1-20 of 37 items from 2017 « Prev | Next »
“School of Babel” director Julie Bertuccelli has begun production on her next film, “Claire Darling.” According to Variety, Catherine Deneuve and her daughter Chiara Mastroianni have signed on to star in the fantasy drama. Memento Films is pre-selling the film at the Cannes Market.
“Set over 24 hours, ‘Claire Darling’ turns on a woman (Deneuve) who, convinced after hearing voices that it’s her last day on Earth, decides to have a garage sale to get rid of all the objects she has collected,” Variety summarizes. “Each object stirs vivid memories that take her back in time.” The project is a personal one for Bertuccelli; she is even filming at her grandmother’s suburban home in northern France.
Bertuccelli and Sophie Fillieres (“If You Don’t I Will”) adapted “Claire Darling” from Lynda Rutledge’s book “Faith Bass Darling’s Last Garage Sale.” Les Films du Poisson is producing. The film has already been pre-bought by France 2 Cinema, Canal Plus, and Cine Plus, and Pyramide is planning an autumn release in France. Memento is presumably pre-selling the film’s international rights.
Memento’s Matthieu Delaunay describes “Claire Darling” as “emotional, subtle, and elegant.” He also mentioned that the film is part of Memento’s slate of women-centric fare such as the Catherine Frot-toplined “Marguerite” and “The Midwife,” an upcoming dramedy starring Deneuve and Frot.
“Be yourself, and don’t be afraid when you doubt or are not sure of yourself, even in front of men,” Bertuccelli advised female filmmakers in an interview with Women and Hollywood. “It’s also our strength to be instinctive, sometimes fragile, and not pretentious.” The director previously helmed the immigration doc “School of Babel” and “The Tree,” a drama about a young girl grieving her father.
Deneuve has been acting on-screen for over half a century. Her credits include “The Umbrellas of Cherbourg,” “Indochine,” and “8 Women.” The Oscar-nominated actress has received a Berlin Silver Bear for outstanding artistic achievement, an honorary Palme d’Or at Cannes, and the Lumière Award at the 2016 Lumière Grand Lyon Film Festival. One of Deneuve’s more recent films, Emmanuelle Bercot’s “Standing Tall,” opened Cannes 2015.
Cannes Update: Catherine Deneuve to Star in Julie Bertuccelli’s “Claire Darling” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »
- Rachel Montpelier
Every week, IndieWire asks a select handful of film and TV critics two questions and publishes the results on Monday. (The answer to the second, “What is the best film in theaters right now?”, can be found at the end of this post.)
This week’s question: In honor of the Cannes Film Festival, the 70th edition of which starts this week, what is the best film to ever win the coveted Palme d’Or?
For a complete list of Palme d’Or winners, click here.
Erin Whitney (@Cinemabite), ScreenCrush
This question is impossible because I clearly haven’t seen all 40 Palme d’Or winners (it’s on my to do list, I swear). But I could easily say “Apocalypse Now,” “Paris, Texas,” “Taxi Driver,” “Amour,” or even “Pulp Fiction.” But since this is a personal question, I have to say “The Tree of Life.” No film has moved me »
- David Ehrlich
MK2 Films, one of France’s leading production, international sales and exhibition companies, has acquired worldwide rights to the library of films helmed by French New Wave icons Agnès Varda and Jacques Demy.
The deal, signed with the company founded by the Varda-Demy family, covers France and international, except for DVD and French theatrical distribution of Varda’s and Demy’s movies.
The library includes the pair’s features, shorts and documentaries, most of which have been restored and digitized. Varda’s most critically acclaimed films include “The Beaches of Agnes,” “Les glaneurs et la glaneuse” and “Cléo de 5 à 7.” Some of Demy’s best-known films are “Les Parapluies de Cherbourg,” which won Cannes’s Palme d’Or in 1964 and launched the acting career of Catherine Deneuve, and “Les Demoiselles de Rochefort.”
Varda, who is still a prolific filmmaker, is presenting her latest documentary, “Visages Villages,” which she co-directed with French artist Jr, »
- Elsa Keslassy
Mark, Aaron, David and Trevor return for part two of our exploration of the under-appreciated French director, Julien Duvivier. The first episode, Eclipse Viewer 54, looked at the first two films in his Eclipse set. This episode looks at the peak of his career, particularly La Belle Equipe, Pépé le Moko, and La Fin du Jour, along with an overview of his career and the availability (or lack) of his work in the states.
Episode Links & Notes Eclipse Viewer 54: Julien Duvivier in the 1930s Part 1 Criterion Close-Up 50: French Series Part 1 Criterion Close-Up 57: French Series part 2 Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd David Blakeslee: Twitter | Website Trevor Berrett: Twitter | Website Criterion Close-Up: Facebook | Twitter | Email
Next time on the podcast: The Umbrellas of Cherbourg
- Aaron West
As far as viral video #content goes, the Criterion Collection have got it nailed down with their Criterion Closet series. A sort of cinephile version of Supermarket Sweep, it’s seen all kinds of world-class filmmakers come to the headquarters of the great video label, and get to take with them whatever they can carry from their back catalog, while talking about some of their favorite filmmakers.
The latest to get in there, following the likes of Barry Jenkins, Mike Leigh and Edgar Wright, is Ben Wheatley, who dropped by Criterion HQ on the press tour for his recent, highly enjoyable “Free Fire.” The “Kill List” helmer is, as most visiting filmmakers seem to be, visibly thrilled and like a kid in a candy store, and picks out a fine selection of movies, including “The Seven Samurai, »
- Oliver Lyttelton
Popularity is no measure of quality. “Transformers” makes billions of dollars, people continue to watch “The Walking Dead” and the Honest Trailers phenomenon remains one of the most popular in the movie internet. Now years in the making and with six million subscribers on YouTube, their sarcastic takedowns of popular blockbusters go from strength to strength, leaving us, as skeptics to the whole thing, somewhat baffled.
We can sort of see the appeal, and the Screen Junkies crew occasionally have some good jokes in there, but too often they go the lazy, obvious route.
Continue reading Watch Lots Of Jokes About Jazz In The Honest Trailer For ‘La La Land’ at The Playlist. »
- Oliver Lyttelton
A forgotten oddity from the early 1970s is Jacques Demy’s English language mounting of The Pied Piper, a rather bleak but mostly unequivocal version of the famed Grimm Bros. fairy tale about a titular piper who infamously lured the children of Hamelin to their assumed deaths after being rebuffed by the townsfolk when he similarly rid the town of plague carrying rats.
Set in the 1300s of northern Germany, this UK production blends bits of Robert Browning’s famed poem of the legend into the film, but the end result is unusually straightforward and unfussy, considering Demy’s predilection for inventive, colorful musicals, such as the classic confections The Umbrellas of Cherbourg and The Young Girls of Rochefort. The stunt casting of Donovan as the piper generates a certain amount of interest, although he’s whittled down to a supporting character amongst a cast of master character actors like Donald Pleasence, John Hurt, Peter Vaughan, and child star Jack Wild.
Notably, The Pied Piper is one of the few Demy films not to be built around a strong, beautiful female lead, which may also explain why there’s no center point in the film. Cathryn Harrison (daughter of Rex, who starred in Louis Malle’s Black Moon) and a gone-to-seed Diana Dors (though not featured as memorably as her swarthy turn in Skolimowski’s Deep End) are the tiny flecks of feminine representation. It was also not Demy’s first English language production, as he’d made a sequel to his New Wave entry Lola (1961) with 1969’s Los Angeles set Model Shop. So what compelled him to make this departure, which premiered in-between two of his most whimsical Catherine Deneuve titles (Donkey Skin; A Slightly Pregnant Man) is perhaps the film’s greatest mystery.
Cultural familiarity with the material tends to work against our expectations. At best, Donovan is a mere supporting accent, popping up to supply mellow, anachronistic music at odd moments before the dramatic catalyst involving his ability to conjure rats with music arrives. Prior to his demeaning, Demy’s focus is mostly on the omnipotent and aggressive power of the corrupting church (Peter Vaughan’s Bishop) and Donald Pleasence’s greedy town leader, whose son (a sniveling John Hurt) is more intent on starting wars and making counterfeit gold to pay his gullible minions than stopping the encroaching plague. Taking the brunt of their violence is the Jewish alchemist, Melius (Michael Hordern), who is wise enough to know the rats have something to do with the spread of the disease. Demy uses his tragic demise to juxtapose the piper’s designs on the children.
While Hurt and Pleasance are entertaining as a toxic father and son, Demy seems estranged from anyone resembling a protagonist. Donovan is instantly forgettable, and the H.R. Pufnstuf and Oliver! child star Jack Wild gets upstaged by a wild mop of hair and a pronounced limp (which explains why he isn’t entranced along with the other children), and the film plays as if Donovan’s role might have been edited down in post. The script was the debut of screenwriters Andrew Birkin (Perfume: The Story of a Murderer, 2006) and Mark Peploe (The Passenger, 1975; The Last Emperor, 1987) who would both go on to write a number of offbeat auteur entries.
Kino Lorber releases this obscurity as part of their Studio Classics label, presented in 1.66:1. Picture and sound quality are serviceable, however, the title would have greatly benefitted from a restoration. Dp Peter Suschitzky’s frames rightly capture the period, including some awesomely creepy frescoes housing Pleasence and son, but the color sometimes seems faded or stripped from some sequences. Kino doesn’t include any extra features.
More of a curio piece for fans of Demy, The Pied Piper mostly seems a missed opportunity of the creepy legend.
Film Review: ★★½/☆☆☆☆☆
Disc Review: ★★★/☆☆☆☆☆
The post The Pied Piper | Blu-ray Review appeared first on Ioncinema.com. »
- Nicholas Bell
Perhaps motivated by the success of La La Land, Criterion has reissued two impressive Jacques Demy musicals as separate releases. This all-singing, all-dancing homage to candy-colored vintage Hollywood musicals is a captivating Franco-American hybrid that allows free rein to Demy’s marvelously positive romantic philosophy.
The Criterion Collection 717
1967 / Color / 2:35 widescreen / 125 min. / Les Demoiselles de Rochefort / available through The Criterion Collection / Street Date April 11, 2017 / 39.95
Cinematography: Ghislain Cloquet
Production Designer: Bernard Evein
Film Editor: Jean Hamon
Original Music: Michel Legrand
Written and Directed by Jacques Demy
- Glenn Erickson
If you kept up with reviews during “La La Land”’s theatrical run at the tail end of 2016, you probably ran into at least a few mentions of “The Umbrellas Of Cherbourg,” Jacques Demy‘s colorful 1964 romantic musical masterpiece. If you also keep up with The Criterion Collection, you know that “The Umbrellas of Cherbourg” just hit home video via a pristine Criterion Blu-ray release this month.
- Andrew Crump
Jacques Demy’s international breakthrough musical gives us Catherine Deneuve and wall-to-wall Michel Legrand pop-jazz — it’s a different animal than La La Land but they’re being compared anyway. The story of a romance without a happily-ever-after is doggedly naturalistic, despite visuals as bright and buoyant as an old MGM show.
The Criterion Collection 716
1964 / Color / 1:85 widescreen / 92 min. / available through The Criterion Collection / Les parapluies de Cherbourg / Street Date April 11, 2017 / 39.95
Cinematography: Jean Rabier
Production design:Bernard Evein
Original Music: Michel Legrand
Produced by Mag Bodard
Written and Directed by Jacques Demy
What with all the hubbub about last year’s Oscar favorite La La Land, I wonder if Hollywood will be trotting out more retro-nostalgia, ‘let’s put on a show’ musical fantasy fare. »
- Glenn Erickson
This Week in Home Video‘Toni Erdmann’ Suggests It’s Time to Get Naked With Your Co-WorkersPlus 17 more new releases to watch at home this week on Blu-ray/DVD.
Welcome to this week in home video! Click the title to buy a Blu-ray/DVD from Amazon and help support Fsr in the process!
Pick of the WeekToni Erdmann
What is it? A professional woman and her oddball father dance around their complicated relationship, both in and out of costumes.
Why buy it? Family dysfunction is a longtime staple in cinema, but no film this year captured it with such humor, warmth, and wisdom as Maren Ade’s third feature. Even at 162 minutes our time with Ines and her oddball father feels far too short as their journey of discovery becomes one we don’t want to see end. There’s an honesty here — yes, even with subtitles — about the way we see ourselves through our loved ones »
- Rob Hunter
Every week we dive into the cream of the crop when it comes to home releases, including Blu-ray and DVDs, as well as recommended deals of the week. Check out our rundown below and return every Tuesday for the best (or most interesting) films one can take home. Note that if you’re looking to support the site, every purchase you make through the links below helps us and is greatly appreciated.
At the dawn of the 20th century, a multi-generational family in the Gullah community on the Sea Islands off of South Carolina – former West African slaves who adopted many of their ancestors’ Yoruba traditions – struggle to maintain their cultural heritage and folklore while contemplating a migration to the mainland, even further from their roots. Cohen Media Group is proud to present the 25th anniversary restoration of director Julie Dash’s landmark film Daughters of the Dust. »
- The Film Stage
When it comes to movies about the Belgian cartoonist Peyo’s diminutive, liberty-cap-wearing, blue-skinned Schtroumpfs (or Smurfs, as well call them), being “good enough” means exceeding all expectations. Their first, Peyo-directed cinematic outing, released in this country as The Smurfs And The Magic Flute, is notable only for a song score that The Umbrellas Of Cherbourg’s Michel Legrand seemed to have composed in the midst of a mental breakdown; the decades-later attempts to turn the mushroom-dwelling humanoids into a Hollywood live-action franchise, in The Smurfs and The Smurfs 2, are simply dire. But now comes Smurfs: The Lost Village, an inoffensive children’s film with an above-average voice cast, competent animation, and no product placement. This is enough to make it the finest film ever made about the Smurfs.
- Ignatiy Vishnevetsky
Taking a look at the French director’s fascinating filmography.
One of the biggest films of 2016, La La Land, owes a thing or two to French director Jacques Demy. The bright, colorful musical visually mirrors Demy’s The Umbrellas of Cherbourg (1964) and The Young Girls of Rochefort (1967), and director Damien Chazelle was able to capture something of the melancholic sweetness of Demy’s musicals. Demy is not one of the most famous French directors, however his films have a specific charm and intelligence that no other filmmaker could match. The way he blended Hollywood style with French culture was unlike any other filmmaker at the time.
Demy began his career in 1960s France, during the time of the “Nouvelle Vague” or French New Wave. This was the time of films such as Breathless, Jules and Jim, The 400 Blows, and Le Beau Serge. However, Demy lies a little bit outside of this group of filmmakers, and »
- Angela Morrison
The Ninth Annual Robert Classic French Film Festival — co-presented by Cinema St. Louis and the Webster University Film Series started last Friday and continues the next two weekends — The Classic French Film Festival celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1920s through the mid-1990s, offering a revealing overview of French cinema.
All films are screened at Webster University’s Moore Auditorium (470 East Lockwood).
The fest is annually highlighted by significant restorations, which this year includes films by two New Wave masters: Jacques Rivette’s first feature, “Paris Belongs to Us,” and François Truffaut’s cinephilic love letter, “Day for Night.” The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way, with both Alain Resnais’ “Last Year at Marienbad” and Robert Bresson’s “Au hasard Balthazar” screening from 35mm prints. »
- Tom Stockman
One of the year’s most affecting, humanistic films, Hirokazu Kore-eda‘s After the Storm, will arrive in the U.S. this week (our rave review from Cannes), so for the occasion, we’re looking at the director’s favorite films. Submitted by the Japanese director for the latest Sight & Sound poll, it’s perhaps the most varied list we’ve seen thus far — at least next to Mia Hansen-Løve‘s favorites.
Although the filmmaker is often compared to Yasujiro Ozu (none of his films are mentioned below), Hirokazu Kore-eda told The Guardian, “I of course take it as a compliment. I try to say thank you. But I think that my work is more like Mikio Naruse — and Ken Loach.” One will find his favorites from both of those directors on the list, as well as Jacques Demy‘s most-praised film, along with lesser-seen works from Hou Hsiao-hsien, »
- Jordan Raup
Anyone who isn’t poised to win the Oscar for Best Director is certainly entitled to hate Damien Chazelle, and there’s not an openly fascistic executive order in the world that can stop them. But, as of late, the infuriatingly accomplished “La La Land” mastermind has been making it very difficult to do so. As if it weren’t frustrating enough that his sensational, stimulating new film is a quantum leap forward from the comparatively airless “Whiplash,” Chazelle further endeared himself to many by giving the rare awards show acceptance speech that actually engendered a deeper appreciation for the honoree’s work.
Accepting the Best Picture prize from the New York Film Critics Circle, the mustached wunderkind pandered to the audience with the same crowd-pleasing cinephilia that’s been squeezed into every frame of his box office phenomenon. Instantly grabbing the room’s attention, his remarks began by name-checking legendary American filmmaker Frank Borzage, »
- David Ehrlich
From its opening, traffic-stopping number to its romantic ending, La La Land is a love letter to the city of Los Angeles — as well as to the classic movie musicals of the ’40s and ’50s.
In his six-year quest to get the film — which earned a record-tying 14 Academy Award nominations — made, director Damien Chazelle called upon those original MGM song and dance numbers for inspiration.
- Julia Emmanuele
French actresses Catherine Deneuve and Catherine Frot discussed their first-ever meeting on the big screen at the Berlin Film Festival on Tuesday following screening of their out of competition entry “The Midwife,” by writer-director Martin Provost.
The film focuses on Claire (Frot), a middle-aged midwife who after many years is reacquainted with Béatrice (Deneuve), the one-time mistress of her late father, who is seeking her help.
“We didn’t know each other very well,” Deneuve said at a press conference. “We had never had the chance to meet each other before.” The actress said it was actually better for the film that they had never met before because there was no sense of intimacy between the two women. “It works well for the film.”
Comparing herself to her character, a loud, colorful and egocentric glamourpuss with an extremely free-spirited approach to life, Deneuve said she was nothing like Béatrice, though she really liked the part. »
- Ed Meza
Directors influence each other with their work. Sometimes that influence is overt — “La La Land” clearly evokes “Singin’ in the Rain” and “Umbrellas of Cherbourg” — but other times it is more unexpected, hinging on storytelling choices or structure.
Variety asked this year’s directing nominees to help us trace the DNA of their movies, and all were happy to oblige.
In Villeneuve’s alien-invasion tale, humans eventually discover that the aliens “want to help you help us.”
“2001: A Space Odyssey” 1968: “Definitely ‘2001’,” Villeneuve says, of Stanley Kubrick’s sci-fi classic in which Earthlings, searching for signs of intelligent life, are nearly outwitted by artificial intelligence.
“The Day the Earth Stood Still” 1951: Aliens caution »
- Marshall Fine
1-20 of 37 items from 2017 « 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