Influential independent film distributor and operator Daniel Talbot died Friday morning in New York City, his longtime Lincoln Plaza Cinemas director Ewneto Admassu said.
Talbot, who was in the early 90s, interrupted his routine trips to the annual Cannes and Toronto film festivals this year because his health was reportedly in decline.
Talbot ran the New Yorker Theater in Manhattan in the early 1960s and in 1965 launched his own independent distribution company, New Yorker Films, to manage the US release of Bernardo Bertolucci’s first film “Before the Revolutionâ€.
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Over the next 40 years he distributed some of the best international films from directors such as Jean-Luc Godard, Werner Herzog and Rainer Werner Fassbinder, and Claude Lanzmann (which was widely acclaimed for his 1985 documentary Over Nine Hours. “Shoah”).
He has also released landmark American independent films such as Errol Morris’ 1978 debut documentary “Gates of Heaven”, Louis Malle’s 1981 two-handed film “My Dinner With Andre” and Wayne Wang’s 1982 drama. “Chan Is Missing”.
New Yorker Films closed in 2009.
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In 1981, Talbot helped open the six Lincoln Plaza movie theaters on the Upper West Side of Manhattan, a premier arthouse film destination for generations of New York moviegoers.
Closure scheduled before the end of January 2018 for structural work.
He is survived by his wife and business partner, Toby Talbot.
His memorial will take place on Sunday, December 31 at 9:30 a.m. at the Riverside Memorial Chapel.
12 best films of 2017, from “Dunkirk” to “Call me by your name” (Photos)
2017 was a strong year for cinema, with achievements that can be measured by many criteria: the year Tiffany Haddish entered the comedy cosmos. Corporate cinema may continue to stifle Hollywood (and a Disney-Fox merger isn’t good news in this department), but this was a year where there was always something to recommend it whether to project on the big screen or broadcast on a smaller one.
The finalists (in alphabetical order)
“Beach Rats”, “Blade Runner 2049”, “BPM”, “The Florida Project”, “God’s Own Country”, “Graduation”, “Me, Tonya”, “Ingrid Goes West”, “The Killing of a Sacred Deer “Phantom Thread”, “Professor Marston and the Wonder Women”, “Sieranevada”.
Warner Bros.
10. “My happy family”
Currently streaming on Netflix, this import from Georgia features one of the most powerful performances of the year: Ia Shugliasvili plays Manana, a wife and mother living in a crowded apartment in Tbilisi with her parents, husband and children. adults. She shocks them all by moving out and securing her own place in this powerful and often dark and funny character study.
Netflix
9. “Dunkirk” and “Detroit”
In the middle of the summer popcorn, we had two auteur films that plunged audiences into the midst of historical brutality. Christopher Nolan’s ‘Dunkirk’ was a gripping, choppy WWII story presented from various angles, while Kathryn Bigelow’s ‘Detroit’ was a tough-to-watch horror show about police brutality in 1967 that sounded far too true. in 2017 in America. Both films were enlightening and visceral experiences.
Warner Bros./Annapurna
8. “Personal buyer”
This very contemporary ghost story – where do these texts come from, and since when were they sent? – reunited Kristen Stewart with director Olivier Assayas, who had previously guided her through the famous “Clouds of Sils Maria”. Stewart is never less than brilliant as a millennial medium who is as stuck between life and death as she is stuck between career paths.
IFC
7. “The Status of Brad” and “The Meyerowitz Stories (New and Selected)”
Mike White and Noah Baumbach bolstered their reputations as two of the leading voices of Grizzled White Gen X with these hilarious and heart-wrenching character studies of middle-aged men facing regrets, paths not taken, and loneliness. anxiety about sending your child to college. . Adam Sandler (in “Meyerowitz”) and Ben Stiller (in both films) have the opportunity to offer some of their most heartfelt adult acting games.
Annapurna / Netflix
6. “Marjorie Prime”
Lois Smith’s heartbreaking performance deserves to be noticed, but there is much more to this poignant and provocative look at end of life and how we often become the unreliable narrators of our own lives. The extraordinary ensemble also includes Jon Hamm, Geena Davis and Tim Robbins, all under the subtle and human direction of Michael Almereyda (adaptation of the play by Jordan Harrison).
MovieRise
5. “Get out”
It’s a brilliant horror flick that follows Blumhouse rules – maximum scares on as few sets as possible – but this cooler is so much more than that. Making his debut as a writer-director, Jordan Peele crafted a pungent, hilarious and terrifying metaphor of American life in 2017; what Ira Levin did for feminism with “The Stepford Wives” Peele is doing here for #BlackLivesMatter.
Universal
4. “Their best”
Of the three Dunkirk films I’ve seen this year, this is my favorite. Unlike so many valentines in the movies we’ve seen lately, this one artfully sends its subject – the wartime propaganda films – while telling a story that pushes all the same buttons. (It’s as touching, funny, romantic, and poignant as anything the War Office has revealed.) Gemma Arterton shines as a copywriter who is promoted to Pictures, and Bill Nighy is, as always, a charming ham. and mischievous, but it’s Sam Claflin who makes the most of his meatiest role to date, proving he’s more than just a crush on YA.
STX
3. “The shape of water”
A hauntingly beautiful tribute to just about everything that has come out of Hollywood’s dream factory – from monster movies and silent films to musicals – and the best film Guillermo del Toro has made since. “Pan’s Labyrinth”. Sally Hawkins imbues her mute character with nostalgia, Richard Jenkins upsets stereotypes of gay best friend, and the beauty of the 1962 design hides men’s ugliest impulses in this jaw-dropping romance.
Now be sure to check out Alonso Duralde’s picks for the worst movies of 2017.
TheWrap’s Best & Worst 2017: TheWrap’s review editor Alonso Duralde picks the best of a Great Year
2017 was a strong year for cinema, with achievements that can be measured by many criteria: the year Tiffany Haddish entered the comedy cosmos. Corporate cinema may continue to stifle Hollywood (and a Disney-Fox merger isn’t good news in this department), but this was a year where there was always something to recommend it whether to project on the big screen or broadcast on a smaller one.
