May 19, 1965: George Balanchine examines Suzanne Farrell’s hand in rehearsals for a NYCB production of Don Quixote at New York State Theater. (Gjon Mili/The LIFE Picture Collection/Getty Images)
Filled with never before seen archival footage of Balanchine at work during rehearsals, classes, and in preparation for his most seminal works, along with interviews with many of his adored and adoring dancers and those who try to carry on his legacy today, this is Balanchine as you have never seen him, and a film for anyone who loves ballet and the creative process.
Balanchine, 1941
(Above photo by George Platt Lynes)
“I like to play FIFA. I like to play PlayStation. It’s called the dead fish celebration. If you know your opponent when you play FIFA, many times you’re going to do this. You’re going to score a goal, you’re up 5-0, you do this one.
She employs this documentary-realism to focus on individuals of lesser cultural status, challenging prevailing representations of women within the male-dominated Japanese film industry.[1] This theme is also connected to her own personal reflections on contemporary issues in the current climate of economic depression such as the declining birthrate, alienation, and the collapse of traditional family structures
This fast-moving spoof of Bond-type movies features striking location photography of Rio de Janeiro, Oscar Niemeyer’s nascent Brasília and Paris of the time. In 1964 the film was nominated for the Oscar for Best Writing, Story and Screenplay.
“Léon Morin, Priest” in English — was Melville’s sixth feature and almost the exact midpoint between early successes like “Bob le Flambeur” (1956), about a gentleman thief organizing the heist of a lifetime, and “Army of Shadows” (1969), his late-career masterpiece about the Resistance. Given his interest in the war, it’s understandable that he was drawn to “Léon Morin” and its story of life during the occupation.
In the interview included on this disc, Melville says he was sitting on it for eight years but never started because he couldn’t find an actor right for the part of Morin, and that it was only after watching Breathless that he decided to try and get Belmondo, who was initially reluctant and had to be convinced by Melville.
Ouattara Watts (born 1957) is an American artist[1] from Ivory Coast.[2] He studied at l’École nationale supérieure des Beaux-Arts, Paris, France.[3]
In Paris, he met Jean-Michel Basquiat at an exhibition opening in January 1988. Basquiat was impressed by Watts’s paintings and convinced him to move to New York City. They had a very short but important collaboration.[4] In the documentary Basquiat, Une Vie, Watts was filmed in his studio, working and talking about Basquiat.