17 items from 2014
20. Love/Chloe in the Afternoon (1972)
Directed by: Éric Rohmer
Originally titled “Love in the Afternoon,” but released in North America as “Chloe in the Afternoon,” this Rohmer film is a tale of possible infidelity, seen through the eyes of a conflicted man. Frédéric (Bernard Verley) is a successful young lawyer who is happily married to a teacher named Hélène (Françoise Verley), who is pregnant with their second child. While Frédéric is in a considerably good place in his life, he still struggles with the loss of excitement he had before he married, when he could sleep with whomever he chose. It wasn’t so much the sex that thrilled him, but the chase itself. Still, he feels that these thoughts and fantasies, paired with his refusal to act upon them, only proves that he is completely dedicated and in love with his own wife. That is, until he meets Chloé »
- Joshua Gaul
Mar Del Plata, Argentina — Argentina’s Mar del Plata International Film Festival, which wraps Saturday, not only marks its 29th edition this November but the 60 years since it was first inaugurated in 1954 by then President Juan Domingo Peron. Projected before every screening and on some buildings across the city, an evocative black and white institutional spot by Esteban Sapir captures the history of the festival, with scenes from classics that have played here, including Ingmar Bergman’s “Summer With Monika,” Orson Welles’ “The Trial,” Francois Truffaut’s “Jules et Jim” and Dennis Hopper’s “Easy Rider.”
What remains Latin America’s sole “A”-grade film festival lured such luminaries as Gina Lollobrigida, Errol Flynn, Mary Pickford and Edward G. Robinson its inaugural year. Argentina’s cinema industry had been fast evolving since 1909, when the very first fiction films by Italian transplant Mario Gallo emerged: “The Shooting of Dorrego” and “The May Revolution. »
- Anna Marie de la Fuente
Lyon – In a deal involving two key players in the two key markets for classic film, Charles S. Cohen’s New York-based Cohen Media Group has acquired North American rights to eight films from Gallic mini-major Gaumont for release via the Cohen Film Collection.
The deal was closed at the Lyon Lumière Festival’s Classic Film Market (Mfc), which wrapped Friday in France’s Lyon, by Tim Lanza, VP of Cohen Film Collection, and Virginie Royer, Gaumont international sales manager.
Titles will be released via Cmg’s Cohen Film Collection, created by Cmg’s acquisition in 2012 of the 700-plus Rohauer Film Collection. Twinned with Cmg’s purchase, concluded August, of New York’s four-screen Quad Cinema arthouse, and its upcoming renovation and technical upgrade, »
- John Hopewell
Marie Dubois, actress in French New Wave films, dead at 77 (image: Marie Dubois in the mammoth blockbuster 'La Grande Vadrouille') Actress Marie Dubois, a popular French New Wave personality of the '60s and the leading lady in one of France's biggest box-office hits in history, died Wednesday, October 15, 2014, at a nursing home in Lescar, a suburb of the southwestern French town of Pau, not far from the Spanish border. Dubois, who had been living in the Pau area since 2010, was 77. For decades she had been battling multiple sclerosis, which later in life had her confined to a wheelchair. Born Claudine Huzé (Claudine Lucie Pauline Huzé according to some online sources) on January 12, 1937, in Paris, the blue-eyed, blonde Marie Dubois began her show business career on stage, being featured in plays such as Molière's The Misanthrope and Arthur Miller's The Crucible. François Truffaut discovery: 'Shoot the »
- Andre Soares
Following in the footsteps of Jean-Paul Belmondo, Faye Dunaway will open France’s 6th Lumiere- Grand Lyon Festival, attending for an opening evening gala screening of Arthur Penn’s 1967 modern classic “Bonnie and Clyde,” where she stars with Warren Beatty and Gene Hackman.
Taking place Oct. 13, the opening gala will take place at Lyon’s massive Halle Tony Garnier, with a restored Warner Bros. copy of “Bonnie and Clyde,” and much of the crème of the French film industry and around 5,000 spectators in attendance.
In a brief statement Wednesday, Dunaway said she was very touched by the invitation to a festival for film-lovers. Run by the Lumiere Institute’s Bertrand Tavernier and Thierry Fremaux, the Lumiere Festival, which only screens restorations, revivals and re-issues, noted Dunaway’s “immense contribution” to the emergence of U.S. independent cinema in the 1960s and ‘70s, citing a swathe of titles that Dunaway went »
- John Hopewell
Jean-Paul Belmondo in a white dinner jacket. There. That should be enough to sell you on Philippe de Broca's 1964 crime caper–spoof That Man From Rio, but if for some reason it's not, let's throw in Jean-Paul Belmondo on a motorcycle, Jean-Paul Belmondo elbowing his way onto a flight from Paris to Rio de Janeiro with no ticket or passport, and Jean-Paul Belmondo performing his own stunts — he scrambles across multiple stories' worth of construction scaffolding with "what, me worry?" aplomb. Still not sold? Two more words: Françoise Dorléac. And if that doesn't do it, there's no hope.
Dorléac, as fans of Jacques Demy's euphoric musical romance Young Girls of Rochefort will know, is the sultry, flirty redhead (and sister of Cat »
Cohen Media Group is bringing a new restoration of "That Man From Rio," a dazzlingly wild 1964 adventure comedy starring sexy French screen icon Jean-Paul Belmondo and directed by Philippe de Broca, to NY's Film Forum on August 22. Watch an exclusive trailer for the new print, which bowed at Cannes 2014, below. A blow dart-wielding thug snatches a rare statuette from the Musée de l’Homme; anthropologist Jean Servais is kidnapped in broad Parisian daylight; serviceman Jean-Paul Belmondo begins his 8-day leave by changing to civvies in a Métro entrance and witnesses fiancée Françoise Dorléac (Catherine Deneuve’s sister, killed in a car accident 3 years later) getting kidnapped herself – and then the chase begins: by motorcycle, shoe leather, flight to Rio de Janeiro sans ticket or passport, airport baggage carrier, cable car, pink car complete with green stars and a rumble seat, water skies, Amazon river boat, seaplane, jungle »
- Ryan Lattanzio
Thoughts occasioned by the release of Adieu au langage
Godard and the Permanently New
One “It has to face the men of the time and to meet/The women of the time. It has to think about war And it has to find what will suffice. It has/To construct a new stage. It has to be on that stage, and, like an insatiable actor, slowly and/With meditation, speak words that in the ear,
In the delicatest ear of the mind, repeat…”
Two “…no artist of any art, has his complete meaning alone. …what happens when a new work of art is created is something that happens simultaneously to all the works of art which preceded it….novelty is better than repetition.”
-and modernity, novelty, superventing contemporareity in his cinema begins with a re-evaluation of screen time, direction, and space and his satisfactions at segmenting space as determined by »
- Jim Robison
Every few days, we'll be rounding up some of the latest buzz and reviews coming from the Croisette—our favorite takes from trusted sources on the latest films to make their debut at the 67th Festival de Cannes.
"In perhaps the greatest of all movies about the lives of painters, Maurice Pialat’s Van Gogh, not a single Van Gogh painting was ever shown. Leigh doesn’t go quite as far in Mr. Turner, but his sensibility is largely the same, striving to capture the temperament of the man and his times rather than reducing them to a series of iconic images and eureka moments. Scenes of Turner scribbling in his sketchbook and slathering paint on canvas are used sparingly, and never without a clear purpose. Shooting in widescreen, the director and his regular d.p. Dick Pope »
- Adam Cook
Euro Beat is back! We'll be posting bi-weekly on Wednesday instead of Tuesday from now on, but the saga of European film news and box office stats will continue as before. In today's edition: Jean-Paul Belmondo will recount his life story to his son... and us too, it seems. Also, Acid at Cannes, Slovenian film awards, Spain's surprise box office behemoth, and more! ...
[Read the whole post on twitchfilm.com...]
(Claude Sautet, 1960; BFI, 12)
Le roman policier and le film policier (now widely known by the reverse slang or verlan term "polar") have been staples of French popular culture for a century. Its soundtrack crackling with underworld argot, its air thick with smoke from Gauloises, its morality pulsating with romantic cynicism, the genre's golden age in the cinema was roughly between 1955 and the mid-70s. That's from the release of Rififi (the 1955 gangster movie directed by blacklisted American exile Jules Dassin, a movie much indebted to John Huston's 1950 The Asphalt Jungle) to the death in 1973 of Jean-Pierre Melville, the Americanophile cineaste and creator of definitive gangster flicks. These two decades encompass the classic polars of Jacques Becker, the best films of Lino Ventura (the French Bogart), the nouvelle vague (informally launched by a Louis Malle policier, Lift to the Scaffold, starring Ventura), and Godard's subversion of the genre in Breathless. »
- Philip French
“It’s impossible to tell you what I’m going to do except to say that I expect to make the best movie ever made.” – Stanley Kubrick, Oct. 20, 1971.
There are few unrealized projects in the history of cinema more tantalizingly fascinating than Stanley Kubrick’s planned feature about Napoleon. Even in 1967, at the time of its initial pre-production (the first time around), it seemed like a potentially great idea. But now, looking back with Kubrick’s entire body of work as a reference point, it truly does stand as a project this legendary filmmaker should have been destined to make. Thanks to a mammoth and comprehensive collection of materials fashioned into Stanley Kubrick’s Napoleon: The Greatest Movie Never Made, edited by Alison Castle and published by Taschen, we can for the first time see how Kubrick prepared for the film and what he had in mind for its ultimate big-screen presentation. »
- Jeremy Carr
Alain Resnais, who has died aged 91, was a director of elegance and distinction who, despite generally working from the screenplays of other writers, established an auteurist reputation. His films were singular, instantly recognisable by their style as well as through recurring themes and preoccupations. Primary concerns were war, sexual relationships and the more abstract notions of memory and time. His characters were invariably adult (children were excluded as having no detailed past) middle-class professionals. His style was complex, notably in the editing and often – though not always – dominated by tracking shots and multilayered sound.
He surrounded himself with actors, musicians and writers of enormous talent and the result was a somewhat elitist body of work with little concern for realism or the socially or intellectually deprived. Even overtly political works, Night and Fog, »
- Brian Baxter
One of the most critically-aclaimed French helmers of all time, Resnais directed such arthouse masterpieces as “Hiroshima Mon Amour,”a flagship pic of the New Wave, which earned writer Marguerite Duras an Oscar nom for original screenplay in 1961, and “Last Year at Marienbad,” a major influence on such directors as David Lynch.
Resnais, who began his career with a number of art documentaries and then broke through with the gripping 1955 “Night and Fog,” about the Jewish Holocaust in WWII, was one of the more intellectually rigorous members of the new wave of filmmakers who overturned the French film industry in the late ’50s.
The French cinema world is mourning Resnais today as critics, industryites, festivals’ toppers and fans pay him homage.
- Elsa Keslassy
Jean-Luc Godard’s Breathless gave France’s nascent La nouvelle vague a solid international underpinning and it has remained a vibrant, stylish and entertaining influence on filmmakers for 54 years. Largely improvised and capriciously photographed, Breathless tore away the final threads that bound films to novels – and the formal elements of novels – leaving each medium a little freer to reach their own respective potentials. The narrative of Breathless, and unlike some later Godard films it does have one, is not dispensed through written dialogue designed to advance plot points but rather a capturing of fleeting ideas and quickly dissolving moments in time. Like life itself, some of these moments are big and important while others simply banal markers on the timeline of existence. Breathless gives equal dramatic weight to the climactic and the mundane, throwing a greasy yet elegant monkey wrench into 1960‘s accepted orthodoxy of what a movie was supposed to be. »
- David Anderson
Classe Tous Risques, 1960.
Directed by Claude Sautet.
On the run with two small children, how long can criminal Abel Davos outrun those in pursuit and his destiny?
The same year cinema was left Breathless by Jean-Luc Godard's revolutionary tour de force, its star Jean-Paul Belmondo found himself yet again on the wrong side of the law in Claude Sautet's Classe Tous Risques; this time swapping the pursuit of Jean Seberg for Sandra Milo.
Sautet’s Classe Tous Risques' ageing protagonist features shades of Jean Gabin and Roger Duchesne in Jacque Becker's Pas au Grisbi and Jean-Pierre Melville’s Bob le Flambeur - two seminal French gangster films of the 1950s.
- Gary Collinson
Two European Gems
February is a good month for The Criterion Collection. Last week we reviewed the company’s restored Blu-ray/DVD dual format release of Foreign Correspondent. Coming quickly on its heels are two more excellent releases on this red carpet of home video labels.
First up—Tess, directed by Roman Polanski. This 1979 picture—released in the U.S. in 1980 and nominated for Academy Awards (Best Picture, Best Director, and Best Score) and winner of three (Art Direction, Cinematography, and Costumes) is a scrumptious, beautiful depiction of Thomas Hardy’s Tess of the D’Urbervilles. It is a very faithful adaptation, although several scenes from the book are left out or shortened. Still, the film is nearly three hours long—but don’t let that scare you, it’s never dull. I have to confess that I fell in love with Nastassja Kinski when I first »
- firstname.lastname@example.org (Cinema Retro)
17 items from 2014
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