News

The Reality of a Reflection: An Exploration of Jean-Luc Godard's Filmography

  • MUBI
Mubi's retrospective For Ever Godard is showing from November 12, 2017 - January 16, 2018 in the United States.Jean-Luc Godard is a difficult filmmaker to pin down because while his thematic concerns as an artist have remained more or less consistent over the last seven decades, his form is ever-shifting. His filmography is impossible to view in a vacuum, as his work strives to reflect on the constantly evolving cinema culture that surrounds it: Godard always works with the newest filmmaking technologies available, and his films have become increasingly abstracted and opaque as the wider culture of moving images has become increasingly fragmented. Rather than working to maintain an illusion of diegetic truth, Godard’s work as always foreground its status as a manufactured product—of technology, of an industry, of on-set conditions and of an individual’s imagination. Mubi’S Godard retrospective exemplifies the depth and range of Godard’s career as
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BAMcinématek to Present Anne-Marie Miéville Retrospective

“My Dear Subject”: anadu Film Ag/ Jlg Films

Swiss filmmaker Anne-Marie Miéville will be celebrated with a full career retrospective presented by BAMcinématek in Brooklyn. After launching her career in the ’70s, the writer, director, and editor has created “a singular body of work exploring feminism, capitalism, patriarchal systems, and family structure,” a press release details.

Titled “A Woman’s Work,” the retrospective will run from April 12–19, and features rarely screened features written and directed by Miéville. Films to be screened include “How Can I Love,” a story of one woman, five men, and five breakups, and “My Dear Subject,” a portrait of three generations of women.

“As the artistic partner to Jean-Luc Godard, [Miéville’s] illustrious career has often been marginalized alongside the New Wave icon,” the press release states. “This series brings together films she has made as writer, co-director, and director (including all seven films she has directed alone) to present an intensely focused oeuvre that has affinities with, but also sits in many ways in opposition to, the work of her famous collaborator.”

Check out the schedule and descriptions of the films courtesy of BAMcinématek.

Anne-Marie Miéville Schedule

Wed, April 12

7pm: After the Reconciliation, How Can I Love

9:15pm: Hail Mary, Book of Mary

Thu, April 13

7pm: My Dear Subject

9:15pm: Hail Mary, Book of Mary

Fri, April 14

4:45pm: Every Man for Himself

7pm: First Name: Carmen

9:15pm: Every Man for Himself

Sat, April 15

2pm: Ici et Ailleurs

3:45pm: Lou Didn’t Say No, Living It Up

6pm: After the Reconciliation, How Can I Love

8:15pm: My Dear Subject

Sun, April 16

2pm: Every Man for Himself

4:15pm: We’re All Still Here

6:15pm: Hail Mary, Book of Mary

8:30pm: First Name: Carmen

Tue, April 18

7pm, 9:30pm: 2 X 50 Years of French Cinema, Soft and Hard

Wed, April 19

7pm: Comment Ça Va?

9:15pm: Lou Didn’t Say No, Living It Up

2 X 50 Years Of French Cinema (1995) Dirs. Jean-Luc Godard & Anne-Marie Miéville. WithGodard, Michel Piccoli. Godard and Miéville’s subversive and frequently funny survey of French cinema.Digital. 51min. Tue, Apr 18 at 7, 9:30pm*Screens with Soft and Hard.

After The Reconciliation (2000) Dir. Anne-Marie Miéville. With Miéville, Jean-Luc Godard, ClaudePerron. Miéville’s intellectually and stylistically adventurous take on the drawing room comedy. 35mm.

75min. Wed, Apr 12 at 7pm & Sat, Apr 15 at 6pm

*Screens with How Can I Love.

Book Of Mary (1985) Dir. Anne-Marie Miéville. With Rebecca Hampton, Bruno Cremer, AuroreClément. Miéville’s unjustly overlooked companion piece, which screened alongside Hail Mary during itsrelease run. 35mm. 104min. Wed, Apr 12 at 9:15pm; Thu, Apr 13 at 9:15pm; Sun, Apr 16 at 6:15pm

*Screens with Hail MaryCOMMENT ÇA Va? (1978) Dirs. Jean-Luc Godard & Anne-Marie Miéville. With Michel Marot, Anne-Marie Miéville. Godard and Miéville deconstruct the politics of image making — and their own creativepartnership — in this provocative film-video hybrid. Digital. 78min. Wed, Apr 19 at 7pm

Every Man For Himself (1980) Dir. Jean-Luc Godard. With Isabelle Huppert, Jacques Dutronc,Nathalie Baye. Miéville co-scripted, with Jean-Claude Carrière, Godard’s return to “mainstream”

filmmaking, charting the intersecting lives of a television director, his girlfriend, and a prostitute. 35mm.96min. Fri, Apr 14 at 4:45, 9:15pm & Sun, Apr 16 at 2pm

First Name: Carmen (1983) Dir. Jean-Luc Godard. With Maruschka Detmers, Jacques Bonnaffé,Myriem Roussel. Godard and screenwriter Miéville offer a radical reimagining of Bizet’s opera, with

Godard returning to the anything-goes postmodern pop sensibility of his 60s work. 35mm. 85min. Fri, Apr14 at 7pm & Sun, Apr 16 at 8:30pm

Hail Mary (1985) Dir. Jean-Luc Godard. With Myriem Roussel, Thierry Rode, Philippe Lacoste.Godard, working with Miéville as editor, searches for the soul in the modern world via this contemporaryretelling of the birth of Jesus (Mary is a basketball player, Joseph a cab driver). 35mm. 72min. Wed, Apr12 at 9:15pm; Thu, Apr 13 at 9:15pm; Sun, Apr 16 at 6:15pm

*Screens with Book of Mary

How Can I Love (1983) Dir. Anne-Marie Miéville. With Harriet Kraatz. One woman, five men, fivebreakups. 35mm. 13min. Wed, Apr 12 at 7pm & Sat, Apr 15 at 6pm*Screens with After the Reconciliation

Ici Et Ailleurs (1976) Dirs. Jean-Luc Godard, Anne-Marie Miéville, With Jean-Pierre Gorin.What began as a documentary about Palestinian freedom fighters was reworked by Godard and Miévilleinto one of the major works of 20th-century political cinema. 16mm.53min. Sat, Apr 15 at 2pm

Living It Up (1987) Dir. Anne-Marie Miéville. With Anne Alvaro, Didier Flamand. Miéville captures amoment of disquieting intimacy amid the bustle of a parade. 35mm. 93min. Sat, Apr 15 at 3:45pm &

Wed, Apr 19 at 9:15pm*Screens with Lou Didn’t Say No.

Lou Didn’T Say No (1993) Dir. Anne-Marie Miéville. With Marie Bunel, Manuel Blanc, GenevièvePasquier. Miéville’s sophisticated study of modern love, inspired by the correspondence between Rainer

Maria Rilke and his psychoanalyst paramour. Sat, Apr 15 at 3:45pm & Wed, Apr 19 at 9:15pm

*Screens with Living It Up.

My Dear Subject (1988) Dir. Anne-Marie Miéville. With Gaëlle Le Roi, Anny Romand, HélèneRoussel. Miéville’s first solo feature is a sensitive, emotionally complex portrait of three generations of

women, each navigating fraught relationships with the men in their lives and struggling to find their ownvoices. 35mm. 96min. Thu, Apr 13 at 7pm & Sat, Apr 15 at 8:15pm

Soft And Hard (1985) Dirs. Jean-Luc Godard & Anne-Marie Miéville. With Godard, Miéville. Miéville and Godard play themselves in this video work, which offers a candid, enlightening glimpse intothe inner workings of their collaborative relationship. Digital. 52min. Tue, Apr 18 at 7, 9:30pm

*Screens with 2 X 50 Years of French Cinema

We’Re All Still Here (1997) Dir. Anne-Marie Miéville. With Aurore Clément, Bernadette Lafont,Jean-Luc Godard. Miéville’s philosophical triptych skips from Plato to Hannah Arendt, and features a

fascinating, seemingly autobiographical performance from Godard. 35mm. 80min. Sun, Apr 16 at4:15pm

BAMcinématek to Present Anne-Marie Miéville Retrospective was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
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Adopt Films Open the Books on Curious Unknown; Martin Provost’s Violette Set for 2014

Extremely well received at last month’s edition of Tiff, Martin Provost’s Violette becomes purchase number two (after Bethlehem) in just as many weeks for Jeff Lipsky’s Adopt Films. Screen Daily reports that the NYC-based distrib will release the biopic in May or June of next year.

Gist: Co-written by Provost, Marc Abdelnour and René de Ceccatty, Emmanuelle Devos stars in the eponymous role as the bisexual postwar author Violette Leduc, who was born out of wedlock and raised in poverty and went on to become the world renowned writer of The Bastard. This sees Sandrine Kiberlain star as Simone de Bouvoir, Jacques Bonnaffé as Jean Genet, Olivier Py as Maurice Sachs and Olivier Gourmet as Jacques Guérin.

Worth Noting: Leduc actually saw her novel novel Thérèse and Isabelle be adapted into a 1968 film by director Radley Metzger and starring Essy Persson and Anna Gael.

Do We Care?
See full article at IONCINEMA.com »

Doc & Film closes Us on Violette, Sacro Gra adds sales

Doc & Film closes Us on Violette, Sacro Gra adds sales
Exclusive: Venice winner Sacro Gra sells to eight more territories.

Doc & Film International has closed multiple deals on Martin Provost’s recent Toronto world premiere Violette including a Us sale to Adopt Films.

Rights have gone to Mongrel/Metropole in Canada, Golem in Spain, Madman in Australia and New Zealand, Kool Distribution in Germany, Immovision in Brazil, Cineplex in Colombia, Folkets Bio in Sweden and Xenix in Switzerland.

Further deals closed with Cdi Films in Argentina, Swallow Wings in Taiwan, Filmladen in Austria and Cinema Mondo in Finland.

Diaphana will launch the film in France in November, Big Bang in Belgium and Contact in the Netherlands.

Emmanuelle Devos stars in the eponymous role as the bisexual postwar author Violette Leduc, who was born out of wedlock and raised in poverty and went on to become the world renowned writer of The Bastard.

Violette also stars Sandrine Kiberlain as Simone de Bouvoir, Jacques Bonnaffé as [link
See full article at ScreenDaily »

Violette sells for Doc & Film

Violette sells for Doc & Film
Doc & Film International has closed multiple deals on Martin Provost’s recent Toronto world premiere Violette including a Us sale to Adopt Films.

Rights have gone to Mongrel/Metropole in Canada, Golem in Spain, Madman in Australia and New Zealand, Kool Distribution in Germany, Immovision in Brazil, Cineplex in Colombia, Folkets Bio in Sweden and Xenix in Switzerland.

Further deals closed with Cdi Films in Argentina, Swallow Wings in Taiwan, Filmladen in Austria and Cinema Mondo in Finland.

Diaphana will launch the film in France in November, Big Bang in Belgium and Contact in the Netherlands.

Emmanuelle Devos stars in the eponymous role as the bisexual postwar author Violette Leduc, who was born out of wedlock and raised in poverty and went on to become the world renowned writer of The Bastard.

Violette also stars Sandrine Kiberlain as Simone de Bouvoir, Jacques Bonnaffé as Jean Genet, Olivier Py as Maurice Sachs and Olivier Gourmet as Jacques Guérin. Provost
See full article at ScreenDaily »

Venice Film Festival Review: Agnès b.'s Directorial Debut "Je m’appelle…Hmmm" Fails to Impress

  • Indiewire
Venice Film Festival Review: Agnès b.'s Directorial Debut
Agnès b. owns a film theater in Hong Kong, produces films such as "Spring Breakers," dabbles in the world of film festival partnerships and maintains a line of clothing called "On aime le cinéma." But that's not enough for the fashion designer to prove with her debut feature "Je m’appelle…Hmmm" that she has a true cinematic eye to accompany her highly praised fashion one. Recounting the age-old story of incest with no new insight or innovation, the movie follows 11 year-old Céline Meunier (Lou Lélia Démerliac) who, at a school field trip, seizes the opportunity to run away from home and from her abusive father (Jacques Bonnaffé). She then meets Peter, a 40 year-old English truck driver who has nothing to lose (Douglas Gordon), and accompanies him on his journey back to his homeland, where she forms an intense bond with him. Facing unrealistic expectations for a first-time director, Agnès b.
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Daily Briefing. Senses of Cinema 62

  • MUBI
A red letter day. There's a new Senses of Cinema out and it opens with the first part of Daniel Fairfax's interview with Jean-Louis Comolli, who edited Cahiers du cinéma from 1965 to 1973. Senses editor Rolando Caputo: "At the time, Cahiers was undergoing its so-called 'Marxist-Leninist' phase, with a heavy overlay of Lacanian psychoanalytic theory." And Slavoj Žižek would have been in his late teens, early 20s. At any rate: "Put simply, at stake was the demystification of the 'cinematic apparatus' to demonstrate how ideology was both embedded within the technology of cinema and an effect of its representational modes."

Fairfax: "Having steadily made films over the last 40 years — including the magisterial series on the French electoral machine, Marseille contre Marseille (1996) — Comolli has also pursued a prolonged theoretical pre-occupation with the cinema, which, in various ways, is profoundly defined by his earlier participation in Cahiers. Refreshingly, he has never sought to repudiate his radical past,
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Daily Briefing. Guy Maddin's "Spiritismes" + Gene Tierney and More

  • MUBI
"Over eighty percent of silent films are lost. I've always considered a lost film as a narrative with no known final resting place — doomed to wander the landscape of film history, sad, miserable and unable to project itself to the people who might love it." That's Guy Maddin, as quoted by Kim Morgan, introducing Maddin's Spiritismes, happening now at the Centre Pompidou in Paris ("During 'séances'... Maddin and his actors will allow themselves to be possessed by the wandering spirits of the dead, to bring their movies back to life") through March 12:

Filmmaking, dead made undead, is happening live at the Centre — lost or unrealized films by directors as diverse as Jean Vigo, Kenji Mizoguchi, Lois Weber, William Wellman, von Stroheim (I will appear in that particular Poto-Poto), Alexandre Dovjenko and more are coming — rising from the dead, in their own unique way. Maddin will be shooting one film a day.
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Stills for French horror film Behind The Walls

The first images for Behind The Walls have surfaced on the film’s Official Facebook Page, and they look pretty neat! If you haven’t heard about the film, I’ve included the synopsis below as well. It was written and directed by Pascal Sid and Julien Lacombe. It stars Laetitia Casta, Thierry Neuvic, Roger Dumas and Jacques Bonnaffé.

Centre of France, 1922. Suzanne, a young novelist lacking inspiration decides to isolate herself in the countryside to write her new book. As Suzanne discovers a sealed-up room in the basement of her house, she starts writing oddly easily. Visions and nightmares soon strike her while the villagers grow worried as several little girls mysteriously disappear…

Source: Behind The Walls Official Facebook Page
See full article at Killer Films »

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