Le chinoise.Most serious writing about Jean-Luc Godard tends to be both high-flown and forbidding, rather like the films it’s discussing. Translations from French to English or vice versa can make things even dicier. But according to the literary scholar Fredric Jameson, who contributes an enthusiastic preface and afterword, Reading with Jean-Luc Godard—a compendium of 109 three-page essays by 50 writers from a dozen countries, announced as the first in a series—launches “a new form” and “a new genre.”The brevity of each entry tends to confirm Jameson’s claim. The book can be described as an audience-friendly volume designed to occupy the same space between academia and journalism staked out by Notebook while proposing routes into Godard’s work provided by his eclectic reading—a batch of writers ranged alphabetically and intellectually from Louis Aragon, Robert Ardrey, Hannah Arendt, and Honoré de Balzac to François Truffaut, Paul Valéry,...
- 1/30/2024
- MUBI
Tom Luddy, the co-founder of the Telluride Film Festival and a longtime producer for Francis Ford Coppola’s Zoetrope Studios, died on Monday after a prolonged illness. He was 79.
His death comes on the verge of the festival’s 50th anniversary, as Telluride planned to salute the man responsible for establishing the Colorado gathering as a critical launchpad for international cinema. Luddy was shrewd cinephile with a daunting grasp of film history that informed his sharp opinions about the medium, much of which played a role in the unique nature of the Telluride community.
The festival drew crowds of major directors and industry insiders in tandem with amateur movie lovers attracted to the same welcoming environment he created for anyone who shared his passion for the movies. For many Telluride devotees, Luddy was its biggest draw — someone as emblematic of cinema’s global presence as the directors he championed.
As...
His death comes on the verge of the festival’s 50th anniversary, as Telluride planned to salute the man responsible for establishing the Colorado gathering as a critical launchpad for international cinema. Luddy was shrewd cinephile with a daunting grasp of film history that informed his sharp opinions about the medium, much of which played a role in the unique nature of the Telluride community.
The festival drew crowds of major directors and industry insiders in tandem with amateur movie lovers attracted to the same welcoming environment he created for anyone who shared his passion for the movies. For many Telluride devotees, Luddy was its biggest draw — someone as emblematic of cinema’s global presence as the directors he championed.
As...
- 2/14/2023
- by Eric Kohn
- Indiewire
Jean-Luc Godard, the pioneering French New Wave director who challenged and upended conventional filmmaking methods for over half a century, died today according to multiple reports in the French media. He was 91.
Godard’s celebrity mystique was defined by the image of the enigmatic chain-smoking auteur, adorned in sunglasses while indulging in existential insight, revolutionary politics, and radical ideas about art. But his career never rested on that cartoonish brand.
Though he would remain most famous for his first feature, the 1960 meta-noir “Breathless,” that iconic debut kickstarted a lifetime of ambitious, often confrontational work. His filmography consists of everything from genre deconstructions to political screeds and avant-garde gambles designed to confuse and provoke new avenues for an evolving art form. Through it all, Godard remained a divisive figure whose prolific output embodied — and often interrogated — the cultural and intellectual proclivities of French society and the world at large.
His legacy...
Godard’s celebrity mystique was defined by the image of the enigmatic chain-smoking auteur, adorned in sunglasses while indulging in existential insight, revolutionary politics, and radical ideas about art. But his career never rested on that cartoonish brand.
Though he would remain most famous for his first feature, the 1960 meta-noir “Breathless,” that iconic debut kickstarted a lifetime of ambitious, often confrontational work. His filmography consists of everything from genre deconstructions to political screeds and avant-garde gambles designed to confuse and provoke new avenues for an evolving art form. Through it all, Godard remained a divisive figure whose prolific output embodied — and often interrogated — the cultural and intellectual proclivities of French society and the world at large.
His legacy...
- 9/13/2022
- by Eric Kohn
- Indiewire
The second season of the Mubi Podcast, titled “Only in Theaters,” tells surprising stories of individual cinemas that had huge impacts on film history, and in some cases, history in general. In Episode 1, host Rico Gagliano sits down with Barbet Schroeder to delve into the wild history of the Cinémathèque Française and its legendary founder, Henri Langlois. In this extended conversation, the filmmaker shares memories of the French New Wave, his Oscar-winning film Reversal of Fortune, and working with Pink Floyd in the late ‘60s.To listen to the episode and subscribe on your preferred podcast app, click here.Earlier this year, I spoke to Barbet Schroeder for this week’s episode of the Mubi Podcast. The main topic of discussion: the early days of the Cinémathèque Française, that hallowed institution where, in the ’50s, he and other budding filmmakers got steeped in movies, guided by legendary programmer Henri Langlois.
- 6/30/2022
- MUBI
The Notebook Primer introduces readers to some of the most important figures, films, genres, and movements in film history.It’s not always necessary to know a filmmaker’s biography in order to fully appreciate his or her work, but in the case of François Truffaut, it is not only beneficial, it may also be unavoidable. Few directors have so ardently worn their lives on their cinematic sleeve as Truffaut, persistently projecting his passions on the screen for all to see. Born February 6, 1932, he was a child of World War II, but only later in his career was that great tragedy the subject of conspicuous focus. Rather, his recurring concerns were of a more personal nature, ranging and reappearing throughout his work in the form of fleeting flirtations and complex affairs, the multifaceted unrest of childhood, and, of course, the cinema itself. As a wayward young man, Truffaut found refuge...
- 2/2/2022
- MUBI
Film, the Living Record of Our Memory director Inés Toharia with Anne-Katrin Titze on Martin Scorsese and Thelma Schoonmaker: “We were hoping to catch up with them both, because they work together so closely and they are so crucial for Michael Powell’s work.”
Film, The Living Record Of Our Memory (a highlight of the 12th edition of Doc NYC) features insightful commentary from filmmakers Ken Loach, Jonas Mekas (Todd Haynes dedicated The Velvet Underground to Jonas), Kevin Brownlow, Fernando Trueba, Costa-Gavras, Patricio Guzmán, Ahmad Kiarostami (producer for Abbas Kiarostami), Idrissa Ouédraogo, Martin Scorsese, Bill Morrison, Ridley Scott, Nicolas Rey, Wim Wenders (on music rights and restoration), and cinematographer Vittorio Storaro.
Inés Toharia on Martin Scorsese speaking on film preservation at the Cineteca di Bologna: “I think Langlois and him are the two people - they’re very different, but they opened everyone to understand why.”
In the first instalment with Inés Toharia,...
Film, The Living Record Of Our Memory (a highlight of the 12th edition of Doc NYC) features insightful commentary from filmmakers Ken Loach, Jonas Mekas (Todd Haynes dedicated The Velvet Underground to Jonas), Kevin Brownlow, Fernando Trueba, Costa-Gavras, Patricio Guzmán, Ahmad Kiarostami (producer for Abbas Kiarostami), Idrissa Ouédraogo, Martin Scorsese, Bill Morrison, Ridley Scott, Nicolas Rey, Wim Wenders (on music rights and restoration), and cinematographer Vittorio Storaro.
Inés Toharia on Martin Scorsese speaking on film preservation at the Cineteca di Bologna: “I think Langlois and him are the two people - they’re very different, but they opened everyone to understand why.”
In the first instalment with Inés Toharia,...
- 11/25/2021
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Restoring, archiving and screening are the three pillars of film archives and cinematheques. During the pandemic, they have somehow had to stay standing with one of those pillars crumbling to the ground.
“Archives have had a missing arm,” as Frédéric Bonnaud, head of the Cinémathèque Française puts it.
Bonnaud was among a number of experts who gathered for a Locarno Film Festival panel discussion on the future of heritage cinema online, and the challenges posed to exhibition by Covid-19.
With their three precious screening rooms closed, the Cinémathèque Française rushed to create an online platform to continue showing some of their cinematic treasures to audiences.
The resulting platform was Henri (named after the organization’s founder Henri Langlois), which launched last June with a selection of films the Cinémathèque restored and had the rights to. To this day, the platform is still free, partly because charging a fee would be against the organization’s principles,...
“Archives have had a missing arm,” as Frédéric Bonnaud, head of the Cinémathèque Française puts it.
Bonnaud was among a number of experts who gathered for a Locarno Film Festival panel discussion on the future of heritage cinema online, and the challenges posed to exhibition by Covid-19.
With their three precious screening rooms closed, the Cinémathèque Française rushed to create an online platform to continue showing some of their cinematic treasures to audiences.
The resulting platform was Henri (named after the organization’s founder Henri Langlois), which launched last June with a selection of films the Cinémathèque restored and had the rights to. To this day, the platform is still free, partly because charging a fee would be against the organization’s principles,...
- 8/11/2021
- by Will Thorne
- Variety Film + TV
Watch the Teaser Trailer for Karli: "Co-Directors Mike Clarke (A Light Through Coloured Glass) and Paul Gerrard unleash their teaser trailer for their upcoming horror film, Karli – a shocking and terrifying supernatural take on the home invasion genre.
Karli is a new British horror that harkens back to the days of the early 80’s horror. The team has built a film around a truly, soon to be, iconic character and an original concept of terror. Hellraiser and Kill List fans will have plenty to indulge in here.
“Karli is a dark and menacing descent into a grim world unknown, this teaser trailer is just a small snippet of the horrors that await audiences – our antagonist literally unfolds,” Director Mike Clarke.
80’s horror fans and even modern A24 ‘elevated horror’ fans will both enjoy this one – an 80’s horror film produced with the modern sleekness of today’s horror films.
Karli is a new British horror that harkens back to the days of the early 80’s horror. The team has built a film around a truly, soon to be, iconic character and an original concept of terror. Hellraiser and Kill List fans will have plenty to indulge in here.
“Karli is a dark and menacing descent into a grim world unknown, this teaser trailer is just a small snippet of the horrors that await audiences – our antagonist literally unfolds,” Director Mike Clarke.
80’s horror fans and even modern A24 ‘elevated horror’ fans will both enjoy this one – an 80’s horror film produced with the modern sleekness of today’s horror films.
- 6/8/2021
- by Jonathan James
- DailyDead
Howard Hawks’ early sound picture is a worthy prison drama — with top performances from Walter Huston and Boris Karloff, both just as their film careers began to take off. Huston shows the screen how a stage actor can take command: his Da-turned warden character is corrupt yet retains his air of authority. Karloff’s convict seethes with raw menace, and Hawks uses him better than anyone except James Whale. That ‘other’ Code, the Production Code, found this show to be unbearably tense — even though all the brutality happens off-screen, violence is soaked into every scene.
The Criminal Code
Blu-ray
Powerhouse Indicator
1930 / B&w / 1:37 Academy / 97 min. / Street Date March 22, 2021 / available from Powerhouse Films UK / £15.99
Starring: Walter Huston, Phillips Holmes, Constance Cummings, Boris Karloff, DeWitt Jennings, Mary Doran, Ethel Wales, Clark Marshall, Arthur Hoyt, John St. Polis, Paul Porcasi, Andy Devine.
Cinematography: James Wong Howe, Ted Tetzlaff
Film Editor: Edward Curtis...
The Criminal Code
Blu-ray
Powerhouse Indicator
1930 / B&w / 1:37 Academy / 97 min. / Street Date March 22, 2021 / available from Powerhouse Films UK / £15.99
Starring: Walter Huston, Phillips Holmes, Constance Cummings, Boris Karloff, DeWitt Jennings, Mary Doran, Ethel Wales, Clark Marshall, Arthur Hoyt, John St. Polis, Paul Porcasi, Andy Devine.
Cinematography: James Wong Howe, Ted Tetzlaff
Film Editor: Edward Curtis...
- 3/13/2021
- by Glenn Erickson
- Trailers from Hell
Unsurprisingly the coronavirus crisis has prompted an uptick in views of classic and heritage cinema titles on streaming platforms, even spawning new online outlets for vintage films.
Now the hope is that this increased interest can serve as a stimulus to foster greater preservation of the world’s cinematic patrimony before it’s too late.
That is one of the key considerations that surfaced from a Locarno Pro webinar on the distribution of heritage and library films on streamers held Saturday with top players in the field.
Emilie Cauquy, head of distribution of France’s Cinematheque Francaise, recounted how during the pandemic they launched a streaming channel called Henri, named in honor of the venerable institution’s famed former chief Henri Langlois, who was a film preservation pioneer. The free service has been doing extremely well.
“We’ve had a lot of YouTubers. A lot of people coming to see...
Now the hope is that this increased interest can serve as a stimulus to foster greater preservation of the world’s cinematic patrimony before it’s too late.
That is one of the key considerations that surfaced from a Locarno Pro webinar on the distribution of heritage and library films on streamers held Saturday with top players in the field.
Emilie Cauquy, head of distribution of France’s Cinematheque Francaise, recounted how during the pandemic they launched a streaming channel called Henri, named in honor of the venerable institution’s famed former chief Henri Langlois, who was a film preservation pioneer. The free service has been doing extremely well.
“We’ve had a lot of YouTubers. A lot of people coming to see...
- 8/10/2020
- by Nick Vivarelli
- Variety Film + TV
Dušan Makavejev was born on King Milutin Street in Belgrade on October 13, 1932. This was about nine years before the city was occupied by the Nazis, at which point the Chinese embassy across the street became the headquarters of the German Chief Command of the Southeast. As a child, he watched German officers go in and out of the building, one of whom, Kurt Waldheim, would later become the Secretary of the United Nations—though of course the young Makavejev didn’t know this at the time. Following the Second World War, it was under Tito's Communist, but anti-Stalinist Yugoslavia that Makavejev first emerged as a major Eastern European filmmaker, initially associated with the loosely defined Novi Film (new film) movement. His eclectic career, the subject of a major retrospective at New York's Anthology Archives, garnered praise from the likes of Amos Vogel, Robin Wood, Stanley Cavell, Jonas Mekas, and Roger Ebert,...
- 2/27/2020
- MUBI
A woman walks into her bedroom to the absurd sight of a cow laying on the bed, and she diligently ushers it out of the room as if it’s a regular occurrence. This is one of the many surrealist images found in the Luis Buñuel and Salvador Dalí film L'âge d'or (1930), which was projected on screen at the George Eastman Museum’s Dryden Theatre in a rare context the first weekend of May. On the front of the image: the many scratches and marks of a well-played print that travelled through Europe and the United States with Henri Langlois from the Cinémathèque Française, who sold the print to the museum following financial difficulties while touring the United States with it and other films. Behind the image, the silver nitrate film base—that incredulous, highly flammable and volatile material associated with disaster and phased out of production by the 1950s.
- 6/4/2019
- MUBI
Inside the projection booth at George Eastman Museum’s Dryden Theatre.
It’s been nearly 70 years since Kodak manufactured their last nitrate film, but the appreciation for the highly flammable, stunningly vivid film stock lives on in more ways than one in Rochester, New York. The George Eastman Museum, home of photography and moving image collections, opened in 1949 and two years later in 1951, the 500-seat Dryden Theatre was unveiled. However, it wasn’t until 1996 that the museum’s nitrate collection found a more secure home. Located in North Chili, NY–about a 15-minute drive from the museum–the unassumingly adorned Louis B. Mayer Conservation Center is a safe haven for nitrate film stock.
With room for 40,000 reels of film (about 26 million-plus feet) amongst its 12 vaults–completely separated to prevent a total catastrophe if a fire breaks out in a single vault–the center houses some of the most precious gems in film history.
It’s been nearly 70 years since Kodak manufactured their last nitrate film, but the appreciation for the highly flammable, stunningly vivid film stock lives on in more ways than one in Rochester, New York. The George Eastman Museum, home of photography and moving image collections, opened in 1949 and two years later in 1951, the 500-seat Dryden Theatre was unveiled. However, it wasn’t until 1996 that the museum’s nitrate collection found a more secure home. Located in North Chili, NY–about a 15-minute drive from the museum–the unassumingly adorned Louis B. Mayer Conservation Center is a safe haven for nitrate film stock.
With room for 40,000 reels of film (about 26 million-plus feet) amongst its 12 vaults–completely separated to prevent a total catastrophe if a fire breaks out in a single vault–the center houses some of the most precious gems in film history.
- 5/7/2019
- by Jordan Raup
- The Film Stage
Jean-Luc Godard quipped that his criticism represented a kind of cinematic terrorism. Serge Daney said his writing taught him not to be afraid to see. The Parisian publishing house Post-Éditions has made available a long overdue collection of his articles in French to decide for ourselves. Jacques Rivette became a filmmaker even before he became a critic. When he came to Paris from Rouen in 1950, he had already completed a short film, unlike Truffaut, Godard, Rohmer or Chabrol, his colleagues-to-be at Cahiers du cinéma and later fellow New Wave directors. By his own admission, he never wanted to be a film critic, not in the traditional sense of the term. But, considering his own dictum that “a true critique of a film can only be another film,” he never ceased to be one. Textes Critiques as an object has the appearance of a cinephilic totem: half-a foot in size, portable,...
- 1/7/2019
- MUBI
Cannes 1968: The Year Jean-Luc Godard and François Truffaut Led Protests That Shut Down The Festival
Saturday May 18. The 1968 Cannes Film Festival was about to enter its second week when a press conference was called for 10Am in the Jean Cocteau Theater at the old Palais Croisette. Just a few yards down the road, a budding starlet was preparing to hold court on the beach, imagining she would make headlines with her saucy topless photo-call. No one came. Instead, on a bright, sunny day, the world’s media was crammed into a small, stuffy screening room, watching the festival implode.
Taking the stage and representing themselves as The Cinémathèque Defence Committee were French New Wave stalwarts Jean-Luc Godard and François Truffaut, the former known for his increasingly radical politicization, the latter not, which made what he was about to say all the more surprising. France, said Truffaut, was in a state of siege, after a spate of recent student protests had escalated into nationwide strikes and violent rioting.
Taking the stage and representing themselves as The Cinémathèque Defence Committee were French New Wave stalwarts Jean-Luc Godard and François Truffaut, the former known for his increasingly radical politicization, the latter not, which made what he was about to say all the more surprising. France, said Truffaut, was in a state of siege, after a spate of recent student protests had escalated into nationwide strikes and violent rioting.
- 5/18/2018
- by Damon Wise
- Deadline Film + TV
Conceived amid the French social unrest of 1968, and born in 1969, Directors’ Fortnight celebrates its 50th edition this year.
Martin Scorsese is a filmmaker more associated with Cannes Official Selection than the sidebars running alongside but this year he hit Directors’ Fortnight to receive its honorary Carrosse d’Or and participate in the opening of its 50th edition in a programme of events billed as “an exceptional day with Mr Scorsese”.
The Palme d’Or and Oscar-winning director also assisted in a screening of his breakthrough picture Mean Streets, which premiered internationally in the then renegade section in 1974, and took part...
Martin Scorsese is a filmmaker more associated with Cannes Official Selection than the sidebars running alongside but this year he hit Directors’ Fortnight to receive its honorary Carrosse d’Or and participate in the opening of its 50th edition in a programme of events billed as “an exceptional day with Mr Scorsese”.
The Palme d’Or and Oscar-winning director also assisted in a screening of his breakthrough picture Mean Streets, which premiered internationally in the then renegade section in 1974, and took part...
- 5/13/2018
- by Melanie Goodfellow
- ScreenDaily
The teenagers from Parkland, Fla., who led the recent March for Our Lives should know that student protests can have long-range effects. Case in point: The May 1968 protests at the Sorbonne, which led to the premature shutdown of the Cannes Film Festival and major changes in the festival, the French film industry and even the government.
The 21st Cannes Film Festival opened as scheduled on May 10, 1968. That same evening, Paris police attacked an estimated 20,000 Sorbonne students, who had rallied against the policies (including education) of the conservative government under Charles de Gaulle. Hundreds of cops and students were hospitalized. Two days later, 2 million French workers declared a general strike in sympathy to the students and shut down federal and municipal services. The one-day strike was extended as millions more walked out of factories and offices.
The festival was to run May 10-24, with competition films including works by Alain Resnais,...
The 21st Cannes Film Festival opened as scheduled on May 10, 1968. That same evening, Paris police attacked an estimated 20,000 Sorbonne students, who had rallied against the policies (including education) of the conservative government under Charles de Gaulle. Hundreds of cops and students were hospitalized. Two days later, 2 million French workers declared a general strike in sympathy to the students and shut down federal and municipal services. The one-day strike was extended as millions more walked out of factories and offices.
The festival was to run May 10-24, with competition films including works by Alain Resnais,...
- 5/7/2018
- by Tim Gray
- Variety Film + TV
Cannes has always been a battleground for protesters, with women’s issues rising to the forefront recently, and expected to take center stage this year. But 50 years ago, France’s national strikes reached the festival, with filmmakers taking up the cause for widespread change. They managed to shut down the festival.
You have to remember that Francois Truffaut had not digested the fact that Henri Langlois, the fou nder of the French Cinematheque, had been put aside by the minister [Andre] Malraux under the pretense that Langlois was disorganized and that the finances were poorly managed. But Truffaut adored Langlois, and well before May, he had started leading with fervor the demonstrations to have Langlois reinstated. But then, a few weeks later, the “seditious” — as we called those acrimonious filmmakers who had come to Cannes to stop the festival — arrived in Cannes in the middle of the film celebrations, and it...
You have to remember that Francois Truffaut had not digested the fact that Henri Langlois, the fou nder of the French Cinematheque, had been put aside by the minister [Andre] Malraux under the pretense that Langlois was disorganized and that the finances were poorly managed. But Truffaut adored Langlois, and well before May, he had started leading with fervor the demonstrations to have Langlois reinstated. But then, a few weeks later, the “seditious” — as we called those acrimonious filmmakers who had come to Cannes to stop the festival — arrived in Cannes in the middle of the film celebrations, and it...
- 5/7/2018
- by Elsa Keslassy
- Variety Film + TV
Welcome to the world of Jean Grémillon, where adult characters work through adult problems without benefit of melodramatic excess. The impressively directed experiences of Micheline Presle’s lady doctor on a storm-swept island opts for a progressive point of view, not sentimentality.
The Love of a Woman
Blu-ray + DVD
Arrow Video USA
1953 / B&W / 1:37 flat full frame / 104 min. / Street Date August 22, 2017 / L’amour d’une femme / Available from Arrow Video 39.95
Starring: Micheline Presle, Massimo Girotti, Gaby Morlay, Paolo Stoppa, Marc Cassot, Marius David, Yvette Etiévant, Roland Lesaffre, Robert Naly, Madeleine Geoffroy.
Cinematography: Louis Page
Film Editor: Louisette Hautecoeur, Marguerite Renoir
Production Design: Robert Clavel
Original Music: Elsa Barraine, Henrie Dutilleux
Written by René Fallet, Jean Grémillon, René Wheeler
Produced by Mario Gabrielli, Pierre Géin
Directed by Jean Grémillon
Film critics that pride themselves on rediscovering older directors haven’t done very well by France’s Jean Grémillon, at least not in this country.
The Love of a Woman
Blu-ray + DVD
Arrow Video USA
1953 / B&W / 1:37 flat full frame / 104 min. / Street Date August 22, 2017 / L’amour d’une femme / Available from Arrow Video 39.95
Starring: Micheline Presle, Massimo Girotti, Gaby Morlay, Paolo Stoppa, Marc Cassot, Marius David, Yvette Etiévant, Roland Lesaffre, Robert Naly, Madeleine Geoffroy.
Cinematography: Louis Page
Film Editor: Louisette Hautecoeur, Marguerite Renoir
Production Design: Robert Clavel
Original Music: Elsa Barraine, Henrie Dutilleux
Written by René Fallet, Jean Grémillon, René Wheeler
Produced by Mario Gabrielli, Pierre Géin
Directed by Jean Grémillon
Film critics that pride themselves on rediscovering older directors haven’t done very well by France’s Jean Grémillon, at least not in this country.
- 9/9/2017
- by Glenn Erickson
- Trailers from Hell
The Love Of A Woman (1953 – L’amour d’une femme) 2-Disc Special Edition DVD + Blu-ray will be available August 22nd from Arrow Academy. Pre-order Here</strong
The Love Of A Woman (L’amour d’une femme) was the final feature of the great French filmmaker Jean Grémillon, concluding a string of classics that included such greats as Remorques, Lumière d’été and Pattes blanches.
Marie, a young doctor, arrives on the island of Ushant to replace its retiring physician. She experiences prejudice from the mostly male population, but also love in the form of engineer André.
Starring Micheline Presle, whose impressive career has encompassed French, Italian and Hollywood cinema, and Massimo Girotti, best-known for his performance in Luchino Visconti’s Ossessione, The Love of a Woman is a sad, beautiful, romantic masterpiece.
Special Edition Contents
• High Definition Blu-ray (1080p) and Standard Definition presentations of the feature, from materials supplied by...
The Love Of A Woman (L’amour d’une femme) was the final feature of the great French filmmaker Jean Grémillon, concluding a string of classics that included such greats as Remorques, Lumière d’été and Pattes blanches.
Marie, a young doctor, arrives on the island of Ushant to replace its retiring physician. She experiences prejudice from the mostly male population, but also love in the form of engineer André.
Starring Micheline Presle, whose impressive career has encompassed French, Italian and Hollywood cinema, and Massimo Girotti, best-known for his performance in Luchino Visconti’s Ossessione, The Love of a Woman is a sad, beautiful, romantic masterpiece.
Special Edition Contents
• High Definition Blu-ray (1080p) and Standard Definition presentations of the feature, from materials supplied by...
- 8/8/2017
- by Tom Stockman
- WeAreMovieGeeks.com
Close-Up is a feature that spotlights films now playing on Mubi. Jean Cocteau's The Blood of a Poet (1932) is playing July 5 - August 4, 2017 on Mubi in the United States as part of the series Cocteau's Poets.“…images born of cinema with the cosmogony of a poet.”—Henri Langlois on The Blood of a PoetThe films of Jean Cocteau have distinguished themselves among early twentieth-century cinema at large. This is due, arguably, to Cocteau’s works existing best as experiences rather than as proper films, and to their openness to interpretation. This is especially true of Cocteau’s The Blood of a Poet, made in 1930 but not shown publicly until 1932, and one which has inspired as many critical interpretations since the filmmaker’s death in 1963 as Bosch’s Garden of Earthly Delights, Stravinsky’s Rite of Spring, or Bergman’s Persona. Like those works, The Blood of a Poet...
- 7/6/2017
- MUBI
“NY84” will have a gala opening and theatrical release this October 14 at the Arena Theater in Hollywood.
A unique venue for a unique film written and directed by Cyril Morin and starring Sam Quartin, Chris Schellenger and Davy J. Marr, “NY84” follows the adventures of three young artists in the downtown New York art scene in the early 1980s. Young and carefree, Kate, Anton, and Keith party, photograph, paint, sing, and play their way through the clubs and lofts of Alphabet City.
The party ends in 1984 when Anton and Keith contract a mysterious illness known as the “gay cancer.” We gain an intimate glimpse into their creative and emotional lives as the three lose their youth and innocence.
Cyril Morin
This is a lyrical poetic paen to those times some of us were lucky enough to have lived through. The sexual revolution and its sexual freedom in effect then for the newly liberated homosexual community, also opened the way for Kate to express herself. And it opened a door for transexuals, women and the whole diversity of humanity to assert itself today.
A unique venue for a unique film written and directed by Cyril Morin and starring Sam Quartin, Chris Schellenger and Davy J. Marr, “NY84” follows the adventures of three young artists in the downtown New York art scene in the early 1980s. Young and carefree, Kate, Anton, and Keith party, photograph, paint, sing, and play their way through the clubs and lofts of Alphabet City.
The party ends in 1984 when Anton and Keith contract a mysterious illness known as the “gay cancer.” We gain an intimate glimpse into their creative and emotional lives as the three lose their youth and innocence.
Cyril Morin
This is a lyrical poetic paen to those times some of us were lucky enough to have lived through. The sexual revolution and its sexual freedom in effect then for the newly liberated homosexual community, also opened the way for Kate to express herself. And it opened a door for transexuals, women and the whole diversity of humanity to assert itself today.
- 9/30/2016
- by Sydney Levine
- Sydney's Buzz
David’s Quick Take for the tl;dr Media Consumer:
Stolen Kisses was Francois Truffaut’s third exploration of the character Antoine Doinel, to whom we were introduced when he was a child in The 400 Blows and was glimpsed a few years later in a short segment Antoine and Colette that was part of an omnibus film titled Love at 20. Here we see Antoine as a young man, as he stumbles into adulthood working a variety of unskilled entry-level jobs, impulsively falling in love and gliding from one scrape with authority into another as he seeks to find his way through the world. The tone of this film is lighter, more overtly a romantic comedy, and seemingly inconsequential in terms of enduring substance and social commentary when compared to The 400 Blows. It could have been easily plausible to make this same movie with a lead character of a different name,...
Stolen Kisses was Francois Truffaut’s third exploration of the character Antoine Doinel, to whom we were introduced when he was a child in The 400 Blows and was glimpsed a few years later in a short segment Antoine and Colette that was part of an omnibus film titled Love at 20. Here we see Antoine as a young man, as he stumbles into adulthood working a variety of unskilled entry-level jobs, impulsively falling in love and gliding from one scrape with authority into another as he seeks to find his way through the world. The tone of this film is lighter, more overtly a romantic comedy, and seemingly inconsequential in terms of enduring substance and social commentary when compared to The 400 Blows. It could have been easily plausible to make this same movie with a lead character of a different name,...
- 8/7/2016
- by David Blakeslee
- CriterionCast
Before there was Occupy Wall Street or Nuit Debout, there was Paris, 1968. In a revolutionary year —think the Soviet invasion of Czechoslovakia, the Tet Offensive in Vietnam — May was a particularly revolutionary month. Student protests in the City of Lights against capitalism, consumerism and traditional values, some say emboldened by their victory in re-instating the much-cherished head of the iconic Cinematheque Francaise, Henri Langlois, after he had been briefly…...
- 5/15/2016
- Deadline
Melvin Van Peebles is an amazing real-life character. As documented in Joe Angio's How to Eat Your Watermelon in White Company (And Enjoy It), Van Peebles lived his life as he saw fit from an early age, following his artistic muse wherever it led him. In his twenties, while working as a cable car conductor, he wrote a book about his experiences, which promptly got him fired. Someone suggested he become a filmmaker, and in pursuit of that dream he made several short films. Hollywood was not interested in his calling cards, but he found work in The Netherlands. The famed Henri Langlois (Cinémathèque Française) invited him to Paris to screen his shorts, where the budding filmmaker was rapturously received -- and then abandoned completely...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 2/2/2016
- Screen Anarchy
(Georges Franju, 1960; BFI, 15, DVD/Blu-ray)
One of the great figures of French cinema, Georges Franju (1912-1987) was the creator with Henri Langlois of the Cinémathèque Française in 1937, a pioneer film archivist, an offbeat documentarist and, finally, starting in his late 40s, a feature director most famous for this classic fantasy movie. The infinitely re-viewable Les yeux sans visage (as it was originally called) belongs in a tradition of horror combining the visceral, the philosophical and the psychological, ranging from Mary Shelley’s Frankenstein to Pedro Almodóvar’s The Skin I Live In, and it shocked and disgusted audiences when it appeared alongside Psycho and Peeping Tom in 1960.
One of the great figures of French cinema, Georges Franju (1912-1987) was the creator with Henri Langlois of the Cinémathèque Française in 1937, a pioneer film archivist, an offbeat documentarist and, finally, starting in his late 40s, a feature director most famous for this classic fantasy movie. The infinitely re-viewable Les yeux sans visage (as it was originally called) belongs in a tradition of horror combining the visceral, the philosophical and the psychological, ranging from Mary Shelley’s Frankenstein to Pedro Almodóvar’s The Skin I Live In, and it shocked and disgusted audiences when it appeared alongside Psycho and Peeping Tom in 1960.
- 10/18/2015
- by Philip French
- The Guardian - Film News
(Georges Franju, 1960; BFI, 15, DVD/Blu-ray)
One of the great figures of French cinema, Georges Franju (1912-1987) was the creator with Henri Langlois of the Cinémathèque Française in 1937, a pioneer film archivist, an offbeat documentarist and, finally, starting in his late 40s, a feature director most famous for this classic fantasy movie. The infinitely re-viewable Les yeux sans visage (as it was originally called) belongs in a tradition of horror combining the visceral, the philosophical and the psychological, ranging from Mary Shelley’s Frankenstein to Pedro Almodóvar’s The Skin I Live In, and it shocked and disgusted audiences when it appeared alongside Psycho and Peeping Tom in 1960.
Continue reading...
One of the great figures of French cinema, Georges Franju (1912-1987) was the creator with Henri Langlois of the Cinémathèque Française in 1937, a pioneer film archivist, an offbeat documentarist and, finally, starting in his late 40s, a feature director most famous for this classic fantasy movie. The infinitely re-viewable Les yeux sans visage (as it was originally called) belongs in a tradition of horror combining the visceral, the philosophical and the psychological, ranging from Mary Shelley’s Frankenstein to Pedro Almodóvar’s The Skin I Live In, and it shocked and disgusted audiences when it appeared alongside Psycho and Peeping Tom in 1960.
Continue reading...
- 10/18/2015
- by Philip French
- The Guardian - Film News
In an unprecedented assemblage, Susan Oxtoby, current Senior Film Curator of the Pacific Film Archive, was joined by Sheldon Renan, the founder of the Archive (which opened in the Berkeley Art Museum in 1971, after several years of peripatetic screenings), along with his successor Tom Luddy, and Oxtoby's immediate predecessor, Director Emeritus Edith Kramer, to reminisce about Henri Langlois, the founder of the famous Cinematheque Francaise. He lent crucial support to the Pfa at its beginnings, on the occasion of the opening of Thanks to Henri Langlois: A Centennial Tribute. Another surprise guest was the venerable 96-year-old Peter Selz, Berkeley Art Museum's visionary first director, who said "yes" to Sheldon Renan's proposal of a film archive, after Renan had been turned down at both the San Francisco Museum of Modern Art and the Oakland Art Museum. Renan told us he had already assembled an advisory board that included Susan Sontag,...
- 6/19/2015
- by Meredith Brody
- Thompson on Hollywood
Besides making people forever afraid of motel-room showers, Alfred Hitchcock's "Psycho" continues to have an incalculable impact on popular culture. Though it was released 55 years ago this week (on June 16, 1960), it continues to inspire filmmakers and TV producers. In just the last three years, we've seen the 2012 film "Hitchcock" (based on Stephen Rebello's book "Alfred Hitchcock and the Making of 'Psycho,'" and starring Anthony Hopkins as the director and Scarlett Johansson as Janet Leigh) and the ongoing A&E TV prequel drama series, "Bates Motel."
Still, for all of the "Psycho" trivia revealed in "Hitchcock," the biopic barely scratches the surface of how the film got made, from the men who inspired the invention of Norman Bates, to the trickery Hitchcock used to tease the press while keeping the film's convention-shredding narrative twists a secret, to the film's unlikely connection to "Leave It to Beaver." Here,...
Still, for all of the "Psycho" trivia revealed in "Hitchcock," the biopic barely scratches the surface of how the film got made, from the men who inspired the invention of Norman Bates, to the trickery Hitchcock used to tease the press while keeping the film's convention-shredding narrative twists a secret, to the film's unlikely connection to "Leave It to Beaver." Here,...
- 6/16/2015
- by Gary Susman
- Moviefone
Translators introduction: This article by Mireille Latil Le Dantec, the first of two parts, was originally published in issue 40 of Cinématographe, September 1978. The previous issue of the magazine had included a dossier on "La qualité française" and a book of a never-shot script by Jean Grémillon (Le Printemps de la Liberté or The Spring of Freedom) had recently been published. The time was ripe for a re-evaluation of Grémillon's films and a resuscitation of his undervalued career. As this re-evaluation appears to still be happening nearly 40 years later—Grémillon's films have only recently seen DVD releases and a 35mm retrospective begins this week at Museum of the Moving Image in Queens—this article and its follow-up gives us an important view of a French perspective on Grémillon's work by a very perceptive critic doing the initial heavy-lifting in bringing the proper attention to the filmmaker's work.
Filmmaker maudit?...
Filmmaker maudit?...
- 11/30/2014
- by Ted Fendt
- MUBI
The new issue of Film Comment features articles on Christopher Nolan's Interstellar, Paul Thomas Anderson's Inherent Vice, Jean-Luc Godard's Adieu au langage, "Robert Mitchum’s best Western," The Wonderful Country and more. Also in today's roundup of news and views: Interviews with the recipients of this weekend's Governors Awards, Harry Belafonte, Jean-Claude Carrière, Hayao Miyazaki and Maureen O'Hara; Aki Kaurismäki on Jean-Pierre Léaud; Jonathan Rosenbaum on Henri Langlois; Toby Litt on David Cronenberg; and a lengthy interview with Alex Ross Perry. » - David Hudson...
- 11/10/2014
- Fandor: Keyframe
The new issue of Film Comment features articles on Christopher Nolan's Interstellar, Paul Thomas Anderson's Inherent Vice, Jean-Luc Godard's Adieu au langage, "Robert Mitchum’s best Western," The Wonderful Country and more. Also in today's roundup of news and views: Interviews with the recipients of this weekend's Governors Awards, Harry Belafonte, Jean-Claude Carrière, Hayao Miyazaki and Maureen O'Hara; Aki Kaurismäki on Jean-Pierre Léaud; Jonathan Rosenbaum on Henri Langlois; Toby Litt on David Cronenberg; and a lengthy interview with Alex Ross Perry. » - David Hudson...
- 11/10/2014
- Keyframe
David Bordwell's posted another round of book recommendations, among them, volumes on Hou Hsiao-hsien and Henri Langlois. Also in today's roundup of news and views: Graham Greene's 1952 open letter of support for Charles Chaplin, Grady Hendrix on Anthony Chen’s "quiet domestic drama," Ilo Ilo (2013), Design Observer co-founder Rick Poynor on the posters Hans Hillmann designed for films by Jean-Luc Godard, Penny Lane (Our Nixon) on James Manera’s Atlas Shrugged III: Who Is John Galt?, an interview with Pawel Pawlikowski, a celebration of Tom Graeff—and more. » - David Hudson...
- 9/18/2014
- Fandor: Keyframe
David Bordwell's posted another round of book recommendations, among them, volumes on Hou Hsiao-hsien and Henri Langlois. Also in today's roundup of news and views: Graham Greene's 1952 open letter of support for Charles Chaplin, Grady Hendrix on Anthony Chen’s "quiet domestic drama," Ilo Ilo (2013), Design Observer co-founder Rick Poynor on the posters Hans Hillmann designed for films by Jean-Luc Godard, Penny Lane (Our Nixon) on James Manera’s Atlas Shrugged III: Who Is John Galt?, an interview with Pawel Pawlikowski, a celebration of Tom Graeff—and more. » - David Hudson...
- 9/18/2014
- Keyframe
Honorary Award: Gloria Swanson, Rita Hayworth among dozens of women bypassed by the Academy (photo: Honorary Award non-winner Gloria Swanson in 'Sunset Blvd.') (See previous post: "Honorary Oscars: Doris Day, Danielle Darrieux Snubbed.") Part three of this four-part article about the Academy of Motion Picture Arts and Sciences' Honorary Award bypassing women basically consists of a long, long — and for the most part quite prestigious — list of deceased women who, some way or other, left their mark on the film world. Some of the names found below are still well known; others were huge in their day, but are now all but forgotten. Yet, just because most people (and the media) suffer from long-term — and even medium-term — memory loss, that doesn't mean these women were any less deserving of an Honorary Oscar. So, among the distinguished female film professionals in Hollywood and elsewhere who have passed away without...
- 9/4/2014
- by Andre Soares
- Alt Film Guide
Richard Linklater's Boyhood has landed on the covers of both Sight & Sound and Film Comment, just in time for the film's opening in New York and Los Angeles before it begins rolling out across the country all summer long. Also in today's roundup of news and views: Francis Ford Coppola, Agnés Varda, Wim Wenders, Volker Schlöndorff, Jean-Paul Rappeneau, Kiyoshi Kurosawa, Manoel de Oliveira, Costa-Gavras, Stephen Frears, William Friedkin, Bernardo Bertolucci and Souleymane Cissé pay tribute to Henri Langlois. » - David Hudson...
- 7/8/2014
- Keyframe
Richard Linklater's Boyhood has landed on the covers of both Sight & Sound and Film Comment, just in time for the film's opening in New York and Los Angeles before it begins rolling out across the country all summer long. Also in today's roundup of news and views: Francis Ford Coppola, Agnés Varda, Wim Wenders, Volker Schlöndorff, Jean-Paul Rappeneau, Kiyoshi Kurosawa, Manoel de Oliveira, Costa-Gavras, Stephen Frears, William Friedkin, Bernardo Bertolucci and Souleymane Cissé pay tribute to Henri Langlois. » - David Hudson...
- 7/8/2014
- Fandor: Keyframe
João Bénard da Costa's essay on Nicholas Ray's Johnny Guitar (1954) is now available in nine languages. Do we fully appreciate the impact of Cornell Woolrich on cinema? What does Ida Lupino's Outrage (1950) have to say about "what we now know to call rape culture"? Plus Boris Nelepo on Alain Resnais's Life of Riley, Kenji Fujishima and Carson Lund on Michael Glawogger's Workingman's Death, Joseph Nechvatal on Henri Langlois and more. » - David Hudson...
- 6/17/2014
- Fandor: Keyframe
Australia is already the most parochial film environment in the developed world. No surprise there. Look at the horror stories that litter the national cinema time line.
Think burning Amalgamated's library and the holdings of the ethnic distributors, freighting the lending collection to Melbourne and back at they say a million a time, cancelling the Lillian Gish tour, flogging Cinema Papers to a team unable to get past three shonky issues, the aborted Sydney Quay Cinematheque. The dismantling of the National Film Theater must be most alarming. It's no accident that that organization's establishment coincided with the development of an Australian feature production industry acknowledged world wide and it's disappearance marked the end of consistently plausible product - and that is just a side issue. The money spent on ill informed production alone could have made this country a world leader in cinema savvy. We're only on the third paragraph...
Think burning Amalgamated's library and the holdings of the ethnic distributors, freighting the lending collection to Melbourne and back at they say a million a time, cancelling the Lillian Gish tour, flogging Cinema Papers to a team unable to get past three shonky issues, the aborted Sydney Quay Cinematheque. The dismantling of the National Film Theater must be most alarming. It's no accident that that organization's establishment coincided with the development of an Australian feature production industry acknowledged world wide and it's disappearance marked the end of consistently plausible product - and that is just a side issue. The money spent on ill informed production alone could have made this country a world leader in cinema savvy. We're only on the third paragraph...
- 5/19/2014
- by Barrie Pattison*
- IF.com.au
The Cannes Film Festival isn't just about uncovering the brightest new talents, and freshest expressions of the cinematic art (but yes, it's a huge part of it). Each year, organizers curate a great selection of classic films, and this year is no different. Films by Alfred Hitchcock, Sergio Leone, Frank Capra, Jean Renoir, Wim Wenders, Francois Truffaut, Krzysztof Kieślowski and more will be unveiled, many newly restored, giving the current generation of moviegoers a chance to look back at the movies that likely inspired many Cannes filmmakers. Cannes will also be bestowing Sophia Loren with Guest Of Honor status, with the actress giving a masterclass to attendees. Cannes runs from May 14th to 25th. Press release below. ---------- Sophia Loren as a guest of honor, the birth of the Italian western, 30 years old for Paris, Texas, a homage to Henri Langlois, Kieslowski back at Cannes, a masterpiece of Georgian cinema,...
- 4/30/2014
- by Kevin Jagernauth
- The Playlist
The Audience Award went to Destin Daniel Cretton’s Us festival hit Short Term 12; The Athens International Film Festival wrapped with Blue Is The Warmest Colour.
Yann Gonzalez’s debut feature You and the Night was named Best Film at the 19th Athens International Film Festival (Aiff) which ran September 19-29.
A Modern day retelling of Sade’s Philosophy In The Bedroom, the film, written by Gonzalez, stars Alain-Fabien Delon alongside Eric Cantona, Kate Moran, Fabienne Babe and Niels Schneider.
It was chosen by a jury made up of film school students, aged 18-25.
The Best Director Award went to second timer American Sam Fleischner for Stand Clear Of The Closing Doors, a coming of age story about a 13 years-old autistic boy, son of an illegal Mexican immigrant mother in New York.
French debutant Antonin Peretjako picked up the Best Screenplay award for The Rendez-vous of Deja-Vu, about the adventures of a group of young Parisians...
Yann Gonzalez’s debut feature You and the Night was named Best Film at the 19th Athens International Film Festival (Aiff) which ran September 19-29.
A Modern day retelling of Sade’s Philosophy In The Bedroom, the film, written by Gonzalez, stars Alain-Fabien Delon alongside Eric Cantona, Kate Moran, Fabienne Babe and Niels Schneider.
It was chosen by a jury made up of film school students, aged 18-25.
The Best Director Award went to second timer American Sam Fleischner for Stand Clear Of The Closing Doors, a coming of age story about a 13 years-old autistic boy, son of an illegal Mexican immigrant mother in New York.
French debutant Antonin Peretjako picked up the Best Screenplay award for The Rendez-vous of Deja-Vu, about the adventures of a group of young Parisians...
- 10/1/2013
- by alexisgrivas@yahoo.com (Alexis Grivas)
- ScreenDaily
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
Olivier Assayas seems to be dramatising his own youth with this beautiful-looking account of the soixante-huitard aftermath – but politics give way too easily to nostalgia
In contemporary French and European cinema, the events of May 1968 live stubbornly on – intensely debated and treasured and re-mythologised. A whiff of tear gas is a madeleine. For wasn't it cinema itself, and the attempted sacking of the Cinématheque Française chief Henri Langlois, that helped spark the Paris uprising? Philippe Garrel's Les Amants Réguliers, or Regular Lovers (2005), showed a young poet, played by the director's son Louis, taking to the barricades in 1968. Louis Garrel played something similar in Bernardo Bertolucci's soixante-huitard swoon, The Dreamers (2003). Before that, Louis Malle's Milou En Mai, or May Fools (1990) starred Michel Piccoli as the provincial Milou, whose family estate in May 1968 is on the verge of being dismembered by history itself.
Olivier Assayas's Après Mai, or After May,...
In contemporary French and European cinema, the events of May 1968 live stubbornly on – intensely debated and treasured and re-mythologised. A whiff of tear gas is a madeleine. For wasn't it cinema itself, and the attempted sacking of the Cinématheque Française chief Henri Langlois, that helped spark the Paris uprising? Philippe Garrel's Les Amants Réguliers, or Regular Lovers (2005), showed a young poet, played by the director's son Louis, taking to the barricades in 1968. Louis Garrel played something similar in Bernardo Bertolucci's soixante-huitard swoon, The Dreamers (2003). Before that, Louis Malle's Milou En Mai, or May Fools (1990) starred Michel Piccoli as the provincial Milou, whose family estate in May 1968 is on the verge of being dismembered by history itself.
Olivier Assayas's Après Mai, or After May,...
- 5/23/2013
- by Peter Bradshaw
- The Guardian - Film News
May 3, 1913 went down in history as the release date of the first Indian film Raja Harishchandra by Dadasaheb Phalke. Exactly 100 years later releases a documentary Celluloid Man by Shivendra Singh Dungarpur that leads us to the man responsible for finding and preserving whatever remained of India’s first film and the films that were made thereafter. The man who gave us our cinematic history by building the National Film Archive. DearCinema.com reproduces a detailed interview with P.K Nair. This interview was recorded in Pune in 2008 for Asian Film Foundation to mark his felicitation with Satyajit Ray Memorial Award.
What memories do you have of watching your first film?
It was in the early forties, at the height of war. I must have been hardly eight years old.
The venue: a Tent Cinema in Thiruvnanthapuram Putharikandam Maidan, almost the same venue of the present Padmanabha Theatre. Nearly half the...
What memories do you have of watching your first film?
It was in the early forties, at the height of war. I must have been hardly eight years old.
The venue: a Tent Cinema in Thiruvnanthapuram Putharikandam Maidan, almost the same venue of the present Padmanabha Theatre. Nearly half the...
- 5/2/2013
- by Bikas Mishra
- DearCinema.com
A man said to the universe:
"Sir, I exist!"
"However," replied the universe,
"The fact has not created in me
"A sense of obligation."
--Stephen Crane
 
That man can be found at the center of Werner Herzog's films. He is Aguirre. He is Fitzcarraldo. He is the Nosferatu. He is Timothy Treadwell, who lived among the grizzlies. He is Little Dieter Dengler, who needed to fly. She is Fini Straubinger, who lived in a land of silence and darkness since she was 12. He is Kaspar Hauser. He is Klaus Kinski. He is the man who will not leave the slopes of the Guadeloupe volcano when it is about to explode. He is those who live in the Antarctic. She is Juliana Koepcke, whose plane crashed in the rain forest and she walked out alive. He is Graham Dorrington, who flew one of the smallest airships ever built...
"Sir, I exist!"
"However," replied the universe,
"The fact has not created in me
"A sense of obligation."
--Stephen Crane
 
That man can be found at the center of Werner Herzog's films. He is Aguirre. He is Fitzcarraldo. He is the Nosferatu. He is Timothy Treadwell, who lived among the grizzlies. He is Little Dieter Dengler, who needed to fly. She is Fini Straubinger, who lived in a land of silence and darkness since she was 12. He is Kaspar Hauser. He is Klaus Kinski. He is the man who will not leave the slopes of the Guadeloupe volcano when it is about to explode. He is those who live in the Antarctic. She is Juliana Koepcke, whose plane crashed in the rain forest and she walked out alive. He is Graham Dorrington, who flew one of the smallest airships ever built...
- 2/2/2013
- by Roger Ebert
- blogs.suntimes.com/ebert
“Why should P.K.Nair not be a recipient of the Dadasaheb Phalke Award? After all, whatever we have of Phalke’s Raja Harishchandra, meaning just the first and last reels of the film, are there due to Nair’s unwavering vision and his endless efforts. Again, the only complete Phalke film available to us, namely, Kaliya Mardan (1919), is there because of Nair. If someone like him is not deserving of the Phalke Award, one wonders, who is?”
In mid-November, when the Calcutta air is cooler than in the preceding several months, I had the delightful experience of watching a 150-minute documentary film in a small auditorium in the company of no more than a dozen other people. What added to the delight was the fact that those who were there for the film’s first shot were in his or her seat till the last. This is not a small thing,...
In mid-November, when the Calcutta air is cooler than in the preceding several months, I had the delightful experience of watching a 150-minute documentary film in a small auditorium in the company of no more than a dozen other people. What added to the delight was the fact that those who were there for the film’s first shot were in his or her seat till the last. This is not a small thing,...
- 12/12/2012
- by Vidyarthy Chatterjee
- DearCinema.com
Still drifting with the time machine of Il Cinema Ritrovato, I can profoundly feel the endlessness of the medium. Though this is supposedly a journey through the past, as Henri Langlois points out, it also indicates our very future. In this regard, at least to me, Raoul Walsh is the future and cinephilia is nothing but shaping our future by returning to the rich heritage of the moving images.
***
Raoul Walsh’s anti-vengeance Distant Drums (1951), starring Gary Cooper and set in Florida in 1840, is about a journey of professional soldiers and ordinary people through the dangerous Everglades, only to discover at the end that the promised land they are searching for is burnt down to the ground. As one can expect from a Walsh film, they stay on the land and fight, man-to-man. There is no room for self-pity or sentimentalism, and the journey itself becomes a metaphor for self-discovery...
***
Raoul Walsh’s anti-vengeance Distant Drums (1951), starring Gary Cooper and set in Florida in 1840, is about a journey of professional soldiers and ordinary people through the dangerous Everglades, only to discover at the end that the promised land they are searching for is burnt down to the ground. As one can expect from a Walsh film, they stay on the land and fight, man-to-man. There is no room for self-pity or sentimentalism, and the journey itself becomes a metaphor for self-discovery...
- 7/2/2012
- MUBI
I used to believe, like Wenders or Godard, in the death of cinema. I accepted it as fact but never believed in it. The movies, that’s what I believed in—a dark room, shadows on a surface, a bunch of lonely people sitting down, looking up.
Like Leos Carax to Serge Daney, Abel Ferrara showed me there’d be cinema ‘til the end of the world.
***
At first I thought Abel Ferrara’s films were badly acted; I soon realized Ferrara would take bad acting with truth in it over a masterpiece of falsehoods. (Later I found out that Ferrara would, in Dangerous Game and New Rose Hotel, use one to create the other.)
I thought his films were too commercial. “Already captivated by cinema, I didn’t need to be seduced as well,” as Serge Daney put it. Hollywood in the 21st century is a highly sophisticated marketing ploy.
Like Leos Carax to Serge Daney, Abel Ferrara showed me there’d be cinema ‘til the end of the world.
***
At first I thought Abel Ferrara’s films were badly acted; I soon realized Ferrara would take bad acting with truth in it over a masterpiece of falsehoods. (Later I found out that Ferrara would, in Dangerous Game and New Rose Hotel, use one to create the other.)
I thought his films were too commercial. “Already captivated by cinema, I didn’t need to be seduced as well,” as Serge Daney put it. Hollywood in the 21st century is a highly sophisticated marketing ploy.
- 3/19/2012
- MUBI
Tomorrow evening at 92Y Tribeca, Not Coming to a Theater Near You will present Philippe Garrel's J'entends plus la guitare (1991), reason enough for Leo Goldsmith to look back on Garrel and Nico's ten-year romantic and artistic relationship, which produced "only about a half-dozen films, some threadbare Warholian portraits, shot without sound and on old film stock, others mythopoeic allegories of creation, destruction, and revolution, shot in exotic locales from Iceland to Morocco." It "was this young Garrel who first captivated French cinephiles like Henri Langlois, who hailed Garrel's 1972 film La Cicatrice intérieure as a masterpiece, and Gilles Deleuze who, in 1985, praised Garrel's 'cinema of revelation' in his second Cinema book. Deleuze's reading of Garrel, derived almost entirely from the 60s and 70s films, describes a 'liturgy of bodies,' a devotional, if not exactly pious cinema. For the young Garrel, cinema serves as a vehicle for prophecy and vision,...
- 2/8/2012
- MUBI
The San Sebastian International Film Festival is set to honor filmmaker Georges Franju with a comprehensive retrospective, which will coincide with the year of his 100th birthday. The influential French director founded the Cinematheque Francaise with Henri Langlois in 1936. From there he began to direct documentaries such as "Le Sang des betes" and "Hotel des Invalides." Eventually, Franju began went on to direct narrative features, including "Head Against the Wall" and "Eyes Without a Face." The San Sebastian International Film Festival is set to take place from September 21-29. Original press release and films scheduled to be screened at retrospective below: Original Press Release: French filmmaker Georges Franju is to be the subject of one the retrospectives programmed for the 60th San Sebastian Festival to take place from 21-29 September 2012. Georges Franju (12-4-1912 / 5-11-1987) was...
- 1/27/2012
- Indiewire
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