We have over a century’s worth of bounty from all corners of this globe to savour and learn from, fresh as the dayThere’s no such thing as a foreign film There’s no such thing as an old film The idea of any national cinema is missing the point
And the wide, wide screen can hold every possible thing we throw at it
We have filmmakers everywhere – of every possible description – with films in their heads and hearts and fingers All on their way Some of them are producers’ PAs or cine-passionate stand-by props boys or even film students Some of them just sold us our coffee or bus ticket or insurance They have cameras in their back pockets, every one They have a wide-eyed intergalactic audience open to and eager for new fellowships and new horizons
Hooray for the multiplex and the spandex zam-fests and whoosh- athons, the gargantuan one-stop big-top bunker-cathedrals, the cardboard nosebag of unspeakably toxic phosphorescent worms and the quadruple-flavoured American ice cream
We leave our world and gallivant, ricochet’d with mythic abandon in the deafening surround-sound pinball playpen
We love it From time to time.
We love other stuff too, stuff of all shapes and sizes, stuff of the planet and all of us on it We want to see ourselves and others and recognise how magnificently, mind-glowingly similar/different we are And We want to travel, through time and space and into other people’s shoes and behind their eyes And we like not knowing what’s going to happen
We would love more screens to see all this on: big rickety ones currently in great old ramshackle cine-palaces now furniture showrooms, dinky ones in niche rooms with comfy seats, inflatable ones in parks, sheets tied to two broomsticks in village halls
We would love all the above and more
We want to watch film together in the dark We want to watch things we’ve never heard of in languages we cannot understand We want new faces, new places, new shapes, new sizes, new stories, new rhythms
We want to get lost
And We want long immersions We have the stamina We have the lust Trained up by the box-set: imagine the binge cinema three-day plunge…
We love all this, too
Some time, imagine this:
We get to know a film at the end of our bed – even in our hand, even on our wrist on the Tube – and when it comes to town, we LOVE to see it live large Like knowing an album inside out and just craving the band’s live gig
WE WOULD LOVE THIS
We would very much love the mighty streaming services to feel galvanised to restore, support or build great big screens from the beginning to the end of the territory their reach touches: to make good their stated commitment to filmmakers interested in making films for the wild, wide screen, the experience of communal exhibition and the honest diversity of the canon of cinema history.
Wouldn’t that be grand?
WON’T that be grand and right?
We would love to stop squabbling over the idea that cinema cannot be more than one thing
Because then we can also stop whispering and mouthing about cinema as if she is a fragile invalid that needs quiet, vacant and sterile surroundings lest she break, an endangered and diminishing ice floe that has any limits whatsoever
When, in fact, she simply doesn’t. End of
Cinema rocks and rolls
And bounces and stretches
We love cinema for her elasticity, her inventiveness, her resilience, her limber and undauntable roots and her eternally supersonic evolution
As it says on the bottom of the studio credit roll: throughout the universe in perpetuity
Anthony Roth Costanzo - Handel: Flavio, HWV 16 - Rompo i Lacci
Tilda Swinton is up to her beautifully bizarre tricks in a new music video she co-directed with partner Sandro Kopp. The six-minute video arrives just ahead of the release of Swinton’s new movie, Luca Guadagnino’s “Suspiria,” and is set to an aria by countertenor Anthony Roth Costanzo, with composition by George Frideric Handel. In it, Swinton’s Springer Spaniels are featured performing tricks and running through the wilderness in slow motion.
A darkness swirls at the center of a world-renowned dance company, one that will engulf the troupe's artistic director, an ambitious young dancer, and a grieving psychotherapist. Some will succumb to the nightmare. Others will finally wake up. Suspiria arrives in theaters November 2. From director Luca Guadagnino. Starring Dakota Johnson, Tilda Swinton, Mia Goth, Jessica Harper and Chloe Grace Moretz.
Director and choreopgraphy Blanca Li with Tilda Swinton and the dancers from the Blanca Li Dance Company : Slate Hemedi, Alexandra Jezouin, Julien Gaillac, Joseph Gebrael
Special thanks to Nick Cave for the music Love Letter Creative director Jerry Stafford Wardrobe Susan Lu Hair Nounzio Carbone Makeup Karim Rahman
Set Studio Calentito 134
Production company UTURN Première Heure executive producer Elisabeth Fabri editor Mario Battistel color garding Sylvain Canaux Post production Saint Louis / Première Heure - Louis Arcelin
Coordination Christine Bergstrom
Love Letter performed by Nick Cave and the bad seeds written by Nick Cave published by Mute Songs Ltd courtesy of Mute Records Ltd/ BMG rights management Thank you to all the people that made this film possible Richard Cross / Association Les Amis d'Iccarre / Maria Cornejo (ZERO collection) Lina Audi (LIWAN collection) / Studio Calentito 134, Hamilton Hodell, Catherine Miran, Haley Lim, Atelier 68, BMG Company, St Louis Post House, Schmooze.
You probably aren’t aware of ICCARRE and Dr Leibowich, the French immunologist at the forefront of a series of trials looking at the effects of reducing HIV medication in the treatment of patients. In English, the name ICCARRE translates as “taken in short cycles, anti-retrovirals remain effective.” During two clinical trials involving 94 patients taking the standard “triple cocktail” combination of drugs, seven days a week, Dr Leibowitch reduced their treatment plan to just four days a week with 100% success rate. The relief of both the psychological and the physical consequences of daily medication is immeasurable.
A BIGGER SPLASH - Directed by Luca Guadagnino, and starring Ralph Fiennes, Dakota Johnson, Matthias Schoenaerts and Tilda Swinton.
Rock legend Marianne Lane is recuperating on the volcanic island of Pantelleria with her partner Paul when iconoclast record producer and old flame Harry unexpectedly arrives with his daughter Penelope and interrupts their holiday, bringing with him an A-bomb blast of nostalgia from which there can be no rescue. A BIGGER SPLASH is a sensuous portrait of desire, jealousy and rock and roll, under the Mediterranean sun.
É corrente e sabido que o MoMA em Nova Iorque é um museu extaordinário onde acontecem coisas extraordinárias, nomeadamente ao nível da chamada performance art. Que isso volte a acontecer este ano e com uma das minhas atrizes favoritas, é ainda melhor. Sim, eu continuo em Lisboa mas Tilda Swinton vai dormir numa caixa de vidro em momentos e lugares não anunciados no MoMa pelo menos mais uma meia dúzia de vezes até final do ano. Acrescente-se que tenho muita vontade de ver Only Lovers Left Alivede Jim Jarmusch, Snowpiercerde Joon-ho Bong e The Zero Theoremde Terry Gilliam. Isto para já não falar do The Grand Budapest Hotel de Wes Anderson.