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FESTIVAL VIDEO: Rotterdam Sunset Chat with IndieWire Press Play + The House Next Door + Cine Qua Non

The International Film Festival Rotterdam (IFFR) has been called a cinephile’s festival. This year’s edition (January 25-February 5) is living proof. Indiewire/Press Play editor-in-chief Kevin Lee talks with fellow critics Aaron Cutler (The House Next Door/Cine Qua Non) and Michal Oleszczyk (The House Next Door) about what films to see, old and new, in and out of competition. Recorded February 1, posted February 3. (pictured above: Awakening of the Beast, from the IFFR series "The Mouth of Garbage")
  • By Kevin B. Lee
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  • February 2, 2012 8:03 AM
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  • 2 Comments

FEATURE FILM WITH VIDEO ESSAY: Brian De Palma's RAISING CAIN is re-cut

Raising Cain Re-cut is my attempt to approximate Brian De Palma’s original vision of Raising Cain, before the director chose to compromise its structure in post-production. The re-cut uses all of the scenes in the theatrical release and puts them back in the order they were intended, giving rise to a dramatically different viewing experience.
  • By Peet Gelderblom
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  • January 31, 2012 6:00 AM
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  • 10 Comments

VIDEO: The Existential Noir of Michelangelo Antonioni

  • By Kevin B. Lee
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  • January 24, 2012 5:20 PM
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  • 0 Comments

VERTIGOED: A Press Play mash-up contest

Press Play's first video mash-up contest, with a prize and everything.
  • By Press Play Staff
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  • January 18, 2012 8:02 AM
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  • 21 Comments

VIDEO ESSAY: DEEP FOCUS: SUPERMAN RETURNS, Angel of America

Bryan Singer's "Superman Returns" is no masterpiece. The movie's first act is hobbled by weird misjudgments (including a criminally underused Eva Marie Saint as Ma Kent), and it's so choppy that it seems to have been edited with a meat axe. Kevin Spacey's snidely campy performance as Lex Luthor unbalances the film's otherwise sincere tone. It's also so dependent upon our knowing what happened in 1978's "Superman: The Movie" and its follow-up, "Superman II," that at times it feels like a long-delayed sequel in which the principal cast has been replaced.
  • By Matt Zoller Seitz & Ken Cancelosi
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  • January 9, 2012 4:20 PM
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  • 68 Comments

VIDEO ESSAY: MAGIC AND LIGHT: THE FILMS OF STEVEN SPIELBERG - Chapter 6: Indiana Jones and the Story of Life

What does it mean to be a father? What does it mean to come of age without a father? These questions have been at the center of many Steven Spielberg films. Both light entertainments and dark historical dramas have considered them. The director’s evolving views on fathers and fatherhood are on surprisingly vivid display in the Indiana Jones series, which were produced by his longtime friend and Star Wars mogul George Lucas. Taken as a whole, the films feel like markers in Spielberg’s maturation.
  • By Aaron Aradillas & Matt Zoller Seitz
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  • December 30, 2011 10:37 PM
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  • 1 Comment

TRAILER: Terrence Malick's TREE OF LULZ (Hey, it could have happened. . .)

Annals of film history are filled with masterpieces that never were. Cineastes spend many a sleepless night thinking of Stanley Kubrick’s unproduced epic on Napoleon’s life. Film historians still search every nook and cranny to possibly locate Orson Welles’ first cut of The Magnificent Ambersons. Then there is the original script for John Huston’s Freud: The Secret passion that a little known philosopher by the name of Jean-Paul Sartre wrote; and Aldous Huxley’s Alice and the Mysterious Mr. Carroll, which was an amalgam of Alice’s Adventures in Wonderland, Through the Looking Glass, and the biography of Lewis Carroll, of which Walt Disney said: “[The script] was so literary I could understand only every third word.” There are many, many more, and probably none of these intriguing projects will ever get to see the light of day. But don’t despair, gentle reader. As a late Christmas present, PressPlay is proud to offer you a glimpse of another masterpiece that could have been. Drown your cinephile sorrows in this.
  • By Kevin B. Lee & Ali Arikan
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  • December 28, 2011 3:27 AM
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  • 0 Comments

VIDEO ESSAY: MAGIC AND LIGHT: THE FILMS OF STEVEN SPIELBERG, Chapter 4: Evil and Authority

The antagonist, in Steven Spielberg’s films, has many faces. It can be government scientists involved in seemingly shady plots. It can be unstoppable behemoths such as the shark in Jaws or the tanker truck in Duel. Warped ideologies, as in Schindler’s List. Or the tangled and self-defeating allure of vengeance, as in Munich. What’s essential is that none of these could truly be considered “evil” in the classical -- or theological -- mould. You can’t blame the T-Rex for being a T-Rex in Jurassic Park. You can’t blame a Martian for being a Martian in War of the Worlds. They are what they are. And even in the most menacing moments, even the most outwardly inhuman antagonists display qualities that could even be described as, well, almost human.
  • By Matt Zoller Seitz, Ali Arikan & Kevin B. Lee
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  • December 21, 2011 3:18 PM
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  • 2 Comments

MAGIC AND LIGHT: THE FILMS OF STEVEN SPIELBERG: Chapter 1: Introduction

Steven Spielberg is one of the most popular storytellers of all time. Based solely on box-office receipts, that’s an inarguable fact. It's been true since 1975, when the box office take of his breakthrough Jaws redefined the the word "blockbuster." Look at the top grossing movies of all time, and you'll see that a startling number were produced or directed by Spielberg. And yet this almost forty-year streak hasn't been enough to insulate him against charges that he's a frivolous director – or that, at the very least, his success is an example of style, or more accurately technique, over substance. That he does not persuade or even seduce viewers, but that he overwhelms them. With sound. With light. With music. And special effects.
  • By Matt Zoller Seitz, Ali Arikan & Serena Bramble.
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  • December 15, 2011 9:34 AM
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  • 18 Comments

VIDEO ESSAY: Moment of wonder: THE SPIELBERG FACE

If there is one recurring image that defines the cinema of Steven Spielberg, it is The Spielberg Face. Eyes open, staring in wordless wonder in a moment where time stands still. But above all, a child-like surrender in the act of watching, both theirs and ours. It’s as if their total submission to what they are seeing mirrors our own. The face tells us that a monumental event is happening; in doing so, it also tells us how we should feel. If Spielberg deserves to be called a master of audience manipulation, then this is his signature stroke. You can’t think of the most iconic moments in Spielberg’s cinema without The Spielberg Face.
  • By Kevin B. Lee
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  • December 13, 2011 8:25 PM
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  • 1 Comment

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