The Playlist

Watch: 'Venezia 70 - Future Reloaded' Short Films By Claire Denis, James Franco, Paul Schrader & Many More

  • By Cain Rodriguez
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  • September 24, 2013 10:45 AM
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Not all of us have the luxury of being able to drop everything and head off to world’s most prestigious film festivals, but that doesn’t mean you have to miss out on all the fun. In celebration of its 70th anniversary, the Venice International Film Festival commissioned “Venezia 70 - Future Reloaded,” a series of seventy shorts from directors all over the world. Lucky for you, a sizable chunk of those shorts have landed online for your viewing pleasure.

Cannes Review: 'A Touch Of Sin' Sees Jia Zhang-ke Change Things Up, With Peculiar, Bloody Results

  • By Jessica Kiang
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  • May 18, 2013 12:45 PM
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A Touch of Sin,  Jia Zhang-ke.
Ooh-ed and aah-ed over, but largely in more arcane cinephile circles, Chinese director Jia Zhang-ke (Venice winner “Still Life,” Cannes 2012 doc ”I Wish I Knew,” “The World”) has made a name for himself to date with detailed, glacially paced, social realist films, often in the documentary tradition, set against a backdrop of a modern-day China that we rarely see: the China of disenfranchisement, displacement and social unease which comprises the flip side of the globalisation and economic boom times that make more headlines abroad. It provides fascinating, glimpse-behind-the-curtain subject matter, and Jia is nothing if not authentic, but his measured, long-take style can try the patience to the degree that really, the reason that we had this film as one to watch out for on our Cannes Anticipated list was because we’d heard that for the first time, Jia had incorporated elements of genre into his social critique. And we have always believed that just a spoonful of genre can help the dense social commentary go down.

Walter Salles Talks The Influence Of Fathers In 'On The Road,' Working With Jose Rivera, Writing A Book About Jia Zhang Ke & More

  • By Erik McClanahan
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  • December 20, 2012 12:26 PM
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On the fifth floor of the Hotel deLuxe in Portland, Oregon, Walter Salles seems content to talk at length about cinema. But alas, two publicists, worried the loquacious “On the Road” director will miss his train up to Seattle for another round of press and screenings of his latest film, a long-in-the-works adaptation of the seminal beat novel by Jack Kerouac, had to cut the conversation off. As I packed up my recording equipment, Salles took the opportunity to politely discuss the proper sound levels for projecting the film to the two publicists.

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