Christophe Honoré selected Catherine Breillat’s 36 Fillette: “Her work is very important for French cinema.” Photo: Anne-Katrin Titze
Jacques Demy’s Lola (starring Anouk Aimée with Marc Michel), Wim Wenders’ Paris, Texas, Zhangke Jia and composer Yoshihiro Hanno, Yves Robert’s La Guerre des Boutons, Alain Resnais’ Providence and L'Année Dernière à Marienbad, Kenneth Lonergan’s Manchester By The Sea, Sophie's Misfortunes, and Catherine Breillat’s 36 Fillette all came up in our discussion.
Christophe Honoré with Anne-Katrin Titze on why Alain Resnais is a king: “I’m interested in narrative play and people who have a ludic relationship to storytelling.” Photo: Anne-Katrin Titze
Christophe Honoré was in New York to present Winter Boy, starring Paul Kircher, Vincent Lacoste, Juliette Binoche, and Erwan Kepoa Falé, shot by Rémy Chevrin (Guermantes, [film]On...
Jacques Demy’s Lola (starring Anouk Aimée with Marc Michel), Wim Wenders’ Paris, Texas, Zhangke Jia and composer Yoshihiro Hanno, Yves Robert’s La Guerre des Boutons, Alain Resnais’ Providence and L'Année Dernière à Marienbad, Kenneth Lonergan’s Manchester By The Sea, Sophie's Misfortunes, and Catherine Breillat’s 36 Fillette all came up in our discussion.
Christophe Honoré with Anne-Katrin Titze on why Alain Resnais is a king: “I’m interested in narrative play and people who have a ludic relationship to storytelling.” Photo: Anne-Katrin Titze
Christophe Honoré was in New York to present Winter Boy, starring Paul Kircher, Vincent Lacoste, Juliette Binoche, and Erwan Kepoa Falé, shot by Rémy Chevrin (Guermantes, [film]On...
- 3/13/2023
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Mubi has announced its lineup of streaming offerings for next month, including Park Chan-wook’s Decision to Leave, alongside his 1999 short film Judgement, as well as Bi Gan’s new short A Shory Story and his second feature Long Day’s Journey Into Night, and Peter Strickland’s new short.
Additional highlights include new episodes of Lars von Trier’s The Kingdom Exodus, Denis Côté’s That Kind of Summer (which we caught at Berlinale earlier this year), Nicolas Winding Refn’s Pusher trilogy ahead of his imminent new project, and an Abel Ferrara double bill to close out 2022.
Check out the lineup below and get 30 days free here.
December 1 – That Kind of Summer, directed by Denis Côté | Luminaries
December 2 – The Cat’s Meow, directed by Peter Bogdanovich
December 3 – La chinoise, directed by Jean-Luc Godard | For Ever Godard
December 4 – The Kingdom Exodus: The Congress Dances, directed by Lars von Trier | The Kingdom Exodus
December 5 – Judgement,...
Additional highlights include new episodes of Lars von Trier’s The Kingdom Exodus, Denis Côté’s That Kind of Summer (which we caught at Berlinale earlier this year), Nicolas Winding Refn’s Pusher trilogy ahead of his imminent new project, and an Abel Ferrara double bill to close out 2022.
Check out the lineup below and get 30 days free here.
December 1 – That Kind of Summer, directed by Denis Côté | Luminaries
December 2 – The Cat’s Meow, directed by Peter Bogdanovich
December 3 – La chinoise, directed by Jean-Luc Godard | For Ever Godard
December 4 – The Kingdom Exodus: The Congress Dances, directed by Lars von Trier | The Kingdom Exodus
December 5 – Judgement,...
- 11/29/2022
- by Jordan Raup
- The Film Stage
Each week we highlight the noteworthy titles that have recently hit streaming platforms in the United States. Check out this week’s selections below and past round-ups here.
Apples (Christos Nikou)
Apples is set in a world where digital technology seems not to exist, yet the psychic imprint of the digital age hangs heavy over first-time director Christos Nikou’s sparse absurdist dramedy. In an alternate-universe Greece, people are falling victim to a pandemic of sudden-onset Memento syndrome: total, crippling amnesia that befalls ordinary adults seemingly at random, necessitating elaborate state-run medical programs for the mnemonically impaired. Of particular concern to such programs are “unclaimed” amnesiacs, patients who fail to be identified by friends or family members and thus become wards of the state, who must be gradually rehabilitated into society and construct new identities from scratch. – Eli F. (full review)
Where to Stream: Mubi (free for 30 days)
Causeway (Lila Neugebauer...
Apples (Christos Nikou)
Apples is set in a world where digital technology seems not to exist, yet the psychic imprint of the digital age hangs heavy over first-time director Christos Nikou’s sparse absurdist dramedy. In an alternate-universe Greece, people are falling victim to a pandemic of sudden-onset Memento syndrome: total, crippling amnesia that befalls ordinary adults seemingly at random, necessitating elaborate state-run medical programs for the mnemonically impaired. Of particular concern to such programs are “unclaimed” amnesiacs, patients who fail to be identified by friends or family members and thus become wards of the state, who must be gradually rehabilitated into society and construct new identities from scratch. – Eli F. (full review)
Where to Stream: Mubi (free for 30 days)
Causeway (Lila Neugebauer...
- 11/4/2022
- by Jordan Raup
- The Film Stage
French film great Jean-Louis Trintignant, best known for his roles in “A Man and a Woman,” “Z,” and “The Conformist,” died Friday. He was 91.
Trintignant died at his home in southern France, his wife, Marianne, and agent told the Agence France-Presse.
Trintignant was more recently known for roles in Krzysztof Kieslowski’s “Red” and for starring opposite Emmanuelle Riva in Michael Haneke’s “Amour,” winner of the 2013 Oscar for best foreign film.
Taciturn and enigmatic, the “reluctant” actor, who came by his profession by accident and several times announced he was quitting, returned time and again to appear in more than 100 films and achieve international stardom over of a period of more than 40 years working with some of the world’s great directors including Claude Chabrol, Abel Gance, Bernardo Bertolucci, Costa-Gavras, Ettore Scola and Francois Truffaut, as well as Kieslowski and Haneke.
Though he claimed to prefer racing cards, he once told an interviewer,...
Trintignant died at his home in southern France, his wife, Marianne, and agent told the Agence France-Presse.
Trintignant was more recently known for roles in Krzysztof Kieslowski’s “Red” and for starring opposite Emmanuelle Riva in Michael Haneke’s “Amour,” winner of the 2013 Oscar for best foreign film.
Taciturn and enigmatic, the “reluctant” actor, who came by his profession by accident and several times announced he was quitting, returned time and again to appear in more than 100 films and achieve international stardom over of a period of more than 40 years working with some of the world’s great directors including Claude Chabrol, Abel Gance, Bernardo Bertolucci, Costa-Gavras, Ettore Scola and Francois Truffaut, as well as Kieslowski and Haneke.
Though he claimed to prefer racing cards, he once told an interviewer,...
- 6/17/2022
- by Richard Natale
- Variety Film + TV
Jean-Louis Trintignant is dead at 91. The French actor assembled as diverse a career as any film performer of the second half of the 20th century, with a 60-year output that all but came to define arthouse cinema.
Just in the past decade, he broke cinephiles’ hearts with his devastating turn in Michael Haneke’s 2012 film “Amour,” in which he played a husband caring for his Alzheimer’s-suffering wife. Playing his spouse in that film was Emmanuelle Riva, herself one of the pioneering actors of the French New Wave. Their collaboration was perhaps the last truly great one of Trintignant’s career, in which so many partnerships resulted in deeply emotional artistry. Trintignant followed up “Amour” with another Haneke film, 2017’s “Happy End.”
Trintignant was an actor with matinee idol looks in his youth, but he always put the work before his own vanity. Just look at a fraction of the...
Just in the past decade, he broke cinephiles’ hearts with his devastating turn in Michael Haneke’s 2012 film “Amour,” in which he played a husband caring for his Alzheimer’s-suffering wife. Playing his spouse in that film was Emmanuelle Riva, herself one of the pioneering actors of the French New Wave. Their collaboration was perhaps the last truly great one of Trintignant’s career, in which so many partnerships resulted in deeply emotional artistry. Trintignant followed up “Amour” with another Haneke film, 2017’s “Happy End.”
Trintignant was an actor with matinee idol looks in his youth, but he always put the work before his own vanity. Just look at a fraction of the...
- 6/17/2022
- by Christian Blauvelt
- Indiewire
Jean-Louis Trintignant, the thoughtful French actor who headlined such art house classics as A Man and a Woman, My Night at Maud’s, The Conformist, Three Colors: Red and Amour, has died. He was 91.
Trintignant died Friday at his home in the Gard region of southern France, his wife, Marianne, and agent told the Agence France-Presse.
Trintignant received a number of accolades throughout his 60-plus-year career, including the best actor prize from Cannes in 1969 for Costa-Gavras’ political thriller Z and a Cesar Award in 2013 for Michael Haneke’s Amour, which also won the Oscar for best foreign-language film.
With more than 130 screen and 50-plus stage credits to his name, Trintignant was a highly prolific and respected talent who could perform anything from Shakespeare to commercial French comedies, from art house favorites by Bertolucci, Kieślowski and Truffaut to popular romances and sci-fi flicks — as...
Trintignant died Friday at his home in the Gard region of southern France, his wife, Marianne, and agent told the Agence France-Presse.
Trintignant received a number of accolades throughout his 60-plus-year career, including the best actor prize from Cannes in 1969 for Costa-Gavras’ political thriller Z and a Cesar Award in 2013 for Michael Haneke’s Amour, which also won the Oscar for best foreign-language film.
With more than 130 screen and 50-plus stage credits to his name, Trintignant was a highly prolific and respected talent who could perform anything from Shakespeare to commercial French comedies, from art house favorites by Bertolucci, Kieślowski and Truffaut to popular romances and sci-fi flicks — as...
- 6/17/2022
- by Jordan Mintzer
- The Hollywood Reporter - Movie News
Sometimes all you need to get a movie — and maybe even to love it — is an opening shot of a willowy young woman sprinting down the sidewalks of Paris with a crushed bouquet of flowers under her arm while a sun-shower of classical piano music sprinkles over the soundtrack at twice the pace of her footsteps. Much like its harried blithe spirit of a heroine, Charline Bourgeois-Tacquet’s “Anaïs in Love” simply refuses to waste any time.
, Bourgeois-Tacquet’s debut feature needs all of 11 milliseconds to give us a clear impression of its title character. We instantly surmise that life has been a little too possible for Anaïs, as it often seems to be for people so beautiful that even their most fleeting whims can reshape the world. We already sense that she’s always in a hurry because she’s always late, that she’s always late because she’s always present,...
, Bourgeois-Tacquet’s debut feature needs all of 11 milliseconds to give us a clear impression of its title character. We instantly surmise that life has been a little too possible for Anaïs, as it often seems to be for people so beautiful that even their most fleeting whims can reshape the world. We already sense that she’s always in a hurry because she’s always late, that she’s always late because she’s always present,...
- 4/29/2022
- by David Ehrlich
- Indiewire
Emilie (Valeria Bruni Tedeschi) with Anaïs (Anaïs Demoustier) in Charline Bourgeois-Tacquet’s lively Anaïs In Love (Les Amours d'Anaïs)
My first interaction with Anaïs In Love (Les Amours d'Anaïs) director Charline Bourgeois-Tacquet was when I sent in a question during Unifrance’s 10 Talents To Watch in 2022 panel in Paris: “Which film you saw did you particularly like in 2021?” Her response included Leos Carax’s Annette (seen at Cannes), Bruno Dumont's France, starring Léa Seydoux, Joachim Trier’s The Worst Person In The World, and Mathieu Amalric’s Hold Me Tight (another highlight of New York’s Rendez-Vous with French Cinema).
Charline Bourgeois-Tacquet with Anne-Katrin Titze on Marguerite Duras and Alain Robbe-Grillet: “It mattered to me that the film was situated in this universe, this world of literature.”
Anaïs (Anaïs Demoustier) is always late, wears red lipstick to go with floral dresses, and carries her bike up many flights...
My first interaction with Anaïs In Love (Les Amours d'Anaïs) director Charline Bourgeois-Tacquet was when I sent in a question during Unifrance’s 10 Talents To Watch in 2022 panel in Paris: “Which film you saw did you particularly like in 2021?” Her response included Leos Carax’s Annette (seen at Cannes), Bruno Dumont's France, starring Léa Seydoux, Joachim Trier’s The Worst Person In The World, and Mathieu Amalric’s Hold Me Tight (another highlight of New York’s Rendez-Vous with French Cinema).
Charline Bourgeois-Tacquet with Anne-Katrin Titze on Marguerite Duras and Alain Robbe-Grillet: “It mattered to me that the film was situated in this universe, this world of literature.”
Anaïs (Anaïs Demoustier) is always late, wears red lipstick to go with floral dresses, and carries her bike up many flights...
- 3/9/2022
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Playing with Fire (1975)After becoming an international sensation in 1974 with her for-the-ages erotic turn as the titular Emmanuelle, Dutch actress Sylvia Kristel had the European art world at her feet. Sylvia grew up in Utrecht, the daughter of hoteliers, before shipping off to Catholic boarding school, attending dance school, and finally making her way to Paris. There, she found small parts in movies, eventually winning Miss TV Europe, a title that would land her an audition for Emmanuelle. The film changed Kristel’s life overnight, bringing her both opportunities to bolster her sex-symbol image and break away from it. A new home video collection from Cult Epics—which includes Julia, Playing with Fire, Pastorale 1943, and Mysteries—highlights the delicate balance Kristel found between her sexy persona and art-house aspirations.Julia is the closest Kristel would stay to her Emmanuelle role outside of that franchise, and would itself become a video-store...
- 2/16/2022
- MUBI
The former head of the ACLU discusses some of the movies – and sports legends – that made him.
Show Notes: Movies Referenced In This Episode
Mighty Ira (2020)
The Jackie Robinson Story (1950)
42 (2013)
Shane (1953)
Panic In The Streets (1950)
Last Year At Marienbad (1962)
The Seventh Seal (1957)
La Strada (1954)
Wild Strawberries (1957) – Allan Arkush’s trailer commentary
The Virgin Spring (1960) – Glenn Erickson’s Blu-ray review
The Last House On The Left (1972) – Darren Bousman’s trailer commentary
A Walk In The Sun (1945) – Glenn Erickson’s review
Paths Of Glory (1957) – George Hickenlooper’s trailer commentary, John Landis’s trailer commentary
All Quiet On The Western Front (1930) – Ed Neumeier’s trailer commentary
Lonely Are The Brave (1962)
Casablanca (1942) – John Landis’s trailer commentary
On The Waterfront (1954) – John Badham’s trailer commentary
12 Angry Men (1957)
Inherit The Wind (1960)
Judgment At Nuremberg (1961)
Witness For The Prosecution (1957)
Anatomy of a Murder (1959)
The Verdict (1982)
Twelve Angry Men teleplay (1954)
The Front (1976)
Judgment At Nuremberg teleplay...
Show Notes: Movies Referenced In This Episode
Mighty Ira (2020)
The Jackie Robinson Story (1950)
42 (2013)
Shane (1953)
Panic In The Streets (1950)
Last Year At Marienbad (1962)
The Seventh Seal (1957)
La Strada (1954)
Wild Strawberries (1957) – Allan Arkush’s trailer commentary
The Virgin Spring (1960) – Glenn Erickson’s Blu-ray review
The Last House On The Left (1972) – Darren Bousman’s trailer commentary
A Walk In The Sun (1945) – Glenn Erickson’s review
Paths Of Glory (1957) – George Hickenlooper’s trailer commentary, John Landis’s trailer commentary
All Quiet On The Western Front (1930) – Ed Neumeier’s trailer commentary
Lonely Are The Brave (1962)
Casablanca (1942) – John Landis’s trailer commentary
On The Waterfront (1954) – John Badham’s trailer commentary
12 Angry Men (1957)
Inherit The Wind (1960)
Judgment At Nuremberg (1961)
Witness For The Prosecution (1957)
Anatomy of a Murder (1959)
The Verdict (1982)
Twelve Angry Men teleplay (1954)
The Front (1976)
Judgment At Nuremberg teleplay...
- 10/19/2021
- by Kris Millsap
- Trailers from Hell
On the sad occasion of Monte Hellman’s passing, we’re republishing this interview of the director that originally ran here in March, 2011, by Nick Dawson. Focused on his “comeback” film, Road to Nowhere, the interview also deals with Hellman’s career in general, his philosophy towards filmmaking, and mentions a tantalizing unmade project based on Alain Robbe-Grillet’s La Maison de Rendezvous. — Editor There’s little better at restoring one’s faith in cinema then when a great director returns from the wilderness. Terrence Malick was Mia for 20 years between Days of Heaven and The Thin Red Line, but Monte Hellman’s time […]
The post “I’ve Just Made Two-Lane Blacktop as a Film about a Filmmaker — It’s the Same Story”: Director Monte Hellman on Road to Nowhere first appeared on Filmmaker Magazine.
The post “I’ve Just Made Two-Lane Blacktop as a Film about a Filmmaker — It’s the Same Story”: Director Monte Hellman on Road to Nowhere first appeared on Filmmaker Magazine.
- 4/21/2021
- by Nick Dawson
- Filmmaker Magazine-Director Interviews
On the sad occasion of Monte Hellman’s passing, we’re republishing this interview of the director that originally ran here in March, 2011, by Nick Dawson. Focused on his “comeback” film, Road to Nowhere, the interview also deals with Hellman’s career in general, his philosophy towards filmmaking, and mentions a tantalizing unmade project based on Alain Robbe-Grillet’s La Maison de Rendezvous. — Editor There’s little better at restoring one’s faith in cinema then when a great director returns from the wilderness. Terrence Malick was Mia for 20 years between Days of Heaven and The Thin Red Line, but Monte Hellman’s time […]
The post “I’ve Just Made Two-Lane Blacktop as a Film about a Filmmaker — It’s the Same Story”: Director Monte Hellman on Road to Nowhere first appeared on Filmmaker Magazine.
The post “I’ve Just Made Two-Lane Blacktop as a Film about a Filmmaker — It’s the Same Story”: Director Monte Hellman on Road to Nowhere first appeared on Filmmaker Magazine.
- 4/21/2021
- by Nick Dawson
- Filmmaker Magazine - Blog
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Cinema Retro has received the following press release:
Cult Epics Indiegogo Campaign For “Sylvia Kristel: From Emmanuelle To Chabrol Written by Jeremy Richey Hardcover Book” + Sylvia Kristel 1970s Collection 4x Blu-ray set.
Los Angeles, CA (April 2021)
For Immediate Press release.
Sylvia Kristel: From Emmanuelle To Chabrol
A trailblazing figure in film and popular culture, Netherlands native Sylvia Kristel became one of the biggest stars in the world as Emmanuelle in 1974. Alongside her most famous role, directed by Just Jaeckin, a little-known fact is that Sylvia Kristel also appeared in over 20 films between 1973 and 1981 featuring exceptional work with some of the greatest directors in film history including Walerian Borowczyk, Alain Robbe-Grillet, Roger Vadim and Claude Chabrol. Now the story of Sylvia’s astonishing career in the '70s is told in Sylvia Kristel: From Emmanuelle to Chabrol, written by Jeremy Richey. Featured are new interviews with Just Jaeckin,...
Cinema Retro has received the following press release:
Cult Epics Indiegogo Campaign For “Sylvia Kristel: From Emmanuelle To Chabrol Written by Jeremy Richey Hardcover Book” + Sylvia Kristel 1970s Collection 4x Blu-ray set.
Los Angeles, CA (April 2021)
For Immediate Press release.
Sylvia Kristel: From Emmanuelle To Chabrol
A trailblazing figure in film and popular culture, Netherlands native Sylvia Kristel became one of the biggest stars in the world as Emmanuelle in 1974. Alongside her most famous role, directed by Just Jaeckin, a little-known fact is that Sylvia Kristel also appeared in over 20 films between 1973 and 1981 featuring exceptional work with some of the greatest directors in film history including Walerian Borowczyk, Alain Robbe-Grillet, Roger Vadim and Claude Chabrol. Now the story of Sylvia’s astonishing career in the '70s is told in Sylvia Kristel: From Emmanuelle to Chabrol, written by Jeremy Richey. Featured are new interviews with Just Jaeckin,...
- 4/16/2021
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Dimitri de Clercq on You Go To My Head: “A lot of the scenes are shot at the Malick hour, dawn or dusk.”
Delfine Bafort and Svetozar Cvetkovic star in Dimitri de Clercq’s quietly disturbing, beautifully framed You Go To My Head, shot by Stijn Grupping in Morocco. His first directing experience was working with Alain Robbe-Grillet On The Blue Villa (Un Bruit Qui Rend Fou) after producing Ray Müller’s The Wonderful, Horrible Life Of Leni Riefenstahl (Die Macht der Bilder: Leni Riefenstahl) and Mathieu Kassovitz’s debut feature Café au lait.
Svetozar Cvetkovic as Jake and Delfine Bafort as Kitty in Dimitri de Clercq’s You Go To My Head
You Go To My Head smartly bookends with Chet Baker songs. Catherine Breillat’s longtime editor Pascale Chavance is thanked in the end credits.
Imagine a man...
Delfine Bafort and Svetozar Cvetkovic star in Dimitri de Clercq’s quietly disturbing, beautifully framed You Go To My Head, shot by Stijn Grupping in Morocco. His first directing experience was working with Alain Robbe-Grillet On The Blue Villa (Un Bruit Qui Rend Fou) after producing Ray Müller’s The Wonderful, Horrible Life Of Leni Riefenstahl (Die Macht der Bilder: Leni Riefenstahl) and Mathieu Kassovitz’s debut feature Café au lait.
Svetozar Cvetkovic as Jake and Delfine Bafort as Kitty in Dimitri de Clercq’s You Go To My Head
You Go To My Head smartly bookends with Chet Baker songs. Catherine Breillat’s longtime editor Pascale Chavance is thanked in the end credits.
Imagine a man...
- 2/14/2021
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Igor Luther worked on the fragmentary essay titled Self-Portrait where he looks back on his own fruitful professional career and turbulent private life. Slovak producer and director Ivan Ostrochovský, who revealed his latest fiction feature Servants at this year's Berlinale, is continuing in his producing efforts. After co-producing the experimental docu-pic Frem and Petr Zelenka’s dramedy Droneman (read the news), one of the projects he is currently working on as a producer is a documentary with the working title Self-Portrait, centred on the most acclaimed Slovak cinematographer, Igor Luther, who passed away at the beginning of June 2020. Luther commands a glowing filmography, having lensed Juraj Jakubisko’s The Years of Christ and Birdies, Orphans and Fools, Alain Robbe-Grillet’s The Man Who Lies and Eden and Afterwards and serving as DoP on films by Michael Haneke, Wolfgang Staudte, Andrzej Wajda, Aleksandar Petrović and a fruitful collaboration with Volker Schlöndorff with whom.
To mark the release of Last Year in Marienbad on 17th September, we’ve been given 1 copy to give away on Blu-ray.
A stunning new restoration of one of the most enigmatic and distinctive films ever made, this astounding collaboration between director Alain Resnais (Night and Fog) and leading French novelist Alain Robbe-Grillet is a key moment in the French New Wave.
In a baroque spa hotel, an unnamed sophisticate (Giorgio Albertazzi) attempts to persuade a similarly unnamed married woman (Delphine Seyrig) that they have not only previously met, but that they were also romantically involved and had planned to elope together. The woman recalls no such encounter and so begins a sensual and philosophical examination of the uncertainty of truth. Strikingly composed and beautifully shot in Cinemascope by Sacha Vierny, Last Year in Marienbad hypnotically merges chronology to radically blur the boundaries of reality and fantasy. A seductive and utterly fascinating cinematic puzzle,...
A stunning new restoration of one of the most enigmatic and distinctive films ever made, this astounding collaboration between director Alain Resnais (Night and Fog) and leading French novelist Alain Robbe-Grillet is a key moment in the French New Wave.
In a baroque spa hotel, an unnamed sophisticate (Giorgio Albertazzi) attempts to persuade a similarly unnamed married woman (Delphine Seyrig) that they have not only previously met, but that they were also romantically involved and had planned to elope together. The woman recalls no such encounter and so begins a sensual and philosophical examination of the uncertainty of truth. Strikingly composed and beautifully shot in Cinemascope by Sacha Vierny, Last Year in Marienbad hypnotically merges chronology to radically blur the boundaries of reality and fantasy. A seductive and utterly fascinating cinematic puzzle,...
- 9/16/2018
- by Competitions
- HeyUGuys.co.uk
Olivia de Havilland is used to being a pioneer. Long before becoming the first woman to preside over the Cannes Film Festival jury, she took on the Hollywood studios’ onerous contract system as a young actress, fighting what was practically a form of indentured servitude. Her successful 1943 lawsuit against Warner Bros. went all the way to the California Supreme Court and resulted in the famous De Havilland Law, which remains a legal landmark.
A few years later, her portrayal in “The Snake Pit” of a woman who suffers a mental breakdown shone a light on conditions in psychiatric institutions, helped spark reforms around the country and earned de Havilland one of her five Oscar nominations. Her first was for the role for which she’ll be forever remembered: as Melanie Wilkes in “Gone With the Wind.” De Havilland wound up winning two statuettes for best actress, once in 1947, for “To Each His Own,...
A few years later, her portrayal in “The Snake Pit” of a woman who suffers a mental breakdown shone a light on conditions in psychiatric institutions, helped spark reforms around the country and earned de Havilland one of her five Oscar nominations. Her first was for the role for which she’ll be forever remembered: as Melanie Wilkes in “Gone With the Wind.” De Havilland wound up winning two statuettes for best actress, once in 1947, for “To Each His Own,...
- 5/2/2018
- by Henry Chu
- Variety Film + TV
“We’re like the dreamer, who dreams and then lives inside a dream. But who is the dreamer?” Monica Bellucci asks David Lynch himself this question, in a dream sequence. It's a black and white flashback, in which not only are we being told about something that already happened, we're also being shown footage from the present and the past. Interestingly enough, it's also a recurring a dream—which means it'll probably happen again.The world of Twin Peaks lives in the dream of time and space. Surrounded by a haunting and mysterious magical forest, after a quarter of century we’re still fascinated by this enigmatic universe. A pivotal, tragic moment seems to define this town and world, and to an extent, Lynch’s work. The killing of young beauty, prom queen Laura Palmer. “This is the girl,” Justin Theroux’s film director character is told in Mulholland Dr....
- 1/23/2018
- MUBI
Darren Aronofsky's The Fountain (2006) is showing on Mubi from November 12 - December 12, 1017 in the United Kingdom.“Finish it.”The exhortation is an integral part of the texture of The Fountain as a work of art, but it also refers, obliquely, maybe unconsciously, to all the toil and trouble that surrounded its six-year path to the big screen and its controversial reception. Darren Aronofsky—a headstrong filmmaker if there ever was one—could have simply shelved the project indefinitely after his original lead, Brad Pitt, bailed out prior to the start of the production. But, like the words that Izzi says to Tom and that echo throughout the film’s three interconnected timelines, he didn’t. He had to “finish it.” So Aronofsky did, regrouping, downsizing, rethinking a film that was inspired by both the out-there genre twisting of The Matrix and his own experiences with death. What emerged was...
- 11/19/2017
- MUBI
Mubi's retrospective, Catherine Breillat, Auteur of Porn?, is showing April 4 - June 3, 2017 in Germany.Sex Is ComedyThroughout her career, Catherine Breillat has provided viewers with a long-form meta-cinema experience. While metacinema is as old as the medium itself, since her debut feature A Real Young Girl in 1976, Breillat has developed a distinct form of it: one that collapses ‘autobiographical’ material, various artistic sensibilities, and the process of filmmaking itself.Like dozens of other English words—such as ‘aesthetic’ or ‘abject’—the word ‘meta’ has been largely misused or misapplied with regard to the film and literary criticism. Regarding the consumption of fiction, the appropriate use of the term 'metafiction,' 'metafilm,' et cetera, has its basis in the Greek meta, which does not translate directly into English but can be understood as a preposition similar to the English word ‘about’ (‘having to do with,’ or ‘on the subject of’). Metafiction is therefore,...
- 4/24/2017
- MUBI
The Ninth Annual Robert Classic French Film Festival — co-presented by Cinema St. Louis and the Webster University Film Series started last Friday and continues the next two weekends — The Classic French Film Festival celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1920s through the mid-1990s, offering a revealing overview of French cinema.
All films are screened at Webster University’s Moore Auditorium (470 East Lockwood).
The fest is annually highlighted by significant restorations, which this year includes films by two New Wave masters: Jacques Rivette’s first feature, “Paris Belongs to Us,” and François Truffaut’s cinephilic love letter, “Day for Night.” The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way, with both Alain Resnais’ “Last Year at Marienbad” and Robert Bresson’s “Au hasard Balthazar” screening from 35mm prints.
All films are screened at Webster University’s Moore Auditorium (470 East Lockwood).
The fest is annually highlighted by significant restorations, which this year includes films by two New Wave masters: Jacques Rivette’s first feature, “Paris Belongs to Us,” and François Truffaut’s cinephilic love letter, “Day for Night.” The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way, with both Alain Resnais’ “Last Year at Marienbad” and Robert Bresson’s “Au hasard Balthazar” screening from 35mm prints.
- 3/14/2017
- by Tom Stockman
- WeAreMovieGeeks.com
The Ninth Annual Robert Classic French Film Festival — co-presented by Cinema St. Louis and the Webster University Film Series — celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1920s through the mid-1990s, offering a revealing overview of French cinema.
The fest is annually highlighted by significant restorations, which this year includes films by two New Wave masters: Jacques Rivette’s first feature, “Paris Belongs to Us,” and François Truffaut’s cinephilic love letter, “Day for Night.” The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way, with both Alain Resnais’ “Last Year at Marienbad” and Robert Bresson’s “Au hasard Balthazar” screening from 35mm prints. Even more traditional, we also offer a silent film with live music, and audiences are sure to delight in the Poor People of Paris...
The fest is annually highlighted by significant restorations, which this year includes films by two New Wave masters: Jacques Rivette’s first feature, “Paris Belongs to Us,” and François Truffaut’s cinephilic love letter, “Day for Night.” The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way, with both Alain Resnais’ “Last Year at Marienbad” and Robert Bresson’s “Au hasard Balthazar” screening from 35mm prints. Even more traditional, we also offer a silent film with live music, and audiences are sure to delight in the Poor People of Paris...
- 1/31/2017
- by Tom Stockman
- WeAreMovieGeeks.com
In Japan Leonard Schrader's docu about real-life American horrors was called Violent America. The decidedly unflattering picture couldn't find a U.S. distributor when new but accrued a reputation as the ultimate compilation of violent historical images. It's now filed with cannibal and zombie pictures in exploitation movie catalogs, yet it has more in common with Schrader's Taxi Driver. The Killing of America Blu-ray Severin Films 1981 / Color / 2:35 1:85 widescreen 1:37 flat full frame / 95, 115 min. / Street Date October 25, 2016 / 29.98 Starring Chuck Riley (narrator, English version), Ed Dorris, Thomas Noguchi, Sirhan Sirhan, Wayne Henley, Ed Kemper. Cinematography Robert Charlton, Tom Hurwitz, Willy Kurant, Peter Smokler Film Editor Lee Percy Original Music W. Michael Lewis, Mark Lindsay Written by Leonard Schrader, Chieko Schrader Produced by Mataichiro Yamamoto, Leonard Schrader Directed by Sheldon Renan
Reviewed by Glenn Erickson
1980s censorship in Japan strongly limited violent images on TV. They didn't see the steady...
Reviewed by Glenn Erickson
1980s censorship in Japan strongly limited violent images on TV. They didn't see the steady...
- 11/12/2016
- by Glenn Erickson
- Trailers from Hell
Happy New Year! We're ushering in the first of January with the first films of some of our favorite filmmakers: a week of debut films!In the Us we're showing Quentin Tarantino's Reservoir Dogs, Todd Haynes' Poison, Stanley Kubrick's Fear and Desire, Alain Robbe-Grillet's L'immortelle, vulgar auteurism mascot Paul W.S. Anderson's Shopping, Wong Kar-wai's As Tears Go By, and Derek Jarman's Sebastiane. In the UK, the lineup features Wes Anderson's Bottle Rocket, Wong's As Tears Go By, Steven Soderbergh's sex, lies and videotape, Michelangelo Antonioni's Story of a Love Affair, Mike Leigh's Bleak Moments, Maurice Pialat's L'enfance nue, and Pedro Costa's O Sangue.
- 1/7/2016
- by Notebook
- MUBI
The 1980s were a quiet period for British auteur Ken Loach, at least as far as film features were concerned. Though he directed six documentaries during the decade (nearly all of them for television), he’d only complete three narratives, none of which were as celebrated as his early works or the prolific period which would follow through the 1990s and 2000s. As the insert essay on this re-release from Julie Kirgo points out, this was a direct result of Thatcher’s government shutting down avenues for Loach to maintain funding for his features. Of the items he managed to get off the ground, his first and only foray (to date) into European filmmaking is 1986’s Fatherland (aka Singing the Blues in Red), a film about an East German musician defecting to the West to escape the political repression of his music. Written by Trevor Griffiths (best known for writing Warren Beatty’s Reds,...
- 12/15/2015
- by Nicholas Bell
- IONCINEMA.com
The Conversation is a feature at Sound on Sight bringing together Drew Morton and Landon Palmer in a passionate debate about cinema new and old. For their eighth piece, they discuss Agnès Varda’s stunning and essential character study Cléo from 5 to 7 (1962).
Drew’S Take
This month brings the Criterion/Eclipse release of the five film box set “Agnès Varda in California,” making August the perfect time to revisit her seminal 1962 film Cléo from 5 to 7. The close to real-time film covers 90 minutes (the title is a slight fib) in the life of a beautiful French pop singer (Corinne Marchand). She has two hours to wait until her Doctor contacts her to confirm if she has cancer and what her prognosis is. In the first scene of the film, Cléo visits a fortune teller whose tarot cards reveal that she will experience a transformative experience that may involve her death. She...
Drew’S Take
This month brings the Criterion/Eclipse release of the five film box set “Agnès Varda in California,” making August the perfect time to revisit her seminal 1962 film Cléo from 5 to 7. The close to real-time film covers 90 minutes (the title is a slight fib) in the life of a beautiful French pop singer (Corinne Marchand). She has two hours to wait until her Doctor contacts her to confirm if she has cancer and what her prognosis is. In the first scene of the film, Cléo visits a fortune teller whose tarot cards reveal that she will experience a transformative experience that may involve her death. She...
- 8/30/2015
- by Landon Palmer
- SoundOnSight
Love’s Connections: Sautet’s Frustrating, Savvy Love Story
Out of the many representations of cinematic emotional complexities French filmmakers master over most is the messy actuality of that thing called love. Director Claude Sautet went on to make Cesar and Rosalie in 1972, his third consecutive film with star Romy Schneider (they would work on five films together, all told) and also his first union with frequent collaborator Yves Montand. An attempt to portray the complicated elusiveness of loving the one you’re with, at its core the film is about a love triangle, with a beautiful woman as the ever shifting apex. Its title is actually misleading, and could easily have been called Rosalie.
Rosalie (Schneider) is currently dating Cesar (Montand), a wealthy scrap metal dealer with significant business connections. As they get ready to attend a wedding, we get the sense he loves her more than she does him,...
Out of the many representations of cinematic emotional complexities French filmmakers master over most is the messy actuality of that thing called love. Director Claude Sautet went on to make Cesar and Rosalie in 1972, his third consecutive film with star Romy Schneider (they would work on five films together, all told) and also his first union with frequent collaborator Yves Montand. An attempt to portray the complicated elusiveness of loving the one you’re with, at its core the film is about a love triangle, with a beautiful woman as the ever shifting apex. Its title is actually misleading, and could easily have been called Rosalie.
Rosalie (Schneider) is currently dating Cesar (Montand), a wealthy scrap metal dealer with significant business connections. As they get ready to attend a wedding, we get the sense he loves her more than she does him,...
- 7/24/2015
- by Nicholas Bell
- IONCINEMA.com
Trey Edward Shults (Krisha) and Britni West (Tired Moonlight) are among the "25 New Faces of Independent Film" Filmmaker has chosen to highlight this year. Also in today's roundup: Film International on Peter Bogdanovich and Ken Loach; David Cairns on Alain Robbe-Grillet; an interview with Patrick McGilligan, author of, most recently, biographies of Orson Welles and Clint Eastwood; more interviews with Pedro Costa, Shinya Tsukamoto, Judd Apatow, Charlotte Gainsbourg and Parker Posey; Film Comment on Frank Sinatra; and news of upcoming premieres in Venice (Scott Cooper's Black Mass) and New York (Don Cheadle's Miles Ahead). » - David Hudson...
- 7/24/2015
- Fandor: Keyframe
Trey Edward Shults (Krisha) and Britni West (Tired Moonlight) are among the "25 New Faces of Independent Film" Filmmaker has chosen to highlight this year. Also in today's roundup: Film International on Peter Bogdanovich and Ken Loach; David Cairns on Alain Robbe-Grillet; an interview with Patrick McGilligan, author of, most recently, biographies of Orson Welles and Clint Eastwood; more interviews with Pedro Costa, Shinya Tsukamoto, Judd Apatow, Charlotte Gainsbourg and Parker Posey; Film Comment on Frank Sinatra; and news of upcoming premieres in Venice (Scott Cooper's Black Mass) and New York (Don Cheadle's Miles Ahead). » - David Hudson...
- 7/24/2015
- Keyframe
It didn't take long for Alain Robbe-Grillet to plunge into directing, after the success of his literary career (as doyen of the nouvelle roman) and his screenplay for Last Year at Marienbad. And it didn't take long after L'immortelle, his 1963 debut, for him to plunge into porn. Trans-Europ Express (1966) was banned in Britain, its scenes of s&m kink far too extreme for Anglo sensibilities at the time. We were still reeling from Jane Birkin's pubes. We weren't ready for chains and rape fantasies. Still aren't, probably.1968's The Man Who Lies again stars Jean-Louis Trintignant, but seems a step back from the extremes of the previous flick. There's little nudity, little sex. But the whole film is redolent of a ritualized, fetishized, sublimated sex, played out in non-sexual arenas.The film also has a lot in common with Marienbad, since it plays a constant game of "what is truth?...
- 7/23/2015
- by David Cairns
- MUBI
You had only to look at the collected films of Brad Bird to know that Tomorrowland would be in large part a reverie for yesterday. The Iron Giant (1999) was such a friendly evocation of Cold War sci-fi that it belongs, in paperback form, tucked away in the back of a school library. The Incredibles (2004) was a tribute to 60s comics, 60s modernism, and the jazzy vibe of Thunderball-era Bond movies. Ratatouille (2007), with its story of talking rats in a timeless Paris, was a very classical kind of animation. More than anything else Pixar has put out—though Finding Nemo (2003) might come close—its style operates in the vernacular of what Disney animation used to mean in the 50s. Even Mission Impossible: Ghost Protocol (2011), whose place in Bird's filmography is largely to show if he could handle live action (he can!), is the biggest throwback of that franchise. Its plot centered...
- 6/18/2015
- by Duncan Gray
- MUBI
After only two features, Reprise (2006) and Oslo, August 31st (2011), Norwegian director (by way of Denmark) Joachim Trier has not only reached the competition in the Festival de Cannes with his latest movie, Louder than Bombs, he has also crossed the Atlantic to make a film in American with an international cast. The story of the emotional and familial fall-out after the death a famed war photographer (Isabelle Huppert) on her husband (Gabriel Byrne), eldest son (Jesse Eisenberg) and high school-aged youngest son (Devin Druid), the film fragments its psychological melodrama across differing timelines and characters.After the premiere of Joachim Trier's film in Cannes, I was able to participate in a roundtable conversation with the director.Question: How did you arrive on the varied style of this film?Joachim Trier: My co-screenwriter Eskil Vogt and I would talk of ideas. For example, an idea we wanted to do conceptually for a scene,...
- 5/29/2015
- by Daniel Kasman
- MUBI
Along with fresh interviews with Martin Scorsese, Don Hertzfeldt, Olivier Assayas and Bong Joon-ho, we post links to the Paris Review archive of great conversations with the likes of Woody Allen, Billy Wilder, Jean Cocteau, Michael Haneke, Susan Sontag, Alain Robbe-Grillet, Terry Southern, Tom Stoppard, Wallace Shawn, Tony Kushner and Budd Schulberg. Plus, a 1960 BBC interview with Orson Welles, Noah Baumbach's 2012 conversation with Brian De Palma, a New York Times profile of Orphan Black star Tatiana Maslany and the Hollywood Reporter's interview with Claudia Cardinale. » - David Hudson...
- 4/4/2015
- Keyframe
Along with fresh interviews with Martin Scorsese, Don Hertzfeldt, Olivier Assayas and Bong Joon-ho, we post links to the Paris Review archive of great conversations with the likes of Woody Allen, Billy Wilder, Jean Cocteau, Michael Haneke, Susan Sontag, Alain Robbe-Grillet, Terry Southern, Tom Stoppard, Wallace Shawn, Tony Kushner and Budd Schulberg. Plus, a 1960 BBC interview with Orson Welles, Noah Baumbach's 2012 conversation with Brian De Palma, a New York Times profile of Orphan Black star Tatiana Maslany and the Hollywood Reporter's interview with Claudia Cardinale. » - David Hudson...
- 4/4/2015
- Fandor: Keyframe
Autlook’s Panorama selected Iraqi Odyssey has now gone to iWonder (Italy).
Look Now! has also picked up rights for Switzerland in a deal negotiated directly with producers Dschoint Venture.
Middle East Broadcasting Center (Mbc) has taken the title and will broadcast the 163 minute version of Iraqi Odyssey in Mena. There is likely to be a theatrical release in Iraq prior to the broadcast. Autlook is also reporting strong interest from distributors in Germany, former Yugoslavia and Taiwan.
Another Autlook title, The Forecaster, has now gone to iWonder (Italy). Farbfilm will be releasing The Forecaster in German while Praesens Film has taken Swiss rights.
The Forecaster is about the brilliant and controversial financial analyst Martin Armstrong, who predicts that a sovereign debt crisis will start to unfold on a global level after October 1, 2015.
Meanwhile, Autlook has sold The Ceremony to to Just Wanted (Italy) and Ipa Asia (Taiwan.) This is the doc about famous French dominatrix, actress...
Look Now! has also picked up rights for Switzerland in a deal negotiated directly with producers Dschoint Venture.
Middle East Broadcasting Center (Mbc) has taken the title and will broadcast the 163 minute version of Iraqi Odyssey in Mena. There is likely to be a theatrical release in Iraq prior to the broadcast. Autlook is also reporting strong interest from distributors in Germany, former Yugoslavia and Taiwan.
Another Autlook title, The Forecaster, has now gone to iWonder (Italy). Farbfilm will be releasing The Forecaster in German while Praesens Film has taken Swiss rights.
The Forecaster is about the brilliant and controversial financial analyst Martin Armstrong, who predicts that a sovereign debt crisis will start to unfold on a global level after October 1, 2015.
Meanwhile, Autlook has sold The Ceremony to to Just Wanted (Italy) and Ipa Asia (Taiwan.) This is the doc about famous French dominatrix, actress...
- 2/10/2015
- by geoffrey@macnab.demon.co.uk (Geoffrey Macnab)
- ScreenDaily
While 2014 saw the passing of (reluctant) New Wave icon Alain Resnais, there was an intense resurgence of interest in the directorial efforts of Last Year at Marienbad (1961) scribe Alain Robbe-Grillet. Grillet and Resnais would never collaborate again, but it left the screenwriter with his own directorial options, which he used to explore his abstract fetishes in a filmography that would span ten films, many of which never made it to the United States. Kino Lorber’s Redemption label resurrected five rare titles for Blu-ray over the past year, including his 1963 debut L’immortelle and New Wave classic Trans-Europ-Express (1967). But it would be Grillet’s eighth feature that would serve to be his most internationally renowned, the 1983 La Belle Captive, which chanteys its way into Blu-ray this month courtesy of Olive Films. No more cohesive than any of the other puzzling titles in his filmography, the stunning work from DoP Henri Alekan...
- 2/3/2015
- by Nicholas Bell
- IONCINEMA.com
In today's roundup of news and views: Ignatiy Vishnevetsky on Jean-Luc Godard, Rossana Rossanda on Pier Paolo Pasolini, Jonathan Rosenbaum on Alain Resnais, J. Hoberman on Jacques Tati and Stanley Kubrick, Peter Bogdanovich on Vincent Minnelli, Isla Leaver-Yap on Stan Brakhage, Alexandre Rockwell on John Cassavetes, Christoph Huber on Jean Rollin, Kiva Reardon on Denis Côté, Michael Guarneri on Lav Diaz, Mike D'Angelo on Les Blank, Patton Oswalt on Jerry Lewis, Grantland on Paul Thomas Anderson, Lankester Merrin on Paul Schrader, Nigel Andrews on Hayao Miyazaki, Carson Lund on Walerian Borowczyk, Budd Wilkins on Alain Robbe-Grillet and more. » - David Hudson...
- 12/29/2014
- Fandor: Keyframe
In today's roundup of news and views: Ignatiy Vishnevetsky on Jean-Luc Godard, Rossana Rossanda on Pier Paolo Pasolini, Jonathan Rosenbaum on Alain Resnais, J. Hoberman on Jacques Tati and Stanley Kubrick, Peter Bogdanovich on Vincent Minnelli, Isla Leaver-Yap on Stan Brakhage, Alexandre Rockwell on John Cassavetes, Christoph Huber on Jean Rollin, Kiva Reardon on Denis Côté, Michael Guarneri on Lav Diaz, Mike D'Angelo on Les Blank, Patton Oswalt on Jerry Lewis, Grantland on Paul Thomas Anderson, Lankester Merrin on Paul Schrader, Nigel Andrews on Hayao Miyazaki, Carson Lund on Walerian Borowczyk, Budd Wilkins on Alain Robbe-Grillet and more. » - David Hudson...
- 12/29/2014
- Keyframe
Sidney And The Sixties: Real-time 1957-1966
Throughout the 1950s, Hollywood’s relationship with television was fraught: TV was a hated rival but also a source of cheap talent and material, as in the case of the small-scale Marty (1955), which won the Best Picture Oscar. These contradictions were well represented by the apparently “televisual” 12 Angry Men (1957), which began life as a teleplay concerning a jury with a lone holdout who must, and eventually does, convince his fellow jurors of the defendant’s innocence. Its writer, Reginald Rose, persuaded one of Hollywood’s biggest stars, Henry Fonda, to become a first-time producer of the film version. Fonda and Rose took basement-low salaries in favor of future points, and hired a TV director, Sidney Lumet, for next to nothing because Lumet wanted a first feature credit. Technically, there’s an opening bit on the courtroom steps that keeps this from being a true real-time film,...
Throughout the 1950s, Hollywood’s relationship with television was fraught: TV was a hated rival but also a source of cheap talent and material, as in the case of the small-scale Marty (1955), which won the Best Picture Oscar. These contradictions were well represented by the apparently “televisual” 12 Angry Men (1957), which began life as a teleplay concerning a jury with a lone holdout who must, and eventually does, convince his fellow jurors of the defendant’s innocence. Its writer, Reginald Rose, persuaded one of Hollywood’s biggest stars, Henry Fonda, to become a first-time producer of the film version. Fonda and Rose took basement-low salaries in favor of future points, and hired a TV director, Sidney Lumet, for next to nothing because Lumet wanted a first feature credit. Technically, there’s an opening bit on the courtroom steps that keeps this from being a true real-time film,...
- 10/18/2014
- by Daniel Smith-Rowsey
- SoundOnSight
Among the fascinating bastards born when the French New Wave and the nouveau roman swapped precious fluids, the films of novelist Marguerite Duras are beautiful, monstrous sleepwalkers, creeping through modern emptinesses and doped on remembered conversations. In a real sense, they feel like movies made by and about dead people — narrative experiences from limbo.
Already the author of nine relatively conventional novels when she wrote the screenplay for Alain Resnais's Hiroshima Mon Amour (1959), Duras felt the winds blowing, and as her fiction became sparser and more enigmatic alongside fellow rad fictioneer-turned-auteur Alain Robbe-Grillet, she decided to make the move to film, first with versions of her plays La Musica (1967) and Destroy...
Already the author of nine relatively conventional novels when she wrote the screenplay for Alain Resnais's Hiroshima Mon Amour (1959), Duras felt the winds blowing, and as her fiction became sparser and more enigmatic alongside fellow rad fictioneer-turned-auteur Alain Robbe-Grillet, she decided to make the move to film, first with versions of her plays La Musica (1967) and Destroy...
- 10/15/2014
- Village Voice
Edited by Adam Cook
Above: there is no news this week more monumental than that of the return of Twin Peaks. In 2016, we'll have nine new episodes, all directed by David Lynch. The 72nd issue of Senses of Cinema is now online, and amidst a plethora of content, features an amazing dossier on "one of the true legends of Australian screen culture," John Flaus. Also included is a piece by Tony McKibbin on a new Alain Robbe-Grillet box set—and in Mubi Us, we're currently hosting a retrospective on the Robbe-Grillet featuring Trans-Europ-Express, L'immortelle, Eden and After, and Successive Slidings of Pleasure. Writing for Reverse Shot, Adam Nayman offers his two cents on Mia Hansen-Love's Eden:
"Time is a weapon in the movies of Mia Hansen-Løve. The gaping narrative holes in the middles of All Is Forgiven, The Father of My Children, and Goodbye First Love are exit wounds,...
Above: there is no news this week more monumental than that of the return of Twin Peaks. In 2016, we'll have nine new episodes, all directed by David Lynch. The 72nd issue of Senses of Cinema is now online, and amidst a plethora of content, features an amazing dossier on "one of the true legends of Australian screen culture," John Flaus. Also included is a piece by Tony McKibbin on a new Alain Robbe-Grillet box set—and in Mubi Us, we're currently hosting a retrospective on the Robbe-Grillet featuring Trans-Europ-Express, L'immortelle, Eden and After, and Successive Slidings of Pleasure. Writing for Reverse Shot, Adam Nayman offers his two cents on Mia Hansen-Love's Eden:
"Time is a weapon in the movies of Mia Hansen-Løve. The gaping narrative holes in the middles of All Is Forgiven, The Father of My Children, and Goodbye First Love are exit wounds,...
- 10/14/2014
- by Notebook
- MUBI
With 4K digital restoration and re-release of Alain Resnais' 1959 classic, Hiroshima Mon Amour, Film Society of Lincoln Center announces a series devoted to the film works of a Nouveau Roman giant Marguerite Duras who provided the screenplay for the film. Duras, along with Alain Robbe-Grillet, was part of the Left Bank film movement and hugely influential for coming of French New Wave.Putting a big emphasis on mood and dialogue, Duras' elliptical stories have long been well regarded and respected by the film giants like Resnais and Godard. The film series presents 10 features and 3 shorts, 9 of which she directed - notables include, India Song, Le Camion, Natalie Granger, Madmoiselle (dir. Tony Richardson), Moderato Cantabile (dir. Peter Brook) and Every Man for Himself...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 10/14/2014
- Screen Anarchy
The new issue of Senses of Cinema features a dossier on the scholar, actor and writer John Flaus as well as essays on Alain Robbe-Grillet, Tsai Ming-liang's Stray Dogs, Martin Scorsese's The Wolf of Wall Street and Quentin Tarantino's Pulp Fiction. Also in today's news roundup: The Brooklyn Rail on Pier Paolo Pasolini, Five Dials on Věra Chytilová’s Daisies, MostlyFilm on Alan Clarke, Reverse Shot on Scorsese's The Color of Money, the New York Times on Stephen Chow, interviews with Xavier Dolan, William H. Macy, Richard Ayoade and much more. » - David Hudson...
- 10/6/2014
- Fandor: Keyframe
The new issue of Senses of Cinema features a dossier on the scholar, actor and writer John Flaus as well as essays on Alain Robbe-Grillet, Tsai Ming-liang's Stray Dogs, Martin Scorsese's The Wolf of Wall Street and Quentin Tarantino's Pulp Fiction. Also in today's news roundup: The Brooklyn Rail on Pier Paolo Pasolini, Five Dials on Věra Chytilová’s Daisies, MostlyFilm on Alan Clarke, Reverse Shot on Scorsese's The Color of Money, the New York Times on Stephen Chow, interviews with Xavier Dolan, William H. Macy, Richard Ayoade and much more. » - David Hudson...
- 10/6/2014
- Keyframe
Thanks to some oddly unbidden aggregate restoration-licensing phenomenon, we are suddenly awash with the cinema of noveau roman pioneer–slash–Bdsm obsessive Alain Robbe-Grillet. Famous here only for self-autopsying novels like Les Gommes, The Voyeur, In the Labyrinth, and Project for a Revolution in New York, and for the radically unsignifying screenplay for Alain Resnais’s Last Year at Marienbad, Robbe-Grillet was also a late-coming adjunct to the French New Wave, doubling down on his avant-garde literary fame and making a series of psychosexually nutty meta-movies that eat their own tails so lustily they make Godard’s contemporaneous work look orthodox. Almost. Robbe-Grillet, whose first six films are now...
- 9/24/2014
- Village Voice
"Performance" is the theme of the new issue of Screen Machine, with essays on Al Pacino in Michael Mann's Heat (1995) and Anton Walbrook’s in Thorold Dickinson's Gaslight (1940 and more. Also in today's roundup of news and views: Time Out's polled directors, scientists and authors for its list of the "100 best sci-fi movies." Plus Terrence Rafferty on Jacques Demy, Adam Schatz on Alain Robbe-Grillet, Laya Maheshwari's conversation with Park Chan-wook, Jessica Kiang's interview with William Friedkin—and Josh Horowitz has gotten Woody Allen to appear on his first podcast. » - David Hudson...
- 7/23/2014
- Keyframe
"Performance" is the theme of the new issue of Screen Machine, with essays on Al Pacino in Michael Mann's Heat (1995) and Anton Walbrook’s in Thorold Dickinson's Gaslight (1940 and more. Also in today's roundup of news and views: Time Out's polled directors, scientists and authors for its list of the "100 best sci-fi movies." Plus Terrence Rafferty on Jacques Demy, Adam Schatz on Alain Robbe-Grillet, Laya Maheshwari's conversation with Park Chan-wook, Jessica Kiang's interview with William Friedkin—and Josh Horowitz has gotten Woody Allen to appear on his first podcast. » - David Hudson...
- 7/23/2014
- Fandor: Keyframe
★★★★☆The key scene in Alain Resnais and Alain Robbe-Grillet's cherished cinematic collaboration Last Year at Marienbad (1961) which was cut from the script was one of sexual violence, leaving the film with a lurking possibility of menace but nothing explicit to challenge its 'U' certificate. Sadism and particularly sexual sadism was to be a theme that Robbe-Grillet would increasingly explore in his solo efforts, but it would also put the handbrake on his reputation as an auteur - with many of his films unavailable due to this. This BFI collection of six of his beautifully remastered works comes as a timely corrective and will, for many, prove a revelation for one of the lesser-seen French directorial talents.
- 6/30/2014
- by CineVue UK
- CineVue
It all begins with a freeze frame of a dirt road somewhere in Yorkshire county, lined with trees whose lush foliage converges above in an arch. What could it be if not a portal? The movie itself, meanwhile, has not even started as we watch the opening credits, encased in large old-fashioned frames, slowly fade away—a device consistently favored by Alain Resnais who opened each of his 19 features likewise, holding off the films themselves until the screen no longer contained any visual surplus. The freeze frame comes to life as the camera pans farther down the road; then we find ourselves in a theatrical set.
We have been here before, of course. Resnais' Smoking/No Smoking, also based on a play by British playwright Sir Alan Ayckbourn, is set in Yorkshire as well. Life of Riley (Aimer, boire et chanter) borrows from the five-hour diptych its theatrical setting, one...
We have been here before, of course. Resnais' Smoking/No Smoking, also based on a play by British playwright Sir Alan Ayckbourn, is set in Yorkshire as well. Life of Riley (Aimer, boire et chanter) borrows from the five-hour diptych its theatrical setting, one...
- 6/17/2014
- by Boris Nelepo
- MUBI
Redemption Films revives several more titles in its continuing resurgence of Alain Robbe-Grillet with his 1968 film, The Man Who Lies. Starring the director’s preferred leading man, Jean-Louis Trintignant, it’s an interesting exercise that seems perfectly calibrated for Robbe-Grillet’s style of filmmaking, that of the fractured, elliptical narrative. Here, we follow a protagonist who makes up his story as he goes along, which feels not unlike how Robbe-Grillet writes his narratives, where a series of accidental strands may or may not work together to create a discernible tale.
While running from a band of soldiers in hot pursuit, Boris (Jean-Louis Trintignant) stumbles into a small European town and ingratiates himself upon the community by claiming to be the friend of one of their missing citizens named Jean Robin. Arriving at Robin’s castle, he seduces his maid, his sister, and his wife, each telling them some fabricated tale about his associations with Robin.
While running from a band of soldiers in hot pursuit, Boris (Jean-Louis Trintignant) stumbles into a small European town and ingratiates himself upon the community by claiming to be the friend of one of their missing citizens named Jean Robin. Arriving at Robin’s castle, he seduces his maid, his sister, and his wife, each telling them some fabricated tale about his associations with Robin.
- 6/3/2014
- by Nicholas Bell
- IONCINEMA.com
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