With a title that invokes both the specific (cinema of Godard) and the universal (cinema is Godard), Cyril Leuthy’s Godard Cinema finds itself in conversation with another formulation: Everything is Cinema. Richard Brody’s 2008 study of the filmmaker, is beautifully sentenced, dare-ing criticism; one wonders, sometimes, if his honest contrarianism is the result of a theoretical attempt to widen the possibilities for transmission and reception of image and narrative. Such an attempt finds a natural bedfellow in the mercurial cinema of Jean-Luc Godard. Leuthy’s hagiographic documentary, on the other hand, is an awkward fit for Godard’s polyrhythmic image collisions.
That Brody will be on hand to introduce Leuthy’s film to kick off its New York run at Film Forum speaks, perhaps, to the heart and head-felt intentions of Leuthy, a documentary filmmaker who’s worked as a director and editor of several film histories, including a...
That Brody will be on hand to introduce Leuthy’s film to kick off its New York run at Film Forum speaks, perhaps, to the heart and head-felt intentions of Leuthy, a documentary filmmaker who’s worked as a director and editor of several film histories, including a...
- 12/15/2023
- by Frank Falisi
- The Film Stage
Jean-Luc Godard, the legendary filmmaker who revolutionized the medium as a leader of the French New Wave of the 1960s, died Tuesday at age 91.
Godard’s partner, Anne-Marie Mieville, confirmed to the Swiss news agency Ats that he died peacefully at his home in the Swiss town of Rolle near Lake Geneva.
French President Emmanuel Macron also confirmed his death on Twitter, calling him a “national treasure” who “invented a resolutely modern, intensely free art.”
Godard burst on the international scene with his debut feature, 1960’s “À bout de souffle” (“Breathless”), which revolutionized cinematic storytelling with its fractured nonlinear narrative about a petty criminal and his girlfriend, improvisational choreography and rapid editing. The film became an international sensation, making a star of its lead actor, Jean-Paul Belmondo, and earning Godard the best director prize at the Berlin Film Festival.
Also Read:
Marsha Hunt, Blacklisted Hollywood Actress, Dies at 104
He became...
Godard’s partner, Anne-Marie Mieville, confirmed to the Swiss news agency Ats that he died peacefully at his home in the Swiss town of Rolle near Lake Geneva.
French President Emmanuel Macron also confirmed his death on Twitter, calling him a “national treasure” who “invented a resolutely modern, intensely free art.”
Godard burst on the international scene with his debut feature, 1960’s “À bout de souffle” (“Breathless”), which revolutionized cinematic storytelling with its fractured nonlinear narrative about a petty criminal and his girlfriend, improvisational choreography and rapid editing. The film became an international sensation, making a star of its lead actor, Jean-Paul Belmondo, and earning Godard the best director prize at the Berlin Film Festival.
Also Read:
Marsha Hunt, Blacklisted Hollywood Actress, Dies at 104
He became...
- 9/13/2022
- by Thom Geier
- The Wrap
Jean-Luc Godard, the revered filmmaker regarded as a giant of the French New Wave movement, has died at the age of 91.
He was known for directing a run of radical, medium-changing films throughout the 1960s, including Breathless and Alphaville.
News of Godard’s death was reported by the French newspaper Liberation.
Along with contemporaries such as Éric Rohmer, Jacques Rivette, and François Truffaut, the Paris-born Godard was a central figure in the Nouvelle Vague, an experimental film movement that emerged in France in the late 1950s.
Several of his films are frequently cited among the best movies ever made.
Godard’s first feature was Breathless, released in 1960, an experimental tribute to American film noir. Starring Jean-Paul Belmondo as a hoodlum named Michel, and Jean Seberg as his American girlfriend, the film caused a stir with its unusual visual style and editing techniques, immediately announcing Godard as one of cinema’s great innovators.
He was known for directing a run of radical, medium-changing films throughout the 1960s, including Breathless and Alphaville.
News of Godard’s death was reported by the French newspaper Liberation.
Along with contemporaries such as Éric Rohmer, Jacques Rivette, and François Truffaut, the Paris-born Godard was a central figure in the Nouvelle Vague, an experimental film movement that emerged in France in the late 1950s.
Several of his films are frequently cited among the best movies ever made.
Godard’s first feature was Breathless, released in 1960, an experimental tribute to American film noir. Starring Jean-Paul Belmondo as a hoodlum named Michel, and Jean Seberg as his American girlfriend, the film caused a stir with its unusual visual style and editing techniques, immediately announcing Godard as one of cinema’s great innovators.
- 9/13/2022
- by Louis Chilton
- The Independent - Film
Critic-turned-filmmaker Godard is known for films including ‘Breathless’ and ‘Contempt’.
Influential French filmmaker Jean-Luc Godard has died aged 91, according to a report in French newspaper Liberation.
The publication cites people close to the filmmaker as the source of the news.
Born in Paris in 1930, Godard was a central figure in the French New Wave movement of the late 1950s and 60s. He worked as a critic for then newly-founded French magazine Cahiers du cinéma in 1952, before making his first fiction short Une femme coquette in 1955.
The filmmaker’s first feature, 1960’s Breathless (French title: A Bout De Souffle) is among...
Influential French filmmaker Jean-Luc Godard has died aged 91, according to a report in French newspaper Liberation.
The publication cites people close to the filmmaker as the source of the news.
Born in Paris in 1930, Godard was a central figure in the French New Wave movement of the late 1950s and 60s. He worked as a critic for then newly-founded French magazine Cahiers du cinéma in 1952, before making his first fiction short Une femme coquette in 1955.
The filmmaker’s first feature, 1960’s Breathless (French title: A Bout De Souffle) is among...
- 9/13/2022
- by Ben Dalton
- ScreenDaily
Jean-Luc Godard, a leading figure of the French New Wave, has died. He was 91. The French newspaper Liberation first reported the news which was confirmed to Deadline by a source close to the filmmaker.
Best known for his radical and politically driven work, Godard was among the most acclaimed directors of his generation with classic films such as Breathless (À bout de souffle), which catapulted him onto the world scene in 1960. The film was from a treatment by his contemporary and former friend François Truffaut and followed the story of a young American woman in Paris, played by Hollywood star Jean Seberg, and her doomed affair with a young rebel on the run, played by Jean-Paul Belmondo.
Hollywood & Media Deaths 2022: A Photo Gallery
President Emmanuel Macron of France paid tribute to the director with a statement on Twitter, calling him the “iconoclastic of New Wave filmmakers.”
Born in Paris...
Best known for his radical and politically driven work, Godard was among the most acclaimed directors of his generation with classic films such as Breathless (À bout de souffle), which catapulted him onto the world scene in 1960. The film was from a treatment by his contemporary and former friend François Truffaut and followed the story of a young American woman in Paris, played by Hollywood star Jean Seberg, and her doomed affair with a young rebel on the run, played by Jean-Paul Belmondo.
Hollywood & Media Deaths 2022: A Photo Gallery
President Emmanuel Macron of France paid tribute to the director with a statement on Twitter, calling him the “iconoclastic of New Wave filmmakers.”
Born in Paris...
- 9/13/2022
- by Zac Ntim
- Deadline Film + TV
The radical director of Breathless and Alphaville, and who was a key figure in the French Nouvelle Vague, has died
Peter Bradshaw on Godard: a genius who tore up rule book without troubling to read it
Jean-Luc Godard, the French-Swiss director who was a key figure in the Nouvelle Vague, the film-making movement that revolutionised cinema in the late 1950s and 60s, has died aged 91. French news agency Afp reported that he died “peacefully at home” in Switzerland with his wife Anne-Marie Mieville at his side. Liberation, quoting an unnamed family member, reported that Godard’s death was assisted, which is legal in Switzerland. “He was not sick, he was simply exhausted. So he had made the decision to end it. It was his decision and it was important for him that it be known.” Godard’s lawyer Patrick Jeanneret told Afp Godard’s death followed “multiple disabling pathologies”.
Best known for his iconoclastic,...
Peter Bradshaw on Godard: a genius who tore up rule book without troubling to read it
Jean-Luc Godard, the French-Swiss director who was a key figure in the Nouvelle Vague, the film-making movement that revolutionised cinema in the late 1950s and 60s, has died aged 91. French news agency Afp reported that he died “peacefully at home” in Switzerland with his wife Anne-Marie Mieville at his side. Liberation, quoting an unnamed family member, reported that Godard’s death was assisted, which is legal in Switzerland. “He was not sick, he was simply exhausted. So he had made the decision to end it. It was his decision and it was important for him that it be known.” Godard’s lawyer Patrick Jeanneret told Afp Godard’s death followed “multiple disabling pathologies”.
Best known for his iconoclastic,...
- 9/13/2022
- by Andrew Pulver and Angelique Chrisafis in Paris
- The Guardian - Film News
Ol’ Matt McConaughey gets caught up in a bizarre love triangle involving a fishing boat, Keanu Reeves is a scientist tampering with dark forces beyond mortal control, there’s a new blockbuster based on a popular recreational past time — it can only mean one thing. It’s January at the movies, people! Studios tend to treat the first month of the year as a lull in which they can dispose of their least-profitable properties, and this time-honored tradition is surely still in effect in 2019. But a few pleasant surprises often lurk in this no-man’s-land,...
- 1/2/2019
- by Charles Bramesco
- Rollingstone.com
Foreplays is a column that explores under-known short films by renowned directors. Jean-Luc Godard & Anne-Marie Miéville's Liberté et Patrie (2002) is free to watch below. Mubi's retrospective For Ever Godard is showing from November 12, 2017 - January 16, 2018 in the United States.I. One of the most beautiful essay films ever made, Liberté et Patrie (2002) turns out to also be one of the most accessible collaborations of Jean-Luc Godard and Anne-Marie Miéville. The deeply moving lyricism of this short may astonish even those spectators who arrive to it casually, without any prior knowledge of the filmmakers’s oeuvre. Contrary to other works by the couple, Liberté et Patrie is built on a recognizable narrative strong enough to easily accommodate all the unconventionalities of the piece: a digressive structure full of bursts of undefined emotion; an unpredictable rhythm punctuated by sudden pauses, swift accelerations, intermittent blackouts and staccatos; a mélange of materials where...
- 12/11/2017
- MUBI
In 1960, Jean-Luc Godard’s first feature film, Breathless, would make him an icon of French cinema, inaugurating a career that has consistently expanded society’s definitions and expectations of cinema. That film alone would have reason enough to consider him an important filmmaker, but Godard went on to direct fourteen more features through 1967, culminating with his attack on bourgeois culture, Weekend.
Following this extraordinary run of films, Godard found himself at a moment of great change. His romantic and artistic partnership with Anna Karina had ended, to be replaced with a new (but short-lived) marriage to Anne Wiazemsky, who would serve as a bridge to the current youth culture. Godard’s politics had also changed considerably since the 1950s. His conservatism, a relic of his parents’s politics, had been replaced with an interest in Maoism and an increasing distaste for anything evoking America. (Classic Hollywood cinema initially got a pass,...
Following this extraordinary run of films, Godard found himself at a moment of great change. His romantic and artistic partnership with Anna Karina had ended, to be replaced with a new (but short-lived) marriage to Anne Wiazemsky, who would serve as a bridge to the current youth culture. Godard’s politics had also changed considerably since the 1950s. His conservatism, a relic of his parents’s politics, had been replaced with an interest in Maoism and an increasing distaste for anything evoking America. (Classic Hollywood cinema initially got a pass,...
- 10/25/2015
- by Brian Marks
- SoundOnSight
Jonathan Rosenbaum talks with Fabrice Aragno about working with Jean-Luc Godard and with Oja Kodar about working with Orson Welles. He's also posted his essays on Godard and Anne-Marie Miéville's Soft and Hard, on Frank Tashlin and on Fritz Lang's M. Also in today's roundup: interviews with David Wain, John Waters, Kim Novak and Nicolas Winding Refn; two books on Woody Allen; a new package of films by Patricio Guzmán; The Rocky Horror Picture Show at 40; an appreciation of Peter Bogdanovich's Texasville; Danny Boyle's confirmed that a sequel to Trainspotting is in the works—and more. » - David Hudson...
- 9/28/2015
- Fandor: Keyframe
Jonathan Rosenbaum talks with Fabrice Aragno about working with Jean-Luc Godard and with Oja Kodar about working with Orson Welles. He's also posted his essays on Godard and Anne-Marie Miéville's Soft and Hard, on Frank Tashlin and on Fritz Lang's M. Also in today's roundup: interviews with David Wain, John Waters, Kim Novak and Nicolas Winding Refn; two books on Woody Allen; a new package of films by Patricio Guzmán; The Rocky Horror Picture Show at 40; an appreciation of Peter Bogdanovich's Texasville; Danny Boyle's confirmed that a sequel to Trainspotting is in the works—and more. » - David Hudson...
- 9/28/2015
- Keyframe
Message De Salutations: Prix Suisse / Remerciements / Mort Ou Vif by Jean-Luc Godard (world premiere 13.03.2015)[Message Of Greetings: Prix Suisse / My Thanks / Dead Or Alive] by Jean-Luc Godard (world premiere March 13th, 2015)On Friday, March 13th, 2015, in Geneva, Switzerland, Jean-Luc Godard was awarded the 2015 “Prix d’honneur du cinéma suisse” with its corresponding allotment of 30,000 Swiss francs (at present = €28189,46 Eur or $29,909.52 Usd), on the basis of being a “visionary filmmaker,” “a virtuoso of film-editing,” whose “avant-garde” works have done much to inspire the young. A remarkable laurel, given that Godard is, at 84, the greatest filmmaker in the history of the cinema since Renoir, and I can’t name another Swiss director besides Anne-Marie Miéville. Of course he didn’t attend, citing, for the ump-teenth time in so-many years, health reasons; regular right-hand-man / Dp / one-man technical wizard / Jlg-ambassador Fabrice Aragno appeared in Godard's stead to accept the award.Of course, the health reasons cited were only so evident as the 5-minute film* that Godard stars in,...
- 3/18/2015
- by Craig Keller
- MUBI
Every Man for Himself
Written by Anne-Marie Miéville and Jean-Claude Carrière
Directed by Jean-Luc Godard
France, 1980
Jean-Luc Godard’s 1980 feature, Sauve qui peut (la vie), or Every Man for Himself, was something of a return to form for the director (if one can really say Godard ever had a typical form to return to). It was, as he declared, and as is often quoted, his “second first film.” As far as his most recent releases were concerned, there was certainly a break from those heavily divisive, politicized, and formally experimental works of the 1970s. This film, comparatively speaking, is indeed more mainstream than that. In its general reliance on narrative, it goes back to Godard’s pre-’67 work, with a beginning, middle, and end (even if not always in that order, as he once commented). But it’s not quite accurate to say that Every Man for Himself is necessarily...
Written by Anne-Marie Miéville and Jean-Claude Carrière
Directed by Jean-Luc Godard
France, 1980
Jean-Luc Godard’s 1980 feature, Sauve qui peut (la vie), or Every Man for Himself, was something of a return to form for the director (if one can really say Godard ever had a typical form to return to). It was, as he declared, and as is often quoted, his “second first film.” As far as his most recent releases were concerned, there was certainly a break from those heavily divisive, politicized, and formally experimental works of the 1970s. This film, comparatively speaking, is indeed more mainstream than that. In its general reliance on narrative, it goes back to Godard’s pre-’67 work, with a beginning, middle, and end (even if not always in that order, as he once commented). But it’s not quite accurate to say that Every Man for Himself is necessarily...
- 2/10/2015
- by Jeremy Carr
- SoundOnSight
Jean-Luc Godard, and more specifically his 1965 film Pierrot le Fou, literally changed my life, and set me on a path toward intense and everlasting cinephilia. Since the first time I saw that film, it has remained my favorite movie of all time and Godard my favorite director. So when I finally had the chance to see Film socialisme in 2010, his first feature film in six years, I had high hopes that the old master was going to yet again bring something new to the table. Those hopes were assuredly met. I considered the film the best of that year and still believe it is an astonishing movie, rife with so much of what defines Godard in this is fourth(?), fifth(?), in any case, current, phase of his career.
The first words of Film socialisme, at least according to the “Navajo English” subtitles, are “money – public – water.” Literally, this refers to...
The first words of Film socialisme, at least according to the “Navajo English” subtitles, are “money – public – water.” Literally, this refers to...
- 10/25/2014
- by Jeremy Carr
- SoundOnSight
+“Sometimes the class struggle is also the struggle of one image against another image, of one sound against another sound. In a film, this struggle is against images and sounds.”
- British Sounds
There was something in the air when Jean-Luc Godard took up the political banner of the late 1960s and shifted his filmmaking focus in terms of storytelling style and stories told, and in a general sense of formal reevaluation and reinvention. Always considered something of the enfant terrible of the French Nouvelle Vague, Godard was keen from the start to experiment with the conventional norms of cinematic aesthetics, from the jarring jump cuts of Breathless (1960), to the self-conscious playfulness of A Woman is a Woman (1961), to the genre deviations of Band of Outsiders (1964) and Made in USA (1966). But Godard was still, at a most basic level, operating along a fairly conventional plane of fictional cinema, one with...
- British Sounds
There was something in the air when Jean-Luc Godard took up the political banner of the late 1960s and shifted his filmmaking focus in terms of storytelling style and stories told, and in a general sense of formal reevaluation and reinvention. Always considered something of the enfant terrible of the French Nouvelle Vague, Godard was keen from the start to experiment with the conventional norms of cinematic aesthetics, from the jarring jump cuts of Breathless (1960), to the self-conscious playfulness of A Woman is a Woman (1961), to the genre deviations of Band of Outsiders (1964) and Made in USA (1966). But Godard was still, at a most basic level, operating along a fairly conventional plane of fictional cinema, one with...
- 10/17/2014
- by Jeremy Carr
- SoundOnSight
Renowned Swiss artist and set designer H.R. Giger, best known for his incredible work on Ridley Scott's Alien, has passed away at the age of 74. Oscar-winning filmmaker Malik Bendjelloul (Searching For Sugar Man) has shockingly been found dead in his home at the age of 36. We've been big fans of Critics Round Up, an alternative aggregator for movie reviews, so we were pretty choked to hear it was shutting down...But now it appears, in Lazarus-fashion, the site will be sticking around. Above: Film Comment has made available (for 99 cents!) a digital anthology that "collects 35 years of analysis of Rainer Werner Fassbinder's films and profiles of his closest collaborators." This coincides with the "Fassbinder: Romantic Anarchist" retrospective at the Film Society of Lincoln Center starting May 16th. If you're lucky enough to attend, you may want to grab one of these. Check out the series' trailer:
For Cinema Scope Online,...
For Cinema Scope Online,...
- 5/14/2014
- by Adam Cook
- MUBI
Looking back over the year at what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2013—in theaters or at a festival—and creatively pair it with an old film they also saw in 2013 to create a unique double feature.
All the contributors were given the option to write some text explaining their 2013 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How...
All the contributors were given the option to write some text explaining their 2013 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How...
- 1/13/2014
- by Notebook
- MUBI
Hail Mary
Written and directed by Jean-Luc Godard
France, 1985
When Jean-Luc Godard’s 1985 film Hail Mary was initially released, it set off a firestorm of protest. According to an article in a contemporary issue of Film Quarterly, the film was met with everything from “the Pope’s Vatican Radio denunciations and Italian magazine covers depicting barebreasted blondes on crucifixes, to Catholics lighting candles and shaking rosaries outside offending theaters.” The film was banned and was the subject of boycotts, and religious leaders worldwide deemed it blasphemous (a quote from Pope John Paul II, stating that the movie, “deeply wounds the religious sentiments of believers,” was displayed on a previously issued DVD almost as a badge of honor).
At the heart of the controversy, first and foremost, was the plot. Godard’s film is a modern-day retelling of the virgin birth. Here, Mary (Myriem Roussel) is a basketball-playing student who works...
Written and directed by Jean-Luc Godard
France, 1985
When Jean-Luc Godard’s 1985 film Hail Mary was initially released, it set off a firestorm of protest. According to an article in a contemporary issue of Film Quarterly, the film was met with everything from “the Pope’s Vatican Radio denunciations and Italian magazine covers depicting barebreasted blondes on crucifixes, to Catholics lighting candles and shaking rosaries outside offending theaters.” The film was banned and was the subject of boycotts, and religious leaders worldwide deemed it blasphemous (a quote from Pope John Paul II, stating that the movie, “deeply wounds the religious sentiments of believers,” was displayed on a previously issued DVD almost as a badge of honor).
At the heart of the controversy, first and foremost, was the plot. Godard’s film is a modern-day retelling of the virgin birth. Here, Mary (Myriem Roussel) is a basketball-playing student who works...
- 1/10/2014
- by Jeremy Carr
- SoundOnSight
This year’s Frequency Festival, held in the city of Lincoln in the United Kingdom, featured a screening of the first audio-visual work by The Society for Ontofabulatory Research. Airminded is an 18-minute essay film which counters the unchecked celebration of aviation heritage that is a defining part of the county of Lincolnshire, where the biennial digital arts festival took place over nine days. This part of rural England boasts links to the Dambusters raid and was home to many historic aircraft during the Second World War, giving rise to its nickname ‘Bomber County.’ The war efforts of the past, however, have been followed by the more recent, publicised and protested use of Lincolnshire as a base for the deployment of drones. Reaper unmanned aerial vehicles based in Afghanistan are currently operated from Raf Waddington, where a protest was staged earlier this year by campaigners opposed to the use of drones.
- 12/27/2013
- by Yusef Sayed
- MUBI
This is a talk given by French director of photography Caroline Champetier at the La Roche-sur-Yon International Film Festival in October 2012, originally published in two parts on the festival’s site (www.fif-85.com). This translation is being published with their kind permission. This year's festival will take place from October 16-21, Kelly Reichardt will be the guest of honor. Many thanks to Emmanuel Burdeau, programmer of the festival, Jordan Mintzer and Caroline Champetier.
Caroline Champetier: I’ve always tried to take a step back from what I’m doing. The more I work, however, the less I’m able to deal with this exercise. I just finished production on Claude Lanzmann’s The Last of the Unjust and have barely said goodbye to David Teboul, a young director who I worked with on Cinq avenue Marceau (2002), a film I think very highly of and that’s about Yves Saint Laurent’s last collection.
Caroline Champetier: I’ve always tried to take a step back from what I’m doing. The more I work, however, the less I’m able to deal with this exercise. I just finished production on Claude Lanzmann’s The Last of the Unjust and have barely said goodbye to David Teboul, a young director who I worked with on Cinq avenue Marceau (2002), a film I think very highly of and that’s about Yves Saint Laurent’s last collection.
- 9/20/2013
- by Ted Fendt
- MUBI
Les Trois DÉSASTRES (Jean-luc Godard, France/Portugal)
Semaine De La Critique
It's no surprise that in undertaking his first 3D project (one third of 3X3D, a triptych that also includes Peter Greenaway and Edger Pêra), Jean-Luc Godard would do so much that everything else yet shot in the format looks meager and infantile by comparison (even the few notable filmmakers to have explored 3D's potential fall short of Godard's ambitions: Scorsese, Herzog, Paul W.S. Anderson). Also, it should not have been a surprise that 3D would make perfect sense for Godard's layering of texts and superimpositions, which command an even greater effect with the extra dimension. All of Godard's films, are, to an extent, about images, and here as much as ever he concerns himself with the apparatus, perspective, history (through images) and specifically 3D and digital's impact on these things, as well as on cinema itself.
Images rapidly...
Semaine De La Critique
It's no surprise that in undertaking his first 3D project (one third of 3X3D, a triptych that also includes Peter Greenaway and Edger Pêra), Jean-Luc Godard would do so much that everything else yet shot in the format looks meager and infantile by comparison (even the few notable filmmakers to have explored 3D's potential fall short of Godard's ambitions: Scorsese, Herzog, Paul W.S. Anderson). Also, it should not have been a surprise that 3D would make perfect sense for Godard's layering of texts and superimpositions, which command an even greater effect with the extra dimension. All of Godard's films, are, to an extent, about images, and here as much as ever he concerns himself with the apparatus, perspective, history (through images) and specifically 3D and digital's impact on these things, as well as on cinema itself.
Images rapidly...
- 6/2/2013
- by Adam Cook
- MUBI
The fourth annual Migrating Forms media festival, which will run May 11-20 at the Anthology Film Archives in NYC, is a compelling mix of political films, pop culture explorations, ethnographic exposés and collections of new media art.
The fest begins and ends with political films directed and curated by Eric Baudelaire. His latest work, The Anabasis of May and Fusako Shigenobu, Masao Adachi and 27 Years without Images, opens the festival on May 11; while a pair of films – Masao Adachi & Kôji Wakamatsu’s Red Army/Pflp: Declaration of World War and The Dziga Vertov Group’s Ici et Ailleurs closes it on May 20.
Some of the special events sprinkled throughout the event include Ed Halter‘s survey of faux experimental films made for mainstream movies and TV shows that should prove to be an amazingly entertaining and enlightening discussion; a retrospective of the highly influential animation by Chuck Jones; the interactive...
The fest begins and ends with political films directed and curated by Eric Baudelaire. His latest work, The Anabasis of May and Fusako Shigenobu, Masao Adachi and 27 Years without Images, opens the festival on May 11; while a pair of films – Masao Adachi & Kôji Wakamatsu’s Red Army/Pflp: Declaration of World War and The Dziga Vertov Group’s Ici et Ailleurs closes it on May 20.
Some of the special events sprinkled throughout the event include Ed Halter‘s survey of faux experimental films made for mainstream movies and TV shows that should prove to be an amazingly entertaining and enlightening discussion; a retrospective of the highly influential animation by Chuck Jones; the interactive...
- 4/26/2012
- by Mike Everleth
- Underground Film Journal
Close-Up Film Centre has acquired and revived Vertigo Magazine, one of the most important film-related publications in the UK. Launched in 1993, Vertigo went silent two years ago, but Issue 30 makes for one hell of a comeback. The title: "Godard Is" — and, as Damien Sanville writes in the opening editorial, "His oeuvre is, just as color is…. Godard is one if not the most influential filmmaker to explore the role of the moving image within aesthetics, politics and history. His work represents in its most emblematic way the crossover between the poetical and the historical, cinema and the arts, which will also be at the core of our publication. A 'double bind,' Guattari's crayfish."
A quick run-through: Frieda Grafe on Vivre sa vie (1962); David Brancaleone at considerable length on the "Interventions of Jean-Luc Godard and Chris Marker into Contemporary Visual Art" and Adrian Martin on the 2006 exhibition Voyage(s) en utopie,...
A quick run-through: Frieda Grafe on Vivre sa vie (1962); David Brancaleone at considerable length on the "Interventions of Jean-Luc Godard and Chris Marker into Contemporary Visual Art" and Adrian Martin on the 2006 exhibition Voyage(s) en utopie,...
- 4/12/2012
- MUBI
Above: Zoulikha Bouabdellah's Al Attlal (Ruines), left, and Pierre Léon's À la barbe d'Ivan, right.
Nicole Brenez has curated two programs of new work from the French avant-garde for this year’s Rendezvous with French Cinema 2011 in New York; below she has offered her program notes in French. Program one (on Saturday) concentrates on filmmakers reappropriating images; program two (Sunday) is the new feature by Ange Leccia, Nuit bleue. Below, I’ve translated Brenez’s extended appreciation of Leccia and Nuit bleue; as usual, I’ve tried to stay faithful to the sound and rhythm of the original where possible. Beneath the translated extract you'll find the full article by Ms. Brenez in its original French. —David Phelps
***
…Although Ange Leccia has also practiced re-appropriating images (especially Jean Luc-Godard’s) in his installations and his films, Nuit bleuetakes up a different aesthetic vein, one rich with a long tradition of the French avant-garde.
Nicole Brenez has curated two programs of new work from the French avant-garde for this year’s Rendezvous with French Cinema 2011 in New York; below she has offered her program notes in French. Program one (on Saturday) concentrates on filmmakers reappropriating images; program two (Sunday) is the new feature by Ange Leccia, Nuit bleue. Below, I’ve translated Brenez’s extended appreciation of Leccia and Nuit bleue; as usual, I’ve tried to stay faithful to the sound and rhythm of the original where possible. Beneath the translated extract you'll find the full article by Ms. Brenez in its original French. —David Phelps
***
…Although Ange Leccia has also practiced re-appropriating images (especially Jean Luc-Godard’s) in his installations and his films, Nuit bleuetakes up a different aesthetic vein, one rich with a long tradition of the French avant-garde.
- 3/19/2011
- MUBI
In one of the many hilarious, provocative, and occasionally infuriating interviews that Vladimir Nabokov granted in the 1960s, he made the following pronouncement on a work of 20th century European literature that many other major intellects were/are too intimidated by to ever say a discouraging word about: "I detest Finnegans Wake in which a cancerous growth of fancy wordtissue hardly redeems the dreadful joviality of the folklore and the easy, too easy, allegory." Regardless of how one reacts to that assessment—and my own reaction is of course constrained/defined by the fact of my having only read select portions of Wake, but having enough knowledge of the work to understand that that which Nabokov speaks about is, in some form, there (that is, the word-growth, the folklore, and the allegory)—one can trust something about it, that is, one can trust that Nabokov actually went to the trouble of reading the damn thing.
- 12/14/2010
- MUBI
Jean‑Luc Godard's masterpiece remains a startling example of the French new wave and marked the arrival of one of cinema's most influential directors
Two trailers bookend my half-a-century of writing professionally about the cinema and bracket the career of the man who is arguably the most influential moviemaker of my lifetime. Fifty years ago this month I dropped into an Oslo cinema while waiting for a midnight train and saw an unforgettable trailer for a French picture. It cut abruptly between a handsome, broken-nosed actor I'd never come across before, giant posters of Humphrey Bogart, and the familiar features of Jean Seberg, whom I knew to be an idol of French cinéastes as the protegee of Otto Preminger. Shot in high contrast monochrome, rapidly edited, interspersed with puzzling statements in white-on-black and black-on-white lettering, it was like no other trailer I'd seen, and I was captivated. Not until my...
Two trailers bookend my half-a-century of writing professionally about the cinema and bracket the career of the man who is arguably the most influential moviemaker of my lifetime. Fifty years ago this month I dropped into an Oslo cinema while waiting for a midnight train and saw an unforgettable trailer for a French picture. It cut abruptly between a handsome, broken-nosed actor I'd never come across before, giant posters of Humphrey Bogart, and the familiar features of Jean Seberg, whom I knew to be an idol of French cinéastes as the protegee of Otto Preminger. Shot in high contrast monochrome, rapidly edited, interspersed with puzzling statements in white-on-black and black-on-white lettering, it was like no other trailer I'd seen, and I was captivated. Not until my...
- 6/9/2010
- by Philip French
- The Guardian - Film News
Avant-garde French cinematographer at the heart of the new wave
For 45 years, the French cinematographer William Lubtchansky, who has died of heart disease aged 72, put his talents at the disposal of the most challenging, intellectually inquiring, uncompromisingly brilliant film directors who emerged with the French new wave. Lubtchansky worked with Jean-Luc Godard (six times), although they fell out, made up and fell out again; the husband and wife team of Jean-Marie Straub and Danièle Huillet (11 times); and Jacques Rivette (14 times).
Although these directors differed in their approaches and sensibilities, they were united in their irreverent, generally unsentimental treatment of character, their existential attitude to society and to human behaviour, and their experiments with filmic space and time. They questioned cinema itself by drawing attention to the conventions used in film-making and quoting from the other arts. They presented an alternative to Hollywood by consciously breaking its conventions while at the...
For 45 years, the French cinematographer William Lubtchansky, who has died of heart disease aged 72, put his talents at the disposal of the most challenging, intellectually inquiring, uncompromisingly brilliant film directors who emerged with the French new wave. Lubtchansky worked with Jean-Luc Godard (six times), although they fell out, made up and fell out again; the husband and wife team of Jean-Marie Straub and Danièle Huillet (11 times); and Jacques Rivette (14 times).
Although these directors differed in their approaches and sensibilities, they were united in their irreverent, generally unsentimental treatment of character, their existential attitude to society and to human behaviour, and their experiments with filmic space and time. They questioned cinema itself by drawing attention to the conventions used in film-making and quoting from the other arts. They presented an alternative to Hollywood by consciously breaking its conventions while at the...
- 5/12/2010
- by Ronald Bergan
- The Guardian - Film News
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