When French New Wave icon Jacques Rivette passed away earlier this year, the outpour of admiration from the film community was deafening, with obituaries flooding the internet and retrospectives quickly taking shape at film centers across the country. It has been almost a year since Rivette’s death, but luckily he’ll continue to thrive on the big screen well into 2017 and beyond. Film distributor Cohen Media Group has acquired 10 features by Rivette for restoration and release under the Cohen Film Collection banner. Variety first reported the news.
Read More: Tributes to French New Wave Master Jacques Rivette, Dead at 87
The 10 features included in the deal are all from Rivette’s career from 1984 and after. The titles include: “Love on the Ground” (1984), “Wuthering Heights” (1985), “The Gang of Four” (1989), “The Beautiful Troublemaker” (1991), “Divertimento” (1992), the two-part Joan of Arc biopic “Joan the Maiden: Part 1 – The Battles” (1994) and “Joan the Maiden: Part 2 – The Prisons” (1994), “Up,...
Read More: Tributes to French New Wave Master Jacques Rivette, Dead at 87
The 10 features included in the deal are all from Rivette’s career from 1984 and after. The titles include: “Love on the Ground” (1984), “Wuthering Heights” (1985), “The Gang of Four” (1989), “The Beautiful Troublemaker” (1991), “Divertimento” (1992), the two-part Joan of Arc biopic “Joan the Maiden: Part 1 – The Battles” (1994) and “Joan the Maiden: Part 2 – The Prisons” (1994), “Up,...
- 10/13/2016
- by Zack Sharf
- Indiewire
This article accompanies the Film Society of Lincoln Center’s dual retrospective of the films of Jacques Rivette and David Lynch and is part of an ongoing review of Rivette’s films for the Notebook, in light of several major re-releases of his work.Two masterpieces, made three years apart, evincing the power of the close-up in unexpected ways. Rivette, with an uncharacteristically tender emphasis, shows a tear roll down Marie’s cheek and drop onto her wrist at the end of The Story of Marie and Julien. In a movie otherwise consisting of unemphatic, shifting wide shots and the occasional functional insert shot, Rivette glides in gently to frame her face in pensive close-up—his first since Wuthering Heights?—as her expression becomes the unexpected crux of the scene. The tear, running through the bloodless canal dug into her wrist, silently resurrects her, gets her blood literally flowing again,...
- 12/22/2015
- by Christopher Small
- MUBI
This article accompanies the Film Society of Lincoln Center’s dual retrospective of the films of Jacques Rivette and David Lynch and is part of an ongoing review of Rivette’s films for the Notebook, in light of several major re-releases of his work.Lost Highway and Duelle: two post-surrealist reformulations of noir potboilers and '40s programmers. In both, a nymph-like blond battles a raven-haired cipher for spiritual, epistemological, and moral dominance, leading side-characters to their deaths in the progress. A protagonist, impossibly in over his/her head, is caught in some ur-reality in which the whole world seems given over to high artifice. Parallel worlds, one by Jacques Rivette in 1976 and the other David Lynch twenty years later, where one might look on strange things unstrangely: prosaic twilight duels, as in Val Lewton films, are realised in impossibly mysterious, banal, expressionistic urban vistas. Duelle begins with a very...
- 12/21/2015
- by Christopher Small
- MUBI
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