Chris Marker’s LEVEL FIVE (1997)

By Doug Cummings

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Chris Marker’s brilliant and passionate but rarely seen (and never before US-distributed) multimedia docudrama reflects on the epic and decisive WWII Battle of Okinawa and its often suppressed historical relevance.  Catherine Belkholdja plays a French computer programmer researching the battle...
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Antonioni’s Red Desert at 50

By Michael S. Smith

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Michelangelo Antonioni’s Il deserto rosso (Red Desert, 1964) corresponds closely in its themes and its form with the three major works that preceded it: L’Avventura (1960), La notte (1961), and L’Eclisse (1962). In these films, Antonioni addressed the alienating experience...
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Spray’s and Velez’s Ride to Nirvana

By Robert Koehler

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Possibly more than the previous feature and short work produced by Harvard’s Sensory Ethnography Lab, which includes the groundbreaking Sweetgrass and Leviathan, Manakamana (distributed by Cinema Guild, opening today at Laemmle’s Music Hall) marks a crucial intersection of the three of the most interesting...
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Grading the Cannes Competition

By Patrick Z. McGavin

This year’s Cannes Film festival, the 19th I’ve covered and written about, showcased a strong competition. The trajectory was like a bottle rocket, blasting off with superb work by Abderrahmane Sissako (Timbuktu), Mike Leigh (Mr. Turner) and Nuri Bilge Ceylan...
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Cannes Awards

By Patrick Z. McGavin

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The 67th edition of the festival ended today on a superlative note. On Saturday night, the professional jury awarded the festival’s top prize, the Palme d’Or, to Winter Sleep, the extraordinary new work by Turkish master Nuri Bilge Ceylan. The...
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Welles in L.A.

By Doug Cummings

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I’ve got a piece in today’s LA Weekly previewing Academy @ LACMA’s new Orson Welles series, the most comprehensive in this city in at least a decade. The series includes more readily available titles, but there are a few more films...
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