rififi

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.

The Library of Congress has acquired a negative of Jerry Lewisinfamous film The Day the Clown Cried, but you won’t see it for a decade, LA Times report:

Did he really have the film negative of “The Day the Clown Cried,” an unreleased Holocaust comedy that Lewis regretted making? Yes, Stone said, but the library agreed to not show the film for at least 10 years.

Watch the trailer for a restored Rififi, returning to theaters in September (see dates):

At Indiewire, Edward Norton offers up a few ideas to change the broken process of the Oscars:

The Academy, which is a private organization, could save the industry by saying, “It’s our award and we can do whatever we want.” They could say that any film putting out paid solicitation ads of any kind — all these for your consideration ads that cost millions and millions of dollars, which just solicit awards — they could say that any film using them is disqualified from the Academy Awards. It would end it overnight.

Watch Joel Edgerton analyze a scene from The Gift and read our review:

Variety‘s Justin Chang on why Phoenix and The Look of Silence are two of the year’s best films and how they share a common link:

The difference between seeing and understanding — between simply looking at something and actually grasping the truth of what it means or represents — is a theme as old as Sophocles. It also happens to be central to two of the very finest films that have emerged so far this year: not only “Phoenix,” a surprise arthouse hit now in its second week of Stateside release, but also “The Look of Silence,” Joshua Oppenheimer’s powerful new reckoning with the anti-communist purges that swept across Indonesia during the 1960s.

Watch Jules Dassin discuss Night and the City, now on Criterion Blu-ray:

At NY Times, Chantal Akerman discusses her latest film, premiering at Locarno:

“I think if I knew I was going to do this, I wouldn’t have dared to do it,” Ms. Akerman said of the emotional experience in a phone interview last week. On Monday, “No Home Movie” will have its world premiere in the international competition of the Locarno Film Festival, in Locarno, Switzerland, and marks a brave new direction for Ms. Akerman, who is 65. She shot the film herself in the Brussels apartment of her mother, Natalia (Nelly) Akerman, with additional images from travels in Israel. Candid and open-hearted, it mostly consists of conversations — whether in person in a neat kitchen, or over Skype from abroad — and serene observations of “Maman” puttering about. The quotidian chronicles and the wide-ranging chats together offer a snapshot of her mother’s daily life and pages from a personal history that reaches all the way back to her time in Auschwitz.

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