Theatrical Release Calendar and Projects In Development

Started by wilder, April 26, 2014, 06:51:28 AM

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PDF link below. This calendar is by no means all-inclusive - just the stuff I'm looking forward to. It includes forthcoming US theatrical release dates and a list of projects in development. The document is something I update for myself, but figured it could be useful to other people. I'm making no claims to its accuracy, these dates change all the time.

I'll try to update the link every so often, the file marked with the date the list was last modified.

Release Calendar - PDF (last updated August 26, 2022)


looking forward to when the dates crack open for tbd. my anticipation, your dates must crack open!

palo alto is a fun list topper. fascinated by how franco exists within both high and low cultures, how high culture consistently thrashes him and how low culture is boggled and delighted. he is thrashable and boggleable. i appreciate that. like, i tried to watch as i lie dying. phewwww. the purpose of its existence is a realdeal fucking mystery. franco is now on the cover of faulkner's as i lay dying. lol. idk. the book is the same as it was, so no prob imo. nbd. palo alto overlaps through its creation by an unproven coppola. what's gonna happen??? mystery. i'm in

tangentially related: james ponsoldt's the end of the tour, which is based on an interpretation of dfw from an interview conducted on a road trip, and jason segal is playing dfw. what. the. fuck. again, dfw's books are the same as they were -- this is a wonky triple-layered imagining of him, so nbd despite its overall mysterious purpose. and, at least it's not an adaptation of a dfw book (cringe via brief interviews with hideous men)

most of the time the lit world hates adaptations anyways. i basically do. well, i like adaptations when they break creative barriers, because i don't think they can exist within the same ones. factually speaking, the mediums are different. obvious. so light cinema's flame when you can, please!

appropriately conversational, inherent vice in december. if you're wondering, yes, i have irl confirmation that certain disciples of literature aren't more tolerant of this because of pta's involvement. there's the view that pynchon belongs on the pages where he lives. butalso, there's more widespread interest and approval. fucking pynchon approved (which i've heard expressed as a sign that pynchon has lost his way. uhck, so rude). it's like, however you view the matter, if you're gonna trust a person to do this pta is the person to trust. i've said before that having read iv i'm not at all worried. nope. consider the selection pta's good choice. think he's perfectly suited for this book. and i think this group definitely trusts him, and he deserves trust, with the handling of properties of cinema. get him grrrrl

thanks for this topic btw. me, lottery, mel, and others can relate to sharing information that for one reason or another doesn't stir conversation. fuck it. believe in your interests even when no else does if you can. someone's gotta, you know. right? rightish. k


Quote from: jenkins<3 on April 28, 2014, 04:04:31 PM
most of the time the lit world hates adaptations anyways. i basically do.
I don't understand that position. Do you also hate translations? Isn't an adaptation a visual translation, or the search for an essential visual equivalent of the text? Just as the clunkiest translations are the ones that are slavish adherents to the original and look for a word-by-word equivalence(case in point: Lydia Davis' translation of Proust which is inferior to the old Moncrieff/Kilmartin one even though it's more faithful) so the worst adaptations are the ones that try to put the text directly on the screen instead of locating its essence. And that's not even a question when you're dealing with a great filmmaker in which case you can end up with a work of art superior and of greater depth than the original. I understand being wary of hollywood adaptations in general, but hating adaptations on principle is close minded especially given their historical importance to cinema.

Quote from: jenkins<3 on April 28, 2014, 04:04:31 PM
if you're wondering, yes, i have irl confirmation that certain disciples of literature aren't more tolerant of this because of pta's involvement. there's the view that pynchon belongs on the pages where he lives
Those disciples haven't read Inherent Vice then. It's the least impressive thing he's written since Slow Learner and that was when he was <24 years old. IV was barely rescued for me by how beautiful the the last page or two were, and a later realization that he wrote this, and only this, to be adapted.

Quote from: jenkins<3 on April 28, 2014, 04:04:31 PM
fucking pynchon approved (which i've heard expressed as a sign that pynchon has lost his way. uhck, so rude)
Nabokov must have been passed out in a ditch somewhere when he wrote the screenplay for Lolita, and Pale Fire and Ada or Ardor must not exist.

Quote from: jenkins<3 on April 28, 2014, 04:04:31 PM
me, lottery, mel, and others can relate to sharing information that for one reason or another doesn't stir conversation
You guys are doing God's work. Please don't stop.


terrific conversational opportunity
i stand like:
my favorite jane austen adaptation is clueless
andrea arnold and fish tank = tops
^ and wuthering heights = not really but thanks
steve mcqueen and shame = tops
^ and 12 years = just not the same!
fearful of costumes
luhrmann and r&j -- yess
luhrmann and gg -- silly
favorite novelization of a movie -- lol. nope. 2001 in that it was a simultaneous creation

in general it's a fear of costumes, probably

[edited]below this post used to be a post where i asked about which polish movies i should see that were playing somewhere]


I don't think I will be able to help you, since I'm somewhere between being very dismissive about some Polish directors (which is very Polish in itself) and ignorant about cinema in native language overall. Films are the cause and material I learned English from and there is a part about learning other cultures, even through narrow window as film often are. I would probably do more harm than good, since I'm in no way objective here and my judgment is very prodigious.
Simple mind - simple pleasures...


i think you're being a little hard on yourself and poland. thanks for being candid and everything. it's likely i'll not see some of these, and it's possible i'll be making the wrong choice without realizing it. dangit


It's a pity you can't watch all of them. Scorsese probably compiled a great list.


i can help you here, jenkins.
you listed three already, but the ones you should not miss whatsoever are:
the saragossa manuscript
a short film about killing
ashes and diamonds
night train
blind chance
the hourglass sanatorium

if you have to choose one you haven't seen before, make it the hourglass sanatorium. it is a brilliant forgotten film that holds a deep place in my heart and it is VERY hard to find, let alone see in fucking theatres. super jealous. i need to move.


I don't think I'm too hard on myself. I have problem with what some of directors did after transition of political system in Poland. Some of them did entangle themselves into politics, becoming senators or MPs. Other abused how films are financed from public money, which can't be outright proved, but in reality it is close to robbery. Other manipulated public opinion to the point of using national tragedy for own gain. My bias has very little to do with quality of films and has more to do with self serving group of people from old film industry as I perceive them. I have zero interest in seeing again films from more than half of Scorsese's list for that apparent reason, better stay quiet I think.

Having said that, I'll point out one director that is probably more popular than others combined in Poland and it is largely unknown outside of country. Stanislaw Bareja - films from second half of his career almost universally have gained cult status. Which is kinda ironic, since his comedies were often dismissed by film society and industry at the time as silly, stupid and empty. Audience on the other hand stayed loyal for the whole time.

I'll focus on one particular film of Stanislaw Beraja: comedy called "Teddy Bear". I'm not sure even if this film can be understood outside of country, but some folks here can enjoy weird films so it is worth pointing out I think.

It looks amateurish or even kitsch at the times. There is almost no character development, director has very little concern regarding establishing continuity, one example: sex interest of main character happens to work in theater, so one of the gags is taking place there, not only that, but after our "hero" leaves theater, we stay there and see another gag with cleaning ladies. Hero or anti-hero for that matter is wrong word to describe any of characters I think, since they are caricatures. Plot is also secondary, it is easier to figure it out from synopsis that film itself. Important thing here is social commentary and satire - Bareja doesn't leave anyone out of this loop. Not surprisingly one of the supporting characters is a film producer - we get to see film making and it is ridiculed also, same goes for other artistic activities like singing.

Humor is both absurd and abstract at the same time. It is hard to compare, I would say it is mixture of Monty Python and films from Prague Spring. Reality isn't preserved - we see things that are taking place in mind of characters or are just not physically possible. I had hard times finding a clip with subtitles, which would show some of this. Here is my rough translation for this very short clip:

  • Ignore what TV commentator is saying - it is not important.
  • Women: Those blacks are amazing.
  • Man: Yeah..
  • Women: Not in this way, but overall... look at the way he moves.
  • Man: You know, when I was young I was black too and played basketball. I'm serious.
  • Man: This is what I did... look.
  • What happens next - just see it for yourself.
  • Man (in bed): I did that, later I got over it.

Situation are more often than not, just ridiculous, crazy or bizarre (or everything at once). I'm not sure how easily this film can be obtained. I'm also concerned if it can be understood without knowing native language and cultural/social references - I'm not aware what quality subtitles are. Even for me it took two-three viewings before I did get some jokes - it easy to miss them, since they are often abstract and based more on subtleties than punch lines.

It is probably wrong film as introduction to Polish Cinema. Bareja was perceived as outsider by fellow filmmakers, some of it is described in this profile on Bareja. Yet I can quote Bareja's films all day and personally I see his work as most cathartic from all Polish filmmakers - there is something self-healing about laughing at mirror of ourselves. Don't take it serious, you can treat is as mere curiosity. Bareja is very different filmmaker, his films can be recognized almost instantly to the point of being categorized as own genre.

You asked for it, you got it - even if this isn't representative of Polish Cinema at all ;)
Simple mind - simple pleasures...


there's no orson welles topic...i don't want to make it to describe too much johnson...

too much johnson's importance is more historical than cinematic. it's not a complete feature, or even a complete short, it's footage filmed as a multimedia aspect of a theater performance. hardcore movie nerds discussed various aspects of its enterprise. then, during the footage there was commentary, stuff like "this was shot in this place in new york, which was demolished in 1940 and rebuilt as" etc. there was talk about how it was filmed in the 30s but shot as a 10s silent. very nerdy night

worthwhile and enjoyable but nbd. seeing this and the hearts of age was like pretending to have been in film school with orson welles

Just Withnail

Reading this list fills me with joy. Incredible how moved one can get from just reading how many interesting projects seem to be in the works.


Wasn't aware of the Joan Didion doc, looking forward to it. Since this is IV season I should probably mention, no spoiler, that there's a light Joan Didion reference in the penultimate line of IV the book that I'm maybe imagining but probably not given how important she's been to a lot of people's understanding of that period.

QuoteFor a restless blonde in a Stingray to stop and offer him a ride


Zunn- Showgirls of Pakistan

Showgirls of Pakistan is a documentary feature on the lives of dancing girls in Punjab, Pakistan. It unveils a world of smut theater and strip-shows in small towns and villages through the eyes of the women that are profited from but are never heard. These showgirls are managed by a violent mafia, pimps, boyfriends and promoters who regularly export them to the UAE club scene.

the trailer for this indiegogo campaign is in the top three things i've seen this year so far eternally


thanks as always

why are Hail, Ceasar! and Knight of Cups not in blue?