2 items from 2016
The French New Wave did not invent the idea of exploring a city through the wanderings of a couple—F.W. Murnau suggest as much from the Fox studio backlot in Sunrise: A Song of Two Humans, and Luchino Visconti offered his own glorious fairy tale stroll of Cinecittà’s Venice in White Nights—but that movement certainly provided an invigorating, youthful inspiration to an emerging generation of international filmmakers to orient their cinema to the relationships close to them and to streets they know so well.Thus we see Catalonian director José María Nunes’s 1966 masterpiece Noche de vinto tinto (Red Wine Night), which begins with a young woman distraught when her boyfriend breaks a promised date and, going out into the night, she attaches herself to a failed Romeo. The character of their meeting encapsulates all the oneiric, irrational, partially romantic, partially despondent tenor of the evening of bar hopping that follows, »
- Daniel Kasman
If one wishes to highlight what made Jacques Rivette a significant figure in the cinematic landscape, it’s key that they cite his cinephilia — the rabid sort that is uncommon in even our smartest voices, filmmaking or otherwise. More than one who saw a bunch of movies, though, the late, great director maintained a critical fashioned at Cahiers into our contemporary day, sharing a wide, sometimes unexpected range of thoughts on what made works of all kinds stand tall or fall apart.
All of which is to say that his list of favorite films should come from a wellspring of knowledge and passion. In any case, his selection, shared by critic Samuel Wigley — rather a selection, being that it’s from the 1962 Sight & Sound ballot — is a fine one for spanning from the form’s earlier days to its then-contemporary masters, and perhaps as an immediate window into the Cahiers critical mindset. »
- Nick Newman
2 items from 2016
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