Latest news with #TwinPeaks:FireWalkWithMe
Yahoo
14-03-2025
- Entertainment
- Yahoo
Movies to see this week: 'Stop Making Sense,' 'The Master,' 'Lost Highway'
Stories about musicians, concert films, films with live music, and iconic soundtracks are all part of the lineup local curators are sharing this week. Here are some of the great repertory screenings taking place in Twin Cities theaters from March 12–18. Thursday, Mar. 13 at Emagine Willow Creek Another week, another run of David Lynch films. In addition to screenings of Blue Velvet, Wild at Heart, and Twin Peaks: Fire Walk With Me, one of his more complex works (this side of Inland Empire) arrives at Emagine Willow Creek. Bill Pullman and Patricia Arquette star in the meandering movie about videotapes that portend a musician's murder conviction. It probably would have been a nice fit with the recent Film Noir Festival from The Trylon and Heights theaters, which focused on films that have characters road-tripping around the U.S. Lost Highway certainly has crime, wayward souls, and, as the title suggests, the open road. 9900 Shelard Pkwy., Plymouth ($11.60) Thursday, Mar. 13 at The Heights Theater David Byrne and The Talking Heads are coming to The Heights. Not in person, but in their iconic concert film, shot over three nights at the Pantages Theater in Hollywood. It's not exactly hard to find, but with it absent from streaming services (except to rent), it's not as easy to catch as many other films. The classic was remastered in 2023 for its 40th anniversary, putting a fresh shine into the big suits and enviable dance moves. 951 Central Ave NE, Columbia Heights ($13–$13.75) Friday, Mar. 14 at The Trylon Cinema The Trylon continues its trek through the work of Paul Thomas Anderson this week with The Master. (Punch Drunk Love also plays later in the week.) It draws thinly veiled inspiration from Scientology and its founder, L. Ron Hubbard. The movie is often subtle (though, not always) and presents an at times disturbing portrait of people who crave power, as well as the individuals who are drawn to them. The cast is almost too full of award-winning actors, including Joaquin Phoenix, Philip Seymour Hoffman, Amy Adams, Jesse Plemons, Rami Malek, and Laura Dern. 2820 E 33rd St., Minneapolis ($8) Wednesday, Mar. 12 at Edina Mann Theatres Edina Theatres' relatively new repertory series brings Stanley Kubrick's most enigmatic film to the screen this week. Famously beautiful and frustrating, 2001 has so many memorable scenes that it's easy to forget all the other passages, like the meeting on the space station before Dave (Keir Dullea) and Frank (Gary Lockwood) get aboard the Discovery with HAL 9000. That makes it a pretty enjoyable re-watch. [Cues "Also Sprach Zarathustra."] 3911 W. 50th St., Edina ($12.15) Tuesday, Mar. 18 at The Parkway Theater Carl Theodor Dreyer's silent film belongs in a small group from its era that aren't just enjoyable but remain impactful. Maria Falconetti's portrayal of Joan of Arc is emotional and can still move viewers almost 100 years after its release. Tuesday's screening at the Parkway will have a live score performed by Paris 1919, the group of composer Chris Strouth. 4814 Chicago Ave., Minneapolis ($20.21–$23)More movies screening in the Twin Cities this week: Mar. 12: 2001 A Space Odyssey (1968) at Edina Theatre Mar. 12: Moonstruck (1987) at Emagine Eagan, Emagine Lakeville, Emagine White Bear, and Emagine Willow Creek Mar. 12: Blue Velvet (1986) at Alamo Drafthouse Mar. 12: Secret Movie Night at Emagine Willow Creek Mar. 12–13: The Great Muppet Caper (1981) at Emagine Eagan, Emagine Lakeville, Emagine White Bear, and Emagine Willow Creek Mar. 12: Liza: A Truly Terrific Absolutely True Story (2024) at The Trylon Cinema Mar. 12: Back to the Future (1985) at St. Michael Cinema Mar. 12–13: Despicable Me (2010) at St. Michael Cinema Mar. 12–13: Snow White and the 7 Dwarfs (2025) at The Trylon Cinema Mar. 12–15: Despicable Me (2010) at St. Michael Cinema Mar. 12–16: Sing (2016) at St. Michael Cinema Mar. 12–16: The Secret Life of Pets (2016) at St. Michael Cinema Mar. 12 and 16: Mobile Suit Gundam: Char's Counterattack (1988) at AMC Coon Rapids, AMC Eden Prairie, AMC Rosedale, AMC Southdale, CMX Odyssey, Emagine Lakeville, Emagine White Bear, Emagine Willow Creek, and Oakdale Cinema (Mar. 12 only) Mar. 13: Jurassic Park (1994) at St. Michael Cinema Mar. 13 and 16: Oldboy (2003) at Grandview Theatres Mar. 13 and 15–16: Teenage Mutant Ninja Turtles (1990) at Emagine Lakeville Mar. 14–18: Hop (2011) at Emagine East Bethel, Emagine Lakeville, Emagine White Bear, and Emagine Willow Creek Mar. 14 and 17–19: Twin Peaks: Fire Walk With Me (1992) at Alamo Drafthouse Mar. 14: The Ordinaries (Die Gewöhnlichen) (2022) at The Trylon Cinema Mar. 14 and 16–18: Leprechaun (1993) at Alamo Drafthouse Mar. 14–15: Jumanji (1995) at Alamo Drafthouse Mar. 14–16: Smallfoot (2018) at Oakdale Cinema, Parkwood Cinema, Rosemount Cinema, Southbridge Crossing Cinema, and West End Cinema Mar. 15: Shrek (2001) and Shrek 2 (2004) with Taste the Movies Mar. 15: The Lady Eve (1941) at Alamo Drafthouse Mar. 15: The Lady Eve (1941) at Alamo Drafthouse Mar. 15–16 and 19: Wild at Heart (1990) at Alamo Drafthouse Mar. 15–16: Teenage Mutant Ninja Turtles (1990) at Emagine White Bear, and Emagine Willow Creek (Mar. 16 only) Mar. 16: Charlie's Angels (2000) at Alamo Drafthouse Mar. 16–17: Top Gun (1986) at Oakdale Cinema, Parkwood Cinema, Rosemount Cinema, and West End Cinema Mar. 16–18: Punch Drunk Love (2002) at The Trylon Cinema Mar. 17: Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) at The Parkway Theater Mar. 17: Near Dark (1987) at Emagine Willow Creek Mar. 18: The Watermelon Woman (1996) at Alamo Drafthouse
Washington Post
06-02-2025
- Entertainment
- Washington Post
Before David Lynch, there was Francis Bacon
Great Works, In Focus • #186 Before David Lynch, there was Francis Bacon The painter, like the filmmaker, created images that resonated with a specifically modern sense of horror. Loading Column by Sebastian Smee February 6, 2025 at 11:14 a.m. EST 4 minutes ago 3 min 0 Some images recur. They're spectral. They come out of the darkness — out of somewhere far away and half-forgotten — and there they are. Again and again. Since David Lynch's death, everyone has been telling nice stories about the legendary filmmaker: His old-fashioned good humor, his belief in Transcendental Meditation, his kindness to his favorite actors. Okay. But let's not kid ourselves. Lynch was dark. What he was mostly concerned with was how images can haunt us. In this he was a lot like the painter Francis Bacon, who died in 1992, the year that Lynch's 'Twin Peaks: Fire Walk With Me' was released. In my experience, people who like Lynch's films also love Bacon's paintings. It would be too simple — too antiseptic — to say that both artists exposed the dark underbelly of society or reveled in the unconscious. Lynch wasn't interested in giving us generic spooky images. He cultivated very exact nightmare visions. Think, for instance, of the encounter he contrived in 2001's 'Mulholland Drive' — the one that took place in a parking lot at the back of Winkie's diner ('This Winkie's'). The actual figure of horror was almost absurd: a person with matted hair and a filthy face. But the context was perfectly calibrated. Lynch wanted it to be terrifying to this very particular, almost intolerable degree. Story continues below advertisement Advertisement Bacon was similar. He didn't paint many images like this one, a 1953 painting at the National Gallery of Art called 'Study of a Dog.' But the loping, blurry, foreshortened dog emerging from darkness along a deep perspective line was clearly an image that had a grip on him. Why is almost beside the point. 1953 was the year Joseph Stalin died and Queen Elizabeth II was coronated. It was also the year that Bacon, at a time when homosexual acts were still outlawed in Britain, painted two men having sex. He based his blurry, spectral composition, the forms dissolving with uncanny precision, on a sequence of photographs of men wrestling by Eadweard Muybridge, whose stop-motion photographs led into cinema. Bacon liked both photographs and movies. He thought hard about them, both as an art form and as propaganda. He had lived through World War II and was keen to grapple with what the critic David Sylvester called 'a mythology of terror.' He presented his horrifying phantasms (screaming popes, hanging carcasses, deformed faces and bodies) in the same disquieting, matter-of-fact way that a camera might show a 'film star getting into her aeroplane' or a 'goalkeeper failing to make a save,' wrote Sylvester. Story continues below advertisement Advertisement Two years after 'Study of a Dog,' the artist Max Clarac-Sérou said that Bacon's work reminded him of a famous engraving by Albrecht Dürer showing 'a horseman … unaware of the presence of Death, following, step by step, behind him.' Bacon's merit, Clarac-Sérou said, was that he had put himself in the place of the horseman and dared to turn around. Unlike Dürer, a virtuosic master of proliferating detail, Bacon used very pared-down means to convey his very modern sense of horror. You can walk past his paintings and feel unmoved. Or you can turn around. If you do, they may provoke an almost physical nausea — a feeling that may go away but might yet always be there waiting for you, emerging from darkness, or from behind the wall in the parking lot at the back of the diner.
