Dailies is a round-up of essential film writing, news bits, and other highlights from across the Internet. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.
Jia Zhangke, Claire Denis and Agnieszka Holland will make up the jury for TIFF’s new auteur-focused section Platform, Screen Daily reports.
Criterion have revealed their October 2015 line-up (click titles for details):
Arcade Fire‘s feature film The Reflektor Tapes, directed by Kahlil Joseph, will be released in theaters worldwide on September 24th, Spin reports. Watch a preview below.
AV Club‘s guide to how to make a good action film with 11 lessons from modern movies:
Every year is a good year for action cinema, at least from a financial standpoint: If you count superhero movies, the genre pretty much has the top of the box-office charts on perpetual lockdown. Truly exciting, entertaining, or awe-inspiring action movies are harder to come by, but they’re not impossible to find, even in this age of bloated CGI spectacle. Below, we’ve drawn 11 lessons from the last five years of action movies, using the cream of the adrenaline-supplying crop to create a game plan for future dispensers of shock and awe. We were strict with the definition, picking films that are first-and-foremost action driven, so don’t be alarmed by the absence of Liam Neeson battling wolves or Ryan Gosling cruising around Los Angeles to the super sounds of The Chromatics.
Watch a video essay on the shift from social-realism to surrealism in Lindsay Anderson‘s If….:
Filmmmaker Magazine‘s Vadim Rizov laments the internet’s lowest-common-denominator film writing:
We were deep in production on our summer issue last week, so I didn’t have much time to think about the extremely sudden shuttering of The Dissolve, the three-days-shy-of-two-years site that attempted to fill a surprising hole on the internet by primarily/substantially dedicating itself to writing moderate-to-lengthy reviews for just about every film released. This is a service still performed by the trades, The New York Times and other periodicals, but decisions inevitably must be made about which films to relegate to 200 terse words or less, or to ignore entirely. Ignoring this hierarchy, The Dissolve made sure all reviews were at least medium-length, and there’s something valuable about a site determined to slowly build a kind of comprehensive library to turn to for a reasonably thorough explication of what, precisely, a given film is; that kind of knowledge is always useful to somebody (sometimes, specifically, me).
A new video explores the cinematic Shakespeare adaptations through the years: