Podcast appearances and mentions of alexander sokurov

Ep. 188: Peter Labuza on Sokurov, Klimov, Shepitko, Hellman's Iguana, the strike Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. This week brings some recent highlights from Los Angeles repertory courtesy of my latest guest, Peter Labuza. He talks about two 1990s films by Alexander Sokurov, the formidable war-movie pairing of Larissa Shepitko's The Ascent and Elem Klimov's Come and See, and Monte Hellman's rarely screened Iguana. Labuza, researcher at IATSE Local 600 (the International Cinematographers Guild) and a scholar in media industries law, also offers personal reflections on possible implications of the writers strike for the industry. Finally, I say a bit about Mary Bronstein's Yeast. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Monserrate” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Helen O'Hara is joined by Phyllida Lloyd, Tina Gharavi, Amy Adrion, Sarah Grant and Cathy Brady to discuss their experiences as female directors. We'll hear about their struggles, their triumphs, and their hopes for the future. You can find our host, Helen O'Hara (she/her), on Twitter @HelenLOHara.You can also find Helen on The Empire Film Podcast.Comments? Questions? Talk about the show on your social media platform of choice using #WomenVsHollywood.Our Guests This Week Were:Phyllida Lloyd (she/her): @PhyllidaLloyd on TwitterFind out more about her work at https://www.herself.film/home/ Tina Gharavi (she/her): @Gharavi on Twitter Find out more about her work at https://bridgeandtunnelproductions.com/ Amy Adrion (she/her): @amyadrion on TwitterFind out more about her work at https://www.halfthepicture.com/ Sarah Grant (she/her): @SGrantCreative on TwitterFind out more about her work at https://www.sarahgrantcreative.com/ Cathy Brady (she/her): @Cathy_Brady on TwitterFind out more about her work at https://www.bafta.org/supporting-talent/elevate/cathy-brady This week's recommended films were:Valley Girl (1983), directed by Martha Coolidge, recommended by Amy AdrionThe Decline of Western Civilization (1981), directed by Penelope Spheeris, recommended by Amy AdrionAlexandra (2007), directed by Alexander Sokurov, recommended by Phyllida LloydThe House is Black (1963), directed by Forugh Farrokhzad, recommended by Tina GharaviDiary of a Teenage Girl (2015), directed by Marielle Heller, recommended by Sarah GrantYou can purchase Women vs Hollywood in the UK, here: https://uk.bookshop.org/books/women-vs-hollywood-the-fall-and-rise-of-women-in-film/ You can purchase the audiobook of Women vs Hollywood on Audible in the UK, here: https://www.audible.co.uk/pd/Women-vs-Hollywood-Audiobook/ You can purchase the audiobook of Women vs Hollywood on Audible in the US, here: https://www.audible.com/pd/Women-vs-Hollywood-Audiobook/ You can pre-order Women vs Hollywood in the US, here: http://bookshop.org/books/women-vs-hollywood-the-fall-and-rise-of-women-in-film/ Host: Helen O'Hara (she/her)Producer: Maddy Searle (she/her)Executive Producers: Kobi Omenaka (he/him) and Ella Watts (she/her)Artwork: Steve Leard (he/him) Music: Jazz Apricot – Joey Pecoraro; Jazz Mango – Joey Pecoraro; Walk Through The Park – TrackTribe; On Hold For You by Kevin MacLeod - Link: https://incompetech.filmmusic.io/song/6928-on-hold-for-you - License: https://filmmusic.io/standard-license; Members Only – Track TribeSFX: stefan021 via freesound.org Find out more about Stripped Media and our other shows on our website, here: https://stripped.media/our-podcasts/ If you enjoyed this episode, please consider giving us a five star review on iTunes or your Podcatcher of choice, and telling your friends and family about the show. Word of mouth is still the best way to market any podcast, and every little helps! From the whole team at Women vs Hollywood: thank you. See acast.com/privacy for privacy and opt-out information.

No episódio 5, o crítico Bruno Ghetti relembra coisas divertidas da cobertura do Festival de Veneza e discute com os mediadores Filippo Pitanga e Mariane Morisawa quatro vencedores do Leão de Ouro: Em Busca da Vida, do chinês Jia Zhangke, Fausto, do russo Alexander Sokurov, Sacro Gra, do italiano Gianfranco Rosi, e De Longe te Observo, do venezuelano Lorenzo Vigas.

Connor & Jon try to examine both 300 years of Russian history AND one of the most daring films in the 21st century with Russian Ark. They are both awed and mystified by the technicality of the film, but does it come at the cost of story elements?WARNING: Major spoilers for Russian Ark , The Sacrifice, & Birdman, Minor spoilers for FrancofoniaFollow us:  Facebook: https://www.facebook.com/rulesoftheframe/  Instagram: https://www.instagram.com/rulesoftheframe  Twitter: https://twitter.com/RulesOfTheFrameYouTube: https://www.youtube.com/channel/UCII7_Fevn8na1ZkXyfUeTQA/featuredFilms mentioned in this episode:---------------------------------Russian Ark (2002) | Dir. Alexander SokurovRope (1948) | Dir. Alfred HitchcockBirdman or (The Unexpected Virtue of Ignorance) (2014) | Dir. Alejandro G. Inarritu1917 (2019) | Dir. Sam MendesChicago (2002) | Dir. Rob MarshallThe Blues Brothers (1980) | Dir. John LandisBattleship Potemkin (1925) | Dir. Sergei EisensteinStrike (1925) | Dir. Sergei EisensteinNostalghia (1983) | Dir. Andrei TarkovskyThe Sacrifice (1986) | Dir. Andrei TarkovskyDunkirk (2017) | Dir. Christopher NolanNosferatu (1922) | Dir. F.W. MurnauInception (2010) | Dir. Christopher NolanBoyhood (2014) | Dir. Richard LinklaterBaraka (1992) | Dir. Ron FrickeSamsara (2011) | Dir. Ron FrickeThe Qatsi Trilogy (1982-2002) | Dir. Godfrey ReggioPalm Springs (2020)| Dir. Max BarbakowO Brother, Where Art Thou? (2000) | Dir. Joel & Ethan CoenThe Room (2003) | Dir. Tommy WiseauSlumdog Millionaire (2008) | Dir. Danny Boyle, Loveleen Tandan127 Hours (2010) | Dir. Danny BoyleTouch of Evil (1958) | Dir. Orson WellesLast Year at Marienbad (1961) | Dir. Alain ResnaisHiroshima, Mon Amour (1959) | Dir. Alain ResnaisFrancofonia (2015) | Dir. Alexander SokurovMad Max: Fury Road (2015) | Dir. George MillerAndrei Rublev (1966) | Dir. Andrei TarkovskyGettysburg (1993) | Dir. Ron Maxwell

Check out our premium community, join hundreds of Catholics from all over thw world! www.coffinnation.com **************************************************************   Here is my review for the new Sam Mendes World War 1 drama, 1917. The movie showcases a wise blend of newcomers and veterans. Director Sam Mendes has decades of experience in the theater and went on to direct movies like American Beauty, Skyfall, and Road to Perdition I just read that he directed Dame Judi Dench on the stage in England at the age of 24. The Director of Photography is Academy Award winner, Roger Deakins, whose credits include Kundun, The Shawshank Redemption, Oh Brother Where Art Thou, and the underrated movie “The Assassination of Jesse James By the Coward Robert Ford” based on a book by Deacon Ron Hanson. 1917 blends together all that experience to deliver a quiet wallop. While the subject matter is harrowing and mostly terrifying, one has to use the word beautiful to describe the visuals throughout. More on that in a moment. Two very well-known actors have small but critical roles as military commanders, Benedict Cumberbatch—who has one of the most magnificent speaking voices in the world—and Colin Firth. Both of these great actors seem born to play characters from the past. On the other hand, Mendes’ co-writer is a relative newcomer Krysty Wilson-Cairns, who has written a few short films and a TV series. There’s nothing green showing here, though. The dialogue is pithy and rings true to the context and the period. Almost unknowns in the two lead roles: Dean-Charles Chapman as Lance Corporal Blake and George MacKay as Lance Corporal Schofield. These are fine young actors who are mostly unknown to American audiences. and this is a good thing because, from the opening scene, they are a blank slate. The fact that both characters are a bit on the bland side is also a plus because they become “everyman” making it easier to vicariously follow their mission behind enemy lines and alert a British general to halt an invasion that intelligence has discovered is a German trap. The emotional stakes have to do with the fact that Lance Corporal Blake's brother is set to be unleashed into this trap along with 1600 other British soldiers. And this is where 1917 draws an easy comparison with “Saving Private Ryan.” The brutal depiction of what was called The War to End All Wars coupled with the emotional impact of saving a brother makes for a very watchable movie. But 1917 in its basic story components it's much more similar to Gallipoli, the 1981 World War One drama that proved to the world that Mel Gibson could you more as an actor than motorbike to the desert a black leather outfit and bad hair. Gallipoli and 1917 share the same trope of gung ho soldiers maybe or maybe not being stopped before going over the top into enemy fire. No spoiler alerts, so I’ll stop right there on that. 1917 opens and closes with bookend images that show how many physical and emotional miles the characters have undergone. Again, simple and unadorned. Everyone's talking about the single continuous shot which of course is not literally true, as was the case with the Oscar-winning Birdman, directed by Alejandro Gonzalez Innaritu. It WAS the case with the 2002 movie Russian Ark, directed by Alexander Sokurov, and LITERALLY a 90-minute continuous steadicam shot. With 1917, Mendes and Deakins have pulled off a two-hour magic trick by seamlessly blending the cuts along the way to give the uncanny appearance of one single camera perspective, mostly handheld and mostly traveling backward which adds to the sense of disorientation. If you're wondering where they spent the estimated 100 million dollar budget, this is it. cameras mounted on dollies, on cranes, on steady-cam operators, and even on motorcycles, all to take the viewer on a dangerous and unpredictable adventure into hell. Unlike with most war stories that introduce the characters’ backstories, 1917 jumps right into the mission, we don't know who these men are, we're not sure where they came from, we're only half sure of where they're going, And we certainly don't know if they'll live through it. 1917  does not have the same explicit blood and guts visuals of a “Saving Private Ryan.” The obstacles met and the dangers faced by the two leads is more Hitchcock than Spielberg. The non-stop action includes a few stops for breathers, one of which is a beautiful scene involving a young French woman and a baby in the middle of a German-controlled village. I'll mention one more. Special mention here goes to a haunting rendition of a 19th-century gospel ballad called “Wayfaring Stranger,” which has been covered by Johnny Cash, Emmylou Harris, Ed Sheeran, and Jack White. In 1917, we are treated to an angelic acapella version by actor Jos Slovick, who, standing in the middle of the clearing in the forest in front of absolutely exhausted sitting men—many of them teenagers—sings the song like a liturgical hymn. It's one of those memorable movie moments that provides a consoling elixir for both the characters and the audience. For a few moments, a war-torn forest becomes a cathedral. It reminded me of the montage scene with Jose Feliciano haunting version of “California Dreamin’” smack in the middle of Quentin Tarantino's Masterpiece black comedy, “Once Upon a Time in Hollywood.” All this to say that 1917 is going to clean up at Oscar time. Finally, an Academy Award win that makes sense! _____________________________________________________________________  

This episode Stephen goes to Russia, and looks at two films that push cinema in different places. He starts by looking at how Andrei Tarkovsky laughs at silly concepts such as linear time in "Mirror", and then sees how Alexander Sokurov’s “Russian Ark” gives a history lesson in a single take. Email the show via thingsfallapart@hotmail.co.uk, or visit and contribute on the facebook page

A review of Alexander Sokurov's 2002 film Russian Ark Theme music: Finn Talisker Music

This fortnight's film is The Sun, directed by Alexander Sokurov. It stars Issei Ogata and Robert Dawson. Ally is joined by podcaster Joel Torres, who co-hosts Please Don't Send Me into Outer Space, and High & Low: A Kurosawa Podcast. SPOILERS from about 23 minutes in until the end. If you'd like to get in touch and tell us what you thought of the film and/or the podcast episode, here are some ways you can do that: Twitter: @RussophilesU Email: russophilesunite@gmail.com Facebook: www.facebook.com/russophilesunite/ Instagram: www.instagram.com/russophiles_unite/ Letterboxd: https://letterboxd.com/Ally_

Francofonia is the latest film by Russian director Alexander Sokurov, who is perhaps best known for his 2002 documentary Russian Ark, an ambitious and awe-inspiring one-take trip through St Peterburg’s Hermitage museum during the Russian Revolution. In Francofonia, Sokurov once more returns to the themes of art and war and museums, this time focussing on the Louvre during the Nazi occupation of France. As someone who doesn’t get on terribly well with documentaries, I found Francofonia rather intriguing as it played with the documentary form and fused narrative with truth and reconstruction, past with present. We see Napoleon wandering the halls of the museum, we see the German officer in charge of dealing with the Louvre meeting with the then head of the museum. Sokurov himself narrates the documentary and appears on screen as one of the film’s central figures, talking to the characters while also being depicted as trying to piece the film together and not knowing how because the nature of culture is too overwhelming. But the film itself is not a failure – the nature of culture is overwhelming, and this is intentionally presented in the daunting and elusive way that it is. The fragments of history are all woven together in a way that urges us to draw our own conclusions in the way that Sokurov tries to over the course of the film. While at times disappointingly Eurocentric in its analysis of culture and the significance of culture, Francofonia still provides plenty of food for thought. What is culture? How much is it worth and who needs it? Who has a right to it? Perhaps the most interesting facet for me was the parallel drawn between Germany capturing the Louvre during its invasion in WWII and Napoleon invading other countries during his reign and bringing back countless artefacts to be displayed in the Louvre. Plus there’s a lot of fascinating snippets about the museum’s formation and the particulars of what it went through during the Second World War. Complex and at times confusing – in a good way – Francofonia has a lot to offer, even if we have to do a bit of work to piece it all together. Francofonia opens October 6.Written by Ben Volchok.See omnystudio.com/listener for privacy information.

Francofonia is the latest film by Russian director Alexander Sokurov, who is perhaps best known for his 2002 documentary Russian Ark, an ambitious and awe-inspiring one-take trip through St Peterburg’s Hermitage museum during the Russian Revolution. In Francofonia, Sokurov once more returns to the themes of art and war and museums, this time focussing on the Louvre during the Nazi occupation of France. As someone who doesn’t get on terribly well with documentaries, I found Francofonia rather intriguing as it played with the documentary form and fused narrative with truth and reconstruction, past with present. We see Napoleon wandering the halls of the museum, we see the German officer in charge of dealing with the Louvre meeting with the then head of the museum. Sokurov himself narrates the documentary and appears on screen as one of the film’s central figures, talking to the characters while also being depicted as trying to piece the film together and not knowing how because the nature of culture is too overwhelming. But the film itself is not a failure – the nature of culture is overwhelming, and this is intentionally presented in the daunting and elusive way that it is. The fragments of history are all woven together in a way that urges us to draw our own conclusions in the way that Sokurov tries to over the course of the film. While at times disappointingly Eurocentric in its analysis of culture and the significance of culture, Francofonia still provides plenty of food for thought. What is culture? How much is it worth and who needs it? Who has a right to it? Perhaps the most interesting facet for me was the parallel drawn between Germany capturing the Louvre during its invasion in WWII and Napoleon invading other countries during his reign and bringing back countless artefacts to be displayed in the Louvre. Plus there’s a lot of fascinating snippets about the museum’s formation and the particulars of what it went through during the Second World War. Complex and at times confusing – in a good way – Francofonia has a lot to offer, even if we have to do a bit of work to piece it all together. Francofonia opens October 6. Written by Ben Volchok.

On today's episode of Deep Focus, host Tom Breen talks with New Haven's own Bruce Ditman about two films from the early 1980s that have had a profound influence on the way he watches, makes, and enjoys movies today. Michael Mann’s THIEF and Martin Brest’s BEVERLY HILLS COP have become classics of the heist and comedy genres respectively, but how do they hold up in 2016? For the second segment of the show, Tom talks with Allan Appel and Lucy Gellman FRANCOFONIA, a new meditative documentary by Russian filmmaker Alexander Sokurov about the timelessness of art and the history of the Louvre under Nazi occupation.

Une ode à Paris et au Louvre, un essai en forme de pyramide sur le sauvetage de son contenu pendant l'Occupation, un panégyrique de la culture européenne The post Alexander Sokurov – Francofonia #Venezia72 appeared first on Fred Film Radio.

An ode to Paris and the Louvre, a film essay about the rescue of its content during the German occupation, a eulogy dedicated to Europe The post Alexander Sokurov – Francofonia #Venezia appeared first on Fred Film Radio.

An ode to Paris and the Louvre, a film essay about the rescue of its content during the German occupation, a eulogy dedicated to Europe The post Alexander Sokurov – Francofonia #Venezia appeared first on Fred Film Radio.

An ode to Paris and the Louvre, a film essay about the rescue of its content during the German occupation, a eulogy dedicated to Europe The post Alexander Sokurov – Francofonia #Venezia appeared first on Fred Film Radio.

An ode to Paris and the Louvre, a film essay about the rescue of its content during the German occupation, a eulogy dedicated to Europe The post Alexander Sokurov – Francofonia #Venezia appeared first on Fred Film Radio.

An ode to Paris and the Louvre, a film essay about the rescue of its content during the German occupation, a eulogy dedicated to Europe The post Alexander Sokurov – Francofonia #Venezia appeared first on Fred Film Radio.

An ode to Paris and the Louvre, a film essay about the rescue of its content during the German occupation, a eulogy dedicated to Europe The post Alexander Sokurov – Francofonia #Venezia appeared first on Fred Film Radio.

This week, in celebration of the upcoming 100th anniversary of the great film archivist, curator and programmer Henri Langlois, Sean and Mike take a tour of some cinematic libraries and museums with Alain Resnais's 1956 short film Toute la mémoire du mode about the Bibliothèque nationale and Alexander Sokurov's 2002 Russian Ark about the Russian State Hermitage Museum. They'll also talk about Langlois, Orson Welles, Princesses, the Internet and more.

Mark Cosgrove discusses Ulrich Seidl, Alexander Sokurov, Gomorrah & Quiet Chaos