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.
The excellent line-up of restored films in the Venice Classics section have been unveiled:
Among the restored masterpieces of the Venice Classics section are: Aleksandr Nevskiy (Alexander Nevsky, 1938) by Sergej Michajlovic Ejzenštejn, Amarcord (1973) by Federico Fellini, Akahige (Red Beard, 1965) by Akira Kurosawa, Le beau Serge (Bitter Reunion, 1958) by Claude Chabrol, Fenggui lai de ren (The Boys from Feng-kuei, 1983)by Hou Hsiao-hsien, Heaven Can Wait (1943) by Ernst Lubitsch, Salò o le 120 giornate di Sodoma (Salò, or the 120 Days of Sodom, 1975) by Pier Paolo Pasolini, Umut (Hope, 1970) by Yilmaz Güney, Vogliamo i colonnelli (We Want the Colonels, 1973) by Mario Monicelli.
Watch a video on the crucifixion postures in the films of Martin Scorsese:
Flavorwire‘s Alison Nastasi on 10 essential one-film wonders:
Anthology Film Archives kicked off a new series this week about the underappreciated and forgotten “one-film wonders” — those movies made by filmmakers who “[established] a fully formed cinematic vision with their first full-length credit, only to never make another feature.”
The surreal Return to Oz, Timothy Carey’s brilliant and lunatic debut World’s Greatest Sinner, and The Night of the Hunter, with its striking chiaroscuro palette, are just a few of the great works featured in the series. We’re adding a few more one-film wonders to the list that strike our fancy for their experimental style and provocative themes.
Watch Caleb Deschanel discuss filming The Black Stallion, recently released on Criterion:
Steve McQueen‘s new Kanye West music video, featuring a single nine-minute take, will premiere in Los Angeles on Saturday, NY Times reports:
Filmed in a single nine-minute take at the Chatham Dockyard in southeast England, the video follows Mr. West through an empty warehouse as he runs, crouches, dodges, raps, rants, sweats and pants, as if being pursued by the camera or the police or in pursuit himself, until he slumps against the wall to catch his breath. At several points Mr. McQueen’s focus is so tight that Mr. West’s face cuts in and out of the frame. At one point, the camera keeps its distance as Mr. West raises hands above head in a gesture of surrender. The video contains a version of Mr. West’s recent release “All Day,” which segues into another single from his coming album, currently known as “SWISH.”