Louis-Ferdinand Céline - News Poster


Understanding Céline by Anne-Katrin Titze

Emmanuel Bourdieu on who could play Louis-Ferdinand Céline: "One is Denis Podalydès, who is my best friend. And the other was Denis Lavant whom I knew only as a fan." Photo: Anne-Katrin Titze

At the Film Society of Lincoln Center, Emmanuel Bourdieu, director and co-screenwriter of Louis-Ferdinand Céline (based on the book The Crippled Giant by Martin Hindus and starring Denis Lavant), spoke with me about the casting of the lead role, shooting in Belgium with cinematographer Marie Spencer and screenwriter Marcia Romano and editor Benoît Quinon on board, working with composer Grégoire Hetzel on creating a tune for a William Blake poem to characterize Philip Desmeules' portrayal of Hindus, and how Géraldine Pailhas helped with the costumes for Lucette (designed by Florence Scholtes and Christophe Pidre).

Denis Lavant as Louis-Ferdinand Céline with Bébert: "He could change the mood very very fast. And Denis knows how to do that.
See full article at eyeforfilm.co.uk »

Word play by Anne-Katrin Titze

Denis Lavant rotates the Alamo cube on Astor Place in New York: "Chaplin, burlesque, Buster Keaton, masque, Commedia dell'arte - it's the same." Photo: Anne-Katrin Titze

Denis Lavant, Leos Carax's M Merde in Tokyo! and so much more in Holy Motors (with Edith Scob as Céline), Alex in Carax's debut film Boy Meets Girl, and opposite Juliette Binoche in Mauvais Sang (Bad Blood) and The Lovers On The Bridge (Les Amants Du Pont-Neuf), speaks about the creation of his most famous character and time with cinematographer Caroline Champetier in Paris before going to Tokyo. He gives background on the role he plays in Emmanuel Bourdieu's Louis-Ferdinand Céline and tries to come to grips with his relationship to tourist guest cats back home.

Denis Lavant goes into his special language that has become one of the most unforgettable personas in cinema when I ask him where M Merde came
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The Great Beauty: the sacred and the profane

The Great Beauty: the sacred and the profane
Italian director Paolo Sorrentino’s “La Grande Bellezza” (The Great Beauty) (2013)

Paolo Sorrentino’s The Great Beauty has two small yet important facets in common with Terrence Malick’s The Tree of Life. Both films begin with a profound quote that provides a key to the viewer for a full understanding of the film that follows. Both films use the music of “Dies Irae” (Requiem for my Friend, which includes Lacrimosa 2) by Zbigniew Preisner (the talented composer of Kieslowski’s Dekalog and The Three Colors trilogy) and Henryk Gorecki’s 3rd Symphony.

Just as Mallick used an interesting quote from the Book of Job, the opening quote for The Great Beauty is from Sorrentino’s favorite author Louis-Ferdinand Céline’s Journey to the End of the Night.

The quote is “To travel is very useful, it makes the imagination work, the rest is just delusion and pain. Our journey is entirely imaginary,
See full article at DearCinema.com »

Doctor Destouches, Léos Carax, and the "Emotive Account"

  • MUBI
From Dziga Vertov’s Camera-Eye to Buñuel’s sliced-up eyeball, along through Samuel Beckett’s cyclopic Buster Keaton, the lone eye returning its regard from the screen is an ocular sign of reflexivity, of cinema looking not only at us but at itself as well.

The two-eyed regard is the human gaze occurring inside of cinematic artifice, of one character looking at an object. One eye less and the regard becomes the camera’s gaze, reaching from within the film out into the viewer’s space. Whereas binocular vision asserts its perception of the world as truth, the monocular vision is the world elevated into photographic artifice. Close one eye, reduce perception by a dimension; open it again, and reveal the artifice of binocular vision too.

In Les Amants du Pont Neuf (English title: The Lovers on the Bridge), when Denis Lavant’s monomaniacal tramp Alex falls incorrigibly in love
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Lars von Trier

Lars von Trier's inclination to think and say things that seem unusual and insensitive is vital to the genius of a director who's here to trouble us, not entertain

The plan of accounting for Lars von Trier in just 700 words or so is fanciful; it cannot be done. Added to which, I haven't yet seen Melancholia, which may be one of his most personal, important and infuriating films to date.

So, let's begin with that trio of attributes, and notice that Von Trier is one of those movie directors beset by a manic-depressive personality. Like it or not, he reckons we are in a degraded and fatally ill culture in which the artist or the film-maker is bound to do an autopsy on the decay. He must shock, offend and get under our skin, if only to prove that the old diagram of skin, skeleton, heart and soul still functions.
See full article at The Guardian - Film News »

Free Radicals: Serge Bozon and the New French Cinema at Lincoln Center

April 13-18

Fifty years after Jean-Luc Godard, Serge Bozon and the .young turks. of Cahiers du cinéma resolved that the best way to criticize movies was to make their own films. The result was the creation of another exciting .new wave. of critic-filmmakers, hailing from the iconoclastic film magazine La lettre du cinéma(1997-2005), boldly storming the gates of the French film establishment.

The Film Society of Lincoln Center brings writer, director, actor and DJ, Serge Bozon to New York to present this first major North American survey of films by the Lettre du cinéma circle as well as to curate and present a series of screenings of rarities (along with Anthology Film Archives) that have influenced his work. Also introducing and discussing their films will be his fellow filmmakers, Jean-Charles Fitoussi and Aurélia Georges. And if that weren.t enough, Bozon will also put his DJ skills on display,
See full article at WeAreMovieGeeks.com »

Was Glee wrong to use a Gary Glitter song? | Open thread

Channel 4's decision to air an episode of Glee featuring Gwyneth Paltrow singing a Gary Glitter hit has angered children's charities

Known more for its sickly sweet renditions of Britney Spears and Madonna tracks, tween sing-a-long sensation Glee has hit the headlines for its decision to feature a song by convicted paedophile Gary Glitter. Channel 4 has since decided to air the show uncensored and so next month audiences will watch a rendition of Glitter's 1973 hit Do You Wanna Touch Me sung by Hollywood star Gwyneth Paltrow.

The broadcaster, which had previously aired a mockumentary of the singer's execution, described the scene as "editorially justified". But the decision has prompted criticism from children's charities, with anti-child-abuse group Kidscape describing it as "wholly inappropriate".

So should the crimes or misdemeanours of a performer or artist change how we consume their work? Where do we draw the line on whose art
See full article at The Guardian - TV News »

Party Favors: French Fried

  • Quick Stop
Paris - When you want to escape to the Riviera without spending the vacation time, you can always catch a foreign film that captures the sea, sun and fun. The Girl From Monaco transports us to the principality nestled along the French coastline.

Fabrice Luchini plays a Parisian lawyer who heads to the coast to defend a client accused of killing a Russian mobster. He gets distracted from the courthouse drama by a local weather girl (Louise Bourgoin). Can he get his mind back on the homicide? Or has he gone on vacation?

The film is now out on DVD from Magnolia Home Entertainment. Director Anne Fontaine was willing to answer a few questions via email. Fontaine had been an actress in French cinema during the ’80s before stepping behind the camera as a writer-director. She also recently wrote and directed critically praised Coco Before Chanel.

Party Favors: What was
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