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Touring festival to show Cannes titles and spotlight Resnais, Truffaut and Tati.
The touring French Film Festival UK (Nov 5 – Dec 4) will host Cannes titles including Mathieu Amalric’s The Blue Room (La Chambre Bleue), Jean-Luc Godard’s 3D trip Goodbye to Language (Adieu Au Langage), and Camera d’Or winner Party Girl, directed by Marie Amachoukeli.
The festival, which travels to cities between Inverness and London, will open with Belgian director Lucas Belvaux’s Not My Type (Pas mon genre), the cultural and social divide romantic comedy with Emilie Dequenne and Loïc Corbery.
There will be tributes to the late Alain Resnais, with screenings of a restored copy of his first feature Hiroshima Mon Amour and the director’s last film Life of Riley, as well as films from François Truffaut and Jacques Tati.
- email@example.com (Andreas Wiseman)
Born five years after Helen Keller in Vertou, France, Marie Heurtin faced many of the same challenges, growing up deaf and blind in a society whose instinct was to institutionalize such girls. “Marie’s Story,” therefore, is not so different from Keller’s, amounting to a French “Miracle Worker” with the bonus miracle that it was a nun who accomplished the inspirational breakthrough. Acquired by Film Movement in advance of its Locarno Film Festival premiere, this compelling 19th-century drama offers slight but satisfying variations on one of American drama’s best-loved tales, spelling awards heft abroad and sleeper potential Stateside.
Whereas every American child knows how Keller learned to communicate, thanks to her autobiography and the 1962 film, Heurtin’s story isn’t widely known in France — nor is the unfortunate meme of off-color jokes schoolchildren make concerning Keller’s twin handicaps. That should make for a relatively pure viewing experience abroad, »
- Peter Debruge
The French New Wave, that cinematic movement from the 1960s that essentially defined iconoclasm for film, has undoubtedly had its impact on nearly everything, from film to music to style. And given its indelible impact on cultural history, it’s one of the easiest artistic movements to pull from, as demonstrated from three key music videos inspired by, ripped off from, and celebrating the auteurs from Godard to Truffaut.
There’s a bit of irony and wordplay going on here. First, the band’s name is Nouvelle Vague, nodding to both the French New Wave and the New Wave in music during the 1980s. Then there’s the name of the album that the French cover band chose to use: Bande à Part, from the Jean-Luc Godard film of the same name. Then there’s the actual music video. Rather than go about “creating” a music video for their single, »
- Kyle Turner
★★★★★French critic and auteur François Truffaut's tone and style have been both successfully and unsuccessfully mined by numerous directors over the years, including the likes of Wes Anderson, Richard Ayoade and Shane Meadows. Never as knowingly hip and revolutionary as others, his cinema belongs to Renoir and Vigo, and is carried on by that doomed depressive Leos Carax. Truffaut claimed that if he walked into a casino, his first instinct would be to master the rules. Godard's first instinct, Truffaut added, would be to invent new ones. With his second and third films, Shoot the Pianist (1960) and Jules et Jim (1962) - both rereleased this week - we see a true master at work.
- CineVue UK
The team is looking back at 1973 as we approach the Smackdown. Here's Amir with a personal history...
the first known photo of this famous cineaste pair. Before they were filmmakers. [src]Jean-Luc Godard and François Truffaut were the poster boys of the French New Wave, its most recognizable faces. Their friendship that had begun in the 1940s had carried them through all their years at Cahiers and into their directing careers, was evidenced by Godard’s adoration of Truffaut’s The 400 Blows and the latter’s providing the story for his friend’s first film, Breathless. Their early writings manifest the division they had from the beginning about their outlook on the mechanics and politics of cinema. Nonetheless, their friendship continued even through the fraught days of political disagreement in 1968; but no further than 1973. Truffaut’s Day for Night (La Nuit Americaine) was an unforgivable crime in Godard’s eyes, »
- Amir S.
Above: Pedro Costa's Horse Money
The Locarno Film Festival has announced their lineup for the 67th edition, taking place this August between the 6th and 16th. It speaks for itself, but, um, wow...
"Every film festival, be it small or large, claims to offer, if not an account of the state of things, then an updated map of the art form and the world it seeks to represent. This cartography should show both the major routes and the byways, along with essential places to visit and those that are more unusual. The Festival del film Locarno is no exception to the rule, and I think that looking through the program you will be able to distinguish the route map for this edition." — Carlo Chatrian, Artistic Director
Above: Matías Piñeiro's The Princess of France
Concorso Internazionale (Official Competition)
Alive (Jungbum Park, South Korea)
Horse Money (Pedro Costa, »
Naomi Foner's Tribeca Film Very Good Girls stars Elizabeth Olsen and Dakota Fanning with Boyd Holbrook, Ellen Barkin, Richard Dreyfuss, Clark Gregg, Demi Moore and Peter Sarsgaard. Maggie Gyllenhaal and Sarsgaard, Mamie Gummer and Cary Joji Fukunaga hosted the evening with producer Norton Herrick, designer Nanette Lepore and her daughter Violet, Tali Lennox (daughter of Annie Lennox and film producer Uri Fruchtmann), Stephanie Lacava, Kick Kennedy and Hailey Gates among those attending.
- Anne-Katrin Titze
The Locarno Film Festival will host two free screenings on the Piazza Grande ahead of its 67th edition (Aug 6-16).
The film was shot by cameraman Garrett Brown, who won an Oscar in 1978 for the invention of the Steadicam, and who will attend Locarno to receive the Vision Award - Nescens.
The French actor will be presented with Locarno’s Pardo alla carriera on the Piazza Grande the following day.
The Locarno »
- firstname.lastname@example.org (Michael Rosser)
In the early 20th century, when the public’s love affair with cinema began, we were first introduced to this beguiling new art form through its stars, and this is exactly how the powers that be wanted it. When the Hollywood studios ran the film industry like a tightly controlled, upper-class bordello, the emphasis was placed on the faces you could see, the actors, and a films director existed in some theoretical dark corner of the silver screen, practicing some ethereal cinematic wizardry that the plebeian film fan could never even hope to understand. As the Hepburns’, Davis’, Borgarts’, and Gables’ of the world began to age though, and their box office power diminished, the studios were briefly forced to let the inmates run the prison, handing over the keys to the pesky directors. Suddenly, the auteur was born.
While technically speaking, Auteur Theory, the belief that a »
- Christopher Lominac
The French actor who starred in Jean Luc Godard’s Masculin Feminin is being honoured with the festival’s Pardo Alla Carriera.
French actor Jean-Pierre Leaud is to receive a Pardo Alla Carriera at this year’s Locarno Film Festival.
The iconic New Wave actor starred in Francois Truffaut’s Les Quatre Cents Coups and L’Amour En Fuite, amongst others. Perhaps his most famous role was in Jean Luc Godard’s Masulin Feminin for which he won the Silver Bear for Best Actor in Berlin in 1966.
The Locarno Film Festival, which unveiled its full line up yesterday (July 16) will run from August 6-16. »
- email@example.com (Sarah Cooper)
Italy’s Giffoni Film Festival for children, the unique cinematic holiday camp where kids, teens and young adults from all over the world watch, talk and judge movies, is set to embark on a totally new course after 44 years of almost constant re-invention that has forged a widely exported fest format.
Funds have been greenlit by the European Union for construction on its long-gestating Giffoni Multimedia Valley project, which involves an expansion of the event’s infrastructure and its transformation, by 2016, into a kind of Sundance Institute for children, plus possibly prompting a proper production studio to sprout in the southern Italian town, a development hailed as Giffoni’s upcoming “rebirth” by founder and artistic director Claudio Gubitosi.
Meanwhile, the July 18-27 edition of the Giffoni Experience isn’t showing any signs of losing steam. A slew of Hollywood talent, including Matt Bomer, above, who will be honored with the Giffoni Award, »
- Nick Vivarelli
Launched in 2012, Venice Classics will be presenting 21 new restorations at during the 71st edition of the festival running from August 27 through September 6. Among the highlights: Robert Bresson's Mouchette (1967), Krzysztof Kieslowski's No End (1984), Roman Polanski's Macbeth (1971), François Truffaut's Stolen Kisses (1968), Anthony Mann's The Man from Laramie (1955), Joseph L. Mankiewicz's Guys and Dolls (1955), Marco Bellocchio's China Is Near (1967), Maurice Pialat's Love Exists (1961) and Jack Clayton's The Innocents (1961). » - David Hudson »
The Venice Film Festival has unveiled the 21 restored films – 18 features and 3 shorts - that will screen in its Classics section of restored films.
The section, introduced in 2012, features a selection of classic film restorations completed over the past year by film libraries, cultural institutions or production companies around the world.
Director Giuliano Montaldo will chair the jury of film students which will award the Venice Classics Award for Best Restored Film and for Best Documentary on Cinema.
The 2014 Venice Classics line up:
Bez końca (No End), dir Krzysztof Kieślowski (Poland, 1984, 108’, Colour) restored by: Studio Filmowe Tor with the support of the National Audiovisual Institute (the Multiannual Government Programme Culture +) and the Polish Film Institute
- firstname.lastname@example.org (Sarah Cooper)
London — The Venice Film Festival has unveiled its Venice Classics line-up, which includes Joseph L. Mankiewicz’s “Guys and Dolls” (1955) and Francois Truffaut’s “Baisers voles” (Stolen Kisses, 1968).
The section is devoted to classic films that have been restored over the past year by film archives, cultural institutions or production companies, and documentaries about cinema and its auteurs. The pics compete for awards for best restored film, and best documentary on cinema.
The festival, which runs Aug. 27-Sept. 6, will present 21 restored films in the Venice Classics section, including 18 feature-length films and three short films.
The line-up includes a screening of Marco Bellocchio’s “La Cina e vicina” (China Is Near), winner of the Special Jury Prize at the 1967 Venice Film Festival. Restored by Sony Pictures Entertainment in collaboration with the Cineteca di Bologna, the film is drawn from the collection of Historic Archives of the Contemporary Arts (Asac).
Other films »
- Leo Barraclough
Your Top Three is a series here at Movies.com where we choose a topic and you give us your top three picks. Richard Linklater's Boyhood is not just one of the best coming-of-age movies in years, but it just might be the most genuinely qualified to exempify the genre. Not only does it depict the story of a boy coming of age, but because it was shot over the course of 12 years, it also documents the real-life coming of age of the actor playing that boy. Actual documentaries have done this in the past, but Boyhood one-ups those films by having the parallelling primary fiction narrative. There is, however, a series of classic French fiction films that's comparable to what Linklater did with his new movie. Francois Truffaut made five movies over 20 years centered on the...
- Christopher Campbell
Justin Chang: Andrew, if you’ll allow me a brief (sort of) digression before we get down to business: A few nights ago, as part of our foolhardy mission to rank the films of Richard Linklater, I watched “Waking Life” for the first time since I’d seen it at a college screening in 2001. Back then, we were both sophomores at USC (though we didn’t know each other at the time), and presumably of the ideal age and mindset to groove on the film’s kaleidoscopic visuals and similarly trippy discourse. I recall having been more bored than seduced at the time, though I’m happy to say that my very different reaction following this second viewing — which began around midnight, all the better to cultivate the optimal bleary-eyed dream state — was enough to move “Waking Life” a few notches up my own list.
At a certain point late into the movie, »
- Justin Chang and Andrew Barker
★★☆☆☆Jean-Baptiste Poquelin - or Molière to use his nom de plume - created comedy out of farce and underlaid a fierce anger that railed against the church and moral hypocrisy. In Philippe Le Guay's Cycling with Molière (2013), we have what François Truffaut called the cinéma de papa; a bland concoction that peters out from a premise that promises so much but ultimately leaves its audience disappointed. It appears at first glance that all the elements conjoining within Cycling with Molière would edge us towards an experience that alternates between the highs and lows of culture while focusing on the foibles of the original odd couple: Alceste and Philinte, from Molière's The Misanthrope.
- CineVue UK
Richard Linklater's "Boyhood" is a masterpiece. Full stop. It's an effortless piece of humanist filmmaking we don't often see, particularly on these shores where the Hollywood machine has forever altered the concept of what a movie should be, where independent cinema is pushed to the fringes while soaring budget gambles dominate the status quo and the middle ground of American cinema is consistently eroded. "Boyhood" is, at last, I think, the film Linklater has been striving toward his whole career. It is his Truffaut film. When the director was making the press rounds last year for "Before Midnight," I sat down with him and star/co-writer Julie Delpy to discuss their journey with that story and those characters over the course of three films and 13 years. The expectation for more adventures in the life of Celine and Jesse had already set in, and Linklater joked that he would like »
- Kristopher Tapley
Richard Linklater's new film "Boyhood," at almost three hours, overflows with beauty, truth, ingenuity, humanity and tenderness, and it firmly places the director in the pantheon of cinema's great auteurs. The entire early life of Mason (newcomer Ellar Coltrane), through childhood and into his first day of college, is compressed into an intimate epic as fresh and thrillingly alive as Francois Truffaut's films of Antoine Doinel, who was wrought in five movies beginning with "The 400 Blows." "Boyhood" is but one movie, and it's just as subversive. Shot a few days a year across 12 years with the same cast, "Boyhood" also bursts with Linklater's love of his native Texas -- the film's setting -- as well as two career-topping performances from Ethan Hawke and Patricia Arquette as Mason's estranged but decent and good parents. Linklater manages to not only make his cinematic trickery transparent, favoring character over conceit, he effortlessly eludes. »
- Ryan Lattanzio
Movies in which actors and actresses play actors and actresses are a favorite for both Hollywood and non-Hollywood filmmakers. Francois Truffaut, Alfred Hitchcock, and Billy Wilder all made at least one film that had their leads taking on parts that reflected a meta-awareness of the acting business. Director Oliver Assayas (Paris, je t’aime) joins that pantheon of greats with his new film Clouds of Sils Maria, and today we have the latest international trailer.
In Clouds of Sils Maria, Juliette Binoche takes on the part of Maria Enders, an aging actress tapped to appear in a new version of a play that made her famous – only this time she’ll be playing the part of the elder woman who becomes obsessed with a younger one. Fact and fiction begin to meld together when a Hollywood starlet (Chloe Grace Moretz) takes on the part of the younger woman that, twenty years ago, »
- Lauren Humphries-Brooks
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