1-20 of 30 items from 2014 « Prev | Next »
Cannes Directors’ Fortnight had already decided to honour the French filmmaker before his death in March.
The French Film Directors’ Guild, which runs Directors’ Fortnight, will pay tribute to late filmmaker Alain Resnais, by posthumously feting him with its Carrosse d’Or (Golden Carriage) award on the opening night of the parallel Cannes section.
“Last January, directors of the guild unanimously decided to give this prize to Alain Resnais, who died in March,” the body said in a statement.
Directors’ Fortnight will screen Resnais’ 1958 short La Chant du Styrène, a 13-minute documentary in praise of plastic commissioned by French manufacturer Péchiney, and his 1977 feature Providence, starring Sir John Geilgud, on May 15.
There will be a tribute to the filmmaker at the opening ceremony of Directors’ Fortnight attended by Jean-Louis Livi, the producer of his last three films, and the filmmaker’s long-time assistant Christophe Jeauffroy, who worked on productions such as Life of Riley, You Ain’t Seen »
Over the past three months of Movie Poster of the Day, the two most popular posters by far were two beautiful (each in their own very distinct way) posters that I posted in memoriam of two dearly departed auteurs: Alan Resnais and Harold Ramis. And two other posters among the most popular (i.e. most liked or reblogged) were those posted in celebration of Philip Seymour Hoffman, including Chris Ware’s lovely 2007 design for The Savages, one of my favorite posters of last decade. So, if nothing else, Movie Poster of the Day has recorded the saddest losses of the year. (Not forgetting the adorable Swedish poster I posted for Shirley Temple which didn’t make the Top 20.)
I’m happy to see a number of new posters here: a very popular Dutch Wolf of Wall Street, »
- Adrian Curry
It's hard to believe it has already been more than three years since I first saw Ingmar Bergman's Persona. The first Bergman film I saw was The Seventh Seal back in 2007 and I was immediately hooked. I quickly followed that up with Wild Strawberries and have since come to own many of the iconic Swedish director's films, and as much as I never believed anything he directed could effect me as much as Seventh Seal, Persona is a whole new level of filmmaking. I've been asked before if a film can still be enjoyable even if you don't entirely understand it. Persona is evidence that the answer is a resounding yes. The film came about after Bergman fell ill in 1959 as he was planning on beginning work on a film with Liv Ullman and Bibi Andersson titled The Cannibals. That film never came to fruition. While recovering in the hospital, »
- Brad Brevet
Written and directed by Alain Robbe-Grillet
Just by examining the title, L’immortelle appears to be the quintessential Alain Robbe-Grillet film. It’s French, it’s feminine (that is, it’s being used to describe a woman), and it translates to “The Immortal”, a reference to how often the woman appears posthumously thanks to its unique narrative structure. Robbe-Grillet is primarily known as a writer, and known in the film world for having penned Resnais’s equally immortal Last Year at Marienbad just 2 years before this feature. The sudden explosion of discussion for Marienbad quickly made it synonymous with French arthouse flair. It was difficult yet rewarding; beautiful yet quietly violent. His hand in Marienbad is immediately evident in L’immortelle, even down to Resnais’s influence in spending half the film covering the surrounding architecture. Despite exclusion from discussion of those involved with the nouvelle vague »
- Zach Lewis
Kino’s Redemption label continues with the resurrection of New Wave provocateur Alain Robbe-Grillet’s 1963 directorial debut, L’Immortelle, (this is the third title in the planned series, and we can expect to see three more) a stylistic mish-mash of surreal flourishes, sensuality, and mysterious foreboding. Arriving two years after Robbe-Grillet penned the landmark film Last Year at Marienbad for director Alain Resnais, the first outing feels indebted to the look and style of his collaboration with Resnais, despite the realization that his framework for this film was actually developed first. Featuring the highly stylized cinematography of Maurice Berry, Robbe-Grillet transforms Istanbul into a perversely abandoned palette of architectural facades, calling into question the notion of originality and restoration, dreams and waking life.
- Nicholas Bell
Above: a first look at Willem Dafoe in Abel Ferrara's Pasolini. In Film Comment, Kent Jones has published an incredible piece entitled "Critical Condition", in which he examines our limited critical views on cinema:
"The point is not to claim that film criticism took a wrong turn in the Fifties and Sixties. The auteurist idea at its most basic (that movies are primarily the creation of one governing author behind the camera who thinks in images and sounds rather than words and sentences) is now the default setting in most considerations of moviemaking, and for that we should all be thankful. We’d be nowhere without auteurism, which boasts a proud history: the lovers of cinema didn’t just argue for its inclusion among the fine arts, but actually stood up, waved its flag, and proclaimed its glory without shame. In that sense, it stands as a truly remarkable »
- Adam Cook
Mon oncle d’Amérique
Written by Jean Gruault and Henri Laborit
Directed by Alain Resnais
To wax in a state of eulogy about Alain Resnais is to have reviewed his last few features at the times they premiered. With Wild Grass, You Ain’t Seen Nothin’ Yet, and the incredibly recent Life of Riley, reviewers understandably noted his age. Resnais was in his late eighties and early nineties, still producing films containing a youthful charm, his resolution on the festival circuit as firm as ever. Perhaps then, it still came as a surprise that at the age of 91, Resnais had passed, leaving a remarkable six decades of major work behind, rivaled at this point only by 105-year-old arthouse compatriot Manoel de Oliveira. Surprising, yes, thanks to his experimental shock to the film world in Last Year at Marienbad and Hiroshima, mon amour being equaled by his recent output, a promising second wind. »
- Zach Lewis
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. »
Acclaimed French director Alain Resnais, one of the pioneers of the French New Wave, died aged 91 in Paris on March 2.
Resnais’s first film and also his most well known one was the 1959 masterpiece, Hiroshima Mon Amour. It was nominated for the Oscar for Best Screenplay.
He received a lifetime achievement award at the Cannes Film Festival in 2009. He won the grand jury prize in Cannes for Gerard Depardieu starrer Mon uncle d’Amerique in 1980 and competed in 2012 with You Ain’t Seen Nothing Yet.
• 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
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
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
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
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
Arthouse director rode crest of French new wave movement of 1960s and was still making films as he reached 90
Peter Bradshaw on 60 years of sensational, cerebral film-making
His death on Saturday, the day after the Césars French cinema awards and on the eve of the Oscars, came as he prepared to launch his latest film, The Life of Riley later this month.
The film, which stars two of his favourite actors – his wife, Sabine Azéma, and André Dussollier – was awarded the Silver Bear Alfred Bauer prize when it premiered at last month's Berlin film Ffestival. It is based on an Alan Ayckbourn; the playwright and his wife witnessed the film-maker's marriage to Azéma in Scarborough.
Pierre Arditi, another member of Resnais's "troupe" of favourite actors, »
- Anne Penketh
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 »
- email@example.com (Cinema Retro)
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
Today’s film is the 1953 short Les statues meurent aussi, also known as Statues also Die. The film is a documentary, written by Chris Marker, who also co-directed the short with Alain Resnais. Resnais is a legend on the world cinema stage, with a directing career that spanned over 70 years, and a filmography that includes classics such as Hiroshima Mon Amour and Last Year at Marienbad. He died yesterday in Paris at 91 years old, and his last film will be the 2014 feature Life of Riley.
Note: This film has english subtitles which can be activated by clicking on the “cc” button at the bottom right of the video.
- Deepayan Sengupta
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
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 »
- firstname.lastname@example.org (Wendy Mitchell)
1-20 of 30 items from 2014 « Prev | Next »
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners