Podcasts about wenders

Wim Wenders had planned for years with German Neo-expressionist choreographer Pina Bausch to make a film of her work, but Wenders didn't know how he could do it justice. Then he saw U2 3D (2008) and knew that digital 3D was the technology he needed. Unfortunately, as technology caught up to Wenders' vision, Bausch passed away, and Pina (2011) morphed from just a document of her work into a tribute from Wenders and Bausch's dance troupe. What they create together is an overwhelming piece of art.

Fünfter und letzter Film im Japanuary2025: TOKYO-GA von Wim Wenders ist eine Wallfahrt zum heiligen Ozu – einerseits mit Schwächen, andererseits mit großartigen Begegnungen und Interviews. Thomas hat im Podcast Lieblingsgast Lucas Barwenczik vor dem Mikrofon.Wim Wenders hat sich 1983 nach Japan aufgemacht – auf der Suche nach dem Tokio seines großen Regie-Idols Yasujiro Ozu. Dessen stille Filme mit klarer Form sind weltweit bekannt. Ozu beschäftigte sich stark mit Familienbeziehungen und den schwierigen Veränderungen Japans nach dem zweiten Weltkrieg. Mit Veränderungen hat Wenders in TOKYO-GA aber so seine Probleme: Er fremdelt unübersehbar mit dem Boom-Japan der 1980er Jahre – zu laut, zu bunt, zu modern, zu schnell, so gar nicht wie in Ozus Filmen. Dabei bleibt er überraschend oberflächlich, spricht nicht mit gleichaltrigen japanischen Kolleg:innen oder anderen Japanern.Aber er führt zwei beindruckende und berührende Interviews: mit Ozus Kameramann Yuharu Atsuta, der sein ganzes Berufsleben mit Ozu verbracht hat und Einblicke in Ozus Inszenierungsarbeit gibt – und mit Chishu Ryu, dem großartigen Schauspieler, der in fast allen Ozu-Filmen vor der Kamera stand und über die Maßen bescheiden ist. Allein für diese beiden Gespräche lohnt sich der Film. Im Podcast sprechen Lucas und Thomas unter anderem über Verehrung, Verklärung, Japan-Begeisterung, Wenders salbungsvolle Kommentare und Werner Herzogs beleidigte Landschaft.

Insieme a Michela Gorini ripassiamo alcune delle parti più interessanti di un libro intitolato "L'occhio del regista" dove il critico cinematografico Laurent Tirard ha raccolto in una serie di interviste le rivelazioni e i consigli pratici di tanti importanti registi che hanno fatto la storia del cinema. In particolare parleremo di Martin Scorsese, Pedro Almodovar, Woody Allen, Sidney Pollack, Fratelli Coen, Win Wenders, David Lynch, Bernardo Bertolucci, David Cronenberg, Takeshi Kitano e Roman Polanski.

durée : 01:30:01 - Les Nuits de France Culture - par : Albane Penaranda - - réalisation : Virginie Mourthé

Join us for a cinematic road trip through the films of visionary director Wim Wenders, whose work has redefined cinematic storytelling. In conjunction with the LAB111 program Drifters and Dreamers: The Films of Wim Wenders and the stunning 4K restoration of Paris, Texas (1984), Tom Ooms and Elliot Bloom explore the recurring themes of transience, memory, and the search for meaning that define Wenders' expansive body of work. Known for his haunting cinematography (often crafted by Dutch cinematographer Robby Müller) and his deeply humanistic perspective, Wenders' films are both personal reflections and universal meditations on existence. We'll examine his recurring motif of the traveler—whether an angel, filmmaker, or pilgrim—navigating between real and imagined worlds. From the fractured narrative of Paris, Texas to the contemplative Perfect Days (2023), we delve into how Wenders transcends genre boundaries, using the road movie to create a unique cinematic language that speaks directly to the soul. Whether revisiting his classics or discovering his work for the first time, this episode offers an essential guide to Wim Wenders' vision—why his films may not be for everyone, but are undeniably worth experiencing. Book tickets to The Films of Wim Wenders Book tickets to Master of Light: Robby Müller Show Notes and Films Mentioned

En el DESAFINADO 126 lo dedicamos a repasar la música de la última película del director alemán WIM WENDERS, "Perfect Days". Historias pequeñas, de mundos cercanos y tremendamente fascinantes. Música, en su mayor parte, éxitos de los 60 y 70 que recorren el día a día de Hirayama, protagonista de la película. Canciones de: THE ANIMALS, PATTI SMITH, THE VLVET UNDERGROUND, OTIS REDING, LOU REED, THE ROLLING STONES, THE KINKS, VAN MORRISON y NINA SIMONE. También recordamos otras películas como, "París, Texas" y "El cielo sobre Berlín". Terminamos con un homenaje al cine de WENDERS, por parte de la banda madrileña, EL CIELO SOBRE BERLÍN. Escucha DESAFINADO todos los jueves, en el 95.4fm y www.espacio4fm.com

Pred kratkim smo si lahko v kinih ogledali izvrstni film Wima Wendersa Popolni dnevi, zdaj pa je v kine prišel njegov dokumentarec Anselm o nemškem umetniku Anselmu Kieferju, ki se v svojih velikopoteznih delih vztrajno sooča s problematično nemško zgodovino. Film je, kar je za dokumentarec presenetljivo, posnet v 3D tehnologiji. Wenders je pred 13 leti že posnel dokumentarec o še eni od največjih nemških umetnic – namreč o plesalki in koreografinji Pini Bausch. Film o Anselmu Kieferju si je ogledal tudi Igor Harb, njegovo besedilo bere Eva Longyka Marušič.

Uno dei migliori film del 2024, a mani basse e potrei anche chiuderla qui. La vita, solo apparentemente monotona e ripetitiva di un addetto alle pulizie dei bagni pubblici di Tokyo. Può sembrarvi una trama assurda e inconcepibile, vero? Eppure, utilizzando l'arma della semplicità e della sincerità, Wenders realizza una delle sue migliori pellicole. Una storia semplice, di grande poesia, dalla quale trasuda un senso di libertà e meraviglia che non stanca mai e poi mai. Bravissimo l'attore protagonista, ma anche la colonna sonora e le canzoni che descrivono egregiamente la sua vita ed il suo carattere, sono qualcosa di stupendo. Non perdetevelo, perché fareste davvero una errore enorme.

Movie of the Year: 1984Paris, TexasWelcome to the Movie of the Year podcast, where we delve into the most impactful and iconic films that have graced the silver screen. In this episode, we turn our attention to "Paris, Texas," a masterful work by the acclaimed director Wim Wenders. Join us as we explore the depths of this 1984 classic, examining its intricate storytelling, poignant characters, and the indelible mark it has left on American cinema.Wim Wenders and the American MovieWim Wenders, a visionary filmmaker known for his profound explorations of human emotion and the human condition, brings a unique European perspective to the American landscape in "Paris, Texas." Wenders' fascination with the vastness and desolation of the American Southwest is evident in every frame of this film. We'll discuss how Wenders' direction transforms the barren landscapes into a character of its own, reflecting the inner emptiness and quest for redemption faced by the protagonist, Travis.In this segment, we dive into Wenders' cinematic techniques, including his use of long takes, natural lighting, and wide-angle shots. We'll also explore how "Paris, Texas" fits into the broader context of Wenders' oeuvre and the New German Cinema movement, which sought to challenge traditional narratives and offer new perspectives on familiar themes.The Introduction of Travis, Paris, Texas' Anti-HeroThe heart of "Paris, Texas" lies in the enigmatic character of Travis Henderson, portrayed by Harry Dean Stanton in a career-defining performance. The film opens with Travis wandering the desert, mute and disheveled, setting the stage for a journey of rediscovery and reconciliation.We'll analyze the powerful introduction of Travis, a man lost both physically and emotionally. This section will cover how the film slowly peels back the layers of Travis' past, revealing his fractured relationships and deep-seated guilt. The subtlety in Stanton's performance, combined with Sam Shepard's poignant screenplay, invites viewers to empathize with Travis' silent anguish and root for his redemption.The Final 20 Minutes of Paris, TexasThe climax of "Paris, Texas" is both heartbreaking and hopeful, encapsulating the film's central themes of love, loss, and redemption. In the final 20 minutes, Travis' journey comes full circle as he reconnects with his estranged wife, Jane, played by Nastassja Kinski.We'll delve into the emotionally charged reunion between Travis and Jane, set in a peep-show booth—a symbolic space of separation and connection. This segment will examine the raw, unfiltered dialogue and the haunting score by Ry Cooder that underscores this pivotal moment. We'll also discuss how this climax offers a resolution that is both bittersweet and deeply satisfying, leaving a lasting impact on the audience. "Paris, Texas" is more than just a film; it's a profound meditation on the complexities of human relationships and the quest for personal redemption. Wim Wenders' masterful direction, coupled with standout performances and a hauntingly beautiful soundtrack, makes this film a timeless piece of American cinema.In this episode of the Movie of the Year podcast, we've explored the many facets of "Paris, Texas," from its cinematic brilliance to its emotional depth. We hope our discussion has deepened your appreciation for this extraordinary film and its enduring legacy.Thank you for joining us, and stay tuned for more deep dives into the movies that have defined our times. Until next time, happy watching!

¡Hay tanto en la religión de autoengaño!, que uno se pregunta para qué sirve la oración. Pensamos si Dios todo lo sabe y lo puede, ya que es soberano y nos ama, no hace falta pedirle nada. Él cuida de nosotros. La cuestión es que no es Dios el que necesita la oración, sino nosotros. Tras la sintonía de Ruta 66, hoy a cargo de una cantante sueca llamada María Wells, escuchamos una canción de una recopilación de música del llamado "Rock de Jesús" de finales de los 60 y parte de los 70 (Electric Holy Land), que ha aparecido ahora en vinilo en una serie de coleccionistas que no está disponible en plataformas digitales. Son discos, la mayor parte autoeditados, pero con sorprendente sonido de la época, como el de Barrie Hobby y los Suite Destiny de 1976. El tema que escuchamos es sobre la oración, "¡Ponte de rodillas!" (Get Down On Your Knees). Nos sirve para introducir la parábola de Jesús sobre la viuda y el juez injusto (Lucas 18:1-8). El peligro de la autoconfianza se muestra a continuación en la historia del fariseo y el publicano (vv. 9-14), el religioso satisfecho consigo mismo y un individuo corrupto, que en su inmoralidad se ve indigno de presentarse ante de Dios. La sorpresa que nos espera al final de la parábola, es que es el que reconoce su culpa y busca la misericordia de Dios, vuelve a casa justificado. La canción de Mark Heard, "Estoy llorando de nuevo" (I´m Crying Again 1981) habla del "criminal en mi piel que no vemos y se cree inocente, pero la verdad es como un cuchillo". Las letras de este cantautor americano que estuvo en Suiza con Francis Schaeffer, son conocidas por su gran sinceridad. Murió de un ataque al corazón a los 40 años, cuando empezaba a llegar al gran público con el popular sello de música instrumental Windham Hill, donde grababa su amigo católico Pierce Pettis. Estaba a punto de firmar un contrato con la casa canadiense del cantautor Bruce Cockburn, cuando el Señor se lo llevó a su Hogar eterno. Un niño no tiene la conciencia de un adulto. Si nuestra fe dependiera de ella, no habría salvación para ellos, pero Jesús dice que de ellos es el Reino de los Cielos (vv. 15-17). Un músico que llegó a la fe a finales de los 60 por Larry Norman, Randy Stonehill, escribió una canción para levantar fondos para la organización de ayuda a la infancia, Compassion International. La grabó con Phil Keaggy y otros músicos cristianos en 1984. En ella se pregunta "¿Quien salvará a los niños?" (Who Will Save The Children?). El encuentro de Jesús con el joven rico (vv. 18-27) es uno de los episodios más sorprendentes del Evangelio. Lo comentamos ilustrado con algunos diálogos de la película del alemán Wim Wenders, "Tierra de abundancia" (2004), que tiene canciones de Leonard Cohen, a las que añadimos la banda sonora de Ry Cooder para Wenders en "Paris Texas". Es la historia de una chica muy joven interpretada por Michelle Williams, hija de misioneros en Israel, que vuelve al país donde nació, para ayudar a un pastor afroamericano que atiende a personas "sin techo" en Los Angeles. Su sencilla fe contrasta con la opulencia de la sociedad norteamericana y la paranoia de un tío obsesionado por el peligro del terrorismo islámico. Frente a nuestra autoconfianza, Jesús nos presenta el camino de la cruz (vv. 28-34). La canción del grupo The Choir nos lleva al sacrificio de Jesús en un tema que esta banda de rock alternativo, nacida en torno a la Capilla Calvario de la Revolución por Jesús en 1983, grabó en el que es para muchos, su mejor disco (Circle Slide 1990). La curación del ciego que cierra el capítulo 18 de Lucas nos muestra cómo "la luz de su amor" nos permite ver el mundo con otros ojos. La expresión del Evangelio es tomada por el grupo escocés Simple Minds en un disco lleno de lenguaje religioso, "New Gold Dream" (1982), donde Jim Kerr canta con la pasión de una oración que le ilumine su luz (Glittering Prize).

Wie begegnet Donata Wenders Menschen in ihrer Fotografie? Wovon lässt sie sich leiten, um ihr Motiv treffend festzuhalten? Was können wir von ihr für die Gestaltung von Begegnung lernen? Wir sprechen über die Kraft des Handwerks, Begegnungen mit dem Leben und wie wir ein Geschenk für andere sein können. Was ist Schönheit und wie lässt sie sich festhalten? Wie müssen sich Begegnungen anfühlen, die wir mit unseren Events erreichen möchten und was braucht ein Raum, in dem wir wirklich anwesend sein wollen? Vielen Dank für das Geschenk dieser Begegnung mit dir, Donata! Donata Wenders im Gespräch: 02:56 Faszination Handwerk 09:53 Vertrauen wecken, Neues schaffen 14:46 Intuition 21:25 Inspiration 28:30 Wachsame Begegnung 33:22 Transformation 38:06 Ein gutes Tempo 43:39 Fazit zu Begegnung Link-Empfehlungen: - Donatas Webseite: https://donatawenders.com/ - Film Perfect Days https://bit.ly/PerfectDaysWenders - Ausstellung Hamburg Rothko https://bit.ly/AusstellungHamburg - Buch Ikigai https://bit.ly/IkigaiKenMogi Donata Wenders wurde 1965 in Berlin geboren, studierte Film- und Theaterwissenschaften in Berlin sowie Stuttgart und begann ihre künstlerische Karriere als Kamerafrau für Spiel- und Dokumentarfilme. Seit 1995 ist sie als freiberufliche Fotografin tätig. Ihre Bilder zeichnen sich durch eine klassische, meist schwarz-weiße Bildsprache aus – ihr Faible gilt dabei Menschen wie Pina Bausch oder Peter Lindbergh. Mit der digitalen Transformation der Fotografie entwickelt Donata Wenders seit 2015 audiovisuelle Kurzfilminstallationen. Diese Verschmelzung von Fotografie und Bewegtbild führte sie zurück zu ihren Wurzeln. Ihre Fotos sind in eigenen Büchern und vielen internationalen Magazinen sowie Covern für Bono, BAP, oder Die Toten Hosen veröffentlicht. Seit 1995 ist sie außerdem Setfotografin für die Filme ihres Mannes Wim Wenders. Begegnet mir! LinkedIn: https://bit.ly/3olKIHK Newsletter: https://bit.ly/ablaufregisseur Mein Buch: https://bit.ly/whyhowwow Chris Cuhls ist als Regisseur, Konzepter und Berater mit diesem Podcast auf der Suche nach den Prinzipien der Wirkung – für Momente, die haften bleiben und Erlebnisse, die Wandel bewirken.

Legendary filmmaker Wim Wenders returns to the show to tell host Rico Gagliano about his Cannes-winning, Oscar-nominated PERFECT DAYS—the story of a Tokyo toilet cleaner who finds joy in routine. They also get into a few of Wenders's favorite things: Japan, travel, Nina Simone, and having time on his hands.PERFECT DAYS will stream exclusively on MUBI in the UK, India, Turkey, and Latin America starting April 12, and the film continues to show in cinemas in the UK & Ireland.To stream more Wenders classics, check out our series "Wim Wenders: King of the Road." Availability of films varies depending on your country.Last summer at the Cannes Film Festival, Rico interviewed Wenders about his 3D documentary ANSELM—watch it here.And hear Rico wax rhapsodic about Wenders's WINGS OF DESIRE—and the formative experience of bingeing on it in a derelict movie palace—in the opening minutes of this episode from our second season.To stream more of the films we've covered on the podcast, check out the collection Featured on the MUBI Podcast. Availability of films varies depending on your country.MUBI is a global streaming service, production company and film distributor dedicated to elevating great cinema. MUBI makes, acquires, curates, and champions extraordinary films, connecting them to audiences all over the world. A place to discover ambitious new films and singular voices, from iconic directors to emerging auteurs. Each carefully chosen by MUBI's curators.

En uno de los momentos estelares de la edición 2023 del Festival de Cannes, Wim Wenders fue reinstalado e el panteón de los "grandes directores", tras la exhibición de Perfect Days, la película que poco antes había filmado en Tokio, con un equipo local, de un modo similar a como hizo Werner Herzog poco antes con la también sorprendente Family Romance LLC (2019). Hilvanado a partir de la rutina diaria de Hirayama —un contratista encargado del aseo de un conjunto de sofisticados baños públicos—, la cinta sigue un camino esencialmente circular, en el que cada uno de los actos del protagonista (despertar, manejar al trabajo, limpiar, almorzar, etc.) se repite con escasas pero significativas variaciones. Desplegados frente al espectador, esos pequeños cambios se reflejan como en un espejo, en el que las experiencia vital del personaje y las de su audiencia se vuelven una. El resultado no sólo complementa y renueva el sentido de la extraordinaria ruta artística emprendida por el joven Wim, en los años 70; también introduce una noción de trascendencia, de comunión entre vida diaria e infinito largamente ausente en el cine contemporáneo. En el proceso, Wenders consigue una suerte de milagro, y sobre eso y otras cosas se discute en este podcast.

This week Flick Ford is joined by festival programmer Thomas Caldwell and local filmmaker / video editor Jack Ralph. Together they review Dev Patel's directorial debut MONKEY MAN, in which Patel also wrote and starred. Patel plays Kid - an underground fighter who unleashes a bloody campaign of vengeance against the corrupt leaders who systemically victimize the poor and powerless. MONKEY MAN trailer - written, directed and starring Dev Patel We also review Wim Wenders' meditative drama PERFECT DAYS. Based on a script written by Wenders and Takuma Takasaki, the film stars Kōji Yakusho as a toilet cleaner who likes to capture moments of beauty in everyday life. PERFECT DAYS, written by by Wenders and Takuma Takasaki. Follow Primal Screen on socials: Facebook: https://www.facebook.com/primalscreenshow/ Instagram: https://www.instagram.com/primal_screen_show/ Twitter: https://twitter.com/primal_screen

When Francis Ford Coppola hired German auteur Wim Wenders to direct his first American film, little did he suspect the difficulty that film would have getting to screens.  The movie was Hammett, a fictionalized account of the mystery writer Dasheill Hammett's second career as a private investigator.  In real life, Hammett stuck to penning noirs but in Wenders' film he's enlisted to solve the disappearance of a San Francisco woman.  The film was entirely reshot on sound stages after Orion Pictures expressed dissatisfaction with Wenders expansive shot-on-location first edit.  It stars Frederic Forrest, Peter Boyle, Marilu Henner, Lydia Lei and Elisha Cook Jr. Dan and Vicky discuss the much maligned film along with plenty of recently seen including El Conde, Madam Web, The Color Purple, Nyad, Rustin, The Zone of Interest, Imaginary, and the Dune films. Check us out on all our socials:  hotdatepod.com FB:  Hot Date Podcast Twitter: @HotDate726 Insta:  hotdatepod

On the two hundred and thirty-sixth episode of THE THIRD ACT PODCAST the crew is making their shadows overlap.The crew gets in front of the mics to talk about two films from Wim Wenders for a theme we're calling, Wenders' Game. We dig into the story of a quiet man who cleans bathrooms in PERFECT DAYS. We also check out a documentary exploring the city of Tokyo and work of Yasujiro Ozu in TOKYO-GA. We also discuss Adam Sandler, golf, and TikTok.Keep in touch with us on Instagram and email us anytime at: TheThirdActPodcast@gmail.com  

Perfect Days is a 2023 drama film directed by Wim Wenders, from a script written by Wenders and Takuma Takasaki. A co-production between Japan and Germany, the film combines four short stories and stars Kōji Yakusho in the role of a toilet cleaner. The film competed for the Palme d'Or at the 2023 Cannes Film Festival, where it premiered on 25 May and won the Prize of the Ecumenical Jury and the Best Actor Award for Kōji Yakusho. It was nominated for the Best International Feature Film at the 96th Academy Awards, becoming the first film not directed by a Japanese filmmaker to be nominated as the Japanese entry. --- Send in a voice message: https://podcasters.spotify.com/pod/show/popcorn-junkies/message

Piccolo cambiamento in questa puntata: invece di andare a cercare qualcosa di vecchio da recuperare vi proponiamo due film usciti da poco al cinema, perché i consigli alla macchina del caffé non si limitano certo al passato, no? Film che, lo vedrete, hanno anche dei punti in comune, a partire dal riconoscimento di ciò che siamo e ciò che vogliamo: si parte con Silvia che racconta "Perfect Days", di Wim Wenders, e si prosegue con "Poor Things/Povere Creature" di Yorgos Lanthimos con un cast su cui svetta l'incredibile Emma Stone.Li avete visti? Li vedrete?--Qui tutti i link:https://oldmanaries.it/index.php/potrebbe-piacerti/https://silviacolaneri.it/potrebbe-piacerti/----Per contattarci:Pagina Facebook: https://www.facebook.com/potrebbepiacertiAccount Instagram: @potrebbepiacertiSergio: https://www.oldmanaries.it - Instagram: @OldManAriesSilvia: https://www.silviacolaneri.it - Instagram: @Silosa

El Mariskal siempre cuenta que no es ningún crítico de cine, lo suyo es el rock and roll; pero sí uno de los grandes amantes con los que cuenta el séptimo arte. Por ello, no podía dejar pasar la oportunidad de repasar, y celebrar, la película que le ha fascinado en estos últmos tiempo: 'Perfect Day'. Se trata de la última obra del director alemán Wim Wenders, en la que se narra un día en la vida de un limpiador de retretes de la ciudad de Tokyo; quien resulta ser un enamorado del casete. De hecho, toda la película es un canto a la nostalgia y a una forma de vivir sencilla, coherente y a contracorriente. Una cinta donde el término FOMO no tiene cabida (siglas que hacen referencia, en inglés, al miedo a perderse las tendencias del momento). Es todo lo contrario, pero desde la humildad y la sencillez.Y lo que nos trae hasta aquí no solo es la historia de la película, sino que la música es una de las grandes protagonistas. A través de ella, Wenders nos sitúa emocionalmente en ...

El Mariskal siempre cuenta que no es ningún crítico de cine, lo suyo es el rock and roll; pero sí uno de los grandes amantes con los que cuenta el séptimo arte. Por ello, no podía dejar pasar la oportunidad de repasar, y celebrar, la película que le ha fascinado en estos últmos tiempo: 'Perfect Day'. Se trata de la última obra del director alemán Wim Wenders, en la que se narra un día en la vida de un limpiador de retretes de la ciudad de Tokyo; quien resulta ser un enamorado del casete. De hecho, toda la película es un canto a la nostalgia y a una forma de vivir sencilla, coherente y a contracorriente. Una cinta donde el término FOMO no tiene cabida (siglas que hacen referencia, en inglés, al miedo a perderse las tendencias del momento). Es todo lo contrario, pero desde la humildad y la sencillez.Y lo que nos trae hasta aquí no solo es la historia de la película, sino que la música es una de las grandes protagonistas. A través de ella, Wenders nos sitúa emocionalmente en las vivencias del día de nuestro protagonista. Y para revisar toda esta propuesta, contamos con el director...

Wim Wenders finds inspiration in Japanese public lavatories in Perfect Days, a slice of life drama about Hirayama, a janitor who finds quiet happiness in his routine of travelling from public convenience to public convenience cleaning, photographing trees in the park, being welcomed at restaurants by proprietors who fetch him his usuals, and reading books before bed. We discuss Wenders' delicate touch and observational eye, Kōji Yakusho's central performance, for which he was named Best Actor at Cannes, how small moments indicate whole avenues of a person's life, and the film's theme of connections between the individual worlds in which we live. Recorded on 18th February 2024.

Acompaña a Hirayama, limpiador de baños públicos en Tokio, en su rutina de trabajo y sus aficiones a la música, los libros y la fotografía en su tiempo libre. El nuevo largometraje de Wim Wenders ('Buena Vista Social Club', 'París, Texas') es una coproducción entre Japón y Alemania, y está nominada como mejor película internacional en los premios Oscar. Se filmó en tan solo 17 días, y es protagonizada por un impecable Kōji Yakusho. Ya disponible en salas de cine.

Episode 174 of Find Your Film features interviews with Pawo Choyning Dorji (9:47), the writer/director of The Monk and the Gun and Perfect Days writers Wim Wenders and Takuma Takasaki (24:28). Wenders also directed Perfect Days.1. Follow Find Your Film on Twitter, Facebook, and Instagram.2. Subscribe to our YouTube Channel Find Your Film3. For more movie coverage go to findyourfilms.com4. Find Your Film and CinemAddicts merch is available: https://www.findyourfilmpodcast.com/5. Join our CinemAddicts Facebook Group for daily movie talk and recommendations.: https://www.facebook.com/groups/cinemaddictspodcast/6. Members of our CinemAddicts Patreon receive a bonus episode per month and exclusive Movie spoilers (discussed by actors and filmmakers) Hosted on Acast. See acast.com/privacy for more information.

Gli ultimi film di Hayao Miyazaki e Wim Wenders sono molto più simili di quanto si possa pensare: ecco di cosa parlano. Questo episodio è stato sponsorizzato da NordVPN, che supporta il podcast e il mio lavoro. Vai su https://nordvpn.com/dufer e inserisci il nostro coupon DUFER per avere uno sconto esclusivo. ⬇⬇⬇SE VUOI CONOSCERCI MEGLIO⬇⬇ Abbonati al canale da 0,99 al mese ➤➤➤ https://bit.ly/memberdufer Spettacoli e conferenze in tutta Italia ➤➤➤ https://www.dailycogito.com/eventi La CogitoLetter quotidiana ➤➤➤ http://eepurl.com/c-LKfz Il videocorso per parlare bene ➤➤➤ https://www.dailycogito.com/video-corso/ Il videocorso tra filosofia e psicologia ➤➤➤ https://psinel.com/psicostoici-sp/ Tutti i miei libri ➤➤➤ https://www.dailycogito.com/libri/ Canale Discord (chat per abbonati) ➤➤➤ https://discord.gg/pSVdzMB Il negozio (felpe, tazze, maglie e altro) ➤➤➤ https://www.dailycogito.org/ #hayaomiyazaki #wimwenders #perfectdays INSTAGRAM: https://instagram.com/rickdufer INSTAGRAM di Daily Cogito: https://instagram.com/dailycogito TELEGRAM: http://bit.ly/DuFerTelegram FACEBOOK: http://bit.ly/duferfb LINKEDIN: https://www.linkedin.com/pub/riccardo-dal-ferro/31/845/b14 -------------------------------------------------------------------------------------------- Chi sono io: https://www.dailycogito.com/rick-dufer/ -------------------------------------------------------------------------------------------- La musica della sigla è tratta da Epidemic Sound (Ace-High, "Splasher"): https://login.epidemicsound.com/ - la voce della sigla è di ELIO BIFFI Learn more about your ad choices. Visit megaphone.fm/adchoices

La nueva película del maestro Win Wenders es una auténtica oda al cine y a los superhéroes cotidianos. "Perfect days" es una de esas películas maravillosas que nos encanta recomendar aquí. 

Min 4: EL FILTRO LUCHINI Los Globos de Oro han coronado esta semana a “Oppenheimer” como el gran filme del año y nuestros críticos, Alberto Luchini y Raquel Hernández, valoran el criterio de la prensa extranjera especializada de Hollywood, que ha vuelto a demostrar más criterio y equilibrio que la propia Academia de Cine norteamericana. Min 6: “Perfect Days”: Wenders lo borda a la japonesa ¿Por qué el regreso de Win Wenders con la producción japonesa “Perfect Days” es la gran recomendación cinéfila de la semana? El regreso del cineasta alemán con este manual sobre la vida se convierte, por su calidad y aparante sencillez, en otra de las grandes rivales de Bayona de cara al Oscar a la Mejor Película de Habla No Inglesa. Min 13: “Beekeeper: el Protector”: Statham, a mamporro limpio ¿Por qué el regreso de Jaso Statham en “Beekeeper” ofrece justo lo que te imaginas? El taquillazo cantado de la semana no se complica y ofrece una historia de venganza y ajuste de cuentas ideal para los amantes de sagas como “The Equalizer” o “John Wick”. Min 19: “Chicas malas”: un remake en clave musical ¿Por qué el remake de “Chicas malas” en clave de musical ha decepcionado a Raquel Hernández y se convierte en un sorpresivo “placer culpable” para Alberto Luchini? Min 25: “Valle de Sombras”, Salvador Calvo se atreve con el Himalaya ¿Por qué el título español estrella de la cartelera puede lucir de ser una gran producción pero flojea su resultado final? El solvente director Salvador Calvo (“Adú”, “Los últimos de Filipinas”) coloca a Miguel Herrán y a Susana Abaitua en el corazón del Himalaya para encogernos con un thriller que desaprovecha el tono aventurero que se le presupone. Min 32: ESEPCIAL BSO UNIVERSO WENDERS Y ya que el regreso de Wim Wenders con “Perfect Days” es la gran noticia cinéfila de la semana, le hemos pedido a nuestro crítico musical, Ángel Luque, que recorra el legado del realizador alemán a través de algunas de las bandas sonoras más significativas de su carrera. “París-Texas”, “Historias de Lisboa”, “The Land of plenty”, “Shooting Palermo” o “Hasta el fin del mundo” son los títulos que van a protagonizar nuestra zambullida en el universo musical del imprevisible y cosmopolita cineasta germano.

Bailamos con 'O corasón como un after' de the Rapants, visitamos las redes sociales del Museo del Prado, Conxita Casanovas y Win Wenders y descubrimos Nudozurdo con Leyre Guerrero.Escuchar audio

This week we're excited to present a conversation with Anselm director Wim Wenders moderated by filmmaker Michèle Stephenson. Anselm is now playing at Film at Lincoln Center, in stunning 3D! Get tickets at filmlinc.org/anselm Oscar-nominated director Wim Wenders traces the life of Anselm Kiefer, one of the most innovative and influential fine artists working today. For more than five decades, Kiefer's paintings and sculptures have confronted his native Germany's dark past through a vast network of cultural references in a dazzling mixture of 35mm and 16mm film stocks, with a distinctive focus on physical elements: from lead, glass, and textiles to found and incinerated organic matter. As he did for his sublime portrait of Pina Bausch in 2011, Wenders employs groundbreaking stereoscopic cinematography to transport us to key chapters of Kiefer's early life in post-Nazi Germany and throughout his 100-acre studio in France. Anselm, which debuted at this year's Cannes Film Festival, is a portrait of an artist at work like you've never seen before—an indelible visual experience and a vivid tour of Kiefer's imposing yet intricately textured works. A Sideshow/Janus Films release.

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German filmmaker Wim Wenders is a cinematic legend who has given us many classic films, including "Paris, Texas," "Wings Of Desire," "Until the End of the World," "Buena Vista Social Club," "Pina," "The Salt of the Earth," this year's "Perfect Days" and now, his latest documentary "Anselm." Shot in stunning 3D, the look at German painter and sculptor Anselm Kiefer's works of art is striking in its form and execution by Wenders. The Academy Award-nominated director was kind enough to spend some time talking with us about his latest film, which you can listen to below. The film will receive a limited release from Janus Films this weekend in New York and is up for your consideration for Best Documentary Feature Film. Please be sure to check out the film and take a listen below. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... SoundCloud - https://soundcloud.com/nextbestpicturepodcast Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture Learn more about your ad choices. Visit megaphone.fm/adchoices

Both were born in 1945 in Germany during the last year of WWII. Both became giants of the modern German art movement: Anselm Kiefer as a painter and sculptor; Wim Wenders as a filmmaker whose landmark films include “Wings of Desire”, “Paris, Texas” and “The American Friend”. The two had met in 1991 and discussed the possibility of doing a film together, but it wasn't until the two collaborated on Wenders' new 3-D documentary “Anselm” that the stars were finally aligned.   Joining Ken on the pod, Wenders paints a picture of this monumental artist whose vast studio spaces are as much works of art as the paintings and sculptures that are housed there. For Wenders, what makes working in 3-D such a crucial element in immersing the audience in these dynamic environments? How has Wenders incorporated elements of fiction into his documentaries and vice versa? And why is it so important to him to create a portrait of the art rather than of the artist? It may have taken over 75 years for these two legendary artists to work together, but the payoff was well worth waiting for.   Hidden Gem: “Reality Winner”   “Anselm” is released by Sideshow and Janus Films and opens in LA in 3-D at the Laemmle Glendale on December 15.   Follow: @wimwendersfoundation on Instagram and @wimwenders on twitter @topdocspod on Instagram and twitter   The Presenting Sponsor of "Top Docs" is Netflix.

durée : 00:58:31 - Les voyages de Wim Wenders - par : Thierry Jousse - L'année 2023 a marqué le retour de Wim Wenders sur le devant de la scène, avec deux films nouveaux, le documentaire Anselm et la fiction Perfect Days. Sans oublier une poignée des classiques du cinéaste allemand restaurés et à nouveau disponibles. Ciné Tempo fait le point en musique.

durée : 00:58:42 - Plan large - par : Antoine Guillot - Un Plan Large en territoires mutants, avec Wim Wenders pour "Perfect Days", Bertrand Mandico pour "Conann", et aussi François Caillat, et Mathieu Macheret. - invités : Wim Wenders Réalisateur, producteur, scénariste de cinéma et photographe allemand; Bertrand Mandico Cinéaste; François Caillat Cinéaste ; Mathieu Macheret Critique de cinéma, journaliste au Monde et aux Cahiers du Cinéma

durée : 00:58:42 - Plan large - par : Antoine Guillot - Un Plan Large en territoires mutants, avec Wim Wenders pour "Perfect Days", Bertrand Mandico pour "Conann", et aussi François Caillat, et Mathieu Macheret. - invités : Wim Wenders Réalisateur, producteur, scénariste de cinéma et photographe allemand; Bertrand Mandico Cinéaste; François Caillat Cinéaste ; Mathieu Macheret Critique de cinéma, journaliste au Monde et aux Cahiers du Cinéma

durée : 00:37:50 - Le 18/20 · Un jour dans le monde - Wim Wenders pose sa caméra au Japon, où son protagoniste, Monsieur Hirayama nettoie les toilettes publiques à Tokyo. Présenté à Cannes, "Perfect days" est un éloge de la vie simple, douce et lente.

durée : 00:37:50 - Le 18/20 · Un jour dans le monde - Wim Wenders pose sa caméra au Japon, où son protagoniste, Monsieur Hirayama nettoie les toilettes publiques à Tokyo. Présenté à Cannes, "Perfect days" est un éloge de la vie simple, douce et lente.

Our "Alone for the Holidays" season kicks off with writer/director Pat Bishop (This Fool, Corporate) joining to discuss Wim Wenders's 1984 road film, PARIS, TEXAS starring Harry Dean Stanton, Nastassja Kinski, and Dean Stockwell. Scripted by Sam Shepard, the film opens in the Mojave desert where Travis (Stanton) emerges from years of self-imposed isolation. After reuniting with his brother Walt (Stockwell) and son Hunter (Hunter Carson), Travis's complicated past comes into greater focus, spurning another road trip of reconciliation. Featuring vibrant camerawork by Robby Müller and a starkly soulful musical score by Ry Cooder, PARIS, TEXAS was awarded the 1984 Palme d'Or and is now widely considered Stanton's iconic role and Wenders's American masterpiece. Join Mama Needs a Movie on a trip through PARIS, TEXAS that includes pit stops into Twin Peaks, The End of Violence, John Ford, '80s interest rates, Disney+, The Last Temptation of Christ, peep shows, Baywatch and much, much more! PARIS, TEXAS is available to stream with subscription to The Criterion Channel or Max.

Obwohl Hollywoods Schauspielgilde weiter streikt, darf das ZFF erneut viele Stargäste begrüssen: Zum Beispiel Ethan Hawke, der in seinem Biopic «Wildcat» die eigene Tochter ins beste Licht rückt. Oder den Filmpoeten Wim Wenders, der mit Eva Wannenmacher über die Würde des WC-Putzens gesprochen hat. Ethan Hawkes Familienprojekt «Wildcat»: Eine Herzensangelegenheit Als Schauspieler ist Ethan Hawke seit «Dead Poets Society» (1989) weltberühmt. In den 90ern betörte er in der Kultromanze «Before Sunrise», bevor er 2002 für seine Performance in «Training Day» die erste von vier Oscarnominierungen erhielt. Was wenige wissen: Nur zwei davon kriegte er als Darsteller, die anderen als Autor. Geschrieben hat Hawke auch das Skript von «Wildcat»: So heisst sein neues Biopic über die einflussreiche US-Schriftstellerin Flannery O'Connor. Gespielt wird diese von Ethan Hawkes eigener Tochter Maya. Und auch seine Frau Ryan hatte als Produzentin die Finger mit im Spiel. Schweizer Kino für die ganze Welt? Michael Steiners «Early Birds» Welche Schweizer Geschichten besitzen das Potenzial, ein internationales Publikum zu erobern? Diese leider nicht leicht beantwortbare Frage wurde am Zurich Film Festival unter anderem im Rahmen des «SRF Writer's Day» diskutiert. Der ausgewiesene Spezialist für helvetische Kassenschlager, Michael Steiner («Mein Name ist Eugen», «Grounding», «Wokenbruch»), liess gleich Taten sprechen, indem er einen rasanten Thriller mit englischem Titel als ZFF-Gala-Premiere präsentierte: «Early Birds» spielt an der Zürcher Langstrasse und ist die erste Schweizer Produktion, die von Netflix mitfinanziert wurde. «Anselm» und «Perfect Days»: Die neuen Filmwunder von Wim Wenders Der 78-jährige Deutsche hat zwei frische Regiearbeiten mit nach Zürich gebracht. Einerseits «Perfect Days» – das stille Porträt eines Japaners, der stille Örtchen reinigt. Das gefühlvoll inszenierte Drama wurde in Cannes gleich doppelt gewürdigt: Hauptdarsteller Kōji Yakusho als bester Schauspieler, während Wim Wenders den Preis der ökumenischen Jury erhielt. Ebenfalls an der Croisette hatte Wenders' neuester 3D-Film Weltpremiere gefeiert: Die immersive Doku «Anselm» würdigt das Werk des deutschen Ausnahmekünstlers Anselm Kiefer, indem sie die Grenzen zwischen Film und Malerei subtil verwischt.

Felicia is joined by Joe Gantner to discuss Robby Müller's vision of the underground crime scene in LA, in William Friedkin's To Live and Die in LA (1985). We get right into why this is one of the sexiest crime films of the 80s, and Müller's use of red and green throughout which set the time of the story. We also gush about William Petersen's ass acting, and how no one will ever be able to live up to such a brave performance. Send us your thoughts on the episode - what are your thoughts on the counterfeit scenes? Do you like Wang Chungs soundtrack? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Joey here: IG: @outofthepodcast IG: @warmcoat Sources: To Live and Die in L.A. movie review (1985) | Roger Ebert Life Authentic | To Live and Die in L.A. (1985) - Bright Wall/Dark Room (brightwalldarkroom.com) The Film That Returned William Friedkin to Critical Acclaim | Vanity Fair Robby Muller a muse to Wenders, Jarmusch, Friedkin - Variety Celebrating Robby Müller, Who Created Look of Indie Film Classics - The New York Times (nytimes.com) Robby Müller obituary: a king of the quizzical image | Sight & Sound | BFI To Live and Die in L.A. Blu-ray - Willem Dafoe (dvdbeaver.com)Eddie and Ben Friday Night Neo-Noir: To Live and Die in L.A. (1985) intro 20210716 Outro music: To Live and Die in La by Wang Chung FILMS MENTIONED: Down By Law (Jim Jarmusch 1986) Thief (Michael Mann 1981) Manhunter (Michael Mann 1986) Repo Man (Alex Cox 1984) Gleaming the Cube (Graeme Clifford 1989) The Exorcist (William Friedkin 1973) The French Connection (William Friedkin 1971) Sorcerer (William Friedkin 1977) Paris, Texas (Wim Wenders 1984) Touch of Evil (Orson Welles 1958) Streets of Fire (Walter Hill 1984) The Warriors (Walter Hill 1979) 48 Hrs. (Walter Hill 1982) Bullitt (Peter Yates 1968) The Getaway (Sam Peckinpah 1972) The Driver (Walter Hill 1978) Dead Man (Jim Jarmusch 1995) The Yakuza (Sydney Pollack 1974) Hardcore (Paul Schrader 1979) Jade (William Friedkin 1995) Miracle Mile Steve De Jarnatt 1989)

Wim Wenders' 1977 Euro-noir, THE AMERICAN FRIEND, is our feature presentation this week. We talk the performances of Dennis Hopper and Bruno Ganz, Wenders obsession with the author of the source material, the beautifully captured ugliness of the film, and much much more. Plus, we get into this week's SILVER SCREEN 7 where we pick our TOP 7 FOREIGN FILMS RELEASED on CRITERION COLLECTION. Check out the second film in our June series, JUNE GLOOM. It's been a bummerific good time.

To kick off our mini-season of conversations taped on location at the 2023 Cannes film festival, host Rico Gagliano meets up with legendary director Wim Wenders (Buena Vista Social Club; Paris, Texas). The subject of their conversation: Wenders' new 3D documentary Anselm, which plunges the audience into the work of German fine artist Anselm Kiefer.  Wenders explains why he loves making art about artists, and how Kiefer's dark, often confrontational pieces... are actually childlike.Every May, the population of sleepy Cannes, France triples — as film pros and cinephiles from around the globe convene for the two-week movie-thon called the Cannes Film Festival.  For the fourth season of the MUBI Podcast, we sent host Rico Gagliano into the eye of this celluloid storm, accompanied by an intrepid camera crew, to grab interviews with a cross-section of filmmakers who made Cannes 2023 one of the most celebrated in years.  Guests include legendary director Wim Wenders, perennial Cannes favorites Kleber Mendonca Filho and Monia Chokri, and a slew of new filmmakers destined to be world cinema's next wave — from Belgian hip-hopper-turned-auteur Baloji to New York's wry boundary-smasher Joanna Arnow.Episodes air twice weekly.  Follow and watch on Spotify or Youtube... or listen wherever you get your podcasts.MUBI is a global streaming service, production company and film distributor dedicated to elevating great cinema. MUBI makes, acquires, curates, and champions extraordinary films, connecting them to audiences all over the world. A place to discover ambitious new films and singular voices, from iconic directors to emerging auteurs. Each carefully chosen by MUBI's curators.

durée : 00:10:43 - Les Nuits de France Culture - Place aux films et aux cinéastes auxquels le Festival de Cannes a attribué ses Palmes d'Or avec un programme d'archives proposé par Albane Penaranda, à l'occasion de la 76ᵉ édition du Festival de Cannes. Au programme : De Sica, Wenders, Pialat, "Apocalypse Now", Kiarostami, et 50 ans de Croisette...

durée : 00:58:24 - Plan large - par : Antoine Guillot - De la barbarie, ce samedi dans Plan Large, en direct du Festival de Cannes, avec Betrand Mandico, Kaouther Ben Hania, Nuri Bilge Ceylan, Wim Wenders, et aussi N.T. Binh. - invités : Bertrand Mandico Cinéaste; Kaouther Ben Hania Cinéaste; Wim Wenders Réalisateur, producteur, scénariste de cinéma et photographe allemand; Nuri Bilge Ceylan Cinéaste turc; N.T. Binh Journaliste, critique, enseignant de cinéma (Université Paris 1 Panthéon-Sorbonne)

2023 was the year that Overlapping Dialogue went out of control. No one knew where it might land. It soared above the ozone layer like a lethal bird of prey. The whole world was alarmed. Only Kyle & Levi couldn't care less... In our second episode celebrating the cinema of the 1990s, we hitch a ride in the way-back machine and head straight ahead into the year of 1991 with a double feature that would collectively captivate you for nearly 9 hours: A Brighter Summer Day & Until the End of the World! But before we travel through the weighty contexts surrounding both films, we dig into a Blue Plate Special that belatedly celebrates the 2008 HBO miniseries John Adams and finds a distressing degree of comfort in the two most recent entries in the Evil Dead franchise (2013's Evil Dead and the newly released Evil Dead Rise). We make quick work of the deadites and eventually arrive to this episode's marquee pairing: listen as we marvel at the revelatory slice of life cinema of Edward Yang, the reflective yet rollicking magnum opus of Wim Wenders, and ponder the ways in which both works reflect upon and conclude a 20th century reaching its uncertain conclusion. Stay till the at once sweet yet bitter end for a very special gift, Mr. Wenders himself! In his his second appearance on the pod (albeit his first as a communicatory android), the German New Wave auteur reflects on a whole host of topics, ranging from Sam Neill Pop Funko vinyls, his failed attempt to remake Fantasia in live action in the late 90s, and the unforeseen ways Gary Busey impacted his life forever. As always, please like, subscribe, rate, and review us on all of our channels, which include Apple Podcasts, Spotify, and YouTube! Contact us at huffmanbrothersproductions@gmail.com with your questions, comments, and requests.

It's been a minute but we're back! With writer and Bright Wall OG (literally, she wrote essay 1 for issue 1) Karina Wolf to discuss Wim Wenders' iconic Wings of Desire (1987), a film that bridges “road movies” and “siblings” (trust us).We get into the essential decency of Bruno Ganz, Peter Falk's warmth, transformative romance, whether angels have grandmas, Henri Alekan's dignifying vision, Wim Wenders' lack of strategy, how particulars turn universal, and more.Here is Karina's terrific essay on Wings of Desire for BW/DR, and here's her wonderful piece on Wenders' Until the End of the World (1991).The Bright Wall/Dark Room Podcast is co-hosted by Veronica Fitzpatrick and Chad Perman and produced and edited by Eli Sands. Our theme music is composed by Chad.This episode is sponsored by Galerie, a new kind of film club. Listeners can sign up for early access at https://join.galerie.com/bwdr.You can find all 115+ issues of Bright Wall/Dark Room at brightwalldarkroom.com.Listeners: please subscribe, rate, review. We're on Twitter @BWDR and @TheBWDRPodcast, and we welcome feedback and inquiries at podcast@brightwalldarkroom.com.Thanks for listening; we missed you, too.

One minute you're playing expert spoiler to would-be forgers at an art auction, the next minute you're saving one such forger before he falls to his death off a speeding bullet train. As disgraced British Prime Minister Boris Johnson would say, "...them's the breaks!" This week's episode, perhaps the most special in our history, has us palling alongside a delightful pack of miscreants with 1977's The American Friend! But before we get around to our latest entry in our series of crime films, this week's Blue Plate Special finds us contrasting the listless Airport 1975 with the eclectic brilliance of The Red Shoes, Menace II Society, and Moulin Rouge! before celebrating the lives of James Caan and Tony Sirico. Upon checking off all our boxes and stocking up on all the essentials, we finally hit the open road with none other than director of The American Friend himself, Wim Wenders- who joined us live and in person at the Huffman Brothers Productions Studios! Listen as the German New Wave icon dishes on the arduous production process with madman Dennis Hopper, his tempestuous collaboration with Patricia Highsmith, where his relationship with Francis Ford Coppola currently stands, and what he remembers about Caldwell County's own Willard Blevins from the early 1980s. We were incredibly honored to have Mr. Wenders on the pod and I think our conversation with him lived up to the hype! Feel free to skip to 2:33:35 for our conversation with Wim Wenders and 3:06:05 for the beginning of our audio commentary. As always, please like, subscribe, rate, and review us on all of our channels, which include Apple Podcasts, Spotify, and YouTube! Contact us at huffmanbrothersproductions@gmail.com with your questions, comments, and requests.

What is education? Most of the time, we have little patience for this question because we take the answer to be obvious: we identify education with school learning. This book focuses on education outside of the school context as a basis for criticizing and improving school learning. Following the examples of Jean-Jacques Rousseau and John Dewey, Arcilla seeks to harmonize schooling with a more pervasive education we are all naturally undergoing. He develops a philosophical theory of education that stresses the experience of being led out —a theory latent in the Latin term, “educere”— by examining the road movies of Wim Wenders. Wim Wenders's Road Movie Philosophy: Education Without Learning (Bloomsbury, 2020) contributes both to our understanding of another crucial kind of education our schooling could better serve, and to our appreciation of what unifies and distinguishes Wenders's achievements in cinema. René V. Arcilla is Professor of Philosophy of Education in the Steinhardt School of Education, at New York University Gustavo E. Gutiérrez Suárez is PhD candidate in Social Anthropology, and BA in Social Communication. His areas of interest include Andean and Amazonian Anthropology, Film theory and aesthetics. You can follow him on Twitter vía @GustavoEGSuarez Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

What is education? Most of the time, we have little patience for this question because we take the answer to be obvious: we identify education with school learning. This book focuses on education outside of the school context as a basis for criticizing and improving school learning. Following the examples of Jean-Jacques Rousseau and John Dewey, Arcilla seeks to harmonize schooling with a more pervasive education we are all naturally undergoing. He develops a philosophical theory of education that stresses the experience of being led out —a theory latent in the Latin term, “educere”— by examining the road movies of Wim Wenders. Wim Wenders's Road Movie Philosophy: Education Without Learning (Bloomsbury, 2020) contributes both to our understanding of another crucial kind of education our schooling could better serve, and to our appreciation of what unifies and distinguishes Wenders's achievements in cinema. René V. Arcilla is Professor of Philosophy of Education in the Steinhardt School of Education, at New York University Gustavo E. Gutiérrez Suárez is PhD candidate in Social Anthropology, and BA in Social Communication. His areas of interest include Andean and Amazonian Anthropology, Film theory and aesthetics. You can follow him on Twitter vía @GustavoEGSuarez Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

What is education? Most of the time, we have little patience for this question because we take the answer to be obvious: we identify education with school learning. This book focuses on education outside of the school context as a basis for criticizing and improving school learning. Following the examples of Jean-Jacques Rousseau and John Dewey, Arcilla seeks to harmonize schooling with a more pervasive education we are all naturally undergoing. He develops a philosophical theory of education that stresses the experience of being led out —a theory latent in the Latin term, “educere”— by examining the road movies of Wim Wenders. Wim Wenders's Road Movie Philosophy: Education Without Learning (Bloomsbury, 2020) contributes both to our understanding of another crucial kind of education our schooling could better serve, and to our appreciation of what unifies and distinguishes Wenders's achievements in cinema. René V. Arcilla is Professor of Philosophy of Education in the Steinhardt School of Education, at New York University Gustavo E. Gutiérrez Suárez is PhD candidate in Social Anthropology, and BA in Social Communication. His areas of interest include Andean and Amazonian Anthropology, Film theory and aesthetics. You can follow him on Twitter vía @GustavoEGSuarez Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

What is education? Most of the time, we have little patience for this question because we take the answer to be obvious: we identify education with school learning. This book focuses on education outside of the school context as a basis for criticizing and improving school learning. Following the examples of Jean-Jacques Rousseau and John Dewey, Arcilla seeks to harmonize schooling with a more pervasive education we are all naturally undergoing. He develops a philosophical theory of education that stresses the experience of being led out —a theory latent in the Latin term, “educere”— by examining the road movies of Wim Wenders. Wim Wenders's Road Movie Philosophy: Education Without Learning (Bloomsbury, 2020) contributes both to our understanding of another crucial kind of education our schooling could better serve, and to our appreciation of what unifies and distinguishes Wenders's achievements in cinema. René V. Arcilla is Professor of Philosophy of Education in the Steinhardt School of Education, at New York University Gustavo E. Gutiérrez Suárez is PhD candidate in Social Anthropology, and BA in Social Communication. His areas of interest include Andean and Amazonian Anthropology, Film theory and aesthetics. You can follow him on Twitter vía @GustavoEGSuarez Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts