Religion, Karl Marx said, is the opiate of the masses. Today, he would likely say that the opiate of the masses is fame — the desire for it, the things you have to do to get it, the fragmentary nature of it, and everything it’s supposed to bring you. The new fame, the lusty fickle kind bred by social media, is at the center of “Wild Diamond,” a startlingly bold and true French drama that premiered today at Cannes.
It tells the story of Liane (Malou Khebizi), a 19-year-old glam trainwreck who lives with her mother and kid sister in the town of Fréjus in Southern France. Liane’s entire existence is driven by her compulsion to connect with the up-from-nowhere apparatus of fame, the kind that transforms people on Instagram and TikTok — and, the subject of “Wild Diamond,” reality TV — into overnight spangly vessels of adoration.
In the first scene,...
It tells the story of Liane (Malou Khebizi), a 19-year-old glam trainwreck who lives with her mother and kid sister in the town of Fréjus in Southern France. Liane’s entire existence is driven by her compulsion to connect with the up-from-nowhere apparatus of fame, the kind that transforms people on Instagram and TikTok — and, the subject of “Wild Diamond,” reality TV — into overnight spangly vessels of adoration.
In the first scene,...
- 5/16/2024
- by Owen Gleiberman
- Variety Film + TV
Anatomy of a Fall French producer Marie-Ange Luciani put in a flying appearance at the Berlinale this week with Claire Burger’s coming-of-age drama Langue Étrangère which received a warm reception in competition.
With the Berlin premiere taking place the day after the Baftas in London (where Anatomy of a Fall won Best Screenplay) and eight days before the January 27 voting deadline for this year’s Academy Awards, Luciani was also in the thick of the awards campaign.
She co-produced the Oscar hopeful with David Thion at Les Films Pelléas under the banner of her Paris-based banner Les Films de Pierre, the company created by Yves Saint Laurent’s long-time business and life partner Pierre Bergé which she acquired on his death in 2018.
New production Langue Étrangère is a bittersweet coming-of-age tale starring Lilith Grasmug as French teenager Fanny who travels to Germany on language exchange trip. Her German counterpart...
With the Berlin premiere taking place the day after the Baftas in London (where Anatomy of a Fall won Best Screenplay) and eight days before the January 27 voting deadline for this year’s Academy Awards, Luciani was also in the thick of the awards campaign.
She co-produced the Oscar hopeful with David Thion at Les Films Pelléas under the banner of her Paris-based banner Les Films de Pierre, the company created by Yves Saint Laurent’s long-time business and life partner Pierre Bergé which she acquired on his death in 2018.
New production Langue Étrangère is a bittersweet coming-of-age tale starring Lilith Grasmug as French teenager Fanny who travels to Germany on language exchange trip. Her German counterpart...
- 2/23/2024
- by Melanie Goodfellow
- Deadline Film + TV
Christophe Honoré's Winter Boy is now showing exclusively on Mubi starting April 28, 2023, in many countries in the series Luminaries.When Antoine Doinel first dons his checkered jacket and roams the streets of Paris in François Truffaut’s The 400 Blows (1959), the city air is so cold that his breath clouds the frame. Truffaut’s wintry film is a tale of isolation and frustration in the life of the young Doinel, a misbehaving schoolboy bored by la dictée and the stifling teachings of his professor. Out in the frostbitten night, he sleeps in a printing press and steals a typewriter, evoking his search for his own liberation and words to live by. To everyone else, he appears a troubled youth in need of institutionalization. To Truffaut, he is his younger self looking for his identity and the means to express it, a memory committed to film. When a filmmaker sets...
- 5/2/2023
- MUBI
L’amour a la mer (1964). Courtesy of Lobster Films.There is a strange paradox in the popular consciousness of the French New Wave. On the one hand, the nouvelle vague is renowned as an explosion of new filmmaking talent in France. From the late 1950s to the mid-1960s, as so many histories of cinema tell us, masses of young directors debuted their work on the screens of France and then the world. After a decade and a half of sclerosis in the film industry, with rigid hierarchies and guild rules that prevented the emergence of directors who had not slowly made their way through the career rungs of the studios, a new generation burst onto the scene, upending the rules of filmmaking and forming a template for so many future new waves in the rest of the world. In many accounts, it is presented as something of a mass movement.
- 5/5/2022
- MUBI
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSThe prolific, captivating Sean Connery has died. As critic Glenn Kenny writes in his obituary for Decider, Connery will always be "tied to the role of James Bond, [but] so many of Connery’s non-Bond roles were [...] fascinating, challenging, and cinematically important." Recommended VIEWINGGrasshopper Films' official trailer for the new 4k digital restoration of Manoel de Oliveira's 1981 Francisca, an adaptation of Agustina Bessa-Luís’ acclaimed novel. Oscilloscope has released the first trailer for The Twentieth Century, Matthew Rankine's dark comedy-drama that reimagines the life of former Canadian Prime Minister William Lyon Mackenzie King. The film won the Fipresci prize in the Forum section of the 2019 Berlinale. The Asian Film Archive has announced Monographs 2020, a series of video essays commissioned and conceived during lockdown. Featuring a wide range of filmmakers, the series aims to offer "an...
- 11/4/2020
- MUBI
The estate of Robert Evans, the late producer and Paramount Studios executive, sold over 600 items this weekend, with some individual items costing hundreds of thousands of dollars. The event was held by Julien’s Auctions in Beverly Hills and online.
Evans produced films like “The Godfather,” “The Godfather II,” “Chinatown,” “Rosemary’s Baby” and more, and championed the careers of directors such as Francis Ford Coppola, Sidney Lumet and John Schlesinger. He died on Oct. 26, 2019.
His collection of Helmut Newton prints sold for a total of $486,972, with “In Robert’s Garden,” which was inscribed to Evans and hung by his bed, selling for $237,500 alone. Newton’s print titled “Saddle II” sold for $125,000, “Pool Girls” went for $19,200, “Suzanne Nude II” for $10,000, “Debra Spanking Red” brought in $10,240 and Evans’ namesake print sold for $10,000. A signed limited-edition copy of Newton’s “Sumo: Monte Carlo” by Taschen hauled in $28,800.
Other art pieces in Evans home sold for a hefty pricetag,...
Evans produced films like “The Godfather,” “The Godfather II,” “Chinatown,” “Rosemary’s Baby” and more, and championed the careers of directors such as Francis Ford Coppola, Sidney Lumet and John Schlesinger. He died on Oct. 26, 2019.
His collection of Helmut Newton prints sold for a total of $486,972, with “In Robert’s Garden,” which was inscribed to Evans and hung by his bed, selling for $237,500 alone. Newton’s print titled “Saddle II” sold for $125,000, “Pool Girls” went for $19,200, “Suzanne Nude II” for $10,000, “Debra Spanking Red” brought in $10,240 and Evans’ namesake print sold for $10,000. A signed limited-edition copy of Newton’s “Sumo: Monte Carlo” by Taschen hauled in $28,800.
Other art pieces in Evans home sold for a hefty pricetag,...
- 10/25/2020
- by Ellise Shafer
- Variety Film + TV
Suzanne Lindon, the 20-year old star and filmmaker of “Spring Blossom,” was born into French cinema royalty, being the daughter of famed French actors Vincent Lindon and Sandrine Kiberlain; but the spirited young woman was determined early on to plow her own path towards acting. While Lindon initially wrote “Spring Blossom” as a vehicle to make her first foray into acting with an ideally-crafted leading part, the film has now established her as a promising young director.
“Spring Blossom” is handled in international markets by Luxbox and will be released theatrically in France by Paname Distribution on Dec. 9. The coming-of-age tale was part of Cannes 2020’s Official Selection, played at San Sebastian, Toronto and New York film festivals, and screens at El Gouna Film Festival on Saturday.
Lindon spoke to Variety about the genesis of “Spring Blossom,” as well as the making of the movie, its singularity and the unlikely...
“Spring Blossom” is handled in international markets by Luxbox and will be released theatrically in France by Paname Distribution on Dec. 9. The coming-of-age tale was part of Cannes 2020’s Official Selection, played at San Sebastian, Toronto and New York film festivals, and screens at El Gouna Film Festival on Saturday.
Lindon spoke to Variety about the genesis of “Spring Blossom,” as well as the making of the movie, its singularity and the unlikely...
- 10/23/2020
- by Elsa Keslassy
- Variety Film + TV
Cannes 2020 label film recently played at Toronto and San Sebastian.
Suzanne Lindon, at just 20 years old, was the youngest filmmaker to make it into Cannes’s special 2020 Official Selection this year with her debut feature Spring Blossom.
She both directed and stars in the gentle coming-of-age tale about a Parisian teenager who enters into a platonic love affair with an actor in his 30s.
In the absence of a physical Cannes, the film premiered in Toronto’s Discovery section in early September, before heading to San Sebastian’s New Directors line-up. It is now touring festivals worldwide, stopping off this...
Suzanne Lindon, at just 20 years old, was the youngest filmmaker to make it into Cannes’s special 2020 Official Selection this year with her debut feature Spring Blossom.
She both directed and stars in the gentle coming-of-age tale about a Parisian teenager who enters into a platonic love affair with an actor in his 30s.
In the absence of a physical Cannes, the film premiered in Toronto’s Discovery section in early September, before heading to San Sebastian’s New Directors line-up. It is now touring festivals worldwide, stopping off this...
- 9/30/2020
- by Melanie Goodfellow
- ScreenDaily
It takes great maturity and confidence to make a film about the emergence of a young woman’s sexuality that also dares to ask complex, provocative questions while understanding there are no simple answers. Suzanne Lindon is such a filmmaker, and her brisk, entertaining debut Spring Blossom is such a film. Lindon directed, wrote, and stars in this remarkably assured story of a 16-year-old Parisian who falls for an older man. Though Blossom is a bit slight at just 73 minutes and sometimes prone to posing too many questions, this TIFF entry heralds the arrival of a major international talent.
Lindon is just 20 years old. Blossoms is not only her debut a writer-director, but also as an actor. As she explains in the film’s press notes, “I was 15 and it was the summer before starting high school and even though I was happy at school, with my friends or my family,...
Lindon is just 20 years old. Blossoms is not only her debut a writer-director, but also as an actor. As she explains in the film’s press notes, “I was 15 and it was the summer before starting high school and even though I was happy at school, with my friends or my family,...
- 9/20/2020
- by Christopher Schobert
- The Film Stage
Warning: This post contains spoilers for Sunday’s Killing Eve season finale.
Well, neither Eve nor Villanelle was on the verge of death when Killing Eve wrapped up its third season on Sunday, so we suppose that’s an improvement.
More from TVLineKilling Eve's Jodie Comer on Villanelle's Family Reunion (and That Final Twist)Killing Eve Head Writer Explains That Season 3 Premiere Shocker: 'It Had to Be Something Monumental'The TVLine-Up: What's Leaving, New and Returning the Week of May 31
The Season 3 finale saw the duo — who had been separated for most of the season — come together for a emotionally charged slow dance,...
Well, neither Eve nor Villanelle was on the verge of death when Killing Eve wrapped up its third season on Sunday, so we suppose that’s an improvement.
More from TVLineKilling Eve's Jodie Comer on Villanelle's Family Reunion (and That Final Twist)Killing Eve Head Writer Explains That Season 3 Premiere Shocker: 'It Had to Be Something Monumental'The TVLine-Up: What's Leaving, New and Returning the Week of May 31
The Season 3 finale saw the duo — who had been separated for most of the season — come together for a emotionally charged slow dance,...
- 6/1/2020
- TVLine.com
Luca Guadagnino’s playful sensuality extends beyond his desire for actors. The director of arthouse hits I Am Love, A Bigger Splash and now Call Me By Your Name lavishes focus on anyone who has his attention. Michael Stuhlbarg, co-star of Guadagnino’s new film, channels his attention through lugubrious, monastic-like focus. When I talked with both the former dances with his id for all to see and the latter negotiates with his ego before saying a word. Put them together and you get a snapshot of Call Me By Your Name’s sexual ethos: muted sensuality, or as the director put it, “We were free to show everything and we decided not to. And in a way it was a very liberating experience.”
Goodwill for Call Me By Your Name has already propelled the film to nearly $1 million and that’s from just four screens in New York and Los Angeles thus far.
Goodwill for Call Me By Your Name has already propelled the film to nearly $1 million and that’s from just four screens in New York and Los Angeles thus far.
- 12/7/2017
- by The Film Stage
- The Film Stage
Call Me By Your Name came to the 55th New York Film Festival last week and both screenings were met with rapturous applause and standing ovations (a rare occurrence at the fest). Director Luca Guadagnino participated a press conference with the Film Society of Lincoln Center’s Dennis Lim, and also did a public Q&A at Nyff Live with actors Armie Hammer, Michael Stuhlbarg, and Timothée Chalamet at the Elinor Bunin Munroe Film Center Amphitheater.
In the press conference, Guadagnino discussed his collaboration with cinematographer Sayombhu Mukdeeprom (who also shot his upcoming Suspiria remake), Sufjan Stevens writing two original songs for the film when only one was requested, and avoiding romantic film cliches.
Hammer and Chalamet talked about the non-verbal sensuality of their character’s relationship at Nyff Live. Stuhlbarg discussed his character’s famous conversation with Elio in the film, and Guadagnino lists all the things he hates...
In the press conference, Guadagnino discussed his collaboration with cinematographer Sayombhu Mukdeeprom (who also shot his upcoming Suspiria remake), Sufjan Stevens writing two original songs for the film when only one was requested, and avoiding romantic film cliches.
Hammer and Chalamet talked about the non-verbal sensuality of their character’s relationship at Nyff Live. Stuhlbarg discussed his character’s famous conversation with Elio in the film, and Guadagnino lists all the things he hates...
- 10/11/2017
- by The Film Stage
- The Film Stage
Every week, IndieWire asks a select handful of film 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 Florida Project,” which has just started its platform release across the country, what is the greatest child performance in a film?
Jordan Hoffman (@JHoffman), The Guardian, Vanity Fair
I can agonize over this question or I can go at this Malcolm Gladwell “Blink”-style. My answer is Tatum O’Neal in “Paper Moon.” She’s just so funny and tough, which of course makes the performance all the more heartbreaking. She won the freaking Oscar at age 10 for this and I’d really love to give a more deep cut response, but why screw around? Paper Moon is a perfect film and she is the lynchpin.
This week’s question: In honor of “The Florida Project,” which has just started its platform release across the country, what is the greatest child performance in a film?
Jordan Hoffman (@JHoffman), The Guardian, Vanity Fair
I can agonize over this question or I can go at this Malcolm Gladwell “Blink”-style. My answer is Tatum O’Neal in “Paper Moon.” She’s just so funny and tough, which of course makes the performance all the more heartbreaking. She won the freaking Oscar at age 10 for this and I’d really love to give a more deep cut response, but why screw around? Paper Moon is a perfect film and she is the lynchpin.
- 10/9/2017
- by David Ehrlich
- Indiewire
Aaron is joined by David Blakeslee and Robert Taylor to talk about that massive May haul that Criterion announced, the titles leaving FilmStruck, The Tree of Wooden Clogs, Flash and Target sales, punk rock in the 1970s, and various other Criterion oddities.
Episode Notes
4:00 – May 2017 Criterion Releases
38:45 – Flash Sale Discussion
43:00 – Target Sale
46:30 – The Tree of Wooden Clogs
53:00 – Preview of Upcoming Releases & Misc News
1:00 – Films Leaving FilmStruck
1:06 – FilmStruck including Speed Round
1:16 – Short Takes (Symbiopsychotaxiplasm Take One, The Uninvited, À Nos Amours)
1:23 – What We’ve Been Doing
1:26 – Piece of Flair
Episode Links Pure Cinema Pod Criterion – Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles Criterion – Othello Criterion – Good Morning Criterion – Dheepan Criterion – Martin Scorsese’s World Cinema Project 2 Criterion – Ghost World Scott Reviews Tree of Wooden Clogs Trevor Reviews Tree of Wooden Clogs Movies Leaving FilmStruck Criterion Reflections – Symbiopsychotaxiplasm, Take One Wrong Reel 233:...
Episode Notes
4:00 – May 2017 Criterion Releases
38:45 – Flash Sale Discussion
43:00 – Target Sale
46:30 – The Tree of Wooden Clogs
53:00 – Preview of Upcoming Releases & Misc News
1:00 – Films Leaving FilmStruck
1:06 – FilmStruck including Speed Round
1:16 – Short Takes (Symbiopsychotaxiplasm Take One, The Uninvited, À Nos Amours)
1:23 – What We’ve Been Doing
1:26 – Piece of Flair
Episode Links Pure Cinema Pod Criterion – Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles Criterion – Othello Criterion – Good Morning Criterion – Dheepan Criterion – Martin Scorsese’s World Cinema Project 2 Criterion – Ghost World Scott Reviews Tree of Wooden Clogs Trevor Reviews Tree of Wooden Clogs Movies Leaving FilmStruck Criterion Reflections – Symbiopsychotaxiplasm, Take One Wrong Reel 233:...
- 2/22/2017
- by Aaron West
- CriterionCast
Early on in her seminal text, From Reverence to Rape: The Treatment of Women in the Movies, critic Molly Haskell makes dismissive note of the “modern” movie, something that was then purported by many to be a corrective to classical filmmaking. One of its chief tenets, she claimed, was that we came out of the theatre feeling superior to the foibles and insanity of the characters. Furthermore, she points to John Cassavetes’ Minnie & Moskowitz as representational of where modern screen romance stood, claiming its disorganized, improvised approach (“letting it all out”) was a poor substitute for the way an old Hollywood master (e.g. Howard Hawks) created order and understanding out of the chaos of relationships.
If Cassavetes was synonymous with what drove the culture wars of the 1970’s, then what do we make of his supposed compatriots and kindred spirits, particularly Maurice Pialat, the one labelled by many as...
If Cassavetes was synonymous with what drove the culture wars of the 1970’s, then what do we make of his supposed compatriots and kindred spirits, particularly Maurice Pialat, the one labelled by many as...
- 10/22/2015
- by Ethan Vestby
- The Film Stage
In this week's Village Voice, Melissa Anderson declares the Museum of the Moving Image's Maurice Pialat retrospective to be "one of the indispensable events of a cine-glutted fall season." We're collecting trailers and reviews: Dan Sallitt on Police and À nos amours, Adrian Martin on La gueule ouverte, Gabe Klinger on Sous le soleil de Satan and Jordan Cronk on Le garçu, plus interviews with Pialat, Sandrine Bonnaire and Jacques Rivette. A special screening's been added, too, the Us premiere of Joachim Lafosse's The White Knights, produced by Sylvie Pialat. » - David Hudson...
- 10/16/2015
- Keyframe
In this week's Village Voice, Melissa Anderson declares the Museum of the Moving Image's Maurice Pialat retrospective to be "one of the indispensable events of a cine-glutted fall season." We're collecting trailers and reviews: Dan Sallitt on Police and À nos amours, Adrian Martin on La gueule ouverte, Gabe Klinger on Sous le soleil de Satan and Jordan Cronk on Le garçu, plus interviews with Pialat, Sandrine Bonnaire and Jacques Rivette. A special screening's been added, too, the Us premiere of Joachim Lafosse's The White Knights, produced by Sylvie Pialat. » - David Hudson...
- 10/16/2015
- Fandor: Keyframe
Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.Chantal Akerman's Je tu il elle"She was a gay woman – proudly, unabashedly – who refused to be placed in either category, would not show her work in “gay” or “women’s” festivals, (“I won’t be ghettoized like that”) but never refused the ghetto of Judaism, and would always show in Jewish festivals. She was, it sometimes seemed, a Jew before she was anything, even before she was a person, and she was more of a person than anybody I’ve known."...from "Our Lives With (and Without) Chantal Akerman," by Henry Bean.Another Chantal Akerman tribute done proper: Janus Films is making its Akerman films—News from Home, La chambre, Je tu il elle, Jeanne Dielman, 23, Quai Du Commerce, 1080 Bruxelles, Hotel Monterey, and Les rendez-vous d'Anna—available to stream for U.
- 10/14/2015
- by Notebook
- MUBI
Read More: 5 Maurice Pialat Classics Returning to Theaters The Museum of Moving Image has announced a major retrospective for the lifework of French film director Maurice Pialat, which will run from October 16 - November 1. The career of late filmmaker Maurice Pialat (1925-2003) has been justly celebrated in his native France, but his legacy is unfairly underappreciated in the United States. The Pialat Retrospective will include all ten of his features in 35mm, in addition to his 1971 TV miniseries "La maison des bois," and several of his short films. Pialat emerged shortly after the French New Wave with his emotional, raw and sometimes autobiographical films. Pialat ended up directing some of the most significant French films of the 20th century, including "À nos amours," "We Won't Grow Old Together" and "Van Gogh." Other films on the slate include four collaborations with Gérard Depardieu -- "Loulou,"...
- 9/30/2015
- by Tarek Shoukri
- Indiewire
Soak up the Sun: Pialat’s Palme d’Or Winning Spiritual Anguish
As part of Cohen Media Group’s Maurice Pialat retrospective, perhaps the most significant title showcased in the lineup is his infamous 1987 title, Under the Sun of Satan. Instantly reviled after winning the coveted Palme d’Or at the Cannes Film Festival (with a jury made up of such heavy-hitters as Elem Klimov, Jerzy Skolimowski, Theo Angelopoulos, and Norman Mailer), where Pialat was jeered by a disapproving crowd, the title quickly lapsed into obscurity following a continually tepid critical reception.
Perhaps Pialat’s austere and increasingly deliberate examination of mental and spiritual anguish told through the perspective of a bumbling priest whose blasphemous predicament proves only the presence of Satan rather than God was as simultaneously too old fashioned as it was inconveniently provocative. Based on a 1927 novel by French author Georges Bernanos, Pialat’s treatment does seem...
As part of Cohen Media Group’s Maurice Pialat retrospective, perhaps the most significant title showcased in the lineup is his infamous 1987 title, Under the Sun of Satan. Instantly reviled after winning the coveted Palme d’Or at the Cannes Film Festival (with a jury made up of such heavy-hitters as Elem Klimov, Jerzy Skolimowski, Theo Angelopoulos, and Norman Mailer), where Pialat was jeered by a disapproving crowd, the title quickly lapsed into obscurity following a continually tepid critical reception.
Perhaps Pialat’s austere and increasingly deliberate examination of mental and spiritual anguish told through the perspective of a bumbling priest whose blasphemous predicament proves only the presence of Satan rather than God was as simultaneously too old fashioned as it was inconveniently provocative. Based on a 1927 novel by French author Georges Bernanos, Pialat’s treatment does seem...
- 9/29/2015
- by Nicholas Bell
- IONCINEMA.com
40. Road to Perdition
One of the more surprising and lesser-known facts about Sam Mendes’ second film, Road to Perdition, is that it’s actually adapted from a graphic novel of the same name by Max Allan Collins. The plot follows Michael Sullivan (Tom Hanks), an Irish mob enforcer as he goes on the run with his son Michael Jr. after Jr. witnesses a murder and their family is killed in an effort to cover up any witnesses. There’s many great things in this film that standout, such as Jude Law’s creepy performance as assassin Harlen Maguire, one of Paul Newman’s final and finest performances as mob boss John Rooney, and Hollywood got an early look at the talent of Daniel Craig as the unstable Connor Rooney. However, it’s the climax that remains the most memorable thing in it, featuring some of the most iconic work from...
One of the more surprising and lesser-known facts about Sam Mendes’ second film, Road to Perdition, is that it’s actually adapted from a graphic novel of the same name by Max Allan Collins. The plot follows Michael Sullivan (Tom Hanks), an Irish mob enforcer as he goes on the run with his son Michael Jr. after Jr. witnesses a murder and their family is killed in an effort to cover up any witnesses. There’s many great things in this film that standout, such as Jude Law’s creepy performance as assassin Harlen Maguire, one of Paul Newman’s final and finest performances as mob boss John Rooney, and Hollywood got an early look at the talent of Daniel Craig as the unstable Connor Rooney. However, it’s the climax that remains the most memorable thing in it, featuring some of the most iconic work from...
- 9/2/2015
- by Staff
- SoundOnSight
We're very excited that Lola, one of our favorite film journals, has started to roll out its 5th issue entitled "Shows." The pieces published so far include Joe McElhaney on German filmmakers in Hollywood, Lesley Stern on the "Ghostliness of Gesture", and Dorian Stuber & Marianne Tettlebaum on To Be or Not to Be. Still to come: "essays on Claire Denis, Eduardo Coutinho, anime, Blade Runner, the filmic object, film criticism, and more ... plus a special interview with James Benning." The Museum of the Moving Image's "First Look" lineup has been announced and includes new films by Ulrich Seidl, Ken Jacobs, and Gina Telaroli. The series will be running between January 9th and 18th. For Criterion, Farren Smith Nehme writes on Frank Capra's It Happened One Night:
"An ideal romantic comedy doesn’t ignore reality; it converses with it. The Depression may be softened by moonlight and shining eyes,...
"An ideal romantic comedy doesn’t ignore reality; it converses with it. The Depression may be softened by moonlight and shining eyes,...
- 11/26/2014
- by Notebook
- MUBI
Col*Coa is winding down, but you can still catch a few stellar films and see the award winners for free Monday, April 22, 2013.
Award Screenings at 6:00 pm: The evening will start with the rerun of two awarded films in the Renoir and Truffaut Theaters at the DGA. Films will be announced on Sunday April 21 on the Col*Coa website, on Facebook, Twitter and on the Col•Coa info line (310) 289 5346. Free admission on a First comes First Served basis. No RSVP needed.
You can stay and also see the Closing Night Films at 8:30 pm at the DGA. Reservations needed. Those are both North American Premieres of two very anticipated French films. The thriller Moebus by Eric Rochant will show for free as will the comedy Like Brothers by Hugo Gélin.
Being among the French filmmakers (and I saw way too few of the films) gave me such a surprising sense of renewal - again because of this upcoming generation. After seeing City of Lights, the short by Pascal Tessaud which preceded the classic Jacques Demy film Bay of Angels starring a platinum blond gambling-addicted Jeanne Moreau in Cannes, Nice and Monte Carlo in 1963, we spoke at length about what is called "The New Vibe". City of Lights stars a deeply quiet young man from "les banlieus", the notorious "suburbs" surrounding Paris where the international mix of young (and old) proletariat population is invisible to the rest of France except when the anger erupts into riots. This first generation has the French education but not the money or jobs and it hurts. They have picked up the cameras and with no money are creating films which express their lives in many ways like the new Latin American filmmakers or the new Eastern European filmmakers. Tessaud gave me an entire education in the hour we talked and I will share this in time. For now, aside from his wonderfuly trenchant film which played like a feature, which captured the Paris this young generation recognizes as The City of Lights - dancing, the kitchen of a very upscale restaurant, the dreary streets filled with construction, there is another example of The New Vibe, started by Rachid Djaïdani (a story in himself) the film Hold Back (Rengaine) leads the pack of the 20-some-odd new films of The New Vibe. It is produced by Anne-Dominque Toussaint (Les Films des Tournelles) whose films are too numerous to name but include my favorite The Hedgehog which I wrote about at Col*Coa two years ago, Col*Coa's current Cycling with Moliere, 2002's Respiro and many many others. Hold Back took 9 years to make and most of the team was unpaid. The New Vibe makes films without the aid of the French system of funding; it is more guerilla-style, not New Wave, not Dogma but New Vibe. Hold Back took Cannes by storm when it showed last year in Directors Fortnight and went on to New Directors/ New Films in New York. The classic story of a Catholic and a Muslim who want to marry but whose family objects, this rendition the Juliet has a brother who marches throughout Paris to alert her 39 other brothers that she wants to marry outside her cultural and religious traditions. "This fresh debut mixes fable, plucky social commentary - particularly about France's Arab community - and inventive comic setpieces" (Col*Coa)
Hold Back (Rengaine) (Isa: Pathe) goes beyond the funny but "establishmant" film Intouchable which played here last year. It is the exact opposite of such films as Sister or even Aliyah (Isa: Rezo) which played here this year and also in Directors Fortnight last year. Aliyah is about a young French Jewish man who must make his last drug sale in order to escape his brother's destructive behavior. He escapes by immigrating to Israel. These films are made by filmmakers within the French establishment and describe a proletariat existence which exists in their bourgeois minds. They lack a certain "verite" which can only be captured by one who knows viscerally what such marginal existence is.
At the opposite end of the contemporary spectrum of films today, a real establishment film is You Ain't Seen Nothing Yet by Alain Renais (you have to be a Renais fan to love it who was so avant-garde in his day). Those old New Wave films one could see here stand out in beautiful contrast to today's New Vibe: Renais' Stavisky or the 1963 film The Fire Within (Le feu follet) by Louis Malle again starring the beautiful Jeanne Moreau. I missed them both to my regret. When I miss a film I always tell myself I can see it when it's released or on DVD or Mubi, but rarely do I get to see it. Instead I can only read about it as here written up by Beth Hanna on Indiewire blog ToH. The Fire Within was part of Wes Anderson's choices, one of the various showcases of Col*Coa. Says Hanna: "Anderson's taste is impeccable: He has selected Louis Malle's 1963 lyrical depression drama The Fire Within." It was made after the classic Elevator to the Gallows (1958) which Miles Davis scored and which also starred the young Jeanne Moreau. She also could be seen her in Col*Coa in the classic 1963 Jacques Demy-directed Bay of Angels.
Col*Coa really offered something for everyone this year. Another of my favorite film genres, the Jewish film, was represented by Aliyah and The Dandelions (Du Vent dans mes mollets) (Isa: Gaumont), Stavisky, and It Happened in St. Tropez (Isa: Pathe), a classic French comedy -- though a bit dark and yet still comedic, about romance, love and marriage switching between generations in a neurotic, comfortably wealthy Jewish family. The Dandelions was, according to my friend Debra Levine, a writer on culture including film and dance, (see her blog artsmeme), "darling, so touching, so well made, so creative ... i really liked it. Went into that rabbit hole of little girls together ... Barbie doll play. Crazy creative play. As looney as kids can be."
Ian Birnie's favorite film was Becoming Traviata. Greg Katchel's favorite originally was Rendez-vous à Kiruna by Anna Novion, but when I saw him later in the festival his favorite was Cycling with Moliere (Alceste a bicyclette) (Isa: Pathe), again produced by Anne-Dominque Toussaint and directed by Philippe Le Guay who directed one of my favorites, The Women on the 6th Floor. Greg also liked Three Worlds though it was a bit "schematic" in depicting the clash of different cultures which were also shown in Hold Back.
Of the few films I was able to see, the most interesting was Augustine by Alice Winokur. It is the French response to David Cronenberg's A Dangerous Method and the British film Hysteria. All three were about the turn of the century concern of psychologists or doctors with female hysteria. This one concerned Jean-Martin Charcot and the neurologist's belief that hysteria was a neurological disease and he used hypnosis to get at its roots, whild in A Dangerous Method it was seen by Freud and Jung as a mental disorder and in Hysteria by Tanya Wexler (Tiff 2011) in which Dr. Mortimer Granville devises the invention of the first vibrator in the name of medical science.
Take a look at Indiewire's own article here for more on Los Angeles's greatest French attraction, the second largest French film festival in the world.
Several American distributors will present their films at Col•Coa before their U.S. release: Kino Lorber – You Ain’t Seen Nothing Yet, co-written and directed by Alain Resnais (Focus on a Filmmaker); Mpi Media – Thérèse, the last film of director/co-writer Claude Miller starring Audrey Tautou; Cohen Media Group – In the House, written and directed by François Ozon and The Attack, co-written and directed by Ziad Doueiri; Distrib Films for two documentaries: Becoming Traviata and The Invisibles; Film Movement for two thrillers: Aliyah and Three Worlds; The Weinstein Company - Populaire.
Below you can see the international sales agents for the current features showing.
11.6 / 11.6 (Isa: Wild Bunch)
Directed by: Philippe Godeau
Written by: Philippe Godeau, Agnès De Sacy
A Few Hours Of Spring / Quelques heures de printemps (Isa: Rezo)
Directed by: Stéphane Brizé ♀
Written by: Stéphane Brizé, Florence Vignon
Cast: Vincent Lindon, Hélène Vincent, Emmanuelle Seigner, Olivier Perrier
Aliyah/Alyah ✡ (Isa: Rezo, U.S.: Film Movement
Directed by: Élie Wajeman
Written by: Élie Wajeman, Gaëlle Macé
Armed Hands / Mains armées (Isa: Films Distribution)
Directed by: Pierre Jolivet
Written by: Pierre Jolivet, Simon Michaël
Augustine / Augustine (Isa: Kinology, U.S.: Music Box)
Directed by: Alice Winocour ♀
Written by: Alice Winocour
Aya Of Yop City / Aya de Yopougon (Isa: TF1)
Directed by: Clément Oubrerie, Marguerite Abouet ♀
Written by: Marguerite Abouet
Bay Of Angels / La Baie des anges (U.S.: Criterion)
Directed by: Jacques Demy
Written by: Jacques Demy
Becoming Traviata /Traviata et nous (Isa: Films Boutique, U.S. Distrib Films and Cinema Guild)
Directed by: Philippe Béziat
Written by: Philippe Béziat
Cycling With MOLIÈRE / Alceste à bicyclette (Isa: Pathe)
Directed by: Philippe Le Guay
Written by: Philippe Le Guay, based on an original idea by Fabrice Luchini and Philippe Le Guay
Fly Me To The Moon / Un plan parfait (Isa: Kinology)
Directed By: Pascal Chaumeil
Written By: Laurent Zeitoun, Yoann Gromb, Philippe Mechelen
Haute Cuisine / Les Saveurs du palais (Isa: Wild Bunch, U.S.: The Weinstein Company)
Directed by: Christian Vincent
Written by: Etienne Comar & Christian Vincent, based on the life of Danièle Mazet-Delpeuch
Hidden Beauties / Mille-Feuille (Isa: Other Angle Pictures)
Directed by: Nouri Bouzid
Written by: Nouri Bouzid, Joumène Limam
Hold Back / Rengaine (Isa: Pathe)
Directed by: Rachid Djaïdani
Written by: Rachid Djaïdani
In The House / Dans la maison (Isa: Wild Bunch, U.S.: Cohen Media Group)
Directed by: François Ozon
Written by: François Ozon
It Happened In Saint-tropez / Des Gens qui s’embrassent (Isa: Pathe)
Directed by: Danièle Thompson ♀
Written by: Danièle Thompson, Christopher Thompson
Jappeloup/ Jappeloup (Isa: Pathe)
Directed by: Christian Duguay
Written by: Guillaume Canet
Le Grand Soir / Le grand soir (Isa: Funny Balloons)
Directed by: Benoît Delépine and Gustave de Kervern
Written by: Benoît Delépine and Gustave de Kervern
Little Lion / Comme un Lion (Isa: Pyramide)
Directed by: Samuel Collardey
Written by: Catherine Paillé, Nadège Trebal, Samuel Collardey
Moon Man / Jean de la lune (Isa: Le Pacte)
Directed By: Stephan Schesch
Written By: Stephan Schesch, Ralph Martin. Based on the book by: Tomi Ungerer
Populaire / Populaire (Isa: Wild Bunch, U.S.: TWC)
Directed By: Régis Roinsard
Written By: Régis Roinsard, Daniel Presley, Romain Compingt
Rendezvous In Kiruna / Rendez-vous à Kiruna (Isa: Pyramide)
Directed by: Anne Novion ♀
Written by: Olivier Massart, Anne Novion, Pierre Novion
Sons Of The Wind / Les Fils du vent (Isa: Wide)
Directed by: Bruno Le Jean
Written by: Bruno Le Jean
Stavisky / Stavisky (1974) (Isa: StudioCanal)
Directed by: Alain Resnais
Written by: Jorge Semprún
The Attack / L’Attentat
France, Belgium, Lebanon, Qatar, 2013
Directed by: Ziad Doueiri (Isa: Wild Bunch, U.S.: Cohen Media Group)
The BRONTË Sisters / Les Soeurs Brontë (Isa: Gaumont, U.S.: Cohen Media Group)
Directed by: André Téchiné
Written by: André Téchiné, Jean Gruault, Pascal Bonitzer
The Dandelions / Du Vent dans mes mollets ✡
Directed By: Carine Tardieu ♀
Written By: Carine Tardieu, Raphaële Moussafir, Olivier Beer
The Fire Within / Le Feu Follet (1963) (Isa: Pyramide, U.S.: Janus Films)
Directed by: Louis Malle
Written by: Louis Malle
The Invisibles / Les Invisibles (Isa: Doc & Film, U.S. Distrib Films))
Directed By: Sébastien Lifshitz
The Man Who Laughs/ L’Homme qui rit (Isa: EuropaCorps)
Directed by: Jean-Pierre Améris
Written by: Jean-Pierre Améris , Guillaume Laurant
THÉRÈSE / Thérèse Desqueyroux (Isa: TF1, U.S.: Mpi)
Directed by: Claude Miller
Written by: Claude Miller, Natalie Carter
Three Worlds / Trois mondes (Isa: Pyramide, U.S.: Film Movement)
Directed by: Catherine Corsini ♀
Written by: Catherine Corsini, Benoît Graffin
To Our Loves / À nos amours (1983) (U.S. Janus)
Directed By: Maurice Pialat
Written By: Arlette Langmann, Maurice Pialat
True Friends / Amitiés sincères (Isa: Snd Groupe 6)
Directed By: Stéphan Archinard, François Prévôt-Leygonie
Written By: Stéphan Archinard, François Prévôt-Leygonie, Marie-Pierre Huster
Welcome To Argentina / Mariage à Mendoza (Isa: Kinology)
Directed By: Édouard Deluc
Written By: Anaïs Carpita, Édouard Deluc, Thomas Lilti, Philippe Rebbot
What’S In A Name / Le prénom (Isa: Pathe, U.S. Under The Milky Way)
Directed by: Alexandre de La Patellière, Matthieu Delaporte
Written by: Alexandre de La Patellière, Matthieu Delaporte
You Ain’T Seen Nothin’ Yet / Vous n’avez encore rien vu (Isa: StudioCanal, U.S.: Kino Lorber)
Directed By: Alain Resnais
Written By: Alain Resnais, Laurent Herbiet...
Award Screenings at 6:00 pm: The evening will start with the rerun of two awarded films in the Renoir and Truffaut Theaters at the DGA. Films will be announced on Sunday April 21 on the Col*Coa website, on Facebook, Twitter and on the Col•Coa info line (310) 289 5346. Free admission on a First comes First Served basis. No RSVP needed.
You can stay and also see the Closing Night Films at 8:30 pm at the DGA. Reservations needed. Those are both North American Premieres of two very anticipated French films. The thriller Moebus by Eric Rochant will show for free as will the comedy Like Brothers by Hugo Gélin.
Being among the French filmmakers (and I saw way too few of the films) gave me such a surprising sense of renewal - again because of this upcoming generation. After seeing City of Lights, the short by Pascal Tessaud which preceded the classic Jacques Demy film Bay of Angels starring a platinum blond gambling-addicted Jeanne Moreau in Cannes, Nice and Monte Carlo in 1963, we spoke at length about what is called "The New Vibe". City of Lights stars a deeply quiet young man from "les banlieus", the notorious "suburbs" surrounding Paris where the international mix of young (and old) proletariat population is invisible to the rest of France except when the anger erupts into riots. This first generation has the French education but not the money or jobs and it hurts. They have picked up the cameras and with no money are creating films which express their lives in many ways like the new Latin American filmmakers or the new Eastern European filmmakers. Tessaud gave me an entire education in the hour we talked and I will share this in time. For now, aside from his wonderfuly trenchant film which played like a feature, which captured the Paris this young generation recognizes as The City of Lights - dancing, the kitchen of a very upscale restaurant, the dreary streets filled with construction, there is another example of The New Vibe, started by Rachid Djaïdani (a story in himself) the film Hold Back (Rengaine) leads the pack of the 20-some-odd new films of The New Vibe. It is produced by Anne-Dominque Toussaint (Les Films des Tournelles) whose films are too numerous to name but include my favorite The Hedgehog which I wrote about at Col*Coa two years ago, Col*Coa's current Cycling with Moliere, 2002's Respiro and many many others. Hold Back took 9 years to make and most of the team was unpaid. The New Vibe makes films without the aid of the French system of funding; it is more guerilla-style, not New Wave, not Dogma but New Vibe. Hold Back took Cannes by storm when it showed last year in Directors Fortnight and went on to New Directors/ New Films in New York. The classic story of a Catholic and a Muslim who want to marry but whose family objects, this rendition the Juliet has a brother who marches throughout Paris to alert her 39 other brothers that she wants to marry outside her cultural and religious traditions. "This fresh debut mixes fable, plucky social commentary - particularly about France's Arab community - and inventive comic setpieces" (Col*Coa)
Hold Back (Rengaine) (Isa: Pathe) goes beyond the funny but "establishmant" film Intouchable which played here last year. It is the exact opposite of such films as Sister or even Aliyah (Isa: Rezo) which played here this year and also in Directors Fortnight last year. Aliyah is about a young French Jewish man who must make his last drug sale in order to escape his brother's destructive behavior. He escapes by immigrating to Israel. These films are made by filmmakers within the French establishment and describe a proletariat existence which exists in their bourgeois minds. They lack a certain "verite" which can only be captured by one who knows viscerally what such marginal existence is.
At the opposite end of the contemporary spectrum of films today, a real establishment film is You Ain't Seen Nothing Yet by Alain Renais (you have to be a Renais fan to love it who was so avant-garde in his day). Those old New Wave films one could see here stand out in beautiful contrast to today's New Vibe: Renais' Stavisky or the 1963 film The Fire Within (Le feu follet) by Louis Malle again starring the beautiful Jeanne Moreau. I missed them both to my regret. When I miss a film I always tell myself I can see it when it's released or on DVD or Mubi, but rarely do I get to see it. Instead I can only read about it as here written up by Beth Hanna on Indiewire blog ToH. The Fire Within was part of Wes Anderson's choices, one of the various showcases of Col*Coa. Says Hanna: "Anderson's taste is impeccable: He has selected Louis Malle's 1963 lyrical depression drama The Fire Within." It was made after the classic Elevator to the Gallows (1958) which Miles Davis scored and which also starred the young Jeanne Moreau. She also could be seen her in Col*Coa in the classic 1963 Jacques Demy-directed Bay of Angels.
Col*Coa really offered something for everyone this year. Another of my favorite film genres, the Jewish film, was represented by Aliyah and The Dandelions (Du Vent dans mes mollets) (Isa: Gaumont), Stavisky, and It Happened in St. Tropez (Isa: Pathe), a classic French comedy -- though a bit dark and yet still comedic, about romance, love and marriage switching between generations in a neurotic, comfortably wealthy Jewish family. The Dandelions was, according to my friend Debra Levine, a writer on culture including film and dance, (see her blog artsmeme), "darling, so touching, so well made, so creative ... i really liked it. Went into that rabbit hole of little girls together ... Barbie doll play. Crazy creative play. As looney as kids can be."
Ian Birnie's favorite film was Becoming Traviata. Greg Katchel's favorite originally was Rendez-vous à Kiruna by Anna Novion, but when I saw him later in the festival his favorite was Cycling with Moliere (Alceste a bicyclette) (Isa: Pathe), again produced by Anne-Dominque Toussaint and directed by Philippe Le Guay who directed one of my favorites, The Women on the 6th Floor. Greg also liked Three Worlds though it was a bit "schematic" in depicting the clash of different cultures which were also shown in Hold Back.
Of the few films I was able to see, the most interesting was Augustine by Alice Winokur. It is the French response to David Cronenberg's A Dangerous Method and the British film Hysteria. All three were about the turn of the century concern of psychologists or doctors with female hysteria. This one concerned Jean-Martin Charcot and the neurologist's belief that hysteria was a neurological disease and he used hypnosis to get at its roots, whild in A Dangerous Method it was seen by Freud and Jung as a mental disorder and in Hysteria by Tanya Wexler (Tiff 2011) in which Dr. Mortimer Granville devises the invention of the first vibrator in the name of medical science.
Take a look at Indiewire's own article here for more on Los Angeles's greatest French attraction, the second largest French film festival in the world.
Several American distributors will present their films at Col•Coa before their U.S. release: Kino Lorber – You Ain’t Seen Nothing Yet, co-written and directed by Alain Resnais (Focus on a Filmmaker); Mpi Media – Thérèse, the last film of director/co-writer Claude Miller starring Audrey Tautou; Cohen Media Group – In the House, written and directed by François Ozon and The Attack, co-written and directed by Ziad Doueiri; Distrib Films for two documentaries: Becoming Traviata and The Invisibles; Film Movement for two thrillers: Aliyah and Three Worlds; The Weinstein Company - Populaire.
Below you can see the international sales agents for the current features showing.
11.6 / 11.6 (Isa: Wild Bunch)
Directed by: Philippe Godeau
Written by: Philippe Godeau, Agnès De Sacy
A Few Hours Of Spring / Quelques heures de printemps (Isa: Rezo)
Directed by: Stéphane Brizé ♀
Written by: Stéphane Brizé, Florence Vignon
Cast: Vincent Lindon, Hélène Vincent, Emmanuelle Seigner, Olivier Perrier
Aliyah/Alyah ✡ (Isa: Rezo, U.S.: Film Movement
Directed by: Élie Wajeman
Written by: Élie Wajeman, Gaëlle Macé
Armed Hands / Mains armées (Isa: Films Distribution)
Directed by: Pierre Jolivet
Written by: Pierre Jolivet, Simon Michaël
Augustine / Augustine (Isa: Kinology, U.S.: Music Box)
Directed by: Alice Winocour ♀
Written by: Alice Winocour
Aya Of Yop City / Aya de Yopougon (Isa: TF1)
Directed by: Clément Oubrerie, Marguerite Abouet ♀
Written by: Marguerite Abouet
Bay Of Angels / La Baie des anges (U.S.: Criterion)
Directed by: Jacques Demy
Written by: Jacques Demy
Becoming Traviata /Traviata et nous (Isa: Films Boutique, U.S. Distrib Films and Cinema Guild)
Directed by: Philippe Béziat
Written by: Philippe Béziat
Cycling With MOLIÈRE / Alceste à bicyclette (Isa: Pathe)
Directed by: Philippe Le Guay
Written by: Philippe Le Guay, based on an original idea by Fabrice Luchini and Philippe Le Guay
Fly Me To The Moon / Un plan parfait (Isa: Kinology)
Directed By: Pascal Chaumeil
Written By: Laurent Zeitoun, Yoann Gromb, Philippe Mechelen
Haute Cuisine / Les Saveurs du palais (Isa: Wild Bunch, U.S.: The Weinstein Company)
Directed by: Christian Vincent
Written by: Etienne Comar & Christian Vincent, based on the life of Danièle Mazet-Delpeuch
Hidden Beauties / Mille-Feuille (Isa: Other Angle Pictures)
Directed by: Nouri Bouzid
Written by: Nouri Bouzid, Joumène Limam
Hold Back / Rengaine (Isa: Pathe)
Directed by: Rachid Djaïdani
Written by: Rachid Djaïdani
In The House / Dans la maison (Isa: Wild Bunch, U.S.: Cohen Media Group)
Directed by: François Ozon
Written by: François Ozon
It Happened In Saint-tropez / Des Gens qui s’embrassent (Isa: Pathe)
Directed by: Danièle Thompson ♀
Written by: Danièle Thompson, Christopher Thompson
Jappeloup/ Jappeloup (Isa: Pathe)
Directed by: Christian Duguay
Written by: Guillaume Canet
Le Grand Soir / Le grand soir (Isa: Funny Balloons)
Directed by: Benoît Delépine and Gustave de Kervern
Written by: Benoît Delépine and Gustave de Kervern
Little Lion / Comme un Lion (Isa: Pyramide)
Directed by: Samuel Collardey
Written by: Catherine Paillé, Nadège Trebal, Samuel Collardey
Moon Man / Jean de la lune (Isa: Le Pacte)
Directed By: Stephan Schesch
Written By: Stephan Schesch, Ralph Martin. Based on the book by: Tomi Ungerer
Populaire / Populaire (Isa: Wild Bunch, U.S.: TWC)
Directed By: Régis Roinsard
Written By: Régis Roinsard, Daniel Presley, Romain Compingt
Rendezvous In Kiruna / Rendez-vous à Kiruna (Isa: Pyramide)
Directed by: Anne Novion ♀
Written by: Olivier Massart, Anne Novion, Pierre Novion
Sons Of The Wind / Les Fils du vent (Isa: Wide)
Directed by: Bruno Le Jean
Written by: Bruno Le Jean
Stavisky / Stavisky (1974) (Isa: StudioCanal)
Directed by: Alain Resnais
Written by: Jorge Semprún
The Attack / L’Attentat
France, Belgium, Lebanon, Qatar, 2013
Directed by: Ziad Doueiri (Isa: Wild Bunch, U.S.: Cohen Media Group)
The BRONTË Sisters / Les Soeurs Brontë (Isa: Gaumont, U.S.: Cohen Media Group)
Directed by: André Téchiné
Written by: André Téchiné, Jean Gruault, Pascal Bonitzer
The Dandelions / Du Vent dans mes mollets ✡
Directed By: Carine Tardieu ♀
Written By: Carine Tardieu, Raphaële Moussafir, Olivier Beer
The Fire Within / Le Feu Follet (1963) (Isa: Pyramide, U.S.: Janus Films)
Directed by: Louis Malle
Written by: Louis Malle
The Invisibles / Les Invisibles (Isa: Doc & Film, U.S. Distrib Films))
Directed By: Sébastien Lifshitz
The Man Who Laughs/ L’Homme qui rit (Isa: EuropaCorps)
Directed by: Jean-Pierre Améris
Written by: Jean-Pierre Améris , Guillaume Laurant
THÉRÈSE / Thérèse Desqueyroux (Isa: TF1, U.S.: Mpi)
Directed by: Claude Miller
Written by: Claude Miller, Natalie Carter
Three Worlds / Trois mondes (Isa: Pyramide, U.S.: Film Movement)
Directed by: Catherine Corsini ♀
Written by: Catherine Corsini, Benoît Graffin
To Our Loves / À nos amours (1983) (U.S. Janus)
Directed By: Maurice Pialat
Written By: Arlette Langmann, Maurice Pialat
True Friends / Amitiés sincères (Isa: Snd Groupe 6)
Directed By: Stéphan Archinard, François Prévôt-Leygonie
Written By: Stéphan Archinard, François Prévôt-Leygonie, Marie-Pierre Huster
Welcome To Argentina / Mariage à Mendoza (Isa: Kinology)
Directed By: Édouard Deluc
Written By: Anaïs Carpita, Édouard Deluc, Thomas Lilti, Philippe Rebbot
What’S In A Name / Le prénom (Isa: Pathe, U.S. Under The Milky Way)
Directed by: Alexandre de La Patellière, Matthieu Delaporte
Written by: Alexandre de La Patellière, Matthieu Delaporte
You Ain’T Seen Nothin’ Yet / Vous n’avez encore rien vu (Isa: StudioCanal, U.S.: Kino Lorber)
Directed By: Alain Resnais
Written By: Alain Resnais, Laurent Herbiet...
- 4/20/2013
- by Sydney Levine
- Sydney's Buzz
Dan Sallitt's new film, The Unspeakable Act, marks the return of an underseen, major American filmmaker (long esteemed as one of the superior cinema critics writing in English, often here at The Notebook) with a feature which surely ranks among the richest works of the last several years.
Additionally, the new Sallitt film introduces the world to Tallie Medel, a performer whose intellect, emotive capacity, and force of persona place her in the outstanding category of such ascendant figures as Greta Gerwig and Kate Lyn Sheil while outlining a contour of being, a persuasion, that are hers alone.
The Unspeakable Act has its New York premiere as part of BAMcinemaFest on Sunday, June 24th, and its international premiere at the Edinburgh International Film Festival on Friday, June 29th, with three screenings at the Karlovy Vary International Film Festival to follow in July.
The conversation below took place over email across the last two months.
Additionally, the new Sallitt film introduces the world to Tallie Medel, a performer whose intellect, emotive capacity, and force of persona place her in the outstanding category of such ascendant figures as Greta Gerwig and Kate Lyn Sheil while outlining a contour of being, a persuasion, that are hers alone.
The Unspeakable Act has its New York premiere as part of BAMcinemaFest on Sunday, June 24th, and its international premiere at the Edinburgh International Film Festival on Friday, June 29th, with three screenings at the Karlovy Vary International Film Festival to follow in July.
The conversation below took place over email across the last two months.
- 6/20/2012
- MUBI
We at Mubi think that celebrating the films of 2011 should be a celebration of film viewing in 2011. Since all film and video is "old" one way or another, we present Out of a Past, a small (re-) collection of some of our favorite retrospective viewings from 2011.
These six movies are not necessarily the best old movies I saw for the first time this year, but the movies that most challenged my existing ideas of film and film history.
***
Tokyo Twilight (Yasujiro Ozu, Japan, 1957)
April 21, Film Forum, New York, NY
Tokyo Twilight may be Ozu’s darkest film. Like a lot of his movies, it develops slowly as an accretion of small moments. It built so slowly, in fact, that I was surprised about 3/4 of the way through the film to realize how horribly ugly it had become. The received notion that Ozu makes quiet miniatures about everyday family life has...
These six movies are not necessarily the best old movies I saw for the first time this year, but the movies that most challenged my existing ideas of film and film history.
***
Tokyo Twilight (Yasujiro Ozu, Japan, 1957)
April 21, Film Forum, New York, NY
Tokyo Twilight may be Ozu’s darkest film. Like a lot of his movies, it develops slowly as an accretion of small moments. It built so slowly, in fact, that I was surprised about 3/4 of the way through the film to realize how horribly ugly it had become. The received notion that Ozu makes quiet miniatures about everyday family life has...
- 1/18/2012
- MUBI
It’s the time again, my friends. When I go through Hulu’s Criterion page and give you what’s new, what’s exciting and what might be a hint at a future release within the collection. There’s even a ton of new supplemental material from various films that are worth getting into. If you like this series of article, please sign up for your own Hulu Plus account. Every little bit counts and is much appreciated.
Let’s just get right to it then. Remember, all the links will be included with each listing. We make it as easy as possible for all of you. First up is a film that isn’t in the collection but I can easily see it being welcomed with open arms.
La Cérémonie (1995), a Claude Chabrol film, is about Catherine (Jacqueline Bisset) who hires a new maid by the name of Sophie (Sandrine Bonnaire), an illiterate woman.
Let’s just get right to it then. Remember, all the links will be included with each listing. We make it as easy as possible for all of you. First up is a film that isn’t in the collection but I can easily see it being welcomed with open arms.
La Cérémonie (1995), a Claude Chabrol film, is about Catherine (Jacqueline Bisset) who hires a new maid by the name of Sophie (Sandrine Bonnaire), an illiterate woman.
- 5/13/2011
- by James McCormick
- CriterionCast
Chicago – Few filmmakers have proven to be as effortlessly prolific as Chicago-based writer/director/producer/actor Joe Swanberg. Since 2005, he’s released one directorial feature per year, with the exception of 2010. This year, he could potentially release seven pictures (three of them have already made the festival rounds). “Uncle Kent” played at Sundance, while “Silver Bullets” and “Art History” were screened at Berlinale.
“Kent,” which opens April 29 at the Gene Siskel Film Center, stars Kent Osborne (of “Hannah Takes the Stairs”) as a fortysomething animator who falls for the woman (Jennifer Prediger) he met on Chatroulette. It’s Swanberg’s latest exploration of relationships enhanced and hindered by technology, as well as one of the filmmaker’s most singular character portraits. Both “Bullets” and “History” are about the creative process of filmmaking, with Swanberg and his crew playing semi-fictionalized versions of themselves. Hollywood Chicago spoke with Swanberg about his various new projects,...
“Kent,” which opens April 29 at the Gene Siskel Film Center, stars Kent Osborne (of “Hannah Takes the Stairs”) as a fortysomething animator who falls for the woman (Jennifer Prediger) he met on Chatroulette. It’s Swanberg’s latest exploration of relationships enhanced and hindered by technology, as well as one of the filmmaker’s most singular character portraits. Both “Bullets” and “History” are about the creative process of filmmaking, with Swanberg and his crew playing semi-fictionalized versions of themselves. Hollywood Chicago spoke with Swanberg about his various new projects,...
- 4/25/2011
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
A look at what's new on DVD today:
"The Assassin Next Door" (2009)
Directed by Danny Lerner
Released by First Look Studios
Retitled since its premiere at last year's Toronto Film Festival as "Kirot," Bond girl Olga Kurylenko is the one handling the gun in this thriller about two women -- an assassin and a grocery clerk -- desperate to leave their lot in life who hatch a plan to improve their situation and decidedly won't do the same for the men who stand in their way.
"Black Orpheus" (1959)
Directed by Marcel Camus
Released by Criterion Collection
Marcel Camus' Palme d'Or-winning Brazilian-set retelling of the Greek myth of Orpheus and Eurdice is reissued by Criterion Collection on Blu-ray and DVD with a completely new set of extras including the French documentary "Looking for 'Black Orpheus'" about the film's legacy and archival interviews with Camus and actress Marpessa Dawn.
"Burning Bright...
"The Assassin Next Door" (2009)
Directed by Danny Lerner
Released by First Look Studios
Retitled since its premiere at last year's Toronto Film Festival as "Kirot," Bond girl Olga Kurylenko is the one handling the gun in this thriller about two women -- an assassin and a grocery clerk -- desperate to leave their lot in life who hatch a plan to improve their situation and decidedly won't do the same for the men who stand in their way.
"Black Orpheus" (1959)
Directed by Marcel Camus
Released by Criterion Collection
Marcel Camus' Palme d'Or-winning Brazilian-set retelling of the Greek myth of Orpheus and Eurdice is reissued by Criterion Collection on Blu-ray and DVD with a completely new set of extras including the French documentary "Looking for 'Black Orpheus'" about the film's legacy and archival interviews with Camus and actress Marpessa Dawn.
"Burning Bright...
- 8/17/2010
- by Stephen Saito
- ifc.com
Well here we are, another mid-month Criterion Collection New Release announcement extravaganza. A few titles that we suspected, due to rumors and various clues, and new addition to Maurice Pilat’s section of the Criterion Collection.
First off, we’re getting a re-release of a Criterion classic, Marcel Camus’ Black Orpheus. This is Criterion #48, so they are keeping in line with their re-releasing older titles, with new features, transfers, and absolutely gorgeous cover art. This Black Orpheus painting is one that I would certainly buy a print of, to hang on my wall. Black Orpheus will be released on August 17th on DVD and Blu-ray
A few weeks back, we told you about how the New York Times, in their Summer DVD column, let loose the idea that Criterion was working on a collection of Josef Von Sternberg titles, and we now have a complete list of the films, along with supplemental materials and artwork.
First off, we’re getting a re-release of a Criterion classic, Marcel Camus’ Black Orpheus. This is Criterion #48, so they are keeping in line with their re-releasing older titles, with new features, transfers, and absolutely gorgeous cover art. This Black Orpheus painting is one that I would certainly buy a print of, to hang on my wall. Black Orpheus will be released on August 17th on DVD and Blu-ray
A few weeks back, we told you about how the New York Times, in their Summer DVD column, let loose the idea that Criterion was working on a collection of Josef Von Sternberg titles, and we now have a complete list of the films, along with supplemental materials and artwork.
- 5/14/2010
- by Ryan Gallagher
- CriterionCast
Acquarello
Notes on Rendez-vous with French Cinema 2010
David Cairns
The Forgotten: Trousering the Ghost
The Forgotten: Vessel of Wrath
The Forgotten: Is My Face Red
The Forgotten: Lock-Up
Zach Campbell
Some Kind of Realism: Rossellini's War Trilogy
Andrew Chan
Sinophilic Cinephilia: Asia Society's "China’s Past Present, Future on Film"
Adrian Curry
Movie Poster of the Week: "Cold Weather"
Movie Poster of the Week: "Glory to the Filmmaker" or: Kitano in Posters
Movie Poster of the Week: "Feeder" and the SXSW Poster Award Winners
Movie Poster of the Week: "Everyone Else"
David Hudson
Berlinale. Cons and Ex-Cons
Daniel Kasman
Image of the Day: Unrequited Love #1
The Potential of the Mobile Film Festival: Rotterdam@Bam
Images of the Day: Joan Alone: Joan Bennett in Fritz Lang's "Secret Beyond the Door..."
At the Cinematheque: "The Prowler" (Joseph Losey, 1951)
Jean-Luc Godard's Homage to Eric Rohmer
Now in Theaters: "Shutter Island" (Martin Scorsese,...
Notes on Rendez-vous with French Cinema 2010
David Cairns
The Forgotten: Trousering the Ghost
The Forgotten: Vessel of Wrath
The Forgotten: Is My Face Red
The Forgotten: Lock-Up
Zach Campbell
Some Kind of Realism: Rossellini's War Trilogy
Andrew Chan
Sinophilic Cinephilia: Asia Society's "China’s Past Present, Future on Film"
Adrian Curry
Movie Poster of the Week: "Cold Weather"
Movie Poster of the Week: "Glory to the Filmmaker" or: Kitano in Posters
Movie Poster of the Week: "Feeder" and the SXSW Poster Award Winners
Movie Poster of the Week: "Everyone Else"
David Hudson
Berlinale. Cons and Ex-Cons
Daniel Kasman
Image of the Day: Unrequited Love #1
The Potential of the Mobile Film Festival: Rotterdam@Bam
Images of the Day: Joan Alone: Joan Bennett in Fritz Lang's "Secret Beyond the Door..."
At the Cinematheque: "The Prowler" (Joseph Losey, 1951)
Jean-Luc Godard's Homage to Eric Rohmer
Now in Theaters: "Shutter Island" (Martin Scorsese,...
- 4/1/2010
- MUBI
In addition to its brilliant edition of Sous le soleil de Satan, March also sees Eureka!/Moc relelasing Pialat's À nos amours, which is perhaps his best-known film internationally. The painful and painstaking film, scenes from the life of a sexually vibrant and confused female adolescent and her crumbling family, was released in an excellent domestic standard-definition Region 1 Ntsc DVD by The Criterion Collection in 2006. The new Region 2 Pal edition from Eureka!/Moc reproduces most of the extras from the Criterion edition, but boasts a new transfer. Is the difference between the two sufficient to justify a purchase on the part of the multi-region-player equipped? Ultimately that's up to the consumer, of course, but I made some screen caps off of my computer of two frames from the two different versions to provide illustrations.
Directly above is a screen capture from the Criterion edition.
And here is a capture from the Eureka!
Directly above is a screen capture from the Criterion edition.
And here is a capture from the Eureka!
- 3/30/2010
- MUBI
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