Showing posts with label Tony Rayns. Show all posts
Showing posts with label Tony Rayns. Show all posts

Wednesday, 5 August 2026

In response to a recent question - The Top Ten Posts of all time on the Film Alert 101 blog - David Stratton, Tony Rayns, Ross Barnard, Barrie Pattison, Bruce Hodsdon, Tom Ryan, Peter Hourigan and Karl Quinn feature

 

Posts

Melbourne International Film Festival (online) - David Stratton has some thoughts about MIFF's decision to withdraw THE TROUBLE WITH BEING BORN (Sandra Wollner, Austria, 2020) from its program
Posted by Film Alert 101
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Tony Rayns writes an open letter to the people of Busan supporting the work of Busan International Film Festival Director Lee Yongkwan
Posted by Film Alert 101
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Calling all fans of Hollywood Pre-code Movies - Ross Barnard sets up an online film club.
Posted by Film Alert 101
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Adelaide Film Festival - An open letter to Bill Mousoulis about Angie Black's THE FIVE PROVOCATIONS
Posted by Film Alert 101
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The Current Cinema - Barrie Pattison reports on the Chinese blockbuster THE EIGHT HUNDRED (Guan Hu, China, 2020)
Posted by Film Alert 101
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Sixty Years of International Art Cinema - Bruce Hodsdon continues his series - 6 (3) ‘New York’ filmmakers: Elia Kazan and Shirley Clarke
Posted by Film Alert 101
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"This is not how it looks" - Tom Ryan talks to Michael Winterbottom at the time of the release of NINE SONGS (UK, 2004)
Posted by Film Alert 101
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Melbourne International Film Festival (Online) - Tom Ryan takes exception to MIFF censoring its selection
Posted by Film Alert 101
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Streaming on Netflix - Peter Hourigan alerts cinephiles to the availability of twelve titles by the Egyptian master Youssef Chahine
Posted by Film Alert 101
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Melbourne International Film Festival (online) - Karl Quinn responds to Tom Ryan and David Stratton about MIFF’s decision to pull THE TROUBLE WITH BEING BORN from its program and reports on his interview with the director Sandra Wollner
Posted by Film Alert 101
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Thursday, 16 July 2026

CINEMA REBORN JULY NEWSLETTER #2 - Vale Tony Rayns, Solrun Hoaas's AYA to be restored, Mary Stephen at MIFF, Tom Ryan's Substack


VALE TONY RAYNS



Tony Rayns, the critic, historian, commentator, festival curator and great friend of Cinema Reborn has died suddenly. He leaves behind a legacy of scholarship that included studies of films by Wong Kar-wai, Rainer Werner Fassbinder and Chen Kaige among many. But even more importantly he will be remembered for his lifetime of work supporting, encouraging and promoting East Asian cinema old and new to the wider world.

Cinema Reborn Organising Committee Chair Geoff Gardner was a close friend of Tony’s for just on fifty years since they first met in London in 1976. Geoff writes: “My friend Tony Rayns died a sudden death on Saturday 27 June on his return from Bologna’s Il Cinema Ritrovato. It happened only moments after he got back to his flat in Brixton when he had a fall on the stairs within. There has been a huge outpouring of condolences and sympathy for his family and many people have been in touch with me to share how saddened they are at his passing. He was 78, had been in poor health for quite a long time and the recent trip to Bologna had been marred by the onset of some serious gastric pain. I took the photo above of Tony and former Sydney Film Festival Administrator Ross Barnard on Tuesday 23 June after we shared a (Chinese) dinner in Bologna, almost certainly the last picture of him. As a friend summed up succinctly, Tony was a colossus. I shall dearly miss him, miss our annual conversations at Il Cinema Ritrovato and miss all the wisdom about the cinema and about life in general that he accumulated and very generously imparted over a lifetime. RIP Great Man.”

Among the last pieces that Tony wrote were the program notes for our screenings in May of Yasuzo Masumura’s THE WIFE OF SEISAKU. You can read them here on the Cinema Reborn website.

RESTORING SOLRUN HOAAS’S AYA

The filmmaker and artist Solrun Hoaas was a dear friend to many of the people close to Cinema Reborn. She died in 2009 after a career in which she made a number of fine documentaries and a single feature film, AYA starring Eri Ishida, Nicholas Eadie and Chris Haywood, in 1990.

Producer and distributor Andrew Pike has now launched a campaign to raise funds to restore AYA from the original film negatives.

Solrun was a Melbourne-based filmmaker whose observational and personal documentaries made in Japan still have a wide following in both Japan and Australia. AYA is inspired by one of these documentaries, GREEN TEA AND CHERRY RIPE, in which Solrun documented the varied experiences of Japanese women who married Australian servicemen after WW2 and migrated to set up new homes in Australia. The project will not only restore the film to the highest technical standard but will provide funding to reach a new audience with a moving story of a cross-cultural marriage and a Japanese war bride’s experiences in her new home in Australia. The Restoration Project encompasses the recording of interviews with surviving members of the production team to provide a rich “making of” documentary to support the film’s re-release.

If you would like more information or wish to make a tax deductible donation to this project here is a link to the page on the Australian Cultural Fund website.

MARY STEPHEN AT THE MELBOURNE INTERNATIONAL FILM FESTIVAL

Mary Stephen

Many of the members of the Organising Committee of Cinema Reborn have got to know filmmaker Mary Stephen, usually when they have been visiting Paris where Mary has made her home for over forty years since moving first from Hong Kong and then from Montreal. In that time, as well as making her own films she became and integral part of Eric Rohmer’s production company, editing his films for more than the last twenty years of his career.

Now Mary has an almost blockbuster presence at the forthcoming MIFF when three of her films will be on view – her new award-winning feature documentary PALIMPSEST:THE STORY OF A NAME (2025), a newly restored versions of her 1978 feature SHADES OF SILKplus the short film A VERY EASY DEATH.

Mary recently posted this note (now slightly edited) on Facebook about the screenings. “I am grateful that these films will be shared with an Australian audience in Melbourne, 45 years after my unfortunately-lost film Justocoeur played there in 1981. Thank you once again to MIFF, to Al Cossar and Kate Fitzpatrick. Regretful that I can’t be there physically, but the heart will very much be and with a very special thought for Tony Rayns who just left us and who was so much a part of all this (in the same thought, a heartfelt thank-you also to Pierre Rissient, Frederic Mitterand and Derek Hill, I imagine you all having a great time laughing and arguing and watching over us up there.”

Click on the film titles for session times and bookings.


TOM RYAN HAS STARTED A SUBSTACK BLOG

Long time Melbourne, critic, author, commentator and teacher Tom Ryan has recently started a Substack blog GOING MY WAY. It’s already full of reviews, news and commentary. You can also sample it if you click on this link which takes you to a fine and heartfelt tribute to the late actor Sam Neill.


AND STAY TUNED FOR AN ANNOUNCEMENT ABOUT CINEMA REBORN’S DATES FOR 2027 AND SOME FIRST NEWS ABOUT OUR PROGRAMS.

Please forward this email to any of your friends who may be interested in Cinema Reborn’s activities and ask them to subscribe direct or send an email to cinemareborn2025@gmail.com


Friday, 10 July 2026

Vale Tony Rayns - a long time great friend


My friend Tony Rayns died a sudden death on Saturday 27 June on his return from Bologna's Il Cinema Ritrovato. It happened only moments after he got back to his flat in Brixton and had a fall on the stairs within. There has been a huge outpouring of condolences and sympathy for his  family and many people have been in touch with me to say how saddened they are at his passing. He was 78 and had been in poor health for quite a long time and the trip to Bologna had been marred by the onset of some serious gastric pain. I took the photo above of Tony and former Sydney Film Festival Administrator Ross Barnard on Tuesday 23 June after we shared a Chinese dinner, almost certainly the last picture of him. 

I have been reflecting on just what it was about his life and work that was most memorable and likely to be most enduring. In doing so I looked up two pieces I wrote for Senses of Cinema following visits to Vancouver for their film festival. For eighteen years Tony curated a remarkable, indeed quite unique, strand of the festival devoted to East Asian cinema. He had sold the idea to festival director Alan Franey who backed the project to the hilt. I had attended the so-called Dragons and Tigers section several times before I filed a  report in 2000 in Senses of Cinema. By that time I had come to appreciate just what Tony was doing, which was providing a pathway out of Asia to the west.

Twenty six years ago I could write: In the meantime, the only portal of early work to the West is Vancouver which gives special attention to the programming of films particularly from East Asia. That festival is now utterly distinctive from the myriad of other events taking place around the English speaking world. Look back over most years and almost all the major city festivals will seem to circulate each year a selection from the same hundred or so new films that have been launched at Cannes, Venice, Berlin, Sundance and Toronto. Almost all will have been processed through the bureaucracies, networks and other festivals of official European or American independent production.

And so it went for Tony's time. When it was all over I wrote another piece for Senses about how all of the Vancouver programs were presented. "In the 18 years that Tony Rayns programmed the East Asian selection at Vancouver there must have been more than 500 features and maybe that many shorts again screened. Each one of them got a serious introduction. Each filmmaker who managed to scrape together the funds to get there got a Q&A session full of relaxed warm insight and explanation. Everyone spent happy post-screening hours at the groaning tables of the nearby Jade Gardens restaurant, drinking and talking on into the night."

More than anything this period discovering figures, some of whom who would later go on to great international renown, was Tony's extraordinary achievement. He did it by ceaselessly tracking his way round the production centres of Asia. And not just the big studios. Independent producers, film schools, low budget doco makers all got his attention. The tributes on the internet all attest to his doggedness in tracking down films for VIFF. For awhile he also spotted talent for London, Brisbane and Rotterdam, he curated seasons for Sydney and other places but the remit was never the same as it was from Alan Franey.

I was reminded of this when I read Tom Charity's obituary for Tony on Facebook. Tom has kindly agreed to my republishing it here. (As an aside Tom reminds me of Tony's selection of Kim Kyung-mook's Faceless Things which contains the defecatory scene he mentions. It was a feature, the second half of which was a real time exposition of the deed. Kim was in Vancouver for it. Someone said to him "I hear your film is controversial?" "Oh no" said Kim "It's disgusting". At the screening Festival staff walked up and down the line of punters queued up to explain that this film was ...well, they didn't say disgusting. My friend David Bordwell replied "That's why we're standing out in the cold at 11.00 pm at night!" Memorable occasion.)

Tom writes: "Tony invited me to come to Vancouver to serve on the jury for Dragons & Tigers, the Asian programme he curated with such acumen for nearly 20 years. I turned him down a couple of times but relented in 1998. It was a trip that changed my life trajectory, and I wound up moving here in 2004. Tony was a tireless and fearless advocate for a cinema that was transgressive, confrontational, formally adventurous and/or dynamic. A cinema that matched his restless curiosity. He was a lucid, rigorous and insightful critic and he could be very gentle, very kind. But he also had a wicked sense of humour. When he laughed his eyes became slits, his cheeks reddened and his wide shoulders shook, so that he resembled a giant Buddha.
But he could also be impossible and his own worst enemy. If he felt slighted he would hold on to that grudge for years or forever. I was spared this fate but knew others scalded by his contempt for next to nothing.
He enjoyed being naughty I think. I remember him championing a short film in which the director indulged his kink for defacating on his lover. For 99 percent of us it was unwatchable but that’s what Tony liked about it, no doubt.
As everyone acknowledges, Tony largely discovered myriad talents in the late 80s and 90s. The first Bong Joon-ho films to play in N America were his student shorts, at VIFF. Because Tony put in the legwork, travelling across Asia, visiting local festivals and film schools. He had a great eye for artistic potential, but he also had the commitment to back it up and do the work. For this he is a genuine inspiration. He made a difference to so many careers, so many lives, my own very much included."

Vale Great Man...I'll miss you a lot...