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Recent Headlines
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Domino is
a "disarmingly
straight-forward"
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

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Exclusive Passion
Interviews:

Brian De Palma
Karoline Herfurth
Leila Rozario

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AV Club Review
of Dumas book

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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.
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Saturday, September 14, 2019
BANDERAS FEST IN NY INCLUDES 'FEMME FATALE' 9/19, 9/23
"LAW OF DESIRE: THE FILMS OF ANTONIO BANDERAS" AT THE QUAD
https://www.angelfire.com/de/palma/ffwhisper.jpg

The Quad cinema in New York begins a series this Wednesday, "Labyrinth of Passion: The Films of Antonio Banderas." Brian De Palma's Femme Fatale is included in the series, screening at 7pm Thursday, September 19th, and at 9:30pm on Monday, September 30th. Here's the Quad description from the Banderas series:
No stranger to erotic thrills onscreen, Banderas put himself in the hands of one of the genre’s master manipulators—De Palma. Fleeing seduced-and-abandoned Rie Rasmussen and double-crossed associates after a Cannes Film Festival theft, smooth criminal Rebecca Romijn takes another woman’s identity and escapes the country. But years later, a snapshot by paparazzo Banderas compromises her cover and she lures him into a web of deadly deceit.

Posted by Geoff at 3:57 PM CDT
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Sunday, August 11, 2019
IS 'FEMME FATALE' DE PALMA'S STRANGEST FILM?
EVA ZEE SEES IT AS ONE OF HIS "LEAST DEFINABLE MOVIES"
https://www.angelfire.com/de/palma/ffmontagedetail.jpg

A couple of days ago, Eva Zee posted a Letterboxd review of Brian De Palma's Femme Fatale, adding on Twitter, "Femme Fatale is a very strange movie!! ... Like honestly im kind of baffled." When someone responded that it is "a perfect movie," Zee continued, "I don't disagree! I think it's great specifically because it's one of De Palma's strangest, least definable movies (moreso than even something as buckwild as Phantom Of The Paradise)."

Here's Eva Zee's full mini-review on Letterboxd:
De Palma goes to Europe and, for the first time, gets really interested in metaphysics: the nature and transference of souls, the encroaching inhumanity of the image as tool and telos, salvation through chance and meaningless structural coincidence. seven years later and no time has passed at all, instead it feels like a different movie collided with this one and some tiny crucial piece got lost in the confusion (but it is wonderfully, gorgeously regained in a dream). some of Hitchock’s influence has been traded in for Eurosleaze’s stumbling towards glorious abstraction, for the better: De Palma has never been freer even at his trashiest. a bathtub overflows and it fills the Seine, seven years later and in a dream

Posted by Geoff at 8:15 AM CDT
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Tuesday, April 23, 2019
SCREEN EPIPHANIES -'FEMME FATALE' APR 24 IN BROOKLYN
K AUSTIN COLLINS TO DISCUSS HOW DE PALMA'S FILM INSPIRED HIS OWN LOVE OF CINEMA
https://www.angelfire.com/de/palma/ffinwhite.jpgWednesday night (April 24th), the Brooklyn Academy of Music will screen Brian De Palma's Femme Fatale at 7pm, as part of its Curator's Choice, Screen Epiphanies series. Before the screening, film critic K. Austin Collins will be on stage with BAM's Ashley Clark to discuss how Femme Fatale inspired Collins' love of cinema.

Posted by Geoff at 10:39 PM CDT
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Tuesday, October 30, 2018
ALEKSANDER SZCZEPANIAK'S 'FEMME FATALE' POSTERS
GRAPHIC DESIGNER FROM WARSAW REIMAGINES POSTER FOR DE PALMA FILM
https://www.angelfire.com/de/palma/ffalsz1.jpgAleksander Szczepaniak, a graphic designer based in Warsaw, Poland, posted a stunning set of four new poster variations for Brian De Palma's Femme Fatale today on Instagram. Two of them are included here-- visit his Instagram page to see the other two, plus many other terrific poster designs.


Posted by Geoff at 10:57 PM CDT
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Saturday, September 1, 2018
VIDEO 'COLLAGE' EXAMINES 'FEMME FATALE' DREAM
EDITED BY CHARLS CHAP, JUXTAPOSING LAURE'S DREAM WITH HER REALITY

Posted by Geoff at 10:13 PM CDT
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Monday, November 6, 2017
'FEMME FATALE' AT TRAILERS FROM HELL
ALLAN ARKUSH COMMENTARY KICKS OFF BRIAN DE PALMA WEEK AT TFH
https://www.angelfire.com/de/palma/fftfh.jpg

Trailers From Hell kicks off its Brian De Palma Week today with a brand new Allan Arkush commentary for the American version of the trailer for De Palma's Femme Fatale. Arkush begins by contrasting David Thompson's review of the film with Roger Ebert's. Later this week, the site will highlight Edgar Wright's commentary for The Fury trailer, and then Larry Karaszewski on Get To Know Your Rabbit.

Posted by Geoff at 8:37 PM CST
Updated: Monday, November 6, 2017 8:39 PM CST
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Monday, July 17, 2017
ON BEGUILING FEMME FATALES & 'LADY MACBETH'
CHARLES TAYLOR & DAVID EDELSTEIN SPLIT ON OLDROYD'S DEBUT FEATURE
Lady Macbeth review by Charles Taylor, Newsweek (excerpt)
[William] Oldroyd and his scenarist, Alice Birch, must think they are doing something far more complex, luring the audience into cheering for Katherine but making her acts of violence more and more awful until we’re revolted by her. But to what end? By making Katherine so evil, the movie falls into the old sexist shibboleths about scheming women, particularly sex-starved ones. Pugh, who bears an amusing resemblance to Miley Cyrus, gives a spirited performance that doesn’t shy away from her character’s villainy. But the distant, intellectualized approach keeps us from feeling any complicity with Katherine. She’s funny laughing at Anna’s shock at her open adultery, but Pugh is stuck with more of a conceit than a character. The source of Birch’s screenplay, a short story by 19th-century Russian writer Nikolai Leskov, has the robust wisdom of a peasant myth. How could anyone read that story, with its lush descriptions of nature and the horrified sympathy it accords its protagonist, and come up with this joyless, colorless movie?

If there were any justice in the world of film criticism, Oldroyd would be getting the accusations of racism that—wrongly, and in ignorance of the clear meaning of their films—Sofia Coppola is getting for The Beguiled and Ana Lily Amirpour for The Bad Batch. He has made all the characters who are the least deserving targets of Katherine’s violence black. (Sebastian is biracial, and Katherine’s maid and two other prominent characters are black.) I don’t know how many black people were in Northumberland in 1865, but in this movie, race is used for the sole purpose of heightening their victimization, and it’s ugly.

At Cannes and other film festivals, Lady Macbeth was acclaimed for its daring. But for an unapologetic celebration of devious women, Out of the Past and Brian De Palma’s Femme Fatale are much tougher. As a portrait of a psychopath in the guise of dutiful wife, 1945’s Leave Her to Heaven has more punch. If an art-house film gets credit for what commercial movies have already done much better, then Katherine’s victims aren’t the only suckers here.


Lady Macbeth review by David Edelstein, Vulture (excerpt)
Oldroyd made his name as a theater director, and in his debut film he goes with his strengths. Lady Macbeth is largely confined to the plain, masculine house and its stables, and Oldroyd and cinematographer Ari Wegner show the grinding unsensuality of the place without resorting to the kind of overlong shots designed to make us literally experience her boredom.

They subtly establish a second protagonist, the maid Anna, who is even more cruelly abused by the old master (Christopher Fairbank) and later spies on Katherine and her stable-boy lover, Sebastian (Cosmo Jarvis), through a keyhole. From our modern, liberal perspective, it’s tempting to see Katherine’s revenge on the decrepit industrialist as payback for Anna’s humiliation as well as her own. When a photograph is taken of her beside the upright open coffin of the dead geezer — who has also brutally whipped the lowly Sebastian — we want to cheer.

Movies are games of moral relativism, though, and Lady Macbeth quickly turns its feminist heroine into something far more disturbing. It’s one thing for a woman to murder overpowerful white misogynists, another to shoot her husband’s horse, which whinnies in agony. And the movie’s racial overtones are thunderous. The perpetually traumatized Anna is black. A little boy who shows up midway through — Katherine’s husband’s adorable illegitimate child and ward — is of mixed race and excruciatingly vulnerable. Sebastian’s complexion is on the dark side, too, Jarvis being of Armenian extraction. When you introduce race, white feminism tends to fly out the window — as Sofia Coppola learned after a deluge of criticism for culling a black character from her remake of The Beguiled. Applause for having trained the female gaze on a demonic-female myth has quickly yielded to abuse for being a privileged white woman allegedly minimizing the horror of slavery.

Oldroyd and Birch make no such gaffes. The movie’s larger point — which I find irrefutable — is that some people who have been victimized for life are not just inclined to speak truth to power but to abuse what power they have over people with less of it. August Wilson knew that, which is why his plays resonate far beyond melodrama. So does Lady Macbeth. It eats into the mind with its vision of evil as a contagion that transforms victims into oppressors.


Posted by Geoff at 11:58 PM CDT
Updated: Tuesday, July 18, 2017 12:00 AM CDT
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Wednesday, May 10, 2017
SAKAMOTO TO INTRODUCE 'FEMME FATALE' MAY 14
PART OF SAKAMOTO FILM SERIES THIS WEEKEND AT THE QUAD IN NEW YORK


Ryuichi Sakamoto will introduce a 35mm screening of Brian De Palma's Femme Fatale Sunday, May 14, 7pm at the Quad in New York. The screening is part of a four-day series this weekend: "Forbidden Colours: Ryuichi Sakamoto at the Movies". Femme Fatale will screen again Monday, May 15, at 9:15pm.

"Multitalented Japanese electronic music superstar Ryuichi Sakamoto crossed over into movies as both actor and composer in Nagisa Oshima’s Merry Christmas Mr. Lawrence in 1982," reads the Quad website series description. "Since then he has provided over 40 features and documentaries with his unique sound. On the occasion of async, his first album in eight years, which he has described as 'a soundtrack for an Andrei Tarkovsky film that does not exist,' we present eight of the best."

The site's Femme Fatale description reads: "Sakamoto’s reshaped version of Ravel’s 'Bolero' accompanies the virtuoso Cannes Film Festival-set jewel-heist setpiece that sets in motion a dreamy, sinuously crafted thriller that’s filled with surface pleasures and meta-cinematic tricks. Rebecca Romijn plays the titular thief, whose attempts to start a new life in Paris are complicated when she crosses paths with photographer Antonio Banderas."

Bilge Ebiri at The Village Voice posted a preview of the series yesterday:

When The Revenant got twelve Oscar nominations a couple of years ago, I was struck by the fact that Alejandro González Iñárritu's film wasn't nominated for best score, the one category it deserved to win. The mournful, ethereal music of Ryuichi Sakamoto was everything Iñárritu's overbaked pseudo-western wasn't — understated, evocative, and ultimately rousing.

The Revenant isn't screening in the Quad Cinema's short tribute to the Japanese composer, but some of Sakamoto's greatest work is. A classically trained pianist and ethnomusicologist, he had already achieved international fame as a member of the pioneering Japanese synthpop trio Yellow Magic Orchestra when director Nagisa Oshima hired him to star in and score the 1983 P.O.W. drama Merry Christmas, Mr. Lawrence. His music for the film is at times playful, even bordering on pop — particularly in the catchy main theme — and at times discombobulating, almost atonal. The seesawing mood makes an ideal match for Oshima's heated, surreal tale of obsession and torment.

Scoring diverse films, Sakamoto has revealed himself as surprisingly good at pastiche: His music for Pedro Almodóvar's High Heels (1991) is the noirest noir that ever noired. His traipsing boleros and Vertigo homages in Brian De Palma's Femme Fatale (2002) are unforgettable. (Also included in this retro is a rare 35mm screening of Volker Schlöndorff's 1990 The Handmaid's Tale, a first go at adapting Margaret Atwood's seminal novel.)

But I'd argue that Sakamoto's best work came in collaboration with Bernardo Bertolucci. An opera fanatic, the director often had lush, unabashedly melodramatic scores in his earlier pictures (think back to Georges Delerue's rhapsodic melodies for The Conformist, Ennio Morricone's sweeping marches for 1900, or Gato Barbieri's crashing jazz crescendos in Last Tango in Paris). He clearly connected with Sakamoto's ability to mix the lyrical and the ethereal, to nestle brisk compositions within stretches of melancholy ambience.


Posted by Geoff at 4:20 AM CDT
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Sunday, September 18, 2016
'FEMME FATALE' INCLUDED IN JIM RIDLEY SERIES
"JEWELS AND JIM" SERIES OF RIDLEY'S LONGTIME FAVORITE FILMS, SEPT 23-26 IN NASHVILLE
Nashville's nonprofit film center, The Belcourt, is hosting a series titled "Jewels and Jim: Ridley's Believe It or Not" next weekend (September 23-26), a tribute to Jim Ridley, the Nashville Scene editor who passed away suddenly this past April. Ridley wrote many insightful reviews of Brian De Palma films, and hosted screenings at the Belcourt. De Palma's Femme Fatale is included in next weekend's rather incredible series of films, and will be screened from a 35mm print on Saturday, September 24th at 8pm.

The series page uses the following pull-quote from Ridley's 2003 review of the film: "Brian De Palma’s curse is to know more about movies, and movie history, than the hacks who keep calling him a Hitchcock scavenger. In the case of this exhilarating and deviously multifaceted thriller—a film-studies dissertation hidden in a bottomless box of chocolate-covered sin—accusing him of ripping off Hitchcock is like accusing Todd Haynes of ripping off Sirk. Not just a daredevil piece of cinematic storytelling, juggling multiple plots, paths and even destinies, this is a master class in how to visually organize a movie. When it comes out on DVD, spend an afternoon tracing its running-water motif—and watch open-mouthed as an uproariously trashy thriller suddenly yields a complex symbolic and spiritual order. I hear there’s nekkid women in it too."

The series page includes the following description from Nashville Scene managing editor D. Patrick Rodgers:

For many years, Nashville Scene editor and Middle Tennessee native Jim Ridley was a constant fixture at the Belcourt. A true talent, Jim was an exceptionally gifted journalist and critic, respected for his work with the Scene, where he was a writer and editor for well over two decades.

In April, Jim died suddenly at the age of 50. But his passion for film, a passion that drove our arts community to greater heights and very directly played a role in saving the Belcourt from the brink of demise lives on in those of us who knew him and those of us who read him.

For the Belcourt’s Jewels and Jim series—named for François Truffaut’s 1962 masterpiece JULES AND JIM, one of Ridley’s longtime favorites—several of Jim’s friends, family members and fellow Belcourt-frequenting cinephiles picked out films that pay homage to the man. These are films that Jim loved, that you may have found him discussing as he held court in the Belcourt’s lobby late at night after a screening.

From Martin Scorsese’s MEAN STREETS to Jonathan Demme’s Talking Heads concert documentary STOP MAKING SENSE, from Chuck Jones’s classic animated short “Duck Amuck” to Chia-Liang Liu’s 8 DIAGRAM POLE FIGHTER, the Jewels and Jim series, like Jim himself, is all over the map. Some of these films are funny, some are dark, some are hopeful, and some are technically astounding. But every last one of them is an absolute treat, a gem picked by Jim, begging to be shown on one of the Belcourt’s screens.


Meanwhile, The Belcourt is nearing the end of its De Palma series, of which Saturday's Femme Fatale is also a part, along with this Wednesday's 35mm-screening of De Palma's Mission: Impossible.

Posted by Geoff at 4:11 PM CDT
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Wednesday, August 24, 2016
5 INCLUDE 'FEMME FATALE' ON BBC CENTURY LIST
CRITICS SENT TOP TEN LISTS TO CREATE THE 21st CENTURY'S 100 GREATEST FILMS
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
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