Dailies is a round-up of essential film writing, news bits, videos, 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.
John Waters‘ restored Multiple Maniacs is coming to theaters this August, followed by a likely release on The Criterion Collection, Criterion Cast reports.
Martin Scorsese responds to a fan who made a montage of his films with those of Stanley Kubrick:
35 years after Das Boot, cinematographer Jost Vacano will receive over $500,000 for his work in a new court ruling, THR reports.
Jonathan Rosenbaum has re-published his piece on Alain Resnais‘ Last Year at Marienbad:
It’s too bad Last Year at Marienbad was the most fashionable art-house movie of 1961-’62, because as a result it’s been maligned and misunderstood ever since. The chic allure of Alain Resnais’ second feature — a maddening, scintillating puzzle set in glitzy surroundings — produced a backlash, and one reason its defenders and detractors tend to be equally misguided is that both respond to the controversy rather than to the film itself.
Stream a mixtape of the music from Wim Wenders‘ Road Trilogy, recently available on The Criterion Collection:
Musings‘ Alissa Wilkinson on the terror inside Rosemary’s Baby and Black Swan:
The uniquely terrifying implication of Rosemary’s Baby and Black Swan is of a force from inside turning you out, slowly sucking away whoever you thought you were and leaving you a shell you might not recognize. But in making you live alongside their protagonists’ experiences, the films perform an even darker trick: you recognize your own fears in them. Then you think: Can’t we just loosen up? Can’t we just stop freaking out? You recognize how it might look to the outside to live those fears in public. And you recognize yourself in them.
Watch a talk with The Fits director Anna Rose Holmer: