Name: 17 Op. 119 No. 2 by Rattle
Duration: 4 min 57 s
Description: The complete Brahms Intermezzi, Op. 76, Op. 116, Op. 117, Op. 118 and Op. 119, performed by one of New Zealand's most revered and admired concert pianists of the last 50 years. This album marks Michael's 70th birthday, celebrating an exceptional career by one of New Zealand's most exceptional musicians.

The complete Brahms Intermezzi, Op. 76, Op. 116, Op. 117, Op. 118 and Op. 119, performed by one of New Zealand's most revered and admired concert pianists of the last 50 years. This album marks Michael's 70th birthday, celebrating an exceptional career by one of New Zealand's most exceptional musicians.

17 Op. 119 No. 2

For the last two weeks, our on-the-Croisette crew of Film Comment contributors has been reporting from the 2024 Cannes Film Festival with a series of thoughtful dispatches, interviews, and podcasts.

Before the festival officially drew to a close last Saturday, Film Comment Editor Devika Girish moderated a panel about documentary ethics in the Cannes Docs section of the Marché du Film. Curated by the Documentary Association of Europe and presented with American Documentary, the live event featured a stellar lineup of speakers, including Kiyoko McCrae from Chicken and Egg Pictures; Adam Piron from the Sundance Institute’s Indigenous Program; Alemberg Ang, a Philippines-based producer and filmmaker; and Viv Li, a Chinese filmmaker based in Berlin. Titled “Towards a Universal Values System in Documentary,” the panel explored a number of fascinating questions, such as what equitable collaboration looks like in nonfiction filmmaking, what it means to gain the consent of your subjects, and who gets to tell which stories.

Cannes 2024 #10, with Kiyoko McCrae, Adam Piron, Alemberg Ang, and Viv Li

This second volume in Justin DeHart's series of New Zealand percussion music features recently commissioned works by Gareth Farr, John Psathas, Phil Dadson, James Gardner, and Antonia Barnett McIntosh, artists whose contribution to NZ percussion music has been profound.

06 Traps

05 To Conduct Them To

04 Kōrero Kōhatu

03 Infinite Mind, Part 2, Naom

02 Infinite Mind, Part 1, Terminal

01 Macet

Critics have been buzzing about Richard Linklater’s Hit Man since it premiered at festivals last year. A charming mix of screwball and noir, the film takes inspiration from the real-life story of Gary Johnson, a schoolteacher who for years moonlighted as a pretend hit man in Houston, helping local police entrap folks who would reach out to him to order a killing. Hit Man stars Glen Powell, who also wrote the script with Linklater, and it adds a sexy twist to the true tale. In the movie, Gary falls for one of his targets—a beautiful woman (played by Adria Arjona) who asks him to kill her abusive husband. A game of secrets, twists, and multiple identities follows, as dark and thrilling as it is hilarious.

On today’s episode, Linklater joins Film Comment Editor Devika Girish to discuss the movie’s genesis, how it draws unexpectedly from his activism for criminal justice reform, his fascination with the flexibility of identity, and his underrated talent for writing great twists.

Richard Linklater on Hit Man

In April 2021, Film Comment published a Trans Cinema Roundtable Podcast, in which two trans film critics and two trans filmmakers answered questions submitted by listeners on what constitutes a cinema of transness. Now, two of those panelists—Caden Mark Gardner and Willow Catelyn Maclay—are about to publish a new book on that very subject. Corpses, Fools and Monsters is a thorough inquiry into the history, present, and future of what Caden and Willow call the “trans film image”—not a fully developed cinema, yet, but gestures, glimpses, and traces that have been visible in film from its earliest days and have now gained a renewed creative force.

On today’s episode, Caden and Willow join Film Comment Editor Devika Girish to talk about the extensive research they understood for the book, why representation can be a complex term for trans cinephiles, and films from reappraised classics like Jonathan Demme’s The Silence of the Lambs (1991) and Toshio Matsumoto's Funeral Parade of Roses (1969) to new works by trans filmmakers, including Vera Drew’s The People’s Joker and Jane Schoenbrun’s I Saw the TV Glow.

17 Op. 119 No. 2

Rattle

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