Last last year Sam Inglis led a team of HeyUGuys writers to compile a list of the films of 2021 that were cruelly overlooked. As we’re halfway through 2022 the time has come to draw up another list of films, but this time there’s a different criteria at hand.
These are the films that we have discovered, so far, in 2022. These are the films, from any year, that we have watched for the first time, and wanted to share with you. Here there are cinematic classics along with obscure ‘90s action thrillers, character studies and slasher flicks galore – there is no other list quite like it around.
We hope you’ll find new favourites from the list here, and be inspired to look further afield for your own movie discoveries.
Daniel Goodwin Recommends Colossus: The Forbin Project
At a time when Sci-Fi films were evolving from silly flying saucer B-movies into subversive,...
These are the films that we have discovered, so far, in 2022. These are the films, from any year, that we have watched for the first time, and wanted to share with you. Here there are cinematic classics along with obscure ‘90s action thrillers, character studies and slasher flicks galore – there is no other list quite like it around.
We hope you’ll find new favourites from the list here, and be inspired to look further afield for your own movie discoveries.
Daniel Goodwin Recommends Colossus: The Forbin Project
At a time when Sci-Fi films were evolving from silly flying saucer B-movies into subversive,...
- 6/23/2022
- by Sam Inglis
- HeyUGuys.co.uk
Updated through 1/18.
"Eric Rohmer, a pioneer of the French New Wave which transformed cinema in the 1960s," reports Reuters. "He was 89." As in the barrage of other first reports hitting the wires, the milestones are just touched on now, an outline to be fleshed out over the coming days. And weeks. And years. Born Jean-Marie Maurice Scherer in Nancy on April 4, 1920; first international acclaim with Ma nuit chez Maud (My Night at Maud's), nominated for an Oscar for Best Screenplay in 1969; founding La Gazette du Cinema with Jean-Luc Godard, François Truffaut and Jacques Rivette in 1950; editorship of Cahiers du Cinéma; the last film, Les amours d'Astree et de Celadon (The Romance of Astree and Celadon) in 2007.
"A former novelist and teacher of French and German literature, Mr Rohmer emphasized the spoken and written word in his films at a time when tastes - thanks in no small part to his...
"Eric Rohmer, a pioneer of the French New Wave which transformed cinema in the 1960s," reports Reuters. "He was 89." As in the barrage of other first reports hitting the wires, the milestones are just touched on now, an outline to be fleshed out over the coming days. And weeks. And years. Born Jean-Marie Maurice Scherer in Nancy on April 4, 1920; first international acclaim with Ma nuit chez Maud (My Night at Maud's), nominated for an Oscar for Best Screenplay in 1969; founding La Gazette du Cinema with Jean-Luc Godard, François Truffaut and Jacques Rivette in 1950; editorship of Cahiers du Cinéma; the last film, Les amours d'Astree et de Celadon (The Romance of Astree and Celadon) in 2007.
"A former novelist and teacher of French and German literature, Mr Rohmer emphasized the spoken and written word in his films at a time when tastes - thanks in no small part to his...
- 1/18/2010
- MUBI
FILM REVIEW - 'All the Vermeers' By Henry SheehanThe winner of the Los Angeles Film Critics award for best independent/experimental feature of 1991, Jon Jost's "All the Vermeers in New York'' is settling in for a limited run at Los Angeles' NuWilshire Theatre. Typically for a Jost film, "Vermeers'' manages a style that is coolly, formally beautiful while still spinning a lucid, emotion-packed tale involving recognizable, provocative characters.
This story of a short-circuited New York love affair set against the twin backdrop of Wall Street boom and bust and the art gallery/museum scene looks like the film that could win Jost a much larger and more mainstream audience.
The film's harmonizing tones of humor, faux romance and desperation are entertainingly set in an early scene involving an argument over money between a not-yet-fashionable artist Gordon Joseph Weiss) and his flattering but tightfisted dealer (Gracie Mansion).
The film's main story, however, focuses on Anna (Emmanuelle Chaulet), a young French woman on an extended stay in New York, who is picked up at the Metropolitan Museum's Vermeer room by a financial trader, Mark (Stephen Lack). Their arm's-length, if consummated, relationship is revealed largely in a series of stop-and-go conversations filmed by Jost in unblinking long takes, often with the camera tracking slowly, stately, between them.
The film is loaded with supporting players (Grace Phillips, as Anna's friend, is a particular stand-out) and anecdotes that are also filmed in the same deliberate style. Rather than feel forced, however, these shots give the confrontations and conversations an added air of reality, of inevitably uncomfortable silences and miscommunications.
Jost also uses them to show people at work, and the scenes of Mark at his trading console, barking out orders to a room full of other traders, are one of the most realistic depictions of the steady, stressful grind of brokering.
In the end, the film is dealing with big subjects -- art, money, responsibility, love -- but there's no force-feeding of the issues. On the other hand, rarely are these matters treated to such accessible depths and such easy complex-
In the end, the film is dealing with big subjects -- art, money, responsibility, love -- but there's no force-feeding of the issues. On the other hand, rarely are these matters treated to such accessible depths and such easy complex-ity.
ALL THE VERMEERS IN NEW YORK
COMPLEX CORPORATION
in association with American Playhouse
Director-editor-cinematographer Jon Jost
Producer Henry S. Rosenthal
Music Jon A. English and the Bay Area Jazz Composers Orchestra
Color
Mark Stephen Lack
Anna Emmanuelle Chaulet
Felicity Grace Phillips
Running time -- 87 minutes
NO MPAA RATING
(c) The Hollywood Reporter...
The film's harmonizing tones of humor, faux romance and desperation are entertainingly set in an early scene involving an argument over money between a not-yet-fashionable artist Gordon Joseph Weiss) and his flattering but tightfisted dealer (Gracie Mansion).
The film's main story, however, focuses on Anna (Emmanuelle Chaulet), a young French woman on an extended stay in New York, who is picked up at the Metropolitan Museum's Vermeer room by a financial trader, Mark (Stephen Lack). Their arm's-length, if consummated, relationship is revealed largely in a series of stop-and-go conversations filmed by Jost in unblinking long takes, often with the camera tracking slowly, stately, between them.
The film is loaded with supporting players (Grace Phillips, as Anna's friend, is a particular stand-out) and anecdotes that are also filmed in the same deliberate style. Rather than feel forced, however, these shots give the confrontations and conversations an added air of reality, of inevitably uncomfortable silences and miscommunications.
Jost also uses them to show people at work, and the scenes of Mark at his trading console, barking out orders to a room full of other traders, are one of the most realistic depictions of the steady, stressful grind of brokering.
In the end, the film is dealing with big subjects -- art, money, responsibility, love -- but there's no force-feeding of the issues. On the other hand, rarely are these matters treated to such accessible depths and such easy complex-
In the end, the film is dealing with big subjects -- art, money, responsibility, love -- but there's no force-feeding of the issues. On the other hand, rarely are these matters treated to such accessible depths and such easy complex-ity.
ALL THE VERMEERS IN NEW YORK
COMPLEX CORPORATION
in association with American Playhouse
Director-editor-cinematographer Jon Jost
Producer Henry S. Rosenthal
Music Jon A. English and the Bay Area Jazz Composers Orchestra
Color
Mark Stephen Lack
Anna Emmanuelle Chaulet
Felicity Grace Phillips
Running time -- 87 minutes
NO MPAA RATING
(c) The Hollywood Reporter...
- 4/1/1992
- The Hollywood Reporter - Movie News
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