Dailies is a round-up of essential film writing, news bits, and other highlights from our colleagues across the Internet — and, occasionally, our own writers. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.
Read reviews of The Grand Budapest Hotel on TripAdvisor and watch a tribute to cinematographer Robert Yeoman:
I have stayed at the hotel on more than one occasions and I have to say that I get more pleased with every time. Not only are the rooms and amenities absolutely spectacular, but they wait staff seems to be getting more attractive with every new visit as well. Even the 60+ year-old concierge has that old school charm going on about him and you know that he used be a very handsome lad when he was younger.
Additionally, the hotel’s restaurants are fantastic (and staffed with equally delicious waiters). When I arrived here for the first time, a nice surprise were the prime location and great interior design. I certainly recommend checking this hotel out. You are guaranteed a great time!
At Filmmaker Magazine, Vadim Rizov interviews Jafar Panahi:
What you see in my movie is born of the circumstances that I live under, and also reflects how unsettled my frame of mind is. When I was writing the script, I wasn’t feeling good at all. I was quite depressed, and that’s why I went to the villa on the sea coast. When I was there, I was feeling better, but it was still in the back of my mind. I had difficulty sometimes distinguishing between what was real and what was not, and that seeped into the movie. I sometimes feel I’m still under the same circumstances. It’s difficult not to have any notion of what your future is going to look like.
Watch Fandor‘s video essay, Beyond Bechdel: Testing Feminism in Film:
At NYTimes, J. Hoberman discusses Max Ophuls’s Caught and Antonioni’s I Vinti:
Not only actors but also directors can be typecast, particularly strong stylists like Max Ophuls and Michelangelo Antonioni. Ophuls has been dismissed by some as a froufrou formalist, Antonioni as a poet of the privileged. Neither is noted for his social consciousness, but their complexity is evident in new Blu-ray releases of two relatively obscure films, Ophuls’s “Caught” (1949), made under the name Marcel Opuls, and Antonioni’s “I Vinti” (1953).
Watch the cast of Alien reunite for the forthcoming videogame Alien: Isolation:
At i09, Charlie Jane Anders looks at 10 huge tentpole movies that should have been low-budget gonzo films:
It’s the middle of summer movie season. These days, that means tons of movies, designed to bring in the broadest audience to justify their $100 million-plus budget. And sometimes, you can tell these films, deep down, want to be “B” movies. Here are 10 huge-budget movies that would have been more fun with less money.