This review of “Ahed’s Knee” was first published on July 7, 2021, after its premiere at the Cannes Film Festival.
After winning the Golden Bear at Berlin for his last film, 2019’s “Synonyms,” Israeli film maker Nadav Lapid returns to top-flight festival competition with prickly intensity in “Ahed’s Knee.”
There’s a Cannes connection which could stand him in good stead: His film “The Kindergarten Teacher” debuted in Critics’ Week here on the Croisette in 2014 and was remade by Maggie Gyllenhaal, who now sits on this year’s Cannes jury. She might look upon it favorably, as will festival audiences and certain art-house cinemas, though it’s unlikely a remake will be in anybody’s mind.
“Ahed’s Knee” begins with an audition session in which young women show their knees through ripped jeans and go through various stages of emotion for a camera and an unmoved casting director. We learn that they...
After winning the Golden Bear at Berlin for his last film, 2019’s “Synonyms,” Israeli film maker Nadav Lapid returns to top-flight festival competition with prickly intensity in “Ahed’s Knee.”
There’s a Cannes connection which could stand him in good stead: His film “The Kindergarten Teacher” debuted in Critics’ Week here on the Croisette in 2014 and was remade by Maggie Gyllenhaal, who now sits on this year’s Cannes jury. She might look upon it favorably, as will festival audiences and certain art-house cinemas, though it’s unlikely a remake will be in anybody’s mind.
“Ahed’s Knee” begins with an audition session in which young women show their knees through ripped jeans and go through various stages of emotion for a camera and an unmoved casting director. We learn that they...
- 4/1/2022
- by Jason Solomons
- The Wrap
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.
The Fever (Maya Da-Rin)
The Fever, director-cum-visual artist Da-Rin’s first full-length feature project, puts a human face to a statistic that hardly captures the genocide Brazil is suffering. This is not just a wonderfully crafted, superb exercise in filmmaking, a multilayered tale that seesaws between social realism and magic. It is a call to action, an unassuming manifesto hashed in the present tense but reverberating as a plea from a world already past us, a memoir of sorts. – Leonardo G. (full review)
Where to Stream: The Criterion Channel
French New Wave
Dive into one of the most fertile eras of moving pictures with a new massive 45-film series on The Criterion Channel dedicated to the French New Wave. Highlights include Le...
The Fever (Maya Da-Rin)
The Fever, director-cum-visual artist Da-Rin’s first full-length feature project, puts a human face to a statistic that hardly captures the genocide Brazil is suffering. This is not just a wonderfully crafted, superb exercise in filmmaking, a multilayered tale that seesaws between social realism and magic. It is a call to action, an unassuming manifesto hashed in the present tense but reverberating as a plea from a world already past us, a memoir of sorts. – Leonardo G. (full review)
Where to Stream: The Criterion Channel
French New Wave
Dive into one of the most fertile eras of moving pictures with a new massive 45-film series on The Criterion Channel dedicated to the French New Wave. Highlights include Le...
- 1/7/2022
- by Jordan Raup
- The Film Stage
There are conflicts within conflicts and crises within crises in Nadav Lapid’s astonishing, assaultive “Ahed’s Knee,” a reckless act of aggression not only against creeping state-mandated cultural oppression, but against viewer sensibilities and about a century of cinematic tradition. Quite possibly brilliant, and very definitely all but unbearable, “Ahed’s Knee” is filmmaking as hostage-taking. If such language seems charged, this is Nadav Lapid: All language is charged.
Words here, as wielded by Y (Avshalom Pollak), the celebrated Israeli film director who, in the course of his visit to a small desert town in the arid Arava region will spray them about like machine-gunfire, are loaded, but never ambiguous. This is a difficult film but not because it works to conceal its creator’s intent. Quite the contrary, it is difficult because we are not usually confronted by seriousness this sincere, by despair this direct.
There is little subtlety here...
Words here, as wielded by Y (Avshalom Pollak), the celebrated Israeli film director who, in the course of his visit to a small desert town in the arid Arava region will spray them about like machine-gunfire, are loaded, but never ambiguous. This is a difficult film but not because it works to conceal its creator’s intent. Quite the contrary, it is difficult because we are not usually confronted by seriousness this sincere, by despair this direct.
There is little subtlety here...
- 7/7/2021
- by Jessica Kiang
- Variety Film + TV
Éric Rohmer was notoriously secretive about his personal life, giving alternate birth names, birth cities, and birth dates. But according to biographers Antoine de Baecque and Noël Herpe, Rohmer was actually born Maurice Joseph Henri Schérer, in Tulle, on March 21, 1920. Whatever the truth, such resolute devotion to privacy reflected the exclusive and rigorous nature of Rohmer’s working life as well. Often going against the grain of his early French New Wave contemporaries, and from there enjoying a similar autonomy and singularity within the sphere of international cinema, Rohmer directed distinctive films most aligned—emphatically and productively—with his own filmography. Maintaining a remarkable dedication to consistent themes, dramatic interests, and, in nearly all cases, a comparable formal approach, Rohmer placed the nuanced behavior of the individual at the fore of all his work. Above: Le Signe du lionSteeped in studies of history, literature, and philosophy, Rohmer arrived at his burgeoning cinephile comparatively late.
- 11/5/2020
- MUBI
Cinema St. Louis presents the 12th Annual Robert Classic French Film Festival which takes place April 10th – 26th 2020. The location this year are both Webster University’s Moore Auditorium (470 E Lockwood Ave) and Washington University’s Brown Hall Auditorium, Forsyth & Skinker boulevards.
The 12th Annual Robert Classic French Film Festival — presented by TV5MONDE and produced by Cinema St. Louis — celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. This year’s featured films span the decades from the 1920s through the 1980s, offering a revealing overview of French cinema.
The fest annually includes significant restorations, and this year features a quartet of such works: Diane Kurys’ “Entre Nous,” Joseph Losey’s “Mr. Klein,” Jacqueline Audry’s “Olivia,” and the extended director’s cut of Jean-Jacques Beineix’s “Betty Blue.”
The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way,...
The 12th Annual Robert Classic French Film Festival — presented by TV5MONDE and produced by Cinema St. Louis — celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. This year’s featured films span the decades from the 1920s through the 1980s, offering a revealing overview of French cinema.
The fest annually includes significant restorations, and this year features a quartet of such works: Diane Kurys’ “Entre Nous,” Joseph Losey’s “Mr. Klein,” Jacqueline Audry’s “Olivia,” and the extended director’s cut of Jean-Jacques Beineix’s “Betty Blue.”
The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way,...
- 3/6/2020
- by Tom Stockman
- WeAreMovieGeeks.com
From September 16 through 29, the Film Society of Lincoln Center will be screening new restorations of all six films that make up Eric Rohmer's Moral Tales: The Bakery Girl of Monceau, Suzanne’s Career, My Night at Maud's, La collectionneuse, Claire's Knee and Love in the Afternoon. More goings on: Work by Curt McDowell and Tom Rubnitz, Derek Jarman's Will You Dance With Me?, David Miller's Sudden Fear with Joan Crawford in New York; The Monkees and Guillermo del Toro in Los Angeles; Rouben Mamoulian at Harvard; art inspired by Wes Anderson's films in San Francisco; remembering Abbas Kiarostami in Toronto; and a Mohsen Makhmalbaf series in London. » - David Hudson...
- 8/11/2016
- Keyframe
From September 16 through 29, the Film Society of Lincoln Center will be screening new restorations of all six films that make up Eric Rohmer's Moral Tales: The Bakery Girl of Monceau, Suzanne’s Career, My Night at Maud's, La collectionneuse, Claire's Knee and Love in the Afternoon. More goings on: Work by Curt McDowell and Tom Rubnitz, Derek Jarman's Will You Dance With Me?, David Miller's Sudden Fear with Joan Crawford in New York; The Monkees and Guillermo del Toro in Los Angeles; Rouben Mamoulian at Harvard; art inspired by Wes Anderson's films in San Francisco; remembering Abbas Kiarostami in Toronto; and a Mohsen Makhmalbaf series in London. » - David Hudson...
- 8/11/2016
- Fandor: Keyframe
Subtle irony, minimal plot – and plenty of couples debating the meaning of love. This summer's cinema has all gone a bit Eric Rohmer. So why do today's directors love the French auteur?
After a handful of writers happened to publish novels that depicted Henry James as a character, or paid homage to his work, David Lodge – who was one of them – christened 2004 "the year of James". In the same spirit, it could be said that this is the summer of Eric Rohmer. Some of the season's most prominent films, including Frances Ha, Before Midnight, and Exhibition (which recently opened the Locarno film festival), show the influence of the French director, who died in 2010, and whose lithe and playful work extended the possibilities of a certain kind of small-scale, psychologically curious, dialogue-led drama.
Though Rohmer's name has been invoked whenever films include anything other than exploding fireballs and blood-drenched zombies, it's...
After a handful of writers happened to publish novels that depicted Henry James as a character, or paid homage to his work, David Lodge – who was one of them – christened 2004 "the year of James". In the same spirit, it could be said that this is the summer of Eric Rohmer. Some of the season's most prominent films, including Frances Ha, Before Midnight, and Exhibition (which recently opened the Locarno film festival), show the influence of the French director, who died in 2010, and whose lithe and playful work extended the possibilities of a certain kind of small-scale, psychologically curious, dialogue-led drama.
Though Rohmer's name has been invoked whenever films include anything other than exploding fireballs and blood-drenched zombies, it's...
- 8/29/2013
- by Leo Robson
- The Guardian - Film News
Whoever said that French movies are talky? What about "The French Connection?" Ok, that's not French, and the famous chase on the elevated line takes place in Brooklyn, not Paris. "Claire's Knee"? Yes, that's more like the French style, the story of a thirty-something diplomat with a taste for a teen and a desire to touch her knee. How about both parts of "Mesrine"? Now we're getting closer. "Mesrine," is based on an actual gangster who committed his robberies during the 1970s when he was public enemy number one. "Mesrine" in both parts became the best police drama released here last year.
- 7/14/2011
- Arizona Reporter
Here are some highlights from the Eric Rohmer Retrospective at Lincoln Center which is moving into its finally days. * * * * * The Bakery Girl of Monceau & Suzanne’s Career make of a pair of films that are simply heartbreaking. Circa 1963, Rohmer displays why women don’t trust men as best as has been done on film. Not to be dismissed because they are short films, along with the other Moral Tales, these are some of his best works. They’re great examples of how Rohmer captured on celluloid an entire generation of “flaneurs,” made famous by the previous generation’s writing of Verlaine, Rimbaud and company, but rarely represented in film as it’s a quite literary concept. Rohmer is literary though, and these works, especially considering their use of voiceover, are as literary as he and film gets. These are the best examples of his work to show how he is...
- 8/31/2010
- IONCINEMA.com
As an end-of-summer treat, the Film Society of Lincoln Center offers up a comprehensive retrospective of Eric Rohmer, the founding father of the French New Wave. The next best thing to spending the summer in France is diving into the oeuvre of the most quintessentially French of all filmmakers, Eric Rohmer. On the 60th anniversary of the French New Wave, this comprehensive retrospective includes every Rohmer feature film, the U.S. premiere of his 1980 TV film Catherine de Heilbronn, and in person appearances by key Rohmer collaborators. This program is a fitting tribute to the master Rohmer, who died in January at the age of 89. The Collector Rohmer came to prominence in the late '60s and early '70s with a series of films known as Six Moral Tales, four of which were made with his longtime collaborator, the brilliant cinematographer Nestor Almendros: The Collector, My Night At Maud's,...
- 8/18/2010
- TribecaFilm.com
To celebrate its 20th Anniversary, it appears as though the Tiff Cinematheque is set to pull out all the stops.
According to Criterion, the Tiff, formerly known as the Cinematheque Ontario, will be bringing out a rather superb and cartoonishly awesome summer schedule, that will include films ranging from Kurosawa pieces, to films from Pier Paolo Pasolini. Other films include a month long series dedicated to James Mason, Eric Rohmer’s Six Moral Tales, a tribute to Robin Wood, and most interesting, a retrospective on the works of one Catherine Breillat.
Personally, while the Kurosawa, Pasolini, and Rohmer collections sound amazing, the Breillat series is ultimately the collective that I am most interested in. Ranging from films like the brilliant Fat Girl, to the superb and underrated Anatomy of Hell, these are some of the most interesting and under seen pieces of cinema of recent memory, and are more than...
According to Criterion, the Tiff, formerly known as the Cinematheque Ontario, will be bringing out a rather superb and cartoonishly awesome summer schedule, that will include films ranging from Kurosawa pieces, to films from Pier Paolo Pasolini. Other films include a month long series dedicated to James Mason, Eric Rohmer’s Six Moral Tales, a tribute to Robin Wood, and most interesting, a retrospective on the works of one Catherine Breillat.
Personally, while the Kurosawa, Pasolini, and Rohmer collections sound amazing, the Breillat series is ultimately the collective that I am most interested in. Ranging from films like the brilliant Fat Girl, to the superb and underrated Anatomy of Hell, these are some of the most interesting and under seen pieces of cinema of recent memory, and are more than...
- 5/26/2010
- by Joshua Brunsting
- CriterionCast
One of the great masters of the French New Wave his no longer with us. Eric Rohmer passed away Monday at the age of 89. Rohmer was known for making movies about young, modern French people who fall in love and talk and talk and talk, spurring the infamous comment that his films were like "watching paint dry." But the secret of Rohmer is that, even though his characters are smart and educated and know a little something about human nature, they can't help themselves from succumbing to feelings of love and lust and jealousy, no matter how many words they use or how often they try to intellectually justify themselves.
That duality worked in almost all of Rohmer's films, which he tended to direct in specific groups. His "Six Moral Tales" is perhaps the most well-regarded, including La Collectionneuse (1967), My Night at Maud's (1969), Claire's Knee (1970) and Love in the Afternoon...
That duality worked in almost all of Rohmer's films, which he tended to direct in specific groups. His "Six Moral Tales" is perhaps the most well-regarded, including La Collectionneuse (1967), My Night at Maud's (1969), Claire's Knee (1970) and Love in the Afternoon...
- 1/16/2010
- by Jeffrey M. Anderson
- Cinematical
It came as no surprise when I learned that Gary Whitta, who wrote the screenplay -- and I use the term generously -- for the Hughes brothers' postapocalyptic dud The Book of Eli, has a background in videogames. An Englishman, born in 1972, Whitta was one of the founders of PC Gamer magazine and also served as its editor-in-chief. In addition to writing scripts for shows like Star Trek: Voyager, he has been a consultant on numerous game franchises and, according to his Wikipedia entry, is best known as a writer on games like Duke Nukem Forever, Prey, and Gears of War.
- 1/15/2010
- by Owen Gleiberman
- EW.com - The Movie Critics
He made poignant, sensual films about first love and chance encounters. But it was the dialogue that made the late Eric Rohmer's movies magical, says Gilbert Adair
Who says that the cinema is not in a state of terminal infantilism? Consider the case of the French filmmaker Eric Rohmer, who died on Monday at the age of 89. It's a sobering thought that My Night With Maud, the work that established his international reputation all of 40 years ago – a cerebral comedy about a pious young Catholic intellectual and a flirtatious, free-thinking bourgeoise, who spend an unconsummated night together mostly discussing Pascalian theology – was a huge popular hit in its day, and not only in France. Nowadays, if My Night With Maud were made at all, it would almost certainly be marginalised, by critics and public alike, as an avant-gardist, even downright experimental, film, with an audience to match.
During those intervening four decades,...
Who says that the cinema is not in a state of terminal infantilism? Consider the case of the French filmmaker Eric Rohmer, who died on Monday at the age of 89. It's a sobering thought that My Night With Maud, the work that established his international reputation all of 40 years ago – a cerebral comedy about a pious young Catholic intellectual and a flirtatious, free-thinking bourgeoise, who spend an unconsummated night together mostly discussing Pascalian theology – was a huge popular hit in its day, and not only in France. Nowadays, if My Night With Maud were made at all, it would almost certainly be marginalised, by critics and public alike, as an avant-gardist, even downright experimental, film, with an audience to match.
During those intervening four decades,...
- 1/14/2010
- The Guardian - Film News
The legendary French filmmaker and director Eric Rohmer has died at the age of 89. Rohmer passed away on Monday in Paris, with the immediate cause of death not given.
The director is known for his film "Claire's Knee" and his distinctive personal style. His last film, "Les amours d'Ashtree et de Celadon" (Romance of Astree and Celadon), was in 2007. Rohmer's films pondered philosophical musings and often told tales of romantic triangles.
French President Nicolas Sarkozy mourned the loss of the great filmmaker, saying that he was a "great auteur who will continue to speak to us and inspire us for years to come."
He continued in a statement saying, "Classic and romantic, wise and iconoclast, light and serious, sentimental and moralist, he created the 'Rohmer' style, which will outlive him."...
The director is known for his film "Claire's Knee" and his distinctive personal style. His last film, "Les amours d'Ashtree et de Celadon" (Romance of Astree and Celadon), was in 2007. Rohmer's films pondered philosophical musings and often told tales of romantic triangles.
French President Nicolas Sarkozy mourned the loss of the great filmmaker, saying that he was a "great auteur who will continue to speak to us and inspire us for years to come."
He continued in a statement saying, "Classic and romantic, wise and iconoclast, light and serious, sentimental and moralist, he created the 'Rohmer' style, which will outlive him."...
- 1/13/2010
- icelebz.com
Rimbaud's mantra, 'one must be absolutely modern', guided the father of the New Wave, a director fascinated by France's bourgeoisie
The New Wave has just lost its father, and France a rigorous observer of his time whose films represented better than most what it may mean to be French. Ten to 15 years older than the Jean-Luc Godard, Jacques Rivette, Claude Chabrol, Louis Malle and François Truffaut, whom he would hire to write alongside him in the soon mythical Les Cahiers du Cinéma, Eric Rohmer, who died yesterday in his 90th year in Paris, had invented a completely distinct art form.
A graduate in classics and German and until the mid-1950s a professor of literature in provincial France, he always followed Rimbaud's mantra: "One must be absolutely modern."
In cinema, as a critic turned director (whose first film was made at the age of 39 in 1959), to him the poet's motto...
The New Wave has just lost its father, and France a rigorous observer of his time whose films represented better than most what it may mean to be French. Ten to 15 years older than the Jean-Luc Godard, Jacques Rivette, Claude Chabrol, Louis Malle and François Truffaut, whom he would hire to write alongside him in the soon mythical Les Cahiers du Cinéma, Eric Rohmer, who died yesterday in his 90th year in Paris, had invented a completely distinct art form.
A graduate in classics and German and until the mid-1950s a professor of literature in provincial France, he always followed Rimbaud's mantra: "One must be absolutely modern."
In cinema, as a critic turned director (whose first film was made at the age of 39 in 1959), to him the poet's motto...
- 1/13/2010
- by Agnès Poirier
- The Guardian - Film News
Idiosyncratic French film-maker who was a leading figure in the cinema of the postwar new wave
In Arthur Penn's intelligently unconventional private eye thriller Night Moves (1975), Gene Hackman's hero – who finds the mystery he faces as unfathomable as his personal relationships – is asked by his wife whether he wants to go to an Eric Rohmer movie. "I don't think so," he says. "I saw a Rohmer film once. It was kind of like watching paint dry."
Behind that exchange lies a jab at Hollywood's mistrust of any film-maker, especially a French one, who neglects plot and action in favour of cerebral exploration, metaphysical conceit and moral nuance. The Dream Factory, after all, had proved through trial and error that cinema is cinema, literature is literature, and the twain shall meet only provided the images rule, not the words.
Of the major American film-makers, perhaps only Joseph Mankiewicz allowed his scripts,...
In Arthur Penn's intelligently unconventional private eye thriller Night Moves (1975), Gene Hackman's hero – who finds the mystery he faces as unfathomable as his personal relationships – is asked by his wife whether he wants to go to an Eric Rohmer movie. "I don't think so," he says. "I saw a Rohmer film once. It was kind of like watching paint dry."
Behind that exchange lies a jab at Hollywood's mistrust of any film-maker, especially a French one, who neglects plot and action in favour of cerebral exploration, metaphysical conceit and moral nuance. The Dream Factory, after all, had proved through trial and error that cinema is cinema, literature is literature, and the twain shall meet only provided the images rule, not the words.
Of the major American film-makers, perhaps only Joseph Mankiewicz allowed his scripts,...
- 1/13/2010
- by Ronald Bergan
- The Guardian - Film News
The French New Wave director Eric Rohmer has died aged 89. We look back over his film career in clips
Le Signe du Lion (1959)
Rohmer's first feature was a pure-blood product of the burgeoning French New Wave; a loose-limbed, low-budget tale of poverty-row Paris, evocatively played out in the Latin Quarter as its hero rattles between the houses in search of loot. The film was destined to be eclipsed by the likes of Breathless and The 400 Blows – but Rohmer had yet to find his perfect rhythm.
La Collectionneuse (1968)
The fourth of Rohmer's six "moral tales" offers a wry and playful battle of the sexes, as the nymphet of the title makes a point of bedding a different man each night – and dances constantly away from the two male friends who try to tame her. Its St Tropez setting showed how Rohmer was as comfortable in France's wide open spaces as in the bustling metropolis.
Le Signe du Lion (1959)
Rohmer's first feature was a pure-blood product of the burgeoning French New Wave; a loose-limbed, low-budget tale of poverty-row Paris, evocatively played out in the Latin Quarter as its hero rattles between the houses in search of loot. The film was destined to be eclipsed by the likes of Breathless and The 400 Blows – but Rohmer had yet to find his perfect rhythm.
La Collectionneuse (1968)
The fourth of Rohmer's six "moral tales" offers a wry and playful battle of the sexes, as the nymphet of the title makes a point of bedding a different man each night – and dances constantly away from the two male friends who try to tame her. Its St Tropez setting showed how Rohmer was as comfortable in France's wide open spaces as in the bustling metropolis.
- 1/12/2010
- by Xan Brooks
- The Guardian - Film News
Eric Rohmer, the French New Wave icon who specialized in films about young love, died yesterday in Paris. He was 89. His work included "My Night at Maud's" (1969), "Claire's Knee" (1970), "Pauline at the Beach" (1983) and "Chloe in the Afternoon" (1972). His final film, "Romance of Astree and Celadon," appeared in 2007. In 2001, he was given a lifetime-achievement award at the prestigious Venice Film Festival. His 50 or so films, which usually featured nubile French actresses, eschewed action in favor of cerebral conversation and romantic entanglement.
- 1/12/2010
- by By V.A. MUSETTO
- NYPost.com
Eric Rohmer, the New Wave filmmaker who made intimate, conversational films exploring deep moral and ethical themes with a simple elegance, died today in Paris at the age of 89. Like many of his colleagues in the French film movement, Rohmer began his career as a film critic, eventually becoming the editor of Cahiers du Cinema. Although he made his first feature in 1959, he became more widely known to international audiences in the late '60s and '70s, beginning with his Six Moral Tales, a series of six films which included his acclaimed My Night at Maude's, Claire's Knee, and Chloe in the Afternoon. Later films included Pauline at the Beach (part of his Comedies and Proverbs series) and A Winter's Tale (part of his Tales of the Four...
- 1/12/2010
- by Scott Macaulay
- Filmmaker Magazine - Blog
Erich Rohmer, the legendary director of many classic French films, is dead at age 89. Rohmer's work was acclaimed for its concentration on character development and long, conversation-driven sequences that sparkled with great dialogue. His two most famous films were released in English-language cinemas under the titles My Night at Maud's and Claire's Knee. In praising Rohmer, President Sarkozy said, "Classic and romantic, wise and iconoclastic, light and serious, sentimental and moralistic, he created the 'Rohmer' style, which will outlive him." For more click here...
- 1/12/2010
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Award-winning French filmmaker Eric Rohmer has died, aged 89.
Rohmer passed away in Paris on Monday. The cause of death was not immediately known.
Born Jean-Marie Maurice Scherer, the director's best-known films include My Night at Maud's and Claire's Knee. His latest film, Les amours d'Astree et de Celadon, (Romance of Astree and Celadon), was released in 2008.
He was born in Lorraine and relocated to Paris to became a literature teacher and newspaper reporter.
As Gilbert Cordier, he released his first and only novel, Elizabeth, in 1946, and then became a critic and filmmaker.
He also co-wrote an indepth book about the films of Alfred Hitchcock, titled Hitchcock, The First 44 Films.
In 2001, he was awarded a Golden Lion at the Venice Film Festival in Italy for his work in cinema.
Rohmer would have turned 90 in April.
Rohmer passed away in Paris on Monday. The cause of death was not immediately known.
Born Jean-Marie Maurice Scherer, the director's best-known films include My Night at Maud's and Claire's Knee. His latest film, Les amours d'Astree et de Celadon, (Romance of Astree and Celadon), was released in 2008.
He was born in Lorraine and relocated to Paris to became a literature teacher and newspaper reporter.
As Gilbert Cordier, he released his first and only novel, Elizabeth, in 1946, and then became a critic and filmmaker.
He also co-wrote an indepth book about the films of Alfred Hitchcock, titled Hitchcock, The First 44 Films.
In 2001, he was awarded a Golden Lion at the Venice Film Festival in Italy for his work in cinema.
Rohmer would have turned 90 in April.
- 1/11/2010
- WENN
The great French filmmaker Eric Rohmer, who died today in Paris at the age of 89, made more than 50 movies, most of them about people for whom talk was life, as natural and necessary an activity as breathing. A member of that remarkable mid-20th-century group of influential critics and filmmakers known as the French New Wave (with Jean-Luc Godard, Francois Truffaut, Claude Chabrol, and Jacques Rivette among its legendary members), Rohmer was the one whose movies stood still-est, while characters debated whether to act on their desires; as often as not, Rohmer's citizens ended up not doing but examining what they might have done.
- 1/11/2010
- by Lisa Schwarzbaum
- EW.com - The Movie Critics
Eric Rohmer (Getty) Eric Rohmer, a member of the French New Wave who directed such films as "My Night at Maud's," "Claire's Knee" and "Chloe in the Afternoon," died Monday in Paris. He was 89. The cause of death was not known.
"Night at Maud's" (1969) garnered an Oscar nomination for best foreign-language film and best screenplay. His "The Marquise of O" won the Special Jury Prize at the 1976 Festival de Cannes.
Rohmer also wrote and directed "Pauline at the Beach" (1983) and "Full Moon in Paris" (1984). "Paris" actress Pascale Ogier won the best actress prize at the Venice International Film Festival, and the film captured a Silver Bear at the Berlin International Film Festival.
With a background in journalism, Rohmer's aesthetic bases were literary, not film. His ambition was, reportedly, to be the Honore de Balzac of film.
Rohmer was editor in chief of Cahiers du Cinema from 1956-63. He broke from...
"Night at Maud's" (1969) garnered an Oscar nomination for best foreign-language film and best screenplay. His "The Marquise of O" won the Special Jury Prize at the 1976 Festival de Cannes.
Rohmer also wrote and directed "Pauline at the Beach" (1983) and "Full Moon in Paris" (1984). "Paris" actress Pascale Ogier won the best actress prize at the Venice International Film Festival, and the film captured a Silver Bear at the Berlin International Film Festival.
With a background in journalism, Rohmer's aesthetic bases were literary, not film. His ambition was, reportedly, to be the Honore de Balzac of film.
Rohmer was editor in chief of Cahiers du Cinema from 1956-63. He broke from...
- 1/11/2010
- by By Duane Byrge
- The Hollywood Reporter - Movie News
Eric Rohmer, the French New Wave exile whose My Night at Maud's earned an Oscar nomination for Best Foreign-Language Film in 1969, died today in Paris. He was 89. Along with Maud's, Rohmer is especially famous for his subsequent "moral tales" Claire's Knee and Chloe in the Afternoon, the latter of which Chris Rock remade in 2007 as I Think I Love My Wife. More film cycles and series followed in the decades hence, winding down in 2007 also with The Romance of Astree and Celadon. His specific cause of death was not immediately disclosed. Two's enough for today, God; we'll keep the rest of our filmmakers for now, if You don't mind. [THR]...
- 1/11/2010
- Movieline
Paris - Eric Rohmer, a pioneer of the French "New Wave" which transformed cinema in the 1960s, has died, his production house said on Monday. He was 89.Les Films du Losange, a company that produced his movies, said Rohmer died in Paris on Monday. The cause of death was not known.Rohmer directed such films as "My Night at Maud's" (Ma Nuit Chez Maud), "Claire's Knee" ("Le Genou de Claire") and "Chloe in the Afternoon" (L'Amour l'apres-midi")."My Night at Maud's" garnered an Oscar nomination for best foreign-language film and best screenplay.His "Die Marquie von O" won the Special Jury Prize at the 1976 Festival de Cannes.Rohmer also directed "Pauline at the Beach" and "Full Moon in Paris," whose lead actress Pascale Ogier won the best actress prize at the Venice Film Festival. It won a Silver Bear at the Berlin International Film Festival.With a background in journalism,...
- 1/11/2010
- backstage.com
The French arthouse film-maker Eric Rohmer has died aged 89, according to his production house. Les Films du Losange said Rohmer, who was a key figure in the postwar French New Wave cinema movement, died in Paris earlier today. The cause of death was not immediately known. Rohmer's best-known films included Tales of Four Seasons, My Night at Maud's and Claire's Knee. After the release of his last film, The Romance of Astrea and Celadon, at the Venice film festival in 2007, he said he was considering retirement.
Rohmer debuted in cinema in the early 1950s. In 2001, he was awarded a Golden Lion at the Venice film festival for his body of work.
France
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Rohmer debuted in cinema in the early 1950s. In 2001, he was awarded a Golden Lion at the Venice film festival for his body of work.
France
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- 1/11/2010
- The Guardian - Film News
By Brent Lang
Éric Rohmer, the french "New Wave" director behind such notable films as "Love in the Afternoon" and "My Night at Maud's" is dead, his production house announced on Monday. He was 89.
Over a career that spanned more than four decades, Rohmer was nominated for an Oscar for "Maud's" and won a best film award at the 1970 San Sebastian Film Festival for "Claire's Knee."
In addi...
Éric Rohmer, the french "New Wave" director behind such notable films as "Love in the Afternoon" and "My Night at Maud's" is dead, his production house announced on Monday. He was 89.
Over a career that spanned more than four decades, Rohmer was nominated for an Oscar for "Maud's" and won a best film award at the 1970 San Sebastian Film Festival for "Claire's Knee."
In addi...
- 1/11/2010
- by Brent Lang
- The Wrap
Eric Rohmer, one of the founders of the French New Wave cinema died on Monday at the age of 89.Along with Jean-Pierre Melville, Francois Truffaut, Jean-Luc Godard, Claude Chabrol, Agnes Varda, Alan Resnais, Jacques Rivette and Louis Malle, he helped usher in the age of modern cinema. Rohmer wrapped various themes around his 27 films, including Moral Tales, Comedies And Proverbs and Tales Of The Four Seasons, with characters often caught on the horns of moral and romantic dilemmas.He won respect and recognition for films such as 1970's Claire's Knee and 1969's My Night At Maude's, filling each of his works with genuine emotion and originality. While his output never reached box office heights, they didn't need to - he worked to move people, and succeeded brilliantly. Originally born Maurice Henri Joseph Scherer, he forged a professional name for himself by joining those of Austrian director Erich von Stroheim and English writer Sax Rohmer.
- 1/11/2010
- EmpireOnline
I don't know a lot about French director-writer Emma nuel Mouret, but judging by his romantic farce "Shall We Kiss?" I'm willing to bet that he's seen a lot of films by New Wave titan Eric Rohmer ("Pauline at the Beach," "Claire's Knee," etc.).
As in Rohmer's cerebral love stories, "Shall We Kiss?" contains talk, talk, talk (usually about sex) by attractive, upwardly mobile young people -- with an emphasis on les femmes -- lensed in a no-frills matter.
The story opens in Nantes, where a guy (Michael Cohen) picks up a...
As in Rohmer's cerebral love stories, "Shall We Kiss?" contains talk, talk, talk (usually about sex) by attractive, upwardly mobile young people -- with an emphasis on les femmes -- lensed in a no-frills matter.
The story opens in Nantes, where a guy (Michael Cohen) picks up a...
- 3/27/2009
- by By V.A. MUSETTO
- NYPost.com
MADRID -- San Sebastian Film Festival organizers said Friday they will honor French director, producer and actor Barbet Schroeder with a retrospective of his works at the 54th annual event to run Sept. 21-30. Schroeder "is a moviemaker who has always endeavored to portray the attitudes of his times," the festival said, and hailed some of the films he has directed such as Barfly, Single White Female, Kiss of Death and Reversal of Fortune, for which he received an Oscar nomination. Before turning to directing in the late 1960s, Schroeder founded a company that produced some of Eric Rohmer's earliest works including Claire's Knee, My Night at Maud's and The Collector. Organizers said the films to be shown for the retrospective will be announced later. Past honorees at the festival in northern Spain have included Woody Allen and Bette Davis.
- 6/30/2006
- The Hollywood Reporter - Movie News
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