9 items from 2015
“He Said/She Said—Reflections On Love, Unreliable Memories, And The Atomic Bomb”
Director Alain Resnais achieved worldwide acclaim with his documentary short, Night and Fog (1955), which revealed to the world the true horrors of what went on in the Nazi concentration camps. For his first feature film, Resnais turned to fiction; and yet, he maintained a somewhat documentary approach in showing the world the true horrors of what occurred in Hiroshima, Japan when the first atomic bomb was dropped. Beyond that, Hiroshima mon amour (“Hiroshima, My Love”) is an art film that not only signaled the beginning of the French New Wave (although many film historians do not count it as an example of that movement), it also established Resnais’ singular, enigmatic and ambiguous style as an auteur. The director would go on to make even more thematically-mysterious pictures (namely Last Year at Marienbad) and become »
- firstname.lastname@example.org (Cinema Retro)
In “The Great Beauty,” there’s a flashback in which a young Jep Gambardella recalls the promise of love — its loss, with the betrayal of youthful ideals, leads to Jep’s crushing self-contempt. It’s a tender moment in a film of deep cynicism, and now Paolo Sorrentino, with “Youth,” delivers his most tender film to date, an emotionally rich contemplation of life’s wisdom gained, lost and remembered — with cynicism harping from the sidelines, but as a wearied chord rather than a major motif. Set in a Swiss spa with two old friends — one a retired composer-conductor, the other an active helmer— “Youth” is less flashy than Sorrentino’s recent pics but no less beautiful. Shot in English, with leads Michael Caine and Harvey Keitel bringing lifetimes of depth to their roles, the film, which Fox Searchlight is releasing Stateside, could become Sorrentino’s biggest box office hit yet. »
- Jay Weissberg
Got your Summer film calendar planned yet? On Wednesday The Academy announced their May and June programs which will explore the past, present and especially the future of moviegoing, as the availability of a wide variety of platforms for viewing films alters the habits of today’s audiences.
“The New Audience: Moviegoing in a Connected World,” a live panel presentation on May 12, complements “This Is Widescreen,” an eight-week screening series beginning May 1 that illustrates one of the ways filmmakers more than a half-century ago responded to the competition of that era, television.
The New Audience: Moviegoing In A Connected World
Tuesday, May 12│7:30 P.M.│Samuel Goldwyn Theater, Beverly Hills
Moderator Krista Smith, Vanity Fair’s executive West Coast editor, will lead an onstage panel discussion of how filmmakers and studios seek to take advantage of the wide variety of viewing platforms available to contemporary audiences.
Scheduled guests include Walt »
- Michelle McCue
Although the programming of the Colcoa French Film Festival falls mainly in the hands of executive producer and artistic director Francois Truffart, he acknowledges that the annual event, now in its 19th year, would not be possible without the involvement of the Directors Guild of America, which physically hosts the festival at its headquarters on Sunset Boulevard in West Hollywood, and the Writers Guild of America West.
In 1995 the two guilds banded — along with the Motion Picture Assn. and France’s Society of Authors, Composers and Publishers of Music, among others — to form the Franco-American Cultural Fund, which produces the festival. “All strategic decisions are made with the board — the DGA, the Wgaw and the Mpa together, so they are very much involved in the development of the festival,” Truffart says.
- Steve Chagollan
“I have never stayed so long anywhere,” says Delphine Seyrig’s “A” in Alain Resnais’s enigmatic 1961 film Last Year at Marienbad. She can’t recall meeting Giorgio Albertazzi’s “X” at the same château the previous year, but her words capture the film’s disorienting sense of time and place. X’s pursuit of A is a reminder that the…
The post The Beyond: Footprints on the Moon appeared first on Shock Till You Drop. »
- Samuel Zimmerman
If René Clément's short collaboration with Jacques Tati in 1936 has its later development in the surprising (and political) slapstick of Che gioia vivere (1962), his technical assistance to Jean Cocteau on Beauty and the Beast pays off more rapidly with Le château de verre (The Glass Castle, 1950), starring Cocteau's beautiful beast, Jean Marais, and ice queen monstré sacré Michelle Morgan. This one came highly recommended by Shadowplayer David Wingrove, who saw in its opening sequence a foreshadowing of Last Year at Marienbad's glacial surrealism—frozen figures, somnambulent dancers, palatial surroundings. In fact, the Clément film comes with le jazz hot, and the frozen figures aren't frozen, but there is certainly an air of decadent mystery, with Jean Servais as the chess-playing husband a passable progenitor of the Resnais movie's sepulchral M.But there's more! We begin with a disembodied voice (another Marienbad trope) and open in a fabulous grotto, »
- David Cairns
Life of Riley, 2014.
Directed by Alain Resnais.
George Riley is due to die, forcing his close friends, and ex-lovers, to reflect on their own lives as he comes to the end of his.
This is Alain Resnais’ final film. This is his third adaptation of an Alan Aykbourn play, a different era to his previous exploits within his six-decade canon. Director of art-house classics Hiroshima mon amour and Last Year at Marienbad, Resnais was often ambiguous with his intentions, merging dreams and reality, truth and fiction, throughout his stories. Life of Riley won a Silver Bear at the Berlin Film Festival (only one month before his death) “for a feature that opens new perspectives”, as it does again create conflict between stage and screen.
Of course, it’s slightly jarring when, fading into England (more specifically, »
- Simon Columb
Scott Foundas: Hi Peter. Well, we’ve officially reached the midpoint of the 2015 Berlin Film Festival, although the most hotly anticipated event in this cold, cold town is still another day away. I’m talking, of course, about the world premiere of “Fifty Shades of Grey,” which isn’t the kind of movie one typically thinks of as festival fare, but which events like Berlin and Cannes need as a kind of palate cleanser from the steady parade of world-class arthouse cinema from countries like Iran, China and Chile. Those movies may get you lots of ink in Variety, but it’s only a “Fifty Shades” that can get your red carpet splattered all over the picture pages of Vogue and Vanity Fair.
- Scott Foundas and Peter Debruge
While 2014 saw the passing of (reluctant) New Wave icon Alain Resnais, there was an intense resurgence of interest in the directorial efforts of Last Year at Marienbad (1961) scribe Alain Robbe-Grillet. Grillet and Resnais would never collaborate again, but it left the screenwriter with his own directorial options, which he used to explore his abstract fetishes in a filmography that would span ten films, many of which never made it to the United States. Kino Lorber’s Redemption label resurrected five rare titles for Blu-ray over the past year, including his 1963 debut L’immortelle and New Wave classic Trans-Europ-Express (1967). But it would be Grillet’s eighth feature that would serve to be his most internationally renowned, the 1983 La Belle Captive, which chanteys its way into Blu-ray this month courtesy of Olive Films. No more cohesive than any of the other puzzling titles in his filmography, the stunning work from DoP Henri Alekan »
- Nicholas Bell
9 items from 2015
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