{"title":"Film","description":"","products":[{"product_id":"anna-magnani-by-patrizia-pistagnesi","title":"Anna Magnani","description":"\u003csection class=\"text-token-text-primary w-full focus:outline-none has-data-writing-block:pointer-events-none [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto R6Vx5W_threadScrollVars scroll-mb-[calc(var(--scroll-root-safe-area-inset-bottom,0px)+var(--thread-response-height))] scroll-mt-(--header-height)\" dir=\"auto\" data-turn-id=\"723bff58-525f-4068-bbdb-f8597eaf4fc1\" data-turn-id-container=\"723bff58-525f-4068-bbdb-f8597eaf4fc1\" data-testid=\"conversation-turn-1\" data-scroll-anchor=\"false\" data-turn=\"user\"\u003e\u003c\/section\u003e\n\u003cdiv class=\"\" data-turn-id-container=\"request-WEB:190ba647-0ddc-4ba0-8e28-8c66bbbfae02-0\" data-is-intersecting=\"true\"\u003e\n\u003csection class=\"text-token-text-primary w-full focus:outline-none has-data-writing-block:pointer-events-none [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto R6Vx5W_threadScrollVars scroll-mb-[calc(var(--scroll-root-safe-area-inset-bottom,0px)+var(--thread-response-height))] scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" data-turn-id=\"request-WEB:190ba647-0ddc-4ba0-8e28-8c66bbbfae02-0\" data-turn-id-container=\"request-WEB:190ba647-0ddc-4ba0-8e28-8c66bbbfae02-0\" data-testid=\"conversation-turn-2\" data-scroll-anchor=\"false\" data-turn=\"assistant\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:var(--thread-content-margin-xs,calc(var(--spacing)*4))] @w-sm\/main:[--thread-content-margin:var(--thread-content-margin-sm,calc(var(--spacing)*6))] @w-lg\/main:[--thread-content-margin:var(--thread-content-margin-lg,calc(var(--spacing)*16))] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col gap-4 grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"5e713a15-c693-4b66-b7d6-a533fdcc8de0\" dir=\"auto\" data-message-model-slug=\"gpt-5-5\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal outline-none keyboard-focused:focus-ring [.text-message+\u0026amp;]:mt-1\" data-turn-start-message=\"true\" tabindex=\"0\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert wrap-break-word w-full light markdown-new-styling\"\u003e\u003cspan style=\"box-sizing: border-box; margin: 0px; padding: 0px;\"\u003eIn 1989, the Centre Pompidou dedicated a major retrospective to Italian cinema icon Anna Magnani. \u003cspan style=\"font-size: 0.875rem;\"\u003eThe exhibition was accompanied by the publication of an official catalogue, edited by Patrizia Pistagnesi, featuring critical essays and testimonies, including contributions from Jean A. Gili, Stephen Harvey, and Gene Lerner.\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e\n\u003c\/div\u003e","brand":"Patrizia Pistagnesi","offers":[{"title":"Default Title","offer_id":55734775710081,"sku":null,"price":80.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/7613\/files\/cdr_1006.jpg?v=1781089914"},{"product_id":"danny-peary-close-ups","title":"Close-Ups","description":"\u003csection class=\"text-token-text-primary w-full focus:outline-none has-data-writing-block:pointer-events-none [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto R6Vx5W_threadScrollVars scroll-mb-[calc(var(--scroll-root-safe-area-inset-bottom,0px)+var(--thread-response-height))] scroll-mt-(--header-height)\" dir=\"auto\" data-turn-id=\"723bff58-525f-4068-bbdb-f8597eaf4fc1\" data-turn-id-container=\"723bff58-525f-4068-bbdb-f8597eaf4fc1\" data-testid=\"conversation-turn-1\" data-scroll-anchor=\"false\" data-turn=\"user\"\u003e\u003c\/section\u003e\n\u003cdiv class=\"\" data-turn-id-container=\"request-WEB:190ba647-0ddc-4ba0-8e28-8c66bbbfae02-0\" data-is-intersecting=\"true\"\u003e\n\u003csection class=\"text-token-text-primary w-full focus:outline-none has-data-writing-block:pointer-events-none [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto R6Vx5W_threadScrollVars scroll-mb-[calc(var(--scroll-root-safe-area-inset-bottom,0px)+var(--thread-response-height))] scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" data-turn-id=\"request-WEB:190ba647-0ddc-4ba0-8e28-8c66bbbfae02-0\" data-turn-id-container=\"request-WEB:190ba647-0ddc-4ba0-8e28-8c66bbbfae02-0\" data-testid=\"conversation-turn-2\" data-scroll-anchor=\"false\" data-turn=\"assistant\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:var(--thread-content-margin-xs,calc(var(--spacing)*4))] @w-sm\/main:[--thread-content-margin:var(--thread-content-margin-sm,calc(var(--spacing)*6))] @w-lg\/main:[--thread-content-margin:var(--thread-content-margin-lg,calc(var(--spacing)*16))] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col gap-4 grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"5e713a15-c693-4b66-b7d6-a533fdcc8de0\" dir=\"auto\" data-message-model-slug=\"gpt-5-5\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal outline-none keyboard-focused:focus-ring [.text-message+\u0026amp;]:mt-1\" data-turn-start-message=\"true\" tabindex=\"0\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert wrap-break-word w-full light markdown-new-styling\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan style=\"background-color: rgb(255, 255, 255);\"\u003e\u003cem\u003eClose-Ups: Intimate Profiles of Movie Stars by Their Co-Stars, Directors, Screenwriters, and Friends\u003c\/em\u003e (1978) is a landmark film book edited by acclaimed critic Danny Peary. It offers a candid look at Hollywood legends.\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e\n\u003c\/div\u003e","brand":"Danny Peary","offers":[{"title":"Default Title","offer_id":55734822437249,"sku":null,"price":25.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/7613\/files\/cdr_459copy.jpg?v=1781023183"},{"product_id":"yorgos-lanthimos-viscin","title":"Viscin","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-contrast=\"none\" lang=\"EN-GB\" class=\"TextRun SCXW220302849 BCX0\"\u003e\u003cspan class=\"NormalTextRun SCXW220302849 BCX0\"\u003eIn his latest artist’s book, Yorgos Lanthimos further develops his inimitable visual language and his rapidly growing body of photographic work with a beguiling collection of still photographs made around the sets and locations of his 2025 feature \u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan data-contrast=\"none\" lang=\"EN-GB\" class=\"TextRun SCXW220302849 BCX0\"\u003e\u003cspan class=\"NormalTextRun SpellingErrorV2Themed SCXW220302849 BCX0\"\u003eBugonia\u003c\/span\u003e\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-contrast=\"none\" lang=\"EN-GB\" class=\"TextRun SCXW220302849 BCX0\"\u003e\u003cspan class=\"NormalTextRun SCXW220302849 BCX0\"\u003e. Shot spontaneously between takes, Lanthimos’s photographs present a story untethered from the film and its narrative conventions, and, once again, he uses the possibilities of the book form to explore new modes of storytelling. Moving between offbeat compositions, uncanny portraiture, and evocative landscapes and reflections, Lanthimos weaves a tale of mystery and illusion,\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW220302849 BCX0\"\u003edeath\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW220302849 BCX0\"\u003e\u003cspan\u003e \u003c\/span\u003eand renewal, imbued with the psychological intensity and eerie modality characteristic of his work. \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Yorgos Lanthimos","offers":[{"title":"Default Title","offer_id":55757139116417,"sku":null,"price":55.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/7613\/files\/cdr_30copy.jpg?v=1781021726"},{"product_id":"yorgos-lanthimos-dear-god-the-parthenon-is-still-broken","title":"Dear God, the Parthenon is still broken","description":"\u003cp class=\"\"\u003e\u003cem\u003eDear God, the Parthenon is still broken\u003c\/em\u003e is a photographic vignette by Yorgos Lanthimos. Although created on the set of the film ‘Poor Things’ in Budapest, the book inhabits a separate world, untethered from time and place.\u003c\/p\u003e\n\u003cp class=\"\"\u003eThe photographs drift between black and white and colour, giving the impression of a waking dream between past and present, whilst multiple layers between reality and fiction are gradually revealed. The film was set in various late 19th-century locations including London, Lisbon, Marseille, and a cruise ship—all recreated in Budapest. These constructed cities and interiors provide the backdrop for the photographs. The characters populate these imagined cities whilst the precarious screens, scaffolding, rigs, lighting and crew are divulged on the periphery of the images. Lanthimos has intentionally widened the frame to show the workings of the construct, fabricating a new story within the story. To mirror this, the publication is designed with foldouts to reveal these constructs within the cast of characters—the reader opens a book within a book.\u003cbr\u003e\u003cbr\u003eLimited edition of 100.\u003c\/p\u003e","brand":"Yorgos Lanthimos","offers":[{"title":"Default Title","offer_id":55757547635073,"sku":null,"price":80.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/7613\/files\/Screenshot2026-06-09at17.41.32.png?v=1781023417"},{"product_id":"derek-jarman-the-exhibition-of-derek-jarman-luminous-darkness","title":"The Exhibition of Derek Jarman: Luminous Darkness","description":"\u003cp data-start=\"91\" data-end=\"385\"\u003e\u003cem data-start=\"91\" data-end=\"142\"\u003eThe Exhibition of Derek Jarman: Luminous Darkness\u003c\/em\u003e is a publication accompanying presentations of Derek Jarman’s visual and film-based work, bringing together documentation, stills, writings, and works that reflect his multidisciplinary practice as a filmmaker, painter, gardener, and diarist.\u003c\/p\u003e\n\u003cp data-start=\"387\" data-end=\"679\"\u003eThe book frames Jarman’s work through the concept of “luminous darkness,” a condition in which obscurity and illumination coexist rather than oppose each other. Across his practice, darkness is not treated as absence but as a charged space where memory, politics, desire, and time accumulate.\u003c\/p\u003e","brand":"Derek Jarman","offers":[{"title":"Default Title","offer_id":55757769277825,"sku":null,"price":140.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/7613\/files\/cdr_250.jpg?v=1781021305"},{"product_id":"jack-emerald-make-up-in-amateur-movies-drama-and-photography","title":"Make-Up in Amateur Movies, Drama, and Photography","description":"\u003cp data-start=\"760\" data-end=\"968\"\u003e\u003cem data-start=\"760\" data-end=\"811\"\u003eMake-Up in Amateur Movies, Drama, and Photography\u003c\/em\u003e examines the use of make-up as a low-budget, improvisational visual technology across amateur filmmaking, theatrical performance, and photographic practice. \u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eThe book traces how make-up functions outside professional studio systems, where it becomes less about concealment or perfection and more about visibility, transformation, and exaggeration. In amateur contexts, makeup often serves as a pragmatic tool: used to define character in poor lighting, simulate emotion on camera, or construct identity with limited resources.\u003c\/span\u003e\u003c\/p\u003e","brand":"Jack Emerald","offers":[{"title":"Default Title","offer_id":55757788381569,"sku":null,"price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/7613\/files\/cdr_271.jpg?v=1781021809"},{"product_id":"miranda-july-talker-issue-11","title":"Talker Issue #11","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eIssue #11 \u003c\/em\u003eis a conversation with Miranda July. Miranda is a filmmaker, artist, and best selling author. This conversation explores her live work, from early plays and performances for theatres to projects that are built on audience participation and take the form of apps, public talks or an interfaith charity shop in Selfridges department store. Alongside these, they discuss the significance of clothing, the ever-presence of stories and the importance of rituals. \u003c\/p\u003e","brand":"Miranda July","offers":[{"title":"Default Title","offer_id":55760417948033,"sku":null,"price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/7613\/files\/Screenshot2026-06-03at13.43.23copy.png?v=1781088950"},{"product_id":"stuart-sandford-for-the-love-of-derek-jarman","title":"For the Love of Derek Jarman","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eDerek Jarman was born in Northwood, Middlesex, England, on January 31, 1942. He was a filmmaker, visual artist, designer, writer, activist and gardener. His ethereal films often deal with archetypal and mythic themes charged with homoeroticism. He collaborated widely on films, theatrical productions and music videos before his untimely death from HIV\/AIDS in 1994. This issue is in collaboration with artist Stuart Sandford, who wrote an original screenplay on Jarman. Sandford is a multidisciplinary artist based between London, Los Angeles and Mexico City.\u003c\/span\u003e\u003c\/p\u003e","brand":"Stuart Sandford","offers":[{"title":"Default Title","offer_id":55760431153537,"sku":null,"price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/7613\/files\/cdr_512copy.jpg?v=1781023674"},{"product_id":"merrick-morton-one-battle-after-another","title":"One Battle after Another","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eA behind-the-scenes look of the making of Paul Thomas Anderson's latest film by photographer Merrick Morton.\u003c\/span\u003e\u003c\/p\u003e","brand":"Merrick Morton","offers":[{"title":"Default Title","offer_id":55762613305729,"sku":null,"price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/7613\/files\/cdr_627.jpg?v=1781088724"},{"product_id":"matthew-barney-cremaster-2","title":"Cremaster 2","description":"\u003cp data-start=\"65\" data-end=\"320\"\u003e\u003cem data-start=\"65\" data-end=\"78\"\u003eCremaster 2\u003c\/em\u003e is a publication accompanying Matthew Barney’s second installment in the \u003cem data-start=\"152\" data-end=\"169\"\u003eCremaster Cycle\u003c\/em\u003e (1999), a series of films, photographs, sculptures, and drawings that construct a mythological system of bodily transformation and narrative allegory.\u003c\/p\u003e\n\u003cp data-start=\"322\" data-end=\"683\"\u003eThe film and its related materials draw on the historical figure of Gary Gilmore, situating his life and execution within a speculative framework that merges American true crime, Mormon history, and fictional cosmology. Barney reconfigures these references into a symbolic structure concerned with sexual differentiation, entropy, and the formation of identity.\u003c\/p\u003e\n\u003cp data-start=\"685\" data-end=\"986\"\u003eThe catalogue documents the film’s highly staged visual world, where landscapes, interiors, and sculptural objects function as interconnected set-pieces. Performers appear as archetypal figures within ritualised sequences, and the imagery moves between documentary reference and operatic construction.\u003c\/p\u003e","brand":"Matthew Barney","offers":[{"title":"Default Title","offer_id":55763107152257,"sku":null,"price":90.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0603\/7613\/files\/cdr_932.jpg?v=1781088447"}],"url":"https:\/\/www.clairederouenbooks.com\/collections\/film-1.oembed","provider":"Claire de Rouen","version":"1.0","type":"link"}