Established in the 1950s by André Bazin, Joseph-Marie Lo Duca, and Jacques Doniol-Valcroze, France’s Cahiers du cinéma has been a bastion for international film criticism for decades, even amidst recent changes. They’ve now unveiled their predictably stellar top 10 films of 2023 list.
Topping the list is Laura Citeralla’s four-hour epic Trenque Lauquen, while Víctor Erice’s long-awaited return Close Your Eyes and Justine Triet’s Palme d’Or winner Anatomy of a Fall round out the top three. The list also features Aki Kaurismäki’s Fallen Leaves, Catherine Breillat’s Last Summer, and Radu Jude’s Do Not Expect Too Much From the End of the World.
Cyril Schäublin’s overlooked drama Unrest also got a mention while Pierre Creton’s Un prince and Kelly Reichardt’s Showing Up tied for tenth place. They also have room for one major surprise, this year being Rabah Ameur-Zaïmeche’s Berlinale...
Topping the list is Laura Citeralla’s four-hour epic Trenque Lauquen, while Víctor Erice’s long-awaited return Close Your Eyes and Justine Triet’s Palme d’Or winner Anatomy of a Fall round out the top three. The list also features Aki Kaurismäki’s Fallen Leaves, Catherine Breillat’s Last Summer, and Radu Jude’s Do Not Expect Too Much From the End of the World.
Cyril Schäublin’s overlooked drama Unrest also got a mention while Pierre Creton’s Un prince and Kelly Reichardt’s Showing Up tied for tenth place. They also have room for one major surprise, this year being Rabah Ameur-Zaïmeche’s Berlinale...
- 12/1/2023
- by Jordan Raup
- The Film Stage
Established in the 1950s by André Bazin, Joseph-Marie Lo Duca, and Jacques Doniol-Valcroze, France’s Cahiers du cinéma has recently gone through major changes this year, with their staff quitting en masse to protest new ownership. The heralded magazine, however, has soldiered on and returned last year. They are now back with their favorite films of 2021.
Topping the list is Kelly Reichardt’s First Cow, a film that premiered in 2019, came out in the U.S. in 2020, and finally arrived in France this year. Over half the list features Cannes selections, including Leos Carax’s Annette, Apichatpong Weerasethakul’s Memoria, and Ryusuke Hamaguchi’s Memoria.
There’s also the requisite entry that hasn’t traveled far beyond France, Guillaume Brac’s À l’abordage aka All Hands on Deck, as well as my personal favorite 2022 U.S. release thus far: Silvan and Ramon Zürcher’s The Girl and the Spider.
See the full list below.
Topping the list is Kelly Reichardt’s First Cow, a film that premiered in 2019, came out in the U.S. in 2020, and finally arrived in France this year. Over half the list features Cannes selections, including Leos Carax’s Annette, Apichatpong Weerasethakul’s Memoria, and Ryusuke Hamaguchi’s Memoria.
There’s also the requisite entry that hasn’t traveled far beyond France, Guillaume Brac’s À l’abordage aka All Hands on Deck, as well as my personal favorite 2022 U.S. release thus far: Silvan and Ramon Zürcher’s The Girl and the Spider.
See the full list below.
- 11/29/2021
- by Jordan Raup
- The Film Stage
“Without Franco, I wouldn’t be here, nor this book. Thank you, Francisco. It’s the only good thing you did in your life.” The author behind this characteristic note of thanks is none other than French filmmaker and critic Luc Moullet, whose endearing and very funny autobiography, Mémoires d’une savonnette indocile (“memoirs of an unruly piece of soap”) has just been published by Capricci. In 42 chapters, the “prince of shoestring cinema” walks us through his young years as a critic at Cahiers du cinéma, his filmmaking life, and his stints in various professional and educational bodies. The book was announced in 2012, with the intention for it to be published posthumously. Reading it nine years later, with the author still in the pink of health, one senses that the cause for Moullet’s original reticence may have had to do less with his comments on his peers and collaborators...
- 8/22/2021
- MUBI
Established in the 1950s by André Bazin, Joseph-Marie Lo Duca, and Jacques Doniol-Valcroze, France’s Cahiers du cinéma has gone through major changes this year, with their staff quitting en masse to protest new ownership. The heralded magazine, however, has soldiered on and delivered new issues, the latest of which features their top 10 films of 2020.
Topping the list is Frederick Wiseman’s latest masterpiece City Hall, which graced their October 2020 issue this past fall. Also included are two films by Hong Sang-soo (The Woman Who Ran and Hotel by the River), the latest work by Cristi Puiu and Philippe Garrel, as well as a number of overlooked gems. Also, because of its release in France earlier this year, the Safdies’ Uncut Gems made the cut.
Check out the list below.
– Top 10 2020 des @cahierscinema – pic.twitter.com/m2xUv55yIt
— Cahiers du Cinéma (@cahierscinema) December 2, 2020
The post Cahiers du cinéma’s...
Topping the list is Frederick Wiseman’s latest masterpiece City Hall, which graced their October 2020 issue this past fall. Also included are two films by Hong Sang-soo (The Woman Who Ran and Hotel by the River), the latest work by Cristi Puiu and Philippe Garrel, as well as a number of overlooked gems. Also, because of its release in France earlier this year, the Safdies’ Uncut Gems made the cut.
Check out the list below.
– Top 10 2020 des @cahierscinema – pic.twitter.com/m2xUv55yIt
— Cahiers du Cinéma (@cahierscinema) December 2, 2020
The post Cahiers du cinéma’s...
- 12/2/2020
- by Leonard Pearce
- The Film Stage
Cahiers du Cinéma, the influential French film magazine founded in 1951, is undergoing dramatic changes that have cast its future into doubt. As reported on Thursday by Agence France Presse, Cahiers’ entire editorial board of 15 staffers have resigned en masse following a recent sale that landed the publication in the hands of shareholders that the staff said, in a statement, “create a conflict of interest for a critical publication.”
In their statement, staffers also alleged that the individuals that make up the consortium of shareholders want to soften Cahiers reviews into a more accessible read. “Whatever articles are published, there would be a suspicion of interference…Les Cahiers has always been engaged, taking clear positions.” In its monthly issues published by Phaidon Press, Cahiers is known for its often academic and critical pieces, and its idiosyncratic, contrarian, and occasionally arcane 10 best lists.
French newspaper Le Monde revealed further details about the mass exodus of Cahiers staffers,...
In their statement, staffers also alleged that the individuals that make up the consortium of shareholders want to soften Cahiers reviews into a more accessible read. “Whatever articles are published, there would be a suspicion of interference…Les Cahiers has always been engaged, taking clear positions.” In its monthly issues published by Phaidon Press, Cahiers is known for its often academic and critical pieces, and its idiosyncratic, contrarian, and occasionally arcane 10 best lists.
French newspaper Le Monde revealed further details about the mass exodus of Cahiers staffers,...
- 2/27/2020
- by Ryan Lattanzio
- Indiewire
Cahiers du Cinéma, the legendary French film magazine and one of the most prestigious movie publications in the world, has selected David Lynch’s “Twin Peaks: The Return” as the best film of the decade. The selection is a controversial one as there has been constant debate since over whether or not the program is a film or a television series. Critics have been arguing over which medium “Twin Peaks: The Return” belongs to since its debut in 2017. IndieWire’s television team placed “The Return” at #32 on its list of the best television shows of the decade.
“Twin Peaks: The Return” tops Cahiers du Cinéma’s 10 best films of the decade list. The magazine’s selections also include runner-up “Holy Motors,” Leos Carax’s 2012 fantasy drama that placed #6 on IndieWire’s best films of the decade list. Cahiers du Cinéma has also named Apichatpong Weerasethakul’s “Uncle Boonmee Who Can Recall His Past Lives,...
“Twin Peaks: The Return” tops Cahiers du Cinéma’s 10 best films of the decade list. The magazine’s selections also include runner-up “Holy Motors,” Leos Carax’s 2012 fantasy drama that placed #6 on IndieWire’s best films of the decade list. Cahiers du Cinéma has also named Apichatpong Weerasethakul’s “Uncle Boonmee Who Can Recall His Past Lives,...
- 12/6/2019
- by Zack Sharf
- Indiewire
Established in the 1950s by André Bazin, Joseph-Marie Lo Duca, and Jacques Doniol-Valcroze, France’s Cahiers du cinéma has long been a bastion for quality film criticism. Year after year their rundown of the top films usually ignites a response, but their 2018 edition plays it a little more safe.
Their editors’ top 10 features a few films that got a release in the U.S. last year, but France this year as well as some awaiting a U.S. release. Topping the list is Bertrand Mandico’s gloriously trippy, gender fluid fantasy The Wild Boys, while Lee Chang-dong’s Burning and Lars von Trier’s The House That Jack Built also made the cut.
Check out the list below via their latest issue, also including links to coverage where available.
1. The Wild Boys (Bertrand Mandico)
2. Coincoin and the Extra-Humans (Bruno Dumont)
3. Phantom Thread (Paul Thomas Anderson)
4. Burning (Lee Chang-dong)
5. Paul Sanchez est revenu!
Their editors’ top 10 features a few films that got a release in the U.S. last year, but France this year as well as some awaiting a U.S. release. Topping the list is Bertrand Mandico’s gloriously trippy, gender fluid fantasy The Wild Boys, while Lee Chang-dong’s Burning and Lars von Trier’s The House That Jack Built also made the cut.
Check out the list below via their latest issue, also including links to coverage where available.
1. The Wild Boys (Bertrand Mandico)
2. Coincoin and the Extra-Humans (Bruno Dumont)
3. Phantom Thread (Paul Thomas Anderson)
4. Burning (Lee Chang-dong)
5. Paul Sanchez est revenu!
- 12/3/2018
- by Jordan Raup
- The Film Stage
Cahiers du cinéma’s Top 10 Films of 2017 Includes ‘Twin Peaks: The Return,’ ‘Split,’ and ‘Good Time’
Established in the 1950s by André Bazin, Joseph-Marie Lo Duca, and Jacques Doniol-Valcroze, France’s Cahiers du cinéma has long been a bastion for quality film criticism. Year after year their rundown of the top films usually ignites a response, and we doubt 2017 will be any different — mostly notably when it comes to their top “film,” and perhaps a few other inclusions.
They’ve released their latest list, which includes a few films that won’t get a U.S. release until 2018 (Jeannette, The Day After, Lover for a Day). Also among the selections are some of this year’s finest films, Get Out and Good Time, as well as David Lynch’s 18-hour Twin Peaks: The Return, which also made Sight & Sound’s poll. Since they got a release in France this year, Certain Women, Jackie, and Billy Lynn’s Long Halftime Walk also made the cut.
Check...
They’ve released their latest list, which includes a few films that won’t get a U.S. release until 2018 (Jeannette, The Day After, Lover for a Day). Also among the selections are some of this year’s finest films, Get Out and Good Time, as well as David Lynch’s 18-hour Twin Peaks: The Return, which also made Sight & Sound’s poll. Since they got a release in France this year, Certain Women, Jackie, and Billy Lynn’s Long Halftime Walk also made the cut.
Check...
- 12/5/2017
- by Jordan Raup
- The Film Stage
Established in the 1950s by André Bazin, Joseph-Marie Lo Duca, and Jacques Doniol-Valcroze, France’s Cahiers du cinéma has long been a bastion for quality film criticism. Year after year their rundown of the top films usually ignites a response, and we doubt 2016 will be any different — at least when it comes to a certain Nicolas Winding Refn inclusion.
They’ve released their latest list, which includes a few films that won’t get a U.S. release until 2017 (Slack Bay and Staying Vertical). Also among the selections are some of this year’s finest films, topped by Maren Ade‘s Toni Erdmann and also including Paul Verhoeven‘s Elle, Kleber Mendonça Filho‘s Aquarius, and Pedro Almodóvar‘s Julieta. Since it got a release in France this year, Todd Haynes‘ magnificent Carol also made the cut.
Check out the list below (with a hat tip to Gainsbarough), also including links to reviews where available.
They’ve released their latest list, which includes a few films that won’t get a U.S. release until 2017 (Slack Bay and Staying Vertical). Also among the selections are some of this year’s finest films, topped by Maren Ade‘s Toni Erdmann and also including Paul Verhoeven‘s Elle, Kleber Mendonça Filho‘s Aquarius, and Pedro Almodóvar‘s Julieta. Since it got a release in France this year, Todd Haynes‘ magnificent Carol also made the cut.
Check out the list below (with a hat tip to Gainsbarough), also including links to reviews where available.
- 11/29/2016
- by Jordan Raup
- The Film Stage
Established in the 1950’s by André Bazin, Joseph-Marie Lo Duca, and Jacques Doniol-Valcroze, France’s Cahiers du cinéma has long been a bastion for quality film criticism. Year after year their rundown of the top films usually ignites a response, and we doubt 2015 will be any different.
They’ve now released their list for this year, which includes a few films that won’t get a U.S. release until next year (the chart-topping Mia Madre, Cemetery of Splendour, In the Shadow of Women, and Journey to the Shore). Also among the list is Lisandro Alonso‘s stellar Jauja, Miguel Gomes‘ epic Arabian Nights, and George Miller‘s blockbuster Mad Max: Fury Road.
Following Sight & Sound’s top 20 of 2015, check out the full list below (thanks to Jordan Cronk), and see reviews where available.
1. Mia Madre (Nanni Moretti)
2. Cemetery of Splendour (Apichatpong Weerasethakul)
3. In the Shadow of Women (Philippe Garrel...
They’ve now released their list for this year, which includes a few films that won’t get a U.S. release until next year (the chart-topping Mia Madre, Cemetery of Splendour, In the Shadow of Women, and Journey to the Shore). Also among the list is Lisandro Alonso‘s stellar Jauja, Miguel Gomes‘ epic Arabian Nights, and George Miller‘s blockbuster Mad Max: Fury Road.
Following Sight & Sound’s top 20 of 2015, check out the full list below (thanks to Jordan Cronk), and see reviews where available.
1. Mia Madre (Nanni Moretti)
2. Cemetery of Splendour (Apichatpong Weerasethakul)
3. In the Shadow of Women (Philippe Garrel...
- 11/27/2015
- by Jordan Raup
- The Film Stage
Marie Dubois, actress in French New Wave films, dead at 77 (image: Marie Dubois in the mammoth blockbuster 'La Grande Vadrouille') Actress Marie Dubois, a popular French New Wave personality of the '60s and the leading lady in one of France's biggest box-office hits in history, died Wednesday, October 15, 2014, at a nursing home in Lescar, a suburb of the southwestern French town of Pau, not far from the Spanish border. Dubois, who had been living in the Pau area since 2010, was 77. For decades she had been battling multiple sclerosis, which later in life had her confined to a wheelchair. Born Claudine Huzé (Claudine Lucie Pauline Huzé according to some online sources) on January 12, 1937, in Paris, the blue-eyed, blonde Marie Dubois began her show business career on stage, being featured in plays such as Molière's The Misanthrope and Arthur Miller's The Crucible. François Truffaut discovery: 'Shoot the...
- 10/17/2014
- by Andre Soares
- Alt Film Guide
This video essay collaboration on Jacques Rivette's Out 1 is the second entry in the Out 1 Video Essay Project commissioned by the Melbourne International Film Festival. The first entry, by Cristina Álvarez López and Adrian Martin, can be found here.
The following "messages" were sent to Kevin B. Lee as part of the preparatory work for our video Out 1 Solitaire:
Part of the impact of Out 1 derives from the way it captures several aspects of transatlantic 60s counterculture, but the differences between North America and France during this period are telling. Psychedelic drug culture hadn't yet made many discernible inroads, although things we associate with that culture—especially LSD trips and changing perceptions of duration—seem present in some form, especially in Colin's solipsistic fantasies and preoccupations and some of the "tribal" rituals of the theater group's exercises. Politics were also perceived differently, above all because of the experience of...
The following "messages" were sent to Kevin B. Lee as part of the preparatory work for our video Out 1 Solitaire:
Part of the impact of Out 1 derives from the way it captures several aspects of transatlantic 60s counterculture, but the differences between North America and France during this period are telling. Psychedelic drug culture hadn't yet made many discernible inroads, although things we associate with that culture—especially LSD trips and changing perceptions of duration—seem present in some form, especially in Colin's solipsistic fantasies and preoccupations and some of the "tribal" rituals of the theater group's exercises. Politics were also perceived differently, above all because of the experience of...
- 9/30/2014
- by Jonathan Rosenbaum and Kevin B. Lee
- MUBI
Kino’s Redemption label continues with the resurrection of New Wave provocateur Alain Robbe-Grillet’s 1963 directorial debut, L’Immortelle, (this is the third title in the planned series, and we can expect to see three more) a stylistic mish-mash of surreal flourishes, sensuality, and mysterious foreboding. Arriving two years after Robbe-Grillet penned the landmark film Last Year at Marienbad for director Alain Resnais, the first outing feels indebted to the look and style of his collaboration with Resnais, despite the realization that his framework for this film was actually developed first. Featuring the highly stylized cinematography of Maurice Berry, Robbe-Grillet transforms Istanbul into a perversely abandoned palette of architectural facades, calling into question the notion of originality and restoration, dreams and waking life.
A Frenchman traveling in Istanbul, known only as N (Jacques Doniol-Valcroze) seems to be aimlessly experiencing the landscape when he runs into a beautiful, mysterious woman (Francoise Brion...
A Frenchman traveling in Istanbul, known only as N (Jacques Doniol-Valcroze) seems to be aimlessly experiencing the landscape when he runs into a beautiful, mysterious woman (Francoise Brion...
- 4/1/2014
- by Nicholas Bell
- IONCINEMA.com
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