La Notte (1961) - News Poster



Why Jeanne Moreau Was One of the Greatest French Actresses of All-Time

Why Jeanne Moreau Was One of the Greatest French Actresses of All-Time
Jeanne Moreau was to French cinema as Manet’s “Olympia” was to French painting — the personification of the gait, glance, and gesture of modern life. Her darting brown eyes and enigmatic moue were the face of the French New Wave. Her candid sensuality and self-assurance, not to mention the suggestion that she was always in control, made her the epitome of the New Woman. From Orson Welles and Luis Bunuel to Joseph Losey and Rainer Werner Fassbinder, Moreau was the muse to the greatest directors of world cinema.

“She has all the qualities one expects in a woman,” quipped Francois Truffaut, director of her most beloved film, “Jules and Jim” (1962), “plus all those one expects in a man — without the inconveniences of either.”

Surprisingly, this quintessence of French femininity had an English mother, a dancer at the Folies Bergere. Her French father, a hotelier and restaurateur, upon learning that his daughter likewise had theatrical ambitions,
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Jeanne Moreau, French New Wave Icon, Dead at 89

Jeanne Moreau, a legend of French cinema and one of the French New Wave's leading actresses with roles in Jules & Jim and Elevator to the Gallows, died this weekend at the age of 89.

French authorities confirmed that the actress died at her Paris home; no cause of death was revealed, the BBC reports.

French president Emmanuel Macron tweeted of Moreau, "A legend of cinema and theater … an actress engaged in the whirlwind of life with an absolute freedom."

Pierre Lescure, president of the Cannes Film Festival, said in a statement,
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Newswire: R.I.P. Jeanne Moreau, French cinema legend

Jeanne Moreau, the French actress who starred in such films as Jules And Jim and Diary Of A Chambermaid and whose independence, sensuality, and vitality embodied the spirit of the French New Wave, has died. Her death was confirmed by the mayor of Moreau’s home district in Paris, Variety reports. She was 89.

Moreau was an established stage actress plugging away in a series of low-budget B-movies when director Louis Malle cast her in his feature-film debut, Elevator To The Gallows, in 1958. The pair immediately followed that film with another project, The Lovers (1958), the film that made Moreau an international star. She followed that role with starring turns in films like Roger Vadim’s Les Liaisons Dangereuses (1959), Michelangelo Antonioni’s La Notte (1961), and François Truffaut’s Jules And Jim (1962), the first of several collaborations between Truffaut and Moreau and one of the great classics ...
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Moreau - the feminist femme fatale by Richard Mowe

Jeanne Moreau: 'The privilege of age is that I have more confidence and I am calmer. I know more about myself, I feel less egocentric' Photo: Unifrance Marcello Mastroianni who appeared with Jeanne Moreau in Michelangelo Antonioni's La Notte claims to have fallen in love with her at first sight.

“And she loves you in return,” he explained, “but just till the end of the film. She is always searching for love, and she leaves victims along the roadside."

Moreau, who has died in Paris aged 89, had a chequered history with the men in her life, including The Exorcist director William Friedkin whom she briefly married. She had a son Jerome, a painter, by a previous marriage to director Jean-Louis Richard. And she was linked to actors Lee Marvin and George Hamilton.

Jeanne Moreau: 'Sleeping with people is one of the best ways of getting to know
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French actress Jeanne Moreau dies aged 89

French actress Jeanne Moreau dies aged 89
French actress Jeanne Moreau has died aged 89.

She was found dead at her home in Paris, the district’s mayor told AFP.

Moreau’s hugely successful career included roles in Elevator To The Gallows and Lovers (both directed by Louis Malle), Michelangelo Antonioni’s La Notte and Beyond The Clouds, Luis Buñuel’s Diary Of A Chambermaid and Rainer Werner Fassbinder’s Querelle.

Her most famous role was perhaps in François Truffaut’s New Wave classic Jules et Jim, a hugely influential international hit.

Moreau won the best actress prize at Cannes for Seven Days… Seven Nights in 1960, a best foreign actress Bafta for Viva Maria! in 1965 and was awarded the Bafta Fellowship in 1996.

She was also honoured with a Cesar for best actress, for The Old Lady Who Walked in the Sea in 1992, and continued acting into her 80s.

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Venice 2017. Lineup

ZamaThe programme for the 2017 edition of the Venice Film Festival has been unveiled, and includes new films from Darren Aronofsky, Lucrecia Martel, Frederick Wiseman, Alexander Payne, Hirokazu Kore-eda, Abdellatif Kechiche, Takeshi Kitano and many more.COMPETITIONmother! (Darren Aronofsky)First Reformed (Paul Schrader)Sweet Country (Warwick Thornton)The Leisure Seeker (Paolo Virzi)Una Famiglia (Sebastiano Riso)Ex Libris - The New York Public Library (Frederick Wiseman)Angels Wear White (Vivian Qu)The Whale (Andrea Pallaoro)Three Billboards Outside Ebbing, Missouri (Martin McDonagh)Foxtrot (Samuel Maoz)Ammore e malavita (Manetti Brothers)Jusqu'a la garde (Xavier Legrand)The Third Murder (Hirokazu Kore-eda)Mektoub, My Love: Canto Uno (Abdellatif Kechiche)Lean on Pete (Andrew Haigh)L'insulte (Ziad Doueiri)La Villa (Robert Guediguian)The Shape of Water (Guillermo del Toro)Suburbicon (George Clooney)Human Flow (Ai Weiwei)Downsizing (Alexander Payne)Out Of COMPETITIONFeaturesOur Souls at Night (Ritesh Batra)Il Signor Rotpeter (Antonietta de Lillo)Victoria
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How Michelangelo Antonioni Mastered the Art of Visual Geometry — Watch

How Michelangelo Antonioni Mastered the Art of Visual Geometry — Watch
“Visual geometry” might not be the first phrase that comes to mind when thinking of Michelangelo Antonioni, but a new video essay published by Fandor makes a strong argument for it being among the Italian master’s essential tools. (Well, that and Monica Vitti, of course.)

Read More: Why ‘Mulholland Drive’ Is the Most Essential Film David Lynch Will Ever Make — Watch

The minute-long video offers a brief rundown of Antonioni’s recurring visual motifs, from showing characters looking through windows (“L’Avventura,” “The Passenger”) and walking through doorways (“The Mystery of Oberwald,” “Identification of a Woman”) to being shown through fences (“Red Desert,” “Zabriskie Point”) and traversing vast landscapes (“La Notte,” “Blowup”). It also takes note of his geometric compositions, namely his frequent use of straight, vertical and converging lines.

Read More: ‘American Gods’ Review: Bryan Fuller Paints a Beautiful, Bloody, and Unblinking Portrait of American Duality

“Creating depth,
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Blow-Up, Being There and The Last Tycoon: Jim Hemphill’s Home Video Recommendations

Two very different but equally essential classics find their way to Blu-ray and DVD this week courtesy of the Criterion Collection, which has issued exemplary special editions of Michelangelo Antonioni’s Blow-Up (1966) and Hal Ashby’s Being There (1979). The Antonioni film, in which a fashion photographer finds evidence of a murder in one of his stills, heavily influenced later American political thrillers like The Conversation and Blow Out in spite of the fact that Blow-Up itself is less a mystery than an anthropological document of swinging ’60s London. It was Antonioni’s first film outside his home country after L’avventura, La Notte, […]
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Michelangelo Antonioni, the shallow bore – archive, 1963

7 February 1963: It is time for Antonioni to show us that he can put aside this pretentiousness and really say something

Michelangelo Antonioni is one of those film makers who make a world. Like his style or hate it, there is no denying that his style exists as something distinct, influential, and infectious. You may react violently against an Antonioni-type situation, but you cannot deny that there is a kind of human situation which his films have appropriated. And as with the situations, so with the people in them they may give you pain or pleasure, but you cannot fail to recognise them.

In Antonioni’s world the people are Italians (Romans for preference) who are either rich or at least are almost totally unconcerned with making money. They are idle people almost totally concerned with their lack of purpose in life. They want to find a solution in love
See full article at The Guardian - Film News »

Arthouse Audit: ‘The Beatles: Eight Days a Week’ Concert Doc Soars in Hybrid Release

  • Indiewire
Arthouse Audit: ‘The Beatles: Eight Days a Week’ Concert Doc Soars in Hybrid Release
Reaching back over a half century, “The Beatles: Eight Days a Week – The Touring Years” thrived with a contemporary mix of theaters and Hulu home viewing availability to become a major grossing event this weekend. The Ron Howard concert doc led an otherwise bleak set of new openers as audiences wait for top titles from festivals to reach theaters.

Included among the openers are two films from directors of Best Picture winners that got little attention: “Mr. Church” from Bruce Beresford (“Driving Miss Daisy”) and “Finding Altamira” from Hugh Hudson (“Chariots of Fire”). Fortunes take different paths. Ron Howard directed “Eight Days a Week,” while Clint Eastwood and Oliver Stone are nabbing attention with “Sully” at #1 and “Snowden” farther back in the pack, respectively.


“The Beatles: Eight Days a Week – The Touring Years” (Abramorama) – Metacritic: 72

$615,632 in 88 theaters; PTA (per theater average): $7,243 ; Cumulative: $772,467

Ron Howard is the latest Oscar-winner (see Eastwood,
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Can 'Blair Witch' Scare 'Sully' from the Weekend's Top Spot?

Can 'Blair Witch' Scare 'Sully' from the Weekend's Top Spot?
Lionsgate's Blair Witch arrives seventeen years after the original film and it's hoping to become the third horror film to top the weekend box office this year. Standing in its way is last weekend's champ, Sully, which has delivered record results over the past few days and is looking at a $20+ million second weekend. Other new wide releases include Universal's Bridget Jones's Baby, arriving twelve years after the last film, and Open Road's Snowden. Meanwhile, Pure Flix debuts the documentary Hillsong: Let Hope Rise in over 800 theaters and Freestyle releases Mr. Church starring Eddie Murphy into approximately 300 theaters. Overall, while there could be a fight at the top with a couple of $20+ million weekends, this weekend's top twelve looks like it will be down from last year by about 10-11% with the top twelve generating around $89 million compared to $98.6 million over the same weekend last year. 2016 has already seen 11 films
See full article at Box Office Mojo »

15 Films to See in September

While the summer had a number of gems, our sights are now set on the majorly promising fall slate as we’ve highlighted 75 to keep on your radar. For a more specific breakdown, we now have our monthly rundown, which includes some Tiff and Venice films, and much more. It should also be noted that Michelangelo Antonioni‘s restored masterpiece La Notte will get a theatrical run starting on September 16 at NYC’s Film Forum, and will expand from there. Check out our recommendations below and let us know what you’re looking forward to.

Matinees to See: White Girl (9/2), Max Rose (9/2), The Academy of Muses (9/2), Zoom (9/2), Other People (9/9). Kicks (9/9), Dancer (9/9), London Road (9/9), Come What May (9/9), The Beatles: Eight Days a Week – The Touring Years (9/16), My Blind Brother (9/23), Girl Asleep (9/23), Goat (9/23), The Lovers and the Despot (9/23), The Magnificent Seven (9/23), Chronic (9/23), Sand Storm (9/28), Do Not Resist (9/30), Deepwater Horizon (9/30), Miss Peregrine’s
See full article at The Film Stage »

Fragments of chaos by Anne-Katrin Titze

Alice Winocour on Stanley Kubrick's Eyes Wide Shut: "The first scene where we see Nicole Kidman wearing this fabulous dress, with Tom Cruise going to the party." Photo: Anne-Katrin Titze

Augustine and Disorder (Maryland) director Alice Winocour, co-writer of Deniz Gamze Ergüven's Mustang, talked Beauty And The Beast, Michelangelo Antonioni's La Notte, Vincent Lindon meeting Matthias Schoenaerts, Angelina Jolie and Brad Pitt on holiday, Pascaline Chavanne's costumes for Diane Kruger, Jacques Audiard's Rust And Bone (De Rouille Et D'Os) with Thomas Bidegain, and alluding to David Lynch's Lost Highway and William Holden.

Alice Winocour with Valley Of Love's Guillaume Nicloux, A Decent Man's Emmanuel Finkiel, The Great Game's Nicolas Pariser and Melvil Poupaud

Vincent, a troubled Afghanistan veteran, after being discharged from the army, becomes bodyguard to the wife (Kruger) and young son Ali (Zaïd Errougui-Demonsant) of a wealthy Lebanese businessman (Percy Kemp
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Aftermath by Anne-Katrin Titze

Alice Winocour on Disorder: "I thought also about Carpenter's films, the sound."

Following her enticing and spirited debut, Augustine, Alice Winocour again proves that she can package troubled states of mind in lush images and strong plots. Disorder (Maryland), written with Jean-Stéphane Bron, stars Matthias Schoenaerts (Jacques Audiard's Rust And Bone) and Diane Kruger with Paul Hamy (Katell Quillévéré's Suzanne, Maïwenn's My King), Zaïd Errougui-Demonsant, and Percy Kemp.

Vincent: "What is frightening for the character is to not have control over his own body."

Pascaline Chavanne's costumes (Jacques Doillon's Rodin, Emmanuelle Bercot's Standing Tall, Christophe Honore's Métamorphoses), Stanley Kubrick's Eyes Wide Shut, Michelangelo Antonioni's La Notte, Vincent Lindon, László Nemes's Son Of Saul, Guillaume Nicloux's Valley Of Love, Michel Houellebecq's Submission, Julien Lacheray's editing, Gesaffelstein's sound, John Carpenter, David Lynch's Lost Highway and William Holden -
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DVD Savant 2015 Favored Disc Roundup

or, Savant picks The Most Impressive Discs of 2015

This is the actual view from Savant Central, looking due North.

What a year! I was able to take one very nice trip back East too see Washington D.C. for the first time, or at least as much as two days' walking in the hot sun and then cool rain would allow. Back home in Los Angeles, we've had a year of extreme drought -- my lawn is looking patriotically ratty -- and we're expecting something called El Niño, that's supposed to be just shy of Old-Testament build-me-an-ark intensity. We withstood heat waves like those in Day the Earth Caught Fire, and now we'll get the storms part. This has been a wild year for DVD Savant, which is still a little unsettled. DVDtalk has been very patient and generous, and so have Stuart Galbraith & Joe Dante; so far everything
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6 European Art House Films to Prepare You for 'By the Sea'

6 European Art House Films to Prepare You for 'By the Sea'
Read More: 'By the Sea,' Angelina Jolie and Brad Pitt's European Marital Adventure, Opens AFI Fest "La Notte" (Michelangelo Antonioni, 1961) In the long tradition of art house cinema, including Antonioni's own "L'Avventura" and "L'Eclisse," "La Notte" is an evocative drama built entirely on mood and spiraling feelings. Marcello Mastroianni and Jeanne Moreau play an unfaithful married couple whose relationship deteriorates over the course of a long day filled with temptation from suitors and longing for the connection they once shared. Upon first introduction, the couple seems to have it all; Mastroianni's Giovanni is an acclaimed writer who has recently published his latest novel, while Moreau's Lidia is a sultry beauty. A master of observation, Antonioni fills the picture with long silences and drawn out scenes that expose the ruins of the couple's interior state. As each finds...
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Rome Film Festival: Paolo Sorrentino On Casting Jude Law as the ‘Young Pope’

Rome Film Festival: Paolo Sorrentino On Casting Jude Law as the ‘Young Pope’
Paolo Sorrentino is notoriously coy about discussing projects before they’re out, but at the Rome film festival, the Academy-Award winning director took time out from shooting his eight-part TV series The Young Pope, to discuss why he chose Jude Law to play the youthful yet conservative American pontiff. Sorrentino broke his habit of speaking about his works-in-progress at the festival’s masterclass in cinema, first discussing some of his favorite films, including The Night by Michelangelo Antonioni, The Ice Storm by Ang Lee, The Straight Story by David Lynch, and The Road to Perdition by Sam Mendes - the latter

read more
See full article at The Hollywood Reporter - Movie News »

Win L’Eclisse On Blu Ray


To celebrate the release of L’Eclisse, available on Est 21 September 2015 and released on Blu-ray for the first time (as well as on DVD) 28 September 2015, we are giving 3 lucky WhatCulture readers the chance to win one of three copies on Blu-ray.

Filmed in sumptuous black and white, and full of scenes of lush, strange beauty, it tells the story of Vittoria (the beautiful Monica Vitti – L’Avventura, La Notte, Red Desert – Antonioni’s partner at the time), a young woman who leaves her older lover (Francisco RabalViridiana, The Holy Innocents, Goya in Bordeaux), then drifts into a relationship with a confident, ambitious young stockbroker (Alain Delon – Le Samourai, Rocco and his Brothers, Le Cercle Rouge). But this base narrative is the starting point for much, much more, including an analysis of the city as a place of estrangement and alienation and an implicit critique of colonialism.

Using the
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Film Review: 'L'Eclisse'

  • CineVue
★★★★☆ There are some films that are defined, or at least deeply coloured by the power and poetry of their final scenes. Christian Petzold's Phoenix (2014) is a fine film in its own right, but is elevated by the emotional upper-cut of its conclusion. So too Pablo Larrain's Post Mortem (2010) conjures great effect from its chilling last shot. It may not be a given that Michelangelo Antonioni is emphasising what has come before in the incredible closing minutes of L'Eclisse (1962), but a case can be made that in it he unsettlingly distils his entire trilogy of alienation - begun in L'Avventura (1960) and continued in La Notte (1961) - into one poetic and wordless sequence.
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David Reviews Bernhard Wicki’s The Bridge [Criterion Blu-ray Review]

The late 1950s were a time of seismic upheaval and innovation in world cinema. In France, Francois Truffaut, Claude Chabrol and Jean-Luc Godard were backing up their boisterous critical rhetoric by placing themselves behind the camera and making movies the way they believed they should be made. English filmmakers were developing the kitchen-sink realism style featuring a lineup of angry young men. Ingmar Bergman brought Scandinavian cinema to global prominence, Italian film boasted the emerging talents of Fellini and Antonioni, and Japan unleashed an exuberant new generation of directors like Suzuki, Kobayashi and others who came out of the agitated rebellion of the Sun Tribe movement. Even India could put forth a prodigious genius like Satyajit Ray to introduce cinephiles from around the world to a culture that was ready to transcend the stereotypes and mystification that its recent colonial past had distorted. Among all the nations that could lay
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