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En estos tiempos de hipercomunicación bastaría la invitación de enviar a un amigo cualquiera de los textos que consideres interesantes algo redundante: demasiada comunicación, demasiados textos y , en general, demasiado de todo.
Es posible que estemos de acuerdo... pero cuando encuentras algo interesante en cualquier sitio, la red, la calle, tu casa, o un lugar escondido y remoto, compartirlo no sólo es un acto (acción, hecho) de amistad o altruismo, también es una manera de ahorrar tiempo a los demás (y de que te lo ahorren a ti (si eres afortunado) a costa del tiempo que tu has podido derrochar (emplear) y el gustazo de mostrar que estuviste ahí (o donde fuera ) un poco antes (el tiempo ya no es más el que era).
Comparte con tus conocidos aquello que encuentras, es evolución.
Performance * the movie
30-08-07 greylodge.org  


Usually thought of as Nicolas Roeg's first film as a director, Performance (1970) is actually co-credited to Donald Cammell, with Roeg also credited as Director of Photography. Many of the film's flourishes, which now seem characteristic of Roeg, were probably Cammell's.

By Dr Grey


Nicolas Roeg & Donald Cammell

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The ext. tracker needs economic support (not so much... support it)...  you will need to search the file... and it's not easy at first. Search the file in Secret Cinema searcher: performance. You will optain two file options: soundtrack or movie. The movie file comes from Laser disc (tope setentero). Enjoy... a disfrutar.

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Inspired by real-life East End violence, and by the writing of Jorge Luis Borges and Vladimir Nabokov, this was a genuinely collaborative effort, despite Cammell's subsequent career decline and Roeg's cult success.

Performance tells a simple story in complex terms. The opening half-hour is a comparatively realistic tour of the London underworld of the late 1960s, but once gangster Chas (James Fox) enters the house of reclusive rock star Turner (Mick Jagger), the film becomes concerned with the disintegration of his perceptions about himself and his world, after which the film becomes a jumble of jump-cuts, point-of-view shifts, visual effects, elliptical editing and seamless changes between fantasy and reality.

The identities of the two men become blurred, with the frequent use of mirrors indicating how they become reflections of one another. In Turner, Chas sees his own desire for acceptance and adulation. In Chas, Turner sees his own demon, the violence needed to restore his powers of creation. When he sings the song Memo From T, Turner brings the two worlds together, the society of violence and the cult of rock music. The two personalities begin to merge, and they even become physically similar: when Chas wears an androgynous curly wig, he resembles a tour poster illustration of Turner.

James Fox's excellent performance captures Chas's increasing alienation from his world, as well as his sadistic streak. The script offers him, and a fine supporting cast of thugs, the opportunity for plenty of black humour. But the film is also notable for capturing the sheer energetic audacity of Mick Jagger's persona. Constantly performing for his audience, just as self-consciously as Chas, Jagger's Turner is an edgy character, who eventually drops the isolated flower-child act in the song sequence, when he displays the insolent aggression which was Jagger's trademark.

The explicit sex and brutal violence were a breakthrough for British cinema, explicitly linked in Chas's taste for rough sex and his oddly sexualised whipping at the hand of Maddocks (Anthony Valentine). These elements, and the frequent drug-taking, seem to have caused Warner Bros to panic about the film, shelving it for two years and then re-editing it before its 1970 release. —BFI


"I predicted Donald Cammell's suicide. He was in love with death." —Kenneth Anger at the Tampere International Short Film Festival, 1998

The Man That Time Forgot
Story by Paul Beard and Lee Hill, Neon, August 1997

His last movie is the most sought-after video in America. But he shot himself after seeing the producers' cut. He was Britain's most creative filmmaker. But his career was a disaster. Who was Donald Cammell?

When Donald Cammell put a shotgun to his head at his home on April 23, 1996, he was expecting a quick death. He'd been depressed for some time. He had even told some of the people close to him that he was contemplating suicide. But most people still saw the witty, urbane 62-year old they'd come to know. His death was to be the brutal resolution to a life filled with promise but plagued with false stars and setbacks. Cammell's disillusionment was now total; his marriage was over, and his latest film, Wild Side, had, he thought, been butchered by its producers.

But when Cammell pulled the trigger, the wound did not kill him immediately. When the emergency services were called, he was still shockingly alive, and if the ambulance hadn't had such trouble finding his home in the Hollywood Hills, he may have survived.

An artist by trade, Cammell was chiefly known for the extraordinary film he co-directed in 1968 — Performance, a mystic, druggy study of art, crime and insanity. It stars James Fox as Chas, a fugitive gangster, and Mick Jagger as Turner, the reclusive rock star who takes him in. Turner is burned out and knows Chas will eventually kill him. Over the course of the film, their identities blur, and when Chas finally pulls the trigger, Turner willingly accepts his death. As in the scenes that closed two of the other three films Cammell made, the main character shoots, or is shot by, someone they consider very close.

Cammell used violence to make a point about his characters, about identity, about trust and betrayal. On screen, his deaths were always poetic and transcendent. They were never as pointless, ugly and tragic as they are in real life.

In May of this year [1997] , Cammell's relatives were surprised when Nu Image, which produced Wild Side, claimed it was about to re-release a 'director's cut' of the film — the one they'd been given a year earlier, and had re-edited and cut by an hour. The lesbian scenes Nu Image once thought too explicit were to be reinstated, but this was no benevolent posthumous reappraisal. Instead, the decision had more to do with Wild Side's co-star, Anne Heche, whose gay lover Ellen DeGeneres had recently come out in spectacular fashion.

Cammell's cut was provocative and challenging. It also, reasoned Nu Image, offered lots of red-hot-two-girl action featuring one of the most talked-about names in showbusiness. In a tactless about-turn, Nu Image company president Avi Lerner glibly stated: "This picture is really something you haven't seen before. Every man will have something to keep in his home, and it's something every woman would like to see."

Wild Side had become the biggest disappointment in a career many people thought could not be more jinxed. Which was ironic, given that Cammell had every reason to believe this would be the easiest film of his career — Nu Image was a small independent outfit, and in the wake of mavericks like Abel Ferrara, the market might finally be ready to accept his vision.

Written by Cammell and his wife, China Kong, the $5 million movie starred Christopher Walken as Bruno, a money-laundering gangster, whose ex-wife Virginia (Joan Chen) is involved in a lesbian affair with bank teller and part-time call girl Johanna (Anne Heche). But when Cammell delivered his two-and-a-half-hour cut, the news was not good. Nu Image had envisaged an erotic thriller with arthouse credentials, an upmarket Red Shoe Diaries. But with its radical time-changes and extended flashbacks, explicit sex scenes and homoerotic subplots, Wild Side was definitely not what the company behind Cyborg Cop II and Hard Justice had in mind. They cut the film to 92 minutes and dumped it onto the cable and straight-to-video market. Cammell removed his name as director, incensed by Nu Image's interference.

Along with his marriage, it was more trouble than he needed. As Cammell became more and more depressed, his brother David flew to LA to help. He took Cammell to see a doctor, who prescribed medication. Towards the end of David's visit, things were looking up — Donald, China and a new collaborator, Drew Hammond, were working on a new script together. Called 33, it was set in Istanbul and dealt with a journalist who becomes trapped in a hideout of a heroin kingpin. To Cammell's surprise, Hollywood agency ICM was delighted with the script.

Two days later, David came home to find a message on his ansaphone. It was his brother asking him to call. Because of the time difference, David waited a few hours, and when he called back, the phone was answered by a policeman. He wouldn't say what had happened. When David called again, an hour later, Drew told him the terrible news. Donald Cammell was dead.

Performance was Cammell's first movie as a director and a statement he never bettered. He wrote the script in 1967, the peak of Swinging London, but those at the heart of the counterculture knew the mood was changing.

Cammell was in his early thirties, an artist and illustrator, and his friends were chic and impressive. London society was promiscuous, a maze of connections linking East End criminals, painters, writers and filmmakers with the wealthy Chelsea set. It also included Rolling Stones guitarist Brian Jones, who used to hold court with his girlfriend, Anita Pallenberg, at their South Kensington home. Cammell was a frequent visitor.

Born in Edinburgh, on January 17, 1934, he was older than the Stones' crowd, but he was an urbane figure, and they enjoyed his company. His father, Charles, was a poet, journalist and the author of books on Byron and Rossetti. More significantly, he had written a biography of Aleister Crowley, the occultist branded "the wickedest man in the world" by Lord Beaverbrook. Cammell was well versed in the arts and literature, plus it was rumoured — entirely without foundation — that Crowley was his godfather.

After walking out of a brief marriage to actress Maria Andipa in the early '60s, Cammell set up a studio in Paris. Making frequent trips to London, he became more overtly bohemian, and his three-way affairs with women were no secret. Cammell became interested in movies when his brother started a company making ads and short films. They devoured avant garde movies, and Cammell even made his acting debut — a surreal cameo in Eric Rohmer's La Collectioneuse (1966) that showed him asking for directions to the sea, even though it was quite clearly behind him.

Cammell's first screenplay, The Touchables (1968), co-written with David, was about a pop star kidnapped by female fans. After that, he worked with Harry Brown Jnr on the script for Duffy — filmed in 1968 with James Coburn and James Fox — a heist story about a young man plotting to rob his tycoon father. Cammell was disappointed with the result, a 'Swinging London' cash-in that turned his characters into shallow hipsters and blunted the script's sharp edges.

Through Duffy he met Fox, then a fresh-faced British actor playing aristocrats and upper-class arses. As the '60s hit full stride, Fox was coming into sync with the times, experimenting with drugs and women. Cammell saw in him a lurking strength, that hadn't yet been harnessed. It was an oversight he planned to correct.

Cammell's script was originally called The Performers, a wry pun on gangster slang for a reliable operative. Sandy Lieberson, a young American agent, pitched Performance to his old school friend, Ken Hyman, the head of Seven Arts-Warners. The studio thought it was buying a pop movie, like A Hard Day's Night, and bankrolled the project without much persuasion.

Cammell was co-directing the film with cinematographer Nicolas Roeg, and their choice of cast and crew gave the film a twisted homemovie quality. Pallenberg, who had by now left Jones for Keith Richards, was cast opposite Fox and Jagger, and Michèle Breton, a Parisian friend of Cammell's, completed the main foursome. David was associate prodoucer, running day-to-day operations from his nearby studio.

Shooting began in September, 1968, for 12 weeks at a budget of £400 000. It was as turbulent as the finished film. Fox immersed himself in criminal culture and became well acquainted with the underworld. "He literally became a gangster in the name of research," said Cammell, "… to the extent that he actually frightened people." Stones insider/dealer 'Spanish Tony' Sanchez claimed that, for added realism, Fox and Jagger were smoking DMT — dimethyltryptamine, a 15-minute high known as "the businessman's buzz" — between takes. Cammell wasn't too troubled by the chaos — in fact, he'd written it into the script, in Jagger key line. "The only performance that makes it," Turner tells Chas, "that really makes it all the way, is the one that achieves madness."

Performance lent heavily on eastern mysticism — especially the myth of Hassan-I-Sabbah, ancient Persian leader of the hashishin, a sect of highly trained, drug-fed killers — and the fiction of Jorge Luis Borges, but Jagger supposedly based the role on Brian Jones, already losing his looks and his mind, and Richards, whose self-destructive tendencies were thwarted by his cast-iron constitution. According to Sanchez, Jagger's then-girlfriend Marianne Faithfull told him: "You must become a mixture of the way Brian and Keith will be when the Stones are over, and they are alone in their fabulous houses with all the money in the world and nothing to spend it on."

Performance was the perfect barometer of its times. The authorities were cracking down on counterculture; in February 1967, police swooped on Redlands, Richard's Sussex country estate, and busted the Stones as "an enemy to straight people", which he did by contrasting Turner's dark, subversive world with scenes of Chas' gangland connections threatening lawyers and judges, literally flouting the law.

When filming ended, Pallenberg felt drained. The optimism of the '60s had totally gone for me," she says. "I remember going on a big trip to South America afterwards because in those days we all kind of felt we were living in a police state and we just wanted to get out." Fox began a mental odyssey of his own that saw him give up film acting altogether to work for a non-profit Christian charity, The Navigators.

First screenings at Warners were met with horror. Lieberson thought they'd produced an art film, but studio executives and their wives accused them of unleashing "something evil". One even went out into the back lot of the studio with a spade, threatening to bury the film. A review printed in the New York Times a few years later sums up their reaction: "You don't have to be a drug addict, pederast, sado-masochist or nitwit to enjoy Performance, but being one or more of those things would help."

Warners shelved the film indefinitely.

When it was finally released in 1971, in a heavily cut version, Performance found some unlikely allies — John Calley, Warner's new head of production, Don Simpson, who promoted the flm to the young audience drawn by the success of Easy Rider, and Marlon Brando, one of Hollywood's most difficult talents.

Cammell had known Brando since the '50s. They were introduced by a mutual friend, actor/director Christian Marquand, when they visited him in a Paris hospital after Brando scalded his testicles in a mishap with a cup of coffee.

Brando and Cammell had kept in touch, but they fell out spectacularly in 1974 when Cammell fell for China Kong, the 14-year-old daughter of one of Brando's lovers. Cammell used to pick China up from school and take her out on little trips to the desert. Sometimes he'd even forge notes to keep her away for the whole day, and they began a completely illicit affair, which could easily have landed Cammell in jail. They married in 1978, when China turned 18.

The '70s were comparatively quiet for him. Although Performance was a cult success, many believed it to be solely Roeg's work. Cammell was rarely interviewed, perhaps tainted for a while by the film's polarised reception — the New York Times review went on to describe Cammell as a man "whose name does not deserve to live on even in ignominy." He moved to New York, and later Los Angeles, developing scripts and writing treatments. Cammell had enjoyed working with Jagger, and much of this period was spent trying to find a project to reunite them. One of the best known was Ishtar, to have starred Jagger and Norman Mailer, which concerned a mythical goddess returning to Earth. It was in development for 20 years, and after the disatrous Warren Beatty film of the same name, Cammell tried to revamp it, without success.

In 1977, he received an unexpected call from MGM, who were shooting Demon Seed, a sci-fi movie about an advanced computer that intimidates and impregnates its creator's wife, played by Julie Christie. Brian De Palma had passed on it, and MGM offered Cammell the job. He kept to the screenplay he was given and concentrated instead on the visuals, hiring experimental film-maker Jordan Belson to create the film's abstract, trippy computer images. MGM ordered rewrites, Cammell grew disheartened, and an offhand remark about Christie's performance — made while the film was still shooting — came back to haunt him. "The film may be shit, but I think her work in it is extraordinary." Critics pounced on the quote when they savaged the result as an unintentionally funny clone of 2001.

In the meantime, Brando had calmed down about the affair with China. He'd seen Performance and liked it, and he asked Cammell to help him with a film he wanted to shoot on his own Tahitian island. Cammell was fascinated by Brando and saw the same quality he'd seen in Fox and Jagger, the chance to reinvent an iconic presence. "He's not the only actor in the universe with great talent," Cammell said later. "He's the one that's has been chosen to be deified. Much as Elvis was chosen. Part of the icon role is way beyond acting, and comes from being dangerously attractive in a psychosexual way. A great heap of sex appeal."

The project developed into Fan Tan, a dark tale of piracy on the South Seas during the '20s. As Brando's enthusiasm for the script ebbed and flowed, David Cammell set up a lucrative deal whereby his brother would turn Fan Tan into a novel that could then be used to promote and finance the film. Brando had final approval.

Cammell went ahead with the book, which turned into a double volume, delivered it on time and was paid an advance. He went to Brando, who had to sign it off. "To this day, as far as we know," says David, "Brando has never even read it. He just could not be bothered."

After the collapse of Fan Tan, Cammell made a living as a screenwriter and a director of rock videos, making the promo for U2's 'Pride'. He and China frequently wrote together, and the first fruit was a thriller that perfectly predicted the serial-killer movie boom of the early '90s.

Released in 1988, White Of The Eye starred David Keith as Paul White, an ex-drifter turned hi-fi specialist who is implicated when local women are killed in a series of grisly murders. Cammell took the source novel, Mrs White, and created a whole new psychic arena. "The novel explored this woman's feelings as she discovers that her husband is insane, and yet she is completely dominated by him," he explained. "Well, I rethought all that and decided it was more interesting to have her deeply in love, so that when she discovers he's a serial killer, she has to make that decision to leave him or confront him and continue to love him. Even to the point where he degenerates into bestiality."

Like Performance, White Of The Eye has an eerie visual style, and charges of misogyny were not helped when Cammell acknowledged that "the killer has a painter's eye, which I suppose is mine." Ironically, the film is about misogyny.

True to form, its release was delayed by a bankruptcy suit. Brando even stepped in when the film was threatened with cuts by the American censor, asking, "If a filmmaker of this order and sublety and taste is not encouraged, what hope have we?" Although it was well received by the critics, and later achieved cult status on video, White Of The Eye died at the box office.

In fact, Brando was sufficiently impressed by the film to call Cammell again. Despite the previous fiasco, he did not hang up. "The are all kinds of American icons that need to be transformed into something else," Cammell once said. It was clearly his reason for accepting the actor's invitation to write Jericho, an ultra-violent action thriller. Brando would play Billy Harrington, a former CIA assassin blackmailed by the CIA into carrying out one last mission. According to Cammell, the body count was huge: "He kills everybody — everybody! — in the last reel."

Producer Elliot Kastner paid Brando $3 million up front, but in the middle of casting and pre-production, with shooting only days away, Brando dropped out, claiming he couldn't get insurance. Kastner went bankrupt, and Cammell went back to his typewriter.

From 1988 on, offers came in. Cammell came close to directing Bad Influence, Robocop 2, and 3,000, a dark script about a street hooker and a millionaire that eventually became Pretty Woman. Then, in late 1994, he and China made the deal for Wild Side. Like Performance, it dealt explicitly with the politics of sex and power, but although Nu Image financed the film on the basis of the finished script, they weren't prepared for the way Cammell filmed it.

Wild Side started in the middle and went into a huge flashback much later. Nu Image thought this was far too demanding for the audience. Beyond that, there were the takes he'd used — Cammell had encouraged Walken to go way over the top. At one point, Heche tells Walken to see a shrink, saying he's "out there". "I am out there," he yells. "I'm where every man wants to be!"

"Walken was really into the part," says Rodley, "and Donald had systematically gone for the more eccentric and maniacal takes." Nu Image replaced them with softer, more restrained versions. "It was as if they'd moved in on something like Bad Lieutenant and chucked out the more excessive stuff to make it more restrained," he says. "If the film had been left alone, it would be more proof of the line in Performance about 'the only performance that makes it'. That authorial link is lost now.

"The truth was, somewhere between Donald's cut and Nu Image's version, there was a really good film."

Because of the re-editing, some of the lesbian scenes now featured in an entirely new context. Cammell felt very responsible, having given personal guarantees to Chen and Heche that the material would not be exploited. He was already in an emotional state, and the whole Wild Side debacle pushed him further into depression. He called his brother, who tried to talk him down. "He felt he had been completely sabotaged," says David.

During battles with Nu image, Cammell wrote The Cull, about a Gulf veteran whose life is threatened by government assassins because he plans to reveal details of chemical warfare. It was to be produced by CineFin, but the company was crippled when one of its other productions, the Brando-Johny Depp film Divine Rapture, collapsed a few days into shooting. The irony was bitterly clear: Marlon Brando, Cammell's nemesis, could fuck up a film without even trying.

Cammell's death was barely reported in the media. Despite four intelligent, thematically consistent films, he was an amazingly underrated talent, overlooked by a generation that considered even Russ Meyer an auteur.

Over a year later, China Kong hasn't seen Nu Image's "restoration". She doubts whether it will be her husband's original cut, although a few refracted images from his imagination will certainly remain. There's a good chance of 33 being filmed if the right director can be found, but, as Nu Image discovered, Cammell brought more to the screen that he put in his scripts.

Cammell did, as he lived, a deceptively enigmatic talent. He was bright and charming, and even good friends knew nothing of his inner torment. But then, that was always his contention. Cammell knew that nothing was as ever as it looked, that there was no single, simple truth.

In one telling scene from Performance, as Chas gets sucked deeper into Turner's psyche, he complains, "There's nothing wrong with me — I'm normal!" Cammell's death, like his art, showed there is no such thing. As Turner tells Chas, quoting Hassan-I-Sabbah, "Nothing is true: everything is permitted." —-Copyright © Neon, 1997

Cast & Crew

Directed by Nicolas Roeg and Donald Cammell
Screenplay by Donald Cammell
Cinematography by Nicolas Roeg
Music by Jack Nitzsche
Produced by Donald Cammell & Sanford Lieberson
James Fox . . . Chas
Mick Jagger . . . Turner
Anita Pallenberg . . . Pherber
Michèle Breton . . . Lucy
Ann Sidney . . . Dana
John Bindon . . . Moody
Stanley Meadows . . . Rosebloom
Allan Cuthbertson . . . The lawyer
Anthony Morton . . . Dennis
Johnny Shannon. . . Harry Flowers
Anthony Valentine . . . Joey Maddocks
Kenneth Colley . . . Tony Farrell
John Sterland . . . The Chauffeur

- The Last Interview with Donald Cammell
- Performance through the lens of Jorge Luis Borges's work
- Ruminations on Donald Cammell & Nicolas Roeg and Performance
- PhinnWeb Performance Page - devoted to the film, with images, articles, reviews, and more

Coming fron GREYLODGE galaxy


Rating: 4.7 - 3 voto(s).

2007-06-05 09:39:28_ .....yeahhhhhhhhh qué peliculón: imprescindible
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25-01-07_ This film is not yet rated
23-01-07_ Mishima: Yukoku - Rite of Love & Death
16-01-07_ NYSUFILMS
30-08-07_ Performance * the movie
08-01-07_ A propósito de "Volver"
07-01-07_ A Pack of Apocalypse. When? Now.
03-01-07_Introduction to "Avant-Garde Film"
03-01-07_ The Heart Is Deceitful Above All Things
16-01-08_ Skidoo: Otto Preminger's Unreleased Classic
25-12-06_ Orson Welles: The one-man band
22-12-06_ Plan 9 From Outer Space * Ed Wood
22-12-06_ A Scanner Darkly * PKD
22-12-06_ F is for Fake + Almost true
20-12-06_ Searching for the wrong-eyed Jesus
20-12-06_ Los "vacíos" de Antonioni
10-12-06_ Tarnation * Subjetividades renovadas
24-11-06_ Devenir secular de la simultaneidad en el cine
28-11-06_ Iraq for sale, la nueva película de Robert Greenwald
14-11-06_ Nobody wants your film
01-11-06_A PSA on Piracy
26-10-06_Pequeña Miss Sunshine
22-10-06_Werner Schroeter * The Death of Maria Malibran
22-10-06_Sherlock Holmes y la mujer araña
26-10-06_A Scanner Darkly ****
18-10-06_Temporada de patos
17-10-06_Toshio Matsumoto * Experimental Film Works
08-10-06_Forbidden Zone
08-10-06_Old Joy * Kelly Reichardt
29-09-06_El momento de volver a partir
08-10-06_The Devil and Daniel Johnston
29-09-06_Cine por el morro en Barcelona
28-09-06_The Queen: an elegiac prophecy
19-09-06_Le Grand Bouffe 1973
19-09-06_La Dalia Negra Review: cagada y consenso
17-09-06_Lenny Bruce * Thank You, Mask Man
16-09-06_Paris forever and ever
13-09-06_Film as a Subversive Art: Amos Vogel and Cinema 16
11-09-06_The Cowboy and the Frenchman * David Lynch
08-09-06_If Footmen Tire You, What Will Horses Do?
16-09-06_Man Bites Dog director dies at 38
05-09-06_Spectres & Tribulation
05-09-06_The Fountain * Darren Aronofsky * Venecia
30-08-06_Spike lee * When The Levees Broke
03-09-06_Steal This Film
05-09-06_El coro que llevamos en la cabeza
27-09-09_ Legendary Epics Yarns and Fables: Stan Brakhage
16-04-08_ The Pervert's Guide To Cinema  [actualizado 25_03_08]
13-08-06_dotsub and IMPD
06-08-06_John Huston, el hombre que no quiso reinar
04-08-06_Going C.R.A.Z.Y.
28-07-06_‘Scoop’: Shades of Nick and Nora, With Woody Allen’s Shtick
22-07-06_I See Good Movies
01-07-06_El señor de la guerra
30-06-06_The Viagra Auteurs
28-06-06_Andy Warhol * A documentary by Kim Evans
28-06-06_The Films of Jack Goldstein
14-10-07_ Cinema of Transgression
08-06-06_The Net
07-06-06_Lev Manovich * What is Digital Cinema?
04-06-06_Michael Snow * Wavelength
05-06-06_Robert Rauschenberg * Linoleum
05-06-06_ Robert Morris & Stan VanDerBeek
05-06-06_ Gene Youngblood * Expanded Cinema
05-06-06_William S. Burroughs * The Cut-Ups
13-04-08_ The Weather Underground [updated 25_03_'08]
05-06-06_Francis Ford Coppola * The Junky’s Christmas
06-06-06_Alfred Leslie * The Last Clean Shirt
17-05-06_¿Por qué querrá Sam la cabeza de Al?
15-05-06_Agnes Varda: Black Panthers - Huey!
06-06-06_Alternative 3
04-08-06_Rosellini a los 100 * Decálogo de un insurrecto
04-05-06_El amor en los tiempos venideros * Codigo 46
04-05-06_Art is for pussies
21-04-06_A User's Guide to the TriBeCa Film Festival
02-04-06_Kim Ki-duk * El arco
29-03-06_The worst of the worst: 10 bottom films of 2005
27-03-06_A Filmmaking Robot
29-03-06_Horror Show
24-03-06_Young. Beautiful. Deadly revisited
20-03-06_Matthew Barney | The Cremaster Cycle
17-03-06_Thank you for Smoking
19-03-06_Anarchy in the U.K.
08-03-06_Pequeños consejos para cortometrajistas
07-03-06_Cine de ciencia ficción
06-03-06_Entrevista | Jeanne Moreau Actriz [EXP]
05-03-06_Mondovino * Agitación necesaria
05-03-06_Bush da nueva vida al cine político * Siriana
24-02-06_Transamérica / Amor de p/madre
18-02-06_La Mayor pelicula irlandesa: Film, de Samuel Beckett
07-02-06_El miedo al mono en v.o.
07-02-06_James Mangold
05-02-06_Lee Tamahori detenido por prostitución
03-02-06_Philip Seymour Hoffman
29-01-06_Sundance premia 'La ruta natural'
29-01-06_Lírica visual / UNSEEN CINEMA
23-01-06_Borrascas personales
20-01-06_Whither the DIY Auteurs of DV?
17-01-06_Goons of New York
16-01-06_El club de las olas
13-01-06_El lado oscuro de la épica
11-01-06_Coke Classic
11-01-06_La muerte, probablemente
09-01-06_Jon Stewart, Oscar Host
08-01-06_I Like to Watch
06-01-06_Brokeback Mountain
23-12-05_A Revenger's Odyssey in Pursuit of Terrorists
12-12-05_Variety 100 años / 100 iconos del cine
06-12-05_Thinking Outside the Box Office / interview with Steven Soderbergh
03-12-05_ Flores Rotas: «Introducing» Ramón, El gato del milenio
01-12-05_Primer » Shane Carruth
08-06-05_Victor Erice » El sol del membrillo
06-06-05_Ivan Zulueta » Arrebato
06-06-05_Ridley Scott » El reino de los cielos (Vaya cruz)



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