fuckyeahdirectors:

6 directors are redefining what it is to be a woman in Hollywood | Sam Taylor-Johnson, Jennifer Yuh Nelson, Ava DuVernay, Sarah Polley, Lisa Cholodenko and Lana Wachowski for The New York Times

fuckyeahdirectors:

6 directors are redefining what it is to be a woman in Hollywood | Sam Taylor-Johnson, Jennifer Yuh Nelson, Ava DuVernay, Sarah Polley, Lisa Cholodenko and Lana Wachowski for The New York Times

Errol Flynn in The Adventures of Robin Hood (1938)

Errol Flynn in The Adventures of Robin Hood (1938)

Judex (1963)
StageFright (1987)
Danger 5 (2011)

Samurai Champloo: Intro
Odete Lara em Noite Vazia (1964), de Walter Hugo Khouri

Odete Lara em Noite Vazia (1964), de Walter Hugo Khouri

Still from The Twelve Chairs (1970), written and directed by Mel Brooks.

Still from The Twelve Chairs (1970), written and directed by Mel Brooks.

michelsloup:

Recife Frio (2009)
Direção: Kleber Mendonça Filho 

michelsloup:

Recife Frio (2009)

Direção: Kleber Mendonça Filho 

A Música do Cangaço (1984), projeto de Aluísio Falcão com o Estúdio Eldorado, resgata o cancioneiro regional associado ao período final do cangaço. O disco conta com depoimentos dos ex-cangaceiros Volta-Seca e Sila, que relata em detalhes o massacre de Angicos, em que morreu Lampião.Há gravações de artistas como Luiz Gonzaga, Antônio Nóbrega e Sérgio Ricardo. 

A Música do Cangaço (1984), projeto de Aluísio Falcão com o Estúdio Eldorado, resgata o cancioneiro regional associado ao período final do cangaço. O disco conta com depoimentos dos ex-cangaceiros Volta-Seca e Sila, que relata em detalhes o massacre de Angicos, em que morreu Lampião.
Há gravações de artistas como Luiz Gonzaga, Antônio Nóbrega e Sérgio Ricardo. 

fuckyeahdirectors:

Leslie Caron, Gene Kelly and Vincente Minnelli on-set of An American in Paris (1951)

fuckyeahdirectors:

Leslie Caron, Gene Kelly and Vincente Minnelli on-set of An American in Paris (1951)

cinephiliabeyond:

A 26-year-old Alfred Hitchcock shooting The Lodger  (1927) with assistant director Alma Reville, soon to be his wife. Open Culture recently added Hitchcock’s third feature in their collection of 23 Hitchcock movies online.

For a film that came out decades before Vertigo and Rear Window, The Lodger has just about all of Hitchcock’s cinematic ticks. A fetishistic obsession with blondes? Check. An unsettling mingling of sex and death? Check. A man wrongly accused? Check. The only thing it really lacks is a national landmark as the backdrop of a showy action set piece. On the other hand, The Lodger feels decidedly German. The claustrophobic lighting, the grotesque shadows and the generally morbid storyline all would be perfectly at home at Universum Film AG. In fact, The Lodger, in terms of story, tone and looks, feels like a cinematic cousin to Fritz Lang’s 1931 early sound masterpiece M. Of course, Hitchcock was just a young director in 1927. And like many young filmmakers, he had a hard time with his producers. While the book leaves it ambiguous whether or not the lodger is the killer, the handlers of the movie’s star Ivor Novello couldn’t possibly have the actor play a villain and demanded a change to the ending. When Hitch turned in the final movie, Michael Balcon, the movie’s main producer, was unimpressed and almost shelved the flick, and, with it, Hitchcock’s career. But after a little bit of tinkering, the movie was finally released. And when The Lodger became a huge box office hit, Hitchcock’s career was assured. —Jonathan Crow, Alfred Hitchcock’s first truly ‘Hitchcockian’ movie (1927)


The following documentary was broadcast in two parts in 1999: Alfred, the Great  and Alfred, the Auteur, and focuses on the important parts of Hitchcock’s career. It starts off with his early life and work experience at the German studio UFA, which moves into his first features such as The Lodger, Sabotage, and The 39 Steps. It then moves into his initial Hollywood work, with classics such as Rebecca  and Rope. There’s also a look into his failed production company Transatlantic Pictures, who made Rope  and Under Capricorn.

For more film related items throughout the day, follow Cinephilia & Beyond on Twitter. Get Cinephilia & Beyond in your inbox by signing in. You can also follow our RSS feed. Please use our Google Custom Search for better results. If you enjoy Cinephilia & Beyond, please consider making a small donation to keep it going:

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cinephiliabeyond:

A 26-year-old Alfred Hitchcock shooting The Lodger  (1927) with assistant director Alma Reville, soon to be his wife. Open Culture recently added Hitchcock’s third feature in their collection of 23 Hitchcock movies online.

For a film that came out decades before Vertigo and Rear Window, The Lodger has just about all of Hitchcock’s cinematic ticks. A fetishistic obsession with blondes? Check. An unsettling mingling of sex and death? Check. A man wrongly accused? Check. The only thing it really lacks is a national landmark as the backdrop of a showy action set piece. On the other hand, The Lodger feels decidedly German. The claustrophobic lighting, the grotesque shadows and the generally morbid storyline all would be perfectly at home at Universum Film AG. In fact, The Lodger, in terms of story, tone and looks, feels like a cinematic cousin to Fritz Lang’s 1931 early sound masterpiece M. Of course, Hitchcock was just a young director in 1927. And like many young filmmakers, he had a hard time with his producers. While the book leaves it ambiguous whether or not the lodger is the killer, the handlers of the movie’s star Ivor Novello couldn’t possibly have the actor play a villain and demanded a change to the ending. When Hitch turned in the final movie, Michael Balcon, the movie’s main producer, was unimpressed and almost shelved the flick, and, with it, Hitchcock’s career. But after a little bit of tinkering, the movie was finally released. And when The Lodger became a huge box office hit, Hitchcock’s career was assured. —Jonathan Crow, Alfred Hitchcock’s first truly ‘Hitchcockian’ movie (1927)

The following documentary was broadcast in two parts in 1999: Alfred, the Great  and Alfred, the Auteur, and focuses on the important parts of Hitchcock’s career. It starts off with his early life and work experience at the German studio UFA, which moves into his first features such as The Lodger, Sabotage, and The 39 Steps. It then moves into his initial Hollywood work, with classics such as Rebecca  and Rope. There’s also a look into his failed production company Transatlantic Pictures, who made Rope  and Under Capricorn.

For more film related items throughout the day, follow Cinephilia & Beyond on Twitter. Get Cinephilia & Beyond in your inbox by signing in. You can also follow our RSS feed. Please use our Google Custom Search for better results. If you enjoy Cinephilia & Beyond, please consider making a small donation to keep it going: