“Rashomon” is one of Akira Kurosawa's most famous films, and is now considered one of the greatest films ever made. It is a very significant production for the Japanese movie industry since it marked its entrance to the world stage, a move that proved the prowess of Japanese cinema in the best way possible. “Rashomon” went on to win the Golden Lion at the Venice Film Festival in 1951, and an Honorary Academy Award at the 24th Academy Awards in 1952, among a plethora of other awards.
The film's success in Japan was also significant, even in financial terms. It was given a Hollywood-like premiere at the Imperial Theater in Tokyo, then considered the best theater in the country, and despite its experimental and intellectual orientation, it earned large box office receipts all over the country. Long before it won the Golden Lion, it had won back its production costs, and...
The film's success in Japan was also significant, even in financial terms. It was given a Hollywood-like premiere at the Imperial Theater in Tokyo, then considered the best theater in the country, and despite its experimental and intellectual orientation, it earned large box office receipts all over the country. Long before it won the Golden Lion, it had won back its production costs, and...
- 2/22/2024
- by Panos Kotzathanasis
- AsianMoviePulse
With a title that invokes both the specific (cinema of Godard) and the universal (cinema is Godard), Cyril Leuthy’s Godard Cinema finds itself in conversation with another formulation: Everything is Cinema. Richard Brody’s 2008 study of the filmmaker, is beautifully sentenced, dare-ing criticism; one wonders, sometimes, if his honest contrarianism is the result of a theoretical attempt to widen the possibilities for transmission and reception of image and narrative. Such an attempt finds a natural bedfellow in the mercurial cinema of Jean-Luc Godard. Leuthy’s hagiographic documentary, on the other hand, is an awkward fit for Godard’s polyrhythmic image collisions.
That Brody will be on hand to introduce Leuthy’s film to kick off its New York run at Film Forum speaks, perhaps, to the heart and head-felt intentions of Leuthy, a documentary filmmaker who’s worked as a director and editor of several film histories, including a...
That Brody will be on hand to introduce Leuthy’s film to kick off its New York run at Film Forum speaks, perhaps, to the heart and head-felt intentions of Leuthy, a documentary filmmaker who’s worked as a director and editor of several film histories, including a...
- 12/15/2023
- by Frank Falisi
- The Film Stage
The late, great Jean-Luc Godard wrote in his 1960 film "Le Petit Soldat" that photography was truth, and that cinema is truth at 24 frames per second. Every edit is a lie.
Editing is one of those alterations from truth that modern cinema audiences have long ago internalized and accepted as part of the medium's vernacular. We accept that a conversation between two on-screen characters will instantly shift from one person's point of view to the other. Shot, reverse shot. In terms of consumption, this provides a natural form of clarity and lends to cinema a certain kind of unconscious rhythm. In actuality, the shot-reverse-shot will, at the very least, require two cameras running simultaneously, one on each actor. More likely, a single camera will be used, and the actors will run through the scene several times, the camera filming both angles separately. Editors -- the eldritch wizards of the film world...
Editing is one of those alterations from truth that modern cinema audiences have long ago internalized and accepted as part of the medium's vernacular. We accept that a conversation between two on-screen characters will instantly shift from one person's point of view to the other. Shot, reverse shot. In terms of consumption, this provides a natural form of clarity and lends to cinema a certain kind of unconscious rhythm. In actuality, the shot-reverse-shot will, at the very least, require two cameras running simultaneously, one on each actor. More likely, a single camera will be used, and the actors will run through the scene several times, the camera filming both angles separately. Editors -- the eldritch wizards of the film world...
- 9/23/2022
- by Witney Seibold
- Slash Film
French New Wave auteur Jean-Luc Godard’s lasting legacy on cinema was embodied by the thousands of tributes to the late “Breathless” director.
Godard died at age 91 of assisted suicide in Switzerland, where the elective injection is legal. “He was not sick, he was simply exhausted,” a Godard family member told press outlets. The director’s longtime legal advisor Patrick Jeannere confirmed to The New York Times that Godard suffered from “multiple disabling pathologies.”
“He could not live like you and me, so he decided with a great lucidity, as he had all his life, to say, ‘Now, it’s enough,’” Jeanneret said.
Fellow directors, film critics, and actors paid tribute to the late “Band of Outsiders” icon.
French President Emmanuel Macron honored Godard in a social media statement, writing, “It was like an appearance in French cinema. Then he became a master. Jean-Luc Godard, the most iconoclastic of New Wave filmmakers,...
Godard died at age 91 of assisted suicide in Switzerland, where the elective injection is legal. “He was not sick, he was simply exhausted,” a Godard family member told press outlets. The director’s longtime legal advisor Patrick Jeannere confirmed to The New York Times that Godard suffered from “multiple disabling pathologies.”
“He could not live like you and me, so he decided with a great lucidity, as he had all his life, to say, ‘Now, it’s enough,’” Jeanneret said.
Fellow directors, film critics, and actors paid tribute to the late “Band of Outsiders” icon.
French President Emmanuel Macron honored Godard in a social media statement, writing, “It was like an appearance in French cinema. Then he became a master. Jean-Luc Godard, the most iconoclastic of New Wave filmmakers,...
- 9/15/2022
- by Samantha Bergeson
- Indiewire
Jean-Luc Godard, a leading figure of the French New Wave, has died. He was 91.
Best known for his radical and politically driven work, Godard was among the most acclaimed directors of his generation with classic films such as Breathless (À bout de souffle), which catapulted him onto the world scene in 1960.
Jean-Luc Godard Dies: Pioneering French Director Was 91
President Emmanuel Macron of France paid tribute to the director with a statement on Twitter, calling him the “iconoclastic of New Wave filmmakers.”
Jean-Luc Godard Tributes Pour In From The World Of Cinema And Beyond: “National Treasure”
Born in Paris in 1930, Godard grew up and attended school in Nyon, Switzerland. After moving back to Paris after finishing school in 1949, Godard found a home amongst the burgeoning group of young film critics in the city’s ciné clubs.
Godard is best known for his seminal work of the 1960s, including Le mépris (Contempt), starring Brigitte Bardot,...
Best known for his radical and politically driven work, Godard was among the most acclaimed directors of his generation with classic films such as Breathless (À bout de souffle), which catapulted him onto the world scene in 1960.
Jean-Luc Godard Dies: Pioneering French Director Was 91
President Emmanuel Macron of France paid tribute to the director with a statement on Twitter, calling him the “iconoclastic of New Wave filmmakers.”
Jean-Luc Godard Tributes Pour In From The World Of Cinema And Beyond: “National Treasure”
Born in Paris in 1930, Godard grew up and attended school in Nyon, Switzerland. After moving back to Paris after finishing school in 1949, Godard found a home amongst the burgeoning group of young film critics in the city’s ciné clubs.
Godard is best known for his seminal work of the 1960s, including Le mépris (Contempt), starring Brigitte Bardot,...
- 9/15/2022
- by Zac Ntim
- Deadline Film + TV
If the reverberations of Jean-Luc Godard’s life should ring well after we’re all gone, his passing could be nothing but seismic. As we revisit favorites, discover masterpieces, and discuss and debate in equal measure, filmmakers are taking time to pay Godard tribute—today feeling like the first step of what might become a new, postmortem chapter in cinema.
As is customary in such times, various filmmakers spoke to The Guardian about Godard. Rather than lift their entire feature, we’ll share some favorites and leave the rest—including Luca Guadagnino, Kelly Reichardt, and Mike Leigh—to the link. We’ve also added comments Leos Carax gave to Libération, dutifully translated by @pontdevarsovia.
Martin Scorsese:
From Breathless on, Godard redefined the very idea of what a movie was and where it could go. No one was as daring as Godard. You’d watch Vivre Sa Vie or Contempt...
As is customary in such times, various filmmakers spoke to The Guardian about Godard. Rather than lift their entire feature, we’ll share some favorites and leave the rest—including Luca Guadagnino, Kelly Reichardt, and Mike Leigh—to the link. We’ve also added comments Leos Carax gave to Libération, dutifully translated by @pontdevarsovia.
Martin Scorsese:
From Breathless on, Godard redefined the very idea of what a movie was and where it could go. No one was as daring as Godard. You’d watch Vivre Sa Vie or Contempt...
- 9/14/2022
- by Nick Newman
- The Film Stage
The inarguably true cliché about Jean-Luc Godard was that the late filmmaker, who died this week at the age of 91, was a rule-breaker, an artist whose style changed the course of film history by revealing the medium for everything it had already been and pointing to the future of what it could eventually be. Obviously, his body of work has been influential — but that’s an understatement.
And not only for his extensive, time- and media-spanning filmography, ranging from his cucumber-cool debut, Breathless, to the didactic political experiments of the 1960s and 1970s,...
And not only for his extensive, time- and media-spanning filmography, ranging from his cucumber-cool debut, Breathless, to the didactic political experiments of the 1960s and 1970s,...
- 9/14/2022
- by K. Austin Collins
- Rollingstone.com
Tributes are pouring in for the legendary French New Wave filmmaker Jean-Luc Godard, who died Tuesday at age 91. The Franco-Swiss director, who helped usher in a new era of cinema with titles like “Breathless” (1960) and “A Woman is a Woman” (1961), was mourned and celebrated across social media by scores of fans and fellow artists.
Martin Scorsese said that the director “re-defined the very idea of what a movie was and where it could go. No one was as daring as Godard.”
“He never made a picture that settled into to any one rhythm or mood or point of view, and his films never lulled you into a dream state. They woke you up. They still do, and they always will,” his statement continued. “It’s difficult to think that he’s gone. But if any artist can be said to have left traces of his own presence in his art,...
Martin Scorsese said that the director “re-defined the very idea of what a movie was and where it could go. No one was as daring as Godard.”
“He never made a picture that settled into to any one rhythm or mood or point of view, and his films never lulled you into a dream state. They woke you up. They still do, and they always will,” his statement continued. “It’s difficult to think that he’s gone. But if any artist can be said to have left traces of his own presence in his art,...
- 9/13/2022
- by Harper Lambert
- The Wrap
The greatest filmmaker in the world has died. And that’s a title Jean-Luc Godard has held for a very long time. His influence on cinematic form and language of the past 60 years has been foundational, but Godard’s best movies are not museum pieces to be studied: They are vibrant, energetic, sexy, full of color and smoke and crepuscular shadows that envelop you. They are alive. And they will continue to be though their maker is not.
The Swiss-born filmmaker stripped cinema down to its essence — all you need to tell a story on film is “a girl and a gun” he famously said — with a run-and-gun guerrilla style that eventually flowered into a finely wrought formalism. Besotted with movies, particularly Hollywood genre efforts (even if he hated U.S. politics), he didn’t just know movies either: painting appears all throughout “Pierrot le fou,” written text in “Vivre Sa Vie,...
The Swiss-born filmmaker stripped cinema down to its essence — all you need to tell a story on film is “a girl and a gun” he famously said — with a run-and-gun guerrilla style that eventually flowered into a finely wrought formalism. Besotted with movies, particularly Hollywood genre efforts (even if he hated U.S. politics), he didn’t just know movies either: painting appears all throughout “Pierrot le fou,” written text in “Vivre Sa Vie,...
- 9/13/2022
- by Christian Blauvelt and Ryan Lattanzio
- Indiewire
Click here to read the full article.
Hollywood and other movie industry representatives are paying tribute to Jean-Luc Godard on social media following the news on Tuesday that the Franco-Swiss legend had died.
A former film critic who wrote for the legendary Cahiers du Cinéma during its heyday of the 1950s, Godard burst onto the scene in 1960 with his debut Breathless, which won the Silver Bear at the Berlin Film Festival. The Paris-set crime caper, starring Jean Seberg and Jean-Paul Belmondo, heralded the arrival of cinematic modernism. Using jump cuts, nods to the camera and other meta-fictional devices, it commented on the story as it was unfolding.
Goddard’s career would go on to span half a century, with the filmmaker directing upwards of 70 projects including features, documentaries, shorts and TV. His work was known at various times throughout his long career for everything from its pop-art homages and historical...
Hollywood and other movie industry representatives are paying tribute to Jean-Luc Godard on social media following the news on Tuesday that the Franco-Swiss legend had died.
A former film critic who wrote for the legendary Cahiers du Cinéma during its heyday of the 1950s, Godard burst onto the scene in 1960 with his debut Breathless, which won the Silver Bear at the Berlin Film Festival. The Paris-set crime caper, starring Jean Seberg and Jean-Paul Belmondo, heralded the arrival of cinematic modernism. Using jump cuts, nods to the camera and other meta-fictional devices, it commented on the story as it was unfolding.
Goddard’s career would go on to span half a century, with the filmmaker directing upwards of 70 projects including features, documentaries, shorts and TV. His work was known at various times throughout his long career for everything from its pop-art homages and historical...
- 9/13/2022
- by Georg Szalai and Abbey White
- The Hollywood Reporter - Movie News
Pioneering French movie director Jean-Luc Godard and prolific television and film actor Jack Ging have died. Godard passed away at age 91. The French newspaper Liberation first reported the news of his death. Born on December 3, 1930, in Paris, France, Godard became a leading figure of the French New Wave movement, directing classic films such as Breathless (À bout de souffle), Le Petit Soldat, Vivre sa vie, Bande à part, Pierrot le Fou, Alphaville, and First Name: Carmen. His radical and politically motivated work is regarded as some of the most influential cinema in history. His final film was 2018’s The Image Book, which was selected to compete for the Palme d’Or at the 2018 Cannes Film Festival. As reported by Deadline, Ging, who was best known for playing General Harlan “Bull” Fulbright on NBC’s adventure series The A-Team, passed away on September 9 at his home in La Quinta, California. He...
- 9/13/2022
- TV Insider
Tributes to Jean-Luc Godard, a pioneering and iconic leader of French cinema, began to flood in immediately after it was reported that the director died today, aged 91, with figures from the world of cinema, politics and beyond remembering the filmmaker for his powerful, singular work.
French President Emmanuel Macron was among the first to pay tribute to Godard with a short message on social media, saying France has lost a “national treasure” and calling the director the most “iconoclastic of New Wave filmmakers.”
Best known for his radical and politically driven work, Godard was among the most acclaimed directors of his generation with classic films such as Breathless (A bout de souffle), which catapulted him onto the world scene in 1960.
Speaking on France Info radio shortly after the news broke, Jack Lang, former Culture Minister of France, said Godard was “Unique, absolutely unique… He wasn’t just cinema, he was philosophy,...
French President Emmanuel Macron was among the first to pay tribute to Godard with a short message on social media, saying France has lost a “national treasure” and calling the director the most “iconoclastic of New Wave filmmakers.”
Best known for his radical and politically driven work, Godard was among the most acclaimed directors of his generation with classic films such as Breathless (A bout de souffle), which catapulted him onto the world scene in 1960.
Speaking on France Info radio shortly after the news broke, Jack Lang, former Culture Minister of France, said Godard was “Unique, absolutely unique… He wasn’t just cinema, he was philosophy,...
- 9/13/2022
- by Zac Ntim and Nancy Tartaglione
- Deadline Film + TV
Jean-Luc Godard, the legendary filmmaker who revolutionized the medium as a leader of the French New Wave of the 1960s, died Tuesday at age 91.
Godard’s partner, Anne-Marie Mieville, confirmed to the Swiss news agency Ats that he died peacefully at his home in the Swiss town of Rolle near Lake Geneva.
French President Emmanuel Macron also confirmed his death on Twitter, calling him a “national treasure” who “invented a resolutely modern, intensely free art.”
Godard burst on the international scene with his debut feature, 1960’s “À bout de souffle” (“Breathless”), which revolutionized cinematic storytelling with its fractured nonlinear narrative about a petty criminal and his girlfriend, improvisational choreography and rapid editing. The film became an international sensation, making a star of its lead actor, Jean-Paul Belmondo, and earning Godard the best director prize at the Berlin Film Festival.
Also Read:
Marsha Hunt, Blacklisted Hollywood Actress, Dies at 104
He became...
Godard’s partner, Anne-Marie Mieville, confirmed to the Swiss news agency Ats that he died peacefully at his home in the Swiss town of Rolle near Lake Geneva.
French President Emmanuel Macron also confirmed his death on Twitter, calling him a “national treasure” who “invented a resolutely modern, intensely free art.”
Godard burst on the international scene with his debut feature, 1960’s “À bout de souffle” (“Breathless”), which revolutionized cinematic storytelling with its fractured nonlinear narrative about a petty criminal and his girlfriend, improvisational choreography and rapid editing. The film became an international sensation, making a star of its lead actor, Jean-Paul Belmondo, and earning Godard the best director prize at the Berlin Film Festival.
Also Read:
Marsha Hunt, Blacklisted Hollywood Actress, Dies at 104
He became...
- 9/13/2022
- by Thom Geier
- The Wrap
Jean-Luc Godard, the revered filmmaker regarded as a giant of the French New Wave movement, has died at the age of 91.
He was known for directing a run of radical, medium-changing films throughout the 1960s, including Breathless and Alphaville.
News of Godard’s death was reported by the French newspaper Liberation.
Along with contemporaries such as Éric Rohmer, Jacques Rivette, and François Truffaut, the Paris-born Godard was a central figure in the Nouvelle Vague, an experimental film movement that emerged in France in the late 1950s.
Several of his films are frequently cited among the best movies ever made.
Godard’s first feature was Breathless, released in 1960, an experimental tribute to American film noir. Starring Jean-Paul Belmondo as a hoodlum named Michel, and Jean Seberg as his American girlfriend, the film caused a stir with its unusual visual style and editing techniques, immediately announcing Godard as one of cinema’s great innovators.
He was known for directing a run of radical, medium-changing films throughout the 1960s, including Breathless and Alphaville.
News of Godard’s death was reported by the French newspaper Liberation.
Along with contemporaries such as Éric Rohmer, Jacques Rivette, and François Truffaut, the Paris-born Godard was a central figure in the Nouvelle Vague, an experimental film movement that emerged in France in the late 1950s.
Several of his films are frequently cited among the best movies ever made.
Godard’s first feature was Breathless, released in 1960, an experimental tribute to American film noir. Starring Jean-Paul Belmondo as a hoodlum named Michel, and Jean Seberg as his American girlfriend, the film caused a stir with its unusual visual style and editing techniques, immediately announcing Godard as one of cinema’s great innovators.
- 9/13/2022
- by Louis Chilton
- The Independent - Film
Click here to read the full article.
Jean-Luc Godard, the brilliant and polemical Franco-Swiss filmmaker whose work revolutionized cinema, has died. He was 91.
Godard’s death was reported by French newspaper Liberation, which didn’t immediately detail a cause of death.
A former film critic who wrote for the legendary Cahiers du Cinéma during its heyday of the 1950s, Godard emerged onto the scene in 1960 with his seminal debut feature, Breathless, which won the Silver Bear at the Berlin Film Festival.
The Paris-set crime caper, which starred Jean Seberg and Jean-Paul Belmondo, forever changed the course of movies and heralded the arrival of cinematic modernism. Using jump cuts, nods to the camera and other meta-fictional devices, Breathless constantly interrupted and commented on the story as it was happening.
Indeed, Godard’s major contribution to cinema was his idea that a movie was both the story it was telling and the...
Jean-Luc Godard, the brilliant and polemical Franco-Swiss filmmaker whose work revolutionized cinema, has died. He was 91.
Godard’s death was reported by French newspaper Liberation, which didn’t immediately detail a cause of death.
A former film critic who wrote for the legendary Cahiers du Cinéma during its heyday of the 1950s, Godard emerged onto the scene in 1960 with his seminal debut feature, Breathless, which won the Silver Bear at the Berlin Film Festival.
The Paris-set crime caper, which starred Jean Seberg and Jean-Paul Belmondo, forever changed the course of movies and heralded the arrival of cinematic modernism. Using jump cuts, nods to the camera and other meta-fictional devices, Breathless constantly interrupted and commented on the story as it was happening.
Indeed, Godard’s major contribution to cinema was his idea that a movie was both the story it was telling and the...
- 9/13/2022
- by Jordan Mintzer
- The Hollywood Reporter - Movie News
Jean-Luc Godard, a leading figure of the French New Wave, has died. He was 91. The French newspaper Liberation first reported the news which was confirmed to Deadline by a source close to the filmmaker.
Best known for his radical and politically driven work, Godard was among the most acclaimed directors of his generation with classic films such as Breathless (À bout de souffle), which catapulted him onto the world scene in 1960. The film was from a treatment by his contemporary and former friend François Truffaut and followed the story of a young American woman in Paris, played by Hollywood star Jean Seberg, and her doomed affair with a young rebel on the run, played by Jean-Paul Belmondo.
Hollywood & Media Deaths 2022: A Photo Gallery
President Emmanuel Macron of France paid tribute to the director with a statement on Twitter, calling him the “iconoclastic of New Wave filmmakers.”
Born in Paris...
Best known for his radical and politically driven work, Godard was among the most acclaimed directors of his generation with classic films such as Breathless (À bout de souffle), which catapulted him onto the world scene in 1960. The film was from a treatment by his contemporary and former friend François Truffaut and followed the story of a young American woman in Paris, played by Hollywood star Jean Seberg, and her doomed affair with a young rebel on the run, played by Jean-Paul Belmondo.
Hollywood & Media Deaths 2022: A Photo Gallery
President Emmanuel Macron of France paid tribute to the director with a statement on Twitter, calling him the “iconoclastic of New Wave filmmakers.”
Born in Paris...
- 9/13/2022
- by Zac Ntim
- Deadline Film + TV
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSHong Sang-soo's The Novelist's Film (2022)The competition slate has been announced for this year's Berlinale, featuring the latest by Hong Sang-soo, Claire Denis, Rithy Panh, Phyllis Nagy, Ulrich Seidl, and more. Find the rest of the lineup here. In an interview with Variety, executive Mariette Rissenbeek and artistic director Carlo Chatrian discuss their plans for the festival to be an in-person event. Actor Michel Subor has died at the age of 86. Subor captivated audiences with his performances in films like Jean-Luc Godard's Le petit soldat (1960)—he also was the narrator for François Truffaut's Jules and Jim (1962)—and a number of films by Claire Denis, from Beau travail (1999) and L'intrus (2004) to White Material (2009) and Bastards (2013). We recommend reading Yasmina Price's excellent essay on L'intrus and Subor's distinct historiography as an actor. Recommended VIEWINGThe...
- 1/19/2022
- MUBI
Michel Subor, a French actor who rose to international acclaim for his lead performance in Jean-Luc Godard’s 1963 feature “Le Petit Soldat” and his narration for François Truffaut’s 1962 romance “Jules et Jim,” died on Monday in a French hospital following a car accident. He was 86 years old.
News of Subor’s death was shared by director Claire Denis on her Instagram and reported by the daily French newspaper Libération. Subor and Denis had collaborated numerous times over the past decades, with their partnership beginning with Subor’s performance in Denis’ 1999 feature “Beau Travail.”
“Michel Subor, the big little soldier is dead,” Denis wrote. Her words have been translated from French. “Our Bruno, the commander.”
View this post on Instagram
A post shared by Claire Denis (@clairedenis6)
Born Mischa Subotzki in Paris, France on Feb. 2, 1935, Subor was raised by parents who had immigrated from the Soviet Union a few years earlier.
News of Subor’s death was shared by director Claire Denis on her Instagram and reported by the daily French newspaper Libération. Subor and Denis had collaborated numerous times over the past decades, with their partnership beginning with Subor’s performance in Denis’ 1999 feature “Beau Travail.”
“Michel Subor, the big little soldier is dead,” Denis wrote. Her words have been translated from French. “Our Bruno, the commander.”
View this post on Instagram
A post shared by Claire Denis (@clairedenis6)
Born Mischa Subotzki in Paris, France on Feb. 2, 1935, Subor was raised by parents who had immigrated from the Soviet Union a few years earlier.
- 1/18/2022
- by J. Kim Murphy
- Variety Film + TV
Four war veterans return to south-east Asia to confront a ghost from their past in a shocking, incendiary blend of searing satire and action-movie drama
Spike Lee has shown up with an insurgent filmic uproar to match the uproar in the world. Da 5 Bloods is a paintball gun loaded with real bullets: a blast of satire and emotional agony about race and the American empire, the evergreen wound of Vietnam, African-American sacrifices on the field of battle, and the fact that black deaths matter.
It’s an outrageous action painting of a film, splattering moods, genres, ideas and archive clips all over the screen – with many a Brechtian-vaudeville alienation. It feels sometimes like an old-style war movie such as The Dirty Dozen but maybe Godard’s Le Petit Soldat, with playful riffs on Hollywood Vietnam standards and even John Huston’s The Treasure of the Sierra Madre. The movie...
Spike Lee has shown up with an insurgent filmic uproar to match the uproar in the world. Da 5 Bloods is a paintball gun loaded with real bullets: a blast of satire and emotional agony about race and the American empire, the evergreen wound of Vietnam, African-American sacrifices on the field of battle, and the fact that black deaths matter.
It’s an outrageous action painting of a film, splattering moods, genres, ideas and archive clips all over the screen – with many a Brechtian-vaudeville alienation. It feels sometimes like an old-style war movie such as The Dirty Dozen but maybe Godard’s Le Petit Soldat, with playful riffs on Hollywood Vietnam standards and even John Huston’s The Treasure of the Sierra Madre. The movie...
- 6/10/2020
- by Peter Bradshaw
- The Guardian - Film News
“Cinema is truth at 24 frames per second.“ Any self-respecting student of deeper film history (casual or otherwise) has no doubt come upon the above quote credited to Jean-Luc Godard, perhaps multiple times. It’s quick, snappy, and affirming nature makes it awfully hard for authors, critics, and presenters to resist. It’s ironic then, that the qualities of “snappy, quick, and affirming”, are not exactly what Godard himself is known for. It turns out, anyhow, that this film, Le petit soldat, is that quote’s original source. While snapping off photos of the beguiling Veronica Dreyer in her sparse Geneva apartment, French deserter Bruno Forestier (Michel Subor) quips, “Photography is truth. Cinema is truth at 24 frames per second”. As...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 3/8/2020
- Screen Anarchy
With a seemingly endless amount of streaming options—not only the titles at our disposal, but services themselves–each week we highlight the noteworthy titles that have recently hit platforms. Check out this week’s selections below and an archive of past round-ups here.
Anna Karina and Jean-Luc Godard
The Criterion Channel has recently put the spotlight on a pair of French New Wave icons: Anna Karina and Jean-Luc Godard–and it’s not just their iconic collaborations, but also films they made separately. The two separate series include A Woman Is a Woman, Vivre sa vie, Le petit soldat, Band of Outsiders, Alphaville, Pierrot le fou, Made in U.S.A, The Nun, Breatheless, Contempt, Film socialisme, Goodbye to Language, The Image Book, and more.
Where to Stream: The Criterion Channel
Bombshell (Jay Roach)
Although Bombshell is rather straightforward, it accomplishes its goal of telling this story with sufficient nuance,...
Anna Karina and Jean-Luc Godard
The Criterion Channel has recently put the spotlight on a pair of French New Wave icons: Anna Karina and Jean-Luc Godard–and it’s not just their iconic collaborations, but also films they made separately. The two separate series include A Woman Is a Woman, Vivre sa vie, Le petit soldat, Band of Outsiders, Alphaville, Pierrot le fou, Made in U.S.A, The Nun, Breatheless, Contempt, Film socialisme, Goodbye to Language, The Image Book, and more.
Where to Stream: The Criterion Channel
Bombshell (Jay Roach)
Although Bombshell is rather straightforward, it accomplishes its goal of telling this story with sufficient nuance,...
- 2/28/2020
- by Jordan Raup
- The Film Stage
Anna Karina, the model-turned-actress who became a French New Wave icon thanks to her collaborations with the director Jean-Luc Godard, has died at the age of 79.
France’s cultural minister Franck Riester announced Karina’s death on Twitter, with the actress’ agent later confirming that Karina died Saturday in Paris following a battle with cancer.
“Her gaze was the gaze of the Nouvelle Vague (New Wave). It will remain so forever,” Riester wrote of Karina. “Today, French cinema has been orphaned. It has lost one of its legends.”
Born Hanne...
France’s cultural minister Franck Riester announced Karina’s death on Twitter, with the actress’ agent later confirming that Karina died Saturday in Paris following a battle with cancer.
“Her gaze was the gaze of the Nouvelle Vague (New Wave). It will remain so forever,” Riester wrote of Karina. “Today, French cinema has been orphaned. It has lost one of its legends.”
Born Hanne...
- 12/15/2019
- by Daniel Kreps
- Rollingstone.com
French New Wave star Anna Karina, who served as a muse for Jean-Luc Godard and appeared in eight of his films, has died. She was 79.
France’s culture minister, Franck Reister, announced her death in a tweet, as did her agent, Laurent Balandras, who attributed the cause as cancer.
“Her gaze was the gaze of the New Wave. It will remain so forever,” wrote Reister. “She magnetized the entire world. Today, French cinema is an orphan. It loses one of its legends.”
Karina’s best known roles include “The Little Soldier,” “Vivre sa vie,” “Band of Outsiders,” “Pierrot le Fou,” and “Alphaville,” all throughout the 1960s. She starred in “A Woman Is a Woman,” as well, in a performance that earned her the silver bear award for best actress at the Berlin Film Festival in 1961.
Karina also worked with other directors of the New Wave, including Agnes Varda, Jacques Rivette,...
France’s culture minister, Franck Reister, announced her death in a tweet, as did her agent, Laurent Balandras, who attributed the cause as cancer.
“Her gaze was the gaze of the New Wave. It will remain so forever,” wrote Reister. “She magnetized the entire world. Today, French cinema is an orphan. It loses one of its legends.”
Karina’s best known roles include “The Little Soldier,” “Vivre sa vie,” “Band of Outsiders,” “Pierrot le Fou,” and “Alphaville,” all throughout the 1960s. She starred in “A Woman Is a Woman,” as well, in a performance that earned her the silver bear award for best actress at the Berlin Film Festival in 1961.
Karina also worked with other directors of the New Wave, including Agnes Varda, Jacques Rivette,...
- 12/15/2019
- by Erin Nyren
- Variety Film + TV
Anna Karina, the French New Wave icon, has died at age 79, leaving behind an indelible body of cinema’s most charming and even radical work — including director Jean-Luc Godard’s “A Woman Is a Woman,” “Pierrot Le Fou,” “Alphaville,” “Vivre Sa Vie,” “Band of Outsiders,” “Le Petit Soldat,” and more.
Karina, who was born in Denmark and became a symbol of cinematic counterculture, died on Saturday in Paris. Reportedly, she died of cancer, according to her agent, Laurent Balandras. Karina’s last film was 2008’s “Victoria,” which she also wrote and directed. This was her second and final feature behind the camera following 1973’s “Living Together.”
Karina’s loss leaves a huge hole in the filmgoing community, and many have taken to Twitter to make tribute to the actress; see below. IndieWire spoke with Anna Karina in 2016 about her many storied collaborations with Jean-Luc Godard.
Rest In Peace, the truly iconic Anna Karina,...
Karina, who was born in Denmark and became a symbol of cinematic counterculture, died on Saturday in Paris. Reportedly, she died of cancer, according to her agent, Laurent Balandras. Karina’s last film was 2008’s “Victoria,” which she also wrote and directed. This was her second and final feature behind the camera following 1973’s “Living Together.”
Karina’s loss leaves a huge hole in the filmgoing community, and many have taken to Twitter to make tribute to the actress; see below. IndieWire spoke with Anna Karina in 2016 about her many storied collaborations with Jean-Luc Godard.
Rest In Peace, the truly iconic Anna Karina,...
- 12/15/2019
- by Ryan Lattanzio
- Indiewire
Anna Karina, the dark-haired and mysterious actress who became a symbol of France’s Nouvelle Vague thanks to her frequent appearances in Jean Luc Godard’s films, has died. She passed on Saturday in Paris from cancer at age 79, according to French officials and her agent.
The Danish-born actress was also a singer and author during her long career in the arts. Her1960s hits included Sous le Soleil Exactement and Roller Girl,” written by Serge Gainsbourg. Her four novels included Golden City.
Karina made her first film with Godard in Le Petit Soldat, a story of terrorism during the French-Algerian War. But because of censorship, the film was not released for three years. At that point, Karina had won the 1961 Best Actress Award at the Berlin International Film Festival for Godard’s Une Femme Est Une Femme.
Her other Godard films of the 1960s included Vivre Sa Vie, Bande à Part,...
The Danish-born actress was also a singer and author during her long career in the arts. Her1960s hits included Sous le Soleil Exactement and Roller Girl,” written by Serge Gainsbourg. Her four novels included Golden City.
Karina made her first film with Godard in Le Petit Soldat, a story of terrorism during the French-Algerian War. But because of censorship, the film was not released for three years. At that point, Karina had won the 1961 Best Actress Award at the Berlin International Film Festival for Godard’s Une Femme Est Une Femme.
Her other Godard films of the 1960s included Vivre Sa Vie, Bande à Part,...
- 12/15/2019
- by Bruce Haring
- Deadline Film + TV
Anna Karina in Pierrot Le Fou
One of the acting icons of the French New Wave Anna Karina has died in Paris at the age of 79. The actress, who had Danish roots, was associated with her husband Jean Luc Godard (ten years her senior) on some of the most celebrated films of the period in the Fifties and Sixties.
She was born Hanne Karin Bayer on 22 September 1940 at Soljberg in Denmark. She began her career as a cabaret singer in her native land before moving to Paris at the age of 17, where she worked as a model, notably for Coco Chanel who suggested she adopt the stage name of Anna Karina.
After she refused a role in Breathless (A Bout De Souffle) after concerns about nudity, Godard got rid of the character from the script. He did, however, direct Karina in Le Petit Soldat in 1960, although the film was banned.
One of the acting icons of the French New Wave Anna Karina has died in Paris at the age of 79. The actress, who had Danish roots, was associated with her husband Jean Luc Godard (ten years her senior) on some of the most celebrated films of the period in the Fifties and Sixties.
She was born Hanne Karin Bayer on 22 September 1940 at Soljberg in Denmark. She began her career as a cabaret singer in her native land before moving to Paris at the age of 17, where she worked as a model, notably for Coco Chanel who suggested she adopt the stage name of Anna Karina.
After she refused a role in Breathless (A Bout De Souffle) after concerns about nudity, Godard got rid of the character from the script. He did, however, direct Karina in Le Petit Soldat in 1960, although the film was banned.
- 12/15/2019
- by Richard Mowe
- eyeforfilm.co.uk
Mubi's retrospective For Ever Godard is showing from November 12, 2017 - January 16, 2018 in the United States.Jean-Luc Godard is a difficult filmmaker to pin down because while his thematic concerns as an artist have remained more or less consistent over the last seven decades, his form is ever-shifting. His filmography is impossible to view in a vacuum, as his work strives to reflect on the constantly evolving cinema culture that surrounds it: Godard always works with the newest filmmaking technologies available, and his films have become increasingly abstracted and opaque as the wider culture of moving images has become increasingly fragmented. Rather than working to maintain an illusion of diegetic truth, Godard’s work as always foreground its status as a manufactured product—of technology, of an industry, of on-set conditions and of an individual’s imagination. Mubi’S Godard retrospective exemplifies the depth and range of Godard’s career as...
- 11/19/2017
- MUBI
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.
City of Tiny Lights (Pete Travis)
Small-time private detective Tommy Akhtar (Riz Ahmed) has all the swagger of a hard-boiled snoop: leather jacket on his shoulders and cigarette in his mouth, leaning against London architecture in the darkened night. His office resides above some shops, he makes friendly with local convenience store owner Mrs. Elbaz (Myriam Acharki), and asks new clients where they found him because he’s not advertising in the paper.
City of Tiny Lights (Pete Travis)
Small-time private detective Tommy Akhtar (Riz Ahmed) has all the swagger of a hard-boiled snoop: leather jacket on his shoulders and cigarette in his mouth, leaning against London architecture in the darkened night. His office resides above some shops, he makes friendly with local convenience store owner Mrs. Elbaz (Myriam Acharki), and asks new clients where they found him because he’s not advertising in the paper.
- 7/28/2017
- by Jordan Raup
- The Film Stage
Each month, the fine folks at FilmStruck and the Criterion Collection spend countless hours crafting their channels to highlight the many different types of films that they have in their streaming library. This July will feature an exciting assortment of films, as noted below.
To sign up for a free two-week trial here.
Saturday, July 1 Changing Faces
What does a face tell us even when it’s disguised or disfigured? And what does it conceal? Guest curator Imogen Sara Smith, a critic and author of the book In Lonely Places: Film Noir Beyond the City, assembles a series of films that revolve around enigmatic faces transformed by masks, scars, and surgery, including Georges Franju’s Eyes Without a Face (1960) and Hiroshi Teshigahara’s The Face of Another (1966).
Tuesday, July 4 Tuesday’s Short + Feature: Premature* and Ten*
Come hitch a ride with Norwegian director Gunhild Enger and the late Iranian master...
To sign up for a free two-week trial here.
Saturday, July 1 Changing Faces
What does a face tell us even when it’s disguised or disfigured? And what does it conceal? Guest curator Imogen Sara Smith, a critic and author of the book In Lonely Places: Film Noir Beyond the City, assembles a series of films that revolve around enigmatic faces transformed by masks, scars, and surgery, including Georges Franju’s Eyes Without a Face (1960) and Hiroshi Teshigahara’s The Face of Another (1966).
Tuesday, July 4 Tuesday’s Short + Feature: Premature* and Ten*
Come hitch a ride with Norwegian director Gunhild Enger and the late Iranian master...
- 6/26/2017
- by Ryan Gallagher
- CriterionCast
Since revamping and reopening just a handful of months ago, New York City’s The Quad Cinema has become yet another top tier art house offering up some of the year’s most interesting retrospectives and film series. Be it a retrospective for filmmaker Lina Wertmuller or their superlative look at the immigrant experience through a cinematic lens, The Quad has given cinephiles rather frequent occasion to put down their hard earned cash and take in a film or two.
Now, on the occasion of the release of the director’s latest documentary, the theater is commencing yet another revelatory retrospective, this time of an underrated juggernaut of French cinema.
Rarely uttered in the same breath as the true titans of French cinema, director Bertrand Tavernier has cemented himself as one of the nation’s great cinematic artists through his human and humane portraits of various communities. After getting his start as an assistant to director Jean-Pierre Melville, Tavernier would in many ways jettison with stylistic formalism of his contemporaries for pictures that feel far more tactile and loose. Lived in is a term often thrown around with Tavernier’s work, and it’s fitting despite being something of a cliche. Yes, his pictures feel decidedly of one singular voice and worldview, yet there is an audacious energy to each frame that ultimately turns each picture into a vital document of a very specific subculture. Older than many New Wave directors, it’s clear to see that Tavernier would garner much influence from their work, yet he never lost sight of the specificity of his own aesthetic eye.
So, this retrospective couldn’t have come at a more exciting moment. Not only is Tavernier back with a new picture that is a centerpiece of sorts here, but the director is the type of undervalued auteur that is just the type of discovery cineastes crave. Take Death Watch, for example. A gorgeously composed satire that is only more relevant today as its tale of a reporter capturing the last moments of a woman’s life through the camera in his eye is as prescient as ever. Harvey Keitel stars opposite Romy Schneider, both of whom are truly fantastic here, in what plays like a minor work when taken in context of masterpieces like Coup de Torchon, but is a delightful discovery in its own right.
Speaking of Torchon, Tavernier’s masterpiece and still arguably his best picture is part of this 17 film series, as is the brilliant Round Midnight. Starring Dexter Gordon, the film introduces the viewer to a talented yet deeply troubled saxophone player in late 50’s Paris, and is one of Tavernier’s most moving and stylistically exciting works. The music here is recorded live, with Gordon playing opposite legends like Herbie Hancock and the brilliant Freddie Hubbard. It’s this type of tactile vitality that’s a staple of Tavernier’s work, proving the filmmaker to be something far more than the intellectual-turned-critic-turned-filmmaker that he is oft billed as.
But those seeking Tavernier’s critical lens won’t have to look much further than his dry but profoundly dense new film My Journey Through French Cinema. Clocking in at well over three hours, we watch as Tavernier weaves a yarn about ostensibly his experience with cinema of his homeland, going from the works of Jacques Becker to those of the New Wave generation that would come right after he began working. Looking critically at everything from Casque D’Or to Le Petit Soldat, Tavernier takes a similar route as someone like Martin Scorsese, ostensibly building a critical analysis of cinema out of a deeply personal memoir. Built around Tavernier’s own experiences seeing these respective films (even down to the specific theaters he saw them in), French Cinema doesn’t just see the personal nature of its title as a superficiality. While yes, the picture is quite dry and a lengthy watch, there’s something quietly moving about it, turning the often dull “video essay” into something far more captivating.
For more information on this retrospective, head over to The Quad online.
Now, on the occasion of the release of the director’s latest documentary, the theater is commencing yet another revelatory retrospective, this time of an underrated juggernaut of French cinema.
Rarely uttered in the same breath as the true titans of French cinema, director Bertrand Tavernier has cemented himself as one of the nation’s great cinematic artists through his human and humane portraits of various communities. After getting his start as an assistant to director Jean-Pierre Melville, Tavernier would in many ways jettison with stylistic formalism of his contemporaries for pictures that feel far more tactile and loose. Lived in is a term often thrown around with Tavernier’s work, and it’s fitting despite being something of a cliche. Yes, his pictures feel decidedly of one singular voice and worldview, yet there is an audacious energy to each frame that ultimately turns each picture into a vital document of a very specific subculture. Older than many New Wave directors, it’s clear to see that Tavernier would garner much influence from their work, yet he never lost sight of the specificity of his own aesthetic eye.
So, this retrospective couldn’t have come at a more exciting moment. Not only is Tavernier back with a new picture that is a centerpiece of sorts here, but the director is the type of undervalued auteur that is just the type of discovery cineastes crave. Take Death Watch, for example. A gorgeously composed satire that is only more relevant today as its tale of a reporter capturing the last moments of a woman’s life through the camera in his eye is as prescient as ever. Harvey Keitel stars opposite Romy Schneider, both of whom are truly fantastic here, in what plays like a minor work when taken in context of masterpieces like Coup de Torchon, but is a delightful discovery in its own right.
Speaking of Torchon, Tavernier’s masterpiece and still arguably his best picture is part of this 17 film series, as is the brilliant Round Midnight. Starring Dexter Gordon, the film introduces the viewer to a talented yet deeply troubled saxophone player in late 50’s Paris, and is one of Tavernier’s most moving and stylistically exciting works. The music here is recorded live, with Gordon playing opposite legends like Herbie Hancock and the brilliant Freddie Hubbard. It’s this type of tactile vitality that’s a staple of Tavernier’s work, proving the filmmaker to be something far more than the intellectual-turned-critic-turned-filmmaker that he is oft billed as.
But those seeking Tavernier’s critical lens won’t have to look much further than his dry but profoundly dense new film My Journey Through French Cinema. Clocking in at well over three hours, we watch as Tavernier weaves a yarn about ostensibly his experience with cinema of his homeland, going from the works of Jacques Becker to those of the New Wave generation that would come right after he began working. Looking critically at everything from Casque D’Or to Le Petit Soldat, Tavernier takes a similar route as someone like Martin Scorsese, ostensibly building a critical analysis of cinema out of a deeply personal memoir. Built around Tavernier’s own experiences seeing these respective films (even down to the specific theaters he saw them in), French Cinema doesn’t just see the personal nature of its title as a superficiality. While yes, the picture is quite dry and a lengthy watch, there’s something quietly moving about it, turning the often dull “video essay” into something far more captivating.
For more information on this retrospective, head over to The Quad online.
- 6/22/2017
- by Joshua Brunsting
- CriterionCast
Former army documentary cameraman worked on Jean-Luc Godard’s Breathless [pictured].
Legendary French cinematographer Raoul Coutard who worked with Jean-Luc Godard, François Truffaut, Pierre Schoendorffer, Jacques Demy and Costa-Gavras has died aged 92.
Coutard worked on more than 80 features in a career spanning from 1958 to 2001 but is best known for his work with New Wave pioneers Godard and Truffaut.
He got his big break working with Jean-Luc Godard on 1960 classic Breathless, which was credited with reinventing cinema at the time for its stripped-down, fast-paced aesthetic.
Godard — who wanted to shoot the film as much as possible with a handheld camera and natural lighting — had partly hired Coutard for his background as a documentary cameraman for the French army.
Coutard spent five years working with the army’s press service, mainly in French Indochina (today Vietnam, Laos and Cambodia) in the late 1940s and early 50s.
Prior to that, he worked in a Paris photography lab, having dropped...
Legendary French cinematographer Raoul Coutard who worked with Jean-Luc Godard, François Truffaut, Pierre Schoendorffer, Jacques Demy and Costa-Gavras has died aged 92.
Coutard worked on more than 80 features in a career spanning from 1958 to 2001 but is best known for his work with New Wave pioneers Godard and Truffaut.
He got his big break working with Jean-Luc Godard on 1960 classic Breathless, which was credited with reinventing cinema at the time for its stripped-down, fast-paced aesthetic.
Godard — who wanted to shoot the film as much as possible with a handheld camera and natural lighting — had partly hired Coutard for his background as a documentary cameraman for the French army.
Coutard spent five years working with the army’s press service, mainly in French Indochina (today Vietnam, Laos and Cambodia) in the late 1940s and early 50s.
Prior to that, he worked in a Paris photography lab, having dropped...
- 11/9/2016
- ScreenDaily
All of my fantasies about meeting and talking to Anna Karina have been set in France, at her home, under constant worry of arrest, having just knocked on her door without an invitation. I ask her questions and she answers them all with tears in her eyes: "What was it like to act for Jean-Luc Godard, the man you loved, even when you were fighting like cats and dogs, even when he broke your heart? And how, in God's good name, did you manage to create performances that never age, that show no sign of origin, no influence, that absolutely confound me in the best possible way? How did you do it?” These fantasies found nourishment in the assumption that the icon of the French New Wave was fairly reclusive, not wanting to be bothered, certainly not wanting to talk anymore about those films, that time, that man. So imagine...
- 7/6/2016
- MUBI
Having charmed London in January, Anna Karina is in New York. On Tuesday, she was at Bam discussing her work with Jean-Luc Godard in A Woman Is a Woman (1961). Tonight, she's at the Museum of the Moving Image to talk about Pierrot le Fou (1965) and, on Friday, she'll be at Film Forum to talk about Band of Outsiders (1964) as a new restoration begins its weeklong run. The Film Forum series Anna & Jean-Luc features all three films as well as the other four the actress and the director made together, Vivre sa vie (1962), Alphaville (1965), Le Petit Soldat (1960) and Made in U.S.A. (1966). We're rounding up writing on the events. » - David Hudson...
- 5/4/2016
- Keyframe
Having charmed London in January, Anna Karina is in New York. On Tuesday, she was at Bam discussing her work with Jean-Luc Godard in A Woman Is a Woman (1961). Tonight, she's at the Museum of the Moving Image to talk about Pierrot le Fou (1965) and, on Friday, she'll be at Film Forum to talk about Band of Outsiders (1964) as a new restoration begins its weeklong run. The Film Forum series Anna & Jean-Luc features all three films as well as the other four the actress and the director made together, Vivre sa vie (1962), Alphaville (1965), Le Petit Soldat (1960) and Made in U.S.A. (1966). We're rounding up writing on the events. » - David Hudson...
- 5/4/2016
- Fandor: Keyframe
After her career-defining work with the French director, the actor went on to collaborate with Serge Gainsbourg, write novels and record two albums. She talks about a life of intense highs and lows ...
I love the scene in Jean-Luc Godard’s Bande à Part where the stars dance the Madison inside a Paris cafe. I love its ramshackle energy and insouciant charm; its handclaps and its finger-clicks and the way that Godard keeps cutting the music, like a demented DJ, to tell us what each character is thinking at that precise moment. Godard was brilliant at creating such mischief. He liked lifting the bonnet to expose a film’s engine. He showed us the fictions and frictions behind the action on screen.
Back in the day, Anna Karina was Godard’s inspiration: his private passion and his public play-thing (and sometimes vice-versa). The pair married in 1961, divorced in 1965 and made eight films together,...
I love the scene in Jean-Luc Godard’s Bande à Part where the stars dance the Madison inside a Paris cafe. I love its ramshackle energy and insouciant charm; its handclaps and its finger-clicks and the way that Godard keeps cutting the music, like a demented DJ, to tell us what each character is thinking at that precise moment. Godard was brilliant at creating such mischief. He liked lifting the bonnet to expose a film’s engine. He showed us the fictions and frictions behind the action on screen.
Back in the day, Anna Karina was Godard’s inspiration: his private passion and his public play-thing (and sometimes vice-versa). The pair married in 1961, divorced in 1965 and made eight films together,...
- 1/21/2016
- by Xan Brooks
- The Guardian - Film News
Above: Us poster for Alphaville (Jean-Luc Godard, France, 1965).As the 53rd New York Film Festival ends today, I thought I would go back half a century and take a look at the 3rd edition of the festival. Curated by Amos Vogel and Richard Roud, the then fledgling fest comprised 17 new features, 6 retrospective selections (ranging from Feuillade’s 1915 Les vampires to Godard’s 1960 Le petit soldat), and a number of shorts or demi-features (including Chris Marker’s The Koumiko Mystery). The main slate was chock-full of masterpieces (Gertrud, Alphaville, Charulata) and films by masters (Franju, Visconti, Kurosawa) and young turks on the rise (Straub, Bellocchio, Forman, Penn, Skolimowski). And there is only one film in the list—Laurence L. Kent’s Canadian indie Caressed—that I had never heard of before.In his introduction to the festival catalog Amos Vogel wrote:“Several fascinating, contradictory facts stand out in the 1965 New York film scene.
- 10/11/2015
- by Adrian Curry
- MUBI
Jean-Luc Godard’s career has been devoted to both honoring and destroying cinema, to taking it apart and refitting it anew, and to making it speak against those who most often speak for it. Godard’s film’s have addressed a wide range of subjects – from Vietnam to prostitution to revolution to Jane Fonda – but they are, invariably, about cinema. From his Molotov cocktail of a debut, Breathless, to his latest push at the boundaries of form, Goodbye to Language 3D, the former Cahiers du Cinema scribe and New Wave pioneer has made a career out of exploring what can be done with a device as powerful as cinema. At age 83, he remains a tireless essayist of the medium, constantly provoking , questioning and challenging, searching for new ways to redefine and deconstruct what makes cinema work. So upon the release of his latest, here’s a bit of free film school (for fans and filmmakers alike) from...
- 11/20/2014
- by Landon Palmer
- FilmSchoolRejects.com
The New York Film Festival will kick off a three-week Jean-Luc Godard retrospective on Oct 9.
Films will include Le Petit Soldat, Alphaville, Masculin Féminin and Film Socialisme.
Festival top brass will also host a 20th anniversary screening of Richard Linklater’s Dazed And Confused with director and cast in attendance.
The 51st New York Film Festival will run from Sept 27-Oct 13.
Films will include Le Petit Soldat, Alphaville, Masculin Féminin and Film Socialisme.
Festival top brass will also host a 20th anniversary screening of Richard Linklater’s Dazed And Confused with director and cast in attendance.
The 51st New York Film Festival will run from Sept 27-Oct 13.
- 9/5/2013
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
This is one of those weekends where I've been actively creating an evolving list for myself to try and figure out how many movies I can realisically fit in over the next few days. While not much is happening in terms of new releases, there is a true embarrasment of riches when it comes to local classic film screenings.
Do you want to see A Clockwork Orange in 35mm at the Alamo Ritz on Saturday? Maybe you'd prefer a Keith Coogan double feature at the Ritz with Adventures In Babysitting and Don't Tell Mom The Babysitter's Dead tomorrow evening? How about catching Back To The Future and The Karate Kid in 35mm at the Paramount on Sunday? Those picks alone would fill up your weekend, but then you could try to squeeze in a double feature of digitally restored titles from the new Shintoho Mindwarp series followed by a 35mm...
Do you want to see A Clockwork Orange in 35mm at the Alamo Ritz on Saturday? Maybe you'd prefer a Keith Coogan double feature at the Ritz with Adventures In Babysitting and Don't Tell Mom The Babysitter's Dead tomorrow evening? How about catching Back To The Future and The Karate Kid in 35mm at the Paramount on Sunday? Those picks alone would fill up your weekend, but then you could try to squeeze in a double feature of digitally restored titles from the new Shintoho Mindwarp series followed by a 35mm...
- 8/2/2013
- by Matt Shiverdecker
- Slackerwood
Riffing on Terek Puckett’s terrific list of director/actor collaborations, I wanted to look at some of those equally impressive leading ladies who served as muses for their directors. I strived to look for collaborations that may not have been as obviously canonical, but whose effects on cinema were no less compelling. Categorizing a film’s lead is potentially tricky, but one of the criteria I always use is Anthony Hopkins’s performance in Silence of the Lambs, a film in which he is considered a lead but appears only briefly; his character is an integral part of the story.
The criteria for this article is as follows: The director & actor team must have worked together at least 3 times with the actor in a major role in each feature film, resulting in a minimum of 2 must-see films.
One of the primary trends for the frequency of collaboration is the...
The criteria for this article is as follows: The director & actor team must have worked together at least 3 times with the actor in a major role in each feature film, resulting in a minimum of 2 must-see films.
One of the primary trends for the frequency of collaboration is the...
- 7/24/2013
- by John Oursler
- SoundOnSight
Specialized distributor Rialto Pictures has acquired all U.S. rights to five first-run films from French giant Studiocanal. The five films, all U.S. premieres, will go out under Rialto’s new label “Rialto Premieres.” First release for Rialto Premieres will be director Clément Michel’s hit romantic comedy The Stroller Strategy, starring Raphaël Personnaz and Charlotte Le Bon. Also starring, French heartthrob Personnaz (The Princess of Montpensier, Anna Karenina) as a Parisian who accidentally becomes the guardian of an infant – then pretends to be his real father in order to win back Le Bon, the girlfriend who dumped him a year before. This will be Michel’s directorial debut, and the it is set to open at New York’s Angelika Film Center on June 14. Other first-run Studiocanal films in the new deal with Rialto include Hotel Normandy, starring Eric Elmosnino (Gainsbourg) and Helena Noguerra, and Demi-Soeur, directed by and starring Josiane Balasko. Since its founding, New York-based Rialto’s close partnership with Studiocanal has included major reissues of such jewels of the French company’s classic library as Grand Illusion, The Third Man, and Fellini’s Nights of Cabiria. For the past year, Rialto has been the U.S. theatrical distributor of Studiocanal’s catalogue of over 2,000 titles. Described by the Los Angeles Times as “the gold standard of reissue distributors," New York-based Rialto Pictures was founded in 1997 by Bruce Goldstein. Adrienne Halpern joined him as co-president a year later, with Eric Di Bernardo joining the company as National Sales Director in 2002. Rialto’s vast library of classics includes films by Godard, Fellini, Renoir, Kurosawa, Buñuel, Costa-Gavras, Pontecorvo, Carol Reed, Michael Powell, Jules Dassin, Jean-Pierre Melville, and many others. 2012 marked Rialto’s fifteenth anniversary, a milestone celebrated with a retrospective at the Film Society of Lincoln Center. The company’s re-releases this year include Godard’s rarely-seen Le Petit Soldat; Jean-Pierre Melville’s final film, Un Flic, starring Alain Delon and Catherine Deneuve; Joseph Losey’s The Servant, written by Harold Pinter; and Claude Autant-Lara’s A Pig Across Paris (La Traversée de Paris), starring Jean Gabin. Also beginning in June, Rialto will tour “The Hitchcock 9” -- Alfred Hitchcock’s nine surviving silent films, all newly restored by the British Film Institute -- in collaboration with the BFI and Park Circus Films. The “Hitchcock 9” tour will kick off in New York, Los Angeles, and San Francisco.
- 5/3/2013
- by Emma Griffiths
- Sydney's Buzz
"Le Petit Soldat" opens Friday at the Nuart with a new 35-millimeter print and retranslated subtitles. Set in 1958 and shot in 1960, "Le Petit Soldat" begins the way "Breathless" begins: with a man in a car. But there’s an immediate difference. "Breathless" is relentlessly present-tense, moment-to-moment: car to cop to gun to girl. "Le Petit Soldat," Godard’s fourth feature, doesn’t barrel ahead. It looks back. Even as we see the man in the car (Michel Subor), we hear his voice intone: “For me the time for action has passed. I’ve gotten older. The time for reflection begins.” It’s that moment in Godard’s journey where he’s pondering not only cinema’s long story, but his own. Subor plays a character named Bruno Forestier, a deserter from the French army during the Algerian War – but when Subor/Forestier says, "Photography is truth. And cinema is truth 24 frames a second,...
- 4/25/2013
- by Howard Rodman
- Thompson on Hollywood
A response to what's probably the best piece on Zero Dark Thirty, Ignatiy Vishnevetsky’s “The Monitor Mentality”.
And to a movie I'd like no one to see.
***
“Everybody likes cake,” says peppy girl-agent Jennifer Ehle, the kind of personality who likes to dish sex over cocktails at hotel bars Thank You For Not Smoking-style, as she dollops the last of the frosting on her little home-baked house-warming gift for an informant about to penetrate their chummy compound. A riposte: “Not everyone likes cake,” Jessica Chastain's wan CIA agent, Maya, warns a moment before, her note of caution sounded off with judicious regularity throughout the movie to more colorful personalities—all to make her ultimate confidence in the final operation ring with resounding pluck after two hours of trepidation. Not everyone likes cake? Any reference to Ministry of Fear aside, these are fighting words, a salvo for the sweet-toothed:...
And to a movie I'd like no one to see.
***
“Everybody likes cake,” says peppy girl-agent Jennifer Ehle, the kind of personality who likes to dish sex over cocktails at hotel bars Thank You For Not Smoking-style, as she dollops the last of the frosting on her little home-baked house-warming gift for an informant about to penetrate their chummy compound. A riposte: “Not everyone likes cake,” Jessica Chastain's wan CIA agent, Maya, warns a moment before, her note of caution sounded off with judicious regularity throughout the movie to more colorful personalities—all to make her ultimate confidence in the final operation ring with resounding pluck after two hours of trepidation. Not everyone likes cake? Any reference to Ministry of Fear aside, these are fighting words, a salvo for the sweet-toothed:...
- 1/1/2013
- by David Phelps
- MUBI
L to R: Werner Nievergeit, Amole Gupte, Kamal Musale
European Film Festival organized by Taj Enlighten Film Society was inaugurated at the Ncpa in Mumbai on Friday. Werner Nievergeit, Consulate General of Switzerland in Mumbai, Swiss-Indian filmmaker Kamal Musale and Indian filmmaker Amol Gupte were present at the opening ceremony of the festival.
Two short films by Kamal Musale: Les Trois Soldats (Three Soldiers) and Raclette Curry; and Two English Girls directed by François Truffaut were presented as the opening films of the festival.
The festival which will run through the month of June will focus on Switzerland. Documentaries and shorts of Kamal Musale and Daniel Schmid will be screened as part of the festival. The Swiss film package titled ‘Swiss Film 101’ will be complemented by 3 films by Jean-Luc Godard, the renowned French filmmaker who spent the later part of his career in Switzerland.
Werner Nievergeit, Consulate General of...
European Film Festival organized by Taj Enlighten Film Society was inaugurated at the Ncpa in Mumbai on Friday. Werner Nievergeit, Consulate General of Switzerland in Mumbai, Swiss-Indian filmmaker Kamal Musale and Indian filmmaker Amol Gupte were present at the opening ceremony of the festival.
Two short films by Kamal Musale: Les Trois Soldats (Three Soldiers) and Raclette Curry; and Two English Girls directed by François Truffaut were presented as the opening films of the festival.
The festival which will run through the month of June will focus on Switzerland. Documentaries and shorts of Kamal Musale and Daniel Schmid will be screened as part of the festival. The Swiss film package titled ‘Swiss Film 101’ will be complemented by 3 films by Jean-Luc Godard, the renowned French filmmaker who spent the later part of his career in Switzerland.
Werner Nievergeit, Consulate General of...
- 6/4/2011
- by NewsDesk
- DearCinema.com
The city of dreams is set to host a month-long European Films Festival, where works of greats like French-Swiss director Jean-Luc Godard and Swiss master Daniel Schmid will be showcased. The event starting Friday is curated by Taj Enlighten Film Society and supported by the Consulate of Switzerland. 'The exhibition of masters like Godard to an Indian audience places these works out of their 'Art House' comfort zone and instead engages with a cinema of experienced time,' Pranav Ashar, chairman, Taj Enlighten, said in a statement. 'Bed & Board', 'Army of Shadows', 'Le Petit Soldat', 'Oh Woe is Me' and 'Shoot The Piano Player', among others, will be showcased at the festival which will go on till June 26. Bollywood filmmaker Amole Gupte, who will inaugurate the festival, said: 'European films stand for the superior-most quality, both in terms of both narrative as well as detailing.
- 5/30/2011
- Filmicafe
Still from Soul Kitchen
Taj Enlighten Film Society, supported by the Consulate of Switzerland will organise an European Film Festival in Mumbai in June .
The selection will include a retrospective of Jean-Luc Godard and a Swiss film package.
The festival will be inaugurated by Swiss-Indian filmmaker Kamal Musale and Indian filmmaker Amole Gupte. There will also be a workshop on documentary filmmaking by Kamal Musale.
The screenings will be held across five venues in Mumbai: National Centre for Performing Arts, Cinemax Versova, Metro Big Cinemas, World Media College and Mumbai Times Cafe.
The schedule for the festival:
Ncpa
3rd June, 2011, 6.30 Pm -Inauguration by Kamal Musale and Amole Gupte
Screening: 2 short films by Kamal Musale: Three Soldiers (1987) and Raclette Curry (1999)
Screening: Two English Girls (Francois Truffaut, 1971)
24th June, 2011-6.30 Pm- Bed&Board (Francois Truffaut, 1970)
Cinemax Versova
5th June-12 Pm– Army of Shadows (Jean Pierre Melville, 1969)
12th June- 12 Pm-Le Petit Soldat (Jean-Luc Godard,...
Taj Enlighten Film Society, supported by the Consulate of Switzerland will organise an European Film Festival in Mumbai in June .
The selection will include a retrospective of Jean-Luc Godard and a Swiss film package.
The festival will be inaugurated by Swiss-Indian filmmaker Kamal Musale and Indian filmmaker Amole Gupte. There will also be a workshop on documentary filmmaking by Kamal Musale.
The screenings will be held across five venues in Mumbai: National Centre for Performing Arts, Cinemax Versova, Metro Big Cinemas, World Media College and Mumbai Times Cafe.
The schedule for the festival:
Ncpa
3rd June, 2011, 6.30 Pm -Inauguration by Kamal Musale and Amole Gupte
Screening: 2 short films by Kamal Musale: Three Soldiers (1987) and Raclette Curry (1999)
Screening: Two English Girls (Francois Truffaut, 1971)
24th June, 2011-6.30 Pm- Bed&Board (Francois Truffaut, 1970)
Cinemax Versova
5th June-12 Pm– Army of Shadows (Jean Pierre Melville, 1969)
12th June- 12 Pm-Le Petit Soldat (Jean-Luc Godard,...
- 5/30/2011
- by NewsDesk
- DearCinema.com
After a two week hiatus, Not In The English Language is back, with Jean-Luc Godard’s sophomore effort.
Jean-Luc Godard’s second film, and one which is largely forgotten as so due to the fact that it was banned and not actually released for four years, Le Petit Soldat marks a surprising departure for the filmmaker from the style and tone of his debut feature, A Bout de Soufflé (1960). In the words of Richard Brody, “Having made Breathless, which exemplified existential engagement minus the politics, Godard would now make a film on the subject of political engagement itself”. The story of a photographer come double agent who sees himself caught between the French government and the Fln (National Liberation Front of Algeria), Le Petit Soldat is considered to be Godard’s first foray into overtly political filmmaking. It was also his first collaboration with Anna Karina, whose future collaborations would...
Jean-Luc Godard’s second film, and one which is largely forgotten as so due to the fact that it was banned and not actually released for four years, Le Petit Soldat marks a surprising departure for the filmmaker from the style and tone of his debut feature, A Bout de Soufflé (1960). In the words of Richard Brody, “Having made Breathless, which exemplified existential engagement minus the politics, Godard would now make a film on the subject of political engagement itself”. The story of a photographer come double agent who sees himself caught between the French government and the Fln (National Liberation Front of Algeria), Le Petit Soldat is considered to be Godard’s first foray into overtly political filmmaking. It was also his first collaboration with Anna Karina, whose future collaborations would...
- 1/27/2011
- by Adam Batty
- HeyUGuys.co.uk
I'm always happy to hear news about an old classic coming back to theatres for one reason or another, and this year it looks like Jean-Luc Godard's first feature-length film Breathless is going to get a theatrical re-release in celebration of the film's 50th anniversary. According to Variety [1], Rialto Pictures has put together a newly restored version of the 1960 film that will debut at the first ever TCM Classic Film Festival [2] in Hollywood next month. A "national rollout" will follow in May, although the exact number of screens has yet to be specified. Breathless was one of the key films from the French New Wave, and was pretty controversial upon its initial release. The movie stars Jean-Paul Belmondo as a young man who steals a car and kills a policeman, then convinces his girlfriend to help him hide from the authorities. Rialto also picked up the U.S. theatrical...
- 3/8/2010
- by Sean
- FilmJunk
"A chic tragedy recasting the archetypical fallen angel as modern woman (or is that vice versa?), Jean-Luc Godard's fourth film is a heartfelt, headstrong attempt to push his own concept of a deconstructed cinema even further into the stratosphere." David Fear in Time Out New York on today's feature in the Recyclage de luxe Online Film Festival: "Most of the ingredients of his early period are present: pulp-fiction posturing, quotes from poets and philosophers, puckish formal innovations. The manner in which these elements are presented, however, is the first step toward the cohesive blend of intellectual savviness and emotional resonance Godard would perfect down the road. Though this story of a gamine gone bad is subtitled A Film in 12 Chapters (it's subdivided into as many sections), the director could have substituted A Revolution in Miniature and still captured the essence of his experimental melodrama."
"Star Anna Karina was in...
- 12/19/2009
- MUBI
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