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Faces Places

The journey for many awards season writers and movie critics begins this weekend at the Telluride Film Festival. While programmers don’t necessarily pick their movies based on Oscar chances, their curatorial selections and handful of World Premieres make it a necessary pit stop for anyone who wants to get an early read on how the next few months will play out. And the choices this year are very compelling. Slated for make their debut in the mountains are Rebecca Miller‘s “Arthur Miller: Writer,” Valerie Faris and Jonathan Dayton‘s “Battle Of The Sexes,” Greta Gerwig‘s “Lady Bird,” Joe Wright‘s “Darkest Hour,” Scott Cooper‘s “Hostiles,” Angelina Jolie‘s “First They Killed My Father,” and Ken Burns‘ “The Vietnam War.” Meanwhile, organizers dip a rare toe into television with Errol MorrisNetflix limited series “Wormwood.” The Telluride Film Festival runs from September 1st to 4th. Continue reading 2017 Telluride Film Festival Lineup Includes ‘Hostiles,’ ‘Lady Bird,’ ‘The Shape Of Water,’ More at The Playlist.

While other festival organizers have worried about their relationship to Netflix and Amazon, and what it means to the future of cinema, the New York Film Festival has no such qualms. Organizers have revealed the bulk of their slate, and the films — with more than a few from those streaming services — that will join Opening Night flick “Last Flag Flying” from Richard Linklater, Closing Night picture “Wonder Wheel” from Woody Allen,” and Centerpiece Gala selection “Wonderstruck” from Todd Haynes. Continue reading New York Film Festival 2017 Slate Adds ‘Meyerowitz Stories,’ ‘Call Me By Your Name,’ ‘Zama,’ More at The Playlist.

Without Agnès Varda and the other filmmakers of the French New Wave — particularly the Left Bank auteurs — the essay film wouldn’t exist in its current shape and form. Perhaps best known for her classics of that period, the octogenarian director has displayed a renewed creative spirit — and found new audiences — with her personal essay films of the current century, “The Gleaners and I” and “The Beaches of Agnès.” Certainly, Varda hasn’t settled into the “late period” mode that typically seizes the elder statesmen and stateswomen of cinema. Continue reading Agnes Varda’s Whimsical ‘Faces, Places’ Is Endlessly Charming [Cannes Review] at The Playlist.