The Mother and the Whore.Jean Eustache orbited the world of criticism without ever fully falling into it. His intellectual biographer, Alain Philippon, describes him as a marginal figure at Cahiers du Cinéma in the 1960s and yet actively involved in the debates unfolding in its offices.1 Though Eustache was close with future Cahiers editor-in-chief Jean-Louis Comolli and the magazine championed his films from the start, his critical output was minuscule. He started contributing to Cahiers only after completing his first short, Bad Company (1963). Even then, he wrote little, publishing a few brief pieces on some early films by Paul Vecchiali, Jean-Daniel Pollet, and Costa-Gavras. Luc Moullet would later admit that prior to Bad Company, he thought him the only person at Cahiers “that had absolutely nothing to do with the movies.”2 Indeed, Eustache was often at the offices to pick up his wife, who was employed as a secretary at the magazine.
- 2/26/2024
- MUBI
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSDavid Warner in The Wars of the Roses.David Warner, who died earlier this week, is warmly paid tribute to by artist and filmmaker Tacita Dean in the Guardian. In the piece, Dean talks about her admiration for the actor's performance in Alain Resnais' Providence and how she convinced him to star in her own film of the same name.Mary Alice also passed away this week, aged 85. A Tony- and Emmy-winning actor, Alice was known for her roles in Charles Burnett’s To Sleep With Anger, Brian De Palma’s The Bonfire of the Vanities, and Penny Marshall's Awakenings, among many other performances on both stage and screen.As part of a series of events investigating "the new languages of the contemporary," the Locarno Film Festival will host a 24-hour-long talk titled "The Future of Attention,...
- 8/3/2022
- MUBI
Martine Marignac, the French producer who worked with a myriad of iconic directors including Jacques Rivette, Jean-Luc Godard and Leos Carax, has died in France at the age of 75.
Born in 1946, Marignac broke into cinema in the 1970s as a press attaché, working for seven years alongside Simon Mizrahi, the cinephile and publicist who witnessed the birth of the New Wave and then helped put its directors on the map.
Marignac moved into production in the early 1980s with the creation of the film collective La Cecilia. She took inspiration for the collective’s name from the Cecilia Colony in Brazil founded by a group of Italian anarchists in the late 19th Century.
Under this banner, she began her long-time working relationship with Rivette, taking credits on his 1981 film Pont De Nord. Other credits during this period included Godard’s Passion, Jean-Louis Comolli’s Balles Perdues and Chantal Akerman’s Golden Eighties.
Born in 1946, Marignac broke into cinema in the 1970s as a press attaché, working for seven years alongside Simon Mizrahi, the cinephile and publicist who witnessed the birth of the New Wave and then helped put its directors on the map.
Marignac moved into production in the early 1980s with the creation of the film collective La Cecilia. She took inspiration for the collective’s name from the Cecilia Colony in Brazil founded by a group of Italian anarchists in the late 19th Century.
Under this banner, she began her long-time working relationship with Rivette, taking credits on his 1981 film Pont De Nord. Other credits during this period included Godard’s Passion, Jean-Louis Comolli’s Balles Perdues and Chantal Akerman’s Golden Eighties.
- 7/18/2022
- by Melanie Goodfellow
- Deadline Film + TV
Jean-Pierre Melville in his own film, Two Men in Manhattan“A man isn't tiny or giant enough to defeat anything”—Yukio MishimaA voracious cinephile in his early youth, Jean-Pierre Grumbach's daily intake of films was interrupted by the Second World War when he enlisted in the Ffl (Forces Français Libres) and adopted the nom de guerre by which he's still known to these days: Jean-Pierre Melville. A tribute to his literary hero, Hermann Melville, and his novel Pierre: or the Ambiguities, the director would have his name officially changed after the war. The latter was to shape and inform many of his films and arguably all of his world-view, characterized by a sort of ethical cynicism where anti-fascism is understood as a moral duty rather than an act of heroic courage. Profoundly anti-rhetoric and filled with a terse dignity, his films about the Resistance, Army of Shadows (1969) above all,...
- 5/1/2017
- MUBI
Is it possible to make a documentary about the future? Following a widely-praised festival run that included screenings at Locarno, Tiff, and Nyff, Isiah Medina’s debut feature 88:88 was recently made available on YouTube. Since then, I’ve encountered questions asking whether or not 88:88 is a collapse or amalgamation of modern technology, and the seemingly contradictory nature of such inquiries emphasizes only a portion of the blurring of distinctions Medina’s cinema orchestrates. The Head of Programming at Locarno, Mark Peranson, called Medina the “most adventurous and contemporary practitioner of the avant-garde of his generation.” Perhaps the most contemporary avant-garde filmmaker is the most suited to draw the cinematic contours of our collective future. Medina is now in the process of adapting Nick Srnicek and Alex Williams’s Inventing the Future, a manifesto that insists on the emancipatory role of technology as we push towards the full automation of labor.
- 4/21/2017
- MUBI
The European filmmaker directed a series of deceptively complex melodramas in the 1950s.“This is the dialectic — there is a very short distance between high art and trash, and trash that contains an element of craziness is by this very quality nearer to art” — Douglas Sirk
Douglas Sirk was born in Germany in 1900, and began his career in the early 1920s working in theater. In 1922, he directed his first production — an adaptation of Hermann Bossdorf’s Stationmaster Death, and from then on he became one of the most respected theater directors in Weimar Germany. Then, in 1934, he took a job as a film director at Ufa, the biggest studio in Germany at the time.
In 1941, Sirk left Germany and began working as a director in Hollywood. His early films, such as the WWII drama Hitler’s Madman (1942) have largely been forgotten. These early films varied in genre — he directed war films (Mystery Submarine), historical dramas (A Scandal in Paris), film...
Douglas Sirk was born in Germany in 1900, and began his career in the early 1920s working in theater. In 1922, he directed his first production — an adaptation of Hermann Bossdorf’s Stationmaster Death, and from then on he became one of the most respected theater directors in Weimar Germany. Then, in 1934, he took a job as a film director at Ufa, the biggest studio in Germany at the time.
In 1941, Sirk left Germany and began working as a director in Hollywood. His early films, such as the WWII drama Hitler’s Madman (1942) have largely been forgotten. These early films varied in genre — he directed war films (Mystery Submarine), historical dramas (A Scandal in Paris), film...
- 4/5/2017
- by Angela Morrison
- FilmSchoolRejects.com
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
Andre Techine
This new column for Sound on Sight will feature Cahiers du Cinema critics-turned-filmmakers. However, it will not cover the infamous New Wave directors, but four other filmmakers who wrote for the journal and subsequently became directors. What follows is a brief history of the journal and its association with the four filmmakers that will be covered in this column.
I. A Brief History of Cahiers du Cinema
Cahiers du Cinema has been a prominent film journal for the last 60 years, famous for introducing the concept of les politiques des auteurs, which became the auteur theory in North America thanks to Andrew Sarris, and more famous for playing a major role in the French New Wave. The journal has gone through many shifts and turns, beginning with Andre Bazin as the editor-in-chief to the current editor-in-chief Stephane Delorme.
The history of the journal can be broken into six periods:...
This new column for Sound on Sight will feature Cahiers du Cinema critics-turned-filmmakers. However, it will not cover the infamous New Wave directors, but four other filmmakers who wrote for the journal and subsequently became directors. What follows is a brief history of the journal and its association with the four filmmakers that will be covered in this column.
I. A Brief History of Cahiers du Cinema
Cahiers du Cinema has been a prominent film journal for the last 60 years, famous for introducing the concept of les politiques des auteurs, which became the auteur theory in North America thanks to Andrew Sarris, and more famous for playing a major role in the French New Wave. The journal has gone through many shifts and turns, beginning with Andre Bazin as the editor-in-chief to the current editor-in-chief Stephane Delorme.
The history of the journal can be broken into six periods:...
- 9/10/2013
- by Cody Lang
- SoundOnSight
Starting July 13th and running through September 2nd, prepare yourself to be transported to a summer vacation in France. All you have to do is check in at Tiff Cinematheque (350 King Street West, Toronto).
The 41-film sabbatical will make take you to popular and renowned destinations that include Jean-Luc Godard’s Pierrot le Fou (1965), Luis Buñuel’s Belle de Jour (1967), François Truffaut’s The 400 Blows (1959), and Jean Renoir’s La Grande Illusion (1937).
We’ll even be making stops at more remote, recherché locations, such as Jean Eustache’s The Mother and the Whore (1973) and Jean-Pierre Melville’s Army of Shadows (1969).
Remember to pack lightly, re-schedule accordingly, and prepare for the ultimate staycation. Bon voyage!
Screenings include:
La Grand Illusion (1937)
Friday July 13 at 6:00 Pm
Sunday July 22 at 7:30 Pm
117 minutes
Heralded as “one of the fifty best films in the history of cinema” by Time Out Film Guide, Jean Renoir...
The 41-film sabbatical will make take you to popular and renowned destinations that include Jean-Luc Godard’s Pierrot le Fou (1965), Luis Buñuel’s Belle de Jour (1967), François Truffaut’s The 400 Blows (1959), and Jean Renoir’s La Grande Illusion (1937).
We’ll even be making stops at more remote, recherché locations, such as Jean Eustache’s The Mother and the Whore (1973) and Jean-Pierre Melville’s Army of Shadows (1969).
Remember to pack lightly, re-schedule accordingly, and prepare for the ultimate staycation. Bon voyage!
Screenings include:
La Grand Illusion (1937)
Friday July 13 at 6:00 Pm
Sunday July 22 at 7:30 Pm
117 minutes
Heralded as “one of the fifty best films in the history of cinema” by Time Out Film Guide, Jean Renoir...
- 7/2/2012
- by Justin Li
- SoundOnSight
A red letter day. There's a new Senses of Cinema out and it opens with the first part of Daniel Fairfax's interview with Jean-Louis Comolli, who edited Cahiers du cinéma from 1965 to 1973. Senses editor Rolando Caputo: "At the time, Cahiers was undergoing its so-called 'Marxist-Leninist' phase, with a heavy overlay of Lacanian psychoanalytic theory." And Slavoj Žižek would have been in his late teens, early 20s. At any rate: "Put simply, at stake was the demystification of the 'cinematic apparatus' to demonstrate how ideology was both embedded within the technology of cinema and an effect of its representational modes."
Fairfax: "Having steadily made films over the last 40 years — including the magisterial series on the French electoral machine, Marseille contre Marseille (1996) — Comolli has also pursued a prolonged theoretical pre-occupation with the cinema, which, in various ways, is profoundly defined by his earlier participation in Cahiers. Refreshingly, he has never sought to repudiate his radical past,...
Fairfax: "Having steadily made films over the last 40 years — including the magisterial series on the French electoral machine, Marseille contre Marseille (1996) — Comolli has also pursued a prolonged theoretical pre-occupation with the cinema, which, in various ways, is profoundly defined by his earlier participation in Cahiers. Refreshingly, he has never sought to repudiate his radical past,...
- 3/20/2012
- MUBI
Jacques Rancière, Philippe Lafosse and the public in conversation about Straub-Huillet after a screening of From the Clouds to the Resistance and Workers, Peasants
Monday, February 16, 2004, Jean Vigo Cinema, Nice, France
Above: From the Clouds to the Resistance.
Philippe Lafosse: It seemed interesting to us, after having seen twelve films by Jean-Marie Straub and Danièle Huillet and talked about them together, to ask another viewer, a philosopher and cinephile, to talk to us about these filmmakers. Jacques Rancière is with us this evening to tackle a subject that we’ve entitled “Politics and Aesthetics in the Straubs’ Films,” knowing that we could then look into other points.
Jacques Ranciere: First, a word apropos the “and” of “Politics and Aesthetics”: this doesn’t mean that there’s art on the one hand and politics on the other, or that there would be a formal procedure on the one hand and political messages on the other.
Monday, February 16, 2004, Jean Vigo Cinema, Nice, France
Above: From the Clouds to the Resistance.
Philippe Lafosse: It seemed interesting to us, after having seen twelve films by Jean-Marie Straub and Danièle Huillet and talked about them together, to ask another viewer, a philosopher and cinephile, to talk to us about these filmmakers. Jacques Rancière is with us this evening to tackle a subject that we’ve entitled “Politics and Aesthetics in the Straubs’ Films,” knowing that we could then look into other points.
Jacques Ranciere: First, a word apropos the “and” of “Politics and Aesthetics”: this doesn’t mean that there’s art on the one hand and politics on the other, or that there would be a formal procedure on the one hand and political messages on the other.
- 11/7/2011
- MUBI
Jean-Luc Godard, 1965
No film-maker of the 60s embodies that tumultuous decade as thoroughly as Jean-Luc Godard, whose ceaseless, unresting innovation led others into a new realm of radical politics and extreme formal experimentation. But few could match his invention and idiosyncrasy – by the end of the decade Pauline Kael noted: "The corpses of his imitators littered the world's film festivals."
Alphaville is one of his more approachable works, a sort of retro-futuristic noir that partakes equally of Raymond Chandler, Jean Cocteau and Leon Trotsky. It offers an inspiration for the dystopian futurescape of Ridley Scott's Blade Runner, and has strong parallels with John Boorman's Point Blank (both films could happily have used Alphaville's original title: Tarzan Vs Ibm).
Sam Spade-like shamus Lemmy Caution arrives in Alphaville – a modernist, steel-and-glass Paris by night, as captured by Nouvelle Vague cinematographer Raoul Coutard – to confront its logic-based, computer-governed reality and...
No film-maker of the 60s embodies that tumultuous decade as thoroughly as Jean-Luc Godard, whose ceaseless, unresting innovation led others into a new realm of radical politics and extreme formal experimentation. But few could match his invention and idiosyncrasy – by the end of the decade Pauline Kael noted: "The corpses of his imitators littered the world's film festivals."
Alphaville is one of his more approachable works, a sort of retro-futuristic noir that partakes equally of Raymond Chandler, Jean Cocteau and Leon Trotsky. It offers an inspiration for the dystopian futurescape of Ridley Scott's Blade Runner, and has strong parallels with John Boorman's Point Blank (both films could happily have used Alphaville's original title: Tarzan Vs Ibm).
Sam Spade-like shamus Lemmy Caution arrives in Alphaville – a modernist, steel-and-glass Paris by night, as captured by Nouvelle Vague cinematographer Raoul Coutard – to confront its logic-based, computer-governed reality and...
- 10/21/2010
- by John Patterson
- The Guardian - Film News
Rome -- The Locarno Film Festival announced Tuesday that it will present this year's Raimondo Rezzonico prize for best independent producer to France's Martine Marignac.
Marignac has produced the films of Jacques Rivette for more than three decades, including 1981's Paris-based comedy "Le Pont du Nord" (The Bridge of the North). She also has produced the Jean-Louis Comolli thriller "L'ombre rouge" (The Red Shadow) and "Golden Eighties" by Chantal Akerman before co-founding the still-active Pierre Grise Prods. in 1987.
With Pierre Grise, her co-production credits have included Marco Bellocchio's "Il sogno della farfalla" (The Dream of the Butterfly) and Joao Cesar Monteiro's "A comedia de Deus" (The Comedy of God).
"Martine Marignac embodies both passion and independence," Locarno's artistic director Frederick Maire said in a statement. "We are proud to pay tribute to this outstanding personality."
The prize is named for the former Locarno Film Festival director of the same name.
Marignac has produced the films of Jacques Rivette for more than three decades, including 1981's Paris-based comedy "Le Pont du Nord" (The Bridge of the North). She also has produced the Jean-Louis Comolli thriller "L'ombre rouge" (The Red Shadow) and "Golden Eighties" by Chantal Akerman before co-founding the still-active Pierre Grise Prods. in 1987.
With Pierre Grise, her co-production credits have included Marco Bellocchio's "Il sogno della farfalla" (The Dream of the Butterfly) and Joao Cesar Monteiro's "A comedia de Deus" (The Comedy of God).
"Martine Marignac embodies both passion and independence," Locarno's artistic director Frederick Maire said in a statement. "We are proud to pay tribute to this outstanding personality."
The prize is named for the former Locarno Film Festival director of the same name.
- 6/2/2009
- by By Eric J. Lyman
- The Hollywood Reporter - Movie News
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