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.
Dan Sallitt has published his extensive companion on the films of Mikio Naruse.
A lost Marx Brothers musical has found its way back on stage, The New Yorker reports.
Watch a video on Pedro Almodóvar‘s obsession with the color red:
Los Angeles Plays Itself director Thom Andersen names his 10 favorite films of the last 10 years at Grasshopper Film.
Vox‘s Aja Romano on the strange story of how a machine was trained to “watch” Blade Runner:
Broad’s goal was to apply “deep learning” — a fundamental piece of artificial intelligence that uses algorithmic machine learning — to video; he wanted to discover what kinds of creations a rudimentary form of AI might be able to generate when it was “taught” to understand real video data.
Werner Herzog‘s Salt and Fire will premiere at the Shanghai Film Festival this month, THR reports.
Watch a documentary on the making of Robert Altman‘s Vincent & Theo:
David Bordwell on the films of Hou Hsiao-hsien:
Hou’s films are no stranger to this site. Among the first things I posted, back in 2005, was one of a batch of supplemental essays to my book, Figures Traced in Light: On Cinematic Staging (2005). That book devoted a chapter to Hou’s staging principles, with background on what I took to be the evolution of his technique. It was, I think, the first sustained view of Hou’s style, and it included discussion of his earliest films. These were scarcely known in the West and not considered in relation to his more famous work.
Netflix has announced its first Indian series, Sacred Games, backed by Anurag Kashyap, THR reports.
Watch a video essay on Eric Rohmer‘s fascination with water:
Criterion‘s Hillary Weston visits the Nitrate Picture Show at the George Eastman Museum in Rochester, New York:
This year, I had the pleasure of returning to attend the festival, once again experiencing the delight of seeing a selection of old favorites projected with new vibrancy in the museum’s Dryden Theatre. Among the films shown this year were Otto Preminger’s noir masterpiece Laura (1944), Michael Powell and Emeric Pressburger’s opera The Tales of Hoffmann (1951), Vittorio De Sica’s neorealist classic Bicycle Thieves (1948), and David Lean’s drawing-room ghost story Blithe Spirit (1945), all screened from stunning nitrate prints culled from archives around the world.