#mubi release

[dyingenigma]

Faya Dayi (2021) dir. Jessica Beshir

#faya dayi #jessica beshir #film #cinema #mine #film stills #cinephile #movies #movie #mubi #mubi release #criterion channel #movie releases #movie recommendation #films #african film #african cinema #sudan #sudanese

[officialkendallroy]

omw to berlin to watch asteroid city :3

#very excited :D #finally mubi go has a movie right when it releases!! yippieee

[leonardcohenofficial]

#nobody talk to me go watch mother joan of the angels RIGHT NOW #i haven't seen this film in full but i've wanted to for AGES and now it has a MUBI release i'm READY #mother joan of the angels

[iristhedeadflower]

#this is so STUPID but ive been wanting to make this since the preview #omg vilu true cinephile can assign mubi releases #vilu with a mubi account would actually be too powerful imagine that #iris violetta s3: priscila’s revenge #leon vargas #violetta #3x23

[dare-g]

Have u watched Begining(2020)? Liked it?

I have (there's screenshots somewhere on this blog too) and yeah overall id say i liked it but more-so I'd probably just say that I think its a good film if that makes sense ...it's very beautiful but bleak and if you're willing to give yourself to it the feelings it puts out there are quite powerful.. but if you're asking if i recommend it that depends on your tolerance towards stagnant film-making cause it has got a lot of still shots that go on for several minuets at a time ...and if you can stomach the painful subject matter throughout cause it is a painful film

#sorry if this was an overcomplicated answer #also i got to see it the day it released on mubi cause that was one of the times i had it before #and i was excited cause im especially interested in georgian films and they arent the most abundant #also i dont mind stagnant films but i feel like one should be warned cause its serious stagnant non action which some people will not jive #talks

[pedrohub]

Pedro Pascal's new short film Strange Way of Life gets UK digital release date

Pedro Pascal's short western has received its UK digital release date.

The Last of Us' Pascal stars opposite Ethan Hawke (Moon Knight) in Pedro Almodóvar's short film Strange Way of Life. It will be available to watch in the UK on MUBI from October 20.

The 31-minute western follows Pascal and Hawke as two gunslingers who reunite after 25 years apart. The film has received good reviews and has been likened to Brokeback Mountain.

#pedro pascal #strange way of life #ethan hawke #pedro almodóvar #video #news

[lynchianightmare]

Has someone ever woken up and tried to imagine how “Self-Portrait” by Yoko Ono goes?

Yeah, I know it’s about John Lennon’s willy, but 42 minutes of it?????? WHAT HAPPENS?

AND WHY DID RINGO VISIT THE SET?? CAN SOMEONE EXPLAIN THAT TO ME!????

IS IT REALLY JUST ABOUT HIS JUNK? DOES IT MOVE? (Well, they say it did move…..)

THIS KEEPS ME UP AT NIGHT.

Also, MUBI’s description of the movie:

I CANT.

Ps: If Yoko ever releases the movie or some copy comes out and you get the link….send it to me…

I don’t want to see it. I swear it. It’s just for research purposes.

Thanks.

Ps pt.2: did George, ringo or Paul see the movie??….

#mclennon #john lennon #the beatles #rock #classic rock #junk #paul mccartney #george harrison #ringo starr #what?… #emo #yoko ono #movies #artwork #art #60s #70s aesthetic #music

[denimbex1986]

'When the companies behind Ira Sachs’ new drama about the shifting currents of intimacy in a troubled love triangle submitted Passages to the Motion Picture Association ratings board, they probably anticipated an R.

But the MPA came back with an NC-17 rating, forcing the distributor to release the film (which premiered at Sundance earlier this year) unrated rather than risk commercial marginalization or impose cuts that would diminish its intensity...

Let’s be clear: Passages — which Mubi opened Aug. 4 in Los Angeles and New York before expanding to other cities in the weeks to come — is a movie with a generous amount of sex, both gay and straight. But it’s neither particularly explicit nor remotely gratuitous, even if it’s frequently quite hot.

The sex is, above all, integral to the movie’s emotional texture, to the way the characters navigate their volatile relationships, the way they express their feelings and explore their connections through their bodies as they come together and pull apart. In other words, the film’s candor in depicting sex and nudity nudges it closer to European cinema than American.

The ratings controversy around Sachs’ movie comes just as Oppenheimer has been generating talk on social media and in the press about being the first Christopher Nolan movie to feature sex scenes. The trysts between Cillian Murphy as scientist J. Robert Oppenheimer and Florence Pugh as his lover both before and during the former’s marriage earned the release an R rating, which is standard given the glimpses of sweaty flesh on view.

But the fact that people are talking about it at all — and no one has been talking about it louder than Nolan himself — just underlines how squeamish American movies are about sex and sensuality.

The sex scenes in both those movies serve a clear narrative purpose. In Nolan’s film, they convey the magnetism of Oppenheimer and its ultimately devastating effect on a woman who, while not really on screen long enough to acquire much complexity, is defined by her intellectual curiosity, political radicalism and carnal desire.

The actual intercourse — once during the affair and once years later, as a haunting specter conjured in a security hearing — is brief and somewhat mechanical, while a long post-coital discussion has Murphy and Pugh sitting naked in armchairs on opposite sides of a room, carefully positioned and framed to keep crotches out of sight. The scene looks like an interview for an admin job at a nudist colony. It’s anything but erotic.

The scene in the Paris-set Passages that evidently had the MPA clutching their pearls, by contrast, is erotically and emotionally charged, raunchy and tender. It takes place after narcissistic German filmmaker Tomas (Franz Rogowski) has strayed outside his marriage to English print-maker Martin (Ben Whishaw) with Agathe (Adèle Exarchapoulos), a French schoolteacher he met at the wrap party for his latest feature.

Back in bed with Martin again, Tomas more or less offers himself up, resulting in sex that could be a bid for forgiveness, a reconciliation, a sad acknowledgment of enduring feelings or a manipulative attempt by Tomas to keep a hold on his husband while continuing to explore a new relationship. Or it could be all of those things.

Like the movie’s other sex scenes, it’s dramatically loaded, and although it’s shot in a single take with no artful draping of the sheets, it’s hardly graphic...

The prim attitude toward sex in American movies goes beyond MPA rulings to Hollywood itself. Sex and unapologetic sensuality have been all but banished from the mainstream since the heyday of erotic thrillers in the 1980s and early ‘90s — films like Dressed to Kill, American Gigolo, Body Heat, Basic Instinct, 9½ Weeks, The Last Seduction, Color of Night and Sliver. People onscreen were getting laid and loving it back then.

What happened to make American movies so desexualized? As the holdover artistic spirit of the emancipated ‘70s faded further into the distance, studios became increasingly corporate and less creative in their thinking. In order to be profitable, movies had to play not only across the U.S. — including conservative Red states and Bible Belt regions — but internationally, where many countries have rigidly imposed codes concerning sex and nudity.

The ascendance of the superhero movie has been another nail in the coffin of sensuality. In the Superman films of the late ‘70s and early ‘80s, there was most definitely something cooking between Christopher Reeve and Margot Kidder. But in the more recent wave of comic book-inspired action fare, the protagonists are so sexless they might as well be genital-free Kens and Barbies...

Where, in film, is the supposed sex-positive movement that has become part of the cultural conversation? Cable and streaming platforms have stepped into the breach with shows that don’t hold back on steamy content — think Girls, Insecure, P-Valley, Bridgerton, Game of Thrones, Euphoria and The White Lotus.

So is the dearth of grownup attitudes toward sex and sensuality on big screens a stagnant situation or a step backwards? Many would argue convincingly that it’s been that way since the late ‘90s. But it’s also conceivable that we’re in a unique perfect-storm moment, where far-right conservatism has converged with post-MeToo liberal timidity. On social media, some Gen-Z filmgoers have even questioned whether sex scenes have a place in movies. Seriously, kids, you need to get out more.

The presence of intimacy coordinators on set has no doubt helped to ensure an environment of increased safety and trust for actors, establishing essential boundaries of body autonomy. But unlike so many uninhibited European screen stars, the majority of major-name American performers remain shy about stripping down and going at it.

Witness Penn Badgley declaring his dislike of filming intimate scenes and his insistence on less sex and skin for his character in season 4 of Netflix’s You out of respect for his marriage. “That aspect of Hollywood has always been very disturbing to me,” said the actor in a Variety interview. But many of us who bemoan the shortage of full-blooded sensuality at the multiplex might wonder which Hollywood he’s talking about.'

#Penn Badgley #You #Oppenheimer #Cillian Murphy #Florence Pugh #Passages #Ira Sachs #Christopher Nolan #Ben Whishaw #Franz Rogowski #Netflix #American Gigolo #Nine and a half Weeks #Adèle Exarchapoulos #Basic Instinct

[bitter69uk]

“Robert Aldrich, replacing Mr. Belvedere franchise director Henry Koster, does his darndest to wrangle a prestige picture from a messy script overflowing with sun-baked slaves, harem girls and lengthy entreaties to an absent God. The resulting depravity - brought to bejeweled life by legendary production designer Ken Adam - is giddy salt in the open stigmata of Bible pictures.” / Caroline Golum for Mubi / “Hebrews and Sodomites, greetings!” “Sword-and-sandal” Biblical epic Sodom and Gomorrah (also known as The Last Days of Sodom and Gomorrah) was released in Italy on this day (4 January 1962) sixty-one years ago. It’s been years since I watched the 153-minute Franco-Italian-American co-production, but as far as these things go, it’s not half bad. It is - of course - extremely campy and the cast is fun (Stewart Granger, Pier Angeli, Stanley Baker). But it’s mainly memorable for the presence of exquisite, inscrutable French actress Anouk Aimee (pictured) as the depraved villainess Bera, Queen of Sodom. For a film of its time, it’s surprisingly overt about Queen Bera’s lesbianism (she is always surrounded by an all-female entourage and appreciatively ogles belly-dancers and pretty slave girls). When people write about the history of LGBTQ representation in Golden Age Hollywood films, how come Sodom and Gomorrah never rates a mention? Weirdly, Aimee spoke perfectly fine French-accented English, but director Robert Aldrich opted to have her dialogue dubbed by an American actress. 

#sodom and gomorrah #anouk aimée #sword and sandal #peplum #biblical epic #robert aldrich #lobotomy room #queen bera #queen of sodom #lesbian #lesbianism #lgbtqia #old hollywood #kitsch

[vvomentalking]

New stills of Franz Rogowski, Ben Whishaw, and Adèle Exarchopoulos in PASSAGES (2023) dir. Ira Sachs. 

PASSAGES, Ira Sachs' blazingly modern and unashamedly sexy portrait of romantic chaos gets its UK premiere at #SundanceLondon, screening July 7 & 8. A MUBI @mubiuk Release.

#*mine #ben whishaw #franz rogowski #passages #ira sachs #adele exarchopoulos #lgbt directors #lgbtcinema #gay cinema #benwhishawedit #whishawedit

[dyingenigma]

The African Desperate (2022) dir. Martine Syms

#cinema #film #film stills #the african desperate #cinephile #martine syms #movies #movie #mubi #mubi release #diamond stingily #women film directors #black women #women filmmakers

[abirdie]

This interview briefly touches on what Gael was up to in early lockdown, when Ema should have had its cinema release, but mostly focuses on the film itself and (more generally) on Pablo Larraín and their history working together.

#gael garcía bernal #ema #pablo larraín #ggb interview #gael garcia bernal #ema 2019

[herbaklava]

tagged by @perfectday1972, thank you so much!! 😊

last song: camille by chlothegod

favorite color: burnt sienna

last movie: passages (2023)

last tv show: moonshiners

sweet/spicy/savory: sweet

relationship status: single

last thing i googled: new MUBI film releases

tagging: @alvallah / @monserrata / @strawberriemoji / @bunnybisexual / @miaragazza / @parekhta / @runningsun / @callie-a-clark / @indiedadrock / @pukjane 🩵✨

#you don’t have to participate if you don’t want to! <3

[lesbiancolumbo]

omg good point about the availability of the isabel sandoval films... I just checked and they are still on there but you're totally right, they could be gone pretty soon. kinda really sucks that the streaming services that be put up such a barrier on the ability to watch certain movies sometimes! that's something that I know you've talked about before, which is that you rly gotta put an effort to support women film-makers bc they're not always going to be easily accessible or pushed towards you if you don't look. lol but yeah, sorry rambling but ty for making that point bc I didn't think about it when I sent that rec.

it’s why i’m so gung-ho about things we can do NOW, what can you see RIGHT NOW, look, it’s on criterion! it’s on MUBI! it’s on Kanopy! etc. more often than not things don’t stay on streamers forever (and this is really more of a distribution/rights issue than it is the streamers’ faults fwiw). lingua franca doesn’t have a DVD release and isn’t on netflix like it used to be because its distributor doesn’t care about releasing it on DVD and it’s so fucked that that can happen. but it does. and it happens a lot. that’s why i’m a big proponent of supporting women NOW and not later. see films by women on the festival circuit NOW (because they might not get bought by a distributor - look at what happened with fancy dance). go to the theatre to see films by women NOW - because you might not ever get that chance again. rent their films NOW, donate to kickstarters and funding campaigns of women-led projects NOW (because they may never get a feature funded otherwise).

don’t put off showing up for the women in our industry now because our continued vocal and fiscal support is often what makes up the difference between women who go on to be greta gerwig and the women who get to make on feature then get banished to development hell.

#asks

[strathshepard]

When I was in school for graphic design at Parsons, one of our assignments was to choose a movie and then draw scenes from it that caught our eye because of the way they were framed. I checked out the VHS tape of 2 or 3 Things I Know About Her (Jean-Luc Godard, France, 1967) from Kim’s Video and had to put down a $250 deposit or something like that because it was so hard to find at the time.

1983 Japanese re-release poster designed by Masakatsu Ogasawara, via MUBI

#jean luc godard #movie posters #masakatsu ogsawara #collage #red

[directedbywomen]

Celebrating Eliza Hittman! Eliza Hittman's films are absolutely stunning.

Never Rarely Sometimes Always (2020) "A lot of my work deals with taboos, and abortion in this country is one of the most divisive subjects. It’s taboo on film and taboo in our lives, and I was interested in investigating why." Read more in The Atlantic's interview A Brilliant Indie Movie That’s Accidentally Getting a National Release.

Beach Rats (2017) "I’m conscious about what needs to be rehearsed and why, and what doesn’t get rehearsed, what needs to be spontaneous and organic. It’s a combination of all of those impulses."

Read more in The Seventh Row's interview Writer-director Eliza Hittman on Beach Rats and sculptural male bodies.

It Felt Like Love (2013) "With her first feature, “It Felt Like Love,” from 2013... Eliza Hittman did the nearly impossible—she took the well-worn path of the coming-of-age film, and, in particular, the sexual-coming-of-age film, and built it out in new directions." Explore Richard Brody's Movie of the Week: “It Felt Like Love” review in The New Yorker. Her short films are also quite wonderful. Seek them out. Also look for her TV work... and whatever she makes next!

Explore Hittman's filmography on MUBI.

I had the distinct pleasure of interviewing Eliza Hittman when she visited IU Cinema for the Jorgensen Guest Filmmaker series in 2017. If you have a chance to hear her speak about her filmmaking process, do not miss it. So incisive!

#Eliza Hittman #directed by women