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Chicago – One of the most exciting times of the Fall Season for Chicago film buffs is the Chicago International Film Festival. In 2015, the 51st edition takes place beginning this Thursday, October 15th through October 29th. With over 130 films, which ten are the contributors of HollywoodChicago.com anticipating? Read on…
The 51st International Chicago Film Festival offers films in many categories, with a Main Competition for feature films, a New Directors Competition, and awards for Documentary, short films, Lbgtq films (Q Hugo Award) and local filmmakers. The festival also offers a variety of short film presentations, Black Perspectives, Out-look (associated with the Q Hugo), U.S. Indies, World Cinema and the ever-popular After Dark series of films. Click here for a full schedule of events and ticket information.
HollywoodChicago.com welcomes a new contributor this year, who will be providing coverage and previews through the fest. Brendan Hodges will be that contributor, »
- email@example.com (Adam Fendelman)
Arnaud Desplechin shows off Film4Climate bracelet from Anne-Katrin Titze Photo: Anne-Katrin Titze
Brian De Palma, Wes Anderson, De Palma directors Noah Baumbach and Jake Paltrow, along with Hitchcock/Truffaut and Festival Director Kent Jones, joined Arnaud Desplechin on the red carpet of the New York Film Festival North American premiere of My Golden Days (Trois Souvenirs De Ma Jeunesse) at Alice Tully Hall for a boys on film moment.
Roman Polanski's Tess d'Urbervilles, a Chekhovian scene, François Truffaut's autobiographical Mississippi Mermaid, Strindberg in Paris, and a theory from our previous conversation including the Under Capricorn complex come into play in our conversation.
Desplechin hero Paul Dédalus (Mathieu Amalric)
Paul Dédalus is Mathieu Amalric in adult form and a teenage Paul (Quentin Dolmaire) has always had an affinity for plaid. Fabric samples are everywhere in Esther's (Lou Roy-Lecollinet) family home and a great big green neon sign in »
- Anne-Katrin Titze
Mathieu Amalric, André Dussollier, Lou Roy-Lecollinet, Quentin Dolmaire, Antoine Bui, Cécile Garcia-Fogel, Olivier Rabourdin, Irina Vavilova, Françoise Lebrun, Dinara Drukarova, Raphaël Cohen and Lily Taieb make My Golden Days burst with life.
How André Dussollier becomes a smiling Ernst Lubitsch devil out of Heaven Can Wait, location scouting in Roubaix, green Alfred Hitchcock scissors, New York Film Festival director Kent Jones's Hitchcock/Truffaut, Chekhov's Uncle Vanya, and Roman Polanski's Tess d'Urbervilles became part of my animated conversation with Arnaud.
We spoke about François Truffaut's Mississippi Mermaid (La Sirène Du Mississipi), Esther’s siren song and Paul’s knightly mourning, how Stanley Cavell and John Ford make for a good epilogue, and why Arnaud no longer writes small talk but does dance choreography. »
- Anne-Katrin Titze
The trouble with this business of watching movies is that, sooner or later, you encounter people that view films not as escapism, but as an art form.
You know the type: they have PhDs and MAs, use big words and probably shook Jean-Luc Goddard’s hand one time. In their circle, you’re obliged to say that you loved Francois Truffaut’s Les Quatre Cents Coups (The 400 Blows), but if you start talking about monster movies, they’ll look at you as though you just asked them to pull your finger.
Truffaut’s movie may have helped start the French New Wave, but if you want a trend-setting movie with teenage leads, you need look no further than The Blob. Not only is this the archetypal movie about kids saving their town from a monster from space, but it features the King Of Cool himself, Steve McQueen, »
- Ian Watson
A trailer has arrived online for director Kent Jones’ upcoming documentary Hitchcock/Truffaut which focuses the on recordings from the week long interview between Alfred Hitchcock and Francois Truffaut for Truffaut’s acclaimed book on the master of suspense. Check it out below…
1962 – Two of the greatest minds in cinema sat down for a historic conversation. Hitchcock/Truffaut invites you to sit down at the table as François Truffaut’s intimate and expansive interview with Alfred Hitchcock unfolds. David Fincher, Richard Linklater, Martin Scorsese and other legendary filmmakers add to the discussion of Hitchcock’s enduring legacy and influence on cinema.
Hitchcock/Truffaut opens on October 10th in the UK.
- Gary Collinson
This is the case in the first trailer for the documentary, Hitchcock/Truffaut, which is based on the book of the same name and dives deeper into the conversations between the famed director and the (at the time) up-and-coming director. The film is directed by Kent Jones and features interviews with Martin Scorsese, David Fincher, Arnaud Desplechin, Kiyoshi Kurosawa, Wes Anderson, James Gray, Olivier Assayas, Richard Linklater, Peter Bogdanovich, and Paul Schrader.
The book featured Truffaut asking about each of Hitchcock’s films with the director breaking them down and discussing in depth about each one. It is an enlightening read for any film fan and the film is being heralded as a wonderful companion piece to the book.
The film has played the festival circuit so far and is set for a release later this year. »
- Zach Dennis
The Greatest Story Hitchcock Ever Told. The first official trailer has debuted for Kent Jones' documentary Hitchcock/Truffaut, about the relationship between the two legendary filmmakers Alfred Hitchcock and François Truffaut. The film is also about, and focuses on, the book "Cinema According to Hitchcock" also known as "Hitchcock/Truffaut" - which is easily available on Amazon now for anyone interested. The documentary also spends time with many of today's great filmmakers, asking them about the book and the influence that Hitchcock/Truffaut had on them. It looks like a fascinating, must-see documentary for any and every last movie nerd or cinephile to seek out as soon as possible. It arrives in theaters later this year. Here's the first trailer for Kent Jones' doc Hitchcock/Truffaut, on YouTube (via The Film Stage): In 1962 Hitchcock and Truffaut locked themselves away in Hollywood for a week to excavate the »
- Alex Billington
Hitchcock/Truffaut Trailer. Kent Jones‘ Hitchcock/Truffaut (2015) movie trailer stars James Gray, Peter Bogdanovich, Wes Anderson, Martin Scorcese and David Fincher. Hitchcock/Truffaut‘s plot synopsis: “Filmmakers discuss how François Truffaut’s 1966 book “Cinema According to Hitchcock” influenced their work.” Alfred Hitchcock is a legendary historical figure. Everyone knows his name, his appearance, and has seen at least two of his films […] »
- Marco Margaritoff
For cinephiles, one of the most helpful and revered books is Hitchcock/Truffaut, the 1967 publication that features French filmmaker Francois Truffaut sitting down with legendary director Alfred Hitchcock for a week-long conversation that spanned the master of suspense’s entire career up to that point. The book (which you can pick up right here) was full […]
The post ‘Hitchcock/Truffaut’ Trailer: The Iconic Cinema Conversation Comes to Life appeared first on /Film. »
- Ethan Anderton
Cannes Review: 'Hitchcock/Truffaut' Is An Enjoyable Appendix To An Essential Book "Hitchcock/Truffaut," an iconic text for any budding cinephile and filmmaker, has a new chapter in the form of a documentary directed by Kent Jones. The documentary expands on the week-long meeting between Hitchcock and a young filmmaker who was his biggest fan and would become a cinematic legend in his own right: Francois Truffaut. The book became famous for containing a new and unprecedented level of candor about the director's filmmaking process and his thoughts on his own films. The new documentary features modern day cinema icons like Martin Scorsese, David Fincher, Arnaud Desplechin, Kiyoshi Kurosawa, Wes Anderson, James Gray, Olivier Assayas, Richard Linklater, Peter Bogdanovich and Paul Schrader talking about the book and the men behind it. Almost fifty years after the book's publication, Hitchcock is still influencing filmmakers and the doc adds new context for. »
- Wil Barlow
Tell any hardcore cinephile that there's a movie about the famed week of conversation between Alfred Hitchcock and Francois Truffaut, and they won't even need to watch this trailer. For those of you who might need an extra push to see two of cinema's grandest talents hanging out and talking movies, the first promo for "Hitchcock/Truffaut" has arrived. Read More: Retrospective: The Films Of Alfred Hitchcock Pt. 2 (1940-1976, the Hollywood Years) Directed by Kent Jones and featuring folks like Martin Scorsese, David Fincher, Arnaud Desplechin, Kiyoshi Kurosawa, Wes Anderson, James Gray, Olivier Assayas, Richard Linklater, Peter Bogdanovich and Paul Schrader (um, that's 10 more reasons to watch the film right there), the documentary illuminates Hitchcock's insights into his work, via his biggest fan, Truffaut. This is a must-see for any film fan, and it's a picture we called "an enjoyable appendix" to the book that Truffaut wrote »
- Kevin Jagernauth
Back in 1962, Alfred Hitchcock and François Truffaut shut themselves away in a room for a week to discuss films, filmmaking and Hitch’s oeuvre in particular. The results were published in a book called, not-too-surprisingly, Hitchcock/Truffaut, and now the conversations are the basis for a fascinating new documentary that has a trailer up at Apple.Director/writer Kent Jones and co-writer Serge Toubiana have rounded up living master class in directing to discuss more about Hitchcock’s style, skill and body of work. The likes of Martin Scorsese, Wes Anderson, David Fincher, Olivier Assayas, Peter Bogdanovich, Arnaud Desplechin, James Gray, Kiyoshi Kurosawa, Richard Linklater, Paul Schrader and more bring their own unique insights to Hitch’s movies and the impact they had on cinema, even as we also get to hear recordings of the two original directors in discussion.Hitchcock/Truffaut played to great acclaim at the Cannes and »
The Keeping Room, a meditative sort of anti-Western from British director Daniel Barber and screenwriter Julia Hart, opens with a quote from Union general William Tecumseh Sherman: “War is cruelty. There is no use trying to reform it. The crueler it is, the sooner it will be over.” But the sentiment I had in mind while watching is one attributed to Francois Truffaut: “Every film about war ends up being pro-war,” because I’ve seen very few movies as fiercely antiwar as this. Starring Hailee Steinfeld and Brit Marling as two sisters who, along with their family’s slave, Mad, must defend themselves from a pair of marauding Union soldiers, The Keeping Room shows how bleakness extends away from the battlefield, then asks the question of whether anything can survive in its wake. Vulture caught up with Marling and Steinfeld to talk about what their movie says about race in America today, »
- Kevin Lincoln
Face-off: Kent Jones Unpacks The Bible Of Auteur Interviews
It’s kind of odd to think that the Cohen Media Group picked up Kent Jones’ slickly produced bonus featuresque cinematic rumination on the monumental bible of film interviews, Hitchcock/Truffaut, being that nearly everyone interviewed in the film has had a film or more released by Janus Films’ homevid branch The Criterion Collection (with the only two exceptions being James Gray and Kiyoshi Kurosawa). Even Jones has appeared in Criterion in various capacities, either on screen as interviewee, in print as a critic or behind the scenes on the Film Foundation’s World Cinema Project release. But, regardless who’s releasing this hot little commodity, it’s a guaranteed cinephilic sugar rush.
Martin Scorsese, Wes Anderson, David Fincher, Olivier Assayas, Paul Schrader, Peter Bogdanovich, Paul Schrader, Arnaud Desplechin and Richard Linklater round out the all-star lineup of interviewees who openly »
- Jordan M. Smith
William Becker, who with a partner acquired Janus Films in 1965, expanded its catalog of arthouse and Hollywood classics and broadened the distribution of that catalog to audiences at universities and to movie fans via DVD, died Saturday from complications of kidney failure in Southampton, N.Y. He was 88.
Becker was a theater critic, a culturally oriented financier and close associate of writers and directors whose passion for the art of film motivated him at least as much as a desire to make money.
Janus, which had been founded in the 1950s by a pair of Harvard alumni, exposed American moviegoers to the then mostly unfamiliar work of groundbreaking directors such as Italians Federico Fellini and Michelangelo Antonioni; Ingmar Bergman; Frenchmen François Truffaut and Robert Bresson; Luis Buñuel; and Japanese masters Akira Kurosawa, Yasujiro Ozu and Kenji Mizoguchi.
After acquiring the company, Becker and his partner Saul J. Turell secured the »
- Variety Staff
This is a capsule review. A full review will be posted closer to release.
Coming soon to college curriculums everywhere, Kent Jones’s new film, Hitchcock/Truffaut, looks to turn the uber-text on Alfred Hitchcock into an equally loving cinematic tribute. Though it starts as a chronicle of Francois Truffaut’s interview series with Hitchcock that became the film text of the same name, Hitchcock/Truffaut is more generally a reverent and insightful look at the techniques, obsessions, and charisma of a man that wowed audiences and inspired imitators for decades.
The methodical pacing of the doc is where Jones gets to demonstrate what he himself picked up from Hitch. Even at only 80 minutes, Hitchcock/Truffaut covers a wide range of subjects, starting with the accessible details about Hitchcock’s background and work philosophy, before digging into a more specialized course laid out for cinephiles. The documentary transitions smoothly between »
- Sam Woolf
Jones takes us back to the legendary 1962 27-hour interview between French critic-auteur Francois Truffaut, playing some of the recordings that were translated and transcribed by Helen Scott in Truffaut’s classic 1966 cinephile must-read, “Cinema According to Hitchcock.” Truffaut was at the beginning of his career, while Alfred Hitchcock was nearing the end of his. Jones ("A Letter to Elia") also brings in directors David Fincher, Paul Schrader, Richard Linklater, Wes Anderson, Martin Scorsese, Peter Bogdanovich, Olivier Assayas, friend/collaborator Arnaud Desplechin ("Jimmy P.") and more to add insight to what Hitchcock means to filmmakers. They focus, especially, on two of Hitchcock's most seminal and influential works, "Vertigo" and "Psycho." I met with Jones at the Hotel Majestic bar in Cannes, where the film premiered. It played Telluride and moves onto Toronto this week. Anne Thompson: How do you have time »
- Anne Thompson
(Jean-Luc Godard, 1962; BFI, 15, DVD/Blu-ray)
The films that announced the arrival of something truly novel in the nouvelle vague were the feature debuts of François Truffaut and Jean-Luc Godard, Les Quatres cents coups (1959) and A bout de souffle (1960). But the films that confirmed the existence of something quite distinctive and wholly individual were Truffaut’s third film, the lyrical, nostalgic, necrophilic Jules et Jim (1961), and Godard’s harsh, self-questioning, didactic fourth movie, Vivre sa vie. Jules et Jim was to become one of the most beloved of French movies, Vivre sa vie one of the most influential.
Truffaut and Godard were allies as critics, contributing to Cahiers du cinéma and advocates of the politique des auteurs. Very soon, they were to be rivals as film-makers, and after Vivre sa vie, the final section of which contains an affectionate nod to Jules et Jim as a tracking shot passes a cinema exhibiting the film, »
- Philip French
Wes Craven made a comic book movie (“Swamp Thing”) before comic book movies were cool, brazenly transformed an Ingmar Bergman scenario into a vicious grindhouse classic (“The Last House on the Left”), and put Meryl Streep through her paces as she gave violin lessons to inner-city kids — and made an enthusiastic if unsuccessful bid for another Oscar — in “Music of the Heart.”
But the cult-fave filmmaker, who died Sunday at 76, earned his place in the movie history books and a warm spot in the hearts of genre aficionados everywhere with two seminal, sequel-spawning masterworks: “A Nightmare on Elm Street” (1984), the dream-logical, high-voltage shocker that established the fire-scarred, razor-fingered Freddy Krueger as a horror-movie icon; and “Scream” (1996), the seriocomic smash hit, scripted by Kevin Williamson, that impudently played fast and loose with the cliches and conventions of slasher pics like “Halloween” and “Friday the 13th” (and, yes, “A Nightmare on Elm Street »
- Joe Leydon
The Conversation is a feature at Sound on Sight bringing together Drew Morton and Landon Palmer in a passionate debate about cinema new and old. For their eighth piece, they discuss Agnès Varda’s stunning and essential character study Cléo from 5 to 7 (1962).
This month brings the Criterion/Eclipse release of the five film box set “Agnès Varda in California,” making August the perfect time to revisit her seminal 1962 film Cléo from 5 to 7. The close to real-time film covers 90 minutes (the title is a slight fib) in the life of a beautiful French pop singer (Corinne Marchand). She has two hours to wait until her Doctor contacts her to confirm if she has cancer and what her prognosis is. In the first scene of the film, Cléo visits a fortune teller whose tarot cards reveal that she will experience a transformative experience that may involve her death. She »
- Landon Palmer
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