting at France’s prestigious Conservatoire.

On completing the three-year course, she refused to take on roles where the principal consideration for the casting was her physique.

Deadline Related Video:

Over the course of her 40-year career, Boisson ratcheted up more than 50 film credits including Michelangelo Antonioni’s Identification of a Woman (1984), Daniel Schmid’s Jenatsch (1987), Jacques Bral’s Exterior, Night, Yves Boisset’s Radio Rave...

Whatever acclaim––nay, outright-legendary status––is foisted upon Michelangelo Antonioni typically comes from a small selection of films produced in the 1960s. While I continue awaiting just desserts for Mystery of Oberwald and Beyond the Clouds, we can now cross off Il Grido, his 1957 feature that’s been restored by The Film Foundation, Cineteca di Bologna, and Compass Film, and which is receiving a theatrical release from Janus Films starting at Film Forum on November 8 (before an inevitable Criterion). Ahead of this, there’s a new trailer in which Antonioni’s early triumph looks crisp as ever.

Here’s the new synopsis: “Years before L’avventura, his international breakthrough, Michelangelo Antonioni crafted his first masterpiece with Il grido, a raw expression of anguish that remains one of Italian cinema’s great underappreciated gems. Bridging Antonioni’s early, neorealism-inspired work and his hallmark stories of existential rootlessness Il Grido centers on...

Michelangelo Antonioni, the iconic Italian auteur, has been immortalized in cinema history thanks to his acclaimed classics “L’Avventura,” “Blow-Up,” and “The Passenger,” which redefined film grammar.

Yet three years prior to his international breakthrough with “L’Avventura,” which won the Cannes Jury

Prize, Antonioni directed his lesser-known feature “Il Grido.” The 1957 drama is relatively obscure and has rarely been screened stateside; however, the film is an early look at the themes of loneliness and fractured relationships that Antonioni later became synonymous with.

The official synopsis for “Il Grido” reads: “Michelangelo Antonioni crafted his first masterpiece with ‘Il Grido,’ a raw expression of anguish that remains one of Italian cinema’s great under-appreciated gems. Bridging Antonioni’s early, neorealism-inspired work and his hallmark stories of existential rootlessness, ‘Il Grido’ centers on Aldo (Steve Cochran), a sugar-refinery worker in the Po Valley. When Irma (Alida Valli), his lover of seven years, learns that...

Andrea Segre’s The Great Ambition, the opening film of the Rome Film Festival, tells the story of how the Italian Communist Party came close to governing Italy.

It focuses on Italian politician Enrico Berlinguer, who ran the Communist Party when it reached its peak of popularity in the 1970s. His great ambition was to achieve a democratic path to communism, which meant severing his Party’s ties with Moscow.

Leading the film as Berlinguer is Elio Germano, winner of the best actor prize at the 2020 Berlinale for Hidden Away and at Cannes in 2010 for Our Life. The Great Ambition...

There are traces of something genuinely exploratory in Walter Salles’s I’m Still Here, the director’s first fiction feature in 12 years and certainly one of his most personal. Based on Marcelo Rubens Paiva’s 2015 memoir, the film traces the effects that the 1971 state-sanctioned kidnapping and murder of the author’s father, Rubens Paiva (Selton Mello), have on his immediate family, especially his beleaguered wife, Eunice (Fernanda Torres), who was partially unaware of Rubens’s political dissidence. In the background, the gears of the Brazilian military dictatorship grind ever onward, and there are continuous suggestions of vaster, more clandestine intrigue. The film’s perspective, though, remains firmly aligned with Eunice’s.

Salles knew the Paiva clan personally, having befriended middle daughter Nalu (portrayed here by Bárbara Luz) as an adolescent in Rio de Janeiro. The family’s household, where much of I’m Still Here takes place, is rendered with...

Once upon a time in late night television, it was customary for talk shows to fill up their couches as the evening's episode progressed. The first guest would do their segment and then move down a spot on the adjacent couch, making room for the next guest to yap with Johnny Carson, Dick Cavett or whoever. What with the barnacle presence of sidekick Ed McMahon, Carson's couch could get especially crowded some nights. Sometimes this got tense (like the time Burt Reynolds inexplicably went after "Double Dare" host Mark Summers on "The Tonight Show with Jay Leno"); sometimes it was chaotic comedy bliss (which is what happens when you ask Carson to rein in the irrepressible duo of Robin Williams and Jonathan Winters); and sometimes it was just plain surreal.

This tradition started to fade out of fashion in the 1980s when "Late Night with David Letterman" introduced its one-guest-at-a-time approach.

Get in touch to send in cinephile news and discoveries. To keep up with our latest features, sign up for the Weekly Edit newsletter and follow us @mubinotebook on Twitter and Instagram.NEWSChicken Run.After earlier claims that they were “not in jeopardy,” the 29-location Landmark Theatre chain now faces foreclosure, though IndieWire reports that may not be such a bad thing.After releasing a trailer for Francis Ford Coppola’s Megalopolis that included phony, apparently AI-generated pull quotes attributed to real film critics, Lionsgate has issued an apology and ceremonially fired a marketing consultant.The fast-food chain Chick-Fil-a plans to launch a streaming service, which will apparently include game shows and reality programming.FESTIVALSAhead of its premiere this weekend at the Toronto International Film Festival, we are pleased to share the first poster for Sofia Bohdanowicz's Measures for a Funeral (2024), designed by Charlotte Gosch of studio other types.

Steve McQueen, Bass, 2024. Installation view, Dia Beacon, New York, May 12, 2024–April 14, 2025. © Steve McQueen. Photograph by Bill Jacobson Studio, New York.“The point now is that I found a home—or a hole in the ground, as you will.”1Upstate New York’s Dia Beacon is surrounded by bucolic scenery, but beneath the post-industrial campus of the art institution, there is a hole. A blank slate enveloped in cool darkness, a palatial underground expanse of concrete, the subterranean gallery has hosted a number of site-specific installations by artists such as Joan Jonas, Carl Craig, and now British artist and filmmaker Steve McQueen, whose Bass is on view through next spring.Bass is a beguiling, confrontational work: over the course of its approximately 40-minute runtime, there is no dialogue, no moving image, and no semblance of a traditional narrative—things one might expect from an artist whose film projects, including Hunger (2008), 12 Years A Slave...

Luis Ortega’s slow, unpredictable dramedy set in the world of mob-run racing in Buenos Aires, “Kill the Jockey,” plays its cards close to its chest. If surprising shifts into magical realism and existential rumination mean we are kept guessing about the film’s ambitions, there is also a sense that Ortega has let the material get away from him like a runaway horse.

Someone bested by a beast before the title even has a chance to flash up on screen is our titular jockey. We are first introduced to Remo Manfredini (Nahuel Pérez Biscayart) catatonic in a bar before he is found by a menacing male search party. They revive him by the uncharming method of inserting a riding crop into his mouth and drive him to a race track. Here he pre-games with horse drugs mixed with booze and cigarettes and then takes a slow walk through a...

It is with great sadness that we report legendary French actor Alain Delon has died at the age of 88. Widely hailed as the most beautiful movie star of all time thanks to his ocean blue eyes and statuesque, sculpted cheekbones, Delon — star of Le Samourai, Plein Soleil, Rocco And His Brothers and much, much more — brought an insouciant cool to cinema on- and off-screen, and an ineffable capacity to convey the depths of a brooding soul in the level of those self-same eyes. Delon passed away at his home in Douchy, surrounded by his three children and family, on 18 August.

Born on 8 November 1935 to cinema projectionist (and later La Régina cinema director) father François Fabien Delon and pharmacist and cinema usher mother Édith Marie Suzanne Arnold, you could say that the movies ran in Alain Fabien Maurice Marcel Delon's blood. After a turbulent series of school expulsions, spells in prison,...

The legendary, and legendarily handsome, international movie star Alain Delon passed away on Sunday, August 18, 2024. He was 88.

Delon was best known for playing heavies and tough guys, but he had incredible range, portraying all kinds of roles in his 60-plus-year career. Most American film students have experienced the bolt of electricity seeing Delon for the first time in an acclaimed international hit like René Clément's Tom Ripley adaptation "Purple Noon," or Luchino Visconti's "Rocco and his Brothers" (1960) or the same director's massive historical epic "The Leopard" (1963). Delon made several films with Clément, and was often paired with most of the best European directors of his generation, including Michelangelo Antonioni (he was in "L'Eclisse"), Louis Malle ("Spirits of the Dead"), Joseph Losey ("The Assassination of Trotsky"), Agnès Varda ("One Hundred and One Nights"), and even Jean-Luc Godard ("New Wave"). Anyone with a subscription to the Criterion Channel has likely...

Cinema isn’t a beauty contest, but if it were, Alain Delon surely would have won the title of the 1960s’ most handsome actor.

That’s a subjective call, of course, and as such, Delon is the kind of figure about whom writers tend to fall back on the word “arguably” — as in, “arguably the most handsome” — which is kind of a cop-out, as it leaves the argument to somebody else. When it comes to Delon, plenty have made the case. I loved Anthony Lane’s longform analysis of Delon’s allure in The New Yorker earlier this year. And none other than Jane Fonda, who co-starred with Delon in 1964’s “Joy House,” described him as “the most beautiful human being.”

The French star, who died Sunday, made more than 100 movies in a career that spanned 50 years, but for that one transformative decade in film history — beginning with the Patricia Highsmith...

Alain Delon, the striking French leading man known for his uncommonly beautiful, coldly calculating villains in Le Samouraï and Purple Noon, has died. As confirmed by his family to France’s Afp news agency, Delon died Sunday after years of health complications stemming from a 2019 stroke. He was 88.An icon of French cinema,...

Alain Delon, the influential French actor who starred in European cinematic classics like Le Samourai and The Leopard, has died at the age of 88.

The actor’s children confirmed his death Sunday in a statement to Afp (via BBC), “Alain Fabien, Anouchka, Anthony, as well as (his dog) Loubo, are deeply saddened to announce the passing of their father. He passed away peacefully in his home in Douchy, surrounded by his three children and his family.”

A box office star and heartthrob actor in his native France and across Europe throughout the Sixties and Seventies,...

Alain Delon, the legendary actor and sex symbol who dominated French cinemas in the 1960s in films like “Le Samouraï” and “Purple Noon,” has died at the age of 88. The news was shared via a statement to Afp. Delon passed away in his longtime home in Douchy, France.

“He passed away peacefully in his home in Douchy, surrounded by his three children and his family,” the statement said. Per Deadline, French president Emmanuel Macron said in a translated statement, “Mr. Klein or Rocco, the Leopard or the Samurai, Alain Delon has played legendary roles and made the world dream. Lending his unforgettable face to shake up our lives. Melancholic, popular, secretive, he was more than a star: a French monument.”

Delon first rose to prominence in the 1959 comedy “Women Are Weak,” which was a major hit in France and frequently screened in America. But his status as a serious actor...

French acting star Alain Delon, whose many iconic roles included Le Samouraï, Plein Soleil and The Leopard, has died in France at the age of 88.

The actor’s children said in a statement that their father had passed away in the early hours of Sunday, surrounded by his family and beloved Belgian Shepherd Loubo, in his long-time chateau home in the village of Douchy, in the Le Loiret region some 100 miles south of Paris.

Delon’s death marks the passing of one of the last surviving icons of the French cinema scene of the 1960s and 70s, when the country was on an economic roll as it reconstructed in the wake of World War II.

Related: French Pres. Emmanuel Macron Leads Tributes To Alain Delon: “More Than A Star, A Monument”

The star, who was at the peak of this career from the 1960s to the 1980s, fell into acting by chance.

Alain Delon, the dark and dashing leading man from France who starred in some of the greatest European films of the 1960s and ’70s, has died. He was 88.

“Alain Fabien, Anouchka, Anthony, as well as (his dog) Loubo, are deeply saddened to announce the passing of their father. He passed away peacefully in his home in Douchy, surrounded by his three children and his family,” a statement from the family released to Afp news agency said.

Delon had been suffering from poor health in recent years and had a stroke in 2019.

With a filmography boasting such titles as Luchino Visconti’s Rocco and His Brothers (1960) and The Leopard (1963), René Clément’s Purple Noon (1960), Michelangelo Antonioni’s The Eclipse (1962), Joseph Losey’s Mr. Klein (1976) and Jean-Pierre Melville’s Le Samouraï (1967) and The Red Circle (1970), Delon graced several art house movies now considered classics.

His tense and stoical performances, often as...

In the history of American movies, and, arguably, of movies in general, there has never been a partnership between a husband and wife as consequential as that of director John Cassavetes and actress Gena Rowlands.

Not only did the two make several masterpieces together, among them Faces, A Woman Under the Influence and Opening Night. They managed to create a whole body of deeply personal features — shot completely outside of the studio system and often inside their own family home in the Hollywood Hills — that would usher in the era of what we now call “independent film.”

Surely, there had been some memorable director-actress duos before them, mostly in Europe: Roberto Rossellini and Ingrid Bergman, Federico Fellini and Giulietta Masina, Jean-Luc Godard and Anna Karina, Michelangelo Antonioni and Monica Vitti. But in those cases, which definitely yielded their share of masterpieces as well, the director was the auteur and the actress his muse.

Get in touch to send in cinephile news and discoveries. To keep up with our latest features, sign up for the Weekly Edit newsletter and follow us @mubinotebook on Twitter and Instagram.NEWSBlazing Saddles.With on-location filming in Los Angeles on the steep decline, Mayor Karen Bass has launched the Entertainment Industry Council, which plans to lobby the state to subsidize productions in the city.FESTIVALSViet and Nam.The Toronto International Film Festival (September 5–15) has added a number of titles to its lineup, including Pedro Almodóvar’s The Room Next Door, Luca Guadagnino’s Queer, and Francis Ford Coppola’s Megalopolis, bringing the total to 276. The Wavelengths slate will feature Truong Minh Quý’s Viet and Nam, Madeleine Hunt-Ehrlich’s The Ballad of Suzanne Césaire, and Nelson Carlo de los Santos Arias’s Pepe, among others. Festival attendees are encouraged to use this nifty tool, lest they be lost forever in the scheduling labyrinth.

Peggy Moffitt, the iconic ’60s model who was also a contract player at Paramount and who appeared in Michelangelo Antonioni’s Blow-Up, died at her Beverly Hills home on Saturday from complications of dementia. Her son, Christopher Claxton, confirmed the news to the New York Times. She was 86.

Moffitt’s wide-ranging influence can be traced to the persona she created, often in collaboration with others. Her gamine, modern look was a construct made up of her signature pale skin, harlequin eye makeup, five-point Vidal Sassoon haircut and a sense of humor, all of which she never abandoned.

She had a cultural moment when, in 1964, she posed in a topless swimsuit from designer Rudi Gernreich. The controversial look referenced a schoolboy’s shorts, with thin suspenders rising in a “V” between the cleavage, but nothing else above the waistline. The resulting image, which ran in publications across the world, was condemned...

Peggy Moffitt, the actor and model who became a 1960s mod icon wearing designer Rudi Gernreich’s famous topless bathing suit design and other bold looks of the era, died Saturday in Beverly Hills. She was 86.

Her son, Christopher Claxton, told the New York Times she died of complications of dementia.

Moffitt’s husband, renowned photographer William Claxton, shot the photo that became a sensation for its daring design of a bathing suit held up only by slender straps, with no top portion. The 1964 photo, first published in Look and then a more explicit version in Women’s Wear Daily, was banned in some countries even though her arms were covering her breasts in some of the poses.

The actor and model was working at a trendy Beverly Hills boutique that sold pop art fashions when Gernreich asked her to pose, though she specified she would never wear the suit in public.

Physical media has had a resurgence in recent years, helped by the curating and marketing of 4K heritage titles in attractive packaging for a keen, if niche, market of collectors. That was the consensus of the Heritage Roundtable discussion held as part of the Locarno Pro section of the Locarno Film Festival.

Having seen a drastic collapse in the mass market, the panelists agreed that the one area of growth was the curation of heritage titles, restored to 4 or 2K and presented with an abundance of extras.

Vincent Paul-Boncour from Carlotta Films used examples of his companies recent and future releases including a box set of Dario Argento films and a new edition of Luchino Visconti’s “Bellissima” as models of successful products.

“Our first mission is to release movies on the big screen as a distributor,” Paul-Boncour said. “In France, we have this good market for classic editions. We...

Related Images invites readers behind the scenes and into the sketchbooks of working filmmakers to learn more about their creative processes.Ernst De Geer’s The Hypnosis is now showing exclusively on Mubi in many countries.We shot two scenes from the film three years before we did the actual feature, as part of the Wild Card initiative by the Swedish Film Institute and Svt. This was before we had even written the screenplay. The scenes were not to use in the final film, just to inform us in our process. We cast Herbert Nordrum and Asta Kamma August for it, so we got to work together for a lot longer than usual for a film.I wanted the process of making The Hypnosis to be more loose than was usual for me. I had made a lot of works in film school that were planned out and controlled, and...

Italian production designer Paolo Comencini, whose recent credits include the box office hit There’s Still Tomorrow, will be feted with the Campari Passion for Film Award at the 81st Venice International Film Festival.

The ceremony will take place on September 6 to be followed by the Out of Competition screening of Il Tempo Che Ci Vuole by the production designer’s sister Francesca Comencini, which features the production designer’s work.

The father and daughter drama, starring Fabrizio Gifuni and Romana Maggiora Vergano, takes inspiration from their father, the iconic director Luigi Comencini.

Having cut her cinema teeth as an intern on Billy Wilder in Italy, Avanti! in 1978, Comencini began working with her father, before branching out into productions by her sisters and other directors.

Comencini’s more than production designer 50 credits include Michele Placido’s award-winning film Romanzo Criminale for which she received the David di...

Nestled between the epic sprawl of the first two Godfather films, The Conversation allowed Francis Ford Coppola to engage in a more personal style of storytelling. With it, he crafted a small-scale character study steeped in minor-key melancholia, as well as gave free reign to his infatuation with the international arthouse cinema of the time.

A shout-out to Michelangelo Antonioni’s Blow-up, The Conversation perfectly encapsulates the disaffection, alienation, and paranoia infecting America’s body politic in the era of Watergate, the wiretapping scandal that brought down the Nixon administration, though the timing of the film’s release was coincidental. By some act of synchronicity, Coppola opted to focus on a surveillance expert, Harry Caul (Gene Hackman at his most buttoned-up), who utilizes the same sort of hardware as G. Gordon Liddy and the other Watergate “plumbers” while in the employ of a corporate bigwig known only as the Director...

Get in touch to send in cinephile news and discoveries. To keep up with our latest features, sign up for the Weekly Edit newsletter and follow us @mubinotebook on Twitter and Instagram.NEWSMy Life as a Dog.Amid concerns over new provisions for AI, IATSE members have voted to ratify their new three-year contract with AMPTP, which includes a historic 40 percent raise for television and theatrical costume designers.Meanwhile, Teamsters Local 399 “remain far apart” on terms after five weeks of bargaining, reporting that “this was the first week in which we saw the employers take this process seriously.” Their current contract will expire on July 31, after which the union could strike.The Swedish motion-picture industry is calling for a change to the state’s “first-come, first-served” funding process, which most recently distributed all available funds in one minute and seven seconds.Germany plans to nearly double its national film funding...

Yvonne Furneaux, the glamorous actress who had memorable performances in Michelangelo Antonioni’s Le Amiche, Federico Fellini’s La Dolce Vita and Roman Polanski’s Repulsion, has died. She was 98.

Furneaux died July 5 at her home in North Hampton, New Hampshire, of complications from a stroke, her son, Nicholas Natteau, told The Hollywood Reporter.

She also was the female lead in the Hammer horror film The Mummy (1959), starring Peter Cushing and Christopher Lee. Though she considered the project less than ideal, she said she ultimately learned from those actors that “if you don’t take a film like The Mummy seriously and put your heart and soul into it, then you can bring it down,” she explained in Mark A. Miller’s 2010 book, Christopher Lee and Peter Cushing and Horror Cinema.

She starred in Italian, French, German and Spanish films during her career.

In Le Amiche (1955), a hit at the...

The Criterion Channel has unveiled its streaming lineup for August 2024, which features an eclectic mix of independent films showcasing the work of auteurs from around the world.

The boutique service will become the exclusive streaming home of Paul Thomas Anderson’s 2021 comedy “Licorice Pizza,” and will celebrate the occasion by adding four more of his films to the channel: “The Master,” “There Will Be Blood,” “Punch-Drunk Love,” and “Magnolia.” Anderson’s frequent collaborator Philip Seymour Hoffman will additionally be celebrated on the streaming service as part of a larger retrospective. Many of the late actor’s most iconic roles, including “Capote” and “Synecdoche, New York,” will be included, along with his sole directorial outing “Jack Goes Boating.”

The channel will also highlight several other prominent filmmakers including Preston Sturges, who helped pioneer the modern rom-com through films like “The Lady Eve” and “The Palm Beach Story,” and prolific Egyptian auteur Youssef Chahine.

The Criterion Channel’s August lineup pays tribute to auteurs of all kinds: directors, actors, and photographers, fictional or otherwise. In a notable act of preservation and advocacy, they’ll stream 20 titles by the Egyptian filmmaker Youssef Chahine, here introduced by the great Richard Peña. More known (but fun all the same) is a five-title Paul Thomas Anderson series including the exclusive stream of Licorice Pizza, as well as a Philip Seymour Hoffman series that overlaps with Magnolia, Punch-Drunk Love (a Criterion Edition this month), and The Master, plus 25th Hour, Love Liza, and his own directing effort Jack Goes Boating. Preston Sturges gets five movies, with Sullivan’s Travels arriving in October.

Theme-wise, a photographer series includes Rear Window, Peeping Tom, Blow-up, Close-Up, and Clouzot’s La prisonnière; “Vacation Noir” features The Lady from Shanghai, Brighton Rock, Kansas City Confidential, Purple Noon, and La piscine. Alongside the aforementioned PTA and Antonioni pictures,...

Savory wine, blissful beaches, rugged topography, and an elusive Philippe Katerine who plays Jean-Philippe — we’ve been keeping close tabs on what will be the middle part in Sophie Letourneur‘s proposed vaca-trilogy. Now comes word that (via the Cineuropa folks) that the project will be known as L’Aventura — a wordplay on Michelangelo Antonioni’s masterwork (perhaps one of the main players will disappear here too). Casting is complete (perhaps we’ll get a surprise appearance), and Letourneur will be re-teaming with cinematopgrapher Jonathan Ricquebourg (he was onboard for Voyages en Italie and more recently The Taste of Things) and the bigger news is that the producing team to come onboard are Atelier de Production’s Thomas and Mathieu Verhaeghe – who mostly produced a string of Quentin Dupieux films and other recent fest faves in Puan (last year’s San Sebastian Film Festival) and Dog on Trial and Eat the Night...

While its often the world premieres that get the most buzz out of any major film festival, look to their restorations lineup (if they are smart enough to have one), and a treasure trove of classics sure to be better than most premieres await. Ahead of their official lineup being unveiled on July 23, the Venice Classics slate is here, featuring films by Michelangelo Antonioni, Fritz Lang, Frederick Wiseman, Howard Hawks, Nagisa Ōshima, Anthony Mann, Lina Wertmüller, and many more.

“The programme of Venice Classics includes the commemoration of several important anniversaries.” said Festival artistic director Alberto Barbera. “First and foremost, the centennial of the birth of Marcello Mastroianni, the most beloved and celebrated Italian actor in the world, whom we will see in The Night (La notte), one of Michelangelo Antonioni’s finest films. It has been fifty years since the death of Vittorio De Sica, who in The Gold of Naples...

Venice Classics will screen restorations of Michelangelo Antonioni’s The Night and Vittorio De Sica’s The Gold Of Naples as part of an 18-film programme at the 81st Venice Film Festival (August 28-Septemer 7).

The Night, a 1961 black-and-white drama depicted a day and night in the life of a disillusioned novelist and his alienated wife, will play in the 100th anniversary year of the birth of its lead actor Marcello Mastroianni.

Scroll down for the full list of titles

De Sica’s 1954 The Gold Of Naples is formed of six episodes inspired by Giovanni Marotta’s short stories, and plays...

Laura Luchetti on Man Ray, Lee Miller, Henri Cartier-Bresson, Jacques-Henri Lartigue: “The inspiration for me was photographs and photographs and photographs.” Photo: Anne Katrin Titze

The day after Cinecittà and Film at Lincoln Center’s Open Roads: New Italian Cinema opening night screening in New York of Edoardo De Angelis’s masterful The War Machine, Laura Luchetti joined me inside Film at Lincoln Center’s Walter Reade Theater for a conversation on her latest film, The Beautiful Summer (La Bella Estate) starring Deva Cassel (Monica Bellucci and Vincent Cassel’s daughter), Yile Yara Vianello, and Nicolas Maupas.

Based on the novel by Cesare Pavese, previously adapted by Michelangelo Antonioni in Le Amiche, Luchetti energetically and with flair takes us to 1938 Turin and the fashion atélier where 17-year-old Ginia (Yile Yara Vianello) works under the perceptive eye of Signora Gemma (Anna Bellato). She lives with her brother Severino (Nicolas Maupas...

Documentarian Vittorio De Seta’s first narrative feature, Bandits of Orgosolo, builds upon several of the director’s shorts about the Sardinian region where the film is set. Featuring a cast of non-professionals, the film follows the shepherd Michele (Michele Cossu) as he and his young son, Peppeddu (Peppeddu Cuccu), end up fleeing deeper into the mountainous countryside when the father is wrongly suspected of livestock rustling and murder. With carabiners on his trail, Michele leads his child and his sheep into higher and rockier ground, and as vegetation and water become increasingly scarce, starvation rips through the flock. Eventually, and in a kind of self-fulfilling prophecy, circumstances force Michele into the sort of crimes of which he was initially innocent.

This overarching narrative recalls Vittorio De Sica’s seminal Bicycle Thieves. But where De Sica’s neorealist drama took a snapshot of postwar Italy’s shattered economic and moral torpor,...

Rainer Werner Fassbinder’s whirlwind career of 40-plus movies made within just over a dozen years kicked off with Love Is Colder Than Death. It ended, all too soon, with a sendoff that may as well have been called Death Is Hotter Than Love. Even if it hadn’t wound up being Fassbinder’s final cinematic will and testament, Querelle, an uber-horny but otherwise unorthodox adaptation of Jean Genet’s 1947 novel Querelle of Brest, would still feel like a film precariously perched between rowdy, profane life and that liminal, insatiable zone that always follows la petite mort.

But because the timeline spanning the film’s completion to its release was bisected by Fassbinder’s death from a drug overdose, it’s nearly impossible to avoid overlaying the gorgeously wrecked glamour of his entire career onto the film, draping the virtue of his carnal vices over a package that’s already prodigiously overstuffed.

Each week we highlight the noteworthy titles that have recently hit streaming platforms in the United States. Check out this week’s selections below and past round-ups here.

Aftersun (Charlotte Wells)

One of the 2022’s most resonant films, Aftersun looks at the scratchy dynamics between a father and daughter while on vacation. It’s about memory, the finite nature of the relationships in our lives, and the difficulties of a parent’s diminishing mental health. Charlotte Wells knows where to put the camera in her debut—undeterred from taking risks, from placing her characters outside of the frame, from looking at shadows instead of the people themselves. Aftersun is a rare, tremendous first film, full of heart and focused melancholy; it breaks you down and fills you up simultaneously. The consistent inclusion of camcorder footage, and the fact that it enhances the story rather than becoming a distraction, further proclaims...

Toronto-based Syndicado Film Sales has picked up international rights to “Petroleo,” the fiction debut of doc Spanish filmmaker Álvaro F. Pulpeiro, lauded worldwide for his sensory and lyrical filmmaking, most recently displayed in the Cph:Dox-selected “So Foul a Sky.”

The Galician-born filmmaker said the project which was significantly influenced by Pier Paolo Pasolini’s unfinished book “Petrolio,” will draw inspiration “from Michelangelo Antonioni’s “The Passenger” (1975), the visual intensity of “Apocalypse Now” (1979) and the digital noir of “Miami Vice” (2006).”

“Petroleo” will compete for the €30,000 Filmin Award for best title in the Film to Come section at the inaugural Ecam Forum co-production market, unspooling June 10-14 in Madrid.

Aleksandar Govedarica, Syndicado Film Sales’ CEO said: “I had the privilege of working with Álvaro on his previous film [“So Foul a Sky”] and I was captivated by his vision and storytelling; we therefore boarded “Petroleo” back in 2022. It’s a project that’s impossible to ignore in its timeliness.

Roberta Torre with Anne-Katrin Titze on Gitt Magrini, Michelangelo Antonioni’s costume designer for Red Desert and with Bice Brichetto for L'Eclisse: “With Massimo Cantini Parrini we have thought a lot about this before making the film. So he went to all the beautiful costumes for Monica Vitti to see what remains today.”

A little over an hour and a half into Michelangelo Antonioni’s Red Desert, Monica Vitti’s Giuliana visits Richard Harris’s Corrado Zeller at his hotel. “Mi fanno male i capelli” she says, her hair hurts, as do her eyes, her throat and her mouth. Roberta Torre’s Mi Fanno Male I Capelli with a score by Wong Kar Wai’s longtime composer Shigeru Umebayashi takes the sentence as a starting point to investigate time and the mind, memory and the fluidity of identity.

Edoardo (Filippo Timi) with Monica (Alba Rohrwacher) in dress inspired by Monica...