Withdrawing these films would be Netflix’s “fuck you” to the festival and French exhibitors combined. I’m not saying that a good film going straight to Netlix is necessarily cause for mourning on the part of its makers and fans, but a lot of people in this industry feel that way. All makeup, nothing digital, played by actors in makeup and no deep-register gurgling.You have to acknowledge that the faith of theatrical is in everyone’s bloodstream, and that you can’t just say “no theatrical, fuck off, we live in a streaming world, get used to it.” That’s harsh. without an initial theatrical opening of some kind, so you’ve already capitulated to some extent. Due respect but from my perspective you’ll be doing a rotten, rotten thing by preventing Cuaron’s film from playing in Cannes, not to mention the Greengrass, the Welles and Morgan Neville‘s Welles documentary, . Yes, exhibition has all but divested itself from quality-level films and has devolved into a brothel of CG spectacle and almost nothing else, but great cinema has been nurturing and flourishing in theatres for the last century or so, and you can’t just say “okay, no more theatres” just like that. A large brown praying mantis with a human-skull head with moving parts that pop in and out. All I saw was yet another competitive CG creation, built by designers who are looking to create a cooler-looking monster than the one they all saw in the last big monster film. But there is more to Welles than what we think we know of him: for every one of those 12 features, there are dozens of unseen works of varying stripes: fragments, test shots, rushes, and even a few nearly finished films which, for various reasons (usually legal or financial), Welles was unable to complete or release during his lifetime.In the category of ‘nearly finished films’ is , a thriller shot in the late ’60s upon which Welles suspended work either because his leading man, Laurence Harvey, had died unexpectedly or because he simply decided there were more important projects to funnel his money into., that were slated to premiere during next month’s Cannes Film Festival.Netflix is angry about a decision last year by festival topper Thierry Fremaux to exclude their films from competition, which was prompted by Netflix’s refusal to book films theatrically in France. Your no-theatrical-release policy has cast a pall over the film industry.assembles sections of a project Welles shot on and off from 1976 until 1985, intended to be a definitive cinematic record of his best magic tricks, mixed with elements of history and autobiography as well as narrative segments.The Munich assembly includes only the material Welles edited and combined with sound, but even in this highly truncated and abbreviated form, the project has the aura of a major work.
Written in 1978 in collaboration with Oja Kodar – Welles’ closest companion and most important creative collaborator during the last two decades of his life – and continually revised until his death, the script is based on two stories by Isak Dinesen (née Karen Blixen), “The Dreamers” and “Echoes.” From them, Welles and Kodar wove the tale of opera singer Pellegrina Leoni, who, after losing her voice in a fire, determines to abandon her life, wishing from then on to lead the lives of many.In that sense, yes.” Describing how he envisioned the project to Krohn, Welles said, “Well, it’s on a large scale, but it must be awfully perfectly and beautifully done, on a slightly unreal basis because it’s true Gothic romance, you know, it’s heavily romantic and dreamlike and so on” (6).The script, tantalisingly suggestive of this vision, is one of the finest I’ve ever read.And even this inventory – which doesn’t take into account the plethora of rougher, more openly unfinished works Welles left behind – is merely cursory.
Since 1995, the Munich Filmmuseum, which holds most of Welles’ unfinished and unreleased works, has been slowly gathering and assembling the available material for its eventual public presentation and release.
Cinemas are not just places to project images but churches of communal worship — chapels, cathedrals, temples, mosques, synagogues and fundamentalist Elmer Gantry tents.