Eve Heller studied under Brakhage and talks about her experience with him somewhere between admiration, inspiration and necessary emancipation.
Taking our retrospective of the films of Mario Monicelli as a starting point, Christoph Huber and Patrick Holzapfel discuss the neglected history of assistant directors in cinema.
Detroit-based painter Lizzie Borden discovered alternative approaches to cinema in the early 1970s, making her self-taught debut with the (long considered lost) women’s group film essay Regrouping (1976). The anarchic future vision Born in Flames (1983) made her an icon…
Some quotes of “The Magic Lantern” by Ingmar Bergman. About dreams, nightmares, memories and cinema. Our current retrospective runs until to February 8, 2018.
On the day the joint retrospective of the Austrian Film Museum and the Viennale started Patrick Holzapfel sat down with curators Naum Kleiman and Artiom Sopin to discuss their curatorial approach and some highlights of the retrospective. In the middle…
Famous for his great film noir work in Hollywood, Robert Siodmak may be the most intriguing of the many exile filmmakers who fled from the Nazi regime and established a career in the US. Our recent Weimar retrospective showcased some examples of his astonishing early work in Germany–one official classic, his equally remarkable follow-up film (with yet another alternative surprise ending!) and one stunning item that had been considered lost. Now that it has been “rediscovered”, Emil Jannings will never be the same.
I am not a big fan of Federico Fellini, but I have to admit his episode from the Edgar Allen Poe omnibus Histoires extraordinaires (Spirits of the Dead, 1968) is truly extraordinary. Probably because his penchant for the grotesque does not seem misplaced in the world of horror fantasy (replete with Mario Bava quote). Then, there’s Terence Stamp’s bravura performance. And it even has a donkey.
As our Godard retrospective opens, it’s time to consider the fact–Godard would surely agree–that everyone is (or should be) indebted to Raoul Walsh.
Over a decade in the making, the German synchronized sound version of Battleship Potemkin shows at the Film Museum. With composer Edmund Meisel’s truly striking score wedded to the images, this “Viennese Version” is an entirely new experience.
Or how we discovered another ending of Dino Risis’s Il segno di Venere (The Sign of Venus, 1955), starring Sophia Loren and Vittorio De Sica.