andrew chan criterion

But the film is no mere intellectual exercise. On Film / Short Takes — May 30, 2017 Seventy Years of Cannes: Dheepan in 2015. With his debut short film, Zoo, now on the Criterion Channel, the Montreal-based filmmaker talks with us about its depiction of police brutality and … Samantha Abramovitz. With a new film in theaters and two early works on the Criterion Channel, the Chinese wunderkind talks with us about the challenges he’s faced while forging his idiosyncratic path through cinema. Stories By Andrew Chan. Criterion Designs — Jan 14, 2021 P edro Reyes is a Mexican artist of international renown whose conceptual, often sculptural works make use of unusual materials to imagine a better, more playful world. He is a frequent contributor to Film Comment and 4Columns. By Andrew Chan. The chasm between what makes it to the screen and what gets left out is both a problem of the form and one of its main attractions. Andrew Chan on the First Encounters series at Quad Cinema & the idea of cinema as the most profoundly communal of all art forms. Andrew Chan is web editor at the Criterion Collection. On Film / Short Takes — May 30, 2017 Seventy Years of Cannes: Dheepan in 2015. For Chinese-speaking viewers, it may be even more moving now than it was upon its release. Ruan Lingyu in Center Stage. He is a frequent contributor to Film Comment and 4Columns. Andrew oversees The Current, Criterion’s online mag where you’ll find essays, videos, and interviews with the filmmakers of works released via Criterion. Just as unnerving is how Center Stage evokes the loneliness of the performer, who is forever caught between the emotional transparency her art demands and the privacy she requires to protect those emotions. Fumiko Takagi--Karen Stetler. Dragon Inn: Poised for Battle an essay by Andrew Chan at the Criterion Collection This page was last edited on 18 February 2021, at 00:51 (UTC). Andrew Chan Web editor at the Criterion Collection. Karen Stetler Senior Producer at The Criterion Collection. He is a frequent contributor to Film Comment and has also written for Reverse Shot, NPR Music, Slant, Wax Poetics, and other publications. All this might sound forbiddingly insular, which may be why Center Stage has become a staple of cinema-studies curricula: its self-reflexive method invites viewers to consider the subtlest permutations of form and meaning, as well as the medium’s twin capacities for revelation and deception. In fact, for most of the film, we’re not really privy to how Ruan feels about what’s happening to her. Andrew Chan is web editor at the Criterion Collection. Andrew Chan is web editor at the Criterion Collection. Andrew Chan is web editor at the Criterion Collection. Andrew Chan is web editor at the Criterion Collection. ... Andrew Haigh United Kingdom, 2015 THE 47 RONIN: Part 1 Kenji Mizoguchi Japan, 1941 ... Jackie Chan Hong Kong, 1979 Fear of Fear Rainer Werner Fassbinder West Germany, 1975 Feeling Good Andrew Chan Web editor at the Criterion Collection New York City Metropolitan Area. Andrew has 2 jobs listed on their profile. Center Stage also has plenty to say to those who are less tuned-in to the perilous developments in the region. When Center Stage was made, a great deal of Ruan’s work had been lost to time. View Andrew Chan’s profile on LinkedIn, the world's largest professional community. Rebecca Self. Andrew Chan. What does a biopic have to do to be trustworthy? Andrew Chan is web editor at the Criterion Collection. Andrew Chan. Nevertheless, the mismatch between Ruan’s rebel spirit and Cheung’s bright, open-faced demeanor holds a disorienting power. Even the most conventional open up spaces for us to contemplate why our collective memories are so profoundly shaped by what we believe about public figures. He is a frequent contributor to Film Comment and has also written for Reverse Shot, NPR Music, Slant, Wax Poetics, and other publications. Produce, shoot and edit short documentaries about film culture, for the streaming service The Criterion Channel. Andrew Chan is web editor at the Criterion Collection. In his thought-provoking latest book, the critic and frequent Criterion contributor traces the complex ways European filmmakers have grappled with the influences of Christianity and modernity. In one of the most overpowering moments in any concert documentary, D. A. Pennebaker immortalized soul icon Otis Redding as both palpable presence and luminescent mystery. Fumiko Takagi. With her acclaimed new film Western opening in theaters this week, we spoke with German director Valeska Grisebach on the romantic ideals of the quintessential American genre. He is a frequent contributor to Film Comment and 4Columns. He is a frequent contributor to Film Comment and has also written for Reverse Shot, NPR Music, Slant, Wax Poetics, and other publications. Andrew Chan is web editor at the Criterion Collection. Seven years into a successful career, Cheung was best known for costarring with Jackie Chan in Police Story (1985), and she’d never been given a role as enigmatic and complex as this. He is a frequent contributor to Film Comment and has also written for Reverse Shot, 4Columns, Wax Poetics, and other publications. Andrew Chan Andrew Chan is web editor at the Criterion Collection. Review: Kendrick Lamar, Damn. After having the emperor’s minister of defense executed, a power-grabbing eunuch sends assassins to trail the victim’s children to a remote point on the northern Chinese border. Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. Andrew Chan is web editor at the Criterion Collection. The accompanying essay “Posed for Battle” by Andrew Chan opens like a pamphlet with an artistic illustration of Bai Ying’s evil eunuch dominating the heroic fighters battling his minions. I’m capping off my weeklong look at Cannes festivals past by revisiting the 2015 winner, Dheepan. Andrew Alvarez. Dragon Inn (The Criterion … New Taiwan Cinema master Edward Yang’s sophomore feature explores the conflict between tradition and modernity reflected in a relationship on the rocks. Maggie Cheung re-creates a cinema icon in Stanley Kwan’s 1991 hybrid masterpiece. There’s an eerie, narcotized smile on her face, and via voice-over she declares, “I’m very happy.” It seems like a privileged moment of psychological exposure, one that teases us with a trace of the character’s inner life. https://stetmag.com/interviews/andrew-chan-film-criticism-criterion-collection Rumors about her entanglements with multiple men became the backdrop for her suicide at the age of twenty-four. Film journalist Mark Harris stopped by Criterion to chat about the growing pains that five Hollywood filmmakers experienced during World War II. Inside Criterion / Criterion Designs — Aug 13, 2020 Studio Visits. There’s no coherent, suspenseful buildup to glory, no spectacle of fanfare; celebrity isn’t sensationalized as a fallen state that warps the actor’s ego. Andrew Chan Web editor at the Criterion Collection New York City Metropolitan Area. Picture 7/10. Benjamin Lim Associate Director, New York at Able - We're Hiring! He is a frequent contributor to Film Comment and has also written for Reverse Shot, 4Columns, Wax Poetics, and other publications. More: Interviews. Firstly, I love cinema, and that particular film is especially and uniquely beautiful. Greater New York City Area. Explore more than 1,500 films on the Criterion Channel, with filters for genre, decade, country, and director. Fumiko Takagi. As the camera moves fetishistically across the photos’ washed-out surfaces, Ruan’s face is barely perceptible, radiating a white, spectral glow where her features should be. The Cannes-award-winning lead performance in Lee Chang-dong’s masterful melodrama captures both the pain and perverse pleasure of public crying. Andrew Chan is web editor at the Criterion Collection. A trio of exceptional performances by Glenn Ford, Ernest Borgnine, and Rod Steiger form the center of Jubal, an overlooked Hollywood treasure from genre master Delmer Daves. This week’s guests are critic Mayukh Sen and Andrew Chan, web editor at The Criterion Collection. He is a frequent contributor to Film Comment and 4Columns. Courtesy Film Movement Classics. I’m capping off my weeklong look at Cannes festivals past by revisiting the 2015 winner, Dheepan. Cheung’s poised, often exquisite performance generates its own dissonance. But for all their predictability, biopics aren’t without their social function. Ambition and triumph, downfall and redemption: these are the tropes that turn unwieldy life stories into digestible moral lessons. The director of Black Mother explains how the twin influences of hip-hop culture and international art-house cinema brought him to his artistic calling. And yet, despite being remembered for roles in such forward-thinking leftist classics as The Goddess (1934) and New Women (1935), Ruan was done in by the same old misogynistic indignities her characters survived. Maggie Cheung re-creates a cinema icon in Stanley Kwan’s 1991 hybrid masterpiece. Having learned fast-paced spontaneity as a combat photographer in the French Indochina War, he turned his camera toward the directors and … The award-winning director of Shirkers looks back on her memories of growing up as a rebellious teenage cinephile and the movie-besotted culture of her native Singapore. Please note: Reverse Shot Happy Hour will go on hiatus after this episode. Center Stage narrows its focus to 1931–1935, Ruan’s peak years at the Lianhua Film Company, where she shifted away from lowbrow genre fare to the ambitious revolutionary pictures that cemented her reputation. Explore more than 1,500 films on the Criterion Channel, with filters for genre, decade, country, and director. A thought-provoking experiment in cinematic form, the new film by Michael Koresky, Jeff Reichert, and Farihah Zaman meditates on the power of food and community through an innovative mix of truth and fiction. The pragmatic and the spiritual: meditations on cinema by the late critic Gilberto Perez. Even as the preproduction conversations between Kwan and his cast take the form of studious research, they still revolve around the paraphernalia of a gossip industry that capitalizes on those same appetites—inert artifacts and secondhand accounts that turn Ruan into a mannequin of history. But in his 1991 masterpiece, Center Stage, Stanley Kwan turns what could easily be dismissed as postmodern gimmickry into something strange and unclassifiable, an ever-shifting framework that refracts almost every biographical insight the movie puts forth. In one of the most haunting images in the film, Ruan is seen on a dance floor, swaying and shimmying solo in the middle of a crowd. I f I were to list the criteria for my ideal project, creating a sculpture of Tadzio, the young boy from Death in Venice, for a Criterion release of Luchino Visconti’s adaptation would just about tick off all the boxes. Though Center Stage isn’t explicitly political, the idea of a prestigious Hong Kong auteur meditating on his own society’s cultural kinship with mainland China was fraught in 1991, just a few years after the events at Tiananmen stoked fears about what lay ahead for the British colony after its impending handover to the PRC. Center Stage, directed by Stanley Kwan, available to watch via Metrograph, March 12–April 1, 2021. And yet, like so much else in biopics, it’s a beautiful lie. Get info about new releases, essays and interviews on the Current, Top 10 lists, and sales. Fumiko Takagi -- New York, NY. To illustrate our new series of personal essays, we’ve turned to this New York–based artist, whose gift for distilling concepts and emotions into compelling imagery was a perfect match for this ongoing project. Years after releasing their initial World Cinema Project box set (featuring a number of overlooked films from around the world recently restored by Martin Scorsese’s Film Foundation) the Criterion Collection finally brings us their second volume featuring another six films.The fifth and sixth films in the set are Lutfi O. Akad’s Law of the Border and Edward Yang's Taipei Story. Andrew Chan Web editor at the Criterion Collection. As Robert D. McFadden writes in the New York Times, as a poorly paid set photographer, Cauchetier, who passed away last week at the age of 101, “refused to stand beside a movie camera operator and take stock shots of actors, as was the custom. Before kicking off a week run of To Sleep with Anger at the Film Society of Lincoln Center, the influential director joined us for a conversation about how his encounters with international cinema inspired him as a filmmaker of color. In the wake of Burning, one of the most critically acclaimed films of last year, we caught up with the great Korean director about what keeps him going as a storyteller. Andrew Alvarez Tech at Criterion. Courtesy Film Movement Classics. Before his current gig, Andrew was the marketing manager at BAMcinématek, the film department of BAM, … Courtesy Film Movement Classics. Ian Brydon. Share; Tweet; ... Image/Sound/Extras: The fourth disc in The Criterion Collection’s generous and eye-opening set 4 by Agnès Varda, this is an update of an extra-less version the company released in 2000. Share; ... Updating an earlier Criterion edition issued in 2000, this new DVD of Cléo from 5 to 7 (available only as part of the magnificent package 4 by Agnès Varda) features a restored digital transfer, as well as the set’s largest treasure trove of supplementary material. The hair is white rather than the misleading yellow in the film’s restoration since the character is supposedly an “old man.” Features select scene analysis by Asian film expert Grady Hendrix, new interviews with actors Shangkuan Ling-fung and Shih Chun, and archival footage from the film’s 1967 premiere, plus a fold-out insert with an essay by critic Andrew Chan. With Edward Yang’s A Brighter Summer Day finally available in the U.S., screenwriter Hung Hung talks about his working relationship with Yang, the film’s truncated distribution and slow path to acclaim, and the real-life roots of its narrative. Maggie Cheung in Center Stage. Andrew Chan is web editor at the Criterion Collection. (According to Kwan, Mui bowed out of the project because her staunch prodemocracy stance made the thought of working in China after the Tiananmen Square massacre unpalatable.) With the debut of Me and You and Everyone We Know on the Criterion Channel, the acclaimed multi-hyphenate discusses her evolving creative process and her love of Jane Campion. Center Stage’s most daring gambit is its hybrid form, which combines the dreamy narrative space of a period drama with unglamorous behind-the-scenes footage chronicling the collaboration between Kwan and Cheung. Few biopics have so eloquently interrogated the very foundations of the genre: our desire for intimacy with the stars and our sense of being entitled to knowledge of their personal lives. The artist behind the images in our upcoming Bruce Lee box set shows us how he captured the legend’s most iconic poses. Andrew Chan is web editor at the Criterion Collection. "Judge Dredd", "The Peacemaker", "Eraser", "Money Train", & "Nine Months" are on The Worst Movies of the 1990s that Andrew Hardin Hasn't Seen on Flickchart. For the moviemakers featured in our slate of content throughout March 2017, resourcefulness was the name of the game. The celebrated musician dives into the culture and history captured in a new series of jazz short films on the Criterion Channel, which features performances by Duke Ellington, Louis Armstrong, Bessie Smith, and other legendary artists. Maggie Cheung in Center Stage. Valeria Rotella. https://www.criterion.com/current/posts/4628-taipei-story-modern-planning Manhattan’s Quad Cinema reopened last month with a series of events that highlighted the emotional immediacy that comes with the experience of watching movies for the first time. He is a frequent contributor to Film Comment and has also written for Reverse Shot, Slant, Wax Poetics, and other publications. Andrew Chan Web editor at the Criterion Collection. He is a frequent contributor to Film Comment and 4Columns. The most scorned of all film genres is routinely accused of not only playing fast and loose with the truth but also of being just plain boring. ... Andrew Haigh United Kingdom, 2015 THE 47 RONIN: Part 1 Kenji Mizoguchi Japan, 1941 ... Jackie Chan Hong Kong, 1979 Fear of Fear Rainer Werner Fassbinder West Germany, 1975 Feeling Good Late in the film, Kwan juxtaposes Ruan’s cigarette-lighting swagger in The Goddess with Cheung’s re-creation of the same gestures; because the imitation isn’t entirely convincing, it serves as yet another reminder of the distances of time and space standing between Kwan and Cheung and their subject. Share; Tweet; ... Image/Sound/Extras: The fourth disc in The Criterion Collection’s generous and eye-opening set 4 by Agnès Varda, this is an update of an extra-less version the company released in 2000. A tension between presence and absence is immediately apparent in the opening scene, in which Kwan introduces the heroine, Shanghai cinema icon Ruan Lingyu (played by Maggie Cheung), through a series of black-and-white photographs. Valeria Rotella This episode opens with a special live presentation of Reverse Shot's Best of 2020 film list, a preview of the annual roundup that will post online Thursday morning. The Criterion Channel. Fumiko Takagi. Laura Florin. Martha Karsh, editor of The Beatles A Hard Day’s Night: A Private Archive, published in September by Phaidon, talks about her family’s Beatlemania and assembling a book about the world’s most famous rock band. Lauryn Hill and the enduring musical pleasures of the 1993 sequel. What he set out to do with this cerebral ode to Ruan was a departure both for him and for the Hong Kong movie industry, whose signature product at the time was fast-paced entertainment. Fumiko Takagi -- New York, NY. Where most biopics hinge on moments when the private self suddenly leaks into public visibility, Center Stage avoids fabricating any scenario that might offer a convenient key to the heart of Ruan. But the film charts this ascent reticently and elliptically. Andrew Chan. Rebecca Self. The pragmatic and the spiritual: meditations on cinema by the late critic Gilberto Perez. Benjamin Lim. He is a frequent contributor to Film Comment and 4Columns. The week before Get Out opened to groundbreaking box-office success, we spoke with the director about the fine line between comedy and horror. Andrew Chan. The Criterion Channel. He is a frequent contributor to Film Comment and 4Columns. Andrew Chan. Music 4 years ago. Andrew Chan is web editor at the Criterion Collection. The dense visual style contributes to this destabilizing effect: swirling, Art Nouveau–like patterns dominate the interiors; cityscapes appear, on close inspection, to be painted backdrops, reminiscent of Expressionist silent films; and in one early scene, the action of a movie set is observed through the roof of a glass structure, as if Ruan were a plant in a greenhouse. Andrew Chan. Andrew Chan. Kwan is one of the great living practitioners of melodrama, and his other best-loved works—the ghost story Rouge (1987) and the queer romance Lan Yu (2001)—are warm-blooded by comparison.

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