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.
Most teenagers won’t be allowed to see the excellent The Diary of a Teenage Girl in the U.K. as BBFC has given the film an 18 certificate, Screen Daily reports:
Distributor Vertigo commented: “We are massively disappointed with the final ruling. The film has been viewed by men at the BBFC and we feel that they have missed the point of the film and its message. The film explores female sexuality with boldness and honesty in an un-exploitative manner.
“In an age where young women are still continually being sexualised and objectified we feel The Diary of a Teenage Girl sends a very positive, reassuring message to young girls about female sexuality and body image. It is a shame that audience will not be able legally see a film that was made by women for women of all ages.”
“Bad Dads,” a Wes Anderson art show, is coming to NYC’s Joseph Gross Gallery in Chelsea from August 7th to 9th. Preview some of the art here and check out two video essays on objects in his films:
Filmmaker Magazine highlights the 25 new faces of film in 2015:
Shults was the first filmmaker chosen for this year’s “25,” and, back in early April, I imagined his appearance here would be one element of a long-game rescue attempt by passionate supporters like me to ensure that his film wouldn’t simply disappear amidst the thousands that premiere at festivals every year. Indeed, despite the film’s SXSW plaudits, it seemed for a moment that its bleak honesty might be too much for a milquetoast independent scene.
At Venice Film Festival Jonathan Demme will head the Orizzonti/Horizons jury and Saverio Costanzo will do the same for the Luigi di Laurentiis jury. Meanwhile, the festival announced its Critics’ Week line-up.
Watch a video essay on the symmetry of Only God Forgives:
The Guardian‘s Jordan Kisner talks to Skip Lievsay about the art of sound in movies:
For research, Lievsay had spent a few months reading biographies and listening through all the recordings in the Miles Davis estate: Miles interviews, Miles in the studio, Miles in concert, Miles on the street. He briefly tried to compile a timeline of every recording Miles ever made, then gave up. The film is set in the 1970s, “which is Bitches Brew Miles”, Lievsay explained, a period when Miles favoured improvisational rhythms and electric instruments over traditional jazz. The research had led to the idea of experimenting with recording equipment of the sort that Miles would have used. Lievsay thought that they might fit moments that called for more abstract sound design, such as when Cheadle wanted to evoke Miles’s agitated mental state. “He was a creature of the studio,” Lievsay explained, taking off thin-rimmed glasses and rubbing one eye. “The sounds of his mental landscape would probably have been the sounds you’d hear in a recording studio, like tape decks or the click of instruments.”
Philip Seymour Hoffman, who would've turned 48 today, applying make-up for 'Death of a Salesman' in high school. #RIP pic.twitter.com/SeHgAodFLF
— The Film Stage (@TheFilmStage) July 23, 2015