On “São Paulo Motoboy,” Manu Chao narrates the ballad of a daredevil motorcycle courier weaving in and out of traffic in the Brazilian megalopolis to make a delivery, or he’ll be fired. The music takes a relaxed tempo, but the video, much of which is taken from the motorcycle equivalent of a dashcam, races through the streets as Chao raps about his epic hero driving through rain, falling, smelling gasoline, and yet continuing to drive. “My motorcycle is a plane,” goes one Portuguese lyric. The song will appear on Chao’s upcoming album,...
- 6/26/2024
- by Kory Grow
- Rollingstone.com
Taking place this week, the Trinidad and Tobago Carnival is one of the greatest musical celebrations known to the world. In a few weeks, one can return to an edition of the annual event from decades prior with the new 4K restoration of Kavery Dutta Kaul’s 1988 documentary One Hand Don’t Clap. The celebration of Calypso and Soca music, following the legendary Lord Kitchener and Calypso Rose, explores the Carnival season, inside the recording booth, and beyond.
The new restoration, carried out by the Academy Film Archive and the Women’s Film Preservation Fund of New York Women in Film and Television, opens in New York City on March 8 at Bam and will expand. Ahead of Kino Lorber’s release, we’re pleased to exclusively debut the new trailer and poster.
Here’s the synopsis: “A musical celebration of Calypso and Soca music, the documentary captures the vibrant story...
The new restoration, carried out by the Academy Film Archive and the Women’s Film Preservation Fund of New York Women in Film and Television, opens in New York City on March 8 at Bam and will expand. Ahead of Kino Lorber’s release, we’re pleased to exclusively debut the new trailer and poster.
Here’s the synopsis: “A musical celebration of Calypso and Soca music, the documentary captures the vibrant story...
- 2/13/2024
- by Jordan Raup
- The Film Stage
Kino Lorber, at the Lumiére Festival and International Classic Film Market (Mifc) in Lyon with a number of new restorations, including Stanley Kubrick’s “Fear and Desire,” will next release Bridgett M. Davis’ 1996 drama “Naked Acts” and a complete retrospective of Oscar Micheaux, the first black filmmaker.
Also headed for release is “The Dragon Painter,” a rare, 1919 silent film with an all Asian cast, with the feel of an old Japanese film but entirely shot in the San Francisco area. It stars Sessue Hayakawa, who produced it himself, as well as his real-life wife Tsuru Aoki.
Kino Lorber is partnering with Milestone Films to release “The Dragon Painter” in 4K in 2024 with a new score.
Likewise set for a 4K release next year in partnership with Milestone is “Naked Acts,” which follows young Black actress Cicely, who is about to make her acting debut in a low budget film. As...
Also headed for release is “The Dragon Painter,” a rare, 1919 silent film with an all Asian cast, with the feel of an old Japanese film but entirely shot in the San Francisco area. It stars Sessue Hayakawa, who produced it himself, as well as his real-life wife Tsuru Aoki.
Kino Lorber is partnering with Milestone Films to release “The Dragon Painter” in 4K in 2024 with a new score.
Likewise set for a 4K release next year in partnership with Milestone is “Naked Acts,” which follows young Black actress Cicely, who is about to make her acting debut in a low budget film. As...
- 10/18/2023
- by Ed Meza
- Variety Film + TV
Santana launched their career half a century ago with a cover of Nigerian percussionist Babatunde Olatunji’s “Jingo” and now, for their 25th album, they’ve created a love letter to Africa. Although Africa Speaks sounds undeniably like a Santana album, with Carlos’ fiery guitar bursts and reedy-voiced singer Buika’s Spanish-language exclamaciones, it explodes from the start with African rhythms and a unique freedom to the way the group plays the songs.
With the exceptions of “Breaking Down the Door,” a faithful cover of the Manu Chao–penned Calypso Rose song “Abatina,...
With the exceptions of “Breaking Down the Door,” a faithful cover of the Manu Chao–penned Calypso Rose song “Abatina,...
- 6/7/2019
- by Kory Grow
- Rollingstone.com
Congresswoman Nancy Pelosi, the first and only woman to serve as Speaker of the House, retook the gavel on Thursday afternoon, becoming the first speaker in 60 years to return to the position. Pelosi was re-elected to the speakership by a voice vote with 220 Democrats supporting her bid and 15 opposing it — an impressive margin when you consider that only a matter of weeks ago, 32 Democrats voted against her in a closed-door caucus election.
Rep. Hakeem Jeffries (D-ny) tried to emphasize the California Democrat’s popularity, declaring in a speech on House...
Rep. Hakeem Jeffries (D-ny) tried to emphasize the California Democrat’s popularity, declaring in a speech on House...
- 1/3/2019
- by Tessa Stuart
- Rollingstone.com
Childish Gambino, Tame Impala and Ariana Grande are among the headliners for the 2019 Coachella Music and Arts Festival. The events will take place over two back-to-back weekends – April 12-14 and April 19-21 – at the Empire Polo Club in Indio, California. Passes go on sale on Friday at 11 a.m. Pt via the festival’s official website.
The lineup also includes Janelle Monáe, Solange, Khalid, the 1975, DJ Snake, Diplo, Anderson .Paak, Kid Cudi, Weezer, Aphex Twin, Zedd, Bad Bunny, J Balvin, Billie Eilish, Chvrches, Bassnectar, Dillon Francis, Yg and Kacey Musgraves alongside dozens of additional artists.
The lineup also includes Janelle Monáe, Solange, Khalid, the 1975, DJ Snake, Diplo, Anderson .Paak, Kid Cudi, Weezer, Aphex Twin, Zedd, Bad Bunny, J Balvin, Billie Eilish, Chvrches, Bassnectar, Dillon Francis, Yg and Kacey Musgraves alongside dozens of additional artists.
- 1/3/2019
- by Althea Legaspi
- Rollingstone.com
In for a Penny, In for a Pound Prods.
MILL VALLEY, Calif. -- This music documentary, which had its world premiere at the Mill Valley Film Festival, takes a great subject -- the calypso music scene in Trinidad and Tobago -- but gives it a scattered, facile treatment.
The filmmakers are clearly trying to attract the audiences that turned out for "The Buena Vista Social Club", but "Calypso Dreams" has little of the style or personality of that movie. This film also skimps on what should be its greatest strength -- the music.
Directors Geoffrey Dunn (who directed the Oscar-nominated documentary "Miss... or Myth?") and Michael Horne (a music producer) seem content to throw as many names and faces as possible in front of the camera. Most of the film consists of unvaried medium shots of talking heads, who occasionally pick up a guitar and sing. There are no shots of Port of Spain or Frederick Street (the mecca for calypso singers) despite subtitles informing us that we're currently in those locations, so you get no sense of the culture or atmosphere that nurses this music.
The film does intelligently examine Harry Belafonte's somewhat contentious relationship with the calypso greats and the contradictions inherent in bringing a local phenomenon to a worldwide audience, as Belafonte did. Some of the personalities paraded before the camera do have a vibrancy that breaks through the filmmakers' static technique: the ebullient Calypso Rose (whose song "Outside Man" was recorded by Bonnie Raitt about 30 years ago), the sly and articulate Lord Superior and the jocular Mighty Sparrow.
"Calypso Dreams" cursorily examines the roots of Calypso and the qualities it shares with American rap music. Both are vehicles to address political, cultural and sexual issues. But the film provides only minimal concert footage: We don't see performers interacting with a band or with an audience. The singing contests that anoint the queens and kings of Calypso are obliquely referred to but never shown, which seems a grave oversight.
MILL VALLEY, Calif. -- This music documentary, which had its world premiere at the Mill Valley Film Festival, takes a great subject -- the calypso music scene in Trinidad and Tobago -- but gives it a scattered, facile treatment.
The filmmakers are clearly trying to attract the audiences that turned out for "The Buena Vista Social Club", but "Calypso Dreams" has little of the style or personality of that movie. This film also skimps on what should be its greatest strength -- the music.
Directors Geoffrey Dunn (who directed the Oscar-nominated documentary "Miss... or Myth?") and Michael Horne (a music producer) seem content to throw as many names and faces as possible in front of the camera. Most of the film consists of unvaried medium shots of talking heads, who occasionally pick up a guitar and sing. There are no shots of Port of Spain or Frederick Street (the mecca for calypso singers) despite subtitles informing us that we're currently in those locations, so you get no sense of the culture or atmosphere that nurses this music.
The film does intelligently examine Harry Belafonte's somewhat contentious relationship with the calypso greats and the contradictions inherent in bringing a local phenomenon to a worldwide audience, as Belafonte did. Some of the personalities paraded before the camera do have a vibrancy that breaks through the filmmakers' static technique: the ebullient Calypso Rose (whose song "Outside Man" was recorded by Bonnie Raitt about 30 years ago), the sly and articulate Lord Superior and the jocular Mighty Sparrow.
"Calypso Dreams" cursorily examines the roots of Calypso and the qualities it shares with American rap music. Both are vehicles to address political, cultural and sexual issues. But the film provides only minimal concert footage: We don't see performers interacting with a band or with an audience. The singing contests that anoint the queens and kings of Calypso are obliquely referred to but never shown, which seems a grave oversight.
In for a Penny, In for a Pound Prods.
MILL VALLEY, Calif. -- This music documentary, which had its world premiere at the Mill Valley Film Festival, takes a great subject -- the calypso music scene in Trinidad and Tobago -- but gives it a scattered, facile treatment.
The filmmakers are clearly trying to attract the audiences that turned out for "The Buena Vista Social Club", but "Calypso Dreams" has little of the style or personality of that movie. This film also skimps on what should be its greatest strength -- the music.
Directors Geoffrey Dunn (who directed the Oscar-nominated documentary "Miss... or Myth?") and Michael Horne (a music producer) seem content to throw as many names and faces as possible in front of the camera. Most of the film consists of unvaried medium shots of talking heads, who occasionally pick up a guitar and sing. There are no shots of Port of Spain or Frederick Street (the mecca for calypso singers) despite subtitles informing us that we're currently in those locations, so you get no sense of the culture or atmosphere that nurses this music.
The film does intelligently examine Harry Belafonte's somewhat contentious relationship with the calypso greats and the contradictions inherent in bringing a local phenomenon to a worldwide audience, as Belafonte did. Some of the personalities paraded before the camera do have a vibrancy that breaks through the filmmakers' static technique: the ebullient Calypso Rose (whose song "Outside Man" was recorded by Bonnie Raitt about 30 years ago), the sly and articulate Lord Superior and the jocular Mighty Sparrow.
"Calypso Dreams" cursorily examines the roots of Calypso and the qualities it shares with American rap music. Both are vehicles to address political, cultural and sexual issues. But the film provides only minimal concert footage: We don't see performers interacting with a band or with an audience. The singing contests that anoint the queens and kings of Calypso are obliquely referred to but never shown, which seems a grave oversight.
MILL VALLEY, Calif. -- This music documentary, which had its world premiere at the Mill Valley Film Festival, takes a great subject -- the calypso music scene in Trinidad and Tobago -- but gives it a scattered, facile treatment.
The filmmakers are clearly trying to attract the audiences that turned out for "The Buena Vista Social Club", but "Calypso Dreams" has little of the style or personality of that movie. This film also skimps on what should be its greatest strength -- the music.
Directors Geoffrey Dunn (who directed the Oscar-nominated documentary "Miss... or Myth?") and Michael Horne (a music producer) seem content to throw as many names and faces as possible in front of the camera. Most of the film consists of unvaried medium shots of talking heads, who occasionally pick up a guitar and sing. There are no shots of Port of Spain or Frederick Street (the mecca for calypso singers) despite subtitles informing us that we're currently in those locations, so you get no sense of the culture or atmosphere that nurses this music.
The film does intelligently examine Harry Belafonte's somewhat contentious relationship with the calypso greats and the contradictions inherent in bringing a local phenomenon to a worldwide audience, as Belafonte did. Some of the personalities paraded before the camera do have a vibrancy that breaks through the filmmakers' static technique: the ebullient Calypso Rose (whose song "Outside Man" was recorded by Bonnie Raitt about 30 years ago), the sly and articulate Lord Superior and the jocular Mighty Sparrow.
"Calypso Dreams" cursorily examines the roots of Calypso and the qualities it shares with American rap music. Both are vehicles to address political, cultural and sexual issues. But the film provides only minimal concert footage: We don't see performers interacting with a band or with an audience. The singing contests that anoint the queens and kings of Calypso are obliquely referred to but never shown, which seems a grave oversight.
- 11/12/2003
- The Hollywood Reporter - Movie News
imdb.1eye.us, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.