Dailies is a round-up of essential film writing, news bits, and other highlights from across the Internet. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.

One of our Cannes favorites, Amour Fou, will be released this March by Film Movement.

Watch David Lynch and Patti Smith talk Twin Peaks, Blue Velvet, and more:

At Screen Crush, Matt Singer pleads to stop ruining movies by chopping them in half:

Hardcore franchise zealots tend to be the biggest defenders of part-ification; they want more, and studios are happy to give it to them. This is a strange system. Without their loyalty, the studios couldn’t get away with this sort of cash-grab; because of their loyalty, they’re able to do it over and over again. If hungry hungry Hunger Games fans are happy paying two tickets to see one movie, then more power to them. Personally, as much as I enjoy the build-up to a big release, there’s nothing I like more than walking out of a movie theater with a feeling of satisfaction, something that is, by their very nature, impossible with incomplete narratives like ‘Mockingjay – Part 1.’ For more on this topic, please come back on November 20, 2015, when I unveil Part 2 of this two-part column. Until then, and in the spirit of part-ification, I leave you until then with this thought:

Watch a video essay on Drive‘s opening scene and the way it provides information:

At The Talkhouse, Re-Animator director Stuart Gordon on The Mule:

Despite the title, this is not an animal picture, although there were times it reminded me of another Australian crime film, the terrific Animal Kingdom. Like that film, The Mule focuses on a group of low-level criminals. Here they are smuggling a kilo of heroin from Thailand into their hometown of Melbourne. The process involves filling 20 condoms with the drug, swallowing them and carrying the junk across the border inside the “mule’s” large intestine until it can be expelled, cleaned off and sold. If this all sounds too gross for you, it would be wise to give this movie a wide berth, as the process of ingesting drugs (and recovering feces-encrusted drugs later) is explored in graphic detail. But I should also let you know that by skipping The Mule you would be robbing yourself of experiencing one of the year’s most suspenseful, grueling and hilarious motion pictures.

Watch the music video for Blonde Redhead‘s The One I Love, helmed by Museum Hours director Jem Cohen:

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