Hello and welcome to the unofficial Brian De Palma website.
Here is the latest news:

De Palma a la Mod


De Palma Discussion


Recent Headlines
a la Mod:

Domino is
a "disarmingly
work that "pushes
us to reexamine our
relationship to images
and their consumption,
not only ethically
but metaphysically"
-Collin Brinkman

De Palma on Domino
"It was not recut.
I was not involved
in the ADR, the
musical recording
sessions, the final
mix or the color
timing of the
final print."

Listen to
Donaggio's full score
for Domino online

De Palma/Lehman
rapport at work
in Snakes

De Palma/Lehman
next novel is Terry

De Palma developing
Catch And Kill,
"a horror movie
based on real things
that have happened
in the news"

Supercut video
of De Palma's films
edited by Carl Rodrigue

Washington Post
review of Keesey book


Exclusive Passion

Brian De Palma
Karoline Herfurth
Leila Rozario


AV Club Review
of Dumas book


« September 2016 »
1 2 3
4 5 6 7 8 9 10
11 12 13 14 15 16 17
18 19 20 21 22 23 24
25 26 27 28 29 30


De Palma interviewed
in Paris 2002

De Palma discusses
The Black Dahlia 2006


De Palma Community

The Virtuoso
of the 7th Art

The De Palma Touch

The Swan Archives

Carrie...A Fan's Site


No Harm In Charm

Paul Schrader

Alfred Hitchcock
The Master Of Suspense

Alfred Hitchcock Films

Snake Eyes
a la Mod

Mission To Mars
a la Mod

Sergio Leone
and the Infield
Fly Rule

Movie Mags


The Filmmaker Who
Came In From The Cold

Jim Emerson on
Greetings & Hi, Mom!

Scarface: Make Way
For The Bad Guy

The Big Dive
(Blow Out)

Carrie: The Movie

Deborah Shelton
Official Web Site

The Phantom Project

Welcome to the
Offices of Death Records

The Carlito's Way
Fan Page

The House Next Door

Kubrick on the

FilmLand Empire

Astigmia Cinema


Cultural Weekly

A Lonely Place

The Film Doctor


Icebox Movies

Medfly Quarantine

Not Just Movies

Hope Lies at
24 Frames Per Second

Motion Pictures Comics

Diary of a
Country Cinephile

So Why This Movie?

Obsessive Movie Nerd

Nothing Is Written

Ferdy on Films

Cashiers De Cinema

This Recording

Mike's Movie Guide

Every '70s Movie

Dangerous Minds


No Time For
Love, Dr. Jones!

The former
De Palma a la Mod

Entries by Topic
A note about topics: Some blog posts have more than one topic, in which case only one main topic can be chosen to represent that post. This means that some topics may have been discussed in posts labeled otherwise. For instance, a post that discusses both The Boston Stranglers and The Demolished Man may only be labeled one or the other. Please keep this in mind as you navigate this list.
All topics
Ambrose Chapel
Are Snakes Necessary?
Bart De Palma
Beaune Thriller Fest
Becoming Visionary
Betty Buckley
Bill Pankow
Black Dahlia
Blow Out
Blue Afternoon
Body Double
Bonfire Of The Vanities
Boston Stranglers
Bruce Springsteen
Capone Rising
Carlito's Way
Casualties Of War
Catch And Kill
Cinema Studies
Clarksville 1861
Columbia University
Columbo - Shooting Script
Conversation, The
Daft Punk
Dancing In The Dark
David Koepp
De Niro
De Palma & Donaggio
De Palma (doc)
De Palma Blog-A-Thon
De Palma Discussion
Demolished Man
Dick Vorisek
Dionysus In '69
Dressed To Kill
Edward R. Pressman
Eric Schwab
Fatal Attraction
Femme Fatale
Film Series
Frankie Goes To Hollywood
Fury, The
Genius of Love
George Litto
Get To Know Your Rabbit
Ghost & The Darkness
Happy Valley
Havana Film Fest
Hi, Mom!
Home Movies
Inspired by De Palma
Iraq, etc.
Jared Martin
Jerry Greenberg
Keith Gordon
Key Man, The
Laurent Bouzereau
Lights Out
Magic Hour
Magnificent Seven
Mission To Mars
Mission: Impossible
Montreal World Film Fest
Mr. Hughes
Murder a la Mod
Nancy Allen
Nazi Gold
Newton 1861
Noah Baumbach
Oliver Stone
Paranormal Activity 2
Parties & Premieres
Paul Hirsch
Paul Schrader
Pauline Kael
Peet Gelderblom
Phantom Of The Paradise
Pino Donaggio
Prince Of The City
Print The Legend
Raggedy Ann
Raising Cain
Red Shoes, The
Responsive Eye
Rie Rasmussen
Robert De Niro
Rotwang muß weg!
Sean Penn
Sensuous Woman, The
Snake Eyes
Sound Mixer
Star Wars
Stepford Wives
Stephen H Burum
Sweet Vengeance
Taxi Driver
The Tale
To Bridge This Gap
Toronto Film Fest
Treasure Sierra Madre
Tru Blu
Truth And Other Lies
TV Appearances
Untitled Ashton Kutcher
Untitled Hollywood Horror
Untitled Industry-Abuse M
Venice Beach
Vilmos Zsigmond
Wedding Party
William Finley
Wise Guys
Woton's Wake
Blog Tools
Edit your Blog
Build a Blog
RSS Feed
View Profile
You are not logged in. Log in
Sunday, September 11, 2016
Duncan Gray has posted an essay at Fandor's Keyframe blog that examines the dream aspect of Brian De Palma's Passion within the context of movie dreams and noir expressionism. Here's an excerpt:
Passion was treated as minor De Palma, and fair enough for a thriller built from an array of elements—doppelgangers, split-screen murders, music by Pino Donaggio, voyeuristic sexuality—that De Palma had used, more memorably, decades earlier. Still, it has something that so many mainstream American movies today are lacking: an appreciation for cinema’s irrational power over its audience. And De Palma, old-school enough that he closes Passion with a title card reading “The End,” made a film that’s best understood through the psychodramatic lens of classic noir, while at the same time working a twist on his own formula.

In discussing Passion as a dream narrative, one must be careful, because that’s a game that can keep the audience guessing. The heroine goes to bed at the beginning of the film, and subsequently is shown falling asleep and suddenly waking up nearly half a dozen times. De Palma adapted his script from a French thriller called Love Crime (Alain Corneau, 2010), from which Passion gets its Euro-chic setting, the framework of its murder plot, and a battle of feminine cunning that should appeal to anyone who feels the word “bitch” may be used admiringly. But Love Crime plays the material relatively straight, with a very different ending. The feverish dream angle belongs to De Palma’s version alone.

So the best place to start is the one sequence I can say with confidence is “real,” the opening scene. Isabelle (Rapace) and Christine (McAdams), two coworkers at an ad agency, are meeting at Christine’s apartment after hours to discuss the latest campaign. As they share a drink and a few laughs, it’s instantly clear which of the two is dominant. Christine has perfect confidence, perfect style, perfect taste, a perfect apartment. Isabelle is much more timid and repressed. Buttoned-up in an asexual black pantsuit (which she’ll wear for most of the film, despite Christine’s many colorful costume changes), Isabelle is clearly in the thrall of her mentor, and thrilled that such an alpha-female would keep her as a confidante. She admires Christine—is it just professional, or something else? Then Christine’s perfect boyfriend arrives, and Isabelle, sensing that she’s become a third wheel, excuses herself and goes home. We see Isabelle drifting off to sleep, and then the story begins in proper: a tale of intrigue and murder as convoluted as any of Alfred Hitchcock‘s—and much clammier than Richard Wanley’s.

As a thriller, Passion has too many implausible twists to name. But as a glimpse into Isabelle’s psyche, it’s a hypnotic clash of identities. Isabelle competes with Christine. She sleeps with Christine’s boyfriend. Christine suddenly kisses Isabelle—a moment they scarcely dwell on—then teaches her to undo her top buttons to hook a male client. (“You’re more like me than you think,” Christine teases her.) And throughout this, the film’s style tilts towards insanity. Rapace plays Isabelle as a perpetually stunned figure, acting for most of the film like a helpless spectator, even to her own actions. The script is often daftly illogical; in one scene, Christine goes from threatening Isabelle to inviting her to a dinner party within a few seconds. Midway through, the film suddenly shifts into full-blown noir expressionism, with wall-to-wall canted angles and Venetian-blind shadows. The plot mechanisms by which someone may or may not get away with murder are as complex as they are irrelevant. Passion is more a series of anxious fantasies: to be Christine, to fuck Christine, to kill Christine. Though of course, in a nightmare, can you count on someone to stay dead?

The crowning moment, where Passion adds something valuable to De Palma’s canon, is the final set piece. This scene is De Palma in overheated form, the sort of ludicrous sequence that gets excruciating suspense from being so drawn out, and it involves a murder taking place in Isabelle’s apartment late at night, just as a police inspector drops by to “pay his respects.” There are numerous things that are logically “off” with this scene, not the least of which is why the inspector, who by this point in the contorted plot has been thoroughly fooled, would choose to pay a social visit in the middle of the night. But the sequence builds to a fever pitch, and then climaxes with the money shot: Isabelle convulsing awake, in the same bed she’d drifted off to sleep in after that opening scene—only now with a crucial, impossible detail.

De Palma is self-aware filmmaker, not above referencing himself as well as his predecessors. The final shot of Passion, a high-angle view of the heroine waking up from a nightmare, is nearly identical to the shots that closed Carrie and Dressed to Kill. But here, De Palma adds one of his most mischievous touches: When Isabelle wakes up, the murder victim is still there, lying on the floor next to the bed, perfectly preserved from the prior sequence. As a finale, it’s a bonkers paradox: the construction of the editing means that this final sequence (if not the entire plot of the film) simultaneously must be a dream and can’t be a dream. There is no logical explanation, nor can there be, nor should there be.

This kind of gamesmanship may turn some audiences off, as if the chain has been yanked a little too hard. But for such a modest, apparently trashy film, it’s also a sophisticated touch, and it relies on an audience willing to be subservient to the pure sounds and images that envelope them. It goes back to Richard Wanley’s epilogue, regaining his bearing after his feature-length nightmare; or to the hero of Caligari, confronting his horror back in real life; or to anyone who’s seen a scary movie late at night and finds it difficult to shake the unease. What De Palma’s Passion toys with, in a modern, old-fashioned way, is an idea both dreamlike and quintessentially cinematic: the fear (or hope) that what you’ve seen will be waiting for you on the other side.


By mere coincidence, The Film Stage concluded its "Summer of De Palma" collection of essays that same day by posting Brian Roan's essay on Passion...

Here is where De Palma, formerly so sedate and conventional, throws off his cape to reveal the cinematic mad genius underneath. The first act’s rote dramatics melt away, leaving behind a mad dancing skeleton that begs to be witnessed. In line with Isabelle’s deteriorating sense of security and mental stability, the film morphs into an elaborate and expert exhibition of neo-noir and Old Hollywood tropes, both stylistic and thematic. Canted angles, deep shadows, split screens. What began as a tired retread of ’90s-style potboilers becomes what only De Palma can make: a stirring melange of modern edge and classical styling.

This is the power of De Palma and the thing that makes him, for all the world, one of the most interesting American directors. Most of what he does is nothing that hasn’t been done before. He’s using techniques that have permeated the history of cinema from the very beginning. But he employs these tricks with so much skill and nonchalance in execution that their very being within a movie becomes bold. Unlike Tarantino, who trucks in homage that verges on parody (to great effect), De Palma works entirely in earnest creation. He isn’t doing these things to signal his cinematic bona fides, but to more eloquently get across his point. The point, in this case, being that Isabelle has completely broken mentally.

Passion‘s mounting dream logic is almost Lynchian, bizarre things occurring and resolving with seemingly no impact on narrative. The bafflement of the audience rises with the paranoia and franticness of the protagonist. It’s an operatic, arch transposition of mental state onto aesthetic presentation. It is, as previously stated, Lynchian in narrative, but more akin to Irving Rapper in terms of tone and aesthetic, making it at once seemingly more accessible while also forging an even deeper wedge between the film and a more modern audience.

Posted by Geoff at 11:57 PM CDT
Updated: Monday, September 12, 2016 12:13 AM CDT
Post Comment | View Comments (5) | Permalink | Share This Post
Thursday, September 8, 2016

Posted by Geoff at 7:25 PM CDT
Post Comment | Permalink | Share This Post
Nancy Allen is Executive Director of weSPARK Cancer Support Center, which, along with Ace Hotel and Scream Factory, will present a special 40th anniversary presentation of Brian De Palma's Carrie in Los Angeles on October 14, with Allen and several others involved with the film on hand for an on-stage discussion. And the discussion will be moderated by none other than Bryan Fuller! Below is the press release, courtesy of Dread Central:
Forty years ago, visionary filmmaker Brian De Palma helmed the ultimate coming-of-age horror film with Stephen King’s CARRIE, a story both celebrated and revered by cinephiles and ultimate horror fans alike. To celebrate this landmark anniversary of the movie, non-profit cancer support center weSPARK and Theatre at The Ace Hotel, along with home entertainment brand SCREAM FACTORY, will mount a once-in-a-lifetime cast and crew reunion and screening of the brand-new restoration of the film, paired with a 1970s prom-themed party, at the historic Ace Theater in Downtown Los Angeles on Friday, October 14, 2016.

The star-studded cast and crew reunion is set to include Carrie stars Academy Award-nominated Piper Laurie (The Hustler), Nancy Allen (Dressed to Kill, RoboCop), William Katt (“The Greatest American Hero”), P.J. Soles (Halloween), Academy Award-winning editor Paul Hirsch (Star Wars: Episode IV), and casting director Harriett B. Helberg (The Jazz Singer). The cast will participate in a live Q&A moderated by Bryan Fuller (the creative genius behind NBC’s “Hannibal,” ABC’s “Pushing Daisies” and the upcoming Starz series “American Gods”).

In an effort to raise critical funds for weSPARK Cancer Support Center, of which Carrie’s Nancy Allen is Executive Director, the event will see the Ace Theater transformed with prom-themed decor, during which attendees are encouraged to dress in their best 1970s formal attire or favorite character from the film for an opportunity to pose for a photo in a special photo booth and win a Best Dressed “Carrie” character costume contest.

“I want a recount! I can’t believe Carrie is celebrating its 40th Anniversary! This movie changed my career much like weSPARK has changed my life, and to bring these two worlds together for good only adds to the specialness of this celebration.” – Nancy Allen, Carrie’s Chris Hargensen

Tickets to the star-studded screening and Q&A will start at $25, with higher ticket tiers to include Scream Factory’s brand new 2-disc Carrie (Collector’s Edition) Blu-ray release with nearly 3 hours of bonus material, a specially commissioned original poster from a local artist, access to a private VIP pre-reception, and opportunities for photos with cast and crew.

Ticket Tiers:

$25 – General Admission including Prom-Themed After Party

$75 – Preferred Seating + Exclusive Carrie Poster + New Scream Factory Blu Ray + Photo Op including Prom Themed After-Party (Limited availability)

$125 –VIP seating + Exclusive Carrie Poster & Blu-ray + Photo Op with cast/crew including After-Party + Private Pre-Party (Limited availability)

All proceeds will directly benefit weSPARK’s cancer support programs.

Posted by Geoff at 7:06 PM CDT
Post Comment | Permalink | Share This Post
Wednesday, September 7, 2016

A day before the start of this year's Toronto International Film Festival, The Globe And Mail's John Semley has posted a profile piece on Brian De Palma. Here's an excerpt:
While his birthday often falls in the middle of the festival – he’ll be 76 on Sept. 11 – he brushed off the idea that going to the festival is some kind of present to himself. Like pretty much everyone else at TIFF, De Palma is there for the movies. “I think it’s the best festival,” De Palma says over the phone from his home in East Hampton, “organized in order to see the most new and exciting films from all over the world, in the shortest possible time.”

It’s not uncommon to find De Palma slumped in a seat at the Scotiabank Cineplex, nodding through some Québécois indie-thriller or bolting for exits as soon as things get boring. “If I didn’t think the film was progressing in a way I thought was interesting,” he explains, “I just walk out and go to another one. Some days, I could see five or six films.”

This year, De Palma won’t be afforded the luxury of skedaddling for the lobby if a film doesn’t grab him in its opening reel. For TIFF 2016, he has been tapped to head the Platform jury, which awards $25,000 to the director of a film that, per TIFF’s press release, exhibits “high artistic merit.” Platform, which launched just last year, is billed as a programme that champions “directors’ cinema.” As a filmmaker known for his decadent, borderline-rococo high style – those split screens, the long takes, the resplendent, almost oozy, lensing of violence and obsession – De Palma seems like an ideal fit to lead the jury.

And as someone who’s been coming to TIFF since the early 1980s, back when it was still called “The Festival of Festivals,” De Palma also has an eye for emerging, independent talent. He distinctly remembers being “quite struck” by Run Lola Run when he saw it at TIFF in 1998, before it became a breakout, art-house hit. “I never went to the red carpet screenings unless a friend had a film in it,” he says. “I always went to see the ones that would probably never get distribution – not these big red carpet specials. I’m always more interested in things that are out of left field.”

Because of the sheer labour of watching films, especially with an eye toward judging them, De Palma hasn’t sat on a jury since the mid-1970s. But, he says, he felt a “special obligation” to TIFF after they hosted a massive retrospective of De Palma’s films at the TIFF Bell Lightbox this summer. “It’s always flattering to have a retrospective,” he says. “Most of the high points were included. And some of not-so-high points.” (In the latter camp he lumps two of his comedies: the 1972 Tommy Smothers vehicle Get To Know Your Rabbit, and the 1986 Joe Piscopo/Danny Devito Costa Nostra caper Wise Guys.)

Posted by Geoff at 9:00 PM CDT
Post Comment | Permalink | Share This Post
A GQ Style article posted yesterday has Wes Anderson interviewing New York's Metrograph founder Alexander Olch, who is also a tie designer. Early on, Anderson contrasts watching The Godfather projected on a large screen vs. watching on an iPad mini, favoring the former, yet accepting the idea of the latter. This leads into a discussion of the theater-going experience, and to Olch describing a sold out screening of Brian De Palma's Phantom Of The Paradise:
Olch: To your point about the iPad—there's a lot of chatter of Well, now people just watch things on iPads. But I think that if you want to stay at home, you're going to stay at home. If you want to go out, you're going out. The key thing is that going to the movies needs to be an experience that's special. So I don't think it's about whether or not you can watch the film somewhere else. It's about whether or not you want to come for an amazing experience.

Anderson: I could see a lot of young people becoming real movie buffs watching things on their phones and so on and then arriving in New York and going to Metrograph three times a week.
Olch: Yes! And there's real energy in the room. I recently stood in the back of the theater for the opening credits of Phantom of the Paradise, the De Palma movie, which I had never seen before. I wasn't going to watch it, but I stood completely still for the entire movie. It was a sold-out house. And the place went nuts during the film. It blew me away. I'm still reeling from that screening. People were leaving the theater and coming over to the bar and going into our restaurant talking about the film, getting even more excited about it.

That's great. And, you know, that's one of those movies that you really couldn't see for years and years. It had kind of disappeared. And I expect that audience at Metrograph was a much better—I don't know if Brian De Palma was there—
He wasn't. He's coming tonight for Hi, Mom! and Dressed to Kill.

I think, if he had been there, he might've said, I wish it would have played like this back in 1974.

Toward the end of the article, Anderson brings up De Palma's The Responsive Eye...
You know, there's one more thing. I guess we can say, That was a good ending, and then we just keep going. Have you seen this film De Palma made of an op-art opening at the Museum of Modern Art around something like 1964 or something?
No. No!

It's on YouTube. It's maybe 25 minutes or so where he documented an opening at the MoMA. Wandering around the party. Filming people and pictures.
No kidding.

Interesting characters. Some people we know. Anyway, it's one worth looking at on your iPad mini or your Apple wristwatch.
Absolutely. Most importantly, thank you very much.

Posted by Geoff at 12:30 AM CDT
Post Comment | Permalink | Share This Post
Tuesday, August 30, 2016
As part of its Faust Weekend (September 16-18), the Philharmonie de Paris will present a "Phantom Of The Paradise Party" on Saturday, September 17th. Tickets for the event have already sold out, but you can enter your email address at the website to be placed on a waiting list, in case of cancellations, etc. The evening will begin with a performance by singer/songwriter Thomas De Pourquery, followed by a screening of Brian De Palma's Phantom Of The Paradise, and concluding with an aftershow: "The Paradise Party."

The page description of the event goes like this: "Inspired by the Faust legend, Phantom of the Paradise is one of Brian De Palma's great masterpieces. The tremendous soundtrack is a motley mix of the various trends of the day, from soft rock and glam rock to the beginnings of heavy metal."

(Thanks to Luu and Donald!)

Posted by Geoff at 11:57 PM CDT
Updated: Wednesday, August 31, 2016 12:11 AM CDT
Post Comment | Permalink | Share This Post
Monday, August 29, 2016

As reported two months ago, Shout! Factory is celebrating the 40th anniversary of Brian De Palma's Carrie with a new Collector's Edition 2-disc Blu-ray (a deluxe edition, with added posters and slip covers, has already sold out). As Blu-ray.com noted on Friday, the final list of bonus features reveals a previously unannounced new interview with composer Pino Donaggio. Here is the list in full, from Blu-ray.com:
NEW 4K Scan of the original negative and restoration
NEW More Acting Carrie – featuring interviews with Nancy Allen, Betty Buckley, William Katt, Piper Laurie, Edie McClurg and P.J. Soles
NEW Writing Carrie – an interview with screenwriter Lawrence Cohen
NEW Cutting Carrie – an interview with editor Paul Hirsch
NEW Shooting Carrie – an interview with director of photography Mario Tosi
NEW Casting Carrie – an interview with casting director Harriet B. Helberg
NEW Bucket of Blood – interview with composer Pino Donaggio
NEW Horror's Hallowed Grounds – a tour of the film's locations
Acting Carrie- interviews with Sissy Spacek, Amy Irving, Betty Buckley, Nancy Allen, Jack Fisk, William Katt, Piper Laurie, Priscilla Pointer, P.J. Soles and Brian De Palma
Visualizing Carrie- interviews with Brian De Palma, Jack Fisk, Lawrence D. Cohen, Paul Hirsch
Carrie, the Musical
Vinatge TV Spots
Vintage Radio Spots
Still Gallery – rare behind-the-scenes photos, posters and lobby cards
Stephen King and the Evolution of Carrie text gallery
Original Theatrical Trailer
CARRIE Franchise Trailer Gallery

Posted by Geoff at 11:50 PM CDT
Post Comment | View Comments (4) | Permalink | Share This Post
Friday, August 26, 2016

Posted by Geoff at 12:46 AM CDT
Post Comment | View Comments (3) | Permalink | Share This Post
Thursday, August 25, 2016
Brian De Palma will be part of the three-person jury for the Platform section of this year's Toronto International Film Festival. The other two jury members will be director Mahamat-Saleh Haroun and actress Zhang Ziyi. Platform, named after the Jia Zhang-ke film from 2000, features "12 films from filmmakers with strong voices and distinct styles," from all over the world, according to the TIFF website. It was started last year for TIFF's 40th birthday, with a jury made up of Claire Denis, Agnieszka Holland and Jia Zhang-ke.

On September 18th, the best Platform selection will be awarded a $25,000 prize by the jury (TIFF 2016 runs Sept. 8-18). Last year's jury chose to give the prize to Alan Zweig's documentary Hurt, out of a line-up that included Ben Wheatley's widely acclaimed High Rise. TIFF director and CEO Piers Handling is quoted at Broadway World: "We are honoured to have De Palma, Haroun, and Zhang on the Platform Jury for the programme's second year. Each one of them brings a breadth of expertise and experience in visionary filmmaking, artistic direction, and unprecedented, bold narratives. We are thankful to our esteemed jury for making the time to be here this September to celebrate our renewed commitment to artistically ambitious filmmaking with Platform."

Cameron Bailey, TIFF's artistic director, is also quoted at Broadway World: "Platform's vision is championing aesthetic magnificence and De Palma, Zhang, and Haroun, have all either created or been a part of films that have inspired, revolutionized, and transformed the filmmaking industry. We are thrilled the jury members will be able to share their wealth of knowledge with this year's Platform filmmakers who are creating groundbreaking narrative forms. We can't wait for the jury to join us in Toronto and be a part of Platform's history."

Below is the list of 12 Platform films the jury will be viewing:

Daguerrotype (Le Secret de la chambre noire)
Kiyoshi Kurosawa, France/Japan/Belgium (world premiere)

Ivan Sen, Australia (international premiere)

Heal the Living (Réparer les vivants)
Katell Quillévéré, France/Belgium (North American premiere)

Hema Hema: Sing Me a Song While I Wait (he-mà he-mà)
Khyentse Norbu, Bhutan/Hong Kong (North American premiere)

Fien Troch, Belgium (North American premiere)

Pablo Larraín, United Kingdom (North American premiere)

Lady Macbeth
William Oldroyd, United Kingdom (world premiere)

Layla M.
Mijke de Jong, Netherlands/Belgium/Germany/Jordan (world premiere)

Maliglutit (Searchers)
Zacharias Kunuk, Canada (world premiere)

Barry Jenkins, USA (international premiere)

Bertrand Bonello, France/Germany/Belgium (international premiere)

Those Who Make Revolution Halfway Only Dig Their Own Graves
(Ceux qui font les révolutions à moitié n’ont fait que se creuser un tombeau)
Mathieu Denis and Simon Lavoie, Canada (world premiere)

Posted by Geoff at 10:29 PM CDT
Post Comment | View Comments (2) | Permalink | Share This Post
Wednesday, August 24, 2016
The BBC polled 177 critics from around the world, asking them to submit their top ten films of the 21st century. The lists were then tallied to create a list of the 100 best films since 2000. The BBC also posted the individual critics' lists, and while Brian De Palma did not land a film in the top 100 so far in this century, five of those critics did include De Palma's late-career masterpiece Femme Fatale on their top ten lists. Here they are:

Ed Gonzalez – Slant Magazine (US)

1. Mulholland Drive (David Lynch, 2001)
2. In the Mood for Love (Wong Kar-wai, 2000)
3. The New World (Terrence Malick, 2005)
4. Certified Copy (Abbas Kiarostami, 2010)
5. Femme Fatale (Brian De Palma, 2002)
6. Margaret (Kenneth Lonergan, 2011)
7. Under the Skin (Jonathan Glazer, 2013)
8. This Is Not a Film (Mojtaba Mirtahmasb and Jafar Panahi, 2011)
9. Two Lovers (James Gray, 2008)
10. Heart of a Dog (Laurie Anderson, 2015)

Michael Koresky – The Film Society of Lincoln Center (US)

1. Mulholland Drive (David Lynch, 2001)
2. AI: Artificial Intelligence (Steven Spielberg, 2001)
3. The Tree of Life (Terrence Malick, 2011)
4. Syndromes and a Century (Apichatpong Weerasethakul, 2006)
5. What Time Is It There? (Tsai Ming-liang, 2001)
6. The Intruder (Claire Denis, 2004)
7. The Son (Jean-Pierre and Luc Dardenne, 2002)
8. Before Sunset (Richard Linklater, 2004)
9. The Headless Woman (Lucrecia Martel, 2008)
10. Femme Fatale (Brian De Palma, 2002)

Adrian Martin – Lola Magazine (Australia)

1. Holy Motors (Leos Carax, 2012)
2. Lifeline (Víctor Erice, 2002)
3. Certified Copy (Abbas Kiarostami, 2010)
4. Kung Fu Hustle (Stephen Chow, 2004)
5. Instructions for a Light and Sound Machine (Peter Tscherkassky, 2005)
6. Un lac (Philippe Grandrieux, 2008)
7. Detention (Joseph Kahn, 2011)
8. A Vingança de Uma Mulher (Rita Azevedo Gomes, 2012)
9. Mia Madre (Nanni Moretti, 2015)
10. Femme Fatale (Brian De Palma, 2002)

Charles Taylor – The Yale Review (US)

1. Blue Is the Warmest Color (Abdellatif Kechiche, 2013)
2. Only Lovers Left Alive (Jim Jarmusch, 2013)
3. Mulholland Drive (David Lynch, 2001)
4. Somewhere (Sofia Coppola, 2010)
5. 25th Hour (Spike Lee, 2002)
6. Inglourious Basterds (Quentin Tarantino, 2009)
7. The Artist (Michel Hazanavicius, 2011)
8. Phoenix (Christian Petzold, 2014)
9. Femme Fatale (Brian De Palma, 2002)
10. Fantastic Mr Fox (Wes Anderson, 2009)

Stephanie Zacharek – Time Magazine (US)

1. Mulholland Drive (David Lynch, 2001)
2. Kings and Queen (Arnaud Desplechin, 2004)
3. Yi Yi: A One and a Two (Edward Yang, 2000)
4. Oldboy (Park Chan-wook, 2003)
5. Antichrist (Lars von Trier, 2009)
6. Children of Men (Alfonso Cuarón, 2006)
7. Lost in Translation (Sofia Coppola, 2003)
8. Femme Fatale (Brian De Palma, 2002)
9. Casino Royale (Martin Campbell, 2006)
10. Blue Is the Warmest Color (Abdellatif Kechiche, 2013)

Posted by Geoff at 8:58 PM CDT
Updated: Friday, August 26, 2016 6:18 PM CDT
Post Comment | View Comments (3) | Permalink | Share This Post