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.
On George Clooney‘s birthday, watch his episode of Inside the Actors Studio:
A documentary on Sarah Jones, who was died on the set of Midnight Rider, is being planned for a 2016 release, Variety reports.
Now we can add the Juvet Landscape Hotel, which is seen in the new sci-fi movie Ex Machina as Oscar Isaac’s character’s secluded residence and A.I. research lab. Built in 2009 and located in the Vallstad valley of Norway, the place was already an attraction as much as a spot to sleep due to the stunning modern architecture and its relationship to the surrounding nature. Frommer’s described the views from your glass window walls as being “like watching an IMAX documentary from your bedroom.” Not all of the movie’s set is actually part of the hotel, and most of the actual hotel is not seen in the movie, but any Ex Machina fan is sure to recognize a lot once they arrive.
Movie Mezzanine‘s James Rocchi on the Marvel-industrial complex:
So when future eras look at our pop-cultural time through the Marvel movies, what will they see? They’ll see that our most modern tales of heroism were not that different from our millennia-old tales of worship. They’ll think our biggest concerns as a culture were not inequity, global warming, or corporatist fascism but Chitauri warriors, self-aware artificial intelligences, and other made-up CGI boogeymen. They’ll think we really liked white guys, or that we liked them a lot more than we did women or people of color. And they’ll think—actually, if they go out to a few landfills, they’ll know—that we loved to celebrate our heroes more by buying their cheap, plastic merchandise than we did, apparently, in actually considering if those heroes were supposed to mean anything besides slave labor and shareholder profit. And they’ll know we liked repetition and stasis about characters we liked more than we were willing, apparently, to try anything new. Back in 2008, Iron Man was a huge risk that went on to make money; after seven years of Marvel movies and who knows how many more yet to come distorting and distracting the way we make and see movies, there’s now a lot more than just money on the line.
Watch the trailer for the 35th anniversary restoration of The Long Good Friday, in U.K. cinemas starting June 19th:
First Impression‘s José Arroyo revisits Michelangelo Antonioni‘s L’Avventura:
The day after I first saw L’Avventura, I woke up thinking of art, complexity, ambiguity, the iconicity of a face and the complexity of a touch. As the film starts, two women – Anna (Lea Massari) and Claudia (Monica Vitti) are setting off on a café society cruise around the coast of Sicily with a group of the louche and the bored, including Anna’s boyfriend, a flash society architect called Sandro (Gabriele Ferzetti). Anna’s father, an elegant slightly weary former ambassador (Renzo Riccci), urges her not to go; Sandro is unworthy and is never going to marry her, he tells her. She, however, insists. He seems accepting of the fact that they might be sleeping together but is sad about it, as if he both mourns and is resigned to the degradation of the daughter he loves.