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Kent Jones' new documentary Hitchcock/Truffaut premiered at the Cannes Film Festival and sounds like it's a film for the ages, serving more-or-less as a movie for those of us (yes, I shamefully include myself in this) that haven't yet read "Hitchcock", the book that transcribes the famous 1962 sit down interview between Alfred Hitchcock and Francois Truffaut. In fact, if you don't want to read it you can even listen to the entire interview session in its entirety right here or you can sit and wait until the Cohen Media Group releases the new documentary in theaters later this year. amz asin="0671604295" size="small"Featuring interviews with the likes of Martin Scorsese, David Fincher, Arnaud Desplechin (who just won during the Cannes Directors' Fortnight), Kiyoshi Kurosawa, Wes Anderson, James Gray, Olivier Assayas, Richard Linklater, Peter Bogdanovich and Paul Schrader, this film sets out to take us into the world of the creator of Psycho, »
- Brad Brevet
At his highly-anticipated talk for the Kering Women In Motion series at the Majestic Hotel, Cannes festival director Thierry Fremaux kicked off proceedings with the statement, “This debate makes me furious.”
He then spent much of his talk bopping back and forth between his view that Cannes gets unfairly criticised for the lack of female filmmakers in the programme, while festivals such as Berlin and Venice avoided such reproach, while also claiming to welcome the discussion that has been sparked around the issue of female inequality.
“Yes, there are discriminations, but these issues are widespread across other cultural industries around the world,” said a disgruntled Fremaux.
“People attack us with extreme aggression, but if there is one place where female directors are welcome, it’s here in Cannes.”
Fremaux cited several factors to support his argument that Cannes supports women, including the fact that juries are, in large part, evenly split between »
Cannes — “Can anybody say how many women were in competition at Berlin or Venice?” Cannes Festival topper Thierry Fremaux asked the audience Thursday at the Cannes Festival’s Women in Motion talks where Fremaux himself was interviewed.
Nobody could, which was precisely Fremaux’s point. What “infuriated” him, he said, was that the subject of women in film just became a debating point during the Cannes Festival and then was forgotten for the rest of the year. “Come and see me in November and we can talk about the subject,” Fremaux said.
And even when the subject is debated at Cannes, the debate is rather superficial, he lamented. “The question of women in film is like a chestnut tree which flourishes in May,” quipped Fremaux, who also cited the journalist Francoise Giroux saying “The true gender equality will come when we’ll name incompetent women in the place of men. »
- John Hopewell and Elsa Keslassy
New York Film Festival director Kent Jones has found time to direct Hitchcock/Truffaut, a documentary about the conversation 50 years ago between the then 30-year-old François Truffaut and 63-year-old Alfred Hitchcock that would become a landmark book. David Fincher, Paul Schrader, Richard Linklater, Wes Anderson, Martin Scorsese, Peter Bogdanovich, Olivier Assayas and Arnaud Desplechin discuss the impact of the book and Hitchcock's films—and the first round of reviews is in. So, too, are the interviews with Jones. While is own favorite Hitchcock is Notorious, the film focuses on Vertigo and Psycho. » - David Hudson »
I’ve been there before. One week into the strenuous daily grind that is Cannes and the tired journalist/critic might think twice about a project featuring 15th century incest from a filmmaker whose only break out film was the Critics’ Week selected Declaration of War back in 2011. The byline you’ll read every review is the fact the film’s (partly) based on a screenplay that Jean Gruault wrote for Francois Truffaut in the 70s and that he it never materialized until now. Since 2009’s The Queen of Hearts, creative pairing Valerie Donzelli and JeremieElkaïm are on a film per year pace (add Hand in Hand (2012) and Just Love! (2013) to the filmography) and their In Comp debut tackles taboo in fairy tale mode. Starring Elkaïm and Anaïs Demoustier as brother and sister, the film is being called beautiful to look at by some, but in our critics grid we »
- Eric Lavallee
Marguerite & Julien, adapted by director Valérie Donzelli and Jérémie Elkhaïm from an unused François Truffaut screenplay is a "buttock-clenchingly embarrassing movie," declares the Guardian's Peter Bradshaw. Starring Elkhaïm, Anaïs Demoustier, Raoul Fernandez "and—incredibly—Geraldine Chaplin," it's based on "the true story of forbidden love between two aristocratic siblings, Marguerite and Julien de Ravalet, executed in 1603 for adultery and incest." And, competing in Cannes, it's earned pans across the board. We're collecting them and we've posted the trailer. » - David Hudson »
There is always that one movie in Cannes. It’s “the child molester movie” or “the father- daughter incest movie” or “the middle-aged women paying for impoverished sex workers movie.” Now we have “the brother-and-sister incest fairy tale.” That pretty well sums up “Marguerite & Julien,” a film with a bit of a backstory. Author Jean Gruault once wrote a screenplay for Francois Truffaut called “History of Julien & Marguerite,” the true story of a brother and sister who were executed for adultery and incest. Truffaut was planning to make it into a sweeping epic in the 1970s. Donzelli then took up. »
- Sasha Stone
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. Anne Thompson: How do you have time to make a documentary? Kent Jones: If I had done exactly what Richard Pena did »
- Anne Thompson
Although he died over thirty years ago, Francois Truffaut will still have something of a presence at the Cannes Film Festival this year. A film that the iconic director nearly made in the early ’70s from a screenplay by Jean Guault, was dusted off and rewritten by director Valérie Donzelli and actor Jérémie Elkaim and is screening in Competition during the festival–check out our coverage here–as “Marguerite & Julien.” While it’ll be some time before we see the film stateside, in an effort to build up buzz for its French release later this fall, the first (non-English) trailer from the film has been released, via Telerama. Described as “a contemporary fairytale,” Donzelli’s film follows the son and daughter of an aristocrat who fall in love with each other and are persecuted by society. Even if you aren’t fluent in French – join the club – the trailer still »
- Cain Rodriguez
Steven Spielberg and daughter Destry Spielberg on the Oscars' Red Carpet Steven Spielberg and daughter Destry Steven Spielberg and daughter Destry Spielberg arrive at the 83rd Academy Awards, held on Feb. 27 at the Kodak Theatre in Hollywood. Spielberg has taken home two Best Director Oscars: Schindler's List (1993) and Saving Private Ryan (1998). Schindler's List also won Best Picture, but Saving Private Ryan lost to John Madden's Miramax-distributed Shakespeare in Love. There was quite a bit of animosity at the time, as some felt that Miramax, owned by brothers Bob and Harvey Weinstein, overdid its Oscar campaigning – while still managing to sway enough Academy of Motion Picture Arts and Sciences members to vote for its film. Somewhat ironically, at the 2011 Academy Awards ceremony Steven Spielberg presented the Best Picture Award to The King's Speech. Toplining Colin Firth, Helena Bonham Carter, Geoffrey Rush, Guy Pearce, and Claire Bloom, this British production was »
- D. Zhea
Fabien Lemercier at Cineuropa on In the Shadow of Women, which has opened this year's Directors' Fortnight: "By placing Stanislas Merhar, Clotilde Courau and Lena Paugam in the leading roles, the French filmmaker happily brings back his favorite themes, creating a short film (1h13) that is clean-cut and bright as a solitary star following its unwavering trajectory through the ages, since Philippe Garrel was already featured in the 1st Directors’ Fortnight in 1969." Garrel's first collaboration with Luis Buñuel's screenwriter, Jean-Claude Carrière, reminds Allan Hunter at Screen of "the world of Eric Rohmer and François Truffaut." » - David Hudson »
In 1962 two of the greatest minds in cinema sat down for a historic conversation, and Hitchcock/Truffaut invites you to sit down at the table as François Truffaut’s intimate and expansive interview with Alfred Hitchcock unfolds.
Directed by Kent Jones (A Letter to Elia) and written by Serge Toubiana (Director of the Cinematèque Française) and Jones, the film chronicles the intellectual and artistic bonds between the master of suspense and the French New Wave auteur. The likes of David Fincher, Richard Linklater, and Martin Scorsese all add to the discussion of Hitchcock’s enduring legacy and his influence on cinema.
Here’s that poster, this should be very special:
Hitchcock/Truffaut has it’s World Premiere in Cannes on May 19th, 2015.
- Dan Bullock
Ahead of its premiere at Cannes this month, the first poster has been released for director Kent Jones’ upcoming documentary Hitchcock/Truffaut, which chronicles the intelluctual and artist bonds between the master of suspense Alfred Hitchcock and French New Wave auteur Francois Truffaut…
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 will receive its world premiere at Cannes on May 19th.
- Gary Collinson
Hidden necrophilia in Vertigo, glowing milk, an on-set spat with Montgomery Clift … in 1962, Alfred Hitchcock revealed his tricks, and the often shocking meanings behind his films, to fellow director François Truffaut. Now their talks have been turned into the revealing film Hitchcock/Truffaut
There’s a derangingly perverted scene in the 1958 film Vertigo. The femme fatale Judy, played by Kim Novak, appears before Scottie, James Stewart’s retired cop, in a sleazy motel room. She’s dressed as the dead woman with whom he’s obsessed. “I indulged in a form of necrophilia,” the director Alfred Hitchcock told François Truffaut during a week-long series of interviews they did in Hollywood in 1962.
Scottie has insisted that Judy dye her hair blond and wear the outfit he bought. Only then will he be able to have sex with her. But there’s a problem. Scottie can’t consummate his desire because one »
- Stuart Jeffries
'Fanny and Alexander' movie: Ingmar Bergman classic with Bertil Guve as Alexander Ekdahl 'Fanny and Alexander' movie review: Last Ingmar Bergman 'filmic film' Why Ingmar Bergman's Fanny and Alexander / Fanny och Alexander bears its appellation is a mystery – one of many in the director's final 'filmic film' – since the first titular character, Fanny (Pernilla Allwin) is at best a third- or fourth-level supporting character. In fact, in the three-hour theatrical version she is not even mentioned by name for nearly an hour into the film. Fanny and Alexander should have been called "Alexander and Fanny," or simply "Alexander," since it most closely follows two years – from 1907 to 1909 – in the life of young, handsome, brown-haired Alexander Ekdahl (Bertil Guve), the original "boy who sees dead people." Better yet, it should have been called "The Ekdahls," for that whole family is central to the film, especially Fanny and Alexander's beautiful blonde mother Emilie, »
- Dan Schneider
‘’Reality is too complex. What it needs is fiction to make it real,” intones the computer at the film’s beginning. "Alphaville," released on May 5, 1965, exaggerates reality. Godard and cinematographer Raoul Coutard did not flood Paris with light. Instead they photographed at night on real Paris locations in order to make a film with the creepy feel of a nightmare. As a young critic in the 50s, Godard spent long days at the French Cinematheque sampling every possible genre. Like his colleagues at the Cahiers du Cinema, critics-turned-filmmakers Francois Truffaut, Eric Rohmer and Jacques Rivette, Godard was able to look back on decades of Hollywood movies that hit his generation all at once. They discerned patterns and themes and started to organize and champion their faves. (They in turn influenced "American Cinema"'s indexer/critic historian Andrew Sarris.) Yes, like everyone else, the French New Wave adored Orson Welles and John Ford. »
- Anne Thompson
The Locarno Film Festival will pay tribute with a career Golden Leopard to French actress Bulle Ogier, known for appearing in almost all of Jacques Rivette’s films after starring in his 1968 classic “L’Amour Fou.”
The choice of Ogier — who has also worked with other major European directors including Claude Lelouch, Louis Bunuel, Rainer Werner Fassbinder, Claude Chabrol, Daniel Schmid, and Manoel de Oliveira, as well as her husband Barbet Schroeder — represents a continuation of the Swiss fest’s revisitation of the legacy of the French Nouvelle Vague.
Locarno’s tribute to Bulle Ogier will be accompanied by a selection of films she has appeared in and also by an onstage “In Conversation »
- Nick Vivarelli
“A 19th Century Stalker”
Around the time of America’s Civil War, Adèle became fixated on a British soldier, one Lieutenant Pinson. She followed him across the Atlantic to Nova Scotia, where he was stationed, for she was convinced that he loved her and would marry her. In fact, the couple had experienced a brief relationship in England (while Victor Hugo was living in Guernsey, in exile from France), but Pinson ultimately rejected Adèle and wanted no more to do with her. Even though he was obviously a rakish cad, the girl became obsessed with the man and went to great lengths to pursue him.
These days we would call it stalking.
François Truffaut’s The Story of Adèle H. »
- firstname.lastname@example.org (Cinema Retro)
The hero of Francois Truffaut’s “Day for Night” famously said that “making a film is like a stagecoach ride in the old west… when you start, you are hoping for a pleasant trip. By the halfway point, you just hope to survive. “ Directing a film —no matter if it’s a tentpole feature or a crowd-funded short— is a herculean undertaking, requiring much overtime, thankless work and often soul-deadening compromise. The best directors have found ways to fight righteously for their cinematic visions within the studio system. In a new video interview courtesy of Film4, a veritable who’s who of today’s best filmmakers share their thoughts on the directorial process, the translation of thought from page to screen and the urgency and chaos that fuels most film sets. The video encompasses interviews with the likes of Eli Roth and Ben Wheatley: both are genre directors who »
- Nicholas Laskin
The Criterion Collection have added three thrillers to their impressive collection, with Robert Montgomery’s Ride the Pink Horse, Nicholas Roeg’s Don’t Look Now and Francois Truffaut’s The Soft Skin all offering different thrills for those who love movies. [caption id="attachment_442129" align="alignright" width="352"] Image via Criterion Collection[/caption] Robert Montgomery is an actor whose appeal and importance has faded. Though well respected in his time, the closest he has to a signature role would be in Here Comes Mr. Jordan, which was later remade by both Warren Beatty (as Heaven Can Wait) and Chris Rock (Down to Earth). He never won an Oscar and stopped making movies by 1950, when he turned to television. But with two of his directing efforts, there is a sense that we didn’t get the best of the performer, that he might have had a masterpiece in him. He directed two films in 1947, the first being Lady in the Lake, »
- Andre Dellamorte
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