Indeed, it is hard to imagine anyone making films today in such a doggedly uncompromising fashion as Kubrick did in his prime, but his place in the canon of 20th-century filmmakers is impossible to deny. Kubrick’s fertile creative period in the 1970’s is also a highlight, covering everything from the near-perfect “ Barry Lyndon” -this writer’s favorite, and one of the most widely misunderstood films of our time -to the contentious production of “The Shining,” where the director managed to drive Shelley Duvall to the brink of insanity (she even admits to “resenting him” due to how far he pushed her in some scenes) and alienate the author of the film’s source material, Stephen King. philosophy that fueled his underrated early pictures -particularly the Kirk Douglas-starring “ Spartacus” and his cynical, sparkling heist picture “ The Killing.” Obviously, as his public profile inflated and his budgets grew bigger, Kubrick could no longer afford to maintain the fiercely independent D.I.Y. In the opening moments of the doc, Kubrick himself explains his deep love for camera technology -he describes the “sensual, tactile” material pleasures of the medium, and how his knowledge of photography enabled him to essentially make films on his own from the get-go. 'The Shining' Ax Purchased for $175,000 at Auction, Swings Into Colorado's Stanley Film Centerīest Movies Never Made: 35 Lost Projects from Christopher Nolan, Quentin Tarantino, and More ![]() Leon Vitali, Longtime Stanley Kubrick Collaborator, Dead at 74 The myth of Kubrick is almost as alluring as his cinematic body of work, but for those who remain curious, “ The Invisible Man,” a 51-minute documentary from 1996, has recently resurfaced to tell us more about the director. His doubt in humanity’s essential goodness (“ A Clockwork Orange”), his creative pursuits and subsequent bouts of obsession (“ The Shining”), and his penetrating curiosity about life beyond our immediate physical grasp (“ 2001: A Space Odyssey”) are just a few of the recurring motifs. This claim is unfair and untrue for a number of reasons, chief being that his personality found a way into virtually all of his films. Yet, in spite of his undeniable technical prowess, he has sometimes been accused of being a cold director, of viewing humanity from a God-sized distance. A notorious recluse, perfectionist, and (some say) film-set dictator, he demanded nothing but the best out of everyone he worked with. What you may not know is that Kubrick’s life was just as fascinating as the films he made. You know he’s inarguably one of the most important filmmakers in the history of the medium, and you probably know that his attention to detail, sense of composition, and meticulous fixation over every aspect of his productions is virtually unmatched by any director, living or dead. In Berlin this spring, she nabbed the top prize of the Robert Bosch Stiftung for her Lebanese/German project “Miguel’s War.” She also received funding from the Doha Film Institute for the Lebanese-French-Qatar project, “The Great Family,” about a Lebanese adopted child growing up in France who discovers she is a survivor of the massacre at the Tal Al Zaatar Palestinian refugee camp.If you’re reading this website, you know Stanley Kubrick. ![]() Joseph University, has multiple docu projects in the works. Raheb, who also teaches film at Beirut’s St. “He represents when the state is totally absent and small groups and fanatical parties take over the power and impose their laws.” “The fanatical guy belongs to a movement called “my land, my church” and he tries to impose his acts disregarding the municipality decision,” says Raheb. In addition to Haykal, Raheb interviewed the opinionated Muslim woman who works for him, the urbane local doctor whose family is behind the lawsuit over the farmland, a Muslim from the neighboring village whose purchase of land in the Christian enclave creates problems in some quarters, a volunteer militia-like watch group and a Christian zealot who campaigns to keep Muslims out of the Christian neighborhood, despite the fact that the Muslim neighbors had long preserved an ancient Maronite church. “He is a very open person and it was not difficult for him to share personal stories.” ![]() The crew was relatively small (five people) and they shot 10 days, spread over three seasons. Raheb met Haykal in 2014, through a friend who hikes in the area. “I decided to make the film in 2015 and started the shooting at the end of 2015,” she recounts.
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