Cannes Directors’ Fortnight has unveiled the new team of programmers and consultants who will work with incoming delegate general Julien Rejl on his inaugural selection for May 2023.
Rejl will be supported by seven programmers.
Hervé Aubron, film academic and Cahiers du Cinéma critic Agathe Bonitzer, actress, whose credits include When Margaux Meets Margaux and A Bottle In The Gaza Sea Elsa Charbit, experienced programmer who was formerly artistic director of France’s Entrevues, Belfort International Film Festival Caroline Maleville, programming manager at the French Cinematheque Jean-Marc Zekri, head of Paris arthouse cinema Le Reflet Médicis Daniella Shreir, U.K. founder and co-editor of feminist film journal ‘Another Gaze’ Muyan Wang, Paris-based Chinese critic
They will be joined by four consultants
Alvaro Arroba, Buenos Aires-based Spanish film journalist and programmer for the city’s International Independent Film Festival (Bafici). He will advise on Latin America and Spanish-speaking countries. Cintia Gil, former Sheffield DocFest and Doclisboa head.
Rejl will be supported by seven programmers.
Hervé Aubron, film academic and Cahiers du Cinéma critic Agathe Bonitzer, actress, whose credits include When Margaux Meets Margaux and A Bottle In The Gaza Sea Elsa Charbit, experienced programmer who was formerly artistic director of France’s Entrevues, Belfort International Film Festival Caroline Maleville, programming manager at the French Cinematheque Jean-Marc Zekri, head of Paris arthouse cinema Le Reflet Médicis Daniella Shreir, U.K. founder and co-editor of feminist film journal ‘Another Gaze’ Muyan Wang, Paris-based Chinese critic
They will be joined by four consultants
Alvaro Arroba, Buenos Aires-based Spanish film journalist and programmer for the city’s International Independent Film Festival (Bafici). He will advise on Latin America and Spanish-speaking countries. Cintia Gil, former Sheffield DocFest and Doclisboa head.
- 9/28/2022
- by Melanie Goodfellow
- Deadline Film + TV
“Without Franco, I wouldn’t be here, nor this book. Thank you, Francisco. It’s the only good thing you did in your life.” The author behind this characteristic note of thanks is none other than French filmmaker and critic Luc Moullet, whose endearing and very funny autobiography, Mémoires d’une savonnette indocile (“memoirs of an unruly piece of soap”) has just been published by Capricci. In 42 chapters, the “prince of shoestring cinema” walks us through his young years as a critic at Cahiers du cinéma, his filmmaking life, and his stints in various professional and educational bodies. The book was announced in 2012, with the intention for it to be published posthumously. Reading it nine years later, with the author still in the pink of health, one senses that the cause for Moullet’s original reticence may have had to do less with his comments on his peers and collaborators...
- 8/22/2021
- MUBI
Jean-Luc Godard quipped that his criticism represented a kind of cinematic terrorism. Serge Daney said his writing taught him not to be afraid to see. The Parisian publishing house Post-Éditions has made available a long overdue collection of his articles in French to decide for ourselves. Jacques Rivette became a filmmaker even before he became a critic. When he came to Paris from Rouen in 1950, he had already completed a short film, unlike Truffaut, Godard, Rohmer or Chabrol, his colleagues-to-be at Cahiers du cinéma and later fellow New Wave directors. By his own admission, he never wanted to be a film critic, not in the traditional sense of the term. But, considering his own dictum that “a true critique of a film can only be another film,” he never ceased to be one. Textes Critiques as an object has the appearance of a cinephilic totem: half-a foot in size, portable,...
- 1/7/2019
- 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
"Le vieux Paris s’en va!"1
—Rallying cry, late 1800s
"Old Paris is no more (the form of a city
Changes more quickly, alas! than the human heart)"
—Charles Baudelaire, “Le Cygne,” Fleurs du mal
Paris s’en va. Paris goes away. Paris disappears.
Two women lying next to each other on a bench, wake up. A hard cut to a shot of one of the women approaching a newspaper stand on a Parisian street. She scans the rack of postcards and chooses five with a picture of the Arc de Triomphe. The characters played by Bulle and Pascale Ogier in Jacques Rivette’s Le Pont du Nord (1981) could be described as that classic French type, the flâneur, “masking under multiple impressions the void” felt within and around themselves.2 In Paris s’en va (1981), these unnamed characters appear more like spirits, ghosts awoken from a centuries-long slumber by the expansive...
—Rallying cry, late 1800s
"Old Paris is no more (the form of a city
Changes more quickly, alas! than the human heart)"
—Charles Baudelaire, “Le Cygne,” Fleurs du mal
Paris s’en va. Paris goes away. Paris disappears.
Two women lying next to each other on a bench, wake up. A hard cut to a shot of one of the women approaching a newspaper stand on a Parisian street. She scans the rack of postcards and chooses five with a picture of the Arc de Triomphe. The characters played by Bulle and Pascale Ogier in Jacques Rivette’s Le Pont du Nord (1981) could be described as that classic French type, the flâneur, “masking under multiple impressions the void” felt within and around themselves.2 In Paris s’en va (1981), these unnamed characters appear more like spirits, ghosts awoken from a centuries-long slumber by the expansive...
- 2/25/2014
- by Ted Fendt
- 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
Second #1175, 19:35
Confession: the first time I saw Blue Velvet—and each subsequent viewing has only reinforced this—I’ve always felt that when Jeffrey pleads with Sandy at this moment (“Sandy, let’s just try the first part”) he’s talking about sex. What sort of plan is Jeffrey hatching, and is Sandy agreeing to? In their classic 1969 essay “Cinema/Ideology/Criticism,” Jean-Luc Comolli and Jean Narboni ask whether it’s possible for any film to escape the ideological boundaries of its making. While most films, they argue (Marxist cultural determinists that they were!), can never break free of the gravitational forces of ideology, there are a certain class of films that
which seem at first sight to belong firmly within the ideology and to be completely under its sway, but which turn out to be so only in an ambiguous manner. . . . The films we are talking about throw...
Confession: the first time I saw Blue Velvet—and each subsequent viewing has only reinforced this—I’ve always felt that when Jeffrey pleads with Sandy at this moment (“Sandy, let’s just try the first part”) he’s talking about sex. What sort of plan is Jeffrey hatching, and is Sandy agreeing to? In their classic 1969 essay “Cinema/Ideology/Criticism,” Jean-Luc Comolli and Jean Narboni ask whether it’s possible for any film to escape the ideological boundaries of its making. While most films, they argue (Marxist cultural determinists that they were!), can never break free of the gravitational forces of ideology, there are a certain class of films that
which seem at first sight to belong firmly within the ideology and to be completely under its sway, but which turn out to be so only in an ambiguous manner. . . . The films we are talking about throw...
- 10/5/2011
- by Nicholas Rombes
- Filmmaker Magazine - Blog
Via Les Films du Losange's tumblr comes a find so fantastic, I'm making today's a single-themed Briefing.
Cahiers du Cinéma in English, Number 10, appearing in May 1967 and edited by Andrew Sarris, features a still from Bresson's Mouchette on the cover, and inside: "Three Thousand Hours of Cinema," something of a diary by Jean-Luc Godard (sample entry: "In Positif, a remarkable article by Tailleur on Harper. A shame that one reads prose of that quality less and less often in Cahiers." He's also miffed that Sartre keeps turning down requests for an interview); Bertolucci, Michel Delahaye and Jean Narboni on Godard; an interview with Andy Warhol and two pieces on him (one by Sarris, the other by Serge Gavronsky); a Hitchcock package (including a piece by André Téchiné); best of 1966 lists, including submissions from Jacques Rivette, Alain Robbe-Grillet and dozens more; a Film Comment-like chart with stars and bombs...
Cahiers du Cinéma in English, Number 10, appearing in May 1967 and edited by Andrew Sarris, features a still from Bresson's Mouchette on the cover, and inside: "Three Thousand Hours of Cinema," something of a diary by Jean-Luc Godard (sample entry: "In Positif, a remarkable article by Tailleur on Harper. A shame that one reads prose of that quality less and less often in Cahiers." He's also miffed that Sartre keeps turning down requests for an interview); Bertolucci, Michel Delahaye and Jean Narboni on Godard; an interview with Andy Warhol and two pieces on him (one by Sarris, the other by Serge Gavronsky); a Hitchcock package (including a piece by André Téchiné); best of 1966 lists, including submissions from Jacques Rivette, Alain Robbe-Grillet and dozens more; a Film Comment-like chart with stars and bombs...
- 9/22/2011
- MUBI
Chicago – Every time I’ve seen “The Great Dictator,” I’m amazed that it even exists. It is not only one of the great Charlie Chaplin’s most consistently funny films but it is a satirical masterpiece that is So daring that it’s amazing it even got made. It is a piece of slapstick comedy about World War II and Adolf Hitler. Think about that for one minute. Now, it was made in 1940 (a year before our entry into the war), but it was still a risky move to make a piece this politically and socially conscious and try and sell it to an audience who had grown accustomed to watching Charlie Chaplin fall down.
Blu-Ray Rating: 5.0/5.0
Now, of course, we can look back at Chaplin’s career now and realize that he was Always socially and politically conscious. “City Lights,” “Modern Times,” the very character of the Tramp...
Blu-Ray Rating: 5.0/5.0
Now, of course, we can look back at Chaplin’s career now and realize that he was Always socially and politically conscious. “City Lights,” “Modern Times,” the very character of the Tramp...
- 5/30/2011
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
By Ali Naderzad - November 4, 2010
There’s a wee bit of controversy following the nomination of French-swiss director Jean-Luc Godard for an honorary award at the Governors Awards scheduled for November 13. Then there’s that hullabaloo understandably stirred by the Jewish press because Godard is an anti-zionist and probably anti-Jewish, too. During a lecture in Canada in the 1970s, when talking about his family’s history Godard mentioned that his dad was the anti-semite and he was the anti-zionist—talk about enlightened family values. In France it’s considered modish to support Palestine and by default to tacitly defame the Jews—it’s a vulgar and narrow-minded attitude, if not downright dodgy. Sometimes, however, racial overtones bear all and the acrimony is real.
Would it be presumptuous to say that Hollywood-hating is, by extension, America-hating, which the average French is more-than-occasionally found guilty of while remaining bewitched by American notions and culture?...
There’s a wee bit of controversy following the nomination of French-swiss director Jean-Luc Godard for an honorary award at the Governors Awards scheduled for November 13. Then there’s that hullabaloo understandably stirred by the Jewish press because Godard is an anti-zionist and probably anti-Jewish, too. During a lecture in Canada in the 1970s, when talking about his family’s history Godard mentioned that his dad was the anti-semite and he was the anti-zionist—talk about enlightened family values. In France it’s considered modish to support Palestine and by default to tacitly defame the Jews—it’s a vulgar and narrow-minded attitude, if not downright dodgy. Sometimes, however, racial overtones bear all and the acrimony is real.
Would it be presumptuous to say that Hollywood-hating is, by extension, America-hating, which the average French is more-than-occasionally found guilty of while remaining bewitched by American notions and culture?...
- 11/4/2010
- by Screen Comment
- Screen Comment
Vivre sa vie Directed by: Jean Luc Godard Written by: Jean Luc Godard Starring: Anna Karina, Sady Rebbot, Andre Labarthe While I'm in no way an expert on the cinema of Jean-Luc Godard, the limited exposure I've had to his films -- Contempt, Breathless, Band of Outsiders, Sympathy for the Devil, and now Vivre as vie -- seems to suggest that his work thrives in an analytical environment, where pointing out all of the stylistic flourishes is part of the 'fun'. As a storyteller, he's sometimes quite cold and his characters are often callous, but Vivre sa vie takes a lighter -- and occasionally fun -- direction, offering an interesting perspective (the back of people's heads) on a story of a girl figuring it all out (life and money) in 1962 Paris. The film follows Nana (played by Godard's muse/lover, Anna Karina) who's story is a familiar one; an aspiring...
- 5/10/2010
- by Jay C.
- FilmJunk
Crazy Heart
It's a lot like The Wrestler, but with country music. Very simple and very effective. Jeff Bridges' performance as washed out country singer Bad Blake is magnificent. He completely inhabits the role and does all his own singing and playing. Maggie Gyllenhaal is just as great, playing opposite him as struggling single mother Jean. The music is of course amazing and the final song (which we see Blake writing throughout the film) will break you.
Extras include:
Deleted ScenesJeff Bridges, Maggie Gyllenhaal, and Robert Duvall interviews (Bd exclusive)
The Lovely Bones
Missed this one and it got terrible reviews, but i'm willing to give Peter Jackson a chance and it has a really extensive making of doc.
Extras include:
Introduction by Peter JacksonFilming 'The Lovely Bones' - a three hour documentary that chronicles the making of the film (Bd exclusive)
The Young Victoria
Nothing new but a solid period romance.
It's a lot like The Wrestler, but with country music. Very simple and very effective. Jeff Bridges' performance as washed out country singer Bad Blake is magnificent. He completely inhabits the role and does all his own singing and playing. Maggie Gyllenhaal is just as great, playing opposite him as struggling single mother Jean. The music is of course amazing and the final song (which we see Blake writing throughout the film) will break you.
Extras include:
Deleted ScenesJeff Bridges, Maggie Gyllenhaal, and Robert Duvall interviews (Bd exclusive)
The Lovely Bones
Missed this one and it got terrible reviews, but i'm willing to give Peter Jackson a chance and it has a really extensive making of doc.
Extras include:
Introduction by Peter JacksonFilming 'The Lovely Bones' - a three hour documentary that chronicles the making of the film (Bd exclusive)
The Young Victoria
Nothing new but a solid period romance.
- 4/20/2010
- by josh@reelartsy.com (Joshua dos Santos)
- Reelartsy
I first watched Jean-Luc Godard's classic film Breathless a little over a year ago and fell instantly in love with it. I ran out and bought the two-disc Criterion DVD edition and only one week later Turner Classic Movies listed it as one of their 15 Most Influential Movies of All-Time. Following that film he made A Woman Is a Woman, his first feature with Vivre sa vie star and soon-to-be wife Anna Karina. One year later came Vivre sa vie, a film that didn't blow me away as much as Breathless, but it is undeniably Godard with a style that almost can't be explained though the scholars on this Criterion edition offer plenty of comparisons.
Karina stars as Nana, a record shop employee with dreams of becoming an actress and despite what appears to be people trying to either help or take advantage of her, she's come upon hard...
Karina stars as Nana, a record shop employee with dreams of becoming an actress and despite what appears to be people trying to either help or take advantage of her, she's come upon hard...
- 4/20/2010
- by Brad Brevet
- Rope of Silicon
A truly grand Tuesday is upon us, with Criterion releasing a classic film from Jean-Luc Godard, as well as a modern film (a classic in the making?) from Olivier Assayas. Both films are being released on DVD and Blu-ray, showing the world that the transition to high-definition doesn’t have to leave behind those of us who either can’t afford the transition, or simply don’t feel confident enough in it’s future. We discussed these April releases back in January, when they were announced. You can hear our discussion of them, along with some brief tangents on the cover art, and Criterion Posters in general, here.
Jean-Luc Godard’s Vivre sa vie is a film that we have brought up on the podcast from our earliest beginnings, as it has been a rumored release for some time. It is one Travis was especially excited for, either because of...
Jean-Luc Godard’s Vivre sa vie is a film that we have brought up on the podcast from our earliest beginnings, as it has been a rumored release for some time. It is one Travis was especially excited for, either because of...
- 4/20/2010
- by Ryan Gallagher
- CriterionCast
DVD Playhouse—April 2010
By
Allen Gardner
Ride With The Devil (Criterion) Ang Lee’s revisionist take on the Civil War is awash in moral ambiguity, along with some stunning cinematography, production design, and fine performances. Set during the Kansas-Missouri border war, Tobey Maguire and Skeet Ulrich star as two friends who join up with the Confederate-sympathizing Bushwhackers, finding an odd ally in a former slave (Jeffrey Wright). While it’s fascinating to see America’s bloodiest conflict through the eyes of a foreigner, thereby allowing much of the previously mentioned ambiguity a certain latitude, the film never loses the bad taste it leaves for one simple reason: it asks us, the audience, to side with not just the Confederates, but some of the lowest trash that made up the dregs, and the fringes, of the movement. Big points for audacity, but snake eyes on the story itself. Singer Jewel is impressive in her film debut.
By
Allen Gardner
Ride With The Devil (Criterion) Ang Lee’s revisionist take on the Civil War is awash in moral ambiguity, along with some stunning cinematography, production design, and fine performances. Set during the Kansas-Missouri border war, Tobey Maguire and Skeet Ulrich star as two friends who join up with the Confederate-sympathizing Bushwhackers, finding an odd ally in a former slave (Jeffrey Wright). While it’s fascinating to see America’s bloodiest conflict through the eyes of a foreigner, thereby allowing much of the previously mentioned ambiguity a certain latitude, the film never loses the bad taste it leaves for one simple reason: it asks us, the audience, to side with not just the Confederates, but some of the lowest trash that made up the dregs, and the fringes, of the movement. Big points for audacity, but snake eyes on the story itself. Singer Jewel is impressive in her film debut.
- 4/16/2010
- by The Hollywood Interview.com
- The Hollywood Interview
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