Marking a welcome re-embrace of the streamlined murdery perversities of his terrific “Stranger by the Lake,” Alain Guiraudie gives the Cannes Premiere section one of its darkly sparkling standouts with the unsettlingly offbeat “Misericordia.” In the director’s best work, Guiraudie’s trademark is to infuse genre dalliances with mordant wit and a deliciously peculiar, defiant queerness. And while it may initially appear to be straightforward — and while it thankfully avoids the wild tonal swings of muddy tragicomedy “Staying Vertical” (2016) and rather baffling terrorism sex-farce “Nobody’s Hero” (2022) — nobody could ever accuse this increasingly twisted psychodrama of playing it straight.
From the start, there’s something off. The prologue is a driving sequence, shot from the point of view of the unseen driver, through the narrowing country roads of hilly southwestern France. There is nothing overtly odd going on, even the landscape is banal, shot in hazy earth tones by Claire Mathon’s clever,...
From the start, there’s something off. The prologue is a driving sequence, shot from the point of view of the unseen driver, through the narrowing country roads of hilly southwestern France. There is nothing overtly odd going on, even the landscape is banal, shot in hazy earth tones by Claire Mathon’s clever,...
- 5/27/2024
- by Jessica Kiang
- Variety Film + TV
French actor Isabelle Huppert has been named president of the international competition jury at the 81st Venice Film Festival.
The prolific Huppert was Oscar-nominated for her performance in 2016 crime drama Elle.
“There is a long and beautiful history between the Festival and I,” said Huppert. ”Becoming a privileged spectator is an honour. More than ever, cinema is a promise. The promise to escape, to disrupt, to surprise, to take a good look at the world, united in the differences of our tastes and ideas.”
Huppert has twice won the Coppa Volpi for best actress at Venice, in 1988 for Story Of Women...
The prolific Huppert was Oscar-nominated for her performance in 2016 crime drama Elle.
“There is a long and beautiful history between the Festival and I,” said Huppert. ”Becoming a privileged spectator is an honour. More than ever, cinema is a promise. The promise to escape, to disrupt, to surprise, to take a good look at the world, united in the differences of our tastes and ideas.”
Huppert has twice won the Coppa Volpi for best actress at Venice, in 1988 for Story Of Women...
- 5/8/2024
- ScreenDaily
Isabelle Huppert will preside over the main jury of the upcoming Venice Film Festival.
The revered French actor has a longstanding rapport with the Lido, having won Venice’s
Coppa Volpi for best actress twice, first with “Story of Women” in 1988, and subsequently with “La Cérémonie” in 1995, both directed by Claude Chabrol.
Huppert – who has made a total of eight films with Chabrol – also has a close bond with the Cannes Film Festival where in 1978 she won the best actress statuette for Chabrol’s “Violette.” In 2001, Huppert won her second best actress award at Cannes for her tour-de-force performance as a sado-masochistic music professor in Michael Haneke’s “The Piano.” In 2005, Huppert was honored by Venice with a Special Golden Lion for her titular role in “Gabrielle,” Patrice Chéreau’s costume drama about an imploded marriage.
In 2017 she gained her first Academy Award nomination for her role as a rape...
The revered French actor has a longstanding rapport with the Lido, having won Venice’s
Coppa Volpi for best actress twice, first with “Story of Women” in 1988, and subsequently with “La Cérémonie” in 1995, both directed by Claude Chabrol.
Huppert – who has made a total of eight films with Chabrol – also has a close bond with the Cannes Film Festival where in 1978 she won the best actress statuette for Chabrol’s “Violette.” In 2001, Huppert won her second best actress award at Cannes for her tour-de-force performance as a sado-masochistic music professor in Michael Haneke’s “The Piano.” In 2005, Huppert was honored by Venice with a Special Golden Lion for her titular role in “Gabrielle,” Patrice Chéreau’s costume drama about an imploded marriage.
In 2017 she gained her first Academy Award nomination for her role as a rape...
- 5/8/2024
- by Nick Vivarelli
- Variety Film + TV
Call My Agent’s Laure Calamy stars as a scheming factory worker with designs on a mega-rich fortune in this classy feast of backstabbing, double cross and venal greed
Succession meets Knives Out in this comedy-thriller directed by Sébastien Marnier in what is an extremely French comic style: tongue-in-cheek, a little frothy, tiptoeing close to camp. It stars Call My Agent’s brilliant Laure Calamy as a scheming factory worker who wheedles her way into a dysfunctional mega-rich family. Calamy is often cast as likable, relatable women but here she does a very convincing Isabelle Huppert (circa her Claude Chabrol years); there’s something a bit off about her character from the start, possibly even unhinged.
Calamy is Stéphane – at least that’s what she calls herself. Bored of her job on the production line at a fish factory, and broke, out of the blue she calls her father, a self-made hotel and restaurant tycoon.
Succession meets Knives Out in this comedy-thriller directed by Sébastien Marnier in what is an extremely French comic style: tongue-in-cheek, a little frothy, tiptoeing close to camp. It stars Call My Agent’s brilliant Laure Calamy as a scheming factory worker who wheedles her way into a dysfunctional mega-rich family. Calamy is often cast as likable, relatable women but here she does a very convincing Isabelle Huppert (circa her Claude Chabrol years); there’s something a bit off about her character from the start, possibly even unhinged.
Calamy is Stéphane – at least that’s what she calls herself. Bored of her job on the production line at a fish factory, and broke, out of the blue she calls her father, a self-made hotel and restaurant tycoon.
- 3/27/2024
- by Cath Clarke
- The Guardian - Film News
Streaming now in various virtual cinemas in new restorations, Éric Rohmer’s “Tales of the Four Seasons,” the last of his three major film cycles, offers a fresh chance to consider the methods of one of cinema’s most quietly perceptive artists. Compared to his “Six Moral Tales” and “Comedies and Proverbs,” films that probed the strident yet misplaced confidence of young people as they attempt to find their place in the world, the “Tales of the Four Seasons” found Rohmer—70 years old the year that the first film in the series, 1990’s A Tale of Springtime, premiered—turning his attentions to middle-aged characters.
Perhaps for that reason, this is the most narratively driven cycle in Rohmer’s oeuvre, focusing on characters who may still show flashes of impertinence but generally have a far more solid grasp of self than the pseudo-intellectuals and flighty dreamers of his earlier work. This...
Perhaps for that reason, this is the most narratively driven cycle in Rohmer’s oeuvre, focusing on characters who may still show flashes of impertinence but generally have a far more solid grasp of self than the pseudo-intellectuals and flighty dreamers of his earlier work. This...
- 2/14/2024
- by Jake Cole
- Slant Magazine
From its subtly orchestrated opening scene to its devastating and explosive climax, writer-director Chloe Domont’s “Fair Play” is one of the most confident and controlled feature debuts in years, a provocative and brainy drama with the propulsive aggression of a classic thriller. As in the best films of Alfred Hitchcock and Claude Chabrol, Domont uses the mechanisms of genre to explore personal and complicated ideas about class, sex, gender, and power; and like those directors, Domont is a master when it comes to marshaling all of the cinematic tools at her disposal to pull it off. “When I was writing the script, I described it as an emotional thriller,” Domont told IndieWire. “The intention was to use genre to shine a light on an emotional terror that I feel is too often normalized.”
Although “Fair Play” contains only a few minutes of overt physical violence, emotional violence is pervasive and relentless.
Although “Fair Play” contains only a few minutes of overt physical violence, emotional violence is pervasive and relentless.
- 12/22/2023
- by Jim Hemphill
- Indiewire
Cinema professionals from across Europe are gathering in Berlin this weekend for the ceremony of the 36th European Film Awards on Saturday evening.
This younger cousin of Hollywood’s near hundred-year-old Academy Awards is overseen by the Berlin-based European Film Academy.
The body’s 4,600 members – hailing from “geographical Europe” as well as Israel, Palestine and Russia, – vote on an official Academy Selection made up of around 40 films selected by the European Academy Board and a group of experts.
Finnish filmmaker Aki Kaurismäki’s Fallen Leaves and UK director Jonathan Glazer The Zone Of Interest top the nominations this year, followed by Justine Triet’s Cannes Palme d’Or winner Anatomy Of A Fall and Poland’s Agnieszka Holland’s Green Border, which won the Venice Special Jury Prize.
Awards for the craft categories were decided by an expert jury and announced ahead of tonight’s ceremony.
The European Film Academy...
This younger cousin of Hollywood’s near hundred-year-old Academy Awards is overseen by the Berlin-based European Film Academy.
The body’s 4,600 members – hailing from “geographical Europe” as well as Israel, Palestine and Russia, – vote on an official Academy Selection made up of around 40 films selected by the European Academy Board and a group of experts.
Finnish filmmaker Aki Kaurismäki’s Fallen Leaves and UK director Jonathan Glazer The Zone Of Interest top the nominations this year, followed by Justine Triet’s Cannes Palme d’Or winner Anatomy Of A Fall and Poland’s Agnieszka Holland’s Green Border, which won the Venice Special Jury Prize.
Awards for the craft categories were decided by an expert jury and announced ahead of tonight’s ceremony.
The European Film Academy...
- 12/9/2023
- by Melanie Goodfellow
- Deadline Film + TV
The phrase 'eat the rich' might be partly a joke, but it did originate in France, during the Reign Of Terror - it was pointed out by the leader a commune that, if the poor had nothing left to eat, they would eat those who left them in their poverty. As the phrase, and the recognition of what capitalism and the class system have done to our world, it's perhaps fitting to have a new edition of Claude Chabrol's The Ceremony (La Cérémonie) for our enjoyment and edification. The 1997 film, based on the novel by UK author Ruth Rendell, which itself draws from a true story, tells of Sophie Bonhomme (Sandrine Bonnaire), a young woman who finds employment as a housekepper for the well-off...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 11/22/2023
- Screen Anarchy
Paul Vecchiali’s moody, labyrinthine The Strangler suggests the visual style of Jacques Demy’s Model Shop coupled with the psychosexual fervor of Michael Powell’s Peeping Tom. Or maybe it’s more accurate to say that it’s a queer version of Jean-Pierre Melville’s Le Samouraï by way of the story machinations of Claude Chabrol’s The Champagne Murders. Either way, it’s clear that Vecchiali’s interests are cinephilic in nature, and that this 1970 psychological thriller was his self-conscious attempt during the waning years of the Nouvelle Vague to take the movement’s genre-defying sensibilities in a new direction.
Throughout, Vecchiali is concerned less with plot than with mood and setting, which he largely establishes by showing people moving around colorful apartments and through the bustling streets of Paris. Take Anna (Eva Simonet), who rushes to a television station fearing for her safety after Simon (Julien Guiomar...
Throughout, Vecchiali is concerned less with plot than with mood and setting, which he largely establishes by showing people moving around colorful apartments and through the bustling streets of Paris. Take Anna (Eva Simonet), who rushes to a television station fearing for her safety after Simon (Julien Guiomar...
- 11/13/2023
- by Clayton Dillard
- Slant Magazine
Clockwise from left: The Departed (Warner Bros.), True Lies (20th Century Studios), Some Like It Hot (United Artists), 12 Monkeys (Universal)Graphic: The A.V. Club
Of all the challenges in the moviemaking universe, redoing a beloved foreign film for an American audience would seem pretty low on the list. You already...
Of all the challenges in the moviemaking universe, redoing a beloved foreign film for an American audience would seem pretty low on the list. You already...
- 11/2/2023
- by Ian Spelling
- avclub.com
MK2 Films has acquired a collection of films and TV series directed by Bruno Dumont, the award-winning French director behind “Life of Jesus” and “Humanity.”
The acquisition, unveiled during Mipcom Cannes, covers the bulk of the director’s work, spanning eight films and TV series including “Li’l Quinquin,” which premiered at Cannes’ Directors’ Fortnight. MK2 Films will represent rights to some of these titles, in France and/or international markets, apart from a few titles like “Slack Bay” whose global rights are still handled by Memento International.
“Bruno Dumont is, of course, a major figure of contemporary cinema,” said Nathanaël Karmitz, MK2’s chairman of the executive board. Karmitz praised Dumont for the “originality of his unusual, unpredictable [films], veering from gravitas to some unnerving, comedic tangents.” He continued, “Iconoclastic and consistently courageous in its form, his work perfectly represents the free and ambitious cinema that we are proud to promote.
The acquisition, unveiled during Mipcom Cannes, covers the bulk of the director’s work, spanning eight films and TV series including “Li’l Quinquin,” which premiered at Cannes’ Directors’ Fortnight. MK2 Films will represent rights to some of these titles, in France and/or international markets, apart from a few titles like “Slack Bay” whose global rights are still handled by Memento International.
“Bruno Dumont is, of course, a major figure of contemporary cinema,” said Nathanaël Karmitz, MK2’s chairman of the executive board. Karmitz praised Dumont for the “originality of his unusual, unpredictable [films], veering from gravitas to some unnerving, comedic tangents.” He continued, “Iconoclastic and consistently courageous in its form, his work perfectly represents the free and ambitious cinema that we are proud to promote.
- 10/16/2023
- by Elsa Keslassy
- Variety Film + TV
Self-destructive characters who grift and deceive are ever the province of French filmmakers, from Claude Chabrol to “Tell No One” director Guillaume Canet. In Sébastien Marnier’s sinister and sly domestic thriller “The Origin of Evil,” Laure Calamy plays a woman whose lies can’t stop falling out of her mouth. Calamy is one of the MVPs of the French show business satire “Call My Agent!,” in which she plays a flustered assistant at a fictional talent agency run by ridiculous people. In “The Origin of Evil,” Calamy gives an unsettling performance as Stéphane, a grifter crawling out of a busted relationship and a toxic job at a cannery and into the life of a wealthy man, Serge, played by Jacques Weber. She contacts him out of the blue and insists she’s his long-lost daughter, and the two form a parasitic relationship that recalls the uneasy power dynamics of...
- 9/29/2023
- by Ryan Lattanzio
- Indiewire
Above: 1973 New York Film Festival poster designed by Niki de Saint Phalle.The 61st edition of the New York Film Festival, which opens tonight, has 32 films in its Main Slate, fifteen films in its Spotlight section, ten films and seven collections of shorts in the Currents sidebar, and eleven revivals. That's over 60 feature films. Fifty years ago, in 1973, the 11th edition of the festival had just eighteen feature films and nineteen shorts. Just like this year’s opener—Todd Haynes’s May December—1973’s opening night film, François Truffaut’s Day for Night, had premiered four months earlier at the Cannes Film Festival. And as with this year’s festival, the 1973 edition opened, fifty years and one day ago exactly, in the shadow of an artists' strike. Local 802 of the American Federation of Musicians had been picketing the New York Philharmonic outside Lincoln Center’s Avery Fisher Hall, where the festival was taking place,...
- 9/29/2023
- MUBI
The 61st New York Film Festival kicks off Sept. 29 with Todd Haynes’ drama “May December” starring Julianne Moore and Natalie Portman. Sofia Coppola’s well-received Venice hit “Priscilla” about Priscilla Presley is the fest’s Centerpiece. Michael Mann’s biopic “Ferrari” with Adam Driver and Penelope Cruz the closing night feature while Bradley Cooper’s portrait of composer/conductor Leonard Bernstein “Maestro,” which had a seven-minute standing ovation in Venice, is the festival’s spotlight gala. Other films screening include Yorgos Lanthimos “Poor Things,” which won the Golden Lion and best actress for Emma Stone at Venice, as well as Andrew Haigh’s “All of us Strangers” and Jonathan Glazer’s “The Zone of Interest.”
A director came into his own 50 years ago at the New York Film Festival: Martin Scorsese. He’s of cinema’s greatest directors, who has made such landmark films as ‘Taxi Driver,” “Raging Bull,” Goodfellas,...
A director came into his own 50 years ago at the New York Film Festival: Martin Scorsese. He’s of cinema’s greatest directors, who has made such landmark films as ‘Taxi Driver,” “Raging Bull,” Goodfellas,...
- 9/28/2023
- by Susan King
- Gold Derby
“Dance First,” a portrait of Irish writer Samuel Beckett starring Gabriel Byrne and directed by Oscar winner James Marsh, will close this year’s San Sebastian Film Festival, playing out of competition.
The closing film screening, on Sept. 30, will mark the film’s world premiere.
Byrne, a memorable lead in “The Usual Suspects” and “Miller’s Crossing” who also won a Golden Globe for his performance in “In Treatment,” plays Beckett. The Nobel Prize-winning playwright was a Parisian bon vivant and WWII resistance fighter who became a recluse, living the last years of his life in a single room in a nursing home, ashamed of past actions and convinced that for much of his life he had been a failure.
U.K. director Marsh won an Academy Award for best documentary feature in 2009 with “Man on Wire.” He also directed the Stephen Hawking biopic “The Theory of Everything,” which earned five nominations at the 2015 Oscars,...
The closing film screening, on Sept. 30, will mark the film’s world premiere.
Byrne, a memorable lead in “The Usual Suspects” and “Miller’s Crossing” who also won a Golden Globe for his performance in “In Treatment,” plays Beckett. The Nobel Prize-winning playwright was a Parisian bon vivant and WWII resistance fighter who became a recluse, living the last years of his life in a single room in a nursing home, ashamed of past actions and convinced that for much of his life he had been a failure.
U.K. director Marsh won an Academy Award for best documentary feature in 2009 with “Man on Wire.” He also directed the Stephen Hawking biopic “The Theory of Everything,” which earned five nominations at the 2015 Oscars,...
- 8/21/2023
- by John Hopewell
- Variety Film + TV
Let’s quickly skirt the sinking-stomach realization of how far into 2023 we’re getting––at least this next crop of titles arrive as Barnes and Noble hold another 50%-off sale. If I’m suggesting consumerism smother self-inspection, this of all line-ups might at least make room for compromise: November will bring 4K upgrades for Terrence Malick’s Days of Heaven––among the, let’s guess, seven or eight greatest-looking films ever––and Peter Bogdanovich’s The Last Picture Show, as well as an altogether new appearance for Martin Scorsese’s Mean Streets. Last Picture Show is especially notable: it’ll include the lesser-seen sequel Texasville “presented in both the original theatrical version and a black-and-white version of Peter Bogdanovich’s director’s cut, produced in collaboration with cinematographer Nicholas von Sternberg.”
Almost equal to any of those films, arriving on a new Blu-ray, is Claude Chabrol’s La Cérémonie with Sandrine Bonnaire and Isabelle Huppert.
Almost equal to any of those films, arriving on a new Blu-ray, is Claude Chabrol’s La Cérémonie with Sandrine Bonnaire and Isabelle Huppert.
- 8/15/2023
- by Nick Newman
- The Film Stage
Seemingly channeling the spirit of Claude Chabrol, Antoine Barraud’s Madeleine Collins is a decidedly classy throwback thriller about a seemingly humdrum character committing perverse acts of subterfuge against others. Barraud’s film follows Judith Fauvet (Virginie Efira), a translator living in France with her successful conductor husband, Melvil (Bruno Salomone), and two sons. But, it turns out, Judith is living a second life.
Under the guise of the near-constant travel required for her work, Judith has a second family in Switzerland, where boyfriend Abdel (Quim Gutierrez) primarily cares for their young daughter, Ninon (Loïse Benguerel). Barraud and co-screenwriter Klotz outline the delicate balancing act required on Judith’s part to keep her double life a secret, and the narrative displays a compelling psychological nuance due to the focus on the far-reaching effects of her deception.
By homing in on the feelings of the secondary characters, the filmmakers poignantly articulate...
Under the guise of the near-constant travel required for her work, Judith has a second family in Switzerland, where boyfriend Abdel (Quim Gutierrez) primarily cares for their young daughter, Ninon (Loïse Benguerel). Barraud and co-screenwriter Klotz outline the delicate balancing act required on Judith’s part to keep her double life a secret, and the narrative displays a compelling psychological nuance due to the focus on the far-reaching effects of her deception.
By homing in on the feelings of the secondary characters, the filmmakers poignantly articulate...
- 8/13/2023
- by Wes Greene
- Slant Magazine
You can approach old classics just like new films, argued participants during Locarno’s Heritage Monday panel.
“I talked to an exhibitor in Paris and they don’t consider repertory cinema to be different from contemporary cinema. They are collapsing both models into one and it’s very interesting,” said K.J. Relth-Miller of the Academy Museum.
Swiss Film Archive director Frédéric Maire noted that they also mix “fresh” films with older titles. “This idea of separating them can be useful for communication, but we try to avoid it. Yesterday, I was watching [Daniel Schmid’s 1974 film] ‘La Paloma’ [at the festival] and it felt modern and new. I don’t want to make these distinctions in terms of cultural perspective,” he said.
Such an approach can be beneficial also when it comes to raising audience’s awareness, argued Film Movement’s Erin Farrell.
“When we talk about ‘heritage films’ in the same breath as our new releases,...
“I talked to an exhibitor in Paris and they don’t consider repertory cinema to be different from contemporary cinema. They are collapsing both models into one and it’s very interesting,” said K.J. Relth-Miller of the Academy Museum.
Swiss Film Archive director Frédéric Maire noted that they also mix “fresh” films with older titles. “This idea of separating them can be useful for communication, but we try to avoid it. Yesterday, I was watching [Daniel Schmid’s 1974 film] ‘La Paloma’ [at the festival] and it felt modern and new. I don’t want to make these distinctions in terms of cultural perspective,” he said.
Such an approach can be beneficial also when it comes to raising audience’s awareness, argued Film Movement’s Erin Farrell.
“When we talk about ‘heritage films’ in the same breath as our new releases,...
- 8/8/2023
- by Marta Balaga
- Variety Film + TV
Josephine Chaplin, the daughter of Charlie Chaplin and Oona O’Neill, who was an accomplished actress in her own right, has died at 74, according to a report in Le Figaro, which cites her children Charly, Julien and Arthur. She died on July 13 in Paris.
Chaplin got her start as an actress in one of her father’s final films, Limelight (1952), as a child who appears in the opening scene. She was one of five of the director’s children featured in the somewhat-autobiographical project. She also appeared briefly in her father’s final film, A Countess from Hong Kong (1967), with sisters Geraldine and Victoria.
Charlie Chaplin, Josephine (right) and Oona (left) at the 1991 Cannes Film Festival in 1971 (Getty Images)
Her first substantial role was for another iconic director, Pier Paolo Pasolini, in his 1972 take on The Canterbury Tales. Chaplin plays May, the adulterous wife of the elderly Sir January in “The Merchant’s Tale.
Chaplin got her start as an actress in one of her father’s final films, Limelight (1952), as a child who appears in the opening scene. She was one of five of the director’s children featured in the somewhat-autobiographical project. She also appeared briefly in her father’s final film, A Countess from Hong Kong (1967), with sisters Geraldine and Victoria.
Charlie Chaplin, Josephine (right) and Oona (left) at the 1991 Cannes Film Festival in 1971 (Getty Images)
Her first substantial role was for another iconic director, Pier Paolo Pasolini, in his 1972 take on The Canterbury Tales. Chaplin plays May, the adulterous wife of the elderly Sir January in “The Merchant’s Tale.
- 7/21/2023
- by Tom Tapp
- Deadline Film + TV
Director Jacques Rozier, who was regarded as the last surviving member of the French New Wave, has died. He was 96.
French media reported that a close acquaintance of the filmmaker had confirmed his death on June 2 in his native city of Paris, after a short spell in hospital.
Rozier never achieved the renown of Jean-Luc Godard, Francois Truffaut, Agnès Varda, Jacques Demy, Claude Chabrol or Eric Rohmer, but his work had its place in the French New Wave and pushed boundaries in ways that laid a path for filmmakers today.
After studying at the early French cinema school Idhec, Rozier cut his directing teeth as a TV assistant, while making his own shorts including Rentrée des Classes (1956) and Blue Jeans (1958).
The latter work played at a short film festival in the city of Tours, where it caught the attention of then-film critic Godard, who highlighted it as one of the...
French media reported that a close acquaintance of the filmmaker had confirmed his death on June 2 in his native city of Paris, after a short spell in hospital.
Rozier never achieved the renown of Jean-Luc Godard, Francois Truffaut, Agnès Varda, Jacques Demy, Claude Chabrol or Eric Rohmer, but his work had its place in the French New Wave and pushed boundaries in ways that laid a path for filmmakers today.
After studying at the early French cinema school Idhec, Rozier cut his directing teeth as a TV assistant, while making his own shorts including Rentrée des Classes (1956) and Blue Jeans (1958).
The latter work played at a short film festival in the city of Tours, where it caught the attention of then-film critic Godard, who highlighted it as one of the...
- 6/5/2023
- by Melanie Goodfellow
- Deadline Film + TV
The Locarno Film Festival will pay tribute to Italian producer and director Renzo Rossellini by presenting him with a lifetime achievement award, organizers said Thursday.
The award ceremony in the Swiss town’s Piazza Grande on Aug. 10 will be followed by a screening of Federico Fellini’s La città delle donne (City of Women, 1980), on which Rossellini served as a producer. On Aug. 11, Rossellini, whose half-sister is Italian star Isabella Rossellini, will take part in a festival panel conversation.
“As producer for master filmmakers of the caliber of Federico Fellini, Lina Wertmüller, Werner Herzog, and Francis Ford Coppola, but also as assistant director (for his father Roberto and, among others, François Truffaut and Claude Chabrol) and director in his own right, Renzo Rossellini has never ceased his quest to pass on his knowledge of the cinema, teaching generations of students and cineastes with passion and commitment,” the Locarno fest said.
The award ceremony in the Swiss town’s Piazza Grande on Aug. 10 will be followed by a screening of Federico Fellini’s La città delle donne (City of Women, 1980), on which Rossellini served as a producer. On Aug. 11, Rossellini, whose half-sister is Italian star Isabella Rossellini, will take part in a festival panel conversation.
“As producer for master filmmakers of the caliber of Federico Fellini, Lina Wertmüller, Werner Herzog, and Francis Ford Coppola, but also as assistant director (for his father Roberto and, among others, François Truffaut and Claude Chabrol) and director in his own right, Renzo Rossellini has never ceased his quest to pass on his knowledge of the cinema, teaching generations of students and cineastes with passion and commitment,” the Locarno fest said.
- 6/1/2023
- by Georg Szalai
- The Hollywood Reporter - Movie News
Italian producer, director, and film and TV industry pioneer Renzo Rossellini is being honored with the Locarno Film Festival’s lifetime achievement award.
The Swiss fest dedicated to indie cinema will pay tribute to the consummate filmmaker and renaissance man – who as a producer shepherded works by master directors such as Federico Fellini, Lina Wertmüller, Werner Herzog and Francis Ford Coppola – with a screening of Fellini’s 1980 work “City of Women” on its 8,000 seat open-air Piazza Grande venue on Aug. 10, followed by an onstage conversation the next day.
Rossellini who also worked as assistant director for his father Roberto and, among others, François Truffaut and Claude Chabrol – and is a director in his own right – “Has never ceased his quest to pass on his knowledge of the cinema, teaching generations of students and cineastes with passion and commitment,” the fest said in a statement.
“Film is a tool for learning...
The Swiss fest dedicated to indie cinema will pay tribute to the consummate filmmaker and renaissance man – who as a producer shepherded works by master directors such as Federico Fellini, Lina Wertmüller, Werner Herzog and Francis Ford Coppola – with a screening of Fellini’s 1980 work “City of Women” on its 8,000 seat open-air Piazza Grande venue on Aug. 10, followed by an onstage conversation the next day.
Rossellini who also worked as assistant director for his father Roberto and, among others, François Truffaut and Claude Chabrol – and is a director in his own right – “Has never ceased his quest to pass on his knowledge of the cinema, teaching generations of students and cineastes with passion and commitment,” the fest said in a statement.
“Film is a tool for learning...
- 6/1/2023
- by Nick Vivarelli
- Variety Film + TV
Locarno Film Festival runs August 2-12.
French actor Lambert Wilson has been named president of the jury at the upcoming Locarno Film Festival (August 2-12).
The prolific actor and his fellow jurors will award the summertime Swiss festival’s Golden Leopard Pardo d’oro to one of the yet-to-be-ennounced titles in the festival’s international competition.
Locarno’s artistic director Giona A. Nazzaro said Wilson, who has worked with top French filmmakers during his decades long career including Claude Chabrol, Jacques Demy, Andrzej Żuławski and André Techiné, “has left a lasting mark on European and international cinema” and called him “ versatile performer,...
French actor Lambert Wilson has been named president of the jury at the upcoming Locarno Film Festival (August 2-12).
The prolific actor and his fellow jurors will award the summertime Swiss festival’s Golden Leopard Pardo d’oro to one of the yet-to-be-ennounced titles in the festival’s international competition.
Locarno’s artistic director Giona A. Nazzaro said Wilson, who has worked with top French filmmakers during his decades long career including Claude Chabrol, Jacques Demy, Andrzej Żuławski and André Techiné, “has left a lasting mark on European and international cinema” and called him “ versatile performer,...
- 5/18/2023
- by Rebecca Leffler
- ScreenDaily
Lambert Wilson Named President Of Locarno Jury
The Matrix franchise actor Lambert Wilson will be the President of the Jury at the 76th Locarno Film Festival this year. The French star will chair the panel, which will award the Pardo d’oro (Golden Leopard) to the winning film on the final night of the Switzerland fest. Wilson has worked with many top European directors, such as Claude Chabrol, Andrzej Żuławski and André Téchiné, and is best known in the U.S. for his role as the Merovingian in The Matrix Reloaded, The Matrix Revolutions and The Matrix Resurrections. His acting credits include Julia, La Boum 2 and Five Days One Summer. Recently he appeared in Prime Video series Totem and starred in Éric Besnard’s Les Choses Simples. The Locarno Film Festival will run from August 2-12.
Cineflix Launches First Fast Channels
UK-based Cineflix Rights is the latest distributor to...
The Matrix franchise actor Lambert Wilson will be the President of the Jury at the 76th Locarno Film Festival this year. The French star will chair the panel, which will award the Pardo d’oro (Golden Leopard) to the winning film on the final night of the Switzerland fest. Wilson has worked with many top European directors, such as Claude Chabrol, Andrzej Żuławski and André Téchiné, and is best known in the U.S. for his role as the Merovingian in The Matrix Reloaded, The Matrix Revolutions and The Matrix Resurrections. His acting credits include Julia, La Boum 2 and Five Days One Summer. Recently he appeared in Prime Video series Totem and starred in Éric Besnard’s Les Choses Simples. The Locarno Film Festival will run from August 2-12.
Cineflix Launches First Fast Channels
UK-based Cineflix Rights is the latest distributor to...
- 5/18/2023
- by Jesse Whittock
- Deadline Film + TV
When discussing the masters of French cinema, one name consistently stands out among the rest: François Truffaut. A pioneering director, screenwriter, and film critic, Truffaut left an indelible mark on the world of cinema, both in France and internationally. With a career spanning over three decades and numerous accolades to his name, Truffaut’s influence can be felt in the works of contemporary filmmakers to this day.
In this article, we will explore the life and career of François Truffaut, delving into the birth of the French New Wave, his key films, and his signature style and themes. We will also examine the impact Truffaut has had on contemporary filmmakers and his lasting legacy in French cinema. Finally, we will provide a list of essential François Truffaut films for those looking to immerse themselves in his remarkable body of work.
The Birth of the French New Wave
The French New Wave,...
In this article, we will explore the life and career of François Truffaut, delving into the birth of the French New Wave, his key films, and his signature style and themes. We will also examine the impact Truffaut has had on contemporary filmmakers and his lasting legacy in French cinema. Finally, we will provide a list of essential François Truffaut films for those looking to immerse themselves in his remarkable body of work.
The Birth of the French New Wave
The French New Wave,...
- 4/26/2023
- by Movies Martin Cid Magazine
- Martin Cid Magazine - Movies
After “Peter van Kant,” French director François Ozon goes many shades lighter to revisit gender and power dynamics in “The Crime Is Mine,” a lush ensemble comedy set in 1930s Paris.
Loosely inspired by the 1934 play by Georges Berr and Louis Verneuil, the film tells the story of Madeleine, a pretty, young and penniless actress, who is accused of murdering a famous producer. Helped by her best friend Pauline, a jobless lawyer, she is acquitted on the grounds of self-defense and becomes a star, as well as a feminist icon.
“The Crime Is Mine,” produced by Mandarin Cinema, brings together a sprawling cast, led by a pair of up-and-coming actors, Nadia Tereszkiewicz (“Forever Young”) and Rebecca Marder (“Simone”), alongside Isabelle Huppert, Fabrice Luchini, André Dussolier, Dany Boon and Félix Lefebvre. The movie has been sold by Playtime in many key markets.
Ozon discussed his new film with Variety following its...
Loosely inspired by the 1934 play by Georges Berr and Louis Verneuil, the film tells the story of Madeleine, a pretty, young and penniless actress, who is accused of murdering a famous producer. Helped by her best friend Pauline, a jobless lawyer, she is acquitted on the grounds of self-defense and becomes a star, as well as a feminist icon.
“The Crime Is Mine,” produced by Mandarin Cinema, brings together a sprawling cast, led by a pair of up-and-coming actors, Nadia Tereszkiewicz (“Forever Young”) and Rebecca Marder (“Simone”), alongside Isabelle Huppert, Fabrice Luchini, André Dussolier, Dany Boon and Félix Lefebvre. The movie has been sold by Playtime in many key markets.
Ozon discussed his new film with Variety following its...
- 1/14/2023
- by Elsa Keslassy
- Variety Film + TV
Mubi has announced its lineup of streaming offerings for next month, including a series on first films featuring David Cronenberg’s Stereo, Kelly Reichardt’s River of Grass, Jerzy Skolimowski’s Identification Marks: None, Fatih Akın’s Short Sharp Shock, Panos Cosmatos’ Beyond the Black Rainbow, and, with Mubi’s theatrical release of her new film Alcarràs, Carla Simón’s Summer 1993.
Additional highlights include Mathieu Amalric’s Hold Me Tight starring Vicky Krieps, Sundance favorites with films from Sean Baker, Lynn Shelton, Tom Noonan, and Andrew Bujalski, plus works from Nicolas Roeg, Claude Chabrol, and Aftersun director Charlotte Wells.
Check out the lineup below and get 30 days free here.
January 1 – Stereo, directed by David Cronenberg | First Films First
January 2 – Short Sharp Shock, directed by Fatih Akın | First Films First
January 3 – River of Grass, directed by Kelly Reichardt | First Films First
January 4 – Identification Marks: None, directed by Jerzy Skolimowski | First Films...
Additional highlights include Mathieu Amalric’s Hold Me Tight starring Vicky Krieps, Sundance favorites with films from Sean Baker, Lynn Shelton, Tom Noonan, and Andrew Bujalski, plus works from Nicolas Roeg, Claude Chabrol, and Aftersun director Charlotte Wells.
Check out the lineup below and get 30 days free here.
January 1 – Stereo, directed by David Cronenberg | First Films First
January 2 – Short Sharp Shock, directed by Fatih Akın | First Films First
January 3 – River of Grass, directed by Kelly Reichardt | First Films First
January 4 – Identification Marks: None, directed by Jerzy Skolimowski | First Films...
- 12/19/2022
- by Jordan Raup
- The Film Stage
You sometimes have to ask yourself why certain films are worthy of a competition slot at a major festival. If a certain set of themes and aesthetics are required for serious consideration by the powers that be, it’s hard not to see a number of art films as part of an infrastructure not so dissimilar to the comic book movie industry. And not to sound like a befuddled middlebrow American trade critic encountering Taiwanese New Wave for the first time at a mid-90s edition of Cannes when I ask: is there simply no consideration for either entertaining audiences or even challenging the so-called more sophisticated ticket-buyers’ pre-conceived notions about art cinema?
Sadly, the kind of film that makes one think such things is The Box, Venezuelan director Lorenzo Vigas’ follow-up to his Golden Lion-winning From Afar (thus asserting more festival berths for years to come). Certainly touching on...
Sadly, the kind of film that makes one think such things is The Box, Venezuelan director Lorenzo Vigas’ follow-up to his Golden Lion-winning From Afar (thus asserting more festival berths for years to come). Certainly touching on...
- 11/3/2022
- by Ethan Vestby
- The Film Stage
French cinema professionals from across the country’s independent production, distribution and exhibition chain flocked to an emergency general convention in Paris this week to raise the alarm over the future of their industry.
France has long prided itself on being the most cinephile country on the planet, but there is a growing sense among its indie cinema sector that the population has fallen out of love with the seventh art in the wake of the Covid-19 pandemic.
Figures released by the National Cinema Centre (Cnc) last week revealed the worst September box office for the country in 42 years, with 7.38 million entries, for a rough box office of 47m, representing a 20.7 drop on September 2021, and a 34.3 fall on the same month in 2019.
Admissions for the first nine months of 2022 are currently trailing 30 below the average for the same period from 2017-2019. September’s drop was due in part to a lack of big U.
France has long prided itself on being the most cinephile country on the planet, but there is a growing sense among its indie cinema sector that the population has fallen out of love with the seventh art in the wake of the Covid-19 pandemic.
Figures released by the National Cinema Centre (Cnc) last week revealed the worst September box office for the country in 42 years, with 7.38 million entries, for a rough box office of 47m, representing a 20.7 drop on September 2021, and a 34.3 fall on the same month in 2019.
Admissions for the first nine months of 2022 are currently trailing 30 below the average for the same period from 2017-2019. September’s drop was due in part to a lack of big U.
- 10/7/2022
- by Melanie Goodfellow
- Deadline Film + TV
It’s almost midnight in Tokyo, where Isabelle Huppert is playing faded southern belle Amanda in a New National Theatre production of Tennesee Williams’ “The Glass Menagerie.” We’re on Zoom to discuss a new retrospective of her career opening at Film Forum this Friday. Her career needs no introduction, but it’s one so bursting with iconic, complicated, often gnarly characters — she has two Césars, five Lumières, a BAFTA, three Cannes honors, a Golden Globe, and an Oscar nomination — that to distill it all into 20 minutes of conversation with the French actress would be a fool’s effort. But one can try.
Instead of trying to parse what’s long made her so alluring to directors like Claude Chabrol (“La Ceremonie”), Jean-Luc Godard (“Every Man for Himself”), Michael Cimino (“Heaven’s Gate”), Maurice Pialat (“Loulou”), Ira Sachs (“Frankie”), Olivier Assayas (“Sentimental Destinies”), Paul Verhoeven (“Elle”), Claire Denis (“White Material”), and...
Instead of trying to parse what’s long made her so alluring to directors like Claude Chabrol (“La Ceremonie”), Jean-Luc Godard (“Every Man for Himself”), Michael Cimino (“Heaven’s Gate”), Maurice Pialat (“Loulou”), Ira Sachs (“Frankie”), Olivier Assayas (“Sentimental Destinies”), Paul Verhoeven (“Elle”), Claire Denis (“White Material”), and...
- 10/4/2022
- by Ryan Lattanzio
- Indiewire
If Isabelle Huppert is not your favorite actor, she’s the favorite actor of someone you know. Guaranteed. There’s something about her that is unlike any other actor that has ever been on film. But it’s really hard to talk about what that “something” is. In each performance, in every film she’s made, she has such a command of the character, the text, the frame, that we place her in equal authorship with the directors she’s worked with, who happen to be some of most interesting and important in the last half-century—Jean Luc-Godard, Michael Haneke, Claude Chabrol, Michael Cimino, Claire Denis, […]
The post “It’s Like Clouds Passing in the Sky”: Isabelle Huppert on her Elusive Acting Process first appeared on Filmmaker Magazine.
The post “It’s Like Clouds Passing in the Sky”: Isabelle Huppert on her Elusive Acting Process first appeared on Filmmaker Magazine.
- 10/4/2022
- by Peter Rinaldi
- Filmmaker Magazine - Blog
Director/Tfh Guru Allan Arkush discusses his favorite year in film, 1975, with Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
Rules of the Game (1939)
Le Boucher (1970)
Last Year At Marienbad (1961)
Dead Men Don’t Wear Plaid (1982)
Topaz (1969)
Bodies Bodies Bodies (2022)
Hollywood Boulevard (1976) – Jon Davison’s trailer commentary
The Innocents (1961) – Joe Dante’s trailer commentary
The Earrings of Madame De… (1953)
Rope (1948) – Darren Bousman’s trailer commentary
Make Way For Tomorrow (1937)
The Awful Truth (1937) – Charlie Largent’s Criterion Blu-ray review
Duck Soup (1933) – John Landis’s trailer commentary
Going My Way (1944)
Nashville (1975) – Larry Karaszewski’s trailer commentary, Dan Perri’s trailer commentary
M*A*S*H (1970)
Shampoo (1975) – Allan Arkush’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
Bonnie And Clyde (1967) – John Landis’s trailer commentary
The Nada Gang (1975)
Get Crazy (1983) – Allan Arkush’s trailer commentary
Night Moves (1975) – Glenn Erickson’s Blu-ray review
Dog Day Afternoon (1975) – Katt Shea’s trailer...
Show Notes: Movies Referenced In This Episode
Rules of the Game (1939)
Le Boucher (1970)
Last Year At Marienbad (1961)
Dead Men Don’t Wear Plaid (1982)
Topaz (1969)
Bodies Bodies Bodies (2022)
Hollywood Boulevard (1976) – Jon Davison’s trailer commentary
The Innocents (1961) – Joe Dante’s trailer commentary
The Earrings of Madame De… (1953)
Rope (1948) – Darren Bousman’s trailer commentary
Make Way For Tomorrow (1937)
The Awful Truth (1937) – Charlie Largent’s Criterion Blu-ray review
Duck Soup (1933) – John Landis’s trailer commentary
Going My Way (1944)
Nashville (1975) – Larry Karaszewski’s trailer commentary, Dan Perri’s trailer commentary
M*A*S*H (1970)
Shampoo (1975) – Allan Arkush’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
Bonnie And Clyde (1967) – John Landis’s trailer commentary
The Nada Gang (1975)
Get Crazy (1983) – Allan Arkush’s trailer commentary
Night Moves (1975) – Glenn Erickson’s Blu-ray review
Dog Day Afternoon (1975) – Katt Shea’s trailer...
- 9/20/2022
- by Kris Millsap
- Trailers from Hell
Media coverage of Jean-Luc Godard’s death will fall short of what he merits. He was a game-changing creator on the level of Sergei Eisenstein, Charlie Chaplin, D.W. Griffith, and others who changed the grammar of film forever, but his best-known films are from a half-century ago. And there’s this: Under the standards by which successful directors are judged today — box office and awards — Godard was strictly a minor-league player.
His lifelong regard as a master is a tribute to his films above all, but it also speaks to a cinephile culture that elevated and supported him for decades despite the general public’s disinterest.
In the U.S., Godard’s films initially received erratic distribution with short-run showings at a few big-city theaters; even his best-known titles like “Breathless” and “Week-end” received marginal releases. They appeared erratically, out of order, and sometimes not until two or three years after their public debuts.
His lifelong regard as a master is a tribute to his films above all, but it also speaks to a cinephile culture that elevated and supported him for decades despite the general public’s disinterest.
In the U.S., Godard’s films initially received erratic distribution with short-run showings at a few big-city theaters; even his best-known titles like “Breathless” and “Week-end” received marginal releases. They appeared erratically, out of order, and sometimes not until two or three years after their public debuts.
- 9/14/2022
- by Tom Brueggemann
- Indiewire
My favorite tracking shot in film history is not a tracking shot. It's a shot of a tracking shot.
The scene in question opens Jean Luc-Godard's "Contempt," and, visually, consists of little more than a movie camera gliding down a dolly track toward a stationary camera, which serves as the audience's Pov. As the camera moves closer into view, we see that it is shooting, at a 90-degree angle square to our perspective, a young woman (Giorgia Moll) scribbling notations in a book. Eventually, the camera rolls to a stop directly in front of our camera, which is now a low-angle shot of the film's cinematographer, Raoul Coutard, who pans his implement 90-degrees before pointing it downward at the audience. The effect is at once startling and amusing. We have, in essence, locked eyes with the filmmaker.
This may not sound terribly thrilling in writing, but factor in a...
The scene in question opens Jean Luc-Godard's "Contempt," and, visually, consists of little more than a movie camera gliding down a dolly track toward a stationary camera, which serves as the audience's Pov. As the camera moves closer into view, we see that it is shooting, at a 90-degree angle square to our perspective, a young woman (Giorgia Moll) scribbling notations in a book. Eventually, the camera rolls to a stop directly in front of our camera, which is now a low-angle shot of the film's cinematographer, Raoul Coutard, who pans his implement 90-degrees before pointing it downward at the audience. The effect is at once startling and amusing. We have, in essence, locked eyes with the filmmaker.
This may not sound terribly thrilling in writing, but factor in a...
- 9/14/2022
- by Jeremy Smith
- Slash Film
Jean-Luc Godard, the legendary filmmaker who revolutionized the medium as a leader of the French New Wave of the 1960s, died Tuesday at age 91.
Godard’s partner, Anne-Marie Mieville, confirmed to the Swiss news agency Ats that he died peacefully at his home in the Swiss town of Rolle near Lake Geneva.
French President Emmanuel Macron also confirmed his death on Twitter, calling him a “national treasure” who “invented a resolutely modern, intensely free art.”
Godard burst on the international scene with his debut feature, 1960’s “À bout de souffle” (“Breathless”), which revolutionized cinematic storytelling with its fractured nonlinear narrative about a petty criminal and his girlfriend, improvisational choreography and rapid editing. The film became an international sensation, making a star of its lead actor, Jean-Paul Belmondo, and earning Godard the best director prize at the Berlin Film Festival.
Also Read:
Marsha Hunt, Blacklisted Hollywood Actress, Dies at 104
He became...
Godard’s partner, Anne-Marie Mieville, confirmed to the Swiss news agency Ats that he died peacefully at his home in the Swiss town of Rolle near Lake Geneva.
French President Emmanuel Macron also confirmed his death on Twitter, calling him a “national treasure” who “invented a resolutely modern, intensely free art.”
Godard burst on the international scene with his debut feature, 1960’s “À bout de souffle” (“Breathless”), which revolutionized cinematic storytelling with its fractured nonlinear narrative about a petty criminal and his girlfriend, improvisational choreography and rapid editing. The film became an international sensation, making a star of its lead actor, Jean-Paul Belmondo, and earning Godard the best director prize at the Berlin Film Festival.
Also Read:
Marsha Hunt, Blacklisted Hollywood Actress, Dies at 104
He became...
- 9/13/2022
- by Thom Geier
- The Wrap
Jean-Luc Godard, the pioneering French New Wave director who challenged and upended conventional filmmaking methods for over half a century, died today according to multiple reports in the French media. He was 91.
Godard’s celebrity mystique was defined by the image of the enigmatic chain-smoking auteur, adorned in sunglasses while indulging in existential insight, revolutionary politics, and radical ideas about art. But his career never rested on that cartoonish brand.
Though he would remain most famous for his first feature, the 1960 meta-noir “Breathless,” that iconic debut kickstarted a lifetime of ambitious, often confrontational work. His filmography consists of everything from genre deconstructions to political screeds and avant-garde gambles designed to confuse and provoke new avenues for an evolving art form. Through it all, Godard remained a divisive figure whose prolific output embodied — and often interrogated — the cultural and intellectual proclivities of French society and the world at large.
His legacy...
Godard’s celebrity mystique was defined by the image of the enigmatic chain-smoking auteur, adorned in sunglasses while indulging in existential insight, revolutionary politics, and radical ideas about art. But his career never rested on that cartoonish brand.
Though he would remain most famous for his first feature, the 1960 meta-noir “Breathless,” that iconic debut kickstarted a lifetime of ambitious, often confrontational work. His filmography consists of everything from genre deconstructions to political screeds and avant-garde gambles designed to confuse and provoke new avenues for an evolving art form. Through it all, Godard remained a divisive figure whose prolific output embodied — and often interrogated — the cultural and intellectual proclivities of French society and the world at large.
His legacy...
- 9/13/2022
- by Eric Kohn
- Indiewire
Click here to read the full article.
Jean-Luc Godard, the brilliant and polemical Franco-Swiss filmmaker whose work revolutionized cinema, has died. He was 91.
Godard’s death was reported by French newspaper Liberation, which didn’t immediately detail a cause of death.
A former film critic who wrote for the legendary Cahiers du Cinéma during its heyday of the 1950s, Godard emerged onto the scene in 1960 with his seminal debut feature, Breathless, which won the Silver Bear at the Berlin Film Festival.
The Paris-set crime caper, which starred Jean Seberg and Jean-Paul Belmondo, forever changed the course of movies and heralded the arrival of cinematic modernism. Using jump cuts, nods to the camera and other meta-fictional devices, Breathless constantly interrupted and commented on the story as it was happening.
Indeed, Godard’s major contribution to cinema was his idea that a movie was both the story it was telling and the...
Jean-Luc Godard, the brilliant and polemical Franco-Swiss filmmaker whose work revolutionized cinema, has died. He was 91.
Godard’s death was reported by French newspaper Liberation, which didn’t immediately detail a cause of death.
A former film critic who wrote for the legendary Cahiers du Cinéma during its heyday of the 1950s, Godard emerged onto the scene in 1960 with his seminal debut feature, Breathless, which won the Silver Bear at the Berlin Film Festival.
The Paris-set crime caper, which starred Jean Seberg and Jean-Paul Belmondo, forever changed the course of movies and heralded the arrival of cinematic modernism. Using jump cuts, nods to the camera and other meta-fictional devices, Breathless constantly interrupted and commented on the story as it was happening.
Indeed, Godard’s major contribution to cinema was his idea that a movie was both the story it was telling and the...
- 9/13/2022
- by Jordan Mintzer
- The Hollywood Reporter - Movie News
Quentin Tarantino is, above all, a film nerd. Sure, he’s made award-winning features himself, but even decades after he broke out in Hollywood, the filmmaker is still an opinionated film fan who isn’t afraid to share his hot takes. This is evident in a recent interview where he decided to target none other than iconic French filmmaker, François Truffaut.
In a clip from his Video Archives Podcast (via IndieWire), Quentin Tarantino is talking about the world of Claude Chabrol.
Continue reading Quentin Tarantino Calls François Truffaut A “Bumbling Amateur” & Compares The Filmmaker To Ed Wood at The Playlist.
In a clip from his Video Archives Podcast (via IndieWire), Quentin Tarantino is talking about the world of Claude Chabrol.
Continue reading Quentin Tarantino Calls François Truffaut A “Bumbling Amateur” & Compares The Filmmaker To Ed Wood at The Playlist.
- 8/29/2022
- by Charles Barfield
- The Playlist
Say what you will about Quentin Tarantino, but he never backs down from a controversial take. The filmmaker has made a career out of his ability to elevate the exploitation films he loves into high art, and has never shied away from defending the cinema that inspired him. And his tendency to appreciate the lowbrow is matched by a willingness to criticize some of cinema’s most revered figures when he thinks the praise they get is unwarranted.
The September issue of Sight & Sound features an interview with Tarantino and his “Video Archives Podcast” co-host Roger Avary and highlighted several notable clips from their podcast. Per usual, Tarantino didn’t mince words when discussing his film opinions. When discussing the films of Claude Chabrol on an episode of the show, he found time to criticize the work of François Truffaut, particularly the thrillers that the director made later in his career.
The September issue of Sight & Sound features an interview with Tarantino and his “Video Archives Podcast” co-host Roger Avary and highlighted several notable clips from their podcast. Per usual, Tarantino didn’t mince words when discussing his film opinions. When discussing the films of Claude Chabrol on an episode of the show, he found time to criticize the work of François Truffaut, particularly the thrillers that the director made later in his career.
- 8/27/2022
- by Christian Zilko
- Indiewire
Wassim Beji, the French producer of “Boite noire,” and Snd have acquired the adaptation rights to iconic French detective novels “Fantomas” and are planning a film and a series based on the franchise.
A ruthless and multi-faceted thief and assassin, Fantomas “was the first occidental super-villain featured in a serialized format, first through comic strips and later in a radio series,” said Beji, adding that “Fantomas” has also been a source of inspiration for some of the greatest artists of the 20th century, including the surrealist poet Guillaume Apollinaire.
Created in 1911 by Marcel Allain and Pierre Souvestre, Fantomas is one of France’s most popular fictional characters, along with Arsene Lupin. Fantomas was first adapted for the big screen by into a silent crime film serial directed by Louis Feuillade for Gaumont in 1913. The property was later adapted into a crime comedy trilogy starring Jean Marais and Louis de Fines...
A ruthless and multi-faceted thief and assassin, Fantomas “was the first occidental super-villain featured in a serialized format, first through comic strips and later in a radio series,” said Beji, adding that “Fantomas” has also been a source of inspiration for some of the greatest artists of the 20th century, including the surrealist poet Guillaume Apollinaire.
Created in 1911 by Marcel Allain and Pierre Souvestre, Fantomas is one of France’s most popular fictional characters, along with Arsene Lupin. Fantomas was first adapted for the big screen by into a silent crime film serial directed by Louis Feuillade for Gaumont in 1913. The property was later adapted into a crime comedy trilogy starring Jean Marais and Louis de Fines...
- 8/10/2022
- by Elsa Keslassy
- Variety Film + TV
French film great Jean-Louis Trintignant, best known for his roles in “A Man and a Woman,” “Z,” and “The Conformist,” died Friday. He was 91.
Trintignant died at his home in southern France, his wife, Marianne, and agent told the Agence France-Presse.
Trintignant was more recently known for roles in Krzysztof Kieslowski’s “Red” and for starring opposite Emmanuelle Riva in Michael Haneke’s “Amour,” winner of the 2013 Oscar for best foreign film.
Taciturn and enigmatic, the “reluctant” actor, who came by his profession by accident and several times announced he was quitting, returned time and again to appear in more than 100 films and achieve international stardom over of a period of more than 40 years working with some of the world’s great directors including Claude Chabrol, Abel Gance, Bernardo Bertolucci, Costa-Gavras, Ettore Scola and Francois Truffaut, as well as Kieslowski and Haneke.
Though he claimed to prefer racing cards, he once told an interviewer,...
Trintignant died at his home in southern France, his wife, Marianne, and agent told the Agence France-Presse.
Trintignant was more recently known for roles in Krzysztof Kieslowski’s “Red” and for starring opposite Emmanuelle Riva in Michael Haneke’s “Amour,” winner of the 2013 Oscar for best foreign film.
Taciturn and enigmatic, the “reluctant” actor, who came by his profession by accident and several times announced he was quitting, returned time and again to appear in more than 100 films and achieve international stardom over of a period of more than 40 years working with some of the world’s great directors including Claude Chabrol, Abel Gance, Bernardo Bertolucci, Costa-Gavras, Ettore Scola and Francois Truffaut, as well as Kieslowski and Haneke.
Though he claimed to prefer racing cards, he once told an interviewer,...
- 6/17/2022
- by Richard Natale
- Variety Film + TV
Jean-Louis Trintignant in Amour Photo: Unifrance/Films du losange/Denis Manin French star Jean-Louis Trintignant, whose film career spanned more than six decades, has died "peacefully, of old age", at 91.
Trintignant, who most recently garnered critical acclaim for his role in Michael Haneke's dementia drama Amour and the director's 2017 drama Happy End.
Jean-Louis Trintignant as Jean-Louis and Anouk Aimée is Anne in A Man And A Woman The versatile actor first rose to prominence as part of the nouvelle vague, starring alongside Brigit Bardot in Roger Vadim's And God Created Woman, also starring in the director's later Dangerous Liaisons and then finding international fame with A Man And A Woman with Anouk Aimée.
Other key films, included Claude Chabrol's Les Biches and, in 1970, Bernardo Bertolucci's The Conformist. He also worked with Francois Truffaut, starring in the director's last film Finally, Sunday in 1983 and found more critical...
Trintignant, who most recently garnered critical acclaim for his role in Michael Haneke's dementia drama Amour and the director's 2017 drama Happy End.
Jean-Louis Trintignant as Jean-Louis and Anouk Aimée is Anne in A Man And A Woman The versatile actor first rose to prominence as part of the nouvelle vague, starring alongside Brigit Bardot in Roger Vadim's And God Created Woman, also starring in the director's later Dangerous Liaisons and then finding international fame with A Man And A Woman with Anouk Aimée.
Other key films, included Claude Chabrol's Les Biches and, in 1970, Bernardo Bertolucci's The Conformist. He also worked with Francois Truffaut, starring in the director's last film Finally, Sunday in 1983 and found more critical...
- 6/17/2022
- by Amber Wilkinson
- eyeforfilm.co.uk
Jean-Louis Trintignant, a French actor known for art house classics like “The Conformist,” “Z,” “My Night at Maud’s” and more recently the Palme d’Or winner “Amour,” has died. He was 91.
Trintignant died in his home Friday in the Gard region of Southern France, his wife Marianne told the French press agency. He had announced in 2018 a diagnosis for prostate cancer.
Considered one of the best French actors of his generation, Trintignant was an international star who worked with auteurs from Costa-Gavras, Éric Rohmer, Francois Truffaut, Michael Haneke, Claude Chabrol, Bernardo Bertolucci and Krzystof Kieslowski throughout his career across over 130 films. He also had a career as a French race car driver and a filmmaker.
Also Read:
French President Emmanuel Macron Pays Tribute to Journalist Frederic Leclerc-Imhoff Who Was Killed in Ukraine
Trintignant started his career on stage in the early ’50s and first gained attention in one of his first screen roles,...
Trintignant died in his home Friday in the Gard region of Southern France, his wife Marianne told the French press agency. He had announced in 2018 a diagnosis for prostate cancer.
Considered one of the best French actors of his generation, Trintignant was an international star who worked with auteurs from Costa-Gavras, Éric Rohmer, Francois Truffaut, Michael Haneke, Claude Chabrol, Bernardo Bertolucci and Krzystof Kieslowski throughout his career across over 130 films. He also had a career as a French race car driver and a filmmaker.
Also Read:
French President Emmanuel Macron Pays Tribute to Journalist Frederic Leclerc-Imhoff Who Was Killed in Ukraine
Trintignant started his career on stage in the early ’50s and first gained attention in one of his first screen roles,...
- 6/17/2022
- by Brian Welk
- The Wrap
Jean-Louis Trintignant is dead at 91. The French actor assembled as diverse a career as any film performer of the second half of the 20th century, with a 60-year output that all but came to define arthouse cinema.
Just in the past decade, he broke cinephiles’ hearts with his devastating turn in Michael Haneke’s 2012 film “Amour,” in which he played a husband caring for his Alzheimer’s-suffering wife. Playing his spouse in that film was Emmanuelle Riva, herself one of the pioneering actors of the French New Wave. Their collaboration was perhaps the last truly great one of Trintignant’s career, in which so many partnerships resulted in deeply emotional artistry. Trintignant followed up “Amour” with another Haneke film, 2017’s “Happy End.”
Trintignant was an actor with matinee idol looks in his youth, but he always put the work before his own vanity. Just look at a fraction of the...
Just in the past decade, he broke cinephiles’ hearts with his devastating turn in Michael Haneke’s 2012 film “Amour,” in which he played a husband caring for his Alzheimer’s-suffering wife. Playing his spouse in that film was Emmanuelle Riva, herself one of the pioneering actors of the French New Wave. Their collaboration was perhaps the last truly great one of Trintignant’s career, in which so many partnerships resulted in deeply emotional artistry. Trintignant followed up “Amour” with another Haneke film, 2017’s “Happy End.”
Trintignant was an actor with matinee idol looks in his youth, but he always put the work before his own vanity. Just look at a fraction of the...
- 6/17/2022
- by Christian Blauvelt
- Indiewire
Jean-Louis Trintignant, the thoughtful French actor who headlined such art house classics as A Man and a Woman, My Night at Maud’s, The Conformist, Three Colors: Red and Amour, has died. He was 91.
Trintignant died Friday at his home in the Gard region of southern France, his wife, Marianne, and agent told the Agence France-Presse.
Trintignant received a number of accolades throughout his 60-plus-year career, including the best actor prize from Cannes in 1969 for Costa-Gavras’ political thriller Z and a Cesar Award in 2013 for Michael Haneke’s Amour, which also won the Oscar for best foreign-language film.
With more than 130 screen and 50-plus stage credits to his name, Trintignant was a highly prolific and respected talent who could perform anything from Shakespeare to commercial French comedies, from art house favorites by Bertolucci, Kieślowski and Truffaut to popular romances and sci-fi flicks — as...
Trintignant died Friday at his home in the Gard region of southern France, his wife, Marianne, and agent told the Agence France-Presse.
Trintignant received a number of accolades throughout his 60-plus-year career, including the best actor prize from Cannes in 1969 for Costa-Gavras’ political thriller Z and a Cesar Award in 2013 for Michael Haneke’s Amour, which also won the Oscar for best foreign-language film.
With more than 130 screen and 50-plus stage credits to his name, Trintignant was a highly prolific and respected talent who could perform anything from Shakespeare to commercial French comedies, from art house favorites by Bertolucci, Kieślowski and Truffaut to popular romances and sci-fi flicks — as...
- 6/17/2022
- by Jordan Mintzer
- The Hollywood Reporter - Movie News
MK2 Films is shooting “Curiosity Room,” a remake of Wim Wenders’s cult 1982 documentary “Room 666,” during the Cannes Film Festival. Produced by Mk Prods. in collaboration with the Cannes Film Festival, “Curiosity Room” will be directed Lubna Playoust, an actor (“The French Dispatch”) and filmmaker who notably helmed “Le Cormoran.”
Following the same set up as the original film, “Curiosity Room” is filming every day of the festival in a room at the Marriott Hotel on the Croisette, where 30 filmmakers, many of whom are either on juries or have movies and projects presented at this year’s Cannes, will answer questions about filmmaking and the future of cinema. Playoust is asking fellow directors if “cinema is a language about to get lost, an art about to die?,” said Nathanael Karmitz, MK2 Films’s CEO.
The remake is particularly relevant at this point since the film industry is going through a...
Following the same set up as the original film, “Curiosity Room” is filming every day of the festival in a room at the Marriott Hotel on the Croisette, where 30 filmmakers, many of whom are either on juries or have movies and projects presented at this year’s Cannes, will answer questions about filmmaking and the future of cinema. Playoust is asking fellow directors if “cinema is a language about to get lost, an art about to die?,” said Nathanael Karmitz, MK2 Films’s CEO.
The remake is particularly relevant at this point since the film industry is going through a...
- 5/20/2022
- by Elsa Keslassy
- Variety Film + TV
Cannes slates includes new restorations of David Lynch’s Lost Highway, Claire Denis’s Chocolat, and Olivier Assayas’s Irma Vep.
France’s mk2 films is ramping up its heritage film operation with the appointment of Frédérique Rouault as head of collections and the acquisition of a raft of catalogues by directors who have marked cinema history.
In one of its most significant heritage deals to date, the company has acquired the rights to the entire collection of films by the late writer and director Marcel Pagnol.
Until now, the catalogue has been managed by grandson Nicolas Pagnol under the...
France’s mk2 films is ramping up its heritage film operation with the appointment of Frédérique Rouault as head of collections and the acquisition of a raft of catalogues by directors who have marked cinema history.
In one of its most significant heritage deals to date, the company has acquired the rights to the entire collection of films by the late writer and director Marcel Pagnol.
Until now, the catalogue has been managed by grandson Nicolas Pagnol under the...
- 5/18/2022
- by Melanie Goodfellow
- ScreenDaily
MK2 Films, the company behind six films playing at Cannes including Leonor Serraille’s competition title “Mother and Son,” has acquired French and international rights on the Raoul Peck catalogue from Velvet Film.
MK2 Films will start selling the library of films during the Cannes Film Festival. The Raoul Peck collection comprises documentary and fiction, including the HBO documentary series “Exterminate All the Brutes” which earned Peck a DGA Awards nomination.
The collection also includes “I Am Not Your Negro,” the Oscar-nominated, BAFTA-winning documentary narrated by Samuel L. Jackson, as well as the powerful “Lumumba: Death of a Prophet,” the restored, 4K version of which played at Cannes Classics last year. The doc is a historical investigation weaving Peck’s childhood memories and a tribute to a leading figure of modern African heritage.
MK2 Films will also now represent Peck’s “Haitian films,” a mini-collection comprising three fiction films and a documentary,...
MK2 Films will start selling the library of films during the Cannes Film Festival. The Raoul Peck collection comprises documentary and fiction, including the HBO documentary series “Exterminate All the Brutes” which earned Peck a DGA Awards nomination.
The collection also includes “I Am Not Your Negro,” the Oscar-nominated, BAFTA-winning documentary narrated by Samuel L. Jackson, as well as the powerful “Lumumba: Death of a Prophet,” the restored, 4K version of which played at Cannes Classics last year. The doc is a historical investigation weaving Peck’s childhood memories and a tribute to a leading figure of modern African heritage.
MK2 Films will also now represent Peck’s “Haitian films,” a mini-collection comprising three fiction films and a documentary,...
- 5/17/2022
- by Elsa Keslassy
- Variety Film + TV
Michel Bouquet - pictured in The Origin Of Violence - divided his acting career between theatre and cinema Photo: UniFrance An actor who has been described as a monument of stage and screen in France has died at the age of 96.
Michel Bouquet, a confirmed Parisian, was born on 6 November and in time honoured tradition signed on at the Conservatoire of the Dramatic Arts in 1943.
He gained early experience in the theatre but came to cinematic prominence in the Sixties when he was taken up by such directors as François Truffaut, Alain Resnais, Henri-Georges Clouzot and Claude Chabrol. He made a speciality of characters who were both ambiguous and mysterious.
In the theatre he played in Ionesco’s Le roi se meurt no less than 800 times. He went to boarding school with his three brothers and was always regarded as a bit of an outsider. His contemporaries made fun of him,...
Michel Bouquet, a confirmed Parisian, was born on 6 November and in time honoured tradition signed on at the Conservatoire of the Dramatic Arts in 1943.
He gained early experience in the theatre but came to cinematic prominence in the Sixties when he was taken up by such directors as François Truffaut, Alain Resnais, Henri-Georges Clouzot and Claude Chabrol. He made a speciality of characters who were both ambiguous and mysterious.
In the theatre he played in Ionesco’s Le roi se meurt no less than 800 times. He went to boarding school with his three brothers and was always regarded as a bit of an outsider. His contemporaries made fun of him,...
- 4/13/2022
- by Richard Mowe
- eyeforfilm.co.uk
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSAbove: Shiva Baby (2020) Emma Seligman's Bottoms now has a cast, which includes Shiva Baby star Rachel Sennott, Havana Rose Liu, Ayo Edebiri, and former NFL player Marshawn Lynch. Written by Seligman and Sennott, the film is a high school sex comedy about "two unpopular queer girls in their senior year who start a fight club to try to impress and hook up with cheerleaders." Michel Bouquet, the prolific French film and theater actor, has died at 96. Early in his film career, Bouquet narrated Alain Resnais' Night and Fog (1955), then went on to appear in films by François Truffaut, Claude Chabrol, Jacques Deray, and many more. Among his later performances was the role of the tiular painter in Gilles Bourdos's Renoir (2013). Submissions are now open for "The Video Essay," the annual collaborative section of...
- 4/13/2022
- MUBI
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