Les Enfants Terribles (1950) - News Poster

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Movie Poster of the Week: Jean-Pierre Melville in Posters

Above: French poster for Le silence de la mer (Jean-Pierre Melville, France, 1949). Design by Raymond Gid.Many great filmmakers never got the posters their films deserved. Some of my favorite filmmakers—I'm thinking Yasujiro Ozu, Jacques Rivette, Mike Leigh, and Jean-Marie Straub, to name just a few—for one reason or another, whether it be the vagaries of distribution, the particulars of time and the place, or just the fact that what is so extraordinary about their filmmaking doesn’t translate to still images, have very few posters worthy of their reputation. Jean-Pierre Melville is not one of those. Undoubtedly, the archetype of Melville’s cinema—the trench-coat and fedora sporting, pistol touting tough guy—lends himself beautifully to graphic invention. But Melville made other kinds of films too, and somehow the posters for his entire 13-film oeuvre are an embarrassment of riches. It didn’t hurt that the great French poster artist,
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Children at Play: Jacques Rivette's Apprentice Films

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Aux quatre coinsOrigins in art are forever in doubt. Popular culture seems to imagine that what we now call the French New Wave emerged from thin air with François Truffaut's The 400 Blows (1959) and Jean-Luc Godard's Breathless (1960), but that blinkered narrative ignores features ranging from Agnès Varda’s Le pointe courte (1955) and Claude Chabrol’s Le beau Serge (1958) to Alain Resnais and Marguerite Duras’s Hiroshima, mon amour (1959). Even before these, the filmmakers we associate—through later fame, scandal, obscurity, venerability, and legend—with the New Wave made short films, a medium encouraged by the theatrical practice, now long gone in France, of regularly exhibiting dramatic and documentary short films in cinemas. Early shorts by Jacques Demy, Chris Marker, Truffaut, Godard, and others reach back into the mid-50s, but only two of the New Wave’s anointed truly began their filmmaking at the halfway point of the 20th century: Eric Rohmer,
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Telluride 2016. Lineup

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Into the InfernoThe lineup for the 2016 Telluride Film Festival (September 2nd - 5th) have been announced:Arrival (Denis Villeneuve, Us)The B-Side: Elsa Dorfman's Portrait Photography (Errol Morris, Us)Bleed For This (Ben Younger, Us)California Typewriter (Doug Nichol, Us)Chasing Trane (John Scheinfeld, Us)The End of Eden (Angus Macqueen, UK)Finding Oscar (Ryan Suffern, Us)Fire at Sea (Gianfranco Rosi, Italy/France)Frantz (François Ozon, France)Gentleman Rissient (Benoît Jacquot, Pascal Mérigeau, Guy Seligmann, France)Graduation (Cristian Mungiu, Romania/France/Belgium)Into the Inferno (Werner Herzog, UK/Austria)The Ivory Game (Kief Davidson, Richard Ladkani, Austria/Us)La La Land (Damien Chazelle, Us)Lost in Paris (d. Fiona Gordon, Dominique Abel, France/Belgium)Manchester by the Sea (Kenneth Lonergan, Us)Maudie (Aisling Walsh, Canada/Ireland)Men: A Love Story (Mimi Chakarova, Us)Moonlight (Barry Jenkins, Us)My Journey through French Cinema (Bertrand Tavernier, France)Neruda (Pablo Larraín,
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Volker Schlöndorff Telluride selection announced by Anne-Katrin Titze - 2016-09-01 21:00:52

On the Return to Montauk set with Volker Schlöndorff, Nina Hoss (his Barefoot Contessa), and Bronagh Gallagher at Lincoln Center Photo: Anne-Katrin Titze

Konrad Wolf’s I Was Nineteen (Ich War Neunzehn) co-written with Wolfgang Kohlhaase; Marlen Khutsiev’s It Was In May (Byl Mesyats May) starring Pyotr Todorovskiy; Louis Malle's The Fire Within (Le Feu Follet) based on the novel by Pierre Drieu La Rochelle with Maurice Ronet, Jeanne Moreau and Alexandra Stewart; Joseph Mankiewicz’s The Barefoot Contessa starring Ava Gardner and Humphrey Bogart; Jean-Pierre Melville's Les Enfants Terribles, adapted from Jean Cocteau’s novel with Nicole Stéphane and Édouard Dermit; and Fritz Lang's Spies (Spione) featuring Rudolf Klein-Rogge and Gerda Maurus, are the six films selected by Volker Schlöndorff as Guest Director of the 43rd Telluride Film Festival.

Michael Curtiz's The Breaking Point was one of Alexander Payne's picks in 2009 Photo: Anne-Katrin Titze

Alexander Payne,
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'Manchester By The Sea,' 'Arrival', 'Neruda' among Telluride line-up

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'Manchester By The Sea,' 'Arrival', 'Neruda' among Telluride line-up
Kenneth Lonergan’s Sundance hit, Denis Villeneuve’s Venice selection, and Pablo Larrain’s acclaimed Chilean biopic are among select titles heading to Colorado this weekend.

The 43rd edition of the Telluride Film Festival includes Clint Eastwood’s Tom Hanks starrer Sully, Barry Jenkins’ anticipated triptych Moonlight and Maren Ade’s Cannes triumph Toni Erdmann.

Joining them are Aisling Walsh’s Maudie, Gianfranco Rosi’s Berlin Golden Bear winner Fire At Sea, Damien Chazelle’s Venice opener La La Land and also from the Lido, Rama Burshtein’s Through The Wall.

Telluride runs from September 2-5. The main slate line-up appears below.

Arrival (Denis Villeneuve, Us, 2016)The B-Side: Elsa Dorfman’s Portrait Photography (Errol Morris, Us 2016)Bleed For This (Ben Younger, Us, 2016)California Typewriter (Doug Nichol, Us, 2016)Chasing Trane (John Scheinfeld, Us, 2016)The End Of Eden (Angus Macqueen, UK, 2016)Finding Oscar (Ryan Suffern, Us, 2016)Fire At Sea (Gianfranco Rosi, Italy-France, 2016)Frantz ([link
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La La Land, Sully And Denis Villeneuve’s Arrival Among Stacked Lineup For Telluride 2016

Buoyed by its worldwide premiere at the ongoing Venice Film Festival – early reviews are praising the musical as an audacious, deeply romantic feature – Damien Chazelle’s Whiplash follow-up La La Land has booked its place at Telluride 2016.

The picture, one that stars Emma Stone and Ryan Gosling in central roles, is one of the many soon-to-be-released features to be locked in for the imminent film festival, joining the ranks alongside Manchester By the Sea, Moonlight, Things to Come, Bleed For This and Clint Eastwood’s airborne thriller Sully. It is, without question, a fairly stacked lineup, which only has us all the more excited for the onset of the Toronto International Film Festival later this month.

But over the coming weekend, it is Telluride that will take center stage. Similar to La La Land, today’s unveiling confirms a second festival appearance for Denis Villeneuve’s intriguing sci-fi pic Arrival.
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Telluride 2016 Reveals Line-Up With ‘La La Land,’ Arrival,’ ‘Manchester By the Sea,’ ‘Sully,’ and More

One of the last question marks of the early fall film festival onslaught was Telluride Film Festival, who announces their line-up just a day before the event kicks off. Today now brings the slate for the 43rd edition of the festival, which runs from Friday through Monday.

Featuring the world premiere of Clint Eastwood‘s Sully, there’s also the Venice favorites La La Land and Arrival, as well as past festival highlights and some highly-anticipated dramas headed to Tiff, including Manchester By the Sea, Moonlight, Things to Come, Bleed For This, Toni Erdmann, Una, Neruda, and more. Check out the line-up below, along with links to our reviews where available.

Line-Up

Arrival (d. Denis Villeneuve, U.S., 2016)

The B-side: Elsa Dorfman’S Portrait Photography (d. Errol Morris, U.S., 2016)

Bleed For This (d. Ben Younger, U.S., 2016)

California Typewriter (d. Doug Nichol, U.S., 2016)

Chasing Trane (d. John Scheinfeld,
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‘Sully,’ ‘Arrival,’ ‘La La Land’ and More Set for 43rd Annual Telluride Film Festival

‘Sully,’ ‘Arrival,’ ‘La La Land’ and More Set for 43rd Annual Telluride Film Festival
New films from Clint Eastwood (“Sully”), Damien Chazelle (“La La Land”), Denis Villeneuve (“Arrival”) and Ben Younger (“Bleed for This”) are set to screen at this year’s Telluride Film Festival, commencing Friday, Sept. 2.

Sully,” premiering Friday night, marks the first Eastwood film to screen at the fest since 1990’s “White Hunter, Black Heart.” He received a tribute that year as well, and hasn’t been back since he was on hand for Meryl Streep’s tribute in 1998.

The film stars Tom Hanks as commercial pilot Chesley Sullenberger, who miraculously water-landed Us Airways flight 1549 in the Hudson River on January 15, 2009, when a flock of geese struck the aircraft and disabled both engines.

Elsewhere, hot off the 2014 Oscar-winning sensation “Whiplash,” Chazelle will transition his vibrant musical to Telluride from an opening night bow at the Venice Film Festival, where it drew raves, before heading to Toronto next week. Also playing the
See full article at Variety - Film News »

Telluride Film Festival Announces Full 2016 Lineup: ‘Arrival,’ ‘Moonlight’ and More

The Telluride Film Festival has announced its lineup for the 2016 edition, which begins Friday. As usual, the exclusive Labor Day weekend gathering of industry insiders and midwestern movie buffs will offer a sneak peak at highly anticipated fall films, including several awards season hopefuls, alongside several favorites from the festival circuit, smaller discoveries and classic films.

Damien Chazelle’s vibrant ode to musicals of the past, “La La Land,” will head to Telluride fresh from the Lionsgate release’s successful opening night slot at the Venice Film Festival, while another Venice premiere, Denis Villeneuve’s sci-fi “Arrival,” comes to Telluride courtesy of Paramount alongside a special tribute to star Amy Adams. Another tributee, Casey Affleck, will be in town with Sundance hit “Manchester By the Sea,” which Amazon famously acquired at the Park City gathering for a hefty price tag.

Read More: ‘Manchester By The Sea’ Trailer: Discover Why Kenneth Lonergan
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Nyff Sets World Premiere of Ang Lee’s ‘Billy Lynn’s Long Halftime Walk’

The already-incredible line-up for the 2016 New York Film Festival just got even more promising. Ang Lee‘s Billy Lynn’s Long Halftime Walk will hold its world premiere at the festival on October 14th, the NY Times confirmed today. The adaptation of Ben Fountain‘s Iraq War novel, with a script by Simon Beaufoy (Slumdog Millionaire), follows a teenage soldier who survives a battle in Iraq and then is brought home for a victory lap before returning.

Lee has shot the film at 120 frames per second in 4K and native 3D, giving it unprecedented clarity for a feature film, which also means the screening will be held in a relatively small 300-seat theater at AMC Lincoln Square, one of the few with the technology to present it that way. While it’s expected that this Lincoln Square theater will play the film when it arrives in theaters, it may be
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Nyff Announces Retrospective Selections Inspired By Bertrand Tavernier’s ‘My Journey Through French Cinema’ – Exclusive

Nyff Announces Retrospective Selections Inspired By Bertrand Tavernier’s ‘My Journey Through French Cinema’ – Exclusive
The Film Society of Lincoln Center has announced the Retrospective section of the 54th New York Film Festival, an ambitious two-part lineup that is both headlined and directly inspired by Bertrand Tavernier’s documentary “My Journey Through French Cinema.” Nyff will screen Tavernier’s doc — which clocks in at a hefty and informative 190 minutes — along with a selection of French classics that feature prominently in the film. Additionally, Nyff will play home to a 12-film exploration of the films of Henry Hathaway, one of Tavernier’s favorite American directors. What follows is a feast of French cinema and a crash course in the works of Hathaway.

Read More: New York Film Festival Announces James Gray’s ‘The Lost City of Z’ As Closing Night Selection

Highlights of the “A Brief Journey Through French Cinema” section, as it’s being quite charmingly billed, include Jean Renoir’s revolutionary epic “La Marsellaise,
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New on Video: ‘Le silence de la mer’

Le silence de la mer

Written and directed by Jean-Pierre Melville

France, 1949

Nearly every mention of Jean-Pierre Melville’s cinema inevitably alludes to his crime films, and for good reason. Of his 13 features, nine fall under this general heading, and for the most part, they are his best and most admired. Amongst the rest of his filmography, slightly varying and further distinguishing his career, are his occasional forays into the war film—or, more precisely, the wartime film, for typical battleground scenarios are negligible. This is the case with Léon Morin, Priest (1961), with The Army of Shadows (1969), his extraordinary ode to the French resistance, of which he was a member, and this is the case with his debut, Le silence de la mer. (His 1950 feature, Les Enfants Terribles, defies generic categorization.)

“The war years were the best years of my life.” Such comments from Melville often got a rise out of those around him,
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Criterion Collection: Le Silence de la Mer | Blu-ray Review

Available for the first time in the Us on Blu-ray and DVD is Jean-Pierre Melville’s masterful directorial debut, 1949’s Le Silence de la Mer (The Silence of the Sea). Based on a famous underground novel published secretly in 1942 by author Jean Bruller, written under the pseudonym Vercours, the exceptional debut precedes the brooding themes that would grace Melville’s later noir and gangster films, as well as the continuation of period pieces concerning Nazi occupied France. Understated and elegant, it’s an incredibly haunting first title from the self-made auteur, an actual member of the French resistance (he adopted his surname for his love of author Herman Melville and it remained his pseudonym after the war).

Opening with a statement that the film has ‘no pretensions’ as concerns the relationship with France and Germany (whose people were complicit with the Nazi’s rise to power), we hear the omniscient narration of an elder Frenchman,
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"Adieu au langage" - "Goodbye to Language": A Works Cited

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Adieu au langage - Goodbye to Language

A Works Cited

Introduction

From its bluntly political opening (Alfredo Bandelli's 'La caccia alle streghe': "Always united we win, long live the revolution!") to its hilarious fecal humor and word play—with 3D staging that happily puts to shame James Cameron and every other hack who's tried their hand at it these past several years—Adieu au langage overwhelms us with a deluge of recited texts, music and images, hardly ever bothering to slow down to let us catch our breath. Exhilarating and certainly not surprising—this is the guy who made Puissance de la parole after all!

The release of a new Godard film or video means a new encounter with texts, films and music often familiar from the filmmaker's earlier work—reworked and re-contextualized—as well as new discoveries to be sorted through and identified. This life-long interest in quotation
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The Melville Variations

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The Notebook is proud to present this video essay in coordination with Transit magazine, where you can find the Spanish version of the piece.

Lucky 13

13 variations for 13 films, accompanied by the musical theme composed by François de Roubaix for Le samouraï (1967): the cinema of Jean-Pierre Melville condensed into a series of motifs that travel from movie to movie, reiterating and transforming, finding their full meaning only when they are put into relation. A non-exhaustive collection1, but filled with recognisable images that clearly obsess this filmmaker.

1. Jef Costello’s second murder in Le samouraï, Maite’s devastating death at the end of Army of Shadows (1969), the shooting of Mattei and Vogel in Le cercle rouge (1970) or—the most paradigmatic example of all—of Maurice, Silien and Kern in Le doulos (1962). It is the matter of a rule with few exceptions, a pattern that is rarely broken: whenever Melville’s
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Blu-ray Review: Jean-Pierre Melville's 'Le Cercle Rouge' (Criterion Collection)

It's amazing how your perspective on movies changes the more you see and the more you open your mind to different kinds of films. In June 2009 I bought Jean-Pierre Melville's Le Samourai as a blind buy. I loved it, and it remains my favorite Melville film to date. Since then I have seen Le Doulos, Army of Shadows and, of course, Le Cercle Rouge. All are films that change your perspective on filmmaking, and strangely, while Melville was obsessed with American films during his day, his films would turn an audience off today as quickly as they captured audiences attention over 60 years ago.

Case in point, Anton Corbijn's The American, a film improperly sold to audiences as a thriller in the same vein as the Bourne franchise, but instead finds more of a relation to Melville's cold and calculated features. In my review I referenced Le Samourai,
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What’s All The Hulu-baloo About? This Week In Criterion’s Hulu Channel

Another week has gone by and as usual, Criterion has put up some choice content on their page on Hulu Plus. Using the service more than ever to stream films that I’ve seen before and don’t own or have never even heard of until Criterion put them up, I’ve valued Hulu Plus more than ever. I also want to thank all those who have used our referral link to sign up. It pays for this article to keep going so please, sign up here to keep it going with no hiccups whatsoever. But you want to know what new and amazing films are streaming. So without further adieu…

It’s Alain Resnais’ birthday so you should be streaming his film Night And Fog (1955), a very harsh and intense depiction of the Holocaust, one of the first truthful accounts around.

Also you can stream the film we’re covering this week,
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Bernardo Bertolucci’s The Dreamers

Bernardo Bertolucci’s The Dreamers
Foreword:

Bernardo Bertolucci’s 2003 film The Dreamers is a tribute to cinema. It’s mainly a tribute to the European school of cinema which had been critically acclaimed and inspirationally followed across the globe. Hence it doesn’t need any time to hook onto it. For film buffs of India and the other Third world countries, this surely works – nostalgia and associations flood in making the viewing experience quite worthwhile in most of the case. This also reminds of two very interesting and subtly different films which also pay tribute to the motion picture – Giuseppe Tornatore’s Cinema Paradiso (1998) and Mohsen Makhmalbaf’s Once Upon a Time, Cinema (1992). The latter pays tribute to the Iranian film history of the silent age. It’s quite unfortunate that in spite of being the biggest cinema industry of the world, it’s hard to find an epical re-take of the country’s cinematic ingenuity.
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A short history of French cinema

From the pioneers of the silver screen to today's new realism, French directors have shaped film-making around the world

France can, with some justification, claim to have invented the whole concept of cinema. Film historians call The Arrival of a Train at La Ciotat Station, the 50-second film by the Lumière brothers first screened in 1895, the birth of the medium.

But the best-known early pioneer, who made films with some kind of cherishable narrative value, was Georges Méliès, whose 1902 short A Trip to the Moon is generally heralded as the first science-fiction film, and a landmark in cinematic special effects. Meanwhile, Alice Guy-Blaché, Léon Gaumont's one-time secretary, is largely forgotten now, but with films such as L'enfant de la barricade trails the status of being the first female film-maker.

The towering achievement of French cinema in the silent era was undoubtedly Abel Gance's six-hour biopic of Napoleon (1927), which
See full article at The Guardian - Film News »

From the archive, 8 November 1952: New films in London

Originally published in the Manchester Guardian on 8 November 1952

From Our London Film Critic

Jean Cocteau has said – perhaps with a parent's defiance in protecting an unpopular offspring – that of all his films, "Les Enfants Terribles" (at the Continentale, renamed "The Strange Ones") is his favourite.

Whatever his own preferences it is not his best film; it does not equal "Orphée". On the other hand, it is by no means the weakling in M. Cocteau's brood of film-children; it is, indeed, a highly typical film – perhaps the most Cocteau-esque of all he has made – and shares not only the weaknesses which belong to most of his films but also many of the excellent qualities which made "Orphée" so distinguished.

M. Cocteau here has adapted (and Jean-Pierre Melville has directed the film adaptation) his extremely fanciful and morbid novel about a sister and brother who live in what amounts to a human vacuum,
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