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Guy Maddin

Guy Maddin, the Wunderkind of Winnipeg, responsible for those weirdies "Tales From the Gimli Hospital" and "Archangel," is back with "Careful" (at the Nuart). Another of his fanciful, absurdist celebrations of early cinema, it's set in the 19th Century in the Alpine village of Tolzbad, where silence is truly golden: The slightest sound can trigger a lethal avalanche.
December 7, 2006 | Scott Timberg, Times Staff Writer
THE Hammer Museum has long had one of the cooler reading and discussion series in town. Now it has a much better place to put them: the Billy Wilder Theater, which will not only house the museum's cultural programming -- it also includes music and artist's lectures -- but UCLA's Film and Television Archive as well.
January 18, 2004
Andrew Lloyd Webber's the Phantom of the Opera. Joel Schumacher directs the long-awaited-by-fans adaptation of the colossally successful stage musical about the maimed musician (Gerard Butler) and his obsession with a singer (Emmy Rossum). Warner Bros., December. Bride and Prejudice. Jane Austen done up Bollywood-style in "Bend it Like Beckham" director Gurinder Chadha's globally inspired musical. With Aishwarya Rai and Martin Henderson. Miramax, TBA. De-lovely.
June 23, 2003 | Lynn Smith
The flickering images have all the wide-eyed passion and vampire iconography of F.W. Murnau's 1922 "Nosferatu." But Guy Maddin's "Dracula: Pages From a Virgin's Diary" tells the tale with cinematic wit, sensuality and the grace of a ballet. In fact, members of the Royal Winnipeg Ballet play the familiar roles in Maddin's mostly silent, mostly black-and-white "Dracula," which opens Friday for a one-week run at the Nuart Theatre in West L.A.
November 9, 2001 | JOHN ANDERSON, NEWSDAY
Rooted firmly in the tradition of such major film eccentrics as Guy Maddin, Aki Kaurismaki and Darren Aronofsky of "Pi," Cory McAbee's "The American Astronaut" crosses Jean-Luc Godard's "Alphaville" with the "Star Wars" bar and "Twin Peaks." It has been a hit at film festivals and has been described as a "midnight-style musical." And perhaps it should be seen that way, with a crowd of kindred knuckleheads and some moshing in the aisles. So get your mother and go see it.
September 11, 1989 | MICHAEL WILMINGTON
"Tales From the Gimli Hospital" (a new Friday-midnight movie at the Nuart) is such an oddball little show--a Canadian regional production shot for $22,000 and based, tongue-in-cheek, on the folk history of a small Icelandic fishing community in Manitoba--that some audiences may get weirded out during the credits. It's a dry, fluky comedy about the perils of immigrant communities and bad health facilities--shot in a style that's a clever pastiche of early '30s experimental talkies.
November 12, 2013 | By Randy Lewis
The thought of home movies of a trip abroad can elicit groans, unless they happen to be taken by somebody like Robert Plant. Using footage from a 2003 trip to Mali to take part in the Festival of the Desert, Plant  assembled an eight-episode documentary called "Zirka," which boasts a soundtrack that features Ali Farka Touré, Tinariwen and many others. Plant's images -- yes, he did the bulk of the filming himself -- capture the people and landscape of the African nation during a trip he describes in a statement as "a journey of revelation ... one of the most illuminating and humbling experiences of my life.
December 29, 2008 | from times staff and wire reports
Ann Savage, who earned a cult following as a femme fatale in such 1940s pulp-fiction movies as "Detour," has died. She was 87. The actress died in her sleep at a nursing home in Hollywood on Christmas Day from complications after a series of strokes, said her manager, Kent Adamson. Her Hollywood career had largely been over since the mid-1950s, but she had a resurgence over the last year with a role in Canadian filmmaker Guy Maddin's "My Winnipeg."
"The Borrower" (Laemmle's Monica) is a horror movie that never lets us indulge in the dubious elation of sadism. Directed by John McNaughton, it's distilled horror: very grim, very compact and, despite the lurid surrealism and mad jokes of its plot, often disturbingly real. It's a pretty nutsy movie, shot in a surreally distended mixture of Chicago and L.A. locations, by a director ("Henry: Portrait of a Serial Killer") whose sensibility soars far above the seeming squalidness of his material.
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