And the Straubs talk about their efforts to kindle actors’ enthusiasm for doing 30 takes after long days at their regular jobs. Ghost Story is a 1981 American supernatural horror film directed by John Irvin and starring Fred Astaire, Melvyn Douglas, Douglas Fairbanks Jr., John Houseman, Craig Wasson, and Alice Krige. Lento and Ventura smile at “the fear of death we had back then” – thirty years ago. His other son, Don, comes home at Edward's request. In a flashback, Don tells the story of how he, a college professor in Florida, began a torrid sexual affair with a mysterious secretary named Alma. Watch new releases & restorations available nationwide and support FLC in our Virtual Cinema >>, Dir. The following dossier features contributions from a diverse selection of members of this Straubian international, shining a light on different elements of Straub/Huillet’s 50-year-plus œuvre. Loss does not heal. [2], Critical reception was mixed to negative upon release. [citation needed], Ghost Story was released on DVD on March 25, 1998 by Image Entertainment. Suddenly, the bell rang. All doors looked the same back then.”, Colossal Youth has more doors than any movie in history –, – partly because of Costa’s anxiety while making Où. Yet reality is richer than our imaginations, and we only impoverish our art when we just dump everything into a soup. [17][18] Universal repressed the DVD with an alternate cover art, which was released September 7, 2004. Sears leaves in his car to seek help, leaving Don and Ricky behind. They go there, but Don falls on the rotting stairs and breaks his leg. I used to get [the door] wrong all the time. In contrast, although Costa’s portraits are stunning, conjuring Jan Vermeer in light, colour, air and use of doors; conjuring Huillet-Straub in sheer sensuality; nonetheless. Walks behind the door. “Get rid of the pot! Edward leaves with his friends, and the four become very drunk, discussing Eva's prowess in the bedroom. He survives, but is attacked and killed by Fenny Bate, one of Eva's accomplices. The Straubs tell us how they teach their actors to take time, after the clapboard hits. These three films, often shown together, are among their very best: an idiosyncratic adaptation of Heinrich Böll’s short story “Bonn Diary,” about a former Nazi colonel cynically reflecting on the sheer stupidity of the bourgeoisie; a three-part short comprised of a nocturnal tour of Munich, a high-speed stage production of Bruckner’s Sickness of Youth, and the marriage of James and Lilith, who guns down her pimp (played by Rainer Werner Fassbinder); and their stunning, thrillingly compressed adaptation of Böll’s novel Billiards at Half-Past. Janus of the Antipodes: An Interview with French-Australian Filmmakers Jayne Amara Ross and Viviane Vagh, Criminals Against Decoration: Modernism as a Heist, Claustrophobia and Intimacy in Alex Ross Perry’s, Thresholds of Work and Non-Work in Tulapop Saenjaroen’s, Cinema For/Against the Lure of Images: The 23rd Vancouver International Film Festival, The 34th Cinema Ritrovato Has Full Resuscitation under COVID, Women at the 2020 Toronto International Film Festival, A Vitalising Cinema in an Agitated Age: The 58th New York Film Festival, Your Daughters Come Back to You: The 28th Pan African Film and Arts Festival, Stairways to Paradise: Youssef Chahine and, Waiting for Rain: Oppression and Resistance in Youssef Chahine’s, The End of Innocence: Scandinavian Films at the 30th Göteborg International Film Festival, Artistic Encounters: Jean-Marie Straub, Danièle Huillet and Paul Cézanne. No matter, their dignity is colossal. “Shh-sh,” said Bertolucci. “I’ve been having this nightmare for more than thirty years”, says Ventura. [1] It grossed a total of $23,371,905 at the United States box office, and was the third-highest grossing horror film of 1981 and the 34th-highest grosser of the year. Everyone is balancing on edge. It was the last film to feature Astaire, Fairbanks, and Douglas (Melvyn died four months before the film's release), and the first film to feature Michael O'Neill. A month later, he called his brother in New York and learned to his horror that Alma had begun dating David not long after he broke off their engagement, and that now he's going to marry her. (8) Le Fresnoy is a multimedia art centre near Lille. Jean-Luc “Godard seemed very old to me, suddenly, when I saw […] the films of Straub. They are shapes, figures in incredibly beautiful compositions. to collect themselves, concentrate, think, meditate, and be one in their body. All the same, it is extraordinarily funny to watch Ventura slowly realise his daughter is married to his son. A boy with magical powers practices how to harness his skills at an ordinary middle school. (15). [1][7] Interiors of the abandoned home in the film were crafted inside the former Union Station in Albany, New York,[8] while shooting for the Florida-based scenes was completed in Deland and New Smyrna Beach, Florida; scenes set in New York City were shot on location. “The Alsatian James Dean”, Costa calls him. A painting is also a door and perhaps Ventura sees himself. Because if you have a great deal of patience, it is charged with contradictions at the same time. Keep track of everything you watch; tell your friends. But in Où itself, we see Jean-Marie only in dimly lit long shot, and Danièle’s eyes almost not at all. A Portuguese translation of this article is included in a forthcoming book about Pedro Costa’s work edited by Ricardo Matos Cabo.
