We’re now in the month of Cannes Film Festival 2023 and they have a few more surprises up their sleeves thanks to the announcement of their Cannes Classics lineup. After being heavily rumored, it’s now confirmed a posthumous film from the legendary Jean-Luc Godard will premiere at the festival, billed as “Trailer of the film that will never exist: Phony Wars” and clocking at 20 minutes. Described as “the ultimate gesture of cinema,” Godard wrote this accompanying text: “No longer trusting the billions of diktats of the alphabet to give back their freedom to the incessant metamorphoses and metaphors of a true language by returning to the places of past shootings, while taking into account the present stories.”
Also amongst the lineup is Room 999 featuring interviews with James Gray, Rebecca Zlotowski, Claire Denis, Olivier Assayas, Nadav Lapid, Asghar Farhadi, and Alice Rohrwacher; a mini Ozo retro; Man Ray restorations scored...
Also amongst the lineup is Room 999 featuring interviews with James Gray, Rebecca Zlotowski, Claire Denis, Olivier Assayas, Nadav Lapid, Asghar Farhadi, and Alice Rohrwacher; a mini Ozo retro; Man Ray restorations scored...
- 5/5/2023
- by Leonard Pearce
- The Film Stage
Mediawan Rights doc arm previously enjoyed festival success with Kubrick By Kubrick in 2020.
Mediawan Rights has acquired international rights to bio-doc Godard Cinema, exploring the life and work of iconic French-Swiss director Jean-Luc Godard, via its documentary arm which will launch sales on the title at the EFM running February 10-17.
It marks the first title in a slate of feature documentaries suitable for theatrical release being pulled together by Arianna Castoldi, head of documentary sales for all formats within Mediawan Rights, the sales arm of burgeoning Paris-based international film and TV group Mediawan.
“Unlike the TV catalogue, which is vast,...
Mediawan Rights has acquired international rights to bio-doc Godard Cinema, exploring the life and work of iconic French-Swiss director Jean-Luc Godard, via its documentary arm which will launch sales on the title at the EFM running February 10-17.
It marks the first title in a slate of feature documentaries suitable for theatrical release being pulled together by Arianna Castoldi, head of documentary sales for all formats within Mediawan Rights, the sales arm of burgeoning Paris-based international film and TV group Mediawan.
“Unlike the TV catalogue, which is vast,...
- 2/3/2022
- by Melanie Goodfellow
- ScreenDaily
Foreplays is a column that explores under-known short films by renowned directors. Víctor Erice's La Morte Rouge (2006) is free to watch below.In his book The Cinema Hypothesis, Alain Bergala discusses the moment in childhood when a person encounters a film that will become essential in their relationship to cinema, noting that this experience is not subordinated to distinctions of taste or culture, but rather is defined by "aspects of the encounter, in its uniqueness, its unpredictability, and its power to astonish." There is perhaps no more beautiful film dealing intimately with this kind of encounter than Víctor Erice's thirty-minute essay, La Morte Rouge (2006). At the age of five, in the company of his older sister, Erice watched the first film of his life: The Scarlet Claw, a horror-mystery belonging to the Sherlock Holmes series. The screening of The Scarlet Claw is at the heart of La Morte Rouge,...
- 10/15/2018
- MUBI
The 25th entry in an on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin. “What year is it?”—the final spoken line (before a whispered name and then an almighty scream) in Twin Peaks: The Return—could be asked of many works by David Lynch. Ambiguity of historical time certainly permeated the initial run of Twin Peaks (1990/1991) which, while nominally kicking off its plot in 1989, often seemed, iconographically and atmospherically, to be taking place in the 1950s or 1960s. The finale of Twin Peaks: The Return ensured that any stable notion of a timeline is scrambled between the rapidly oscillating poles of reality and dream, the world and its double, “future and past.”Lynch’s obsessive time-scrambling is also a matter of merrily mixing up diverse cultural associations in his head. Lines from pop songs, images from films, and then vaguer or more abstract textures...
- 10/3/2017
- MUBI
The thirteenth entry in an on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin. Mubi will be showing John Cassavetes' Gloria (1980) March 23 - April 22 in the United Kingdom.You can tell a lot about filmmakers and their attitudes from the way they choose to frame a child—especially when there is also an adult in the same scene. To whom does the scene pay attention at any given moment? Whose viewpoint is covered? Who is privileged in the scene? Whose position is occupied by the camera? Shall we go the conventional shot/reverse shot route of looking down at the child from a high-angle (i.e., the senior Pov), and gazing up from a low-angle at the adult?John Cassavetes’s Gloria (1980) offers a veritable treatise on these questions—and its response is quite unlike any other film that centers on a roughly similar relationship, from...
- 4/29/2016
- by Cristina Álvarez López & Adrian Martin
- MUBI
It’s a confusing time to be a cinephile. Some mournfully toll the death knell of the medium, with the near-total cessation of celluloid projection a symbolic end-point. Others insist that the prospects for audio-visual expression have never been brighter. They point to a vast array of new platforms and settings: whether in gallery-based video installations, high-end television series, or global video-sharing websites such as YouTube. But what of the once-cherished act of seeing a feature film with an audience in a theater? Many think it will go the way of opera. Yet alongside the digital enormities of the multiplex, formally and thematically challenging work continues to be made and shown on the festival circuit and elsewhere. Spectators may be overwhelmed by the all-access buffet of content now open to them, but they also have unrivaled opportunities to immerse themselves in the 119-year history of the medium.
A similar state...
A similar state...
- 4/29/2014
- by Joshua Sperling and Daniel Fairfax
- MUBI
This is a talk given by French director of photography Caroline Champetier at the La Roche-sur-Yon International Film Festival in October 2012, originally published in two parts on the festival’s site (www.fif-85.com). This translation is being published with their kind permission. This year's festival will take place from October 16-21, Kelly Reichardt will be the guest of honor. Many thanks to Emmanuel Burdeau, programmer of the festival, Jordan Mintzer and Caroline Champetier.
Caroline Champetier: I’ve always tried to take a step back from what I’m doing. The more I work, however, the less I’m able to deal with this exercise. I just finished production on Claude Lanzmann’s The Last of the Unjust and have barely said goodbye to David Teboul, a young director who I worked with on Cinq avenue Marceau (2002), a film I think very highly of and that’s about Yves Saint Laurent’s last collection.
Caroline Champetier: I’ve always tried to take a step back from what I’m doing. The more I work, however, the less I’m able to deal with this exercise. I just finished production on Claude Lanzmann’s The Last of the Unjust and have barely said goodbye to David Teboul, a young director who I worked with on Cinq avenue Marceau (2002), a film I think very highly of and that’s about Yves Saint Laurent’s last collection.
- 9/20/2013
- by Ted Fendt
- MUBI
Weekend capped Jean-Luc Godard’s insanely productive year of 1967, and can rightly be considered the director’s Götterdämmerung. Both projects make their respective points with sledgehammer subtlety, and along with Godard’s previous features that year, 2 or 3 Things I Know About Her and La Chinoise, Weekend consummates an anti-consumerist thematic cycle.
As one of its frequent title cards proclaims, Godard approached Weekend as “a film found in a dump.” It is a Dadaist, no holds barred decimation of modern French society filled with shocking violence, Marxist theory and some really, really awful driving. Told through a series of set pieces –often with elaborate and impressive production techniques– Weekend leaves no aspect of class struggle unexplored or unscathed. As the world lurches by in fits and starts, Godard’s ever evolving absurdist tableau amuses, stuns and mystifies, casting a cinematic butterfly net over a society at war with itself.
The film...
As one of its frequent title cards proclaims, Godard approached Weekend as “a film found in a dump.” It is a Dadaist, no holds barred decimation of modern French society filled with shocking violence, Marxist theory and some really, really awful driving. Told through a series of set pieces –often with elaborate and impressive production techniques– Weekend leaves no aspect of class struggle unexplored or unscathed. As the world lurches by in fits and starts, Godard’s ever evolving absurdist tableau amuses, stuns and mystifies, casting a cinematic butterfly net over a society at war with itself.
The film...
- 11/20/2012
- by David Anderson
- IONCINEMA.com
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