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The 67th Cannes Film Festival have unveiled their official poster, designed by Hervé Chigioni and Gilles Frappie, and featuring Marcello Mastroianni in Federico Fellini’s classic masterpiece 8½. See a horizontal version above and vertical one-sheet at the bottom of the post, and high-resolution versions here.
At Roger Ebert.com, read an excerpt from Nathan Andersen‘s book on Plato’s Cave and cinema, notably focusing on one of Stanley Kubrick‘s classics:
A face you won’t easily forget appears on screen, centered, outlined sharply in the dark. It leans forward intently, so that a black bowler hat and hair below the ears frame the bright blue eyes that see you right through. It’s a young man, with a crooked half smile, welcoming but far from friendly, with long, sharp artificial lashes fixed upon the lids of his wicked right eye. Framed just to show his head and shoulders, wearing an open white button-up shirt and suspenders, he looks straight at you, motionless but for the rise and fall of his chest. Ready and alert, shoulders relaxed, with the poise of an animal prepared to pounce, his look is a challenge: see here, pay attention, hear me out, and as the frame opens slowly to take in more of his surroundings in what we’ll learn is the Korova Milk Bar, he starts to speak. Rather, we hear a voice from no one’s mouth but that can only be his. His lips don’t move, as he raises up a glass of drug-laced milk to take a sip, but the voice’s subtle blend of threat and invitation, its confident commanding tone, can only belong to that face, which now addresses us and begins to tell his tale. So starts one of the most controversial films of all time, Stanley Kubrick’s classic, A Clockwork Orange.
The Criterion Collection and Hulu have extended their exclusivity partnership for at least the next “several years.”
Read the second part of a retrospective on the career of designer Pablo Ferro (who worked with Stanley Kubrick, Hal Ashby, and more) on The Art of the Title:
“You gotta keep moving.” This is the advice that Pablo Ferro’s grandfather gave him about avoiding scorpion stings when he was a boy and a code Pablo has ascribed to throughout his life and career. But Pablo did get stung — and it nearly killed him. In Part Two of our feature interview with the legendary title designer and his son Allen, we delve deeper into the man behind the legend.
At Film School Rejects, Jack Giroux examines how Ivan Reitman got his groove back with Draft Day:
Meatballs, Stripes, Ghostbusters and Dave are four of Ivan Reitman‘s films that have stood the test of time. When Reitman was on top of his game, the now 67-year-old filmmaker hit grand slams. I’m not using these sports metaphors because his latest film, Draft Day, includes the NFL Draft, but because, like athletes, some directors have hot streaks and cold streaks. For an array of reasons, slumps happen. Reitman’s lasted 18 years.
