Dune‘s Greig Fraser won the top film prize at the American Society of Cinematographers’ 36th annual ASC Awards, which were handed out tonight in Hollywood.
Denis Villeneuve’s epic based on the classic Frank Herbert novel was one of the two films coming into tonight with the most momentum, having won the cinematography prize at the BAFTA Film Awards last week. It beat out The Power of the Dog, which fetched the Critics Choice Award that same day.
Katelin Arizmendi, the second unit Dp on Dune, accepted the award for Fraser, who recently tested positive for Covid and was unable to attend the ceremony. Arizmendi read a speech from Fraser, who ASC win for Outstanding Achievement in Cinematography in Theatrical Releases was his second after 2017’s Lion.
The other nominees for the marquee film prize were Ari Wegner for The Power of the Dog, Bruno Delbonnel for The Tragedy of Macbeth,...
Denis Villeneuve’s epic based on the classic Frank Herbert novel was one of the two films coming into tonight with the most momentum, having won the cinematography prize at the BAFTA Film Awards last week. It beat out The Power of the Dog, which fetched the Critics Choice Award that same day.
Katelin Arizmendi, the second unit Dp on Dune, accepted the award for Fraser, who recently tested positive for Covid and was unable to attend the ceremony. Arizmendi read a speech from Fraser, who ASC win for Outstanding Achievement in Cinematography in Theatrical Releases was his second after 2017’s Lion.
The other nominees for the marquee film prize were Ari Wegner for The Power of the Dog, Bruno Delbonnel for The Tragedy of Macbeth,...
- 3/21/2022
- by Erik Pedersen
- Deadline Film + TV
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSAbove: Marlon Brando and Willy Kurant on the set of The Night of the Following Day (1969). The great Belgian cinematographer Willy Kurant has died. During his illustrious career, Kurant worked on films including Agnès Varda's The Creatures, Jean-Luc Godard's Masculin Feminin, and Orson Welles' The Immortal Story. David Cronenberg has confirmed the title of his next feature film, Crimes of the Future. Sharing the same title as his film from 1970, the film is set to star Kristen Stewart, Lea Seydoux, and Viggo Mortensen.Robert Haller, the Anthology Film Archives Director of Libraries, has also died. As Afa points out in its tribute to Haller, "with 35 years at Anthology all told, only Afa’s founder Jonas Mekas could claim seniority over Haller!" After more than 100 years, Technicolor Post has announced its integration into Streamland Media's postproduction services,...
- 5/5/2021
- MUBI
Hubert Cornfield’s smoothly directed, moody kidnapping story is mysterious, engaging and well acted, but opts for an anti-thriller vibe with a curiously unsatisfying ending. Was this really the plan, or did the irksomely capricious Marlon Brando just not want to cooperate with the director? Brando is terrific anyway. The well-cast Rita Moreno, Richard Boone and Pamela Franklin are short-changed by directorial and editorial decisions that don’t give us enough of a purchase on the characters. The overcast weather on the French coast is a plus, but not the director’s choice of a downbeat, arty finish.
The Night of the Following Day
Blu-ray
Kl Studio Classics
1969 / Color / 1:85 widescreen / 93 min. / Street Date May 25, 2021 / available through Kino Lorber / 24.95
Starring: Marlon Brando, Richard Boone, Rita Moreno, Pamela Franklin,
Jess Hahn, Gérard Buhr, Hugues Wanner, Jacques Marin, Al Lettieri.
Cinematography: Willy Kurant
Film Editor: Gordon Pilkington
Art Direction Jean Boulet
Original...
The Night of the Following Day
Blu-ray
Kl Studio Classics
1969 / Color / 1:85 widescreen / 93 min. / Street Date May 25, 2021 / available through Kino Lorber / 24.95
Starring: Marlon Brando, Richard Boone, Rita Moreno, Pamela Franklin,
Jess Hahn, Gérard Buhr, Hugues Wanner, Jacques Marin, Al Lettieri.
Cinematography: Willy Kurant
Film Editor: Gordon Pilkington
Art Direction Jean Boulet
Original...
- 5/1/2021
- by Glenn Erickson
- Trailers from Hell
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
David’s Quick Take for the tl;dr Media Consumer:
This subdued hour long late-career enigma from Orson Welles initially feels a bit sad and anti-climactic when it’s presented as his “final completed fictional feature” (as stated on the back of the new Criterion Collection release.) A quiet, languidly paced adaptation of an Isak Dinesen short story, there’s very little action to stimulate the senses much of the time, with most lines delivered by actors sitting down, standing still and speaking rather quietly. When the tension ramps up a bit toward the end, the self-conscious art house touches run a great risk of falling flat and coming across as unintentionally comical. But the excellent 4K restoration, a well-curated selection of supplemental features, and above all else, the compelling presentation of a great man and cultural innovator entering his artistic decline makes the new Blu-ray package of The Immortal Story...
This subdued hour long late-career enigma from Orson Welles initially feels a bit sad and anti-climactic when it’s presented as his “final completed fictional feature” (as stated on the back of the new Criterion Collection release.) A quiet, languidly paced adaptation of an Isak Dinesen short story, there’s very little action to stimulate the senses much of the time, with most lines delivered by actors sitting down, standing still and speaking rather quietly. When the tension ramps up a bit toward the end, the self-conscious art house touches run a great risk of falling flat and coming across as unintentionally comical. But the excellent 4K restoration, a well-curated selection of supplemental features, and above all else, the compelling presentation of a great man and cultural innovator entering his artistic decline makes the new Blu-ray package of The Immortal Story...
- 9/3/2016
- by David Blakeslee
- CriterionCast
Orson Welles' French TV show with Jeanne Moreau is a near-masterpiece, directed with assurance and style. It's the filmmaker's first color feature, and his last completed fictional feature. The Immortal Story Blu-ray The Criterion Collection 831 1968 / Color / 1:66 widescreen / 58 min. / Histoire immortelle / available through The Criterion Collection / Street Date August 30, 2016 / 39.95 Starring Jeanne Moreau, Orson Welles, Roger Coggio, Norman Eshley, Fernando Rey. Cinematography Willy Kurant Film Editors Yolande Maurette, Marcelle Pluet, Françoise Garnault, Claude Farny Music selections Eric Satie Based on a novel by Isak Dinesen Produced by Micheline Rozan Written and Directed by Orson Welles
Reviewed by Glenn Erickson
The Criterion Collection's Blu-ray of The Immortal Story took me completely by surprise. I bailed out of a viewing long ago on Los Angeles' 'Z' Channel cable station, mainly because it looked terrible -- grainy and washed out. I thought I was watching a faded print that had been blown up from 16mm.
Reviewed by Glenn Erickson
The Criterion Collection's Blu-ray of The Immortal Story took me completely by surprise. I bailed out of a viewing long ago on Los Angeles' 'Z' Channel cable station, mainly because it looked terrible -- grainy and washed out. I thought I was watching a faded print that had been blown up from 16mm.
- 8/22/2016
- by Glenn Erickson
- Trailers from Hell
Dailies is a round-up of essential film writing, news bits, videos, and other highlights from across the Internet. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.
Watch a clip from Quentin Tarantino‘s commencement speech at AFI this year:
Catherine Deneuve will receive the 2016 Lumière Award and Alejandro Jodorowsky will get the Locarno Film Festival’s Leopard of Honor.
At BFI, Pedro Almodóvar on 13 great Spanish films that inspired him, and watch a video on his use of circles:
Blancanieves is one of the peaks in recent Spanish cinema, but had the bad luck to be released a year after The Artist (2011), a silent film that triumphed the world over. Pablo Berger had in fact decided years earlier to film his personal take on the Brothers Grimm fairytale as a black-and-white silent; the result is heartrendingly beautiful.
Watch a clip from Quentin Tarantino‘s commencement speech at AFI this year:
Catherine Deneuve will receive the 2016 Lumière Award and Alejandro Jodorowsky will get the Locarno Film Festival’s Leopard of Honor.
At BFI, Pedro Almodóvar on 13 great Spanish films that inspired him, and watch a video on his use of circles:
Blancanieves is one of the peaks in recent Spanish cinema, but had the bad luck to be released a year after The Artist (2011), a silent film that triumphed the world over. Pablo Berger had in fact decided years earlier to film his personal take on the Brothers Grimm fairytale as a black-and-white silent; the result is heartrendingly beautiful.
- 6/20/2016
- by The Film Stage
- The Film Stage
Section to include world premiere of Bertrand Tavernier doc; a cinema masterclass with William Friedkin and a tribute to documentary giants Raymond Depardon and Frederick Wiseman.
Bertrand Tavernier’s documentary about French cinema Voyage à Travers le Cinéma Français will receive a world premiere at the Cannes Classic section of the Cannes Film Festival (May 11-22).
The revered French filmmaker has described his latest work as an expression of “gratitude to all the filmmakers, writers, actors and musicians that have appeared suddenly in my life.”
Voyage à Travers le Cinéma Français is a Little Bear-Gaumont-Pathé co-production and was made in participation with Canal+, Cine+ and the Sacem, with the support of Région Ile-de-France and Cnc. Gaumont will handle international sales and Pathé have distribution in France. The film will be released in theaters in October 2016.
As in previous years, Cannes Classic will also feature nine documentaries about cinema and restored prints of 20 international classics including rare gems...
Bertrand Tavernier’s documentary about French cinema Voyage à Travers le Cinéma Français will receive a world premiere at the Cannes Classic section of the Cannes Film Festival (May 11-22).
The revered French filmmaker has described his latest work as an expression of “gratitude to all the filmmakers, writers, actors and musicians that have appeared suddenly in my life.”
Voyage à Travers le Cinéma Français is a Little Bear-Gaumont-Pathé co-production and was made in participation with Canal+, Cine+ and the Sacem, with the support of Région Ile-de-France and Cnc. Gaumont will handle international sales and Pathé have distribution in France. The film will be released in theaters in October 2016.
As in previous years, Cannes Classic will also feature nine documentaries about cinema and restored prints of 20 international classics including rare gems...
- 4/20/2016
- ScreenDaily
Section to include a cinema masterclass with William Friedkin, the 70th anniversary of the Fipresci prize, a tribute to documentary giants Raymond Depardon and Frederick Wiseman and the double Palme d’Or of 1966.
Bertrand Tavernier’s documentary about French cinema Voyage à Travers le Cinéma Français will receive a world premiere at the Cannes Classic section of the Cannes Film Festival (May 11-22).
The legendary French filmmaker has described his latest work as an expression of “gratitude to all the filmmakers, writers, actors and musicians that have appeared suddenly in my life.”
Voyage à Travers le Cinéma Français is a Little Bear-Gaumont-Pathé co-production and was made in participation with Canal+, Cine+ and the Sacem, with the support of Région Ile-de-France and Cnc. Gaumont will handle international sales and Pathé have distribution in France. The film will be released in theaters in October 2016.
As in previous years, Cannes Classic will also feature nine documentaries about cinema and restored...
Bertrand Tavernier’s documentary about French cinema Voyage à Travers le Cinéma Français will receive a world premiere at the Cannes Classic section of the Cannes Film Festival (May 11-22).
The legendary French filmmaker has described his latest work as an expression of “gratitude to all the filmmakers, writers, actors and musicians that have appeared suddenly in my life.”
Voyage à Travers le Cinéma Français is a Little Bear-Gaumont-Pathé co-production and was made in participation with Canal+, Cine+ and the Sacem, with the support of Région Ile-de-France and Cnc. Gaumont will handle international sales and Pathé have distribution in France. The film will be released in theaters in October 2016.
As in previous years, Cannes Classic will also feature nine documentaries about cinema and restored...
- 4/20/2016
- ScreenDaily
Now that most of the Cannes Film Festival 2016 line-up has been settled when it comes to new premieres, their Cannes Classics sidebar of restored films is not only a treat for those attending, but a hint at what we can expect to arrive at repertory theaters and labels like Criterion in the coming years.
Today they’ve unveiled their line-up, which is toplined by Bertrand Tavernier‘s new 3-hour and 15-minute documentary about French cinema, Voyage à travers le cinéma français. They will also be screening William Friedkin‘s Sorcerer following his masterclass. Along with various documentaries, both classics in the genre and ones about films, they will also premiere new restorations of Andrei Tarkovsky‘s Solaris, Jean-Luc Godard‘s Masculin féminin, two episodes of Krzysztof Kieślowski‘s The Decalogue, as well as films from Kenji Mizoguchi, Marlon Brando, Jacques Becker, Mario Bava, and more.
Check out the line-up below.
Today they’ve unveiled their line-up, which is toplined by Bertrand Tavernier‘s new 3-hour and 15-minute documentary about French cinema, Voyage à travers le cinéma français. They will also be screening William Friedkin‘s Sorcerer following his masterclass. Along with various documentaries, both classics in the genre and ones about films, they will also premiere new restorations of Andrei Tarkovsky‘s Solaris, Jean-Luc Godard‘s Masculin féminin, two episodes of Krzysztof Kieślowski‘s The Decalogue, as well as films from Kenji Mizoguchi, Marlon Brando, Jacques Becker, Mario Bava, and more.
Check out the line-up below.
- 4/20/2016
- by Jordan Raup
- The Film Stage
Philippe Garrel’s In The Shadow of Women is his Jacques Rivette film: a work of masks, intrigues, labyrinthine deceptions and power games...but applied to the most intimate of relationships. So too is it thus a 69 minute long miracle of economy: We will see the meanings of these frames later. As Garrel says in his press conference: "For me, In The Shadow of Women is a film about the equality of men and women in as far as cinema can achieve this."And insofar as it is a meditation on equality between men and women, it too is also in dialogue with cinema itself.“...a history of cinema as communication between man and woman.” – Garrel, New York 2015 A good alternate title would be: Now, how do we get from point A to point B? “I also use images from my dreams. I am looking for a form of oneirism...
- 1/25/2016
- by Neil Bahadur
- MUBI
Philippe Garrel. Photo by Darren Hughes.There’s no exact equivalent in film history for Philippe Garrel’s “family cinema,” as he calls it here. To immerse oneself in his work is to watch Garrel and those he loves (parents, partners, children) be transformed by age and experience, while their passions and preoccupations—that particular Garrelian amour fou—persist.After several decades during which Garrel’s films saw limited distribution and exhibition in North America, he's now experiencing something of a revival. Over the span of three days at the Toronto International Film Festival I enjoyed an impromptu Garrel family retrospective. In the Cinematheque program, Tiff debuted its recently-commissioned 35mm print of Jacques Rozier’s first film, Adieu Philippine (1962), which features a middle-aged Maurice Garrel in a supporting role. Actua 1 (1968), Philippe Garrel’s long-lost short documentary of the May ’68 protests, screened in the Wavelengths section, also in a new print.
- 1/13/2016
- by Darren Hughes
- MUBI
Soak up the Sun: Pialat’s Palme d’Or Winning Spiritual Anguish
As part of Cohen Media Group’s Maurice Pialat retrospective, perhaps the most significant title showcased in the lineup is his infamous 1987 title, Under the Sun of Satan. Instantly reviled after winning the coveted Palme d’Or at the Cannes Film Festival (with a jury made up of such heavy-hitters as Elem Klimov, Jerzy Skolimowski, Theo Angelopoulos, and Norman Mailer), where Pialat was jeered by a disapproving crowd, the title quickly lapsed into obscurity following a continually tepid critical reception.
Perhaps Pialat’s austere and increasingly deliberate examination of mental and spiritual anguish told through the perspective of a bumbling priest whose blasphemous predicament proves only the presence of Satan rather than God was as simultaneously too old fashioned as it was inconveniently provocative. Based on a 1927 novel by French author Georges Bernanos, Pialat’s treatment does seem...
As part of Cohen Media Group’s Maurice Pialat retrospective, perhaps the most significant title showcased in the lineup is his infamous 1987 title, Under the Sun of Satan. Instantly reviled after winning the coveted Palme d’Or at the Cannes Film Festival (with a jury made up of such heavy-hitters as Elem Klimov, Jerzy Skolimowski, Theo Angelopoulos, and Norman Mailer), where Pialat was jeered by a disapproving crowd, the title quickly lapsed into obscurity following a continually tepid critical reception.
Perhaps Pialat’s austere and increasingly deliberate examination of mental and spiritual anguish told through the perspective of a bumbling priest whose blasphemous predicament proves only the presence of Satan rather than God was as simultaneously too old fashioned as it was inconveniently provocative. Based on a 1927 novel by French author Georges Bernanos, Pialat’s treatment does seem...
- 9/29/2015
- by Nicholas Bell
- IONCINEMA.com
Cold Day in the Park: Garrel’s Green Monster in Black and White
Director Philippe Garrel returns to his prized black and white format for a somewhat cohesive narrative exploring the titular emotion, Jealousy. Reuniting with son Louis Garrel, the film is informed by several familial experiences, whereby the young Garrel is actually reenacting moments from his own grandfather’s life. As meta as this promises to be, as is customary with Garrel, a focus on sharply observed and seemingly banal incidents are threaded together to somewhat clinical, disconnected effect, as if to experimentally dismantle the passionate fury fueling familial and romantic relationships. The end result is a mixed bag of visually articulate highpoints amidst of sea of stagnant moments.
A teary woman, Clothilde (Rebecca Covenant), begs her spouse Louis, (Louis Garrel) not to leave as their daughter Charlotte (Olga Milshtein) watches through a key hole. It’s the end of their relationship,...
Director Philippe Garrel returns to his prized black and white format for a somewhat cohesive narrative exploring the titular emotion, Jealousy. Reuniting with son Louis Garrel, the film is informed by several familial experiences, whereby the young Garrel is actually reenacting moments from his own grandfather’s life. As meta as this promises to be, as is customary with Garrel, a focus on sharply observed and seemingly banal incidents are threaded together to somewhat clinical, disconnected effect, as if to experimentally dismantle the passionate fury fueling familial and romantic relationships. The end result is a mixed bag of visually articulate highpoints amidst of sea of stagnant moments.
A teary woman, Clothilde (Rebecca Covenant), begs her spouse Louis, (Louis Garrel) not to leave as their daughter Charlotte (Olga Milshtein) watches through a key hole. It’s the end of their relationship,...
- 8/14/2014
- by Nicholas Bell
- IONCINEMA.com
It's been two years on the dot since Maurice Garrel and his grandson Louis were last paired on screen in the criminally misunderstood Un été brûlant, an elaborate treatise on authenticity and imitation, as well as on experience and its reluctance to be imparted. In the film's final scene, Philippe Garrel bestows a generous gift on the medium as such when Maurice's ghost visits the dying youth in a hospital room to tell stories about his involvement in the Resistance and miraculous survival on the battlefield. The actor died shortly before the film was completed. Basking in the bright sunshine, the old man, all pigment spots and with an incessant tick, is playing the part of a dead man, all the while professing his love of life.
La jalousie (Jealousy) finds Louis Garrel back in the hospital where he lies motionless, oxygen mask over his face, recovering from a failed suicide attempt.
La jalousie (Jealousy) finds Louis Garrel back in the hospital where he lies motionless, oxygen mask over his face, recovering from a failed suicide attempt.
- 10/3/2013
- by Boris Nelepo
- MUBI
A Burning Hot Summer features another of Philippe Garrel's unforgettable dance sequences. (Who can forget "This Time Tomorrow" in Les amants réguliers?) Here the song is Dirty Pretty Things' "Truth Begins," the actors include Monica Bellucci and Louis Garrel and it is photographed in vibrant color by the great Willy Kurant (Masculin Féminin, Under the Sun of Satan, Pootie Tang).
Garrel's new film is being released in the U.S. from IFC Films this Friday exclusively at the IFC Center in Manhattan, and is available nationwide in the U.S. on demand via Sundance Selects, plus digital outlets iTunes, Amazon Streaming, SundanceNOW, Xbox and PS3....
Garrel's new film is being released in the U.S. from IFC Films this Friday exclusively at the IFC Center in Manhattan, and is available nationwide in the U.S. on demand via Sundance Selects, plus digital outlets iTunes, Amazon Streaming, SundanceNOW, Xbox and PS3....
- 6/28/2012
- MUBI
This is a reprint of our review from the Venice Film Festival.
There are certain cliches associated with European cinema -- they're not necessarily always accurate, but they do exist. Ask a layman -- a well educated, smart, nice person who might not be quite as subtitle-happy as you or I -- what they imagine they might see in, say, an average French film, and a number of things might come up. Characters who are constantly having extra-marital affairs, for instance. A vaguely homoerotic relationship between two friends. Unbroken four-to-five minute takes. Dialogue talking about 'the revolution.' An actress, perhaps Monica Bellucci, taking her clothes off within the first 45 seconds.
If you were to take this layman's thoughts and turn them into a screenplay, you'd end up with "A Burning Hot Summer," the latest from Venice Film Festival favorite Philippe Garrel. Ostensibly, it's a film about male friendship: Paul...
There are certain cliches associated with European cinema -- they're not necessarily always accurate, but they do exist. Ask a layman -- a well educated, smart, nice person who might not be quite as subtitle-happy as you or I -- what they imagine they might see in, say, an average French film, and a number of things might come up. Characters who are constantly having extra-marital affairs, for instance. A vaguely homoerotic relationship between two friends. Unbroken four-to-five minute takes. Dialogue talking about 'the revolution.' An actress, perhaps Monica Bellucci, taking her clothes off within the first 45 seconds.
If you were to take this layman's thoughts and turn them into a screenplay, you'd end up with "A Burning Hot Summer," the latest from Venice Film Festival favorite Philippe Garrel. Ostensibly, it's a film about male friendship: Paul...
- 6/28/2012
- by Oliver Lyttelton
- The Playlist
Blu-ray may give us unimaginable levels of sharpness in picture quality, but movies can suffer from too much information – like a magician who reveals his tricks
Right now, in my apartment, there are just over 900 DVDs, arranged alphabetically by title on a tall row of shelves in my living room. Not one of them is Blu-ray, nor are they likely to be.
Blu-ray was a necessary commercial development for a sell-through DVD market that was starting to plateau; it arrived, like the Millennium Falcon, in the proverbial nick of time. Yes, it cost more – demanding that the passionate cinephile shell out to upgrade his or her collection – but it also offered more: hitherto unimaginable levels of visual and audio excellence. I don't doubt that the format, with its superior resolution (1080p to 480p), its higher compression rates, looks better than conventional DVD technology: sharper, cleaner, more richly detailed.
This might,...
Right now, in my apartment, there are just over 900 DVDs, arranged alphabetically by title on a tall row of shelves in my living room. Not one of them is Blu-ray, nor are they likely to be.
Blu-ray was a necessary commercial development for a sell-through DVD market that was starting to plateau; it arrived, like the Millennium Falcon, in the proverbial nick of time. Yes, it cost more – demanding that the passionate cinephile shell out to upgrade his or her collection – but it also offered more: hitherto unimaginable levels of visual and audio excellence. I don't doubt that the format, with its superior resolution (1080p to 480p), its higher compression rates, looks better than conventional DVD technology: sharper, cleaner, more richly detailed.
This might,...
- 8/31/2010
- by Shane Danielsen
- The Guardian - Film News
Avant-garde French cinematographer at the heart of the new wave
For 45 years, the French cinematographer William Lubtchansky, who has died of heart disease aged 72, put his talents at the disposal of the most challenging, intellectually inquiring, uncompromisingly brilliant film directors who emerged with the French new wave. Lubtchansky worked with Jean-Luc Godard (six times), although they fell out, made up and fell out again; the husband and wife team of Jean-Marie Straub and Danièle Huillet (11 times); and Jacques Rivette (14 times).
Although these directors differed in their approaches and sensibilities, they were united in their irreverent, generally unsentimental treatment of character, their existential attitude to society and to human behaviour, and their experiments with filmic space and time. They questioned cinema itself by drawing attention to the conventions used in film-making and quoting from the other arts. They presented an alternative to Hollywood by consciously breaking its conventions while at the...
For 45 years, the French cinematographer William Lubtchansky, who has died of heart disease aged 72, put his talents at the disposal of the most challenging, intellectually inquiring, uncompromisingly brilliant film directors who emerged with the French new wave. Lubtchansky worked with Jean-Luc Godard (six times), although they fell out, made up and fell out again; the husband and wife team of Jean-Marie Straub and Danièle Huillet (11 times); and Jacques Rivette (14 times).
Although these directors differed in their approaches and sensibilities, they were united in their irreverent, generally unsentimental treatment of character, their existential attitude to society and to human behaviour, and their experiments with filmic space and time. They questioned cinema itself by drawing attention to the conventions used in film-making and quoting from the other arts. They presented an alternative to Hollywood by consciously breaking its conventions while at the...
- 5/12/2010
- by Ronald Bergan
- The Guardian - Film News
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