The most notorious scene from Bernardo Bertolucci's Last Tango in Paris (1972) has set off another wave of outrage. Not so much the scene itself, in which Marlon Brando's Paul pins Maria Schneider's Jeanne to the floor, face down, and then uses a dab of butter as a lubricant before forcing himself into her, as the way Bertolucci chose to direct it—with Brando's consent, but not Schneider's. The anal sex is, of course, simulated, but as Schneider told Lina Das in the Daily Mail back in 2007, "I felt a little raped, both by Marlon and by Bertolucci."

She says they told her how the scene would play out on the morning before they shot it. "I should have called my agent or had my lawyer come to the set because you can’t force someone to do something that isn't in the script, but at the time, I didn’t know that." In an interview conduced in 2013, Bertolucci says he did not tell Schneider "because I wanted her reaction as a girl, not as an actress…. I wanted Maria to feel, not to act, the rage and the humiliation." The discrepancy between these two accounts is no small thing.

The clip, embedded below, is the one now making the rounds again. Is it news? No. Is it outrageous nonetheless? Of course.

At Slate, Matthew Dessem traces the path of this story through various media over the past nine years and notes that, now that it's popped up again, "the content factory did what the content factory does." And it's easy to react to this recent flurry of enraged tweets with cynicism, but as Dessem points out, "Everyone’s got to find out about this stuff somehow; it’s good if more people know about Maria Schneider’s treatment on the set of Last Tango in Paris, just like it’s good that more people learned about Tippi Hedren’s treatment on the set of The Birds when it inexplicably became news again a few months ago. If this crop of Last Tango in Paris stories is the data point that lets someone finally see the shape of the system, so much the better."


For Interview, Noah Baumbach talks with Adam Driver about their work together on Frances Ha (2012) and While We're Young (2014) and about Driver's work with Jim Jarmusch on Paterson and with Martin Scorsese on Silence: "You expect to go there and your impulse is to be, 'Tell me what to do, and I'll do it.' He doesn't want you to do that. He hires you for your ideas and wants you to take ownership of it. It's really inspiring to work with someone who's accomplished so much and is the tip of the pyramid and is still turning to you and wants your ideas and opinions…. He asked us to lose a lot of weight. I didn't know how much that was going to be. And, I can't control what's happening in scenes, but I could control when I ate food. And that visual part of the storytelling, I don't think I've ever taken it to the extreme before."

About a week and a half ago, we posted a clip in which Guy Maddin talks about the color palettes of Douglas Sirk and Rainer Werner Fassbinder. Now TIFF Review's posted Chandler Levack's complete conversation: "For me, when a melodrama can be just a little bit nuts, the way we are in our private moments of panic and self-pity… and psychologically plausible and entertaining and gorgeous to look at, or gorgeously hideous to look at... I don't know, all the various flavors that you taste in the mental backwash that occasionally belches downward from your tortured brain onto the back of your tongue, I just love that stuff. That's my way into movies and books, even to figure out relationships."

"You know that Heat is, like, one of my favorite films, yeah? I told you?" Mia Hansen-Løve asks Nick Newman at the Film Stage. "I’m telling you. It’s like, I’m obsessed with Heat…. Like, all of my films are my versions of Heat, I think. [Laughs] No, because Heat is actually a film about melancholy, about action, and it’s action vs. melancholy and self-destruction—action becoming self-destruction. It’s a couple. It’s a lot of things. It’s a father and kid’s relationship. A lot of the themes of Heat, actually, are themes of my films, except in a very different way, in a very different world."

More from Eric Hynes for Film Comment: "As with her movies, and Things to Come in particular, you get the feeling when talking to Hansen-Løve that what’s expressed is only a fraction of what could be expressed, that words employed are only a best attempt at communicating. That she’s working in a language that’s not her primary language serves as a useful metaphor for it all. It’s not that she—or we, for that matter—deliberately holds back, it’s that there’s always so much else going on, so much movement beneath the surface."

Rachel Donadio talks with Hansen-Løve as well, but only briefly, because her profile of Isabelle Huppert, the cover story in this week's T-Magazine, focuses primarily on Paul Verhoeven's Elle.

Movie City News points us to transcripts from the BAFTA Screenwriters' Lecture Series in which opening remarks are followed by interviews: Maren Ade (Toni Erdmann), Kenneth Lonergan (Manchester by the Sea) and Park Chan-wook (The Handmaiden).

Just before the premiere of Always Shine way, way earlier this year, Filmmaker's Scott Macaulay spoke with Sophia Takal "about inspirations, collaborating with husband Lawrence Levine, casting, the size of her crew, shooting with zoom lenses, and more." And now he's followed up with a few more questions: "I said to Lawrence the other day that if all the things the president-elect says he’s going to do start happening there’s no way I can sit around and try to get another indie movie off the ground. There will be too much essential, day-to-day work that is going to need to be done in our communities. I still want to make movies and think that movies certainly help shape the cultural dialogue and can be subversive… But I might be coming to a point where I can’t justify the immense amount of self-absorbed energy that I usually exert to get an independent film off the ground when there’s so much pain in real life. Movies take time, and I’m afraid we might not have the luxury of time in a little while… I hope I’m very wrong about this."

Ethan Hawke is on the cover of the new issue of Port.

Patrick Holzapfel talks with Cristi Puiu in the Notebook about Sieranevada, while, at, Peter Sobczynski talks with Pablo Larraín about Jackie.

Mew interviews with Lucile Hadzihalilovic (Evolution): Moze Halperin (Flavorwire), Katie Rife (AV Club) and Michael Joshua Rowin (Brooklyn Magazine).

Jesc Bunyard talks with Paul Anton Smith about Have You Seen My Movie?, "a captivating new film which turns the camera back at the audience. Comprised exclusively of footage from other movies, Smith weaves together sound and narrative in such a way that it reveals something unexpectedly profound about the simple act of going to the movies."

Also in Little White Lies, Steven T. Hanley interviews Chloë Sevigny.

Stephen Galloway introduces the Hollywood Reporter's actor roundtable. Talking each other up this year are Casey Affleck, Mahershala Ali, Jeff Bridges, Andrew Garfield, Joseph Gordon-Levitt and Dev Patel.