Viridiana (1961) - News Poster

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Lyon’s Lumiere Festival Honors Classic Film

The 9th Lumière Festival in Lyon, France, is again bringing together some of the biggest names in world cinema, including Guillermo Del Toro, Wong Kar-wai and Michael Mann, while celebrating the history of film with some 400 screenings of international classics.

Launched in 2009 by Bertrand Tavernier and Thierry Frémaux, the respective president and director of the Institut Lumière, the event has become one of the largest international festivals of classic cinema. Last year it hosted 160,500 festivalgoers – up from 2015’s 150,000 admissions – and more than 1,000 industry professionals.

It was in Lyon where brothers Auguste and Louis Lumière invented the cinematograph in 1895, and in keeping with the city’s cinematic tradition, the festival celebrates the history of film by presenting restored works, retrospectives, tributes and master classes.

In 2013, the festival also started what it describes as the first and only classic film market in the world, noting that the heritage cinema sector is currently expanding thanks to advancements in conservation standards
See full article at Variety - Film News »

The 2017 Muriels Hall Of Fame Inductees

The history of the Muriel Awards stretches aaaalllll the way back to 2006, which means that this coming season will be a special anniversary, marking 10 years of observing the annual quality and achievement of the year in film. (If you don’t know about the Muriels, you can check up on that history here.) The voting group, of which I am a proud member, having participated since Year One, has also made its personal nod to film history by always having incorporated 10, 25 and 50-year anniversary awards, saluting what is agreed upon by ballot to be the best films from those anniversaries during each annual voting process.

But more recently, in 2013, Muriels founders Paul Clark and Steven Carlson decided to expand the Muriels purview and further acknowledge the great achievements in international film by instituting The Muriels Hall of Fame. Each year a new group of films of varying number would be voted upon and,
See full article at Trailers from Hell »

Meaning and Madness: Close-Up on Luis Buñuel's "Viridiana" and "The Exterminating Angel"

  • MUBI
Close-Up is a column that spotlights films now playing on Mubi. Luis Buñuel's Viridiana (1961) is showing June 17 - July 17 and The Exterminating Angel (1962) is showing June 18 - July 18, 2017 in the United Kingdom.ViridianaIt’s impossible to avoid describing the films of Spanish director Luis Buñuel as “surreal,” and yet to do so is woefully insufficient. This is for two reasons. In the first place, Buñuel never made one kind of film. In the second place, even his strangest films deal with social reality.Early in his career Buñuel did associate himself with the Surrealist art movement. Among his first productions were the infamous Un chien Andalou (1929) and L'âge d'or (1930), experimental narratives co-written by Salvador Dali in which bizarre and violent psychosexual incidents connect via absurd dream logic. It’s worth bearing in mind that the Surrealists never meant “surreal” to act as a mere label for the uniquely strange.
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Cannes at 70: The biggest scandals

Cannes at 70: The biggest scandals
The 70-year-old festival has never been far from controversy.

A row over the inclusion of Netflix titles in official competition has cast a shadow over this year’s Cannes Film Festival, with boos for the Netflix logos, clashes between Jury members and a rule changes for next year.

Perhaps it’s appropriate however that a row has been front of centre on Cannes 70th birthday, as the festival is no stranger to a controversy…

1954

Actress Simone Silva’s decision to go topless at a photocall resulted in a scrum which caused several broken bones.

1959

New Minister of Cultural Affairs Andre Malraux formalised Cannes’ burgeoning film market, which has since become integral to the festival and the largest industry event in the global industry. At the time, however, it was a decision not welcomed by all; as a direct reaction to this commercialisation, the French Syndicate of Film Critics (Afcc) was founded.

1960

La Dolce Vita won the
See full article at ScreenDaily »

Isabelle Huppert, Mariachi and a History Lesson: Cannes Celebrates Its 70th Year With a Lively Night

  • Indiewire
Isabelle Huppert, Mariachi and a History Lesson: Cannes Celebrates Its 70th Year With a Lively Night
The Cannes Film Festival aims to show great movies, but it also knows how to throw a good party. That much was evident late at night in the waning hours of a glitzy dinner on Tuesday night at Port Pierre Canto to celebrate the 70th anniversary of the festival, when Salma Hayek surprised guests with a mariachi band.

The Mexican film luminaries in the room — including “Three AmigosGuillermo Del Toro, Alejandro Gonzalez Iñarriuto and Alfono Cuaron as well as actors Diego Luna and Gael Garcia Bernal — all crowded around a single table to lead a boisterous crowd in numerous songs. They were joined by guests from all over the world, from directors Michel Hazanavicius and Paolo Sorrentino to Sony Pictures Classics co-president Michael Barker, 88-year-old French New Wave legend Agnes Varda and Hayek, who eventually led a conga line to the stage while shooting an iPhone video of the whole affair.
See full article at Indiewire »

We are the Flesh: the very best of Mexican surrealist cinema

  • HeyUGuys
Author: Sean Wilson

Arriving on Blu-Ray and DVD on 13th February, provocative and gruesome horror We Are the Flesh is the latest movie from director Emiliano Rocha Minter. Engulfing viewers in a nightmarish and surreal world, whereby two siblings find themselves manipulated by a terrifying stranger, it’s controversial Mexican cinema in every sense of the word.

It also follows a proud tradition of rich, boundary-pushing cinema to have emerged from the country. To honour the film’s release, here are some of Mexico’s finest.

Un Chien Andalou (1929)

Few images are seared onto viewers’ minds as vividly as the eyeball being sliced in Luis Bunuel’s groundbreaking surrealist classic (in reality it was a cow’s eye, not a human’s). But in truth the Spanish filmmaker’s trendsetting collaboration with Salvador Dali is filled to the brim with all other manner of striking imagery that left a lasting
See full article at HeyUGuys »

The Exterminating Angel

Will somebody explain the sheep and the bear? Luis Buñuel really knows how to disturb people. This, his most characteristic surreal drama proposes an impossible, irrational situation – which isn’t all that different from the reality we know. Petty social rules, jealousies and bitterness make life hell for group of dinner guests stuck with each other, caught in an existential trap.

The Exterminating Angel

Blu-ray

The Criterion Collection 459

1962 / B&W / 1:33 flat full frame / 93 min. / available through The Criterion Collection / Street Date December 6, 2016 / 39.95

Starring Silvia Pinal, Jacqueline Andere, Augusto Benedicio, José Baviera, Antonio Bravo, Claudio Brook, Rosa Elena Durgel, Lucy Gallardo, Tito Junco .

Cinematography Gabriel Figueroa

Film Editor Carlos Savage

Original Music Raúl Lavista

Based on a story by Luis Alcoriza, Luis Buñuel

Produced by Gustavo Alatriste

Written and Directed by Luis Buñuel

Reviewed by Glenn Erickson

That intransigent rebel imp Luis Buñuel never mellowed — after ten or so
See full article at Trailers from Hell »

The Executioner (El Verdugo)

Now for something truly remarkable from the neglected Spanish cinema. Luis García Berlanga's wicked satire is a humanistic black comedy, free of cynicism. The borderline Kafkaesque situation of an everyman forced into a profession that horrifies him is funny and warm hearted - but with a ruthless logic that points to universal issues beyond Franco Fascism. The Executioner Blu-ray The Criterion Collection 840 1963 / B&W / 1:85 widescreen / 92 min. / El Verdugo / available through The Criterion Collection / Street Date October 25, 2016 / 39.95 Starring Nino Manfredi, Emma Penella, José Isbert . Cinematography Tonino Delli Colli Film Editor Afonso Santacana Original Music Miguel Asins Arbó Written by Luis García Berlanga, Rafael Azcona, Ennio Flaiano Produced by Nazario Belmar Directed by Luis García Berlanga

Reviewed by Glenn Erickson

Criterion brings us 1963's The Executioner (El Verdugo), a major discovery for film fans that thought Spanish cinema began and ended with Luis Buñuel. I've seen politically-charged Spanish films from
See full article at Trailers from Hell »

The Criterion Collection Announces December Titles: ‘Heart of a Dog,’ ‘The Exterminating Angel’ and More

  • Indiewire
The Criterion Collection Announces December Titles: ‘Heart of a Dog,’ ‘The Exterminating Angel’ and More
The Criterion Collection has announced its offerings for the last month of the year, with one contemporary title (“Heart of a Dog”) mixed in with the classic (“Roma,” “The Asphalt Jungle,” “The Exterminating Angel”) fare. Check out the covers for the new additions below, as well as synopses for each carefully chosen film.

Read More: Kieslowski, ‘Cat People,’ and the Coen Brothers Lead The Criterion Collection’s September Line-Up

The Exterminating Angel

A group of high-society friends are invited to a mansion for dinner and inexplicably find themselves unable to leave in “The Exterminating Angel” (“El ángel exterminador”), a daring masterpiece from Luis Buñuel (“Belle de jour,” “The Discreet Charm of the Bourgeoisie”). Made just one year after his international sensation “Viridiana,” this film, full of eerie, comic absurdity, furthers Buñuel’s wicked takedown of the rituals and dependencies of the frivolous upper classes.

Heart of a Dog

Heart of a Dog
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La fièvre monte à El Pao

Luis Buñuel's most direct film about revolutionary politics brandishes few if any surreal touches in its clash between French star Gérard Philipe and the Mexican legend María Félix. Borrowing the climax of the opera Tosca, it's an intelligent study of how not to effect change in a corrupt political regime. La fièvre monte à El Pao Region A+B Blu-ray + Pal DVD Pathé (Fr) 1959 / B&W / 1:37 flat (should be 1:66 widescreen) / 96 min. / Los Ambiciosos; "Fever Mounts at El Pao" / Street Date December 4, 2013 / available at Amazon France / Eur 26,27 Starring Gérard Philipe, María Félix, Jean Servais, M.A. Soler, Raúl Dantés, Domingo Soler, Víctor Junco, Roberto Cañedo, Enrique Lucero, Pilar Pellicer, David Reynoso, Andrés Soler. Cinematography Gabriel Figueroa Assistant Director Juan Luis Buñuel Original Music Paul Misraki Written by Luis Buñuel, Luis Alcoriza, Charles Dorat, Louis Sapin from a novel by Henri Castillou Produced by Jacques Bar, Óscar Dancigers, Gregorio Walerstein
See full article at Trailers from Hell »

Revolt of the Slaves

Let's give a cheer for the lowly sword 'n' sandal epic. This persecution and torture spectacle also takes in the martyrdom of Saint Sebastian. The impressively mounted Italian-Spanish production stars Rhonda Fleming, Fernando Rey, Wandisa Guida, and as the slimy villain, none other than Serge Gainsbourg. Revolt of the Slaves MGM Limited Edition Collection 1960 / Color / 2:35 enhanced widescreen (Totalscope) / 103 min. / La rivolta degli schiavi / Street Date February 16, 2016 / available through Screen Archives Entertainment / 19.98 Starring Rhonda Fleming, Lang Jeffries, Darío Moreno, Ettore Manni, Wandisa Guida, Gino Cervi, Fernando Rey, Serge Gainsbourg, José Nieto, Benno Hoffmann, Rainer Penkert, Antonio Casas, Vanoye Aikens, Dolores Francine, Burt Nelson, Julio Peña . Cinematography Cecilio Paniagua Film Editor Eraldo Da Roma Original Music Angelo Francesco Lavagnino Written by Stefano Strucchi, Duccio Tessari, Daniel Mainwearing from the novel 'Fabiola' by Nicholas Patrick Wiseman Produced by Paolo Moffa Directed by Nunzio Malasomma

Reviewed by Glenn Erickson

Make all
See full article at Trailers from Hell »

Rotterdam 2016. Acting Out

  • MUBI
The major retrospective of the 2016 International Film Festival Rotterdam is dedicated to the Barcelona school of filmmaking in the 1960s and 1970s, with Catalonian master Pere Portabella’s body of work—and his new film—serving as a figurehead. Nearly completely unknown in the United States—where critic Jonathan Rosenbaum has been a beacon of support and revelation—insomuch as Portabella is known in the film community it is for his film Vampir-Cuadecuc, which hijacks the production of Christopher Lee and Jesús Franco’s Count Dracula (1970) for its own ends and exhilaratingly exposes this documentarian’s acute analysis of and play with the subject of his films. (I will note here that Mubi has shown a great deal of Portabella’s work in the past, including this 1970 horror film.) This is hardly a lone accomplishment; in 1961 he helped produce Luis Buñuel's masterpiece Viridiana, and the director has been a strident voice in documentary,
See full article at MUBI »

One Record to Go Unbroken: Star Wars VII *not* to become top grossing movie worldwide?

'Star Wars: The Force Awakens': Darth Vader (?) wants to be no. 1. 'Star Wars: The Force Awakens' not to become top-grossing movie of all time on worldwide box office chart? J.J. Abrams' futuristic adventure movie Star Wars: The Force Awakens was the most awaited film release since … let's see … Marlon Brando and Maria Schneider made out in Bernardo Bertolucci's Last Tango in Paris back in the early '70s, destroying marriages, families, and whole nations. Or perhaps, since Luis Buñuel's Viridiana created a furor at the Cannes Film Festival back in 1961, leaving audiences the world over desperate for a look at the movie condemned by both the Spanish military and the Catholic Church for demonstrating that (at least a certain kind of) charity is a stupidity, not a virtue. Or maybe we still have to go further back in time to… Never mind, the
See full article at Alt Film Guide »

Win L’Eclisse On Blu Ray

Studiocanal

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
See full article at Obsessed with Film »

What Would Walt Disney Say? Banksy Comes Up with the Theme Park to End All Theme Parks

Dismaland Castle and Big Little Mermaid suffering from split-personality disorder. Dismaland: Banksy and more than 50 other artists create bemusement theme park Who gives a damn about the cheap thrills to be offered by the Star Wars-themed expansion of Disneyland when you can relish the thought-provoking wonders of Dismaland? The artist Banksy, whose 2010 documentary feature Exit Through the Gift Shop was nominated for an Academy Award, has come up with his latest revolutionary artwork: a theme park for the bemusement of the whole family! Or perhaps not quite the whole family. Banksy calls his 2.5-acre art show a “family theme park unsuitable for small children.” Another Dismaland plus. Its construction shrouded in secrecy, Dismaland opened today, Aug. 20, '15, on the sea front at Weston-super-Mare, in Somerset, southwest England. While the theme park was being built, locals believed that the work going on at the derelict Tropicana “lido” – shut down in
See full article at Alt Film Guide »

7 Reasons Why Roy Andersson's Latest Film is a Must-See Philosophical Wonder

Constructed of gorgeously understated vignettes, which guide us through the grandeur of life by methodically focusing on the smallest but most resonant instants of it, "A Pigeon Sat on a Branch Reflecting on Existence" by Swedish writer/director Roy Andersson won the Golden Lion at last’s year’s Venice Film Festival. Delving into a wide range of quotidian dilemmas via darkly comedic exploits, this episodic tour de force is as insightful as it’s blissfully entertaining and distinctively stylized.

It took 7 years for Andersson to craft this conclusion to his revered trilogy. Now that it’s finally opening on American screens, here are 7 compelling reasons why no serious cinephile should miss its theatrical run.

1. The Endearing Novelty Salesmen

Among the innumerable characters encountered while navigating Andersson’s latest examination of the human condition, two middle-aged friends who are down on their luck are the most memorable. Sam and Jonathan are traveling novelty salesmen whose purpose, as they often reiterate, is to “help people have fun.” They appear recurrently throughout the film as they try to entice costumers to buy items that are mostly suited for a uniquely dark sense of humor. Though they fail repeatedly and struggle to get paid, the straight-faced businessmen seem to truly believe in their mission to bring laughter to others - through their casual misfortunes they achieve their objective. This unusual pair is strangely endearing and superbly embodied by Holger Andersson, as the overly sensitive Jonathan, and Nils Westblom who plays Sam, the head of the flawed operation.

2. Precise Cinematography & Delicate Production Design

Like with the two previous films in this unconventional trilogy, Andersson is in absolute control of the frame in each one of the static tableaux that compose “A Pigeon.” Meticulously arranging every element to maximize the storytelling power and layered complexity of every scenario, the director distinctively utilizes the foreground, middleground, and background with painter-like precision. Besides adding visual depth, this technique keeps each tableau dynamic and allows for more than one storyline to develop at once. Similarly, the color palette employed in this installment is strikingly homogenous, which gives the film a timeless and classic atmosphere. Opaque browns, yellows and grays permeate the world from the walls to the last costume in a noticeably conscious and impeccable manner. In order to have that level of artistic control, Andersson constructed each set and fabricated every component of the production design to match his peculiar vision. Cinematographers István Borbás & Gergely Pálos were his allies in this task.

3. Absurdist Comedic Genius

Life’s pettiness and it’s ironic unpredictably are transformed into prime material for the absurdist humor in Andersson’s work. A king who will ruthlessly fight empires waits patiently to use an occupied bathroom, a man’s death results in a free beer for another, a lab worker has a meaningless phone conversation about the weather while a helpless monkey is electrocuted, and extra-long plastic vampire fangs are a bestselling product in this subtly ludicrous universe. Delivered in hilariously deadpan fashion the offbeat occurrences tend to be darkly amusing but also very insightful about how ridiculous human existence can be occasionally. With an abundance of laughs, “A Pigeon” is the most sophisticated comedy of the year and an intellectual delight filled with clever gags. Dwelling on our misfortunes has rarely been this comical.

4. Exquisite Score and Music Selection

Whether it’s the cheerful and lively instrumental score by Hani Jazzar and Gorm Sundberg that adorns the film with an ethereal atmosphere; classic rock tunes like "Lilla vackra Anna" by Norwegian singer Alf Prøysen and "Shimmy Doll" by Ashley Beaumont, which curiously enough was also used in the final scene of Luis Buñuel’s "Viridiana;" or the diagetic songs elicited from several characters, extraordinary music is another exquisite attribute of this intricate creation. One remarkable musical number arises when a flashback to 1943 turns into a joyous bar sing-along in which young WWII soldiers and Limping Lotta (Charlotta Larsson), the flirtatious owner, exchange kisses for shots. The melodious chant to the tune of "Glory, Glory, Hallelujah" is so genuinely charming that its custom lyrics will ring in your head long after that scene is over and whether you speak a any Swedish or not.

5. Profound Observations on the Human Condition and History

Candid and irreverent, Andersson’s philosophical contemplations come from mundane situations and daily tragedies. What’s usually humdrum becomes unexpectedly profound under the director’s watch. We learn that sometimes our physiology conflicts with our desires when a ship’s captain is forced to become a barber because he suffers from seasickness, that those who work to bring us joy - like the novelty salesmen - are often the saddest ones at heart, or that we rely on phrases like, “I’m happy to hear you are doing fine,” as a way to relate to others even if these are often just empty expressions. There are countless moments like these in “A Pigeon,” and in all of Andersson’s works for that matter, that capture glimpses of pure humanity. Although we often erroneously dismiss them as meaningless, they are definitely the fibers of existence: two little girls popping soap bubbles, a man and his lover having a post-coiatal cigarette, or an elderly man having a drink at the same bar he’s visited for over 60 years. As a poignant bonus, the filmmaker includes a nightmarish sequence condemning the horrendous effects of European colonialism - and it's visually bold in its depiction.

6. A Marvelous Ensemble Cast

A myriad of actors inhabit the elegantly pale episodes to assemble a marvelous ensemble cast. From Viktor Gyllenberg playing a heartbroken King Karl VII whose battles are both romantic and territorial, Lotti Törnros as a flamenco teacher infatuated with a young dancer (Oscar Salomonsson), or Jonas Gerholm as a lonely lieutenant who seems to always miss his engagements by unlucky chance. Others in even smaller parts like those who briefly talk on the phone, commuters waiting for the bus, hopeless bar patrons, imperial soldiers, and Jonathan and Sam’s unwilling clients, contribute to the glorious brilliance of this one-of-a-kind masterpiece. They are Andersson’s most resourceful and nuance tools to complement his artfully designed settings. It's not surprising that many of them have work with the Swedish auteur in multiple projects.

7. Brings a Masterful Trilogy to a Close and Leaves You Wanting More

Seven years after “Songs from the Second Floor” started this trilogy about what it means to be a human being, “ You, the Living” continued analyzing our greatest triumphs and most harrowing defeats. With “A Pigeon Sat on a Branch Reflecting on Existence” Andersson completes one of the most astonishingly original set of films in modern cinema and cements himself as the most acclaimed Swedish filmmaker of our time. If you’ve seen any of his earlier works it won’t take much convincing for you to surrender to this must-see philosophical wonder. On the contrary, if this is your late introduction to his brainy cinematic magic, you’ll want to go back and binge on his genius before you join the rest of us in praying that it doesn’t take seven years to see another of Roy Andersson’s thoughtfully uproarious masterpieces.

"A Pigeon Sat on a Branch Reflecting on Existence" opens Friday July 17 in La at The Cinefamily and in other cities across the country
See full article at Sydney's Buzz »

Five Unmissable Buñuel Classics Tonight on TCM

Luis Buñuel movies on TCM tonight (photo: Catherine Deneuve in 'Belle de Jour') The city of Paris and iconoclastic writer-director Luis Buñuel are Turner Classic Movies' themes today and later this evening. TCM's focus on Luis Buñuel is particularly welcome, as he remains one of the most daring and most challenging filmmakers since the invention of film. Luis Buñuel is so remarkable, in fact, that you won't find any Hollywood hipster paying homage to him in his/her movies. Nor will you hear his name mentioned at the Academy Awards – no matter the Academy in question. And rest assured that most film critics working today have never even heard of him, let alone seen any of his movies. So, nowadays Luis Buñuel is un-hip, un-cool, and unfashionable. He's also unquestionably brilliant. These days everyone is worried about freedom of expression. The clash of civilizations. The West vs. The Other.
See full article at Alt Film Guide »

Ruben Ostlund Talks About His New Film, ‘The Square’ (Exclusive)

Ruben Ostlund Talks About His New Film, ‘The Square’ (Exclusive)
Goteborg Merely 40 years old, Swedish director Ruben Ostlund has already been honored with a touring retrospective in the U.S., taking place January to April and taking in 15 American cities, from New York’s Lincoln Center to the Cinefamily in Los Angeles.

“In Case of No Emergency: The Films of Ruben Ostlund” includes short films and all of Ostlund’s prior features, from his first feature, 2004’s “The Guitar Mongoloid,” 2008’s Cannes debut “Involuntary” (2008), and 2011’s “Play,” which won the Cannes Coup de Coeur award. His most recent feature, “Force Majeure” took the Grand Jury Prize at Cannes’ Un Certain Regard in 2014.

Comeback Company produces the retrospective in partnership with the Swedish Film Institute and Plattform Produktion. Milos Forman received a similar retrospective with same organizer, Ostlund said in when an exclusive interview with the director back in Goteborg, his hometown.

After attending four of the American retrospective venues – and
See full article at Variety - Film News »

The Past, Present, and Future of Real-Time Films Part Two

  • SoundOnSight
Sidney And The Sixties: Real-time 1957-1966

Throughout the 1950s, Hollywood’s relationship with television was fraught: TV was a hated rival but also a source of cheap talent and material, as in the case of the small-scale Marty (1955), which won the Best Picture Oscar. These contradictions were well represented by the apparently “televisual” 12 Angry Men (1957), which began life as a teleplay concerning a jury with a lone holdout who must, and eventually does, convince his fellow jurors of the defendant’s innocence. Its writer, Reginald Rose, persuaded one of Hollywood’s biggest stars, Henry Fonda, to become a first-time producer of the film version. Fonda and Rose took basement-low salaries in favor of future points, and hired a TV director, Sidney Lumet, for next to nothing because Lumet wanted a first feature credit. Technically, there’s an opening bit on the courtroom steps that keeps this from being a true real-time film,
See full article at SoundOnSight »

A Look Back at the Cannes Palme D’or Winners from the 60s: ‘The Long Absence’

The Long Absence (Une aussi longue absence)

Directed by Henri Colpi

Written by Marguerite Duras and Gerald Jarlot

France, 1961

The 1960s were an important and innovative time in French film history. Although France has always been the front-runner for the daring, the urbane and the inventive when it comes to cinema (amongst other things), it was during this revolutionary decade in particular that French filmmakers began to personalise their work in ways that changed the filmic landscape permanently. There are many praiseworthy and well-known examples that can be given to further emphasize this statement, such as Jean-Luc Godard’s Le mépris (1963) or Jacques Demy’s Les parapluies de Cherbourg (1964), however, there are also some lesser known films that help to further accentuate what was going on in France post World War II. It is with these less familiar films that perhaps audiences are able to better comprehend the everyday struggles
See full article at SoundOnSight »
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