Mk2 Films, the Paris-based outfit behind Justine Triet’s Oscar-nominated “Anatomy of a Fall,” is set to restore Robert Bresson’s “Four Nights of a Dreamer,” a romantic drama which competed at the Berlinale in 1971 and disappeared from screens in 1985.
MK2 Films, the division of a major arthouse cinema chain in France, will digitize “Four Nights of a Dreamer” in 4K and will bring it to global theatres in 2024.
“Four Nights of a Dreamer” is the 10th film directed by Bresson and the only one which wasn’t restored. His other credits include “Mouchette,” “Au Hasard Balthazar” and “Pickpocket.”
Inspired by Fyodor Dostoevsky’s novel “White Nights,” “Four Nights of a Dreamer” revolves around a meeting on the Pont Neuf between a dreamy young man and a distraught young woman who will confide in each other over four nights. It stars Guillaume des Forêts, Isabelle Weingarten, Jean-Maurice Monnoyer. The film...
MK2 Films, the division of a major arthouse cinema chain in France, will digitize “Four Nights of a Dreamer” in 4K and will bring it to global theatres in 2024.
“Four Nights of a Dreamer” is the 10th film directed by Bresson and the only one which wasn’t restored. His other credits include “Mouchette,” “Au Hasard Balthazar” and “Pickpocket.”
Inspired by Fyodor Dostoevsky’s novel “White Nights,” “Four Nights of a Dreamer” revolves around a meeting on the Pont Neuf between a dreamy young man and a distraught young woman who will confide in each other over four nights. It stars Guillaume des Forêts, Isabelle Weingarten, Jean-Maurice Monnoyer. The film...
- 2/16/2024
- by Elsa Keslassy
- Variety Film + TV
In a perfect world, the versatile and hard-working (172 acting credits on IMDb!) Dutch actor Rutger Hauer, who has died in the Netherlands from cancer, would have had a film or even a franchise that capitalized on his range and the blonde good looks of his early years. After early stardom in his home country, he ventured into Hollywood and international films, delivering outstanding, timeless work. Yet his charisma, depth, and daring never translated into a career as a major European leading man in the same way as earlier Euro icons like Jean-Paul Belmondo, Alain Delon and Marcello Mastroianni.
By the time Christopher Nolan’s “Batman Begins” (2005) came along, the vibrant warrior prince of the 1980s had become a sturdy character player in his sixties.
But although younger film buffs may know him better for the outre genre fare of his later years with titles like “Hobo With Shotgun” and “Scorpion King 4,” in his heyday,...
By the time Christopher Nolan’s “Batman Begins” (2005) came along, the vibrant warrior prince of the 1980s had become a sturdy character player in his sixties.
But although younger film buffs may know him better for the outre genre fare of his later years with titles like “Hobo With Shotgun” and “Scorpion King 4,” in his heyday,...
- 7/24/2019
- by Steven Gaydos
- Variety Film + TV
Above: French grande for Capricious Summer. Artist: F. Dervanore.As the 56th New York Film Festival winds down this weekend, I wanted to look back half a century to the 6th edition of the festival. Uppermost in everyone’s minds in September 1968 was Czechoslovakia, which, after a brief seven months of liberation known as the Prague Spring, had been invaded less than a month before the festival began, by Warsaw Pact tanks and troops intended to suppress reforms. Whether it had been planned before the Soviet invasion, the 6th New York Film Festival notably opened and closed with Czech films: Jiri Menzel’s Capricious Summer and Milos Forman’s The Firemen’s Ball. It also featured Jan Nemec’s previously banned 1966 film A Report on the Party and the Guests which had been released in ’68 under the reformist president Alexander Dubček and shown as a special event on Czech national...
- 10/13/2018
- MUBI
On November 30, 1970, New York City’s Anthology Film Archives opened its doors as the first ever “museum of film” at its original location at 425 Lafayette Street. That was an invitation-only Opening Night event with the first public screening occurring the following night, December 1.
A previous article on the Underground Film Journal uncovered the first five nights of screenings at the Anthology, and the reaction in the NYC press to this unique movie theater.
Digging around in the digital archives of the Village Voice, the Journal has been able to piece together most of the screening lineups for the month of December. Unfortunately, these archives do not contain issues for the last week of November nor the first week of December, so we do not have screening info for December 5-9.
However, below are the screenings for December 10-30. The Anthology’s original plan was to have three screenings every night...
A previous article on the Underground Film Journal uncovered the first five nights of screenings at the Anthology, and the reaction in the NYC press to this unique movie theater.
Digging around in the digital archives of the Village Voice, the Journal has been able to piece together most of the screening lineups for the month of December. Unfortunately, these archives do not contain issues for the last week of November nor the first week of December, so we do not have screening info for December 5-9.
However, below are the screenings for December 10-30. The Anthology’s original plan was to have three screenings every night...
- 8/5/2018
- by Mike Everleth
- Underground Film Journal
Any list of the greatest foreign directors currently working today has to include Jean-Pierre and Luc Dardenne. The directors first rose to prominence in the mid 1990s with efforts like “The Promise” and “Rosetta,” and they’ve continued to excel in the 21st century with titles such as “The Kid With A Bike” and “Two Days One Night,” which earned Marion Cotillard a Best Actress Oscar nomination.
Read MoreThe Dardenne Brothers’ Next Film Will Be a Terrorism Drama
The directors will be back in U.S. theaters with the release of “The Unknown Girl” on September 8, which is a long time coming considering the film first premiered at the Cannes Film Festival in 2016. While you continue to wait for their new movie, the brothers have provided their definitive list of 79 movies from the 20th century that you must see. La Cinetek published the list in full and is hosting many...
Read MoreThe Dardenne Brothers’ Next Film Will Be a Terrorism Drama
The directors will be back in U.S. theaters with the release of “The Unknown Girl” on September 8, which is a long time coming considering the film first premiered at the Cannes Film Festival in 2016. While you continue to wait for their new movie, the brothers have provided their definitive list of 79 movies from the 20th century that you must see. La Cinetek published the list in full and is hosting many...
- 8/7/2017
- by Zack Sharf
- Indiewire
For a film with an animal protagonist, Robert Bresson’s “Au Hasard Balthazar” says a lot about humanity. Writer/director Ana Lily Amirpour (“A Girl Walks Home Alone At Night”) argues that the film’s central idea lends a timeless honesty, one that resonates half a century later.
Read More: Watch: ‘Jackie’ Director Pablo Larraín Discusses ‘Movies That Inspire Me’ in New IndieWire Video Series Presented by FilmStruck
Following the respective journeys of young Marie and her donkey Balthazar, the film shows how the two face hardships of different kinds as they grow older. In true Bressonian fashion, those various abuses are tempered with quiet, graceful moments of beauty. The result is a portrait of lost innocence that’s also a work of great empathy.
As part of our ongoing series of filmmaker conversations, presented in partnership with Filmstruck, Amirpour spoke with us about seeing “Au Hasard Balthazar” during a...
Read More: Watch: ‘Jackie’ Director Pablo Larraín Discusses ‘Movies That Inspire Me’ in New IndieWire Video Series Presented by FilmStruck
Following the respective journeys of young Marie and her donkey Balthazar, the film shows how the two face hardships of different kinds as they grow older. In true Bressonian fashion, those various abuses are tempered with quiet, graceful moments of beauty. The result is a portrait of lost innocence that’s also a work of great empathy.
As part of our ongoing series of filmmaker conversations, presented in partnership with Filmstruck, Amirpour spoke with us about seeing “Au Hasard Balthazar” during a...
- 12/28/2016
- by Steve Greene
- Indiewire
NEWSLillian SchwartzMartin Scorsese's much-anticipated (and long-in-the-making) 16th-century drama set in Japan, Silence, finally has a release date this year.Director Herschell Gordon Lewis, the so-called "godfather of gore," has died at the age of 87.In New York, the Magenta Plains gallery has opened an exhibition dedicated to early computer art pioneer Lillian Schwartz, whose films are truly delightful.You are no doubt familiar with the video essays of Cristina Álvarez López and Adrian Martin, in no small part due to their work here on the Notebook. Next week can hear the two speak about their critical practice at London's Essay Film Festival.News, yes, but also recommended viewing: the third edition of the free, streaming avant-garde program Kinet is now available, including two wonderful short films by New York filmmaker Gina Telaroli.Recommended VIEWINGTruly the Golden Age of Hollywood: A 1925 tour of MGM studios at its height.One of cinema's...
- 9/28/2016
- MUBI
Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.NEWSThai director Apichatpong Weerasethakul, whose brilliant Cemetery of Splendor will be released in the Us this spring, has revealed a new installation work, Home Movie, made for Sydney's 2016 Biennale. According to his website, "an exhibition space hosts a cave-like ritual where people gather to simply take in the light": "In this home-cave, the heat is both comfortable and threatening. A fireball is an organic-like machine with phantom fans to blow away the heat and, at the same time, rouse the fire, which is impossible to put out even in dreams."This season seems to be one of cinema masters passing. In addition to the directors who've died over the last month, we've lost two great cinematographers this week. First, Douglas Slocombe, who shot the first three Indian Jones films,...
- 2/27/2016
- by Notebook
- MUBI
Soak up the Sun: Pialat’s Palme d’Or Winning Spiritual Anguish
As part of Cohen Media Group’s Maurice Pialat retrospective, perhaps the most significant title showcased in the lineup is his infamous 1987 title, Under the Sun of Satan. Instantly reviled after winning the coveted Palme d’Or at the Cannes Film Festival (with a jury made up of such heavy-hitters as Elem Klimov, Jerzy Skolimowski, Theo Angelopoulos, and Norman Mailer), where Pialat was jeered by a disapproving crowd, the title quickly lapsed into obscurity following a continually tepid critical reception.
Perhaps Pialat’s austere and increasingly deliberate examination of mental and spiritual anguish told through the perspective of a bumbling priest whose blasphemous predicament proves only the presence of Satan rather than God was as simultaneously too old fashioned as it was inconveniently provocative. Based on a 1927 novel by French author Georges Bernanos, Pialat’s treatment does seem...
As part of Cohen Media Group’s Maurice Pialat retrospective, perhaps the most significant title showcased in the lineup is his infamous 1987 title, Under the Sun of Satan. Instantly reviled after winning the coveted Palme d’Or at the Cannes Film Festival (with a jury made up of such heavy-hitters as Elem Klimov, Jerzy Skolimowski, Theo Angelopoulos, and Norman Mailer), where Pialat was jeered by a disapproving crowd, the title quickly lapsed into obscurity following a continually tepid critical reception.
Perhaps Pialat’s austere and increasingly deliberate examination of mental and spiritual anguish told through the perspective of a bumbling priest whose blasphemous predicament proves only the presence of Satan rather than God was as simultaneously too old fashioned as it was inconveniently provocative. Based on a 1927 novel by French author Georges Bernanos, Pialat’s treatment does seem...
- 9/29/2015
- by Nicholas Bell
- IONCINEMA.com
Jim Jarmusch, progenitor of quiet, low-key, talky indies you almost never see today (except from him), shares his ten favorite movies (hat tip: Open Culture). The iconic American indie still makes movies in black-and-white, which is reflected in his love of Ozu, Bresson, Griffith and most everybody on this list, a near-perfect menagerie of genres and styles, Euro art movies and American classics. 1. "L’Atalante" (1934, Jean Vigo) 2. "Tokyo Story" (1953, Yasujiro Ozu) 3. "They Live by Night" (1949, Nicholas Ray) 4. "Bob le Flambeur" (1955, Jean-Pierre Melville) 5. "Sunrise" (1927, F.W. Murnau) 6. "The Cameraman" (1928, Buster Keaton/Edward Sedgwick) 7. "Mouchette" (1967, Robert Bresson) 8. "Seven Samurai" (1954, Akira Kurosawa) 9. "Broken Blossoms" (1919, D.W. Griffith) 10. "Rome, Open City" (1945, Roberto Rossellini) Read More: Toh! Ranks the Films of Jim Jarmusch...
- 6/10/2015
- by Ryan Lattanzio
- Thompson on Hollywood
Launched in 2012, Venice Classics will be presenting 21 new restorations at during the 71st edition of the festival running from August 27 through September 6. Among the highlights: Robert Bresson's Mouchette (1967), Krzysztof Kieslowski's No End (1984), Roman Polanski's Macbeth (1971), François Truffaut's Stolen Kisses (1968), Anthony Mann's The Man from Laramie (1955), Joseph L. Mankiewicz's Guys and Dolls (1955), Marco Bellocchio's China Is Near (1967), Maurice Pialat's Love Exists (1961) and Jack Clayton's The Innocents (1961). » - David Hudson...
- 7/15/2014
- Fandor: Keyframe
Launched in 2012, Venice Classics will be presenting 21 new restorations at during the 71st edition of the festival running from August 27 through September 6. Among the highlights: Robert Bresson's Mouchette (1967), Krzysztof Kieslowski's No End (1984), Roman Polanski's Macbeth (1971), François Truffaut's Stolen Kisses (1968), Anthony Mann's The Man from Laramie (1955), Joseph L. Mankiewicz's Guys and Dolls (1955), Marco Bellocchio's China Is Near (1967), Maurice Pialat's Love Exists (1961) and Jack Clayton's The Innocents (1961). » - David Hudson...
- 7/15/2014
- Keyframe
The Venice Film Festival has unveiled the 21 restored films – 18 features and 3 shorts - that will screen in its Classics section of restored films.
The section, introduced in 2012, features a selection of classic film restorations completed over the past year by film libraries, cultural institutions or production companies around the world.
Director Giuliano Montaldo will chair the jury of film students which will award the Venice Classics Award for Best Restored Film and for Best Documentary on Cinema.
The 2014 Venice Classics line up:
Features
Baisers volés (Stolen Kisses), dir François Truffaut (France, 1968, Colour) restored by : Mk2
Bez końca (No End), dir Krzysztof Kieślowski (Poland, 1984, 108’, Colour) restored by: Studio Filmowe Tor with the support of the National Audiovisual Institute (the Multiannual Government Programme Culture +) and the Polish Film Institute
Gelin (Bride), dir Omer Lütfi Akad (Turkey, 1973, 92’, Colour) restored by: Erman Film
Guys and Dolls, dir Joseph L. Mankiewicz (USA, 1955, 150’, Colour) restored by: Warner Bros. Motion Pictures Imaging and [link...
The section, introduced in 2012, features a selection of classic film restorations completed over the past year by film libraries, cultural institutions or production companies around the world.
Director Giuliano Montaldo will chair the jury of film students which will award the Venice Classics Award for Best Restored Film and for Best Documentary on Cinema.
The 2014 Venice Classics line up:
Features
Baisers volés (Stolen Kisses), dir François Truffaut (France, 1968, Colour) restored by : Mk2
Bez końca (No End), dir Krzysztof Kieślowski (Poland, 1984, 108’, Colour) restored by: Studio Filmowe Tor with the support of the National Audiovisual Institute (the Multiannual Government Programme Culture +) and the Polish Film Institute
Gelin (Bride), dir Omer Lütfi Akad (Turkey, 1973, 92’, Colour) restored by: Erman Film
Guys and Dolls, dir Joseph L. Mankiewicz (USA, 1955, 150’, Colour) restored by: Warner Bros. Motion Pictures Imaging and [link...
- 7/15/2014
- by sarah.cooper@screendaily.com (Sarah Cooper)
- ScreenDaily
It may be an ill-judged search for a dead body in the woods or the hazy last day of school, it might come after a sudden, unavoidable tragedy or maybe it is the lightning bolt of love finding its mark for the first time but there is a defining moment when the world we know ends and a new one begins. The coming of age film is a staple of cinema, the rites of passage are an essential human experience, spanning centuries and cultures, inspiring directors from Truffaut to Spielberg, Bresson to Besson, and thousands of characters have stood on the cusp on adulthood. And jumped.
Whether the epiphany occurs at the bottom of a heap of drug-addled fellow teens, at the bitter end of a dead relationship or a lawnbound stargazing session keeping the dawn at bay the particular events of countless movies are there solely for that life-changing moment to happen.
Whether the epiphany occurs at the bottom of a heap of drug-addled fellow teens, at the bitter end of a dead relationship or a lawnbound stargazing session keeping the dawn at bay the particular events of countless movies are there solely for that life-changing moment to happen.
- 9/6/2013
- by Jon Lyus
- HeyUGuys.co.uk
★★★★★ Rereleased on DVD by Artificial Eye come two of Robert Bresson's most remarkable achievements. Au Hasard Balthazar (1966) and Mouchette (1967) share many common themes, presenting us with a taut and distressingly bleak portrait of human frailty and a world where redemption is possible only through death. Jean-Luc Godard once wrote, "Robert Bresson is French cinema, as Dostoyevsky is the Russian novel and Mozart is German music." Bresson's uniquely spiritual aesthetic was ultimately his own personal response to the question' What is cinema?', challenging the impotence of post-war French cinema.
Bresson presents us with two incredibly theoretical studies of humanity, creating scenarios where the most ordinary and pedestrian of occurrences hold spiritual meaning. These moments acquire intense significance and delicately tune the unsolicited eyes and ears of the audience towards the gentle reverberations of sorrow and hopelessness which throb beneath the tainted veneer of modern life. In the first, Au Hasard Balthazar,...
Bresson presents us with two incredibly theoretical studies of humanity, creating scenarios where the most ordinary and pedestrian of occurrences hold spiritual meaning. These moments acquire intense significance and delicately tune the unsolicited eyes and ears of the audience towards the gentle reverberations of sorrow and hopelessness which throb beneath the tainted veneer of modern life. In the first, Au Hasard Balthazar,...
- 9/3/2013
- by CineVue UK
- CineVue
A still from Robert Bresson’s “Mouchette”
The problem with most of Art-House cinema today is that they are forcing either Bresson or Ozu’s method or Eisenstein’s form or some other form or method with very different content, writes Devdutt Trivedi
I t is one thing to watch films, another thing to make them. There are several kinds of films one can both watch and make. However, when one has a film-praxis (or practicing film, taking theoretical considerations into account) one would like to make a film with a certain rigor. It is not important to think about how the film will be perceived, what it will look like, who will be the audience for it. I am not saying that such a film can be made in today’s commercial world: it is just that I think many people are watching film because of the DVD boom,...
The problem with most of Art-House cinema today is that they are forcing either Bresson or Ozu’s method or Eisenstein’s form or some other form or method with very different content, writes Devdutt Trivedi
I t is one thing to watch films, another thing to make them. There are several kinds of films one can both watch and make. However, when one has a film-praxis (or practicing film, taking theoretical considerations into account) one would like to make a film with a certain rigor. It is not important to think about how the film will be perceived, what it will look like, who will be the audience for it. I am not saying that such a film can be made in today’s commercial world: it is just that I think many people are watching film because of the DVD boom,...
- 7/29/2013
- by Devdutt Trivedi
- DearCinema.com
Founded in 1997, Rialto has been described as the gold standard of the reissue distributors. Now it will distribute international classics from the 2,000+ film catalogue of media giant Studiocanal.Rialto's past releases have included Renoir's Grand Illusion; Carol Reed's The Third Man; Fellini's Nights of Cabiria; Jules Dassin's Rififi; De Sica's Umberto D; Godard's Breathless, Contempt, Band of Outsiders, Masculine Feminine, A Woman is a Woman, and Made in USA; Julien Duvivier's Pépé le Moko; Luis Buñuel's Discreet Charm of the Bourgeoisie, Diary of a Chambermaid, The Phantom of Liberty, The Milky Way and That Obscure Object of Desire; John Schlesinger's Billy Liar; Clouzot's Quai des Orfèvres; Mel Brooks' The Producers; Robert Bresson's Au Hasard Balthazar, Mouchette and Diary of a Country Priest; Jean-Pierre Melville's...
- 8/31/2012
- Screen Anarchy
DVD Release Date: Sept. 18, 2012
Price: DVD $24.95
Studio: Olive Films
Antoine Monnier is down in The Devil, Probably.
Writer/director Robert Bresson’s (Mouchette) 1977 drama The Devil, Probably, the French filmmaker’s penultimate feature, is a dark story of disaffected French youth in modern Paris.
Four disillusioned young adults wander the city’s streets and hole up in tiny apartments while serving witness to what they see as society’s destruction of the planet. Charles (Antoine Monnier), the womanizing ringleader of the group, is haunted by an overwhelming sense of nihilism as he drifts through politics, religion and psychoanalysis and rejects them all. Once Charles realizes the depth of his disgust with the world around him, he decides that suicide may be his only option…
The late Bresson described The Devil, Probably as “a film about the evils of money, a source of great evil in the world whether for unnecessary...
Price: DVD $24.95
Studio: Olive Films
Antoine Monnier is down in The Devil, Probably.
Writer/director Robert Bresson’s (Mouchette) 1977 drama The Devil, Probably, the French filmmaker’s penultimate feature, is a dark story of disaffected French youth in modern Paris.
Four disillusioned young adults wander the city’s streets and hole up in tiny apartments while serving witness to what they see as society’s destruction of the planet. Charles (Antoine Monnier), the womanizing ringleader of the group, is haunted by an overwhelming sense of nihilism as he drifts through politics, religion and psychoanalysis and rejects them all. Once Charles realizes the depth of his disgust with the world around him, he decides that suicide may be his only option…
The late Bresson described The Devil, Probably as “a film about the evils of money, a source of great evil in the world whether for unnecessary...
- 6/25/2012
- by Laurence
- Disc Dish
Sound on Sight Radio #320: Best of French Cinema – Louis Malle, Robert Bresson and Francois Truffaut
For his birthday show, Ricky D selects…sad French films? He’ll explain his choice soon enough, just be aware of the all-classic lineup: Robert Bresson’s Mouchette (with an assist from Julian), Louis Malle’s revered 1987 autobiographical coming-of-age drama Au revoir, les enfants (with Justine), and finally the unavoidable early New Wave touchstone Les quatre cents coups, aka The 400 Blows, which Ricky and Simon take on solo.
Download the show in a new window
Music Playlist:
Gillian Hills – “Zou Bisou Bisou”
Serge Gainsbourg & Brigitte Bardot – “No, No, Yes, Yes”
- Listen on iTunes RSS feeds Twitter Facebook Tumblr Podcast Feed...
Download the show in a new window
Music Playlist:
Gillian Hills – “Zou Bisou Bisou”
Serge Gainsbourg & Brigitte Bardot – “No, No, Yes, Yes”
- Listen on iTunes RSS feeds Twitter Facebook Tumblr Podcast Feed...
- 5/22/2012
- by Ricky
- SoundOnSight
“We are still coming to terms with Robert Bresson, and the peculiar power and beauty of his films,” Martin Scorsese said in the 2010 book “A Passion For Film,” describing the often overlooked French filmmaker as “one of the cinema’s greatest artists.”
But while he may be revered by some as the finest French filmmaker bar Jean Renoir, outside hardcore cinephile circles he and his films are virtually unknown (perhaps regarded as too opaque or nebulous). Just consider the fact that almost every definitive book on the elusive director was published during the aughts to feel the full truth of Scorsese's statement about how we're still in the process of appreciating and understanding his life and work. Even Bresson’s actual birthdate is contested, adding further the ambiguities surrounding the director.
“Make visible what, without you, might perhaps never have been seen,” the meticulous Bresson once famously said, hinting at...
But while he may be revered by some as the finest French filmmaker bar Jean Renoir, outside hardcore cinephile circles he and his films are virtually unknown (perhaps regarded as too opaque or nebulous). Just consider the fact that almost every definitive book on the elusive director was published during the aughts to feel the full truth of Scorsese's statement about how we're still in the process of appreciating and understanding his life and work. Even Bresson’s actual birthdate is contested, adding further the ambiguities surrounding the director.
“Make visible what, without you, might perhaps never have been seen,” the meticulous Bresson once famously said, hinting at...
- 4/18/2012
- by The Playlist
- The Playlist
Robert Bresson: The Over-Plenty of Life is a series we've been running in conjunction with the complete retrospective of Bresson's work that'll be touring North America through May. I thought I'd supplement Ignatiy Vishnevetsky's essays, Daniel Kasman's observations and Adrian Curry's collection of posters with a roundup of pointers to pieces on Bresson that have appeared over the past month or two. One of the occasions of the series, as I mentioned in the entry on the initial announcement (with its basic schedule of cities and dates) is the publication of an expanded and illustrated edition of series curator James Quandt's collection, Robert Bresson (Revised), so let's open this go round with notes on another book, Tony Pipolo's Robert Bresson: A Passion for Film. Jonathan Rosenbaum's posted his review for the Summer 2010 issue of Cineaste, in which he calls it…
one of the most careful and...
one of the most careful and...
- 2/7/2012
- MUBI
Asked by Sight & Sound to name the ten greatest films of all time, Robert Bresson submitted the following, somewhat notorious list:
1. City Lights
2. City Lights
3. The Gold Rush
4.
5.
6.
7.
8.
9.
10.
There are two ways in which Robert Bresson is rarely spoken about: as a comic filmmaker (though, as the above demonstrates, he could be pretty damn funny) and as someone whose work displays the influence of other directors.
Let's begin with that second point. Going back to some of the earliest defenses—as well as the earliest dismissals—of his work, Bresson has largely been described as a filmmaker "without precedent;" his detractors from the 1940s to the 1960s complained that his films didn't work the way movies were supposed to, and his supporters were more than happy to praise his films for the exact same reasons (Jacques Becker, for one, took the pages of L'Écran français to defend the poorly-received Les dames du Bois de Boulogne...
1. City Lights
2. City Lights
3. The Gold Rush
4.
5.
6.
7.
8.
9.
10.
There are two ways in which Robert Bresson is rarely spoken about: as a comic filmmaker (though, as the above demonstrates, he could be pretty damn funny) and as someone whose work displays the influence of other directors.
Let's begin with that second point. Going back to some of the earliest defenses—as well as the earliest dismissals—of his work, Bresson has largely been described as a filmmaker "without precedent;" his detractors from the 1940s to the 1960s complained that his films didn't work the way movies were supposed to, and his supporters were more than happy to praise his films for the exact same reasons (Jacques Becker, for one, took the pages of L'Écran français to defend the poorly-received Les dames du Bois de Boulogne...
- 1/13/2012
- MUBI
A tonic for the New Year: for the next two weeks Film Forum is running a near-complete retrospective of the films of Robert Bresson programmed by the Tiff Cinematheque. The posters for Bresson’s films are a fascinating grab-bag of styles, verging from melodrama to minimalism to symbolism to the wildly inappropriate (see the Italian Mouchette), as designers tried to express and occasionally subvert Bresson’s celebrated and increasing austerity. My favorite may well be this lovely, witty French grande for Pickpocket, illustrated by the great Christian Broutin (best known for his iconic Jules and Jim posters). But there are plenty of other standouts, most especially Raymond Savignac’s series of playful cartoons for Bresson’s final three films: Lancelot du Lac, The Devil, Probably and L’Argent, and the stunning Czech surrealism for Une femme douce.
I present my favorite Bresson posters, a couple per film if possible, in chronological order.
I present my favorite Bresson posters, a couple per film if possible, in chronological order.
- 1/6/2012
- MUBI
Speakers included Anurag Kashyap who spoke about his collaboration with Mani Kaul on two of his last scripts, “Under Her Spell”, on Padgaonkar’s book on Roberto Rossellini and his affair with an Indian woman; as well as “Diwaar Mein Ek Khidki Rehti Thi” based on Vinod Kumar Shukla’s novel.
On Saturday 16th July,2011, film artists and technicians from both the industry as well as the burgeoning independent film space in Mumbai united for a condolence meeting in memory of India’s formalist master Mani Kaul, organized by the National Film Development Corporation (Nfdc), which produced Kaul’s first films. In addition to being a prolific film maker, Kaul’s reputation was as a great teacher: in the dhrupad form of music as well as in his stints at the Film and Television Institute of India (Ftii) through the decades. This has been substantiated by the quality of students...
On Saturday 16th July,2011, film artists and technicians from both the industry as well as the burgeoning independent film space in Mumbai united for a condolence meeting in memory of India’s formalist master Mani Kaul, organized by the National Film Development Corporation (Nfdc), which produced Kaul’s first films. In addition to being a prolific film maker, Kaul’s reputation was as a great teacher: in the dhrupad form of music as well as in his stints at the Film and Television Institute of India (Ftii) through the decades. This has been substantiated by the quality of students...
- 7/20/2011
- by Devdutt Trivedi
- DearCinema.com
Foreword:
Bernardo Bertolucci’s 2003 film The Dreamers is a tribute to cinema. It’s mainly a tribute to the European school of cinema which had been critically acclaimed and inspirationally followed across the globe. Hence it doesn’t need any time to hook onto it. For film buffs of India and the other Third world countries, this surely works – nostalgia and associations flood in making the viewing experience quite worthwhile in most of the case. This also reminds of two very interesting and subtly different films which also pay tribute to the motion picture – Giuseppe Tornatore’s Cinema Paradiso (1998) and Mohsen Makhmalbaf’s Once Upon a Time, Cinema (1992). The latter pays tribute to the Iranian film history of the silent age. It’s quite unfortunate that in spite of being the biggest cinema industry of the world, it’s hard to find an epical re-take of the country’s cinematic ingenuity.
Bernardo Bertolucci’s 2003 film The Dreamers is a tribute to cinema. It’s mainly a tribute to the European school of cinema which had been critically acclaimed and inspirationally followed across the globe. Hence it doesn’t need any time to hook onto it. For film buffs of India and the other Third world countries, this surely works – nostalgia and associations flood in making the viewing experience quite worthwhile in most of the case. This also reminds of two very interesting and subtly different films which also pay tribute to the motion picture – Giuseppe Tornatore’s Cinema Paradiso (1998) and Mohsen Makhmalbaf’s Once Upon a Time, Cinema (1992). The latter pays tribute to the Iranian film history of the silent age. It’s quite unfortunate that in spite of being the biggest cinema industry of the world, it’s hard to find an epical re-take of the country’s cinematic ingenuity.
- 4/25/2011
- by Amitava Nag
- DearCinema.com
"It changes, but I have to say 'Mouchette' by Robert Bresson. I go to it again and again for inspiration. The sound quality is incredible and it's so lyrical. It's one of my favorite films and is really beautiful."
Jena Malone can currently be seen kicking butt on-screen in Zack Snyder's fantasy flick "Sucker Punch."
More Favorite Movies: Rose McGowan | Sarah Silverman | Bill Hader| Shiloh Fernandez | Mary J. Blige ...
Jena Malone can currently be seen kicking butt on-screen in Zack Snyder's fantasy flick "Sucker Punch."
More Favorite Movies: Rose McGowan | Sarah Silverman | Bill Hader| Shiloh Fernandez | Mary J. Blige ...
- 4/22/2011
- by Robert DeSalvo
- NextMovie
First the history, then the list:
In 1969, Jerome Hill, P. Adams Sitney, Peter Kubelka, Stan Brakhage, and Jonas Mekas decided to open the world’s first museum devoted to film. Of course, a typical museum hangs its collections of artwork on the wall for visitors to walk up to and study. However, a film museum needs special considerations on how — and what, of course — to present its collection to the public.
Thus, for this film museum, first a film selection committee was formed that included James Broughton, Ken Kelman, Peter Kubelka, Jonas Mekas and P. Adams Sitney, plus, for a time, Stan Brakhage. This committee met over the course of several months to decide exactly what films would be collected and how they would be shown. The final selection of films would come to be called the The Essential Cinema Repertory.
The Essential Cinema Collection that the committee came up with consisted of about 330 films.
In 1969, Jerome Hill, P. Adams Sitney, Peter Kubelka, Stan Brakhage, and Jonas Mekas decided to open the world’s first museum devoted to film. Of course, a typical museum hangs its collections of artwork on the wall for visitors to walk up to and study. However, a film museum needs special considerations on how — and what, of course — to present its collection to the public.
Thus, for this film museum, first a film selection committee was formed that included James Broughton, Ken Kelman, Peter Kubelka, Jonas Mekas and P. Adams Sitney, plus, for a time, Stan Brakhage. This committee met over the course of several months to decide exactly what films would be collected and how they would be shown. The final selection of films would come to be called the The Essential Cinema Repertory.
The Essential Cinema Collection that the committee came up with consisted of about 330 films.
- 5/3/2010
- by Mike Everleth
- Underground Film Journal
Underpinned by a towering performance by Gabourey Sidibe as the abused heroine, this tale of parental abuse is grim, yet ultimately affirmative, writes Philip French
The star TV talk-show hostess Oprah Winfrey has been involved over the years in three significant movies based on celebrated novels by black authors. In 1985, she appeared as a natural rebel alongside Whoopi Goldberg in Steven Spielberg's skilful, soft-centred adaptation of Alice Walker's The Color Purple about the oppression of black women in the Deep South, the need for sisterhood and the romance of Africa.
In 1998, she produced and starred in Jonathan Demme's film of Toni Morrison's Beloved. In this ambitious failure, Winfrey played the runaway slave who kills her baby rather than see her recaptured by white pursuers and, a decade after the Civil War, is haunted by the child's ghost. Now she is the co-producer of Lee Daniels's Precious,...
The star TV talk-show hostess Oprah Winfrey has been involved over the years in three significant movies based on celebrated novels by black authors. In 1985, she appeared as a natural rebel alongside Whoopi Goldberg in Steven Spielberg's skilful, soft-centred adaptation of Alice Walker's The Color Purple about the oppression of black women in the Deep South, the need for sisterhood and the romance of Africa.
In 1998, she produced and starred in Jonathan Demme's film of Toni Morrison's Beloved. In this ambitious failure, Winfrey played the runaway slave who kills her baby rather than see her recaptured by white pursuers and, a decade after the Civil War, is haunted by the child's ghost. Now she is the co-producer of Lee Daniels's Precious,...
- 1/31/2010
- by Philip French
- The Guardian - Film News
By Michael Atkinson
When we first met Aki Kaurismäki, in 1989 when "Ariel" had its run as probably the first Finnish film to play theatrically in America since Jörn Donner's "Portraits of Women" (1970), we more or less fell in love. Lost in the hollow skull of the Reagan-Bush '80s, suffering the ascension of Spielberg and Ivan Reitman and Shane Black, wondering what remote atoll international art cinema had escaped to, and more or less completely ignorant of Finnish life, we had every reason to embrace this last of the red hot deadpan existentialists, whose films somehow altered the cellular structure of working class depression and turned it into cool comedy. His distinctively bittersweet dyspepsia established Kaurismäki, in a thick run of films that included "Leningrad Cowboys Go America" (1989), "The Match Factory Girl" (1990) and "La Vie de Bohème" (1992), as a new arthouse brand name, a kind of vodka-weary Bresson-meets-Tati.
Kaurismäki...
When we first met Aki Kaurismäki, in 1989 when "Ariel" had its run as probably the first Finnish film to play theatrically in America since Jörn Donner's "Portraits of Women" (1970), we more or less fell in love. Lost in the hollow skull of the Reagan-Bush '80s, suffering the ascension of Spielberg and Ivan Reitman and Shane Black, wondering what remote atoll international art cinema had escaped to, and more or less completely ignorant of Finnish life, we had every reason to embrace this last of the red hot deadpan existentialists, whose films somehow altered the cellular structure of working class depression and turned it into cool comedy. His distinctively bittersweet dyspepsia established Kaurismäki, in a thick run of films that included "Leningrad Cowboys Go America" (1989), "The Match Factory Girl" (1990) and "La Vie de Bohème" (1992), as a new arthouse brand name, a kind of vodka-weary Bresson-meets-Tati.
Kaurismäki...
- 9/23/2008
- by Michael Atkinson
- ifc.com
The Museum of Modern Art is presenting "Rialto Pictures: Reviving Classic Cinema," a 17-film series celebrating the 10th anniversary of the art house revival distributor. Films by Robert Bresson ("Mouchette"), Carol Reed ("The Third Man"), Luis Bunuel ("Diary of a Chambermaid"), Federico Fellini ("Nights of Cabiria"), Jean-Luc Godard ("Masculin feminine") and Jean-Pierre Melville ("Bob le Flambeur") will be screened. The selection chosen by MOMA Department of Film senior curator Laurence Kardish will be screened from July 25 to Aug. 10 in New York.
- 6/27/2007
- The Hollywood Reporter - Movie News
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