Main Competition Venice Film Festival 2018 Main Competition Venice Film Festival 2018

Total Page:16

File Type:pdf, Size:1020Kb

Main Competition Venice Film Festival 2018 Main Competition Venice Film Festival 2018 court Emilio Luna Kerem Akca Pamela Jahn SUMMARY Barbara Lorey Andrea Martini Margret Köhler Paulo Portugal Umberto Rossi Yakout El Deep Ugo Brusaporco Nicola Falcinella Ninos Mikelides Thomas Abeltshauser Main Competition Venice Film Festival 2018 22 July (Norway, Iceland), dir. Paul Greengrass 3,09 3 3 2 4 4 3 2 3 3 2 5 Acusada (Argentina, Mexico), dir. Gonzalo Tobal 1,60 1 2 1 2 1 2 1 2 1 3 At Eternity’s Gate (USA, France), dir. Julian Schnabel 3,00 3 3 3 4 2 3 2 2 5 Capri-Revolution (Italy, France), dir. Mario Martone 2,78 3 3 4 2 2 2 2 3 4 Doubles Vies (France), dir. Olivier Assayas 3,56 4 3 4 4 3 4 2 5 3 First Man (USA), dir. Damien Chazelle 3,11 4 3 2 3 4 3 3 3 3 Freres Ennemis (France, Belgium), dir. David Oelhoffen 3,20 2 4 2 3 5 3 3 3 4 3 Napszallta / Sunset (Hungary, France), dir. Laszlo Nemes 3,36 2 4 4 3 3 3 4 4 3 5 2 Nuestro Tiempo (Mexico, France, Germany, Denmark, Sweden), dir. Carlos Reygadas 4,00 5 4 4 3 4 4 3 5 4 4 Peterloo (UK, USA), dir. Mike Leigh 3,00 3 3 2 3 4 3 2 5 2 3 3 Roma (Mexico), dir. Alfonso Cuaron 4,78 5 4 4 5 5 5 5 5 5 Suspiria (Italy), dir. Luca Guadagnino 2,27 3 2 4 4 1 2 2 1 4 1 1 The Ballad of Buster Scruggs (USA), dir. Ethan Coen, Joel Coen 3,27 4 3 3 2 4 4 3 2 3 3 5 The Favourite (UK, Ireland, USA), dir. Yorgos Lanthimos 3,90 3 4 5 4 2 4 4 5 4 4 The Mountain (USA), dir. Rich Alverson 2,10 2 4 4 2 1 1 2 2 1 2 The Nightingale (Australia), dir. Jennifer Kent 2,75 2 2 3 4 2 2 4 3 The Sisters Brothers (France, Belgium, Romania, Spain), dir. Jacques Audiard 3,67 3 4 4 1 4 4 5 5 2 5 4 3 Voc Lux (USA), dir. Brady Corbet 2,50 3 2 4 2 2 4 2 2 2 2 Werk Ohne Autor / Never Look Away (Germany), dir. Florian Henckel Von Donnersmarch 3,11 2 4 3 4 3 2 3 3 4 What You Gonna Do When The World’s On Fire? (Italy, USA, France), dir. Roberto Minervini 2,50 3 2 3 2 3 3 3 1 Zan / Killing (Japan), dir. Shinya Tsukamoto 2,86 2 3 2 4 4 2 3 Emilio Luna Kerem Akca Pamela Jahn SUMMARY Barbara Lorey Andrea Martini Margret Köhler Paulo Portugal Umberto Rossi Yakout El Deep Ugo Brusaporco Nicola Falcinella Ninos Mikelides Thomas Abeltshauser Orizzonti Amanda (France), dir. Mikhael Hers 3,00 3 Anons / The Announcement (Turkey, Bulgaria), 3,25 3 4 2 4 2 4 3 4 dir. Mahmut Fazil Coskun Charlie Says (USA), dir. Mary Harron 2,80 4 1 3 3 3 Deslembro (Brazil, France, Qatar), dir. Flavia 3,00 3 Castro Erom / Stripped (Israel, Germany), dir. Yaron 2,67 4 1 3 Shani Hamchenan Ke Mimordan / As I Lay Dying 3,00 2 4 (Iran), dir. Mostafa Sayyari Jinpa (China), dir. Pema Tseden 2,33 2 2 3 Kraben Rahu / Manta Ray (Thailand, France, 3,00 3 China), dir. Phuttiphong Aroonpheng Kucumbu Tubuh Indahki / Through The Holes 4,00 4 4 4 (Indonesia, Australia), dir. Garin Nugroho L’Enkas (France), dir. Sarah Marx 2,00 2 La Noche De 12 Anos (Spain, Argentina, 3,00 3 3 Uruguay, France), dir. Alvaro Brechner La Profezia Dell’Armadillo / The Armadillo’s Prophecy (Italy), dir. Emanuele Scaringi Ozen / The River (Kazakhstan, Poland, 3,67 4 4 3 Norway), dir. Emir Baigazin Soni (India), dir. Ivan Ayr 2,00 2 Sulla Mia Pelle / On My Skin (Italy), dir. Alessio 2,50 3 3 3 3 1 2 Cremonini Tchelovek Kotorij Udivil Vseh / The Man Who 3,50 4 3 Surprised Everyone (Russia, Estonia, France), Tel Aviv On Fire (Luxembourg, France, Israel, 2,80 3 3 2 3 3 Belgium), dir. Sameh Zoabi Un Giorno All’Improvviso / Suddnely One Day (Italy), dir. Ciro D’Emilio Yom Adaatou Zouli / The Day I Lost My Shadow 2,00 3 2 1 (Syria, Lebanon, France, Qatar), dir. Soudade Kaadan Emilio Luna Kerem Akca Pamela Jahn SUMMARY Barbara Lorey Andrea Martini Margret Köhler Paulo Portugal Umberto Rossi Yakout El Deep Ugo Brusaporco Nicola Falcinella Ninos Mikelides Thomas Abeltshauser Venice Days 2018 Domingo (Brazil, France), dir. Clara Linhart and 2,00 2 Felipe Barbosa Graves Without a Name (France, Cambodia), 3,50 3 4 dir. Rithy Panh Jose (Guatemala), dir. Li Cheng 3,00 3 Joy (Austria), dir. Sudabeh Mortezai 3,50 3 4 Keep Going (Belgium, France), dir. Joachim 2,50 2 3 Lafosse Mafak / Screwdriver (Palestine, USA, Qatar), 3,00 3 dir. Bassam Jarbawi Pearl (Switzerland, France), dir. Elsa Amiel 3,00 4 2 Real Love (France), dir. Claire Burger 3,00 3 2 4 Ricordi? (Italy, France), dir. Valerio Mieli 3,00 3 Three Adventures of Brooke (China, Malaysia), dir. Yuan Qing Ville Neuve (Canada), dir. Felix Dufour- Laperriere Critics Week Adam und Evelyn (Germany), dir. Andreas 2,75 4 2 2 3 Goldstein Bêtes blondes / Blonde Animals (France), dir. 2,00 2 Alexia Walther, Maxime Matray Kasha / The Roundup (Sudan, South Africa, 3,00 3 Qatar, Germany), dir. Hajooj Kuka Lissa ammetsajjel / Still Recording (Syria, 3,00 2 4 Lebanon, Qatar, France), dir. Saaed Al Batal, M (Finland), dir. Anna Eriksson 4,00 4 Saremo giovani e bellissimi / We’ll Be Young 2,00 2 and Beautiful (Italy), dir. Letizia Lamartire Ti imaš noć / You Have the Night (Montenegro, 4,00 4 Serbia, Qatar), dir. Ivan Salatic.
Recommended publications
  • Vanessa Thorpe, 'Steve Mcqueen Paves Way for Artists to Break The
    Vanessa Thorpe, ‘Steve McQueen paves way for artists to break the boundaries’, The Observer, March 8, 2014 The Oscar-winning director of 12 Years a Slave has pushed back the boundaries of film because of the fearlessness that comes with a background in art Steve McQueen with his Oscar after winning best picture award for 12 Years a Slave. Photograph: Xinhua/Landov /Barcroft Media When the director Steve McQueen was an art student learning basic film-making skills at Goldsmiths College, London, he joked he was already aiming for the time when his name would eclipse that of his glamorous namesake, star of The Great Escape and Bullitt. "One day," he told his collaborator, Professor Will Brooker, "when people talk about Steve McQueen, I am going to be the first person they think of." Now, with an Oscar for his film 12 Years a Slave, the transition from Turner prizewinning artist to celebrated director has been made in style. It is a path to cinematography also taken by the British artist Sam Taylor-Wood, nominated for a Turner prize in 1998 and now editing her high-profile film of the erotic bestseller Fifty Shades of Grey. Next month will see a further reminder of the link between the film industry and the rarefied contemporary art world, a link that has existed since the Lumière brothers first projected images on to a screen. Julian Schnabel, the American artist and film-maker, is to stage his first art exhibition in Britain for 15 years. "The connection between visual artists and film might seem obvious, and Schnabel is successful in both, but it is amazing how many good artists there are who have not made good films," said Tim Marlow, who was appointed head of exhibitions at the Royal Academy of Arts last week.
    [Show full text]
  • Feature Films
    NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 ..........................
    [Show full text]
  • Al Pacino Receives Bfi Fellowship
    AL PACINO RECEIVES BFI FELLOWSHIP LONDON – 22:30, Wednesday 24 September 2014: Leading lights from the worlds of film, theatre and television gathered at the Corinthia Hotel London this evening to see legendary actor and director, Al Pacino receive a BFI Fellowship – the highest accolade the UK’s lead organisation for film can award. One of the world’s most popular and iconic stars of stage and screen, Pacino receives a BFI Fellowship in recognition of his outstanding achievement in film. The presentation was made this evening during an exclusive dinner hosted by BFI Chair, Greg Dyke and BFI CEO, Amanda Nevill, sponsored by Corinthia Hotel London and supported by Moët & Chandon, the official champagne partner of the Al Pacino BFI Fellowship Award Dinner. Speaking during the presentation, Al Pacino said: “This is such a great honour... the BFI is a wonderful thing, how it keeps films alive… it’s an honour to be here and receive this. I’m overwhelmed – people I’ve adored have received this award. I appreciate this so much, thank you.” BFI Chair, Greg Dyke said: “A true icon, Al Pacino is one of the greatest actors the world has ever seen, and a visionary director of stage and screen. His extraordinary body of work has made him one of the most recognisable and best-loved stars of the big screen, whose films enthral and delight audiences across the globe. We are thrilled to honour such a legend of cinema, and we thank the Corinthia Hotel London and Moët & Chandon for supporting this very special occasion.” Alongside BFI Chair Greg Dyke and BFI CEO Amanda Nevill, the Corinthia’s magnificent Ballroom was packed with talent from the worlds of film, theatre and television for Al Pacino’s BFI Fellowship presentation.
    [Show full text]
  • A Comparative Study on Films of Vincent Van Gogh
    A Dissertation On PAINTING LIFE FROM CINEMA : A COMPARATIVE STUDY ON FILMS OF VINCENT VAN GOGH Submitted in partial fulfillment of the requirement of BA Journalism & Mass Communication program of Navrachana University during the year 2017-2020 By RIYA KHOYANI Semester VI 17165018 Under the guidance of Dr. JAVED KHATRI NAVRACHANA UNIVERSITY Vasna - Bhayli Main Rd, Bhayli, Vadodara, Gujarat 391410 NAVRACHANA UNIVERSITY Vasna - Bhayli Main Rd, Bhayli, Vadodara, Gujarat 391410 Certificate Awarded to RIYA KHOYANI This is to certify that the dissertation titled PAINTING LIFE FROM CINEMA : A COMPARATIVE STUDY OF FILMS ON VINCENT VAN GOGH has been submitted in partial fulfillment for the requirement of the Degree of Bachelor of Arts in Journalism and Mass Communication program of Navrachana University. CERTIFICATE This is to certify that the dissertation titled, Painting life from cinema : A comparative study of films on Vincent van Gogh prepared and submitted by RIYA KHOYANI of Navrachana University, Vadodara in partial fulfilment of the requirements for the degree of Bachelor of Arts in Journalism and Mass Communication program is hereby accepted. Place: Vadodara Date: 15-05-2020 Dr. Javed Khatri Dissertation Guide Dr. Robi Augustine Program Chair Accepted in partial fulfilment of the requirements for the degree of Bachelor of Arts in Journalism and Mass Communication. Place: Vadodara Date: 15-05-2020 DECLARATION I hereby declare that the dissertation titled “ Painting life from cinema : A comparative study of films on Vincent van Gogh” is an original work prepared and written by me, under the guidance of Mrs/Mr/Dr Javed Khatri Assistant Professor, Journalism and Mass Communication program, Navrachana University in partial fulfilment of the requirements for the degree of Bachelor of Arts in Journalism and Mass Communication.
    [Show full text]
  • Benicio Del Toro Mathieu Amalric Psychotherapy of A
    WHY NOT PRODUCTIONS PRESENTS BENICIO DEL TORO MATHIEU AMALRIC JIMMY P. PSYCHOTHERAPY OF A PLAINS INDIAN A FILM BY ARNAUD DESPLECHIN WHY NOT PRODUCTIONS PRESENTS BENICIO DEL TORO MATHIEU AMALRIC JIMMY P. PSYCHOTHERAPY OF A PLAINS INDIAN A FILM BY ARNAUD DESPLECHIN 2013 – France – 1h54 – 2.40 – 5.1 INTERNATIONAL SALES INTERNATIONAL PR THE PR CONTACT Phil SYMES - +33 (0)6 09 65 58 08 Carole BARATON - [email protected] Ronaldo MOURAO - +33 (0)6 09 56 54 48 Gary FARKAS - [email protected] [email protected] Vincent MARAVAL - [email protected] Silvia SIMONUTTI - [email protected] SYNOPSIS GEORGES DEVEREUX At the end of World War II, Jimmy Picard, a Native American Blackfoot who fought Inspired by a true story JIMMY P. (Psychotherapy of a Plains Indian) is adapted from the in France, is admitted to Topeka Military Hospital in Kansas - an institution specializing seminal book Reality and Dream by Georges Devereux. Published for the first time in in mental illness. Jimmy suffers from numerous symptoms: dizzy spells, temporary 1951, the book reflects the remarkable multidisciplinary talents of its writer, standing as blindness, hearing loss... and withdrawal. In the absence of any physiological causes, it does at a crossroads between anthropology and psychoanalysis, and opening the way he is diagnosed as schizophrenic. Nevertheless, the hospital management decides to ethno-psychiatry, among other disciplines. It is also the only book about psychoanalysis to seek the opinion of Georges Devereux, a French anthropologist, psychoanalyst to transcribe an entire analysis, session after session, in minute detail. and specialist in Native American culture. Georges Devereux, a Hungarian Jew, moved to Paris in the mid 1920s.
    [Show full text]
  • Introduction 1 Mimesis and Film Languages
    Notes Introduction 1. The English translation is that provided in the subtitles to the UK Region 2 DVD release of the film. 2. The rewarding of Christoph Waltz for his polyglot performance as Hans Landa at the 2010 Academy Awards recalls other Oscar- winning multilin- gual performances such as those by Robert de Niro in The Godfather Part II (Coppola, 1974) and Meryl Streep in Sophie’s Choice (Pakula, 1982). 3. T h is u nder st a nd i ng of f i l m go es bac k to t he era of si lent f i l m, to D.W. Gr i f f it h’s famous affirmation of film as the universal language. For a useful account of the semiotic understanding of film as language, see Monaco (2000: 152–227). 4. I speak here of film and not of television for the sake of convenience only. This is not to undervalue the relevance of these questions to television, and indeed vice versa. The large volume of studies in existence on the audiovisual translation of television texts attests to the applicability of these issues to television too. From a mimetic standpoint, television addresses many of the same issues of language representation. Although the bulk of the exempli- fication in this study will be drawn from the cinema, reference will also be made where applicable to television usage. 1 Mimesis and Film Languages 1. There are, of course, examples of ‘intralingual’ translation where films are post-synchronised with more easily comprehensible accents (e.g. Mad Max for the American market).
    [Show full text]
  • Actores Transnacionales: Un Estudio En Cinema Internacional
    Illinois Wesleyan University Digital Commons @ IWU Honors Projects Hispanic Studies 2016 Actores transnacionales: un estudio en cinema internacional Lydia Hartlaub Illinois Wesleyan University, [email protected] Follow this and additional works at: https://digitalcommons.iwu.edu/hispstu_honproj Part of the Spanish Literature Commons Recommended Citation Hartlaub, Lydia, "Actores transnacionales: un estudio en cinema internacional" (2016). Honors Projects. 11. https://digitalcommons.iwu.edu/hispstu_honproj/11 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by faculty in the Hispanic Studies department at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. Hartlaub 1 Actores transnacionales: un estudio en cinema internacional Lydia Hartlaub con Prof. Carmela Ferradáns Hartlaub 2 Tabla de contenidos Introducción…………………………………………………………………………………………………………………………….. 4 Cine de España…………………………………………………………………………………………………………………………. 8 Pedro Almodóvar………………………………………………………………………………………………………….
    [Show full text]
  • JULIAN SCHNABEL Biography
    JULIAN SCHNABEL Biography Julian Schnabel was born in New York City in 1951, moved to Brownsville, Texas in 1965 and attended the University of Houston, Texas from 1969-1973 where he received a BFA. He had his first solo painting exhibition at the Mary Boone Gallery, New York City, in February 1979. Since then, Schnabel's paintings and sculptures have been exhibited all over the world. His work is included in private and public collections including New York's Museum of Modern Art Whitney Museum of American Art, Metropolitan Museum of Art, Los Angeles' Museum of Contemporary Art, Bilbao's Guggenheim, Paris' Centre Georges Pompidou, London's Tate Gallery, Tokyo's Metropolitan Museum and The National Gallery in Washington D.C. to list a few. His work is represented by the Pace Wildenstein Gallery in New York City. In 1996, he wrote and directed the feature film Basquiat about New York artist Jean Michel Basquiat. In 2000 he derected the film Before Night Falls (2000), with Javier Bardem and in collaborated with Wim Wenders,in the direction of the film The Million Dollar Hotel. His art works are part of the most important collection all over the word and they are in the main Museums of Contemporary Art: Albright Knox Art Gallery, Buffalo - The Art Institute of Chicago - Australian National Gallery - The Butler Institute of American Art, Ohio - Dallas Museum of Art, Dallas - Des Moines Art Center, Iowa - Guggenheim Museum, Bilbao - Hamburger Bahnhof, Berlin - Hirshhorn Museum and Sculpture Garden, Washington DC - Kochi Museum, Japan - Kunsthalle
    [Show full text]
  • Blooms Hilton Als
    Blooms Hilton Als Taken together, Julian Schnabel’s canvases are a garden illuminated by perception, which is all Gertrude Stein’s “Rose is a rose is a rose is a rose” was about—how we look at what we look at, how to make seeing into words. Schnabel’s masterly Rose Paintings series, exe- cuted in 2015–17, are blooms that will never die on the vine, let alone the vine of thought. The works are a description of the ephemeral—flowers as forces in nature that expire to blossom again. By using materials meant to last—oil, paint, Bondo on wood—Schnabel creates concrete forms out of that which is meant to return to the ground. In these works, he excavates flowers, those captives of time that die with time, and makes them timeless, in pictures that draw on nature to make of it what the artist will—and does. Schnabel makes paintings that are illustrative of his nature. The artist first attracted widespread attention more than three decades ago for work that was unlike anything else, because the Brooklyn-born Schnabel’s point of view has always been unlike anyone else’s. His eye is a rose. In paintings ranging from Self Portrait in Andy’s Shadow (1987) to the Untitled (Chinese Paintings) series (initiated in 2003), the creator worked in a tradition that could not be readily identified because it was his own, an out- growth of his soul. Like flowers that cannot be classified, the Rose paintings come at you from different angles. One painting looks at the roses a little from the left, some are more centered—all of which goes to show how one’s view of a thing can change the thing being observed; our percep- tions change paintings, just as paint changes blank canvas.
    [Show full text]
  • PREVIEW PRESS CONFERENCE FIRST HIGHLIGHTS of VIENNALE 2018 OCTOBER 25—NOVEMBER 8 Vienna, August 24, 2018
    VIENNA INTERNATIONAL FILM FESTIVAL PREVIEW PRESS CONFERENCE FIRST HIGHLIGHTS OF VIENNALE 2018 OCTOBER 25—NOVEMBER 8 Vienna, August 24, 2018 Dear ladies and gentlemen, We are pleased to inform you about the current state of preparations for the Viennale 2018. This year, the Viennale will take place from October 25 to November 8. The existing documents present the first preview, as well as already established points of the program from the 56th edition of the Viennale. We also introduce the poster subject of the festival and the Retrospective. Continuously updated information can be found on our website www.viennale.at/en; press material and photos to download at www.viennale.at/en/press/download. Viewing Options With immediate efect, a selection of films from this year’s festival can be viewed for press purposes. Upon request, we can provide DVDs or links for viewing. For members of our long-term partner Festival Scope, there are many films available for viewing on their portal, www.pro.festivalscope.com For any further questions, please contact us. With kindest regards, The Viennale Press Team [email protected] Fredi Themel +43/1/526 59 47-30 Birgit Ecker +43/1/526 59 47-33 Zorah Zellinger +43/1/526 59 47-20 Accreditations, from August 25: Zorah Zellinger +43/1/526 59 47-20 [email protected] (Accreditation applications accepted until October 5) www.viennale.at/en/press/accreditation VIENNALE – Vienna International Film Festival Siebensterngasse 2, 1070 Vienna • T +43/1/526 59 47 • F +43/1/523 41 72 [email protected] • www.viennale.at
    [Show full text]
  • Alice T at Eternity's Gate
    3 DAYS IN QUIBERON (3 Tage in Quiberon) ​ Germany, Austria, France • Director: Emily Atef • 115m • German, French, English with ​ ​ subtitles Romy Schneider rocketed to teen movie stardom in the 1950s playing Sissi, the future Austrian Empress Elisabeth. But fame brought with it a turbulent life, one Schneider candidly recounted to France’s Stern ​ magazine in 1981. Filmmaker Emily Atef reconstructs the circumstances surrounding that interview in this powerful black-and-white docudrama featuring an unforgettable turn from Marie Bäumer as the ill-fated actress. THU. 10/18, 8:15 PM FRI. 10/19, 7:45 PM _____________________________________________________________________________________________ ALICE T Romania, France, Sweden • Director: Radu Muntean • 105m • Romanian with subtitles ​ ​ Teenage Alice is at war with the world around her, not least with her embattled mother Bogdana—acting out and lying almost pathologically. When Bogdana learns of Alice’s pregnancy, it might be just the opportunity for them to reshape their own relationship. From Romanian maverick Muntean (Tuesday, After Christmas) comes this ​ ​ ​ ​ unyielding, complex character study that draws out the drama of everyday life. SAT. 10/13, 5:30 PM SUN. 10/14, 12:15 PM THU. 10/18, 1:00 PM ____________________________________________________________________________________________ AT ETERNITY’S GATE U.S., France • Director: Julian Schnabel • 111m From Academy Award®-nominee Julian Schnabel (The Diving Bell and the Butterfly, Before Night Falls, ​ ​ ​ Basquiat), At Eternity's Gate is a journey inside the world and mind of a person who, despite skepticism, ridicule, ​ ​ and illness, created some of the world’s most beloved and stunning works of art. This is not a forensic biography, but rather scenes based on Vincent van Gogh’s (Academy Award®-nominee Willem Dafoe) letters, common agreement about events in his life that present as facts, hearsay, and moments that are just plain invented.
    [Show full text]
  • David Lynch, Twin Peaks Creator, Brings Paintings to Brisbane's GOMA
    Bodey, Michael. “David Lynch, Twin Peaks creator, brings paintings to Brisbane’s GOMA.” The Australian. 15 November 2014. Web. David Lynch, Twin Peaks creator, brings paintings to Brisbane’s GOMA Airplane Tower (2013) by David Lynch. Source: Supplied By Michael Bodey THE story seems familiar. An individual, a one-time phenomenon in one field, pulls back from the spotlight to concentrate on their true love: painting. Filmmaker David Lynch, however, is no peripatetic painter. He’s an art school graduate, and as a child he dreamed of a life of painting but thought it an unachievable folly. That was until a mentor showed him it could be otherwise. Lynch was a promising young artist before moving to the screen in such an indelible fashion, creating off-kilter films and the seminal television series Twin Peaks, which will return next year reimagined 25 years after the crime. And while the world in 2015 will be waiting to see what exactly the auteur does with that famous series, Lynch will have his artistic focus set, at least briefly, on Australia. In March, Lynch will make his first visit to these shores when Brisbane’s Gallery of Modern Art presents one of the largest surveys of his work, a retrospective of the American’s paintings, sculptures and films. The exclusive show of some 200 works, entitled David Lynch: Between Two Worlds and curated by QAGOMA’s Jose Da Silva, continues a late-career renaissance for a man better known for the breathtaking and singularly distinct cinema and television style that marked the 1980s and 90s, beginning with Eraserhead in 1977 through to Mulholland Drive 24 years later.
    [Show full text]