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Night and Fog (1955) More at IMDbPro »Nuit et brouillard (original title)


2014 | 2013 | 2012 | 2011 | 2010

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‘Sight & Sound’ releases 50 greatest documentary films list

1 August 2014 1:09 PM, PDT | SoundOnSight | See recent SoundOnSight news »

As reported over at The Dissolve, highly respected British film magazine Sight & Sound is famous for its list of the greatest films off all time released once every decade. Since 1952, Citizen Kane held the number one spot until Alfred Hitchcock’s Vertigo dethroned it in the 2012 poll. Now for the first time Sight & Sound has released a list of the 50 greatest documentary films of all time. The list was compiled after polling from over 200 critics and curators and 100 filmmakers, including “John Akomfrah, Michael Apted, Clio Barnard, James Benning, Sophie Fiennes, Amos Gitai, Paul Greengrass, Jose Guerin, Isaac Julien, Asif Kapadia, Sergei Loznitsa, Kevin Macdonald, James Marsh, Joshua Oppenheimer, Anand Patwardhan, Pawel Pawlikowski, Nicolas Philibert, Walter Salles, and James Toback”.

The top 10 are:

Man With A Movie Camera, (Dziga Vertov, 1929) Shoah (Claude Lanzmann, 1985) Sans Soleil, (Chris Marker, 1982) Night And Fog (Alain Resnais, 1955) The Thin Blue Line (Errol Morris, 1989) Chronicle Of A Summer (Jean Rouch & Edgar Morin, »

- Max Molinaro

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'Sight & Sound' announces list of greatest documentaries

1 August 2014 10:26 AM, PDT | EW - Inside Movies | See recent EW.com - Inside Movies news »

Dziga Vertov’s Man with a Movie Camera tops the list of the greatest documentaries of all time, according to hundreds of film critics, curators, directors, and documentary film specialists surveyed by British film magazine Sight & Sound.

Every 10 years, Sight & Sound polls hundreds of film luminaries from around the world to generate a list of the best films of all time. In 2012, Alfred Hitchcock’s Vertigo knocked Orson Welles’ Citizen Kane off its 50-year perch for the #1 spot. For the first time, the magazine is debuting a separate poll for documentaries. 340 critics, programmers and filmmakers were asked to participate; 100 of »

- Jacob Shamsian

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Daily | Top Docs, Canyon Cinema, Wwi

1 August 2014 8:08 AM, PDT | Keyframe | See recent Keyframe news »

Dziga Vertov's Man with a Movie Camera (1929), Claude Lanzmann's Shoah (1985), Chris Marker's Sans soleil (1982), Alain Resnais's Night and Fog (1955) and Errol Morris's The Thin Blue Line (1989) are among the high-scorers in Sight & Sound's new poll of critics and filmmakers, The Greatest Documentaries of All Time." Meantime, Canyon Cinema's posted a free book chapter by Peter Tscherkassky, a manifesto from Abigail Child and notes on Stan Brakhage by Phil Solomon. Plus, the legacy of Wwi and more in today's roundup of news and views. » - David Hudson »

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Silent film tops documentary poll

1 August 2014 4:44 AM, PDT | ScreenDaily | See recent ScreenDaily news »

More than 200 critics and 100 filmmakers take part in poll.

Dziga Vertov’s silent film Man with a Movie Camera (1929) has topped Sight & Sound magazine’s first major poll of the world’s best documentaries.

More than 1,000 films were nominated by 200 critics and 100 filmmakers with more than 100 voting for Man with a Movie Camera.

Vertov’s surrealist classic in which a man travels around a city with a camera documenting urban life was shot in Odessa, Kiev and Khadliv.

Vertov also topped the critics’ list of top doc filmmakers while Frederick Wiseman is number one according to his fellow directors.

Participating filmmakers included Kevin Macdonald, Walter Salles, Joshua Oppenheimer, James Toback, Asif Kapadia, Carol Morley and Mark Cousins.

Critics’ Top 10 documentariesMan with a Movie Camera, dir. Dziga Vertov (Ussr 1929) [pictured]Shoah, dir. Claude Lanzmann (France 1985)Sans soleil, dir. Chris Marker (France 1982)Night and Fog, dir. Alain Resnais (France 1955)The Thin Blue Line, dir. [link »

- andreas.wiseman@screendaily.com (Andreas Wiseman)

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Man with a Movie Camera tops Sight & Sound doc poll

1 August 2014 4:44 AM, PDT | ScreenDaily | See recent ScreenDaily news »

More than 200 critics and 100 filmmakers take part in poll.

Dziga Vertov’s silent film Man with a Movie Camera (1929) has topped Sight & Sound magazine’s first major poll of the world’s best documentaries.

More than 1,000 films were nominated by 200 critics and 100 filmmakers with more than 100 voting for Man with a Movie Camera.

Vertov’s surrealist classic in which a man travels around a city with a camera documenting urban life was shot in Odessa, Kiev and Khadliv.

Vertov also topped the critics’ list of top doc filmmakers while Frederick Wiseman is number one according to his fellow directors.

Participating filmmakers included Kevin Macdonald, Walter Salles, Joshua Oppenheimer, James Toback, Asif Kapadia, Carol Morley and Mark Cousins.

Critics’ Top 10 documentariesMan with a Movie Camera, dir. Dziga Vertov (Ussr 1929) [pictured]Shoah, dir. Claude Lanzmann (France 1985)Sans soleil, dir. Chris Marker (France 1982)Night and Fog, dir. Alain Resnais (France 1955)The Thin Blue Line, dir. [link »

- andreas.wiseman@screendaily.com (Andreas Wiseman)

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6 Filmmaking Tips from Alain Resnais

4 June 2014 8:00 AM, PDT | FilmSchoolRejects.com | See recent FilmSchoolRejects news »

Three weeks before Alain Resnais died this past March, he had premiered his newest film, Life of Riley, at the Berlin Film Festival, which he completed at the age of 91. Resnais enjoyed a uniquely prolific streak of filmmaking in his later years that laughed at the prospect of retirement or death. For a moment it seemed possible that Resnais himself would continue to exist as ceaselessly as the memories that preoccupy his characters; thankfully, with his incredible body of work, Resnais is etched into eternity. Resnais continued to experiment with the limits of cinematic form over fifty years after his career-defining work on Night and Fog, Hiroshima mon amour, and Last Year in Marienbad. The past decade of his career proved that age is no excuse for artistic resignation or repetition – while not nearly as well-known, more recent works including Private Fears in Public Places, Wild Grass, and You Ain’t Seen Nothin’ Yet! challenged »

- Landon Palmer

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Cannes 2014 Day 2 Recap: Leigh’s British Landscape via “Mr.Turner”, Ucr in “Party Girl” Mode, Quinzaine Dances to “Girlhood”, CW in Love with “Fla”

16 May 2014 4:30 AM, PDT | ioncinema | See recent ioncinema news »

(Cannes – May 15th) The press were treated to their first 8:30 a.m. Grand Lumiere screening and were taken back to the late seventeen hundredths London (among other places) in Mike Leigh’s historical biopic on a painterly individual. At the press conference, Timothy Spall who had been pitched the project several years ago and picked up the brush for a good two year period alongside a professional, found that one of the dwellings in his own personal family history (dating not that long ago) matched one of Turner’s actual known addresses  – a rather remarkable coincidence in my books. One journo also asked Mike Leigh how the Secrets & Lies stamp came about (check out the news piece).

The festival’s sidebar (Un Certain Regard) and parallel sections Directors’ Fortnight and Critics Week got off to a rowdy start. Ucr opener Party Girl (by directing team comprised of Marie Amachoukeli, »

- Eric Lavallee

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Classe tous risques DVD – Philip French on Claude Sautet's pitch-perfect directorial debut

22 March 2014 6:00 PM, PDT | The Guardian - Film News | See recent The Guardian - Film News news »

(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

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The Noteworthy: "Art of the Real", Remembering Resnais, "Pulverizing Plots"

5 March 2014 6:20 AM, PST | MUBI | See recent MUBI news »

The Film Society of Lincoln Center have unveiled their incredible lineup for the forthcoming "Art of the Real" series, which includes work from Corneliu Porumboiu, Robert Greene, Thom Andersen, James Benning, and more:

"The thin and often blurry line between fact and fiction will be prodded in the Film Society of Lincoln Center’s revamped Art of the Real, a two-week series (April 11-26) dedicated to an expansive definition of nonfiction filmmaking."

 For The New York Times, Dave Kehr remembers Alain Resnais:

"Mr. Resnais had a full head of white hair that the French newspaper Le Monde said he had sported for so long that one could forget he was ever young. He exhibited a youthful energy well into his 80s and was working on drafts of his next project from his hospital bed when he died, the producer Jean-Louis Livi said.

Despite the serious nature of his films, »

- Adam Cook

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Alain Resnais, French Filmmaker, Dies At 91

3 March 2014 9:00 PM, PST | Uinterview | See recent Uinterview news »

Alain Resnais, the famed French director, died late Saturday in Paris, France at the age of 91.

Resnais first made his stamp in film history with his 1959 film, Hiroshima Mon Amour, which continues to be hailed as one of the best films ever made. Resnais’ career, which includes Night and Fog (1955), a documentary on the Holocaust, Last Year at Marienbad (1961), and Wild Grass (2009), spanned over half a century.

His last film, Life of Riley (Aimer, boire et chanter), premiered last month at the Berlin Film Festival where it won the Silver Bear Alfred Bauer Prize for introducing new perspectives into film. Resnais is also known for influencing a new generation of filmmakers, from the French New Wave to David Lynch.

“When people ask me why I make films, I always answer that ‘je tourne pour voir comment ça tourne,’ I make films to see how films are made. I’m proud of that phrase. »

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Alain Resnais snubbed at 2014 Oscars

2 March 2014 8:29 PM, PST | The Guardian - Film News | See recent The Guardian - Film News news »

Celebrated French director of Hiroshima Mon Amour and Last Year in Marienbad who died this weekend left out of In Memoriam section of Oscar ceremony

• Xan Brooks liveblogs the ceremony

• Full list of winners as they're announced

The Oscars failed to paid tribute to Alain Resnais, the celebrated French director of Night and Fog and Hiroshima Mon Amour, who died today. Perhaps because of the late-breaking nature of his death, they did not include Resnais in the traditional In Memoriam section to the film-maker.

Resnais was never nominated for an Oscar, though he did receive a string of awards from major international film festivals, including a lifetime achievement award from Cannes in 2009. His feature debut, Hiroshima Mon Amour, was a key early entry in the French new wave, competing at the 1959 Cannes film festival against the likes of François Truffaut's The 400 Blows and Jack Clayton's Room at the Top »

- Andrew Pulver

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“In My Film Time Is Shattered”: Producer Anatole Dauman Remembers Working with Alain Resnais

2 March 2014 7:50 PM, PST | Filmmaker Magazine - Blog | See recent Filmmaker Magazine news »

Coinciding with a 2000 retrospective of Alain Resnais’ work organized by both the American Cinematheque and the Film Society of Lincoln Center, producer Florence Dauman gave Filmmaker these quotes from her father, Anatole Dauman, about working with the great director. Through his company, Argos Films, Dauman produced or co-produced many of the masterworks of postwar European cinema – including Resnais’s Night and Fog; Hiroshima, Mon Amour; Last Year at Marienbad; and Muriel. On the occasion of Resnais’ death yesterday at 91, we are reprinting them here. Night and Fog (1956) “It was our first short film together. Would he accept […] »

- Scott Macaulay

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All Tomorrow’s Yesterdays: Remembering Alain Resnais (1922 – 2014)

2 March 2014 7:32 PM, PST | Filmmaker Magazine - Blog | See recent Filmmaker Magazine news »

One of cinema’s greats, the French director Alain Resnais, died yesterday, March 1, at the age of 91. The director of such landmark films as Last Year at Marienbad, Hiroshima, Mon Amour, and Night and Fog, he premiered his latest film, Life of Riley, just one month ago at the Berlin Film Festival. In 2000, coinciding with a retrospective organized by both the American Cinematheque and the Film Society of Lincoln Center, Peter Bowen wrote the following short essay, and we collected appreciations from three independent directors — Christopher Munch, Keith Gordon and Radley Metzger. It is reprinted below. Perhaps […] »

- Peter Bowen

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Veteran French Filmmaker Alain Resnais Has Passed Away at Age 91

2 March 2014 4:47 PM, PST | firstshowing.net | See recent FirstShowing.net news »

Few filmmakers leave a legacy behind in cinema that will last generations, and even fewer have a career that truly spans decades. French director Alain Resnais was one of those rarities behind the camera whose career began way back in 1946 and lasted up until his death on Saturday in Paris at age 91 (as reported by  New York Times), not too long after his last film The Life of Riley premiered at the Berlin Film Festival in February. The filmmaker never won an Oscar, but took home a BAFTA, saw several nominations and wins at the César Awards in France, and countless accolades at the Cannes and Venice Film Festivals. More below. Resnais is a name that only true cinephiles and students of film will know with iconic films such as Hiroshima, mon amour (starring Oscar nominee Emanuelle Riva), Last Year at Marienbad, Je t’taime, je t’aime, Night and Fog, »

- Ethan Anderton

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Alain Resnais obituary

2 March 2014 4:05 PM, PST | The Guardian - Film News | See recent The Guardian - Film News news »

Complex and avant-garde French film director best known for Night and Fog and Last Year in Marienbad

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

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Alain Resnais, Acclaimed French Director, Dead At Age 91

2 March 2014 2:02 PM, PST | Cinemaretro.com | See recent CinemaRetro news »

Alain Resnais, the acclaimed director of controversial films such as Last Year at Marienbad, has passed away at age 91. To his admirers, Resnais was the epitome of the avant garde filmmaker, producing movies in the name of art, not commerce. His detractors felt some of his work represented style over substance and dripped with artistic pretensions. However, his 1955 30 minute film Night and Fog remains to many as the most devastating record of the Holocaust ever filmed. For more click here »

- nospam@example.com (Cinema Retro)

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Can Little Indies Hope to Win Big Awards? The Independent Spirit Awards Beg the Question

2 March 2014 11:03 AM, PST | Indiewire | See recent Indiewire news »

On the eve of the Oscars and the immediate aftermath of the Independent Spirit Awards, the chaotic war of art and commerce epitomized by this season suddenly felt very small. Late at night, word got around that New Wave master Alain Resnais had died in Paris at 91. It was one of those news items that felt both inevitable and surreal to anyone passionate about the movies. It concluded a career that spanned half a century and spawned countless cinephiles with seminal enigmas of cinematic ingenuity, from "Night and Fog" to "Last Year at Marienbad" and "Hiroshima Mon Amour." Just last month, Resnais unveiled his final work, the theater adaptation "The Life of Riley," while the time travel head trip "Je T'Aime, Je T'aime" landed a weeklong revival at New York's Film Forum. For most of his career, Resnais was a ubiquitous symbol of cinema's power to riff on time and memory with transcendent, »

- Eric Kohn

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Alain Resnais Dies at the Age of 91

2 March 2014 7:18 AM, PST | Rope of Silicon | See recent Rope Of Silicon news »

I have only seen two of French director Alain Resnais' films, those being Last Year at Marienbad and Wild Grass, which is to say I have a lot to catch up with from Hiroshima, mon amour to Night And Fog. His latest film, Aimer, Boire et Chanter (Life of Riley) recently played in competition at the Berlin Film Festival, winning the Alfred Bauer Award, and sadly it will prove to be his last. Resnais passed away on Saturday night in Paris, his producer Jean-Louis Livi said this morning. Obviously, with such a limited amount of knowledge when it comes to Resnais' work I can only add so much other than to point you to my review of Criterion's Blu-ray release of Marienbad and point you to the following short film of his from 1958, La chant de la styrene, of which Jean-Luc Godard once wrote, "Alain Resnais is the second »

- Brad Brevet

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Alain Resnais dies aged 91

2 March 2014 6:04 AM, PST | ScreenDaily | See recent ScreenDaily news »

His latest film, The Life of Riley, premiered in Berlin.

Veteran French filmmaker Alain Resnais has died at the age of 91.

His death — in Paris on Saturday — comes just weeks after his latest film, The Life Of Riley (Aimer, boire et chanter), premiered at the Berlinale, where it won the Fipresci prize and the Alfred Bauer Prize (see Screen’s review here).

The director will be remembered as part of the French New Wave, while also changing with the times in subsequent decades — his prolific career includes nearly 50 features.

His 1959 Hiroshima Mon Amour was Oscar nominated for best screenplay. He won Venice’s Golden Lion in 1969 for Last Year at Marienbad, and Berlin’s Silver Bears for best director for Smoking/No Smoking and The Same Old Song. He first attracted attention with his 1955 documentary Night and Fog, a BAFTA nominated portrait of Nazi concentration camps.

Dieter Kosslick, festival director of the Berlinale, said: “We mourn »

- wendy.mitchell@screendaily.com (Wendy Mitchell)

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Alain Resnais dies at age 91

2 March 2014 6:04 AM, PST | ScreenDaily | See recent ScreenDaily news »

His latest film, The Life of Riley, premiered in Berlin.

Veteran French filmmaker Alain Resnais has died at the age of 91.

His death — in Paris on Saturday — comes just weeks after his latest film, The Life Of Riley (Aimer, boire et chanter), premiered at the Berlinale, where it won the Fipresci prize and the Alfred Bauer Prize (see Screen’s review here).

The director will be remembered as part of the French New Wave, while also changing with the times in subsequent decades — his prolific career includes nearly 50 features.

His 1959 Hiroshima Mon Amour was Oscar nominated for best screenplay. He won Venice’s Golden Lion in 1969 for Last Year at Marienbad, and Berlin’s Silver Bears for best director for Smoking/No Smoking and The Same Old Song. He first attracted attention with his 1955 documentary Night and Fog, a BAFTA nominated portrait of Nazi concentration camps.

Cannes honoured Resnais with a lifetime achievement award in 2009. Previously, he won »

- wendy.mitchell@screendaily.com (Wendy Mitchell)

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