Dailies is a round-up of essential film writing, news bits, videos, 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.
Watch Karl Lagerfeld‘s new Chanel short film Once And Forever starring Kristen Stewart:
Sofia Coppola on why she dropped The Little Mermaid, per The Wrap:
“We didn’t agree creatively about how to do it, so I didn’t want to continue. As we were getting closer, it just wasn’t the right fit for what they needed for that project and the way I work. I decided to do something in a smaller scale, the way I like to work.”
Watch a new video on the restoration of The Apu Trilogy, and read our feature on why it’s essential viewing:
Sundance Film Festival 2016 have announced its New Frontier line-up:
The 2016 edition of New Frontier at the Festival includes three feature films and a live performance, as well as 30 VR experiences and eleven installations in the more than 10,000-square-foot exhibition, taking place at multiple venues: Park City’s historic Claim Jumper, The Gateway, a large-scale installation on Swede Alley by Chris Milk and a performance by Gingger Shankar at Festival Base Camp Presented by Canada Goose. In addition to a physical exhibition at the Festival, audiences everywhere will be able to experience more than 20 virtual reality pieces on mobile VR headsets. This year’s Festival will also include a program of New Frontier short films to be announced at a later date.
A restored version of Fritz Lang’s Destiny will premiere at the 2015 Berlin Film Festival, Variety reports.
After reading our extensive interview with Kent Jones, watch him discuss Hitchcock/Truffaut with Noah Baumbach:
At The Talkhouse, David Lowery discusses Macbeth:
What a vision this movie is! A slowed-down, amped-up overpowering tapestry, one part spectacle and two parts hallucination. Shakespeare’s words are still there, for the most part, and they’re beautifully performed, but the film could function just as well without them. Turn the dialogue all the way down, turn up the droning score and sound effects to 11, and I daresay the film would scarcely suffer. Of those numerous immortal lines casting light upon Macbeth’s descent, are any so clear and immediate as the sudden shift in Michael Fassbender’s physical posture following the murder of Banquo? This is a visual experience in which the iambic pentameter is largely part of the immaculate sound design.
Watch a talk with Corneliu Porumboiu on The Treasure at NYFF: