1-20 of 76 items from 2015 « Prev | Next »
There is a case to be made for home movies as the purest form of cinema. It’s folly, of course, to pit films against one another based on the circumstances under which they were made; to argue what is realer, and thus more valid, than the other. In a camera’s lens, especially, the lines of truth and lies blur and overlap. It’s just that in what we believe to be reality the stakes are always higher, the emotions elevated. One of the first films ever made, the Lumière brothers’ L'arrivée d'un train à La Ciotat, was a succinct 56 seconds that depicted the arrival of a train at its station in Lyon, France. When it was first shown to the public it was the audience’s virgin film-viewing experience, and it was reported that many were frightened by the illusion that the train was coming straight for them. »
- Oliver Skinner
The late 1950s were a time of seismic upheaval and innovation in world cinema. In France, Francois Truffaut, Claude Chabrol and Jean-Luc Godard were backing up their boisterous critical rhetoric by placing themselves behind the camera and making movies the way they believed they should be made. English filmmakers were developing the kitchen-sink realism style featuring a lineup of angry young men. Ingmar Bergman brought Scandinavian cinema to global prominence, Italian film boasted the emerging talents of Fellini and Antonioni, and Japan unleashed an exuberant new generation of directors like Suzuki, Kobayashi and others who came out of the agitated rebellion of the Sun Tribe movement. Even India could put forth a prodigious genius like Satyajit Ray to introduce cinephiles from around the world to a culture that was ready to transcend the stereotypes and mystification that its recent colonial past had distorted. Among all the nations that could lay »
- David Blakeslee
The French New Wave, which changed notions of how films could be made, gave birth to a group of young directors headed by Jean-Luc Godard, Jacques Rivette, Eric Rohmer, Claude Chabrol, Alain Resnais and François Truffaut. Although they believed in Alexandre Astruc’s concept of the caméra-stylo – that film-makers should use the camera much as a writer uses a pen to create a personal vision – they still depended, for the most part, on screenwriters to help forge that vision. Among the writers most in demand, particularly by Truffaut and Resnais, was Jean Gruault, who has died aged 90.
Gruault arrived at the start of the New Wave when he co-wrote (with the directors) Rivette’s Paris Belongs to Us (Paris Nous Appartient, shot in 1958, but released in 1961) and Truffaut’s Jules and Jim »
- Ronald Bergan
You no doubt know of a crazy local or two that mills around your town in a daze, occasionally causing disturbances, but otherwise remains fairly harmless. If you stop to think about it, it’s possible that they may have had an entirely different life with a past rich with fame, fortune and family, but sadly, their final warped reality is often the result of something as tragic as mental illness. In the case of François Truffaut‘s true to life telling of French literary master Victor Hugo’s increasingly demented daughter’s obsessive breakdown in The Story of Adèle H., the vagabond fate stems from haughty infatuation and swiftly disintegrates into detached delirium not unlike those familiar empty faces asking for bus fare or something to eat on your local street corner.
The Story of Adèle H. followed Truffaut’s Best Foreign Picture winning Day For Night, gleaning its »
- Jordan M. Smith
Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.The New York Film Festival has revealed that Robert Zemeckis's much-anticipated 3D quasi-heist film The Walk will open the 2015 event. The newly released full trailer can be watched above.Famed writer Jean Gruault has died at the age of 90. Gruault had written scripts for François Truffaut (Jules and Jim), Jacques Rivette (The Nun), Alain Resnais (Mon oncle d'Amérique), and others, including writing the novel on which Valérie Donzelli's Cannes competitor this year, Marguerite & Julien, was based.We're crossing our fingers that Quentin Tarantino's The Hateful Eight will make 50+ cinemas in the U.S. equipped to project 70mm.This week is a trailer bonanza, including Mistress America, the new Noah Baumbach collaboration with actress Greta Gerwig after Frances Ha.This Long Century has published several new pieces, including »
Film is unique among many art forms in that it is a very collaborative kind of art. A wonderful film requires an immense number of talents, temperaments and personalities to mesh and work together well; from make-up artists to cinematographers to producers.
Or, of course, if you buy auteur theory, it really just requires one person: the director. While there is certainly a lot of truth to Francois Truffaut’s idea that the director is ultimately the author of the film, some directors take this primacy a bit too far.
These directors see the film as their own singular and perfect vision and view other people as a mere tool for accomplishing this mission. Their methods are extensive, exhaustive and often eccentric. They burn down sets the size of small towns for the sake of seconds worth of screen time, they get involved in brawls with their actors and »
- David O'Donoghue
Jean Gruault, who wrote 25 screenplays between 1960 and 1995, has His screenplay for Alain Renais's Mon oncle d'Amérique (1980) was nominated for an Oscar and a César and won a David di Donatello Award. Other notable works include Jacques Rivette's debut feature, Paris Belongs to Us (1960), and Rivette's The Nun (1966); Roberto Rossellini's Vanina Vanini (1961) and The Taking of Power by Louis Xiv (1966); Jules and Jim (1962), co-written with François Truffaut, as well as Truffaut's The Wild Child (1970), Two English Girls (1971) and The Green Room (1978); Jean-Luc Godard's Les carabiniers (1963); Chantal Akerman's The Eighties (1983) and Golden Eighties (1986); the scenario for Resnais's Love Unto Death (1984); and he worked with Jean-Pierre Dardenne and Luc Dardenne on You're on My Mind (1992). » - David Hudson »
You could be vaccinating felines for a year at an animal shelter and still not hear the word "pussy" as much as you do in the first half hour of Entourage. This expansion of the HBO TV series appears to have been conceived by a gaggle of misogynistic, beer-chugging adolescent virgins who brag about getting laid, but the closest they've ever gotten is a Playboy centerfold bespattered with cream of mushroom soup that they rescued from the city dump.
To be fair, I have never viewed any episode of this series that I thought was supposed to be a tongue-in-cheek inside gander at Hollywood. Instead, what we have here is a glorified daydream of the male need to copulate with any orifice within five inches of his zipper. Make that four inches.
Directed and written with unflinching ineptitude and fetid taste by the series' executive producer Doug Ellin, the film is basically plotless. »
- Brandon Judell
'Harry Potter and the Prisoner of Azkaban' poster. With Daniel Radcliffe. Rupert Grint. Emma Watson. 'Harry Potter and the Prisoner of Azkaban' quiz question: Does state-of-the-art CGI equal movie magic? (Oscar Movie Series) Alfonso Cuarón seems like an odd choice for director of Harry Potter and the Prisoner of Azkaban, the third installment in the Harry Potter movie series. That is, if one thinks only of Cuarón's pre-Harry Potter sleeper hit, the François Truffaut-esque Y tu mamá también, while ignoring two of his earlier efforts, the critically acclaimed A Little Princess and the moderately respected Great Expectations. This time around, working with a reported $130 million budget (approx. $163 million in 2015), state-of-the-art special effects, and the Harry Potter franchise, Cuarón surely could do no wrong. At the box office, that is. For although Harry Potter and the Prisoner of Azkaban is stylistically superior to Chris Columbus' previous work in the series, »
- Andre Soares
In today's roundup of news and views: A new journal on television narratives; a review of a book from Raymond Cauchetier, who photographed Jean-Luc Godard, François Truffaut and other French New Wave filmmakers at work; more long takes on Alex Garland's Ex Machina (and Joe Wright's interview with Alicia Vikander); Boris Nelepo on Manoel De Oliveira; John Powers on The Matrix; Bright Lights on Boyhood; a conversation about Don Hertzfeldt; an appreciation of Federico Fellini; Jaws at 40 and Total Recall at 25; in defense of Cameron Crowe's Aloha; and Bernardo Bertolucci, Wim Wenders, Fernando Meirelles, Walter Salles, Atom Egoyan, Bob Rafelson and Pablo Trapero are among the directors who have pledged their support to Film4Climate. » - David Hudson »
Have you seen literally any of the marketing for Batman vs. Superman? Heavy stuff, right? It's all so dour that Greg Silverman, head of film production at Warner Bros., took to the pages of The Hollywood Reporter to assure moviegoers that Warners' upcoming DC superhero slate would also have jokes. In fact, he said, "humor" would be "an important part" of the studio's plan for its superhero films. But, if not for a total absence of merriment, how will DC's cinematic universe separate itself from Marvel's? "We have a great strategy for the DC films," explained Silverman, "which is to take these beloved characters and put them in the hands of master filmmakers and make sure they all coordinate with each other ... The filmmakers who are tackling these properties are making great movies about superheroes; they aren't making superhero movies." If only François Truffaut were alive, he'd totally love Jared Leto »
- Nate Jones
“In many of the films now being made, there is very little cinema: They are mostly what I call ‘photographs of people talking,’” Alfred Hitchcock told his awestruck French interlocutor, critic-cum-helmer Francois Truffaut, in the indispensable monograph whose 50th anniversary inspired film historian Kent Jones’ “Hitchcock/Truffaut.” The master of suspense referred to his own style, which tried to dispense with dialogue in favor of conveying a story through a sequence of shots, as “pure cinema,” and even though Jones’ documentary relies heavily on talking heads, recycled clips and traditional narration, there’s no question that it embodies pure cinema of a different sort — namely, a complete and total immersion in the medium, by way of a career-spanning appreciation of Hitchcock’s work, designed to echo and extend the impact of Truffaut’s seminal book. Accessible yet intelligent, the 80-minute docu should reward institutional retrospectives and homevideo viewing alike.
- Peter Debruge
The Criterion Collection has announced its new line-up for August, with some more classic films being added to the collection. On August 4th Jules Dassin’s Night and the City is released, followed on August 11th by Karel Reisz’s The French Lieutenant’s Woman starring Meryl Streep, and on August 18th Brian De Palma’s Dressed to Kill starring Michael Caine and François Truffaut’s Day for Night. Finally on August 25th the Dardenne Brothers superb Two Days, One Night starring Oscar Winner Marion Cotillard.
You can check out the full press release details below, as well as the artwork for each release.
Two-bit hustler Harry Fabian (Richard Widmark) longs for a life of ease and plenty. Trailed by an inglorious history of go-nowhere schemes, he tries to hatch a lucrative plan with a famous wrestler. But there is no easy money in this underworld of shifting alliances, »
- Scott J. Davis
Jacob joked his life was now far easier. “As the former president of the Cannes Festival and president of Cannes Cinefondation, my situation was very difficult: I used to have to say, good day Cinefondation president, good day festival president, and I was talking to myself.”
Ex catedra, he delivered two-to-three tips to the audience, mostly made up of film school students. They are worth noting, the fruit of a long experience, and Jacob’s belief in and admiration for grand masters and auteur filmmaking:
1.“First of all, see as many films you can, good, not that good, it’s not that big a deal. Look attentively at how they’re made. François Truffaut, when he had a problem on set, when you don’t have time to think things through, »
- John Hopewell
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 »
1-20 of 76 items from 2015 « Prev | Next »
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners