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Alexandre Desplat is a rather left-field (yet great) choice as this year's jury head.

Alejandro González Iñárritu's Birdman is the Opening Night film.

Ann Hui's The Golden Era is the Closing Night film.

FrauBlucher wrote:Classics line-up revealed...Looks like a great line-up

Looks like China is Near will be on the Sony/Criterion docket.

Anyone know whats going on with the World Cinema Foundation? They used to announce new titles at Cannes, then they switched to Venice (but they don't have anything announced with this lineup). Their Facebook/Twitter seems to be inactive...

FrauBlucher wrote:Classics line-up revealed...Looks like a great line-up

COMPLETE CLASSICS LINE-UP:

• Stolen Kisses (Baisers volés) by François Truffaut (France, 1968, 90 minutes, color); restored by: Mk2

• No End (Bezkońca) by Krzysztof Kieślowski (Poland, 1984, 108 minutes, color); restored by: Studio Filmowe Tor with the support of the National Audiovisual Institute (the Multiannual Government Programme Culture+) and the Polish Film Institute

• Bride (Gelin) by Ömer Lütfi Akad (Turkey, 1973, 92 minutes, color); restored by: Erman Film

• Guys and Dolls by Joseph L. Mankiewicz (USA, 1955, 150 minutes, color); restored by: Warner Bros. Motion Pictures Imaging and Samuel Goldwyn

• Only She Knows (Kanojo dake ga shitteiru) by Takahashi Osamu (Japan, 1960, 63 minutes, B&W); restored by: Shochiku Co. Ltd and TOKYO FILMeX

• Papal Audience (also known as The Audience) (L'udienza) by Marco Ferreri (Italy/France, 1971, 112 minutes, color); restored by: Cineteca di Bologna and Museo Nazionale del Cinema di Torino, in collaboration with Cristaldi Film

• China is Near (La Cina è vicina) by Marco Bellocchio (Italy, 1967, 108 minutes, B&W); restored by: Sony Pictures Entertainment (period copy used as reference from ASAC), in collaboration with the Cineteca di Bologna

• Mouchette by Robert Bresson (France, 1967, 82 minutes, B&W); restored by: Argos Films, with the support of the Centre National du Cinéma et de l'Image Animée (CNC)

• Without Pity (Senza pietà) by Alberto Lattuada (Italy, 1948, 89 minutes, B&W); restored by: CSC – Cineteca Nazionale di Roma, in collaboration with Cristaldi Film

• The Innocents by Jack Clayton (United Kingdom/USA, 1961, 100 minutes, B&W) restored by: Twentieth Century Fox

• The Iron Mask by Allan Dwan (USA, 1929, 97 minutes, B&W); restored by: The Museum of Modern Art, New York

• The Man From Laramie by Anthony Mann (USA, 1955, 102 minutes, color); restored by: Sony Pictures Entertainment

• The Tales of Hoffmann by Michael Powell, Emeric Pressburger (United Kingdom, 1951, 138 minutes, color); restored by: The Film Foundation and the BFI National Archive in association with Studiocanal. The funding for the restoration was provided by the Hollywood Foreign Press Association, the Franco-American Cultural Fund, The Film Foundation,, and the Louis B. Mayer Foundation

• The Tragedy of Macbeth by Roman Polanski (United Kingdom/USA, 1971, 140 minutes, color); restored by: Sony Pictures Entertainment

• Todo modo by Elio Petri (Italy/France, 1976, 125 minutes, color); restored by: Cineteca di Bologna and Museo Nazionale del Cinema di Torino, in collaboration with Surf Film

• Umberto D. by Vittorio De Sica (Italy, 1952, 91 minutes, B&W); restored by: CSC – Cineteca Nazionale di Roma, in collaboration with the Cineteca di Bologna, the Associazione Vittorio De Sica and RTI

• A Special Day (Una giornata particolare) by Ettore Scola (Italy/France, 1977, 110 minutes, color); restored by: CSC – Cineteca Nazionale di Roma, in collaboration with Surf Film

• Walking the Streets of Moscow (Ya Shagayu po Moskve) by Georgiy Daneljia (USSR, 1963, 78 minutes, B&W); restored by: Gosfilmofond

Minkin wrote:Looks like China is Near will be on the Sony/Criterion docket.

I'd lay money on The Man from Laramie as well.

Jeff wrote:

Minkin wrote:Looks like China is Near will be on the Sony/Criterion docket.

I'd lay money on The Man from Laramie as well.

I wouldn't

When is Twilight Time releasing Bottle Rocket?

domino harvey wrote:

Jeff wrote:I'd lay money on The Man from Laramie as well.

I wouldn't

Umm.... I meant Mouchette, of course. I always get those two films mixed up. Mouchette always wore a red neckerchief, right?

FrauBlucher wrote:• Todo modo by Elio Petri (Italy/France, 1976, 125 minutes, color); restored by: Cineteca di Bologna and Museo Nazionale del Cinema di Torino, in collaboration with Surf Film

Hmm, now this is interesting. I first heard of this film after discovering Elio Petri with Criterion's excellent release of Investigation of a Citizen Above Suspicion, and I wonder if Todo Modo will now receive a similar release in light of this restoration. Not sure who owns the rights, though I believe the only available edition now is a sub-VHS quality bootleg that's been floating around for some time.

Minkin wrote:Anyone know whats going on with the World Cinema Foundation? They used to announce new titles at Cannes, then they switched to Venice (but they don't have anything announced with this lineup). Their Facebook/Twitter seems to be inactive...

The restoration of Sayat Nova / The Color of Pomegranates is a World Cinema Foundation project, at least partially.

World Cinema Fund, not the same thing as Scorsese's WCF.

Am I mixing it up with another company or is Minkin asking something else? Not sure if I'm missing or misreading something, but it was announced as coming from World Cinema Project/Film Foundation at Cannes and shown at Il Cinema Ritrovato.

For many years, it’s been a dream to see Sayat Nova restored to the form originally intended by Parajanov. This restoration represents years of painstaking work by many people. As always, I would like to thank our colleagues and partners at the Cineteca di Bologna and L’Immagine Ritrovata as well as all the individuals and organizations who have supported this challenging project and dedicated an enormous amount of time and energy to preserve Parajanov’s oeuvre.
Martin Scorsese

World Cinema Foundation doesn't update their own facebook, but the last thing they wrote on it is to go to The Film Foundation's facebook for updates. Didn't they basically merge?

Well that quote certainly makes this even more confusing. For what it's worth, the film is not mentioned on the World Cinema Foundation's website.

Also, the Film Foundation is Scorsese's other film preservation project, which has been around a lot longer than his WCF.

Competition line-up announced:

Can't wait for Akin's new work. It has been too long.

And he's only at least the fifth most exciting name on the list!

Todo modo, another Petri's masterpiece. Much better than the short novel.
The papal audience, masterpiece. There's a Cristaldi blu ray. B region, only Italian subs.
A special day, THE Scola's masterpiece.

Senza pietà, very good. Giulietta Masina loves a black soldier in 1945. Why can not the American make a film about that powerful subject? Is that a taboo or something? DVD was good.

China is near, very funny. Not my fav. Bellocchio's work.

rockysds wrote:Am I mixing it up with another company or is Minkin asking something else? Not sure if I'm missing or misreading something, but it was announced as coming from World Cinema Project/Film Foundation at Cannes and shown at Il Cinema Ritrovato.

For many years, it’s been a dream to see Sayat Nova restored to the form originally intended by Parajanov. This restoration represents years of painstaking work by many people. As always, I would like to thank our colleagues and partners at the Cineteca di Bologna and L’Immagine Ritrovata as well as all the individuals and organizations who have supported this challenging project and dedicated an enormous amount of time and energy to preserve Parajanov’s oeuvre.
Martin Scorsese

World Cinema Foundation doesn't update their own facebook, but the last thing the wrote on it is to get The Film Foundation's facebook for updates. Didn't they basically merge?

Yes--the World Cinema Foundation is now operating under the umbrella of the Film Foundation as the World Cinema Project. The Color of Pomegrantes/Sayat Nova/Nran Guyne was restored under the auspices of the World Cinema Foundation. I think the organizational change happened shortly before the restoration was finished.

What's up with the new Bogdanovich and Dante pics screening out of competition at Venice but skipping the rest of the fall festival circuit? I hope it's not an indication that their new films aren't any good.

rohmerin wrote:Why can not the American make a film about that powerful subject? Is that a taboo or something?

Now that you mention it, there haven't been that many American movies tackling that subject. Pues son cobardes.