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The moving coming-of-age drama “My Sunshine,” set in rural Japan, centers on the bond between a queer figure-skating coach and his young pupils who take a particular interest in him — and with life-defining consequences.

Film Movement opens Hiroshi Okuyama’s 2024 Cannes Un Certain Regard nominee — and a film that could’ve been his country’s Best International Feature selection had it not opted for Kiyoshi Kurosawa’s equally winning “Cloud” — on September 19 in select theaters. IndieWire shares the exclusive trailer below.

More on the film courtesy of the official synopsis: “One winter on the Japanese island of Hokkaido, a young boy named Takuya has resigned himself to the fact that he’s the worst player on his ice hockey team. While practicing, he becomes transfixed by the figure skaters who share the ice rink, particularly Sakura, a rising star from Tokyo. Her coach, Arakawa, takes an interest in Takuya, seeing himself in the young boy.

Actor turned writer and director Juan Pablo Di Pace is making his feature debut with a decades-spanning meta romance. The star co-directs “Before We Forget” with Andrés Pepe Estrada from a script he wrote; the iconic late Norman Lear, who died in 2023, is an executive producer.

“Before We Forget” is a staggeringly beautiful depiction of trying (and sometimes failing) to remember every detail of our first loves. Di Pace leads the film as Matias, an Argentine filmmaker grappling with an unfinished movie that was inspired by his friendship with a Swedish classmate he met at boarding school in 1997. As the logline teases, “their bond, defined by tenderness and fascination, is abruptly severed when Alexander (Oscar Morgan) is expelled, leaving young Matias (Santiago Madrussan) with a story of unspoken emotions. Twenty-five years later, Matias reopens Pandora’s box, coming face-to-face with Alexander (August Wittgenstein) once again. As life begins to imitate art,...

Hiroshi Okuyama has been making movies ever since he was a teenager. During his studies at Aoyama Gakuin University, Tokyo, he directed his debut feature “Jesus”, which was given the New Directors Award at the 2018 San Sebastián International Film Festival. Teenagers, growing up, first love are also among the themes in his second feature “My Sunshine”. Besides being a coming-of-age feature, “My Sunshine” is also a tale about acceptance, gender roles and conformity within Japanese society.

The main character of “My Sunshine” really loves the season of winter. What was your favorite season when you were a teenager?

I was born in Tokyo and snow was something of a rarity, which is probably why I loved winter so much. It was very exciting to see how the whole atmosphere of a city could change when over night snow had fallen.

One of the most important features in “My Sunshine” seems to be light.

Shinoda Masahiro’s Demon Pond unfolds at its own singular pace. The film’s ethereal, hypnagogic qualities are enhanced equally by the burnt orange and cerulean hues of Kosugi Masao and Sakamoto Noritaka’s painterly cinematography, which reflect its remote mountain village setting being stuck in a state of permanent evening twilight, and the constantly unpredictable ebbs and flows of electronic music pioneer Tomita Isao’s transfixingly restless Moog score. Where Tomita’s music includes modernized reworkings of pieces by 19th-century composers Claude Debussy and Modest Mussorgsky, Shinoda’s film fuses the kabuki theatricality of the 1913 play by Izumi Kyôka on which it was based with the uncanny artifice of then-groundbreaking, and still mind-bending, visual effects.

These collisions between the classical and the modern are fitting for a film that discomfitingly resides in various liminal states—between night and day, the otherworldly and the worldly, the artificial and the organic.

Music has always been one of, if not the most, important parts of The Crow franchise. Dating back to James O’Barr’s original comic, the artist included lyrics by Joy Division and Robyn Hitchcock to help evoke the gothic moodiness of Eric Draven. That comic even has a soundtrack album: Fears & Bullets.

The boy with the purple crayon and the big imagination is all grown up.

Zachary Levi brings Harold out of his picture book and into the real world in the first film adaptation of the children’s classic, “Harold and the Purple Crayon.”

Starring alongside Zooey Deschanel, the two show that anything is possible with the power of unlimited imagination and a magical crayon, but in the wrong hands chaos can ensue.

“When I saw the script, I loved the idea of Harold getting out of his comfort zone, going into the real world, and embarking on an adventure with innocence and wide-eyed naivete,” Levi said. “That quest for answers is a driving force for him.”

The film will feature a wide array of song selections with some childhood tunes like “Mary Had a Little Lamb” and “Chopsticks” and an original song, “Colors.”

The song, written, produced and performed by Jordy Searcy and Boots Ottestad,...

Nicole Kidman’s most expensive ad in history still remains unbeatable at the top after two decades. Kidman was paid a massive amount of money to star in Le Film (The Film), an ad film aimed at promoting Chanel’s No. 5 perfume. The Nine Perfect Strangers actress and director Baz Luhrmann were picked for the campaign after their collaboration in the 2001 Oscar-winning musical Moulin Rouge!.

Nicole Kidman in Baz Luhrmann’s Moulin Rouge! | Bazmark Productions

The ad film was made on a budget of $33 million, which is equivalent to around $52 million today after adjusting for inflation. The short film lasted 120 seconds which meant it cost $275,000 to film per second. Besides Kidman, Brazilian actor Rodrigo Santoro also starred in the ad film.

Nicole Kidman Was Paid Handsomely For The Costliest Ad Ever Nicole Kidman in Baz Luhrmann’s The Film | Chanel

Modern consumers are still coming to terms with new-age ads...

As lovely and lilting as hearing Claude Debussy’s “Clair de Lune” over a crackly record player on a snow-flecked day, Japanese filmmaker Hiroshi Okuyama’s second feature “My Sunshine” is a moving coming-of-age drama about kids facing up to the troubles of adulthood.

This gently composed story of an ice-skating coach on the island of Hokkaido, and his two young pupils, has darker dynamics under its sleeve than the emotionally generous time-to-face-the-music-of-growing-up story that’s on its surface. It’s told in furtive glances and silent pacts against a frost-dappled backdrop, the end of winter coming soon, as two adolescents form a bond on the ice rink that complicates the private life of their instructor. Japan would be wise to submit “My Sunshine,” the second feature from “Jesus” director Okuyama, for the Best International Feature Oscar. Both the glass-half-full and the glass-half-empty corners of the audience will resonate with...

Spoiler alert: This article contains spoilers from All the Light We Cannot See.

"All the Light We Cannot See" on Netflix uses the classical song "Clair de lune" by Claude Debussy as a significant piece of music in the show. The song holds personal meaning for the characters Marie-Laure and Werner and symbolizes hope in a difficult time. The song is featured in a pivotal scene where Marie-Laure and Werner share a dance and a kiss, promising to meet again someday.

Music plays an important role in All the Light We Cannot See on Netflix, and one classical song, in particular, stands out in the television show's four episodes. The 2023 limited series is based on Anthony Doerr's 2014 war novel of the same name, which won the Pulitzer Prize for Fiction in 2015 and was a success among critics and readers alike. Although the show makes a handful of changes to Doerr's original work,...

The fourth day of Cannes took audiences back to their childhoods with the first screening of “Indiana Jones and the Dial of Destiny.” The film’s splashy premiere saw stars Harrison Ford, Phoebe Waller-Bridge and Mads Mikkelsen walk the red carpet, alongside Walt Disney CEO Bob Iger and director James Mangold.

The first reactions were slow to drop but were filled with enthusiasm. Variety’s Clayton Davis and IndieWire’s Eric Kohn both brought up that it felt like a return to form for the series, in reference to the last time Indy was seen at Cannes, with 2008’s “Indiana Jones and the Kingdom of the Crystal Skull.” Reviews, though, were far more mixed. The general tone seemed to be a bit let down, though some say it has its moments. People still love Harrison Ford in the title role.

TheWrap’s Steve Pond wrote in his review that “’Dial...

Before his passing in late March, the late Japanese composer and electronic music pioneer Ryuichi Sakamoto had been putting together a playlist of music to be played at his own funeral. Now, Sakamoto’s management has shared that “last playlist,” simply titled “funeral.”

“We would like to share the playlist that Ryuichi had been privately compiling to be played at his own funeral to accompany his own passing,” Sakamoto’s team wrote in an accompanying message. “He truly was with music until the very end.”

Opening with an 11-minute track by Sakamoto’s frequent collaborator Alva Noto, the 33-song playlist features classical music from Johann Sebastian Bach, Claude Debussy, and Maurice Ravel. It also includes the work of renowned film composers Ennio Morricone and Nino Rota, jazz music from Bill Evans Trio, and David Sylvian’s “Orpheus” — the latter of which features Sakamoto himself on piano and synths. Closing out...

Netflix has released the first teaser for Shawn Levy’s highly anticipated adaptation of Anthony Doerr’s Pulitzer Prize-winning novel, All the Light We Cannot See.

The TV series is directed by the Stranger Things producer-director and was written by Steven Knight (Peaky Blinders).

Claude Debussy’s “Clair de Lune” plays in the trailer, which has no dialogue, as the Nazis’ influence is seen spreading through Paris.

Per the official logline, the series “follows the story of Marie-Laure, a blind French girl and her father, Daniel LeBlanc, who flee German-occupied Paris with a legendary diamond to keep it from falling into the hands of the Nazis.

“Relentlessly pursued by a cruel Gestapo officer who seeks to possess the stone for his own selfish means, Marie-Laure and Daniel soon find refuge in St Malo, where they take up residence with a reclusive uncle who transmits clandestine radio broadcasts as part of the resistance.

Claude Debussy was one of the most influential and groundbreaking composers of the late 19th century.

He revolutionized music by introducing a new harmonic language that changed the way people viewed and experienced music. His works are known for their innovative use of tonality and structure to create expressive, lyrical sounds. He is often referred to as the “father” of modern impressionism due to his use of subtlety and nuance to evoke emotion in his listeners.

Debussy’s influence on music has been profound, inspiring countless composers after him. His works have been covered by a wide range of artists from all genres, from classical orchestras to heavy metal bands. But what makes Debussy so unique?

In this article, we’ll explore Claude Debussy’s life, legacy and musical achievements. We will examine how he revolutionized music, how he shaped the soundscape of the 20th century, and why he continues...

If you’re looking for innovative, unique music for your listening pleasure, look no further than the groundbreaking work of Maurice Ravel.

The French composer is renowned for his lush and diverse compositions that span a wide variety of musical styles, from impressionistic to classical. He often experimented with melodic and harmonic ideas that challenged the status quo and forever changed how we perceive music.

In this article, we invite you to explore the innovative music of Maurice Ravel. We’ll take a closer look at his life and works, examine how his compositions are distinctively crafted and tell you why they continue to captivate audiences around the world. So get ready to embark on an exciting journey into the world of modern music – the world of Maurice Ravel!

Introduction to Maurice Ravel’s Music

Maurice Ravel was one of the most innovative and influential French composers of the 20th century.

Baz Luhrmann has lifted the curtain on his musical process, recalling one key artist who could have changed his 2013 adaptation of “The Great Gatsby” entirely.

The filmmaker, who recently wrote, produced and directed the glittering musical biopic “Elvis,” starring Austin Butler, opened up about his long-standing love affair with pop music at BAFTA’s Life In Pictures event in London on Friday.

The evening welcomed Luhrmann back to London following his worldwide box office success with “Elvis”, which both honors the rock’n’roll musician’s back catalogue and offers contemporary reworking of songs of the era, such as Doja Cat’s new track “Vegas,” which samples and reworks the 1953 blues song “Hound Dog” by Big Mama Thornton.

Luhrmann described pop music as a “translation” for the story across all of his films, pointing specifically to “The Great Gatsby” in order to highlight how he worked with Jay-Z (who was...

In the hours immediately following the death of Queen Elizabeth II at Balmoral on Thursday (8 September), the crowds gathering outside of Buckingham Palace in London came together to sing both “God Save the Queen” for the late sovereign and “God Save the King” for her eldest son and successor, the former Prince of Wales, now known as King Charles III.

The latter phrasing will have been eerily unfamiliar to many, having not been sung on these shores since 1952 when the reign of Elizabeth’s father, George VI, came to an abrupt end.

The song was fist adopted as the UK and Commonwealth’s national anthem in September 1745 during the reign of George III, a year after its lyrics appeared in print for the first time in The Gentleman’s Magazine and its music was set down in ink in the pages of the Thesaurus Musicus anthology at a time when...

In the hours immediately following the death of Queen Elizabeth II at Balmoral on Thursday (8 September), the crowds gathering outside of Buckingham Palace in London came together to sing both “God Save the Queen” for the late sovereign and “God Save the King” for her eldest son and successor, the former Prince of Wales, now known as King Charles III.

The latter phrasing will have been eerily unfamiliar to many, having not been sung on these shores since 1952 when the reign of Elizabeth’s father, George VI, came to an abrupt end.

The song was fist adopted as the UK and Commonwealth’s national anthem in September 1745 during the reign of George III, a year after its lyrics appeared in print for the first time in The Gentleman’s Magazine and its music was set down in ink in the pages of the Thesaurus Musicus anthology at a time when...

Perhaps you’d heard but a fresh season of a little show called Stranger Things just arrived on Netflix’s servers. There are always plenty of reasons to get excited about new episodes of Stranger Things, and the seven new episodes presented in season 4 volume 1 are no different.

Operating under an “if it ain’t broke, don’t fix it” mantra, Stranger Things season 4 is absolutely packed with ’80s-set science fiction, horror, and adventure. Once again, our heroic kids from Hawkins must confront a mystery from the Upside Down. In this case, who is this demonic wizard Vecna and why is he so hopelessly addicted to breaking human bodies?

In addition to all of the usual fun plotting though, a new season of Stranger Things means a new batch of old music. Though creators The Duffer Brothers were born in 1984 and probably don’t remember a hell of a lot of the 1980s,...

With “Everything Everywhere All at Once” (which A24 expands in IMAX theaters on Friday), a maximalist movie met its match with a maximalist score. The result was a musical explosion that enhanced the Daniels’ wild brand of multiverse action-adventure. And the scoring experience benefited Son Lux, the LA-based experimental post-rock band composed of keyboardist and vocalist Ryan Lott, guitarist Rafiq Bhatia, and drummer Ian Chang.

Directors Dan Kwan and Daniel Scheinert had been fans of Son Lux and sought them out precisely because of their ability to reconcile different musical elements and ideas into a cohesive whole — a microcosm of the movie. “Both of them had observations throughout this process, both in a big picture sense and also in terms of small details, that ended up being pretty foundational to the score,” Bhatia told IndieWire. “That was exceptional in allowing us to see this [movie] clearly and also how the intimate...

Nine years after writing “all men are created equal” in the Declaration of Independence, Thomas Jefferson published a book called “Notes on the State of Virginia” in which he suggested Black people might not actually be human beings. In this work of nonfiction, the future third U.S. president hung Blacks on an evolutionary rung barely above orangutans, writing: “I advance it as suspicion only that the Blacks, whether originally a distinct race or made distinct by time and circumstances, are inferior to Whites in the endowments both of body and mind.”

The question of Black humanity lingers over “The Underground Railroad,” a 10-episode Amazon Prime miniseries directed and written by Oscar winner Barry Jenkins (“Moonlight”) that dropped on May 14. Based on the 2016 Pulitzer Prize-winning novel of the same name by Colson Whitehead, the sprawling adaptation follows the journey of Cora, a Georgia slave played by Thuso Mbedu, as she...

As we have also started to deal with Asian music in Asian Movie Pulse lately, a list that features movie soundtracks was a must. In the entries that follow, we have collected 50 films’ scores that have stayed in our minds and have made us happy, sad, or simply to enjoy ourselves while listening to them. From anime to musicals, from cult to art-house and from dramas to comedies, here is a list with 50 works that define the movies they were included at least as much as their visuals.

*Some movies never had their soundtracks released but we felt that the songs included deserve a mention here. By clicking on the titles you can read our reviews of the films, by clicking on the song titles you can listen the tracks from YouTube.

1. 9 Souls

Dip create intense background music that follows rock and alternative paths, with each of the tracks pointing...

Lyon, France — This coming Saturday and Sunday, the Lumière Festival will turn back the clock nearly one hundred years as the festival premieres a new completed reconstruction of Abel Gance’s 1923 masterpiece “La Roue” (“The Wheel”) that restores the classic to its original 7.5 hour length.

Consisting of a prologue and four movements, “La Roue” will screen at the 1,800-seat Auditorium of Lyon over the course of two days, with the backing of conductor Franck Strobel and the National Orchestra Lyon.

The French and Swiss Cinemateques, alongside Pathé and The Jérôme Seydoux-Pathé Foundation, undertook the significant venture, which was a labor of love for Foundation president Sophie Seydoux.

“I’ve had the idea for more than seven years,” says Seydoux. “’La Roue’ is one of the most legendary silent films in Pathé’s catalogue, but no version of the initial 1923 version has ever been seen again.”

“After that first 1923 screening, Abel...

Feminist mystery “Dilili in Paris,” a new feature-length enterprise from French animation legend Michel Ocelot spotlights the prominence of noxious ideologies, misogyny and racism through an occasionally dazzling, though oddly rendered, adventure set during the Belle Epoque period of the late 1800s and early 1900s in Paris.

Dilili (voiced by Angelina Carballo in the English dub), a young biracial and bilingual Kanak immigrant from New Caledonia, a French colony in the South Pacific, snuck into a ship to reach Europe, where she now performs her tribe’s daily tasks as exotic amusement for Parisians. Speaking openly about the racially motivated discrimination she’s endured, Dilili shines as a rare heroine of color in a white world. She feels neither fully French nor Kanak, because she is either two fair or too dark depending on where she finds herself geographically.

Intrigued by her linguistic abilities, Orel (Jason Kesser), a local courier,...

There are many reasons why the Godzilla: King of the Monsters preview that dropped last July is remembered as one of the best trailers of 2018, but you can bet that the rousing rendition of Claude Debussy’s “Clair de lune” on the soundtrack had a lot to do with it. Now it seems that Warner Bros is aiming to repeat that success with a new minute-long TV spot, which sets its Titan action to the tune of “Somewhere Over the Rainbow.”

The ad even commits to its Wizard of Oz homage in its opening seconds with a sly variation on Dorothy’s famous line, “Lions and tigers and bears. Oh my!” In the upcoming film, the world is having to contend with much bigger and stranger creatures, including Rodan, King Ghidorah and Mothra. Speaking of the big insects, the TV spot offers one of our best looks yet at Mothra...

It’s shaping up to be a very big month for trailers – especially if you’re a Marvel fan – and things don’t look to be slowing down in the slightest. In fact, they’re only getting bigger. And we mean that quite literally, as we now have the latest preview for Godzilla: King of the Monsters for you to feast on and it can be seen up above.

The phenomenal first trailer for the Big G’s next cinematic outing that premiered earlier this year at San Diego Comic-Con has set the bar pretty high for this latest preview, with its scenes of impending menace and destruction set to a rousing rendition of Claude Debussy’s “Clair de lune.” And while this the new trailer may not give you quite the same chills, it’s unlikely to dampen the fans’ excitement either, offering us a much better look at Godzilla’s next major foe,...

Back in July, Legendary dropped one of the most exhilarating trailers of the year in the form of their tease for next year’s Godzilla: King of the Monsters, with the footage going down a storm at Sdcc before earning plaudits online. Now, a new international trailer has been released, and while it’s essentially a shorter version of that first preview, it’s still a nice reminder of the colossal action to come.

Naturally, the teaser sees the return of Claude Debussy’s “Clair de lune” on the soundtrack – an inclusion that was previously praised by Rian Johnson as a touch worthy of a Nobel Prize. And for the benefit of our eyes, the trailer also offers a few glimpses at the various beasts to come, including Mothra, King Ghidorah, Rodan, and of course, the Big G himself, seen letting loose with a stream of atomic breath. If you...

Award-winning actor and piano virtuoso Hershey Felder will bring a special return engagement of his wildly acclaimed one-man show, Hershey Felder As Irving Berlin to San Diego Repertory Theatre San Diego Rep. In related news, Hershey Felder As Irving Berlin will return to New York later in 2018, with an Off-Broadway run from August 24 through October 28, 2018 at 59E59 Theatres. Hershey Felder also announces that his newest solo work featuring music from the 19th century French composer Claude Debussy, Une Histoire D'Amour A Paris, A Paris Love Story, will open in the U.S. at a theater to be announced in 2019.

“A man cannot destroy the savage in him by denying its impulses. They only way to get rid of a temptation is to yield to it.”

Dr. Jekyll & Mr. Hyde (1920) will screen at Webster University’s Moore Auditorium Friday October 20th at 7:30pm. Austin, Texas’ most adventurous band, The Invincible Czars, will provide live music.The band encourages fans and attendees to dress for the Halloween season at these shows.

Alongside Sherlock Holmes and James Bond, Robert Louis Stevenson’s novella The Strange Case of Dr. Jekyll and Mr. Hyde is a work that has spawned many screen adaptations, yet predates both, the first of which dating as far back as 1908. Widely considered one of, if not the best of the bunch, director John S. Robertson’s seminal 1920 proto-horror classic Dr. Jekyll & Mr. Hyde is mostly remembered for one thing above all others. Played by an endlessly captivating John Barrymore,...

David O. Selznick’s marvelous romantic fantasy ode to Jennifer Jones was almost wholly unappreciated back in 1948. It’s one of those peculiar pictures that either melts one’s heart or doesn’t. Backed by a music score adapted from Debussy, just one breathy “Oh Eben . . . “ will turn average romantics into mush.

Portrait of Jennie

Blu-ray

Kl Studio Classics

1948 / B&W w/ Color Insert / 1:37 flat Academy / 86 min. / Street Date October 24, 2017 / available through Kino Lorber / 29.95

Starring: Jennifer Jones, Joseph Cotten, Ethel Barrymore, Lillian Gish, Cecil Kellaway, David Wayne, Albert Sharpe.

Cinematography: Joseph H. August

Production Designers: J. MacMillan Johnson, Joseph B. Platt

Original Music: Dimitri Tiomkin, also adapting themes from Claude Debussy; Bernard Herrmann

Written by Leonardo Bercovici, Peter Berneis, Paul Osborn, from the novella by Robert Nathan

Produced by David O. Selznick

Directed by William Dieterle

Once upon a time David O. Selznick’s Portrait of Jennie was an...

Close-Up is a feature that spotlights films now playing on Mubi. Jean Cocteau's The Blood of a Poet (1932) is playing July 5 - August 4, 2017 on Mubi in the United States as part of the series Cocteau's Poets.“…images born of cinema with the cosmogony of a poet.”—Henri Langlois on The Blood of a PoetThe films of Jean Cocteau have distinguished themselves among early twentieth-century cinema at large. This is due, arguably, to Cocteau’s works existing best as experiences rather than as proper films, and to their openness to interpretation. This is especially true of Cocteau’s The Blood of a Poet, made in 1930 but not shown publicly until 1932, and one which has inspired as many critical interpretations since the filmmaker’s death in 1963 as Bosch’s Garden of Earthly Delights, Stravinsky’s Rite of Spring, or Bergman’s Persona. Like those works, The Blood of a Poet...

As we pass the halfway mark, several new developments of the Cannes International Film Festival seem to have more importance in some ways than the traditional Films in Competition which so far are “interesting” if lacking a bit in luster…

A jury of international critics gathered together by the top international trade paper, Screen International, keeps its own score of the 20 Competition Films as does Film Francais whose critics are all French. Thus far 13 have screened and on a scale of 4 (Excellent) to 0 (Bad), Screen’s highest scoring film so far is 3.2 for the French-Russian coproduction “Loveless” about a bitterly out-of-love couple going through a divorce who must team up to find their son who has disappeared during one of their brutal arguments. Directed by Andrey Zvyagintsev and funded independently because the Russian government so disliked his 2014 Competition Film, “Leviathan” ( for which it had put up 35% of the funding), that...

Last Week’S Review: ‘Dissonance Theory’ Knows This is No Longer A Game

Diagnostic Report

The bulk of the action of “Contrapasso” focuses on Dolores, Logan and William in Pariah, which (if you ask Aeden, Discover Westworld’s virtual host) is “the gateway to ultimate danger and sin in Westworld. The delicious orgy of decadence that awaits you is beyond any indulgence you’ve ever experienced.” There, they meet the famed criminal El Lazo, who turns out to be The Man in Black’s favorite punching bag Lawrence, and get caught up in a nitroglycerin robbery that goes south when El Lazo double-crosses the former confederate soldiers who asked for the theft.

Theoretically, it seems like a pretty straightforward day in Westworld, except something is lurking inside Dolores, and she now almost seems in direct communication with it, seeing visions and hearing voices that continue to push her towards the maze that promises real answers.

A review of tonight's Westworld coming up just as soon as my humanity is cost-effective... "You said people come here to change the story of their lives. I imagined a story where I didn't have to be the damsel." -Dolores For the last few reviews, I've segregated out discussion of a particular fan theory so that it came at the very end of the review, the better to spare anyone who hadn't yet heard it and would rather not know in the event it turned out to be correct. This week, I can't do that — not just because "Contrapasso" offered by far the biggest support yet that some version of the theory is right, but because it's impossible for me to discuss my concerns about the episode, and the series to date, outside the context of the theory. If you've managed to avoid it thus far and don't want to know,...

Dailies is a round-up of essential film writing, news bits, videos, and other highlights from across the Internet. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.

The Criterion Collection will launch in the U.K., Variety reports:

Sphe will bring selected titles from Criterion’s extensive catalog and future new release slate to the U.K. for the first time. The first wave of films, featuring all the supplements from the U.S. editions along with their exclusive artwork and packaging, are “Grey Gardens,” “It Happened One Night,” Roman Polanski’s “Macbeth,” “Only Angels Have Wings,” “Speedy” and “Tootsie.”

Watch Bradford Young discuss shooting Denis Villeneuve‘s Story of Your Life:

David Bordwell looks at Tony Rayns‘ new book on In the Mood For Love:

In fewer than a hundred pages, many of...

1. William Parker: For Those Who Are, Still (Aum Fidelity/Centering)

I have been an admirer and observer of William Parker for a quarter century, but nothing prepared me for the impact of this three-disc set's final CD, which features an orchestral composition, Ceremonies for Those Who Are Still, which ranks high among the best orchestral music of the 21st century, and I'm including classical composers. In other words, don't cringe while imagining the usual jazz-with-strings hack job. There are moments in Ceremonies for Those Who Are Still -- particularly when the choir is singing Parker's poems of life and loss and creation -- when the grandeur of the year's most fashionable jazz album, Kamasi Washington's The Epic (also a three-cd set) comes to mind, but the difference -- the reason Parker's set ranks much higher -- is that his orchestrations are vastly more contrapuntal, colorful, individual, and just plain daring.

Lydia Hearst on Tara Subkoff at #Horror premiere: "She has such an incredibly beautiful vision." Photo: Anne-Katrin Titze

At the Museum of Modern Art première of Tara Subkoff's sharp-witted #Horror, Timothy Hutton spoke to me about the art (curated by Urs Fischer) and parenting, and Lydia Hearst made a Drew Barrymore out of Wes Craven's Scream comparison, as Chloë Sevigny, Balthazar Getty, Taryn Manning, Stella Schnabel, Annabelle Dexter-Jones, Natasha Lyonne, Sadie Seelert, Haley Murphy, Bridget McGarry, Blue Lindeberg, Mina Sundwall and Emma Adler walked the red carpet.

Wes Anderson favorite Waris Ahluwalia (The Grand Budapest Hotel, The Darjeeling Limited, The Life Aquatic With Steve Zissou) confided to me that Rob Zombie's The Devil's Rejects and House Of 1000 Corpses are the two horror films he loves and at the Players Club after party confirmed he now has three.

Timothy Hutton: "The cyberbullying is what the movie is about.

In the wake of the terrible attacks in Paris, I found myself listening to a lot of French music and thinking about the Leonard Bernstein quote going around on Facebook: "This will be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before." This list came to seem like my natural response. A very small response, I know. This list is chronological and leaves off people I should probably include. The forty [note: now forty-one] composers listed below are merely a start.

Léonin Aka Leoninus (c.1135-c.1201)

The Cathedral of Notre Dame in Paris in the 1100s was a major musical center, and Léonin (the first named composer from whom we have notated polyphonic music) was a crucial figure for defining the liturgical use of organum, the first polyphony. Earlier organum was fairly simple, involving parallel intervals and later contrary motion, but the mid-12th century brought...

"Fantasia" wasn't a huge hit when it was first released 75 years ago (on November 13, 1940).

Since then, however, over the course of multiple re-releases, the Disney feature has earned a reputation as a masterpiece for its blend of lushly recorded classical music and dazzling Technicolor animation. It eventually became a huge success in both theaters and on home video and spawned several sequels and spinoffs, not to mention parodies by other studios.

Still, as many times as you've enjoyed the ballet-dancing hippos or Mickey Mouse's botched attempt at using magic to shirk drudgery, there's a lot you may not know about "Fantasia." Read on, and watch out for those magic mushrooms.

1. The germ of the film began when Walt Disney bumped into legendary Philadelphia Orchestra conductor Leopold Stokowski (pictured) outside Chasen's restaurant in Hollywood. Disney told Stokowski of his idea to make one of his trademark "Silly Symphony" shorts out...

The story of how the directorial brothers Benny and Joshua Safdie found their muse and star, Arielle Holmes, for their latest feature seems like a shadowy tale from a gritty Craigslist missed connection. After Joshua and their producer Sebastian Bear-McClard spotted her on a subway platform while working undercover for research on an abandoned genre film, they approached her. A subsequent series of no call, no shows seemed like a dead end, but then Holmes reached out, admitting that she’d been homeless, out of touch and had recently attempted to take her own life and was just recently released from the hospital. Since then, her life has been transformed since Heaven Knows What became a festival hit, winning the C.I.C.A.E. Award in Venice and the Tokyo Grand Prix and Best Director prizes at the Tokyo International Film Festival. Riding a wave of critical acclaim despite its white knuckled edge,...

Hannibal, Season 3, Episode 13, “The Wrath of the Lamb”

Written by Bryan Fuller & Steve Lightfoot & Nick Antosca

Directed by Michael Rymer

Aired Saturdays at 10pm (Et) on NBC

With “The Wrath of the Lamb”, Hannibal wraps up its run, at least for now. While all involved have been qualifying the episode as merely the series finale on NBC, the show has yet to be picked up anywhere else and several key figures have moved on to new projects. Creator Bryan Fuller has mentioned the possibility of the team reuniting for a film at some point down the line, but for the foreseeable future, this is the series finale of Hannibal, and given its bloody, spectacular climax, that feels appropriate.

I have been an ardent fan of the series since it premiered, following it closely and reviewing it both here during this most recent season and via the in-depth Hannibal podcast I cohost with Sean Colletti,...

Kate’s Classical Corner: Hannibal, Ep. 3.12, “The Number of the Beast is 666…”

As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. This is not intended to be a definitive reading of Reitzell or showrunner Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my review of “The Number of the Beast is 666…” here.

Classical piece featured:

Piano Quartet No. 1 in G minor, K. 478, Allegro by Wolfgang Amadeus Mozart (1785): Hannibal receives fanmail

Mozart’s first composition for piano quartet, this piece is lovely and dark, fitting to accompany a gift from Dolarhyde to Hannibal. However, this scene’s placement in the episode makes it a bit of an odd choice. While Reitzell makes...

Kate’s Classical Corner: Hannibal, Ep. 3.11, “…And the Beast From the Sea”

As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. This is not intended to be a definitive reading of Reitzell or showrunner Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my review of “…And the Beast From the Sea” here.

Classical piece featured:

La fille aux cheveux de lin by Claude Debussy (1910): Reba relaxes with Francis

La fille aux cheveux de lin, or “The Girl with the Flaxen Hair”, is a lovely and simple short piece for solo piano composed by Debussy. It’s a fantastic selection for this scene for several reasons, not the least of which is...

Hannibal, Season 3, Episode 11, “…And the Beast From the Sea”

Written by Steve Lightfoot and Bryan Fuller

Directed by Michael Rymer

Airs Saturdays at 10pm (Et) on NBC

One of the most exciting aspects of Hannibal is its willingness to vary significantly in structure and aesthetic when appropriate while always adhering to its unique, decidedly expressionist approach, giving writers and directors leeway to make their episodes visually and narratively distinct, while maintaining the show’s central, unifying core. Episodes this season have been sweepingly cinematic (“Antipasto”), atmospheric and psychological (“Secondo”), triumphantly cathartic (“Contorno”), and visceral and foreboding (“The Great Red Dragon”), while each remaining unquestionably Hannibal. After the lush and romantic “And the Woman Clothed in Sun”, this week’s entry slaps cold water on the audience’s face, replacing the tender, empathetic Dolarhyde of the tiger scene with a cold, remorseless predator. “…And the Beast From the Sea” is the...

Kate’s Classical Corner: Hannibal, Ep. 3.10, “And the Woman Clothed in Sun”

As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. This is not intended to be a definitive reading of Reitzell or showrunner Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my review of “And the Woman Clothed in Sun” here.

Classical piece featured:

Arabesque No. 1, Andantino con moto by Claude Debussy (1891): Reba makes martinis

This gorgeous, early Impressionist piece is a beautiful accompaniment to the continuation of Francis and Reba’s date. It was selected as a specific reference to Harris’ Red Dragon; in the book, Reba remarks on Dolarhyde’s affinity for Debussy’s Deux arabesques and the more romantic Arabesque no.

Kate’s Classical Corner: Hannibal, Ep. 3.02, “Primavera”

As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. This is not intended to be a definitive reading of Reitzell or showrunner Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my review of “Primavera” here.

Pie Jesu from Requiem in D minor, Op. 48 by Gabriel Fauré (1900): Will gets surgery/Abigail is autopsied

The main classical piece featured in “Primavera” is the Pie Jesu from Fauré’s Requiem. A requiem is the music for a Catholic mass for the dead, of which there are many famous classical examples, the Fauré being one of the most well known. Its most famous aria is the Pie Jesu,...

Kate’s Classical Corner: Hannibal, Ep. 3.01, “Antipasto”

As a classical musician, I can’t help but be influenced in my interpretation of Hannibal by its amazing score and soundtrack, composed and compiled by music supervisor Brian Reitzell. I’ll be reviewing Hannibal season three for Sound on Sight and along with each review, I’ll be writing up a few notes (or this week—thanks to the sheer volume of music—many, many notes) on the episode’s scoring and soundtrack choices. This is not intended to be a definitive reading of Reitzell or Bryan Fuller’s intentions in regards to the music, but rather an exploration of how these choices affect my appreciation of the given episode. Read my thoughts on “Antipasto” here.

Prélude à l’après-midi d’un faune by Claude Debussy (1894): Gideon and Hannibal eat dinner, Hannibal tends his snails

Based on L’après-midi d’un...

Living Through Oblivion: Safdie Bros. Lens Devastating Tale of Desperation and Depravity on the Streets of NYC

The story of how the directorial brothers Benny and Joshua Safdie found their muse and star, Arielle Holmes, for their latest feature seems like a shadowy tale from a gritty Craigslist missed connection. After Joshua and their producer Sebastian Bear-McClard spotted her on a subway platform while working undercover for research on an abandoned genre film, they approached her. A subsequent series of no call, no shows seemed like a dead end, but then Holmes reached out, admitting that she’d been homeless, out of touch and had recently attempted to take her own life and was just recently released from the hospital.

Having dropped out of school at 15 to become a homeless heroin junky running the mean streets of New York City, Holmes’s tale of depravity and desperation struck the Safdie’s with a fascinating idea.

This is how it goes with Terrence Malick — long stretches of quiet around whatever he's working on, followed by an intense period of scrutiny as it gets unveiled. And so it goes today, with "Knight Of Cups" premiering at the Berlin International Film Festival. The first poster was revealed, our review is right here, and we've gotten our hands on all the music featured in the director's latest look at the soul of man (or something). As per usual, Malick leans heavily on classical jams, with compositions by Arvo Part, Claude Debussy, Edvard Grieg, and more. For those of you want to cue up your playlists with something more contemporary, there are tunes by Thee Oh Sees, Explosions In The Sky, Burial, and a ton of music by ambient electronic artist Biosphere. Below you'll find the full list of songs, and on the next page, all the tracks your ears can handle.

Jenny Lin Stravinsky: Solo Piano Works (Steinway) Night Stories: Nocturnes (Hänssler Classic)

Long-time readers may have noted my admiration for Lin's immaculate pianism and eclectic programming. She's been a prolific recording artist as well, with 21 albums to her credit (plus inclusion on a multi-pianist set), and her repertoire is highly eclectic even by modern standards.

She's back with two more brilliant albums, and even on the single-composer disc manages to throw some repertoire curveballs. Guido Agosti's rarely heard arrangements of the last three movements from the Firebird Suite is a dazzling tour-de-force; it works well and Lin's performance sparkles vividly (the outer movements sound like real knuckle-busters).

Stravinsky's transcription of the Prologue from Mussorgsky's opera Boris Godunov, written for his children, is simple and touching; Lin communicates its quiet emotive power. The fragments of the unfinished sonata he was working on near the end of his life are very brief,...

Hannibal Season 2, Episode 5 “Mukozuke”

Directed by Michael Rymer

Written by Ayanna A. Floyd and Steve Lightfoot & Bryan Fuller

Airs Thursdays at 10pm Et on NBC

After her encounter with Hannibal in last weeks cliffhanger, the chances of Beverly coming out alive were extremely slim. But while her death doesn’t come with much of a surprise, the reveal of her fate is shocking, to say the least. Kudos to showrunner Bryan Fuller and Battlestar Galactica’s Michael Rymer, who directed “Mukozuke,” an episode crammed with stunning and unsettling images, and a tour-de-force performance from Hugh Dancy and Laurence Fishburne.

Each and every week, Fuller and co. outdo themselves. Hannibal didn’t just kill Beverly Katz, he’s taken her kidneys, sliced her up in several pieces, and preserved her body in a grotesque tableau - a tableau which mirrors her clinical and scientific persona and that takes inspiration from the work of artist Damien Hirst.