Éric Rohmer - News Poster


‘Non-Fiction’ Film Review: Olivier Assayas Comically Mourns the Death of Literature

  • The Wrap
‘Non-Fiction’ Film Review: Olivier Assayas Comically Mourns the Death of Literature
It’s difficult to ask hard questions about change and technology and progress — particularly to consider whether “progress” is actually progress or not — without sounding like a cranky old man, but writer-director Olivier Assayas has now done it twice. 2008’s “Summer Hours” contemplated a world in which new generations seemed uninterested in preserving art history and cultural treasures of the past, and now a decade later, with “Non-Fiction,” he asks similarly pointed questions about the future of books and literature in the internet age.

That he does so with a minimum of breast-beating and a surfeit of sparkling wit no doubt helps the message go down, particularly since it’s clear that he’s not offering answers but instead merely asking the questions.

The film introduces us to a group of friends, lovers and colleagues, all of whom engage in spirited conversations about the state of writing, acting and politics,
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Foreplays #10: João César Monteiro's "Passeio com Johnny Guitar"

  • MUBI
Passeio com Johnny Guitar (“A Walk with Johnny Guitar”) conjures up a chapter in João César Monteiro’s own histoire(s) du cinéma. Occurring at that insomniac, delirious hour at which night gives way to day, this short film manages to travel a great distance in only three and a half minutes. Tracing the relations between sound and image, body and memory, gesture and affect, Monteiro unfolds a vast cinephiliac constellation that gravitates around one scene of Nicholas Ray’s Johnny Guitar (1954). *** A lanky old man, preceded by his cough, walks home alone. He smokes a cigarette and advances through a typical cobblestoned Lisboan street, biding good night to another solitary smoker. Installed in his head, the soundtrack of the most famous scene of Johnny Guitar—the re-encounter between Vienna (Joan Crawford) and Johnny (Sterling Hayden)—starts playing out. Viewers familiar with Monteiro’s œuvre know that this slightly hunched man,
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‘Call Me by Your Name’: Editing Was Crucial to the Year’s Best Love Story

  • Indiewire
‘Call Me by Your Name’: Editing Was Crucial to the Year’s Best Love Story
With an affectionate nod to Bernardo Bertolucci and Eric Rohmer, Luca Guadagnino has made the year’s best love story: “Call Me By Your Name.” The same sex romance starring Nyfcc Best Actor winner Timothée Chalamet (a breakout revelation) and Armie Hammer (who’s seductively feline) leads to something far more sublime than summer love. And it’s a movie in which desire and liberation blossom in the inviting and beautiful landscape of Northern Italy.

For Walter Fasano (Guadagnino’s go-to editor for 21 years), this dance of desire between 17-year-old Elio (Chalamet) and 24-year-old Oliver (Hammer) provided both an inner and outer poetry. “Our main intention was to let characters and the landscape breathe and not overwhelm with the editing,” he said. “At the same time, we wanted to have a control of the style and music editing for the ins and outs of shots because we did not want
See full article at Indiewire »

Hong Sang-soo’s 10 Favorite Films

With his nimble means of production resulting in some of the most formally profound, emotionally introspective films of this century thus far, South Korea’s ever-prolific Hong Sang-soo has carved out an impressive following here in the United States. Despite much of his earlier work not being distributed here, in recent years that has changed with Right Now, Wrong Then getting a release and now his deeply personal drama On the Beach at Night Alone will arrive this week, courtesy of Cinema Guild, who will also distribute his two other 2017 films — Claire’s Camera and The Day After — next year.

To celebrate the release, we’ve dug up his poll from the most recent BFI/Sight & Sound poll on the best films of all-time. Hong’s 10 picks range from classics such as L’Atalante, The Green Ray, A Man Escaped, and Ordet to lesser-known works from Jean Renoir and Luis Buñuel.
See full article at The Film Stage »

‘Lady Bird’ Cinematographer Sam Levy on Greta Gerwig, Frank Ocean, and Éric Rohmer

After working under Harris Savides for many years, in the past decade, Sam Levy has emerged to bring a distinct visual style to the face of American independent film. With his collaborations with Kelly Reichardt (Wendy and Lucy), Noah Baumbach (Frances Ha, While We’re Young, Mistress America), and more, there’s a energetic dexterity and understated beauty to his images that is among the finest of his contemporaries.

His latest work finds him re-teaming with frequent collaborator Greta Gerwig, but this time for her directorial debut, Lady Bird. I spoke with Levy about his part in capturing a film of enormous amiability and vitality, as well as his early days studying under Éric Rohmer, working with Spike Jonze on a secretive Frank Ocean project, and his favorite film of the last year.

The Film Stage: You’ve worked with Greta Gerwig on a handful of films. How early on
See full article at The Film Stage »

The Piano Teacher

The Piano Teacher



2001 / 1:85 / Street Date September 26, 2017

Starring Isabelle Huppert, Benoît Magimel, Annie Girardot

Cinematography: Christian Berger

Film Editor: Monika Willi, Nadine Muse

Produced by Veit Heiduschka

Music: Martin Achenbach

Directed by Michael Haneke

Her serene face a fragile mask just waiting to crack along with her sanity, the tortured spinster at the center of The Piano Teacher is a Blanche Dubois for the S&M set.

Her name is Erika Kohut, a brilliant but merciless tutor entrenched in a swank Viennese conservatory where she brings a surgical precision to her teaching (while leaving the anesthesia at home). She’s a harsh mistress, no doubt, but she’s merely assumed the mantle of her mother, a clinging horrorshow who monitors her middle-aged daughter’s every move while provoking nightly brawls that begin in the living room and end in the bedroom; a sick parody of a bad marriage.
See full article at Trailers from Hell »

The Jacques Rivette Collection on Blu-ray From Arrow Video May 23rd

Although François Truffaut has written that the New Wave began “thanks to Jacquette Rivette,” the films of this masterful French director are not well known. Rivette, like his “Cahiers du Cinéma” colleagues Truffaut, Jean-Luc Godard, Claude Chabrol and Éric Rohmer, did graduate to filmmaking but, like Rohmer, was something of a late bloomer as a director.

In 1969, he directed the 4-hour L’amour fou (1969), the now legendary 13-hour Out 1 (1971) (made for French TV in 1970 but never broadcast; edited to a 4-hour feature and retitled Out 1: Spectre (1972)), and the 3-hour Celine and Julie Go Boating (1974), his most entertaining and widely seen picture. In these three films, Rivette began to construct what has come to be called his “House of Fiction”–an enigmatic filmmaking style involving improvisation, ellipsis and considerable narrative experimentation.

Celine and Julie Go Boating

In 1975, Jacques Rivette reunited with Out 1 producer Stéphane Tchal Gadjieff with the idea of a four-film cycle.
See full article at WeAreMovieGeeks.com »

All About My Director: Close-Up on Xavier Dolan's "Laurence Anyways"

  • MUBI
Close-Up is a column that spotlights films now playing on Mubi. Xavier Dolan's Laurence Anyways (2012) is showing March 18 - April 17, 2017 in the United States.In a 2012 interview, the great French actor Melvil Poupaud said of his meeting with Canadian wonderboy director Xavier Dolan in Laurence Anyways that it had been one of the great moments in his career. Poupaud had identified four directors that gave him the gift of transformative roles:Raúl Ruiz (in 1983’s City of Pirates, when the actor was only 10), Éric Rohmer (in 1996’s A Summer’s Tale), François Ozon (in 2005’s Time to Leave) and Dolan in what was then only the director’s third feature. Whether the Canadian will go down in history like the revered Ruiz and Rohmer or be more of a hit-and-miss journeyman like Ozon, only the future will be able to tell. But there is no denying that, ever since
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Movie Poster of the Week: Now Showing on Mubi

  • MUBI
Above: Soviet poster for The Ghost That Never Returns (Abram Room, Soviet Union, 1929). Designed by the Sternberg Brothers.Have you seen what’s playing on Mubi lately? Many of you who read my column may not often partake of the best of what Mubi has to offer, which is a beautifully curated, constantly changing selection of films which amounts to a top-notch repertory cinema on your laptop and in your living room. Now that Mubi is on the Roku app too there is even more reason to subscribe to the best film streaming deal on the internet. I know, I know, there is always too much to see and too little time, but for me what elevates Mubi over other streaming services—and I’m not just saying this because I write for them—is the 30-day model which offers you a new surprise every morning as well as the
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Sundance Review: ‘Call Me By Your Name’ is an Intoxicatingly Sexy and Disarmingly Nice Romance

“I have loved you for the last time,” Sufjan Stevens sings in his original song “Visions of Gideon” in Call Me By Your Name. It’s a moment of both bittersweet happiness and a farewell to a passion that won’t be replicated again for Elio (Timothée Chalamet) as, deep down, he knows his relationship with Olivier (Armie Hammer) is over after his six-week stay in their Italian villa. Luca Guadagnino’s disarmingly nice and intoxicatingly sexy film is an extraordinary queer romance, one that evocatively explores the body and mind’s surrender to lust and love.

Set in a sun-drenched northern Italy town in 1983, the 17-year-old Elio fills up his free summer hours reading, transcribing music, occasionally going out with nearby friends, and not much else. When Olivier, an chiseled older student from Rhode Island in the process of getting his doctorate, shows up to work with Elio’s
See full article at The Film Stage »

Irène Jacob: The Hollywood Interview

Irène Jacob Cuts Deep

By Alex Simon

French-Swiss actress Irène Jacob cemented her status as one of her generation’s greatest talents through her work with legendary Polish director Krzysztof Kieślowski: The Double Life of Veronique (1991, for which she was awarded Best Actress at Cannes) and the final chapter of his Three Colors Trilogy, Red (1994).

Jacob comes from an accomplished family: her father Maurice was a renowned French physicist, her mother a successful psychotherapist, and her three brothers are composed of two scientists and a musician. After making her film debut in Louis Malle’s Au Revoir Les Enfants in 1987, Jacob has literally not stopped working. Her latest film, written and directed by her co-star Arnaud Viard, is Paris Love Cut, Viard’s semi-autobiographical tale of a filmmaker trying to balance his personal life, career and sanity in an increasingly shifting landscape. Jacob is delightful as Viard’s very patient (and very pregnant) fiancée.
See full article at The Hollywood Interview »

The Dead Person Is the Camera: Talking with Cristi Puiu about "Sieranevada"

  • MUBI
Cristi Puiu. Photo by Alexi Pelekanos, courtesy of the ViennaleSieranevada, Cristi Puiu's latest fictional feature film is not only a fictional film, it is a film about fiction. It is about the fictions and lies we escape to in order to live on. Moreover, it is about the impotence when realizing that we are living in this net of fictions and lies. When asked about his viewing habits the Romanian director loves to stress that he prefers documentary to fictional cinema. Many of those who have written about Puiu focus on the so-called documentary qualities of his cinema, meaning his kind of realism, the way his camera and editing does not interfere too much with the action. Such observations are arguable to say the least because for Puiu, who has made some documentaries inspired by Raymond Depardon like 25.12.1995, București, Gara de Nord (1996) or 13 - 19 iulie 1998, Craiova, Azilul de batrani
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Video Essay. Wishful Space: F.W. Murnau’s "Nosferatu"

  • MUBI
The seventeenth entry in an on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin. Mubi will be showing F.W. Murnau's Nosferatu (1922) from October 24 - November 22, 2016 in the United States.Friedrich Wilhelm Murnau (1888-1931) liked to compare film with architecture. And from his earliest works, we see a strong pictorial intelligence at work, carefully marrying the architectural characteristics of a location or set with the further geometry imposed upon these given elements by the choice of camera angle. This amounted to far more than a flashy, modish expressionism of stark, plunging lines of intersecting walls, or actors inching along the diagonals of a frame; it became the basis for an entire, integrated system of mise en scène. What Murnau aimed for, above all, was not static, painterly effects but what he called a dynamic ‘mobile architecture’ specific to cinema.This quality of mobile architecture is what Éric Rohmer
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Take a ‘Journey Through French Cinema’ With First Trailer & Preview for George Méliès Exhibit

Jean-Luc Godard. Robert Bresson. Éric Rohmer. Jacques Demy. Agnès Varda. Alain Resnais. Jacques Tati. François Truffaut. Louis Malle. Jean-Pierre Melville. Jacques Rivette. Claude Chabrol. Jean Vigo. Jean Cocteau. Jean Renoir. Chris Marker. Marcel Carné. Has any other country produced as many great directors a France? Knowing this full well, one of its top directors has helmed a comprehensive documentary.

Premiering at Cannes earlier this year and soon stopping by Nyff, Bertrand Tavernier‘s Journey Through French Cinema is a 190-minute trip through the history of the cinematic medium in his country. While we’re still awaiting a U.S. release date, the first trailer has now arrived hailing from — you guessed it — France, thankfully with some English subtitles, and it looks to be a delectable treat for anyone with even a passing interest in film.

Check out the trailer below, along with the trailer for a George Méliès exhibit running
See full article at The Film Stage »

Quality of Tradition: Éric Rohmer’s "The Marquise of O"

  • MUBI
Mubi is showing Eric Rohmer's The Marquise of O (1976) in the United States from August 27 - September 26, 2016. A pronouncement—a mysterious pregnancy and an offer of marriage. Incredulity and laughter. “Suddenly, the war—.”Wry distance followed by a jarring plunge into chaos—so opens The Marquise of O, Éric Rohmer’s remarkable (and remarkably faithful) adaptation of the 1808 novella by Heinreich von Kleist. Set in Italy during the Napoleonic Wars, the story begins with the assault of a castle inhabited by a colonel and his family. During the attack, the colonel’s widowed daughter, Julietta (Edith Clever), is set upon by invading Russian soldiers, but is rescued by Count F (Bruno Ganz), a Russian officer. After the castle has been surrendered, the Count visits the Marquise in her bedchamber, and, in the most delicately composed sequence of the film—a shot of the Marquise in a potion-induced slumber; a cut
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Recommended New Books on Filmmaking: Stanley Kubrick, Éric Rohmer, ‘Star Trek,’ Wes Anderson, and More

A nearly 600-page biography of a French filmmaker would not make every summer reading list, but any discerning cinephile will consider Éric Rohmer: A Biography. It’s one of several stunning recent releases, along with a weighty oral history of Star Trek, an intimate remembrance of Stanley Kubrick, and a fascinating breakdown of the great Suspiria. Now that’s an eclectic roster of beach reads.

The Fifty-Year Mission: The Complete, Uncensored, Unauthorized Oral History of Star Trek: Volume One: The First 25 Years by Edward Gross and Mark A. Altman (Thomas Dunne Books)

Even minor Star Trek fans will be spellbound by The Fifty-Year Mission, a stunning oral history from Edward Gross and Mark A. Altman. The first in a two-volume set — Volume Two, covering the last 25 years, will be released in late-August — is impressively comprehensive, and full of unforgettable stories. These include the original series rivalry between William Shatner and Leonard Nimoy,
See full article at The Film Stage »

Weekly Rushes. Fake Coens Trailer, Apichatpong Begins, Rohmer's Swimsuits, Woody's Next Films

Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.NEWSPhoto by Apichatpong WeerasethakulLast weekend came the news that the great experimental filmmaker of At Sea (2007) and Three Landscapes (2013), Peter Hutton, has passed away.Journalist and author Michael Herr has also died, at the age of 76. He is best known in the film world for co-writing Stanley Kubrick's Full Metal Jacket and the narration to Francis Ford Coppola's Apocalypse Now.The first complete New York retrospective in 25 years of Greek auteur Theo Angelopoulos (Landscape in the Mist) will be coming to the Museum of the Moving image in July.Word comes from Apichatpong Weerasethakul's Twitter account that the Palme d'Or-winning Thai director has begun work on his next film following the wonderful Cemetery of Splendour.Recommended VIEWINGThe latest of Radiohead's multimedia promotion of their album A Moon Shaped
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Weekly Rushes. Anton Yelchin, Linklater's Mixtape, De Palma & Scorsese in Conversation

Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.NEWSAnton Yelchin in Green RoomUnexpected and tragic news at the end of the weekend was that actor Anton Yelchin (Star Trek, Only Lovers Left Alive, Joe Dante's Burying the Ex, Green Room) was accidentally killed at his home.French New Wave director Éric Rohmer was intensely private, so details of his long, productive life have generally been slim. But now, as Richard Brody writes at the New Yorker, a 2014 biography by Antoine de Baecque and Noël Herpe has been translated into English, and makes for essential reading about one of cinema's greats.We won't get properly excited until, first, the cameras are rolling, and second, there's a hope of some kind of release date, but The Film Stage has gathered enough evidence to point towards what Terrence Malick's next film will be: Radegund,
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Weekly Rushes. 30 March 2016

  • MUBI
Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.News"Once upon a time, two people met.A woman, a man… Their memory has almost been erased.All that’s left is a picture… torn, faded, almost gone.Cinema is not eternal but it does sometimes escape oblivion. And it is possible to restore a picture.And what will there be then between these two characters who perhaps stepped out of an English or Italian comedy or an Éric Rohmer film?When you see a poster like this, your imagination fills in the blanks, just like it does at the movies."—Édouard Waintrop, Artistic Director of the Directors’ Fortnight, about its 2016 posterSpeaking of Cannes, the festival has revealed its Opening Night Film, Woody Allen's Café Society, starring Jesse Eisenberg and Kristen Stewart, and shot by the great Vittorio Storaro.
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French TV's reputation spirals upward

The Returned, Spiral and the upcoming Marseille starring Gerard Depardieu are just the tip of France’s €67.5m TV export industry

It may have produced François Truffaut, Jean-Luc Godard, Éric Rohmer and Louis Malle but on the small screen France has historically proved rather less illustrious. Its television industry was long equated with uninspired fiction, examining national obsessions or knock-offs of mediocre American programmes.

But, rather like the thick smoke that once choked the nation’s cafes, the noxious reputation of French TV production has largely dispersed. Driven by slick and successful series such as Les Revenants (The Returned), Engrenages (Spiral) and Les Hommes de l’Ombre (Spin), hip French programmes are attracting large international audiences – and creating an export surge.

Related: Subtitles, politics and Spin: the latest from Channel 4's Walter Presents foreign drama strand

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See full article at The Guardian - TV News »
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