15 items from 2014
30. The Lovers on the Bridge (1991)
Directed by: Leos Carax
A romance the way only Leos Caraz could do it. “The Lovers on the Bridge” is a love story between an alcoholic, drug-addicted street performer named Alex (Denis Lavant) and a vagrant painter named Michele (Juliette Binoche) who lives on the streets after a previous relationship ended. She now suffers from an unkown disease that is slowly making her blind. The two live on the Pont Neuf, the oldest bridge in Paris, closed for repairs for the duration of the film. As Michele loses more and more of her sight, she has to depend on Alex to get her through the days. After a treatment is discovered, Michele’s parents try to find her using posters on the street and radio announcements. Alex, realizing that her health would remover her dependence upon him, does everything in his power to keep Michele »
- Joshua Gaul
Some movies just vanish.
While Costa-Gavras continues to enjoy a high reputation for his sixties and seventies political thrillers (perhaps more respected than watched, which is a shame) and to some extent for his later American movies (more watched than respected, also a shame), The Sleeping Car Murders (1965), one of his earliest works, is so hard to see that I wound up watching a pan-and-scanned off-air recording taped on VHS from Scottish Television sometime in the eighties, and dubbed into English. At least Simone Signoret seems to have done her own re-voicing, but her erring husband Yves Montand has that strained Amurrican tone I associate with Robert Rietty doing Orson Welles.
So Costa-Gavras' movie, formerly a missing person, turns up as a homicide victim, mutilated to prevent identification. With the performances defaced, the compositions utterly ruined, and the editing patterns minced in this copy (because a cut doesn't mean the »
- David Cairns
With The ABCs of Death 2 now available on iTunes and VOD the directors have gotten together to select the greatest movie deaths of all time. What did they choose? Check out the video below for a massive compilation of killing with O Is For Ochlacracy director Ohata Hajime explaining his pick in detail below.Le Trio Infernal is a 1974 French film based on an actual event, in which a criminal trio, a conniving attorney and two beautiful sisters murder people to make profits in insurance fraud. Michel Piccoli as George and Romy Schneider as Philomene play their sinister characters vividly and realistically.There is a scene where the trio invites one couple for Christmas dinner and kills them. After George shot them dead without mercy,...
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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
The Lumière Festival’s Claude Sautet retrospective is being presented under the banner “The Age of Sautet (1960-95),” and that just about says it all. In the years he was active, few French directors better channeled the spirit of their times — not in grand, sweeping gestures, but rather miniature brushstrokes: the way a man and a woman might sit in a boulevard cafe, and the things both spoken and unspoken that might pass between them there; the moments of ease and anxiety around a family dinner table; the disappointments of parents in their children, and vice-versa. These are films that are at once indelibly French but also unassailably human. When I programmed a Sautet retrospective for the Film Society of Lincoln Center in 2012, I chose an even simpler title, taken directly from one of his own films: “The Things of Life.”
That movie, made in 1970, was actually Sautet’s fourth, »
- Scott Foundas
As you can probably tell, this list feels more arbitrary than others. That’s not by design, but the unfortunate premise of the list leaves some room for interpretation. As we move forward, we will start seeing the films that, if you asked a lay person to give an example, would probably be a response. In other words, more people have heard of them, which, in turn, often makes them more “definitive.” Don’t worry, though – there are still some underseen and underappreciated gems the rest of the way through.
40. Werckmeister Harmonies (2000)
Directed by: Béla Tarr
It’s certainly not the swiftest film on the list, but you can’t expect much quick plot development from Béla Tarr. Wreckmeister Harmonies takes place in a tiny Hungarian town surrounded by nothing. The winter is incredibly cold, but it never snows. Yet the townspeople are excited in the middle of town as »
- Joshua Gaul
Written and directed by Jacques Demy
Jacques Demy’s The Young Girls of Rochefort is the Oscar-nominated follow-up to his immensely popular and successful The Umbrellas of Cherbourg (1964), which with all of its dialogue sung was something of a reinvention of the movie musical, an almost experiential musical. Young Girls, on the other hand, is simply a great musical. To be sure, Umbrellas is an excellent film as well (see my take on it here), but while it surely resonates with its tale of love unhappily ever after, and it radiates in attractive Eastmancolor, it’s in some ways hampered by its own novelty. There is of course more to it than merely the fact that everyone sings everything, but to many it’s probably best known as the movie where everyone sings everything. Young Girls is more traditional in that it has dialogue »
- Jeremy Carr
In today's roundup of news and views, Grady Hendrix writes up a terrific appreciation of Kinji Fukasaku; Film Comment's pulled up from its archives remembrances of Luis Buñuel by Michel Piccoli, Jeanne Moreau, Catherine Deneuve, Bulle Ogier and Franco Nero; Chris Marker is remembered on his birthday; in 1962, Studs Terkel interviewed Jacques Tati; Thom Andersen writes about Francesco Vezzoli; Nina Menkes reports on this year's Jerusalem Film Festival; Matt Zoller Seitz remembers James Shigeta; and more. » - David Hudson »
Italian actor-director to receive Excellence Award.
Italian actor and director Giancarlo Giannini is to attend the 67th Locarno Film Festival (Aug 6-16) as one of the guests of honour of the Titanus retrospective and will receive an Excellence Award Moët & Chandon.
Giannini will receive the honour on the Piazza Grande on Aug 12. As per Locarno tradition, the next day the Festival audience will have the opportunity to attend an “In Conversation” session with the actor at the Spazio Cinema (Forum).
A series of screenings will accompany this tribute. In addition to Non stuzzicate la zanzara and Indian Summer, screened as part of the Titanus retrospective, there will also be a screening of Rainer Werner Fassbinder’s Lili Marleen (1981) in his honour.
Locarno 2014 line-up
An Excellence Award is also being presented to Juliette Binoche this year.
- firstname.lastname@example.org (Michael Rosser)
Rome – The Locarno Film Festival will honor versatile Italian thesp Giancarlo Giannini with a career award and several screenings of his films, including his big-screen debut “Don’t Bother the Mosquito,” the start of a long collaboration with Lina Wertmuller.
Wertmuller directed Giannini in nine films, the most memorable of which is perhaps “Seven Beauties,” for which Giannini was Oscar-nominated in 1977.
“Don’t Bother the Mosquito,” a 1967 musical in which Giannini co-stars with singer Rita Pavone, is screening at Locarno as part of the Swiss fest’s retro dedicated to Italy’s storied Titanus studios, which churned out many works of Italian cinema’s golden era.
- Nick Vivarelli
Oldest person in movies? (Photo: Manoel de Oliveira) Following the recent passing of 1931 Dracula actress Carla Laemmle at age 104, there is one less movie centenarian still around. So, in mid-June 2014, who is the oldest person in movies? Manoel de Oliveira Portuguese filmmaker Manoel de Oliveira will turn 106 next December 11; he’s surely the oldest person — at least the oldest well-known person — in movies today. De Oliveira’s film credits include the autobiographical docudrama Memories and Confessions / Visita ou Memórias e Confissões (1982), with de Oliveira as himself, and reportedly to be screened publicly only after his death; The Cannibals / Os Canibais (1988); The Convent / O Convento (1995); Porto of My Childhood / Porto da Minha Infância (2001); The Fifth Empire / O Quinto Império - Ontem Como Hoje (2004); and, currently in production, O Velho do Restelo ("The Old Man of Restelo"). Among the international stars who have been directed by de Oliveira are Catherine Deneuve, Pilar López de Ayala, »
- Andre Soares
Today on Trailers from Hell, Larry Karaszewski looks closely at Jean-Luc Godard's 1963 meta-masterpiece, "Contempt," starring the untouchable Brigitte Bardot. Perhaps Jean-Luc Godard's most accessible feature, "Contempt" is nearly (but not quite) conventional in the way it tells its tale of the disintegration of the marriage between a bored trophy wife (Brigitte Bardot) and her ineffectual husband. Michel Piccoli plays the well-meaning screenwriter who is about to lose his beautiful playmate to an arrogant bully-boy producer played by Jack Palance. Godard's cool-as-a-cucumber approach, offset by Raoul Coutard's ravishing cinematography and Georges Delerue's achingly beautiful score, makes "Contempt" a moving yet defiantly unsentimental experience. Martin Scorsese tipped his hat to Godard's classic in 1995's "Casino" (where Delerue's music underscored De Niro and Stone's doomed relationship). »
- Trailers From Hell
Perhaps Jean-Luc Godard’s most accessible feature, Contempt is nearly (but not quite) conventional in the way it tells its tale of the disintegration of the marriage between a bored trophy wife (Brigitte Bardot) and her ineffectual husband. Michel Piccoli plays the well-meaning screenwriter who is about to lose his beautiful playmate to a arrogant bully-boy producer played by Jack Palance. Godard’s cool-as-a-cucumber approach, offset by Raoul Coutard’s ravishing cinematography and Georges Delerue’s achingly beautiful score, makes Contempt a moving yet defiantly unsentimental experience. Martin Scorsese tipped his hat to Godard’s classic in 1995′s Casino (where Delerue’s music underscored De Niro and Stone’s doomed relationship).
The post Contempt appeared first on Trailers From Hell.
- TFH Team
Blu-ray & DVD Release Date: July 22, 2014
Price: Blu-ray/DVD Combo $124.95
French director Jacques Demy launched his glorious feature filmmaking career in the Sixties, a decade of astonishing invention in his national cinema. He stood out from the crowd of his fellow New Wavers, however, by filtering his self-conscious formalism through deeply emotional storytelling. Fate and coincidence, doomed love, and storybook romance surface throughout his films, many of which are further united by the intersecting lives of characters who either appear or are referenced across titles.
Six of Demy’s films are collected in The Essential Jacques Demy. Ranging from musical to melodrama to fantasia, all are triumphs of visual and sound design, camera work, and music, and they are galvanized by the great stars of French cinema at their centers, including Anouk Aimée (8 1/2), Catherine Deneuve (Belle de Jour), and Jeanne Moreau (Jules and Jim).
The six works here, made »
A documentary by French photographer and film-maker Raymond Depardon offers an absorbing self-portrait
Journal de France is an engrossing and valuable personal record of the work of photographer and film-maker Raymond Depardon, depicting his autumnal journey across France, taking pictures of buildings and street scenes that he believes are in danger of dying out. Looking out of the windscreen at the wheel of his camper van, or poised behind the viewfinder, patiently waiting for people to go past so that he can take the shot, he is a mild and grandfatherly figure; the barber whose shop he photographs trims his eyebrows as well as cutting his hair. He has a faint look of Michel Piccoli. The filmed record of his excursion is interspersed with clips of "memories and outtakes" from a whole career of cine-reportage from the 1960s onwards, with a candid insider account of Giscard d'Estaing's political behaviour in »
- Peter Bradshaw
15 items from 2014
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