i-Dhttps://i-d.vice.com/en_usRSS feed for https://i-d.vice.comenWed, 23 Jan 2019 22:37:26 +0000<![CDATA[matthew mcconaughey looks sensational in the trailer for ‘the beach bum’]]>https://i-d.vice.com/en_us/article/j57qe7/matthew-mcconaughey-looks-sensational-in-the-trailer-for-the-beach-bumWed, 23 Jan 2019 22:37:26 +0000Remember when those wild pictures of Matthew McConaughey were in circulation? The ones where he looks like a cross between He-Man and a novelty bong you bought in Florida (or just like he was head-to-toe in Balenciaga)? Turned his divine transformation was the work of none other than Harmony Korine, and we now have the trailer to serve as evidence. The Beach Bum follows McConaughey in the role of Moondog, the aforementioned bum of the beach, “a rebellious burnout who only knows how to live life by his own rules.” Consider me sold. McConaughey seems to spend the entirety of the film clad in matching Hawaiian print shirts and shorts, with flip up sunglasses, and at one point, a thong. Thongs — consider them back as of right now. The film also stars Jonah Hill, Isla Fisher, and Snoop Dogg, and you can also catch a glimpse of Zac Efron, hopefully at the start of an illustrious art cinema career. There’s also a coke addicted parrot and Jimmy Buffet. The film, from Vice Studios and Neon, is out on March 22.

j57qe7Jack SunnucksNicole DeMarcoHarmony KorineNewsMatthew Mcconaugheythe beach bum
<![CDATA[john galliano presents a vision of counter-cultural couture chaos at maison margiela]]>https://i-d.vice.com/en_us/article/bjq89a/maison-margiela-john-galliano-artisanalWed, 23 Jan 2019 21:31:28 +0000Decadence. Where did it go? Once upon a time, fashion — and especially haute couture — was all about decadence. And there isn’t a designer alive who could be described as more decadent than John Galliano, who has staged some of the most opulent coups des théâtre that fashion has ever seen. The word was on his mind this season as he considered the post-truth URL-not-IRL Age of Information we’re living in. So many images, so much consumption, so much saturation. In Galliano’s hands, it became about chaos and control in a collection that veered from maximalist frenzy to decadent minimalism.


This article originally appeared on i-D UK.

bjq89aOsman AhmedFelix PettyFashionCatwalkimagesJohn GallianoReviewhaute couturemaison margiela2019artisanala rebours
<![CDATA[the 9 life lessons from men’s fashion you need to follow in 2019]]>https://i-d.vice.com/en_us/article/a3bzbe/the-9-life-lessons-from-mens-fashion-you-need-to-follow-in-2019Wed, 23 Jan 2019 21:31:08 +0000Beyond shaping what you’ll be wearing in six months time, each season of shows is embedded with subtle and not-so-subtle messages. In addition to sharp-shouldered suits, chunky boots, leopard print coats and inspired styling tips, the autumn/winter 19 men’s shows were filled with insights, tips and pearls of wisdom to help you live a more fulfilling life in 2019 and beyond.


9. (If we lied in 8) Cut your losses and escape to a new world
Ok, so we concede that this is easier said than done but there was a mood in Paris that we could build a new utopia. “There’s this melancholy that comes from always being told we’ve gone past the point of no return,” The prevalent mood is so negative, it’s this ‘the end of the world is nigh’ feeling.” Benjamin Alexander Huseby explained after his GmbH show. “So our starting point was imagining an escape to a new world, a new civilisation with GmBH being its corporation. Leaving this planet is the ultimate migration, right” co-designer Serhat Isik added. Elsewhere, Matthew Williams turned an existential crises into creative solution. “We cannot conceive of absolute nothingness,” the 1017 ALYX 9SM show notes began, “and yet it is from this state, Ex Nihilo, that humans create entire worlds. Alyx embraces imagination and agency; interrogating every origin, and evaluating afresh each object for which we take responsibility.” Fashion can save us all after all.


Photography Mitchell Sams

This article originally appeared on i-D UK.

a3bzbeSteve SalterRyan WhiteFashionMenswearStreetwearA/W 19
<![CDATA['splendor' is gregg araki's forgotten ode to polyamory ]]>https://i-d.vice.com/en_us/article/d3mzmx/splendor-gregg-araki-polyamory-filmWed, 23 Jan 2019 21:24:06 +0000 “Love is a mysterious and baffling thing,” says a disembodied voice at the beginning of Splendor, the 1999 polyamory rom-com from Gregg Araki that’s noteworthy for never, ever being talked about. The words are are heard over lush close-ups of lips, teeth, and groping hands, all bathed in bisexual lighting and soundtracked, like so much of Araki’s filmography, by Slowdive. It’s an airy fantasy of an opening, but as the colors blur, congealing into a shot of the intertwined, nude bodies of two guys and a girl lying in bed, the voice returns to clarify something: “No, this is not a dream sequence.”

Within just one or two minutes, Splendor marks itself as dissimilar to Araki’s better known work, from The Doom Generation to Mysterious Skin: queer cinema that has always danced between the real and the hyperreal. Araki paints worlds where juxtapositions are embraced; places where earnest sexual discovery and surreal violence can co-exist at once; where extra-terrestrial visitors can operate as both testaments to LA vapidity, and a heartbreaking means to repress your own sexual abuse. But while Araki’s other films so often sway between both worlds, never getting too comfortable in either, Splendor’s early clarification declares that for all its sumptuous aesthetics and utopian pansexuality, the film is entirely, whole-heartedly earthbound.

And that might explain why, in comparison to the years of Araki work so beloved by queer kids, punks and stoners (or combinations of all three), Splendor has been largely forgotten. On the surface, it’s clear to see why. Splendor isn’t a foreboding anthem for the end of the world, like Araki’s 2010 mystery Kaboom or his upcoming STARZ show Now Apocalypse, and it isn’t as richly anarchic as Nowhere, his Robert Altman-on-a-ket-binge Hollywood odyssey from 1997. There’s none of the palpable anger of 1992’s The Living End or 1995’s The Doom Generation, either, both movies indebted to the horrors of AIDS, with every act of sexual expression dovetailing with death and violence. It’s also far and away the least GIF-able of a body of work saturated with gasp-worthy imagery. Instead Splendor is a bottle pop of a comedy, as candy-colored as a jawbreaker, and just as powdery. But describing it as Gregg Araki at his most “neutered” does a disservice to how transgressive it truly is.

Splendor is the story of Kathleen Robertson’s Veronica, an aspiring actress living in Los Angeles and immersed in a cycle of late-night raves, glow sticks and auditions for bad TV movies. But her sexual politics betray her small-town upbringing, as Veronica embodies a steadfast devotion to heteronormative niceties and old-fashioned romance. That is until she meets two very different men: a sensitive music journalist named Abel (Johnathon Schaech; every bit the polar opposite of his role as sociopathic drifter Xavier in The Doom Generation), and Zed (Matt Keeslar), a dim but pretty drummer with a voracious sexual appetite.

Very much in Carrie Bradshaw mode at first, Veronica attempts to casually date both men, with every intention of breaking it off with one of them eventually. But amid recognizing how Abel and Zed both satisfy different parts of herself in different ways, she suddenly doesn’t. Instead she ponders whether such a choice even needs to be made, proposing a subtle queering of what was once a tense and very straight love triangle. So they begin dating as a trio, sharing a bed, having group sex, and eventually moving in together.

Splendor was the third Araki film to explore this territory. His 1987 student film Three Bewildered People in the Night, currently only available as a low-quality rip from a bootleg VHS, is driven by the budding sexual tension between a heterosexual couple and their gay best friend, while The Doom Generation pitches itself like a deranged bisexual road movie, with an uber-glam pair of outcasts seduced by a hyper-sexual psychopath. But while the former is a talky and scattered work-in-progress and Doom an acidic, disaffected black comedy, Splendor is Araki shooting through a lens of boundless optimism. In many respects it is The Doom Generation’s sunny inverse – where sex can lead to hedonism and primal ecstasy, as opposed to graphic horror.

Which isn’t to say that Araki is usually steeped in nihilism. If anything, it’s a common misreading of his work, even when at its most violent. Throughout Araki’s “Teenage Apocalypse Trilogy”, comprised of Totally Fucked Up, Doom and Nowhere, James Duval is cast as a sensitive dreamer, a teenager slowly coming to terms with his body and his urges, something that ultimately manifests in everything from brutal tragedy to tender love with a boy who thinks he’s been abducted by aliens. It’s puberty through an Arakian funhouse mirror — often gonzo, but always at least vaguely recognizable.

Splendor, then, is Araki’s take on early adulthood, a time when decisions come easier than they used to, problems are more clearly defined, and sex is less of a headfuck. It’s also the first Araki film to feature an ensemble with total agency when it comes to their lives, individuals not chained to parental figures or school dynamics or social expectation. So somewhat still a fantasy, but one that feels euphoric rather than terrifying.

Doing press for Kaboom in 2010, Araki often talked about how his work has long proposed a sexual freedom that has only begun to manifest in reality in recent years – swaths of modern teens choosing to withdraw from the historic “rules” of gender and sex, and instead exploring a kind of pansexuality, along with all its variables. “My earlier movies are sort of about that idea of sexuality as beyond categories and labels, a thing that is flexible and not black and white,” he told the AV Club. “It’s much more common and much more prevalent than when I went to college. It’s always sort of been there, but I think people are becoming more comfortable with themselves and more aware of these alternatives.”

With that in mind, Splendor is arguably the most unapologetic of Araki’s work in its suggestion of a new era of sexual exploration. Early on, there is a kinky charge to the trio’s first sexual interaction, with Veronica asking Abel and Zed if either has had sex with another man before, and she in particular appearing to become excited by the idea of venturing into sexual corners previously unexplored, particularly once the men kiss one another. But Splendor quickly decides to no longer eroticize its premise, the trio falling into a blissful if atypical domesticity, free of anxiety, drama or sexual dysfunction.

And it doesn’t analyze the specifics of the trio’s sexual activity, either. Veronica tells her curious friend Mike (Trainspotting’s Kelly Macdonald) that she doesn’t actually know if Zed and Abel have had sex with one another independently from her, but doesn’t appear bothered either way. And later, when the trio’s relationship does become strained, it’s down to sitcom-y “three’s a crowd” growing pains, Abel even explicitly saying that he has no problem with the trio dating and having sex with each other, but finds the unemployed, chronically vacant Zed insufferable as a roommate.

In depicting Veronica, Abel and Zed as three adults merely living and loving atypically, Splendor marked an arresting departure for an era of cinema in which any depiction of polyamory was inherently sexual or salacious in nature. Look no further than Wild Things, released one year earlier, and a sleazy Matt Dillon physically pushing Denise Richards and Neve Campbell’s heads together until they make out. As iconic a movie three-way as that was, it’s undeniably the straightest thing in the world. Splendor, on the other hand, bathes in its alternative normalcy, and is all the more groundbreaking for it.

Upon its release in 1999, Splendor earned negative reviews, the film criticized for its apparent lack of dramatic stakes (“A sitcom trying to be a movie,” cried one outlet) and, in the view of the New York Times, its lack of overt sex. Such a dismissive reaction wasn’t anything new for Araki, a man who spent his 90s ascent endlessly described as an “enfants terrible” of the era responsible for movies that Roger Ebert infamously labelled “disgusting.” Other outlets were more distracted by Araki’s real-life relationship with Robertson, a little-known coupling that exposes how often the media has misidentified Araki’s sexual fluidity, and a story broke with trademark ignorance by the New York Post under the headline “Strange Bedfellows: Gay Director Falls for 90210 Babe”.

In hindsight, it’s funny how often mainstream critics struggled to “get” Araki’s work and the messaging he regularly conveyed at the time, his importance as a figure of 90s filmmaking only truly recognized by those in power in the wake of Mysterious Skin – arguably his most formal and downbeat work, and his first adaptation of somebody else’s material. Over 25 years since The Living End, it’s a pop culture justice that a man responsible for so many pioneering, inherently progressive and unapologetically queer movies is now treated like a punk deity worshipped by a generation of misfits who came of age watching his work.

But Splendor warrants a spot in that masterful canon, too. It isn’t Araki’s most striking movie, nor his most visually or aesthetically ambitious, but it’s deeply radical in its own quiet way – a salute to the fun and unpredictability of sexual fluidity, alternative lifestyles and existing on the fringes. And, mirroring Veronica’s awed voiceover at the very start of the film, that it paints its central scenario not as a fantastical, otherworldly dream but rather something achievable and valid, only affirms how important it remains.

d3mzmxAdam WhiteJack SunnucksFilm90Squeer cinemaGregg araki
<![CDATA[vogue and condé nast publications are going behind a paywall]]>https://i-d.vice.com/en_us/article/qvy4gd/vogue-and-conde-nast-publications-are-going-behind-a-paywallWed, 23 Jan 2019 19:03:24 +0000 Just this morning, WWD reported that Condé Nast will join a slew of other publications like The New York Times and New York Magazine in keeping their content behind a subscription based paywall. CEO Bob Sauerberg said that this will happen by the end of the year, so you’ll need to subscribe to all your favorites — like Vogue, Teen Vogue, GQ, W, Bon Appétit, etc. — to continue reading online. The New Yorker was the first Condé Nast title to put this method into practice in 2014, since followed by Wired and Vanity Fair. What will this look like for the other brands? What about Vogue Runway? Will one subscription allow access to all of the titles?

“Just as we did for each of the brands currently behind paywalls, we will let consumer demand and engagement dictate how each brand develops their paid content strategy,” Sauerberg added. “Some brands may have specific content that will be gated, and some will have a wider metered paywall. Every brand is distinct, and every brand’s paywall will be its own distinct product.” Needless to say, we are deeply worried about how on earth we will stay abreast of what shoes Meghan Markle is wearing.

qvy4gdNicole DeMarcoJack SunnucksNewsmagazinesVOGUECondé Nastpaywallsubscriptions
<![CDATA[daily horoscopes: january 23, 2019]]>https://i-d.vice.com/en_us/article/j57xzg/daily-horoscopes-january-23-2019Wed, 23 Jan 2019 15:51:37 +0000 Mercury moves into Aquarius, today, and it’s time to think big.

Read the horoscopes for your rising, Sun, and Moon signs to see how you can make way for your intellectual expansion while still remaining true to the present and to your feelings.

(Jan. 20-Feb.18)

You may find it hard to sleep, right now, as your mind is active with ideas for how to move things forward. Work this out via a consistent journaling practice, or some other creative space that’s just for you, to make sure that your ideas get breath and space in the real world, and don’t just serve to keep you up at night.

(Feb.19-March 20)

You may feel like running away right now, but you can’t avoid the lessons you’re supposed to be learning just by changing your location. There’s an internal shift happening, and your conscious mind is trying to make sense of it all. But really, there’s no “sense” to be made. How can you can relax into this new phase in your life? How can you let your anxious thoughts pass through you like wind through a screen? Once you master this process, you’ll see doors open that you didn’t even know were there.

(March 21-April 19)

Whatever you’re working on right now is much bigger than you, and you’ll need other people’s input and opinions to really understand the immensity and to help you hold it. It’s time to build your team. Whether that’s a team of support, a team to coach or advise you, or just a community of people you want to serve and commit to. Think about what collection of people you’re needing most, right now, and make an effort to create a container for you all to come together.

(April 20-May 20)

You’re coming up against something, right now. You’re at a turning point, and either something or someone external or your own expectations of yourself are resisting it. It’s okay for these conflicts to exist. It may just mean you need to spend some extra time re-committing to the projects and routines that are a little scary but that you know will ultimately change you for the better. As much as anything may try to rock you, you are the one who has the final say as to whether you will push through it or let it knock you down.

(May 21-June 21)

What you know about yourself and the world is being challenged, and this is a good thing. Let this new information expand your understanding, and integrate it into your life. If you have the means, take a short trip and/or consume content that will continue to encourage your expansion and excitement about all that’s out there for you to experience and explore.

(June 22-July 22)

The parts of your “shadow self” that are showing up right now are there to show you that you’re onto something big. The fear and worry that are creeping in come out most strongly when you’re on the precipice of something. How well you handle the resurfacing of these attributes and thought patterns will help to reveal your growth to you and keep you humble about your beginnings, but should by no means stop you from pressing on and going for the gold.

(July 23-Aug. 22)

Relationships aren’t always going to feel good. Sometimes, they are hard work, and they require you to step outside of the notion that you should agree on everything or always be on the same page. Our differences are what make us useful in relationships to others. “Yes” men never get anybody anywhere new or help anybody grow. Embrace any conflict occurring as a learning experience and allow it to unfold, remaining unattached to the outcome.

(Aug. 23-Sept. 22)

Whether or not people can see the internal conflict you’re going through is not the point. Are you giving yourself the time you need to fully realize and work through what’s going on? The more you try to act like everything is fine when it isn’t, the more likely a future, public outburst will occur. Take the space and time you need to sort through what exactly is troubling you and why.

(Sept. 23-Oct. 22)

It’s time for you to really get out there. If you are on the fence about something or are making a big decision, get that out of the way first, but then let play and passion become your reward. Very little will happen for you while you sit on your couch or just go through the monotonous motions of your life. Life is about action. Throw yourself into something exciting and the answers to the serious stuff, or as to what to do next, will come.

(Oct. 23-Nov. 21)

You’re feeling like you want to just stick with what you know, but are second-guessing yourself for doing it. Make a choice and run with it, Scorpio. Consider the bigger picture and make a decision based on longevity and sustainability, but make a decision. If you’re not ready to take a leap, you won’t be able to enjoy the benefits that come with it, anyway. Let yourself be in whatever space you’re in now, and fully commit to being there. When you’re tired of where you’re at, and ready to move forward, the world will be waiting.

(Nov. 22-Dec. 21)

Just because something hasn’t worked out for you in the past, or hasn’t worked for someone else, doesn’t mean it won’t work for you, now. Life is all about timing. If an idea won’t leave you alone, you at least owe it to yourself to try. Make a couple of viable blueprints with set timelines to choose from, and attempt to give them your all. If you were meant to do it, you will find a way.

(Dec. 22-Jan. 19)

Risk is not always the antithesis of stability. Haven’t some of the most stable and nourishing situations in your life come from you going out on some sort of limb? Remember those moments and use their success as momentum to do something that pushes you to the next level. You will find a way to settle into a routine no matter your circumstance, it’s at least time to change the scenery.

j57xzgJaliessa SipressJack SunnucksCanceraquariustaurushoroscopesGeminiAriesleolibraScorpiovirgoSagittariuscapricorn
<![CDATA[luxury menswear post-streetwear]]>https://i-d.vice.com/en_us/article/nexw3m/luxury-menswear-post-streetwearWed, 23 Jan 2019 14:49:52 +0000 This article originally appeared on i-D UK.

So that’s it for streetwear then? Haven’t you heard? Fashion’s new mood is a classical mode. Tailoring is back. Chuck out your sweatpants and slip into some proper trousers. Chuck out your Chuck Taylors and polish up your loafers. If you’ve been following the autumn/winter 19 menswear shows in Paris you’ll have noticed the preponderance of suits and absence of identikit logo hoodies and boring baseball caps. Menswear is feeling all grown up, getting serious, dressing for business.

Streetwear had been the dominant fashion silhouette of the last few years -- the uniform of a global army of hypebeast consumers from Singapore to Seoul, LA to London. But in becoming so dominant it became almost exactly what it first set out against. What does luxury streetwear mean in a fashion context anymore? What’s the point? Where’s the craft? It feels like the streetwear thing reached a peak on the catwalk -- a tipping point, market saturation, and now the pendulum is swinging back again. Fashion, after all, thrives on newness, and streetwear isn’t new anymore.

Streetwear began as a ground-up DIY movement, clothes for surfers and skaters and punk teens. A reaction against the boring professionalism and exclusivity and expense of luxury fashion. It instead favoured rawness, attitude, creativity, community. It was for us, by us. But now, subsumed by the larger fashion industry it too became boring, professional, “high quality”. A look rather than an attitude or an ideology. A £1000 cotton hoody. No creativity, no community. Streetwear became a victim of its own success, its own dominance. It was once a reaction against an establishment, and then it became the establishment. And now, all of sudden, the suit -- that oldest, most boring staple -- feels revolutionary again.

Celine hedi slimane autumn/winter 19
Celine autumn/winter 19


Photography @Mitchell_Sams

This article originally appeared on i-D UK.

nexw3mFelix PettyClementine de PressignyFashionLouis VuittonDries Van NotenHedi SlimaneStreetwearDiorValentinoCélinesuits
<![CDATA[clare waight keller makes couture modern at givenchy]]>https://i-d.vice.com/en_us/article/vbwgnd/clare-waight-keller-givenchy-haute-couture-reviewWed, 23 Jan 2019 14:49:15 +0000 This article originally appeared on i-D UK.

Just when you thought Clare Waight Keller might take a moment to rest on her rather impressive laurels (designing that wedding dress; having her moment in the spotlight at The Fashion Awards; staging a Givenchy men’s salon show just last week) she completely defied expectation by staging such a sublime couture show that you find yourself asking How? rather than What?

givenchy haute couture 19 clare waight keller


Photography @mitchell_sams

This article originally appeared on i-D UK.

vbwgndOsman AhmedFelix PettyFashionGivenchyReviewhaute coutureclare waight keller
<![CDATA[all the books you need to read before they become movies and tv shows in 2019]]>https://i-d.vice.com/en_us/article/pany4n/all-the-books-you-need-to-read-before-they-become-movies-and-tv-shows-in-2019Wed, 23 Jan 2019 14:48:47 +0000 This article originally appeared on i-D UK.

Even before the magic of sound, movie studios kept entire departments of readers whose only jobs were to track down the most unique or commercially-friendly books for adaptation. In cinema’s earliest days, producers sought to bring a level of class and literary legitimacy to a young and unserious art-form. It was from this that the book-to-screen literary adaptation was born.

Since then, adaptations have remained a staple not only in cinemas but on TV too. Orange is the New Black, one of the major early Netflix hits, was based on Piper Kerman’s memoir of the same name. More recent output has included well-regarded adaptations of Gillian Flynn’s Sharp Objects on HBO, and of non-fiction tomes such as Mindhunter: Inside the FBI’s Elite Serial Crime Unit on Netflix.

With a host of adaptations set for big and small screens alike in 2019, here’s a quick rundown on the books you might want to pick up in preparation.

For the classic re-read!

Little Women by Louisa May Alcott
Whether it’s a familiar revisit or a first time sitting with the Alcott classic, it will stand you in good stead to to ready yourself for Ladybird director Greta Gerwig’s upcoming adaptation. Since this is only Gerwig’s second feature film, it should be exciting to see a younger take on this old story. Laura Dern, Emma Watson, Saoirse Ronan, Timothee Chalamet, and Florence Pugh are set to star.

For page-turning entertainment!

The Sisters’ Brothers by Patrick DeWitt
This bestselling western novel from DeWitt, first published in 2011, is the story of two ornery outlaw brothers on a bounty hunting mission. In Palme D’Or winning director Jacques Audiard’s film version, set to hit UK cinemas on 5 April, odd couple Joaquin Phoenix and John C. Reilly star as the cowboy siblings. With an excellent supporting cast including Riz Ahmed and Jake Gyllenhaal, the film was a critical hit at last year’s Toronto Film Festival. If you’re after an equally entertaining piece of fiction, DeWitt’s novel is ideal.

For the reader of literary fiction!

The Goldfinch by Donna Tartt
Tartt’s Pulitzer Prize-winning novel is getting its hotly-anticipated screen debut this year, in what seems to be the able hands of director John Crowley. Crowley was responsible for another beautifully-executed literary adaptation back in 2015 with Colm Tóibín’s bittersweet immigrant romance Brooklyn, starring Saoirse Ronan. The Goldfinch is a contemporary story about a 13-year-old boy named Theo who is relocated to New York City under tragic circumstances, and finds himself caught in a complex criminal underworld lurking beneath a genteel surface of antiques and art. Crowley’s film will star Nicole Kidman and Sarah Paulson, among others.

For the horror fan!

Shirley by Susan Scarf Merrell
Merrell’s biting 2015 novel is set to be adapted this year by indie director Josephine Decker, whose last movie Madeline’s Madeline was a festival-circuit favourite. The ‘Shirley’ in question is that of the late Shirley Jackson (author of The Haunting of Hill House) and within, Merrell imagines the famous writer as a potential murderess. With the astronomically talented Elisabeth Moss starring as Shirley Jackson, the film should be a fascinating offshoot of the literary thriller.

For the fantasy lover!

Good Omens by Neil Gaiman and Terry Pratchett
2019 will see a long-awaited six-part BBC adaptation of Pratchett and Gaiman’s beloved Good Omens, in which an angel and a demon work together to prevent the oncoming apocalypse. Gaiman himself is penning the screenplay, while Michael Sheen and David Tennant are set to star. Best to catch up to this one now so you can judge the BBC2 mini-series accordingly.

For the history buff!

Letters and Writings from Prison: Franz Jagerstatter by Erna Putz
An insightful look into the personal letters of Austrian war hero Franz Jagerstatter, whose refusal to join the Nazis led to his eventual execution. While no direct adaptation has been mentioned, Tree of Life and Badlands director Terrence Malick’s upcoming film, Radegund, will be a biopic of Jagerstatter. That means that any book on the man’s life will give necessary context. Jagerstatter was in fact a conscientious objector for religious reasons, in much the same vein as the protagonist of Mel Gibson’s 2016 WWII film Hacksaw Ridge -- but it’s clear we may expect a completely different perspective and style from the philosophical Malick.

For the diehard cinephile!

Immodest Acts: the Life of a Lesbian Nun in Renaissance Italy by Judith C. Brown
The cult of brilliant genre filmmaker Paul Verhoeven is strong among cinephiles and in film twitter circles. His provocative, thoughtful drama Elle (2016), starring Isabelle Huppert, circled around ideas about mature female sexuality, consent, and trauma. His follow-up film, Benedetta, is the story of a real 17th century woman taken from the radical research of academic Judith C. Brown. Brown’s book tells the true story of a Renaissance-era Catholic nun who was secretly a lesbian and driven to overwhelming erotic and religious hallucinations. With the same set of interests in female sexuality, repression, and hysteria, this material will provide the backbone for Verhoeven’s film. For those who really want the inside-track on Verhoeven’s filmmaking preoccupations, the book is a must-read.

For the true-crime junkie!

I Heard You Paint Houses by Charles Brandt
Martin Scorsese’s latest -- The Irishman -- is queued up for a Netflix release in the latter half of this year, bringing together a who’s who of gangster movie cast in the form of Robert De Niro, Al Pacino, Joe Pesci, and Harvey Keitel. The story it’s based on is that of Brandt’s best-selling true crime story, telling the incredible and violent tale of union gangster Jimmy Hoffa’s favourite hitman. Brandt’s book shares how Frank Sheeran became one of the FBI’s most-wanted -- not to mention one of the most prominent non-Italian criminals in mob history. Bonus hint: the title of the book was a secret euphemism for knocking people off.

This article originally appeared on i-D UK.

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<![CDATA[‘black panther’ makes history in the 'best picture' category]]>https://i-d.vice.com/en_us/article/j57xa3/black-panther-makes-history-in-the-best-picture-categoryTue, 22 Jan 2019 21:48:14 +0000It’s obvious that superhero movies have taken over the box office, with films like Avengers: Infinity War and Black Panther being the highest grossing movies of the last year (bringing in $680 and $700 million, respectively, with Incredibles 2, Deadpool 2, and Aquaman, not far behind), but the Oscar nominations prove that superhero movies have taken over Hollywood, too. Roma and The Favourite may lead the way with ten nominations each, but Black Panther was nominated for seven Academy Awards, including Best Picture, alongside the aforementioned films plus BlacKkKlansman, Bohemian Rhapsody, and Green Book.

Not only is Ryan Coogler’s Black Panther the first ever Marvel movie with a black superhero and a majority black cast, something to be celebrated in it’s own right, but it’s the first superhero movie to ever be nominated for the prestigious Best Picture award. In 2009, Christopher Nolan’s The Dark Knight, received eight nominations, including a posthumous Best Supporting Actor win for Heath Ledger’s Joker, but the film was controversially excluded from top honors. The Academy then amended their rules, expanding the Best Picture pool from five to ten films, in order to serve a wider range of nominees. “I would not be telling you the truth if I said the words ‘Dark Knight’ did not come up,” Sidney Ganis, the academy’s president at the time, told The New York Times. Well, it only took ten years and about a thousand terrible superhero films to pave the way for the groundbreaking Black Panther. At the same time, the Oscars managed to leave women out of the Best Director and Best Picture categories, yet again — preferring male contenders — and one film in particular, with a penis-flashing director and an allegedly racist screenwriter. And Crazy Rich Asians was snubbed entirely. No wonder the majority of Americans don’t care about the Oscars anymore.

j57xa3Nicole DeMarcoJack SunnucksNewsOscarsNominationsBlack Panthersuperhero movies