6 items from 2016
Rome — The Venice Film Festival is celebrating French actor Jean-Paul Belmondo, who gained stardom during the French New Wave in Jean-Luc Godard’s “Breathless,” and director Jerzy Skolimowski, pioneer of the Polish New Wave, with Golden Lions for lifetime achievement.
Belmondo, whom the fest in a statement called “an icon of French and international cinema,” first attended Venice in 1965 with Godard’s couple-on-the-run pic “Pierrot le Fou,” which was booed there before going on to gain praise and becoming a groundbreaking classic.
Synonymous with French cool, Belmondo is also known for his roles in French gangster movies such as “The Big Risk” by Claude Sautet (1960) and “Borsalino” by Jacques Deray (1970). His other standout pics include crime drama “The Night Caller” by Henri Verneuil (1975) and two films directed by Claude Lelouch, the Hollywood-set romancer “Love is a Funny Thing” (1969) and drama “Itinerary of a Spoiled Child” (1988). Belmondo also played the French »
- Nick Vivarelli
The festival noted that it plans to start awarding two Golden Lions for career achievement at each edition of the festival, starting this year. One will be to a director and one to an actor.
Venice festival director Alberto Barbera said: “Thanks to his fascinating face, irresistible charm and extraordinary versatility, he has played roles in dramas, adventure movies and even comedies, making him a star who is universally respected, by engagé directors and escapist cinema alike.”
Skolimowski has enjoyed a 50-year career including his early Polish trilogy of Rysopis, Walkover and Barrier; The Departure; Deep End; The Shout; Moonlighting and Essential Killing (which won a special »
- firstname.lastname@example.org (Wendy Mitchell)
“Photography is truth. The cinema is truth twenty-four times a second,” spoke the inimitable but often emulated Jean-Luc Godard, an auteur with film pulsating through his veins. Commencing with 1960’s “Breathless,” his first feature-length film, and the one that catapulted his legendary career, Godard’s become one of those directors with his own adjective, an instantly recognizable artist whose erudite work continues to inspire cinephiles all over the world. Read More: Watch: 9-Minute Video Essay Explores How Jean-Luc Godard’s ‘Breathless’ Changed Post-wwii Cinema While simultaneously launching the careers of ex-wife Anna Karina and "Breathless" star Jean-Paul Belmondo, amongst others, Jlg beautifully coalesced the worlds of philosophy, politics, and humanism into marmoreal works of art. In this new video essay for Criterion by frequent contributor kogonada, the close-ups, the oddball sequences, and the brilliant, adjunct mood changes are all slyly pieced »
- Samantha Vacca
★★★★☆ Jean-Luc Godard's first feature, Breathless starts as the director meant to go on. With an effortless Gallic cool, Jean-Paul Belmondo, a Gauloises dangling from his lip, hot-wires an American car and accelerates off at high speed. He breaks rules and dances to his own tune all over town, and that is precisely was in turn to prove the director's own intention. For the last five decades, Godard has explored the ever more esoteric modes of celluloid expression, but with 1960's eye-catching debut - Breathless was the film that arguably defined La Nouvelle Vague - he kicked off a run of his most celebrated, accessible work. Those early years form the basis of StudioCanal's new Essential Blu-ray Collection.
- CineVue UK
Jean-Luc Godard’s early films were distinct from each other in tone and form – romantic comedies, outlaw-chic, dystopian visions – connected only by the ‘shifting centre’ of his cinematic world, his wife and muse, Anna Karina
Jean-Luc Godard had a problem with endings. His early films often finish with a throwaway closure, a death, not quite real, distantly presented. His films are all middle, yet a sense of ending imbues them. For Godard, even love itself is something that is always winding down and his lover, his wife, the muse of the best of his early movies, Anna Karina, embodies this problem. Watching Bande à Part (1964) and Pierrot le Fou (1965), I really didn’t want these films ever to finish; the deep pleasure of being in the company of Karina, and Claude Brasseur and Sami Frey and Jean-Paul Belmondo, is so beguiling that you want the fun to last a little longer. »
- Michael Newton
Jean Reno stars in Family Heist as master thief who teams up with long-lost daughters.
French outfit Snd has boarded international sales and local distribution rights to art theft comedy caper Family Heist and romantic drama The Confession ahead of Unifrance’s annual Rendez-vous with French Cinema in Paris next week (Jan 14-18).
Pascal Bourdiaux’s Family Heist stars Jean Reno as a master thief who enlists the support of his long-lost daughters on an ambitious robbery aimed at exacting revenge on a double-crossing, former partner.
Reno is set for a high-profile year. He will hit screens at home and abroad in French comedy The Visitors: Bastille Day this spring and also has roles in Sean Penn’s upcoming The Last Face and the historical drama The Promise.
The two-month »
6 items from 2016
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