1. communicants:

    The set of The Seventh Seal.

    (via communicants)

  2. Stanley Kubrick and his daughter Vivian

    (Source: andreii-tarkovsky)

  3. cinephiliabeyond:

    Edward G. Robinson cuts the cake commemorating his 101st motion picture, Soylent Green. 

  4. "[The] shot/reverse-shot sequences between the CGI apes are unusually powerful and moving. Because the apes communicate mostly through gesture, the sequences play out like silent film scenes, and ironically, come off as beautifully human. Quiet moments between Caesar and his family are imbued with genuine feeling. While many might expect spectacle, Reeves is interested in simple, classical interactions, and seems most invested in sequences between the necessary fireworks”

    Adam Cook continues his new column Long Voyage Home with a review of Matt Reeves Dawn of the Planet of the Apes. Read it now on Notebook.

  5. chaplinfortheages:


    Marlene Dietrich and Charlie Chaplin, 1931

    Marlene Dietrich first met Charlie Chaplin on the set of “City Lights” in 1929.

    (via letters-to-loretta)

  6. lapitiedangereuse:

    Audrey and Dean

  7. kinolorber:

    Emad Burnat, grassroots activist and 5 BROKEN CAMERAS filmmaker, holds his Emmy award in front of Israel’s wall during Bilin village’s weekly demonstration against the occupation.

  8. "The very design of Packer’s limo—soundproofed, darkened, crammed with monitors—recalls a non-linear editing studio. Flatbed editing was a heavily physical process, requiring rigorous planning beforehand and great finesse to cut and splice frames. Digital editing is more flexible, it allows images to be shifted around and re-combined effortlessly. Because of this, a film’s director is now more likely to be more directly involved with the process. Yet digitization produces a significant ontological change, one which Cosmopolis demonstrates a mixed attitude towards.”

    James Slaymaker studies the space of Cosmopolis' limousine in a new entry in the column “The Details”. Read it on Notebook.

  9. The crazy characters of Takashi Miike’s The Mole Song: Undercover Agent Reiji. It’s tonight’s opening film of JAPAN CUTS: The New York Festival of Contemporary Japanese Cinema (July 10-20, 2014) at Japan Society.

  10. kinoscript:

    SUSANA  - Luis Buñuel (1950)