Podcasts about Skolimowski

This week, Josh and Drusilla watched Jerzy Skolimowski's The Shout (1978.) From wiki: “The Shout is a 1978 British horror film directed by Jerzy Skolimowski. It was based on a short story by Robert Graves and adapted for the screen by Skolimowski and Michael Austin. The film was the first to be produced by Jeremy Thomas under his Recorded Picture Company banner.But also: transgender girl scouts, woodworking as a hot boy hobby, Dangerous Liasons, The Wizard of Oz, Wild at Heart, Nights of Cabiria, The Hand that Rocks the Cradle, 90's sleaze thrillers, The Last Showgirl and the life of Pamela Anderson, and more.  NEXT WEEK: Les chambres rouge/Red Rooms (2023)  Follow them across the internet:Bloodhaus:https://www.bloodhauspod.com/https://twitter.com/BloodhausPodhttps://www.instagram.com/bloodhauspod/ Drusilla Adeline:https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/ Joshua Conkelhttps://www.joshuaconkel.com/https://bsky.app/profile/joshuaconkel.bsky.socialhttps://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/ 

Today's podcast is on Jerzy Skolimowski's Moonlighting. The 1982 film stars Jeremy Iron as the foreman of a Polish immigrant labor team illegally working on a London flat during the solidarity protests and eventual coup in Warsaw. We talked about the unique mixture of British social realism, Chaplin-esque sentimentality, and classic Skolimowski tension boiling over into surrealism. There's also a lengthy sidebar about Wu-Tanging blunts, naturally. Subscribe to the patreon for an extra episode every week https://www.patreon.com/Extended_Clip Email us with your questions, concerns, and complaints to be read on the pod extendedclippodcast@gmail.com Don't forget to rate and review the show on the podcast platform of your preference!

Nowy sezon w "Nocnej strefie" (16.09) rozpoczęliśmy od zapowiedzi jesiennych festiwali. Rozmawialiśmy o Unsoundzie, Avant Arcie, a także muzycznym programie Teatru Szekspirowskiego w Gdańsku.

This week Owen and Ralph discuss the early works of a living legend, the Polish auteur Jerzy Skolimowski. His recent poly-form donkey parable EO has led to a BFI retrospective and the long overdue Blu-Ray release of his first four features, made in 1960s Poland. These films and the London-based Deep End represent Skolimowski at his boldest and best. With depth and blocking worthy of Welles or Fellini, and a youthful rebellious spirit to match Jerzy proved he was a globally important cinematic voice. Yet his later international work often falls flat. Owen and Ralph dust off these underrated classics and ponder along the way what makes a truly cinematic image.

Not unlike the titular Donkey at the centre of the Polish film being discussed in the first half of this episode, the FMB cut a wild, meandering conversational path starting with Skolimowski's enigmatic donkey film, leading through Independence Day: Resurgence and finishing up with a spontaneous review of the new All Quiet on The Western Front.  next episode: Ginger Snaps 

The Shout is a 1978 British horror film directed by Jerzy Skolimowski (who is also an Actor was in Mars Attacks and played a General in Marvels The Avengers). It was based on a short story by Robert Graves (author of I, Claudius and great friend of Spike Milligan, with whom, from the 1960s until his death, he frequently exchanged letters, Many of which are collected in the book ‘Dear Robert, Dear Spike') Grave's short story was adapted for the screen by Skolimowski and Michael Austin screenwriter of Greystoke: The Legend of Tarzan, Lord of the Apes. The film was the first to be produced by Jeremy Thomas under his ‘Recorded Picture Company' banner. Thomas went on to produce and exec-produce 70 more films (to date) including Naked Lunch, The last Emperor, Crash, The Great Rock 'n' Roll Swindle, Sexy Beast and High-rise.Interiors were shot at Pinewood Studios, the film's sets were designed by the art director Simon Holland (Quadrophenia, Buster, Nuns on the Run and King Ralph). The North Devon coastline, specifically Saunton Sands and Braunton Burrows, were used for the bulk of the location shooting. The church of St Peter in Westleigh was used for the church scenes. The soundtrack is by Michael Rutherford and Tony Banks of the rock band Genesis (After the original first choice of David Bowie turned it down). When heard in theatres in Dolby Stereo, it was aurally separating and distorting. Reportedly, forty different music tracks were used for the sound, when it was usual for films of this era to use just 4.The film was nominated for the Palme d'Or at the 1978 Cannes Film Festival and received the Grand Prize of the Jury, in a tie with Bye Bye Monkey (A film staring Gérard Depardieu about a man who finds the corpse of King Kong and Kong's orphaned son, and takes it to a friend who lives in the city, and they decide to raise it.) Get bonus content on PatreonSupport this show http://supporter.acast.com/general-witchfinders. Hosted on Acast. See acast.com/privacy for more information.

This week, we cover Jerzy Skolimowski's donkey road film, Eo. We cover the conception of the film with Skolimowski's writing partner and wife, Ewa Piaskowska, as well as the international production of the film. We also discuss all 6 donkeys who played Eo. My favorite is Tako. After we cover the film, Spike gives a quick ranking of the foreign language films nominated this year, and the episode comes to a close with two double bills involving Eo. Thank you so much for listening!Created by Spike Alkire & Jake KelleyTheme Song by Breck McGoughFollow us on twitter @DoubleBillChil1 https://twitter.com/DoubleBillChil1Letterboxd: FartsDomino44

Aposto Premium dünyasına katıl! Skolimowski'nin eşeğinden korku sinemasının yeni ikonuna, Ata Demirer'in yeni karakterinden My French Film Festival'in yeni edisyonuna, bu hafta sinemalarda, evde ve şehirde izleyebileceğin birçok seçenek var.

Ep. 153: Bruce Bennett on Blue Collar, Canyon Passage, Ragtime, Ken Burns Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. This episode I continue my conversation with writer Bruce Bennett, who's back on the show with a new garden of cinematic delights. In the first half, we talked about Chabrol and Skolimowski and British rarities, and now in the second half, Bruce takes us deep into the heart of America on film through Paul Schrader's Blue Collar, Jacques Tourneur's Canyon Passage, Milos Forman's Ragtime, and Ken Burns's recent series The U.S. and the Holocaust. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow's Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

In his first film in seven years, legendary director Jerzy Skolimowski (Deep End, Moonlighting) directs one of his most free and visually inventive films yet, following the travels of a nomadic gray donkey named EO. After being removed from the traveling circus, which is the only life he's ever known, EO begins a trek across the Polish and Italian countryside, experiencing cruelty and kindness in equal measure, all the while observing the follies and triumphs of humankind. During his travels, EO is both helped and hindered by a cast of characters including a young Italian priest (Lorenzo Zurzolo), a Countess (Isabelle Huppert), and a rowdy Polish soccer team. Loosely inspired by Robert Bresson's Au hasard Balthazar, and featuring immersive, stunning cinematography by Michal Dymek coupled with Pawel Mykietyn's resonant score, Skolimowski's film puts the viewer in the perspective of its four-legged protagonist. EO's journey speaks to the world around us, an equine hero boldly pointing out societal ills, and serving as warning to the dangers of neglect and inaction, all while on a quest for freedom. Director Jerzy Skolimowski and Writer Ewa Piaskowska join us for a conversation on EO's jolting and sublime trek across the Polish and Italian countryside, as well as his collaboration with his filmmaking team, including cinematographer Michal Dymek, composer Pawel Mykietyn and writer / partner Ewa Piaskowska to burnish this heartfelt cinematic masterpiece. For more go to: eo.official.film To watch in a theatre go to: eo.official.film/buy-tickets

Director Jerzy Skolimowski's latest film follows a donkey named EO on a journey across European borders, through various owners and caretakers, encountering kindness and violence along the way. Skolimowski joins us with co-writer Ewa Piaskowska to discuss their Cannes Jury Prize-winner, "EO."

Ep. 149: Bruce Bennett on Skolimowski's Deep End, Baby Love, Chabrol Freakout, and more Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. This episode I had a wonderful time talking with the inimitable Bruce Bennett, who's back on the show with a new garden of cinematic delights. We start with Deep End, a past hit from director Jerzy Skolimowski, who's enjoying a renaissance with EO. From there, we delve into unsung British rarities from the turn of the 1970s and the wildest Claude Chabrol film you ever did (or did not) see. But wait, there's more! So much more, in fact, that I will publish the second half of our jampacked chat separately. Stay tuned! Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow's Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

This week on the Film at Lincoln Center podcast, we're featuring two conversations: the first with director Jerzy Skolimowski and co-writer Ewa Piaskowska on the NYFF60 selection, EO, and the second with director Nikyatu Jusu and producer Nikkia Moulterie on the ND/NF51 selection Nanny. At age 84, legendary director Jerzy Skolimowski has directed one of his spryest, most visually inventive films, following the travels of a peripatetic donkey named EO. After being removed from the only life he's ever known in a traveling circus, EO begins a journey across the Polish and Italian countryside, experiencing cruelty and kindness, captivity and freedom. Skolimowski imagines the animal's mesmerizing journey as an ever-shifting interior landscape, marked by absurdity and warmth in equal measure, putting the viewer in the unique perspective of the protagonist. Skolimowski has constructed his own bold vision about the follies of human nature, seen from the ultimate outsider's perspective. EO, a New York Times Critic's Pick, is now playing in our theaters. Get tickets at filmlinc.org/eo Next, we're revisiting a conversation from the 51st New Directors/New Films with Nanny director Nikyatu Jusu and producer Nikkia Moulterie. A riveting Anna Diop commands nearly every frame of director Nikyatu Jusu's feature debut, a breakout at this year's Sundance, where it won the Dramatic Grand Jury Prize. In this psychologically complex fable of displacement tinged with supernatural horror, Diop plays Aisha, a woman who recently emigrated from Senegal and is hired to care for the adorable daughter of an affluent couple (Michelle Monaghan and Morgan Spector) living in New York's Tribeca neighborhood. Increasingly unsettled by the family's volatile home life, though desperate to make enough money to bring over her young son from Senegal, Aisha begins to unravel, finding her life in America to be more nightmare than dream. Mixing domestic melodrama with American genre elements and West African folklore, Nanny is a spellbinding experience that defies expectation. Nanny, a New York Times Critic's Pick, is now playing in our theaters for one week only, with a special holiday promotion: buy one ticket, get one free for all screenings through November 27. Get tickets at filmlinc.org/nanny

This is an excerpt of a members only episode. To listen to the full episode, become a member at http://seventh-row.com/join One of the best movies of 2022, Jerzy Skolimowski's visually and aurally inventive Eo, is now in cinemas for a limited time. The film is about injustice in the animal world seen through the eyes of a donkey. It's a great big screen experience (for sound and image) so we're going deep on the film this week. Editor-in-Chief Alex Heeney and Executive Editor Orla Smith are joined by Associate Editor Dr. Brett "Empathy" Pardy.  About the excerpt In this excerpt, we discuss whether Eo is presented as an "exceptional" animal/donkey in the film. Many films about animals depict them as exceptional, like Air Bud the golden retriever who can play basketball or Okja the superpig. In many ways, Skolimowski's film bucks convention here by making Eo a fairly normal donkey whose experiences (and the way he's depicted) render him a subject of interest rather than because he's a particularly special donkey.  We ask, why do we care about animals on screen (in general) and why do we care about Eo? Does a home exist for a donkey like Eo? Become a member to listen to the rest of the discussion, which includes: In the full episode, we go even deeper on how the film creates empathy for a donkey and give a donkey the appearance of a full emotional inner-life. We also compare Eo to other recent films about (or featuring) animals — including White God, Lean on Pete, Cow, and Gunda — to help us understand how empathy is usually extended toward on-screen animals. Finally, we discuss how some of the best politically conscious films being made today, with youthful exuberance, are coming from directors over 70.   01:51 Why are we talking about Eo? 09:18 Placing Eo within the canon of donkey stories 13:53 Exceptional donkeys (this section is the only one available free)32:00 Anthropomorphising animals  46:56 An older generation of political filmmakers Show Notes Become a member for access to all of our upcoming episodes Listen to our previous podcast season on Women at Cannes Read Alex Heeney's review of Eo Get your copy of our ebook on Lean on Pete, a film about an unexceptional horse Read Alex Heeney's White God interview with the film's director and animal trainer Get your copy of our ebook Road to nowhere: Kelly Reichardt's broken American dreams. It features an interview with the First Cow and Lean on Pete animal trainer. Watch the 2009 Sam Mendes Charlie Rose interview referenced in the episode. He discusses the differences between directing film and theatre Related episodes Ep. 11: Mike Leigh's Peterloo (Free) - on the film and what we learned about Leigh's process and the film from writing the book Peterloo in process: A Mike Leigh collaboration Ep. 32: Sorry We Missed You and Peterloo (Members only) - we discuss creating empathy for characters navigating an unjust world Ep 93: The films of Agnieszka Holland (Members Only) - we discuss Europa Europa, Washington Square, and Charlatan and how Holland depicts life under totalitarian states (which has similarities what Eo experiences as a lower class donkey) Ep. 104: Agnieszka Holland on directing (Members Only) - an in-depth interview with the director about bucking convention from early on in her career, and how she continues to do so now Ep. 7: Andrew Haigh's Lean on Pete (Free) - we discuss the film and its depiction of an unexceptional horse, as well as insights gleaned from our ebook on the film (Lean on Pete: A Special Issue), including how it was made Where to find us Follow Seventh Row on Twitter and Instagram @SeventhRow. Follow Alex Heeney @bwestcineaste, Orla Smith @orlamango, and Dr. Brett Pardy @DrAntiqueiPod on Twitter. 

On va pas vous mentir, la B.A. de EO nous annonçait l'incroyable voyage écologique d'un âne footballeur pro qui raccroche les crampons pour se jeter à corps perdu dans une lutte contre l'affreuse Coupe du Monde au Qatar qui arrive. C'était clair comme de l'eau de roche ! Et pourtant... ce n'est pas du tout le pitch du Prix du Jury 2022 à Cannes... vous êtes déçu(e) ? Nous aussi...

C'est l'histoire de l'incroyable voyage d'un âne footballeur pro qui se lève pour l'écologie et contre la Coupe du Monde au Qatar. Enfin ça ce n'est que le résumé succint du film que se fait la Team Fais B.A. devant la bande-annonce de EO, de Jerzy Skolimowski, et Prix du Jury 2022 à Cannes. Alors grimpez sur le dos de cet âne polonais et venez découvrir avec nous ce qu'est LE VRAI CINÉMA. AU MENU :  - C'est qui le réal du film ? (05:38) - Analyse de la B.A. garantie sans spoil vu qu'on a pas vu le film duh (11:06) - Comm-Ci Comm-Ça : les attentes des internautes (33:56) - Fais Ton Titre : on renomme le film de la semaine (40:34) LA B.A. DE L'ÉPISODE (à voir avant ou pendant l'écoute): - EO de Jerzy Skolimowski : bit.ly/3DB3djr - enregistré à Paris le 09 octobre -

durée : 00:58:40 - Plan large - par : Antoine Guillot - C'est des confins orientaux de l'Europe que nous viennent deux des plus beaux films présentés en compétition au dernier Festival de Cannes, et enfin sur les écrans depuis mercredi : "R.M.N", et " EO". Leurs réalisateurs, Cristian Mungiu et Jerzy Skolimowski sont nos invités ce samedi. - invités : Jerzy Skolimowski Cinéaste; Cristian Mungiu Réalisateur; Charlotte Garson Rédactrice en chef adjointe des Cahiers du cinéma; Nathalie Boutefeu

durée : 00:53:14 - L'Heure bleue - L'illustre réalisateur polonais Jerzy Skolimowski signe un film bouleversant, "EO" (Prix du jury, Cannes 2022), sorti en salles cette semaine. Il est l'invité de l'Heure bleue...

In his Cannes 2022 dispatch, Jonathan Romney wrote “Jerzy Skolimowski's EO is a flamboyant, visionary work: its execution—including drone shots set to blazing red filters—and wayward, fragmented narrative showed an energy shared by that little else at the festival. Corny but true: the wildest, youngest film in the lineup was made by an 84-year-old director up for anything.” With EO making its US premiere at this year's New York Film Festival, we sat down with Skolimowski over Zoom to discuss his radical re-imagining of Bresson, which follows a pure-hearted donkey adrift in a cruel world. Though the filmmaker—known for such classics as Walkover, Deep End, Moonlighting, and many more—wasn't able to attend this year's festival in person, he was happy to field our many questions about his latest, a powerfully empathetic work of striking beauty and visual imagination.

L'émission 28 Minutes du 11/10/2022 Au programme de l'émission du 11 octobre 2022 ⬇ Jerzy Skolimowski, entre nouvelle vague et vague à l'âneJerzy Skolimowski a fait partie des réalisateurs qui ont contribué au renouveau du cinéma polonais des années 1960. Produisant à présent à l'international, celui qui se définit comme un "cynique lyrique" nous propose son 18e long-métrage, “EO” (Hi-han). Prix du Jury du dernier Festival de Cannes, ce film nous embarque, de la Pologne à l'Italie, au côté d'un animal, et pas n'importe lequel : celui d'un âne. À travers ses yeux mélancoliques, on découvre le monde "des humains" d'une nouvelle façon, et l'on suit les rencontres — heureuses ou malheureuses — qu'il fera sur son chemin. Véritable choc esthétique, ce long-métrage rappelle que Skolimowski est autant cinéaste que peintre. Il est notre invité. Hausse des prix : faut-il indexer les salaires sur l'inflation ?Après un week-end sous tension dans les stations-services françaises, la situation ne semble pas se résorber. Le mouvement de grève des salariés des géants TotalEnergies et ExxonMobil se poursuit, provoquant pénurie et longues files d'attente dans les stations. Face aux réclamations des syndicats et à la pression de l'exécutif, les entreprises ont accepté de mener des négociations salariales pour mettre un terme aux blocages. Bien que particulièrement visible chez TotalEnergies et Exxon Mobil, la question de l'augmentation des salaires est un enjeu crucial dans la plupart des entreprises. Alors que l'inflation frôle les 6 %, les salariés cherchent à préserver leur pouvoir d'achat. Les entreprises, quant à elles, sont déjà déstabilisées par l'explosion des factures énergétiques. Mais ne pas augmenter les salaires, c'est risquer un conflit social, dans lequel elles ne seraient pas forcément en position favorable. Si le SMIC est pour sa part indexé sur l'inflation, ce n'est pas le cas de tous les salaires. Alors, faut-il indexer l'ensemble des salaires sur l'inflation ? Quelles sont les négociations possibles ? On en débat avec nos invités.   Enfin, retrouvez également les chroniques de Xavier Mauduit et d'Alix Van Pée.  28 Minutes est le magazine d'actualité d'ARTE, présenté par Elisabeth Quin du lundi au vendredi à 20h05. Renaud Dély est aux commandes de l'émission le samedi. Ce podcast est coproduit par KM et ARTE Radio. Enregistrement : 11 octobre 2022 - Présentation : Élisabeth Quin - Production : KM, ARTE Radio

Dans ce nouvel épisode, nous recevons Para One - aka Jean-Baptiste de Laubier - compositeur de musique de films (notamment de ceux de Céline Sciamma), réalisateur (son premier long métrage sort d'ailleurs au cinéma le 20 octobre 2021), mais aussi producteur de musique et DJ.Hanté par la question de la mémoire, du souvenir, de l'oubli, et de comment le cinéma se réapproprie ces problématiques, notre invité n'a eu de cesse de convoquer des films en rapport avec ces thématiques : de la voix off de Sans Soleil (Chris Marker), aux sublimes images du film d'Andreï Tarkovski Le Miroir, tout en passant par l'un des films les plus inconnus de Wim Wenders, Tokyo Ga, forme de déambulation romantique et improbable dans la ville de Tokyo des années 80.En déroulant la fragile bobine de sa mémoire cinéphile, notre invité décrit les films comme de multiples expériences de vie qu'on lierait parfois à notre propre vécu, faisant de nos souvenirs des moments mi réel, mi rêvé. Parmi ces belles expériences, vous trouverez, entre autre, une magnifique description de la scène de danse sous la pluie, au son des tambours, filmée par Naomi Kawase dans son film Shara. Ou encore « la scène du train » du film The Walkover de J.Skolimowski, où le personnage principal saute d'un train lancé à plus de 60km, sans aucun effet spécial - et l'on se demande alors si cette scène a bien été tournée ou si elle n'est que le fruit de notre imagination hallucinée. On en profite pour remercier nos 5 premiers patreons qui nous aident et nous soutiennent financièrement dans notre travail : un grand merci à Paul, Clara, Bernard, Jean-Noel, et Paul ! Votre soutien nous est précieux. Inscrivez-vous à la newsletter en cliquant sur ce lien : https://forms.gle/HgDMoaPyLd6kxCS48 Pour nous soutenir, rendez-vous sur https://www.patreon.com/cinephilesdnt I. PORTRAIT - 3'30 Une voix off : Sans soleil (Chris Marker, 1983) Un père de cinéma : Maurice Pialat dans A nos amours (M. Pialat, 1983) Une machine au cinéma : HAL dans 2001, l'Odyssée de l'espace (S. Kubrick, 1968) II. CIRCONSTANCES & CONDITIONS DE VISIONAGE - 16'46 Une séance ayant mis en transe Para One : Shara (Naomi Kawase, 2003) Le rapport de Para One aux objets de cinéma (DVD, VHS...) III. MEMOIRE & SOMMEIL - 23'20 Le fonctionnement de la mémoire de spectateur de Para One Le son/musique de film hantant Para One : Mulholland Drive (D. Lynch, 2001) CARTE BLANCHE - 33'16 The Walkover (Jerzy Skolimovski, 1965) IV. CINEMA & TRANSMISSION - 40'31 Un film à transmettre aux générations futures : Akira (アキラ)(Katsuhiro Ōtomo, 1988) La bande-originale que Para One rêverait de recomposer (ou pas) : Le miroir (A. Tarkovski, 1975) FILM REFUGE - 55'31 Tokyo-Ga (Wim Wenders, 1985)

Po półrocznej przerwie uczniowie idą do szkół. Jak długo będą do nich chodzić, czy - a może kiedy - wróci nauka zdalna? Dziś pytań jest więcej, niż odpowiedzi

16 filmowców i 14 krótkometrażowych produkcji, czyli projekt HBO: „W domu”. Twórcy mieli 4 tygodnie na stworzenie 10 minutowego dzieła przy zachowaniu obostrzeń, jakie nałożone zostały w związku z epidemią i czasu epidemii filmy też miały dotyczyć. Powstały obrazy niezwykłe, oryginalne i ciekawe. Dokumenty, fabuły, animacje.Wśród zaangażowanych w projekt znaleźli się: Jacek Borcuch, Andrzej Dragan, Krzysztof Garbaczewski, Renata Gąsiorowska, Magnus von Horn, Paweł Łoziński, Jan P. Matuszyński, Tomek Popakul, Jerzy Skolimowski, Krzysztof Skonieczny, Małgorzata Szumowska/Michał Englert, Mariusz Treliński, Anna Zamecka/Sung Rae Cho oraz Xawery Żuławski.Rozmawiamy o, naszym zdaniem, najciekawszych produkcjach. Zapraszamy!

durée : 01:00:12 - Plan large - par : Antoine Guillot - Figure de proue de la Nouvelle Vague polonaise, Jerzy Skolimowski est l'auteur d'une œuvre tout en ruptures et variations, faite de chefs-d’œuvre qui ont marqué le cinéma moderne et contemporain. Rencontre inédite avec un cinéaste insaisissable et irréductible. - réalisation : Somany Na - invités : Jerzy Skolimowski Cinéaste; Harold Manning Interprète; Mathieu Macheret Critique de cinéma, journaliste au Monde

durée : 01:00:12 - Plan large - par : Antoine Guillot - Figure de proue de la Nouvelle Vague polonaise, Jerzy Skolimowski est l'auteur d'une œuvre tout en ruptures et variations, faite de chefs-d’œuvre qui ont marqué le cinéma moderne et contemporain. Rencontre inédite avec un cinéaste insaisissable et irréductible. - réalisation : Somany Na - invités : Jerzy Skolimowski Cinéaste; Harold Manning Interprète; Mathieu Macheret Critique de cinéma, journaliste au Monde

Jerzy Skolimowski's Deep End (1970) stars John Moulder-Brown as Mike, a fifteen year old drop-out who finds work at a public bath where he takes care of the male patrons while Jane Asher plays Susan, the female attendant. Mike becomes obsessed with Jane while she juggles her fiance and side piece. It’s a rather unsettling coming-of-age story in the twilight days of swinging London. Alicia Malone (The Female Gaze) and Jonathan Owen (Avant-garde to New Wave: Czechoslovak Cinema, Surrealism and the Sixties) join Mike to discuss the film along with other coming-of-age films.

Jerzy Skolimowski's Deep End (1970) stars John Moulder-Brown as Mike, a fifteen year old drop-out who finds work at a public bath where he takes care of the male patrons while Jane Asher plays Susan, the female attendant. Mike becomes obsessed with Jane while she juggles her fiance and side piece. It’s a rather unsettling coming-of-age story in the twilight days of swinging London. Alicia Malone (The Female Gaze) and Jonathan Owen (Avant-garde to New Wave: Czechoslovak Cinema, Surrealism and the Sixties) join Mike to discuss the film along with other coming-of-age films.

Gościem najnowszego RF Podcast #48 był pan Robert Skolimowski, nasz utytułowany sztangista, ojciec tragicznie zmarłej Mistrzyni Olimpijskiej Kamili Skolimowskiej. Rozmawialiśmy o sporcie, o życiu, o działalności Fundacją Kamili, a także o tym, jaki powinien być wzorzec zachowania prawdziwego sportowca, wielkiego mistrza. Tradycyjnie było sporo żartów, ale i wiele momentów wzruszenia i emocji. Z tego spotkania wyszedł nam niezwykle wartościowy podcast. Dobrego odbioru! Artykuł Ciężarowiec Robert Skolimowski, medalista Mistrzostw Świata w RunForest Podcast #48 pochodzi z serwisu RunForest I kultura, sport, styl życia.

Cette semaine, FLASHBACK, revient sur les ressorties en salle et événements consacré au patrimoine cinéma du mois d’avril ! Côté ressorties : « UTU » de Geoff Murphy, « Un Américain à Paris » de Vincente Minelli, « De L’Influence des Rayons Gamma… » de Paul Newman, « Vidéodrome » de David Cronenberg et « Manhattan » de Woody Allen… passent par l’analyse d’Antoine Sire et Antoine Jullien. Pour aller voir ou revoir tous ces grands films de patrimoine d’un œil éclairé ! Sans oublier les rétrospectives du mois, et notamment celle consacrée à Jerzy Skolimowski à la cinémathèque de Toulouse, du 11 avril au 4 mai. Emission du 3 avril 2017 – Partie 1, présentée par : Antoine Sire et Antoine Jullien. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Jerzy Skolimowski's career is defined by a healthy disregard for conventional filmmaking. He has always been a punk of the highest order. And it's with total delight that I report that this pedigree is on full display in 11 Minutes. From the beginning, we know we are in the hands of an unhinged master. The menacing pre-titles scrapbook of low-res footage from laptop, phone and security cameras clearly signals his anarchic intent. And it also signals the genre we are being propelled into: the multi-character storyline. Essentially, the film is just that: a glimpse into the lives of several characters over the eleven minutes of the film's title past 5 o'clock, some of which intersect over the course of the narrative and all of which intersect at the end. The short time span means we never get a full impression of who these characters are, but we accept that we were never really meant to. Plus there's more than enough in there to give a rough sense of who they are, and it's surprising how much can actually happen in eleven minutes. Crammed with pounding music and brazen, in-your-face camerawork, the freewheeling style of this film has annoyed and frustrated many of my fellow cinemagoers, to say the least. And it's not hard to see why; Skolimowski almost tries deliberately to throw us off at every step, like a bucking bronco with an ongoing glitch. But it's worth persevering and holding on. Because the reward you get is the utter juggernaut of an ending that's been lying in wait the whole time. The ending, like every one of Skolimowski's endings that I've seen so far, is a shocking slap to the face. It’s the culmination of all of the events that take place in the film, the swirling final movement of the strangely melodic cacophony. For the whole film we have been riding on rollercoasters whose screws have been steadily rattling, until they bring us crashing off the rails right at the end of the track. And then the final breathtaking zoom out, telling us that this was only eleven minutes in the lives of only a handful of characters: look at how much else could be and has been going on. Cue open eyes, open mouths and stopping heart. Holy crap. Proof that you don't have to get soft when you get old, 11 Minutes is another notch firmly whammed into the belt of a continually unrepentant filmmaker. Just wow. Written by Ben Volchok

Jerzy Skolimowski's career is defined by a healthy disregard for conventional filmmaking. He has always been a punk of the highest order. And it's with total delight that I report that this pedigree is on full display in 11 Minutes. From the beginning, we know we are in the hands of an unhinged master. The menacing pre-titles scrapbook of low-res footage from laptop, phone and security cameras clearly signals his anarchic intent. And it also signals the genre we are being propelled into: the multi-character storyline. Essentially, the film is just that: a glimpse into the lives of several characters over the eleven minutes of the film's title past 5 o'clock, some of which intersect over the course of the narrative and all of which intersect at the end. The short time span means we never get a full impression of who these characters are, but we accept that we were never really meant to. Plus there's more than enough in there to give a rough sense of who they are, and it's surprising how much can actually happen in eleven minutes. Crammed with pounding music and brazen, in-your-face camerawork, the freewheeling style of this film has annoyed and frustrated many of my fellow cinemagoers, to say the least. And it's not hard to see why; Skolimowski almost tries deliberately to throw us off at every step, like a bucking bronco with an ongoing glitch. But it's worth persevering and holding on. Because the reward you get is the utter juggernaut of an ending that's been lying in wait the whole time. The ending, like every one of Skolimowski's endings that I've seen so far, is a shocking slap to the face. It’s the culmination of all of the events that take place in the film, the swirling final movement of the strangely melodic cacophony. For the whole film we have been riding on rollercoasters whose screws have been steadily rattling, until they bring us crashing off the rails right at the end of the track. And then the final breathtaking zoom out, telling us that this was only eleven minutes in the lives of only a handful of characters: look at how much else could be and has been going on. Cue open eyes, open mouths and stopping heart. Holy crap. Proof that you don't have to get soft when you get old, 11 Minutes is another notch firmly whammed into the belt of a continually unrepentant filmmaker. Just wow.Written by Ben VolchokSee omnystudio.com/listener for privacy information.

Electric Sheep Magazine podcast: Skolimowski and Kinoteka Celebrating this year’s Polish Film Festival Kinoteka, Alex Fitch talks to Oscar winning producer Jeremy Thomas and director Jerzy Skolimowski about the latter’s work on such films as The Shout, Essential Killing, and his latest movie 11 Minutes. Virginie Selavy talks to writer and filmmaker Daniel Bird about […]

Le 12 mars 2010, Willy Kurant, directeur de la photographie (Godard, Welles, Skolimowski...), donnait une conférence-démonstration sur les mouvements de caméra. Y ont pris part les concepteurs, les fabricants et les loueurs de machinerie, membres associés de l'Association française des directeurs de la photographie cinématographique (A.F.C.), ainsi que l'Association française des cadreurs de fictions (A.F.C.F.).