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Francis Ford Coppola’s long-in-the-works “Megalopolis” finally hits theaters next month. A new trailer, released earlier Wednesday by Lionsgate, takes a more combative approach to the film’s marketing.

At the beginning of the video, apparent quotes from reviews of previous Coppola masterpieces like “Apocalypse Now” and “The Godfather” flash on the screen. It’s a way of getting ahead of the divisive response to “Megalopolis,” which left critics bewildered when it screened at this year’s Cannes. It’s also pretty funny. The only problem… as New York Magazine critic Bilge Ebiri pointed out, the quotes are all made up.

The question remains: what happened, exactly?

“Lionsgate is immediately recalling our trailer for ‘Megalopolis,'” a Lionsgate spokesman told TheWrap after the company pulled the trailer down. “We offer our sincere apologies to the critics involved and to Francis Ford Coppola and American Zoetrope for this inexcusable error in our vetting process.

Accompanying his debut article in Filmmaker’s print edition, “Did You See (and Hear) That?),” Devan Scott posts today a video essay, “Why Are Movies So Dark?”, that provides visual backup for his points. “Contemporary visuals are commonly diagnosed as dark,’ ‘underexposed’ or ‘underlit’. In actuality, they describe an array of phenomena, many of them widely misunderstood,” he writes. “The most common charge, dim,’ is often used interchangeably with ‘underlit.’ Tools are frequently blamed; ‘the digital look’ is as much an accusation of modern equipment as an assessment of its apparent effects.” Watch Scott’s new video above.

The post Watch: Devan Scott’s Video Essay, “Why Are Movies So Dark?” first appeared on Filmmaker Magazine.

Accompanying his debut article in Filmmaker’s print edition, “Did You See (and Hear) That?),” Devan Scott posts today a video essay, “Why Are Movies So Dark?”, that provides visual backup for his points. “Contemporary visuals are commonly diagnosed as dark,’ ‘underexposed’ or ‘underlit’. In actuality, they describe an array of phenomena, many of them widely misunderstood,” he writes. “The most common charge, dim,’ is often used interchangeably with ‘underlit.’ Tools are frequently blamed; ‘the digital look’ is as much an accusation of modern equipment as an assessment of its apparent effects.” Watch Scott’s new video above.

The post Watch: Devan Scott’s Video Essay, “Why Are Movies So Dark?” first appeared on Filmmaker Magazine.

One of Filmmaker‘s most popular articles last month was Devan Scott’s “The ‘Film Look’ and How The Holdovers Achieved It.” Of course, any discussion of cinematography and color grading is immensely aided by the actual visuals, and now Scott has made an hour-long essay video based on that article. Check it out above.

The post Watch: Devan Scott’s “The Holdovers, the ‘Film Look’, and Why it Matters” — The Video first appeared on Filmmaker Magazine.

One of Filmmaker‘s most popular articles last month was Devan Scott’s “The ‘Film Look’ and How The Holdovers Achieved It.” Of course, any discussion of cinematography and color grading is immensely aided by the actual visuals, and now Scott has made an hour-long essay video based on that article. Check it out above.

The post Watch: Devan Scott’s “The Holdovers, the ‘Film Look’, and Why it Matters” — The Video first appeared on Filmmaker Magazine.

One of cinema’s great collaborations is that between director Wong Kar-wai and cinematographer Christopher Doyle, together responsible for Days of Being Wild, Ashes of Time, Chungking Express, Fallen Angels, Happy Together, In the Mood for Love, and 2046—the majority of which were restored for Criterion’s new box set. With Wong retooling his films in varying capacities, we’ve wondered if Doyle was involved in this process and what he thinks about the changes. When we caught up with the cinematographer about a year ago, he didn’t seem greatly interested in revisiting his acclaimed work with the Hong Kong legend, but he’s since opened up in a recent interview.

“I think that we should not be so sensitive with our works. You have to let go, let them go. No need to masturbate over creations. I was not firmly involved in the restorations, although I gave my...

Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSCitizen Kane.After an extended sojourn from filmmaking with canceled productions and the Netflix show Mindhunter, David Fincher has finally locked his next film. Derived from a screenplay written by his father (!), it concerns Citizen Kane's co-writer Herman Mankiewicz, to be played by Gary Oldman and photographed in black and white (!!!).Greta Gerwig will be co-writing a live-action Barbie—yes, the Barbie—movie with Noah Baumbach. The film will star Margot Robbie as the titular doll. Recommended VIEWINGThe long-awaited trailer for Inventing the Future, by Isiah Medina—whose films Semi-Auto Colours, 88:88, and Idizwadidiz previously screened on Mubi. The film is an adaptation of Inventing the Future: Postcapitalism and a World Without Work by Nick Srnicek and Alex Williams.The Museum of Modern Art launches its first "online film exhibition highlighting NYC shorts from...

The 38th Toronto International Film Festival has released an incredible guest list of celebrated talent from around the globe. Filmmakers expected to present their world premieres in Toronto include: Catherine Breillat, Nicole Garcia, Pawel Pawlikowski, Bertrand Tavernier, Steve McQueen, Godfrey Reggio, Denis Villeneuve, Bill Condon, Jean-Marc Vallée, John Wells, Ralph Fiennes, Richard Ayoade, Atom Egoyan, Matthew Weiner, John Carney, Jason Reitman, Jason Bateman, Yorgos Servetas, Liza Johnson, Megan Griffiths, Fernando Eimbcke, Alexey Uchitel, Johnny Ma, Biyi Bandele, Rashid Masharawi, Paul Haggis, Ron Howard, Eli Roth, Álex de la Iglesia, Bruce McDonald, Jennifer Baichwal, John Ridley, and Justin Chadwick.

The Festival also welcomes thousands of producers and other industry professionals bringing films to us.

The following filmmakers and artists are expected to attend the Toronto International Film Festival:

Ahmad Abdalla, Hany Abu-Assad, Yuval Adler, Akosua Adoma Owusu, Alexandre Aja, Bruce Alcock, Gianni Amelio, Thanos Anastopoulos, Madeline Anderson, Nimród Antal, Louise Archambault,...

This afternoon, with poutine and local wine to mark the occasion, the Toronto International Film Festival announced their Canadian film selections. Programmers Steve Gravestock and Agata Smoluch Del Sorbo proudly pronounced that this year both new and seasoned filmmakers had the “curiosity and courage to show troubling issues occurring in our country in new and exciting ways.” Past festival favorite (and one of my personal own as well) Xavier Dolan, the always controversial Bruce Labruce and Jennifer Baichwal’s films garnered applause from the crowd at the majestic Royal York ballroom. Titles sure to draw headlines and attention in the Canadian slate are Denis Villeneuve’s locally filmed ‘Enemy‘ which has Jake Gyllenhall playing a man with two identities, torn between a mistress and a wife. Villeneuve’s other recent feature ‘Prisoners‘ was previously announced as a festival title. It’s worth mentioning that two feature films being presented at...