Above: Official poster by Yves Tinguely for the 12th New York Film Festival in 1974.The twelfth edition of the New York Film Festival, which took place 50 years ago this week, in September 1974, could have been convincingly called the New York European Film Festival. Out of the seventeen new feature films playing, all but two were European: seven French, three German, two Italian, two Swiss, and one British. Though festival director Richard Roud wrote in the program that “one of the most exciting developments in world cinema these past two years has been the re-emergence of the American film,” there was in fact only one American film in the main lineup (the world premiere of John Cassavetes’s A Woman Under the Influence) though there was also a program of four American shorts by Mirra Bank, Martha Coolidge, William Greaves, and an exciting upstart named Martin Scorsese. There was just one...
- 9/27/2024
- MUBI
by Abirbhab Maitra
In 2012, in an interview with The Hollywood Reporter, European auteur Michael Haneke discussed the challenges of dramatizing events with significant historical context in film. He argued that dramatization can lead to manipulation, stripping historical objectivity and imposing a subjective truth on the narrative. In his view, directors should take extra care to maintain a sense of responsibility towards both the historical events and the audience’s perception, encouraging them to confront history as their own, free from any kind of manipulation. Haneke illustrated his point by referencing Alain Resnais’s Holocaust documentary “Night and Fog”, which prompts spectators to reflect on their position in relation to the depicted events without succumbing to the comforts of melodrama.
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Joshua Oppenheimer‘s 2012 documentary, “The Act of Killing”, explores these ideas of confronting history through an objective lens. Based on the events...
In 2012, in an interview with The Hollywood Reporter, European auteur Michael Haneke discussed the challenges of dramatizing events with significant historical context in film. He argued that dramatization can lead to manipulation, stripping historical objectivity and imposing a subjective truth on the narrative. In his view, directors should take extra care to maintain a sense of responsibility towards both the historical events and the audience’s perception, encouraging them to confront history as their own, free from any kind of manipulation. Haneke illustrated his point by referencing Alain Resnais’s Holocaust documentary “Night and Fog”, which prompts spectators to reflect on their position in relation to the depicted events without succumbing to the comforts of melodrama.
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Joshua Oppenheimer‘s 2012 documentary, “The Act of Killing”, explores these ideas of confronting history through an objective lens. Based on the events...
- 9/21/2024
- by Guest Writer
- AsianMoviePulse
Mati Diop is an early Oscar frontrunner with documentary “Dahomey” about the return of Benin-based artwork from French colonizers.
Set in November 2021, the Golden Bear-winning film charts 26 royal treasures from the Kingdom of Dahomey as they leave Paris and return to their country of origin, the present-day Republic of Benin.
Per the official logline, the feature uses multiple perspectives to question “how these artifacts should be received in a country that has reinvented itself in their absence.” The artwork was plundered by French troops in 1892, and the pieces’ return to Benin more almost 150 years later caused an outrage among University of Abomey-Calavi students.
“Atlantics” director Diop writes and directs the documentary, which features cinematography from Josephine Drouin Viallard. Diop produced “Dahomey” along with Eve Robin and Judith Lou Lévy; Christiane Chabi Kao and Cotonou executive produced the documentary, which was co-produced by Arte France Cinéma, Paris.
“Dahomey” debuted at Berlinale...
Set in November 2021, the Golden Bear-winning film charts 26 royal treasures from the Kingdom of Dahomey as they leave Paris and return to their country of origin, the present-day Republic of Benin.
Per the official logline, the feature uses multiple perspectives to question “how these artifacts should be received in a country that has reinvented itself in their absence.” The artwork was plundered by French troops in 1892, and the pieces’ return to Benin more almost 150 years later caused an outrage among University of Abomey-Calavi students.
“Atlantics” director Diop writes and directs the documentary, which features cinematography from Josephine Drouin Viallard. Diop produced “Dahomey” along with Eve Robin and Judith Lou Lévy; Christiane Chabi Kao and Cotonou executive produced the documentary, which was co-produced by Arte France Cinéma, Paris.
“Dahomey” debuted at Berlinale...
- 9/10/2024
- by Samantha Bergeson
- Indiewire
From Laure Astourian’s The Ethnographic Optic: Jean Rouch, Chris Marker, Alain Resnais, and the Turn Inward in 1960s French Cinema, published by Indiana University Press.Muriel.Until the end of the Algerian War, the French State insisted that Algeria was part of France. In the aftermath, however, both the state and the French sought to forget Algeria altogether. The minority who simply could not forget included the young soldiers who had been sent to Algeria to defend France’s interests. Their stories would remain shrouded in silence for decades, often unknown even to their immediate families.1 The protagonist of Alain Resnais’s Muriel (1963), Bernard (Jean-Baptiste Thierrée), is one such soldier. Presumably well-adjusted before the war, he now hovers at the margins of society, an outsider with a piercing gaze. Throughout Muriel, Bernard films his surroundings and the inhabitants of Boulogne with an 8mm camera. He claims he is “gathering evidence.
- 9/3/2024
- MUBI
“Where do things truly start?” wonders the narrator of Emmanuel Mouret’s relentlessly middlebrow romantic comedy Trois Amies, a story of three women and their relationships that never feels like it’s ever going to end. Though it lasts just under two hours, it feels as bright and breezy as a flight from Newark to Singapore, spinning a complicated web of emotional intrigue that, finally, seems to go on and on just for the sake of it.
The French like these kinds of films, and their big-name directors stuff them with their equally famous friends, leading to waffly ensemble pieces that can be as endearingly cheerful as Julie Delpy’s family memoir Skylab (2011) or as insufferable as Guillaume Canet’s Big Chill ripoff Little White Lies (2011). Trois Amies sits somewhere, lumpenly, in the middle, and it’s hard to imagine what the Venice Film Festival programmers were thinking when they...
The French like these kinds of films, and their big-name directors stuff them with their equally famous friends, leading to waffly ensemble pieces that can be as endearingly cheerful as Julie Delpy’s family memoir Skylab (2011) or as insufferable as Guillaume Canet’s Big Chill ripoff Little White Lies (2011). Trois Amies sits somewhere, lumpenly, in the middle, and it’s hard to imagine what the Venice Film Festival programmers were thinking when they...
- 8/30/2024
- by Damon Wise
- Deadline Film + TV
The poster child of cinematic modernism, one of those early-‘60s event films that seemed to break every rule classical Hollywood ever codified, Alain Resnais’s Last Year at Marienbad left its initial audiences in equal measure ravished by Sacha Vierny’s sumptuous cinematography, capturing in rapturous detail every element of its chateau setting’s florid production design, and baffled by its deliberately disorienting puzzle-picture narrative, so willfully inscrutable that its three main characters don’t even have names. You have to trouble yourself to read Alain Robbe-Grillet’s screenplay in order to glean that they’re called A, X, and M, as if to emphasize that they’re variables in some erotic algorithm.
Unlike the testimonials to the politique des auteurs, all the rage with the Cahiers du Cinéma crowd, Last Year at Marienbad draws its power from a different engine, the disparate and ultimately divergent sensibilities of its director and screenwriter.
Unlike the testimonials to the politique des auteurs, all the rage with the Cahiers du Cinéma crowd, Last Year at Marienbad draws its power from a different engine, the disparate and ultimately divergent sensibilities of its director and screenwriter.
- 8/19/2024
- by Budd Wilkins
- Slant Magazine
Australian Film Television and Radio School
Australia’s finest film and television school draws applicants from far and wide with its picturesque Sydney campus and many lecturers with deep ties to the Australian screen industry. Notable alumni include The Power of the Dog Oscar winner Jane Campion and Poor Things screenwriter Tony McNamara and a long list of accomplished craftspeople like Margaret Sixel (editing on Mad Max: Fury Road), David White (sound editing for Mad Max: Fury Road) and Andrew Lesnie (cinematography for The Lord of the Rings). In July, Aftrs also tapped Peter Noble, a local industry veteran of Indigenous background, to serve as director of the school’s First Nations and Outreach program, which develops training pathways for emerging and experienced industry practitioners from Australia’s culturally and racially marginalized groups.
Beijing Film Academy
The de facto USC of the world’s second-largest movie market, the Bfa was...
Australia’s finest film and television school draws applicants from far and wide with its picturesque Sydney campus and many lecturers with deep ties to the Australian screen industry. Notable alumni include The Power of the Dog Oscar winner Jane Campion and Poor Things screenwriter Tony McNamara and a long list of accomplished craftspeople like Margaret Sixel (editing on Mad Max: Fury Road), David White (sound editing for Mad Max: Fury Road) and Andrew Lesnie (cinematography for The Lord of the Rings). In July, Aftrs also tapped Peter Noble, a local industry veteran of Indigenous background, to serve as director of the school’s First Nations and Outreach program, which develops training pathways for emerging and experienced industry practitioners from Australia’s culturally and racially marginalized groups.
Beijing Film Academy
The de facto USC of the world’s second-largest movie market, the Bfa was...
- 8/16/2024
- by Patrick Brzeski, Lily Ford, Scott Roxborough and Etan Vlessing
- The Hollywood Reporter - Movie News
The 62nd edition of the New York Film Festival will kick off with RaMell Ross’s “Nickel Boys,” an adaptation of Colson Whitehead’s Pulitzer Prize-winning novel “The Nickel Boys.”
Film at Lincoln Center made the announcement early Monday and notably didn’t specify a premiere designation for the film, perhaps an indication that “Nickel Boys” will have its world premiere at another festival such as the Telluride Film Festival, Toronto International Film Festival, or Venice Film Festival.
“What an absolute honor for ‘Nickel Boys’ to open the 62nd New York Film Festival… a daydream really, for the crew, the cast, and team who’ve committed so wholeheartedly to its vision,” Ross said in a statement. The filmmaker’s debut documentary, “Hale County This Morning, This Evening,” was previously screened at the 2018 edition of New Directors/New Films at New York City’s Lincoln Center. Ross called his debut feature...
Film at Lincoln Center made the announcement early Monday and notably didn’t specify a premiere designation for the film, perhaps an indication that “Nickel Boys” will have its world premiere at another festival such as the Telluride Film Festival, Toronto International Film Festival, or Venice Film Festival.
“What an absolute honor for ‘Nickel Boys’ to open the 62nd New York Film Festival… a daydream really, for the crew, the cast, and team who’ve committed so wholeheartedly to its vision,” Ross said in a statement. The filmmaker’s debut documentary, “Hale County This Morning, This Evening,” was previously screened at the 2018 edition of New Directors/New Films at New York City’s Lincoln Center. Ross called his debut feature...
- 7/22/2024
- by Christopher Rosen
- Gold Derby
NYC Weekend Watch is our weekly round-up of repertory offerings.
Film Forum
Films by David Lynch, Tony Scott, David Cronenberg, and Jim Jarmusch play in “Out of the 80s,“ which includes Do the Right Thing on 35mm this Sunday; The Neverending Story plays on Sunday.
Museum of the Moving Image
Rumble in the Bronx and The Straight Story play on 35mm as part of “See It Big at the ’90s Multiplex” which also includes Boomerang and Trainspotting; an Agnieszka Holland retrospective begins; Mothra screens on Saturday.
Roxy Cinema
Altered States plays on 35mm this Friday; Saturday brings Knight of Cups; George Cukor’s It Should Happen to You plays on 16mm this Sunday.
Paris Theater
Seven, Old Joy, Come and See, and The Conformist all screen on a despair-inducing Sunday.
Metrograph
Films by Gus Van Sant and Alain Resnais play in an mk2 retrospective; retrospectives of Obayashi and Dieudo Hamadi...
Film Forum
Films by David Lynch, Tony Scott, David Cronenberg, and Jim Jarmusch play in “Out of the 80s,“ which includes Do the Right Thing on 35mm this Sunday; The Neverending Story plays on Sunday.
Museum of the Moving Image
Rumble in the Bronx and The Straight Story play on 35mm as part of “See It Big at the ’90s Multiplex” which also includes Boomerang and Trainspotting; an Agnieszka Holland retrospective begins; Mothra screens on Saturday.
Roxy Cinema
Altered States plays on 35mm this Friday; Saturday brings Knight of Cups; George Cukor’s It Should Happen to You plays on 16mm this Sunday.
Paris Theater
Seven, Old Joy, Come and See, and The Conformist all screen on a despair-inducing Sunday.
Metrograph
Films by Gus Van Sant and Alain Resnais play in an mk2 retrospective; retrospectives of Obayashi and Dieudo Hamadi...
- 6/7/2024
- by Nick Newman
- The Film Stage
Oh, Canada debuting this week on the Croisette is high time to see lesser-seen Schrader on the Criterion Channel, who’ll debut an 11-title series including the likes of Touch, The Canyons, and Patty Hearst, while Old Boyfriends (written with his brother Leonard) and his own “Adventures in Moviegoing” are also programmed. Five films by Jean Grémillon, a rather underappreciated figure of French cinema, will be showing
Series-wise, there’s an appreciation of the synth soundtrack stretching all the way back to 1956’s Forbidden Planet while, naturally, finding its glut of titles in the ’70s and ’80s––Argento and Carpenter, obviously, but also Tarkovsky and Peter Weir. A Prince and restorations of films by Bob Odenkirk, Obayashi, John Greyson, and Jacques Rivette (whose Duelle is a masterpiece of the highest order) make streaming debuts. I Am Cuba, Girlfight, The Royal Tenenbaums, and Dazed and Confused are June’s Criterion Editions.
Series-wise, there’s an appreciation of the synth soundtrack stretching all the way back to 1956’s Forbidden Planet while, naturally, finding its glut of titles in the ’70s and ’80s––Argento and Carpenter, obviously, but also Tarkovsky and Peter Weir. A Prince and restorations of films by Bob Odenkirk, Obayashi, John Greyson, and Jacques Rivette (whose Duelle is a masterpiece of the highest order) make streaming debuts. I Am Cuba, Girlfight, The Royal Tenenbaums, and Dazed and Confused are June’s Criterion Editions.
- 5/14/2024
- by Nick Newman
- The Film Stage
First look notwithstanding, details have been few and far between on Richard Linklater’s Nouvelle Vague, largely understood to concern the production of Jean-Luc Godard’s Breathless, making notable a new set report from Les Inrockuptibles. It should’ve been obvious from the jump that America’s premier hangout filmmaker would resurrect cinema’s most-influential group as, well, a group, with Linklater describing his film as (in a somewhat contradictory manner) “the story of a personal revolution in cinema led by one man, and all the people around him,” with the implication of actors playing Jacques Rivette, Éric Rohmer, Jacques Demy, Agnès Varda, Alain Resnais, and Jean Cocteau.
Fittingly, Nouvelle Vague will not start with Zoey Deutch’s Jean Seberg (admittedly odd combination of words) filming on the Champs-Élysées, but at least stretches back to the 1959 Cannes Film Festival, where, upon The 400 Blows‘ triumphant debut, Godard “succeeded in convincing producer...
Fittingly, Nouvelle Vague will not start with Zoey Deutch’s Jean Seberg (admittedly odd combination of words) filming on the Champs-Élysées, but at least stretches back to the 1959 Cannes Film Festival, where, upon The 400 Blows‘ triumphant debut, Godard “succeeded in convincing producer...
- 5/14/2024
- by Leonard Pearce
- The Film Stage
Mubi has unveiled next’s streaming lineup, featuring notable new releases, including Molly Manning Walker’s debut How to Have Sex, Kevin Macdonald’s High & Low: John Galliano, and Quentin Dupieux’s Yannick. Ahead of Bong Joon Ho’s Mickey 17, two of his earlier films will arrive on the platform, along with a pair of features from All of Us Strangers director Andrew Haigh, as well as S. Craig Zahler’s Brawl in Cell Block 99, and more.
“The story can be translated into many different settings and I think it’s still relevant in terms of house parties, clubs, and even in relationships,” Molly Manning Walker recently told us about her debut How to Have Sex. “On the other hand: I wanted to make something that was very cinematic, but not set in a domestic environment. But the reason that this particular setting felt perfect was that––at that time,...
“The story can be translated into many different settings and I think it’s still relevant in terms of house parties, clubs, and even in relationships,” Molly Manning Walker recently told us about her debut How to Have Sex. “On the other hand: I wanted to make something that was very cinematic, but not set in a domestic environment. But the reason that this particular setting felt perfect was that––at that time,...
- 3/22/2024
- by Leonard Pearce
- The Film Stage
In 1953, Alain Resnais, Chris Marker, and Ghislain Cloquet produced Statues Also Die, one of the fiercest and most lucid indictments of white imperialism ever captured on film. Commissioned by the magazine Présence Africaine, it sought to dissect Western attitudes toward African art. The 30-minute short did not begin as an anti-colonial project but became one along the way, informed by the belittling treatment that antiquities from the continent had received across French cultural institutions since their plundering under colonial rule. Why, for a start, was African art routinely confined at the Musée de l’Homme in Paris––an ethnographic museum––while Greek or Assyrian pieces found their place at the Louvre? An arresting montage of statues and their visitors swelled into a much larger critique of the systematic oppression of Black culture and Black bodies, with a third act considering the exploitation of Black athletes and musicians in the States.
- 2/26/2024
- by Leonardo Goi
- The Film Stage
When Europe’s great powers raced to colonize a continent in the so-called “Scramble for Africa” just before the First World War, the tiny coastal Kingdom of Dahomey in the south of modern-day Benin, west Africa, was high on France’s shopping list. Only 85 French soldiers were killed when it was taken in 1894, while as many as 4,000 Dahomeans lost their lives. Nearly three hundred years of culture and history were extinguished, and thousands of the nation’s most valuable treasures shipped to Paris.
Mati Diop’s 67-minute documentary isn’t about the theft but rather the return in late 2021 of 26 Dahomean treasures to Benin from the Musée du Quai Branly in Paris. We’re told before the movie starts that their “captivity” in France is finally coming to an end. That feels a little dramatic, but Diop means what she says. The most famous of the items, including a defiant...
Mati Diop’s 67-minute documentary isn’t about the theft but rather the return in late 2021 of 26 Dahomean treasures to Benin from the Musée du Quai Branly in Paris. We’re told before the movie starts that their “captivity” in France is finally coming to an end. That feels a little dramatic, but Diop means what she says. The most famous of the items, including a defiant...
- 2/18/2024
- by Adam Solomons
- Indiewire
With her mesmerizing 2019 debut feature, the lyrical Senegalese ghost story Atlantics, as well as the nonfiction project that preceded it, A Thousand Suns, Mati Diop jumped to the forefront of diasporic Black European directors reclaiming their ancestral African roots. The director’s own path as a cultural revenant continues to be inextricably woven through her work, alongside a contemplative consideration of repatriation and reparations, in her multifaceted medium-length docu-fictional essay Dahomey.
The film is both a response to Alain Resnais and Chris Marker’s 1953 inquiry into African art and colonialism, Statues Also Die, and an ongoing debate on the significance of returned artifacts and the responsibility of new generations to continue the vital work of conservation and cultural reclamation.
Running just over an hour but loaded with thematic weight and aesthetic beauty, Dahomey sprang from the French government’s return, in 2021, of 26 royal treasures from the Kingdom of Dahomey to...
The film is both a response to Alain Resnais and Chris Marker’s 1953 inquiry into African art and colonialism, Statues Also Die, and an ongoing debate on the significance of returned artifacts and the responsibility of new generations to continue the vital work of conservation and cultural reclamation.
Running just over an hour but loaded with thematic weight and aesthetic beauty, Dahomey sprang from the French government’s return, in 2021, of 26 royal treasures from the Kingdom of Dahomey to...
- 2/18/2024
- by David Rooney
- The Hollywood Reporter - Movie News
Severin follows up their 2023 collection of Italian gothic titles with an essential second volume that brings together three films and a miniseries. Each work takes a very different approach to the gothic as both a visual aesthetic and a set of thematic preoccupations. The results range from virtually archetypal to resolutely revisionist. For this well-appointed set, Severin provides a veritable bounty of bonus materials: new restorations, alternate cuts, commentary tracks, cast and crew interviews, visual essays, even a soundtrack CD.
Antonio Margheriti’s Danza Macabra, from 1964, is one of the very best Italian gothic films. It simply oozes with atmosphere courtesy of Riccardo Pallottini’s moody monochrome cinematography, and, while the violence remains relatively restrained, Margheriti brazenly pushes the envelope when it comes to nudity and some suggestive sexual content. Likely as a bid to cash in on Roger Corman’s Poe Cycle, Danza Macabra not only claims to be...
Antonio Margheriti’s Danza Macabra, from 1964, is one of the very best Italian gothic films. It simply oozes with atmosphere courtesy of Riccardo Pallottini’s moody monochrome cinematography, and, while the violence remains relatively restrained, Margheriti brazenly pushes the envelope when it comes to nudity and some suggestive sexual content. Likely as a bid to cash in on Roger Corman’s Poe Cycle, Danza Macabra not only claims to be...
- 2/7/2024
- by Budd Wilkins
- Slant Magazine
February––particularly its third week––is all about romance. Accordingly the Criterion Channel got creative with their monthly programming and, in a few weeks, will debut Interdimensional Romance, a series of films wherein “passion conquers time and space, age and memory, and even death and the afterlife.” For every title you might’ve guessed there’s a wilder companion: Alan Rudolph’s Made In Heaven, Soderbergh’s remake, and Resnais’ Love Unto Death. Mostly I’m excited to revisit Francis Ford Coppola’s Youth Without Youth, a likely essential viewing before Megalopolis.
February also marks Black History Month, and Criterion’s series will include work by Shirley Clarke (also subject of a standalone series), Garrett Bradley, Cheryl Dunye, and Julie Dash, while movies by Sirk, Minnelli, King Vidor, and Lang play in “Gothic Noir.” Greta Gerwig gets an “Adventures in Moviegoing” and can be seen in Mary Bronstein’s Yeast,...
February also marks Black History Month, and Criterion’s series will include work by Shirley Clarke (also subject of a standalone series), Garrett Bradley, Cheryl Dunye, and Julie Dash, while movies by Sirk, Minnelli, King Vidor, and Lang play in “Gothic Noir.” Greta Gerwig gets an “Adventures in Moviegoing” and can be seen in Mary Bronstein’s Yeast,...
- 1/11/2024
- by Leonard Pearce
- The Film Stage
The smoke sauna practices of southern Estonia will likely be unfamiliar to most viewers entering the cloistered world of Anna Hints’s Smoke Sauna Sisterhood, and it’s to the film’s credit that any pedagogy it does offer comes only in allusive, piecemeal ways. Some research will reveal that there’s a metaphysical dimension that separates the Estonian spa tradition from that of other cultures, but Hints’s documentary is in no hurry to dispel secrets.
Throughout the immersive Smoke Sauna Sisterhood, Hints centers the experiential qualities of women gathering in a smoke sauna deep in the woods over what appears to be a year of screen time. It focuses particularly on therapeutic sessions of soul-baring conversation undertaken at length in blistering heat. Such epiphanies are the implied intent of the Estonian nature spas, and Hints’s candid presentation of these moments is testament to both her technical commitment...
Throughout the immersive Smoke Sauna Sisterhood, Hints centers the experiential qualities of women gathering in a smoke sauna deep in the woods over what appears to be a year of screen time. It focuses particularly on therapeutic sessions of soul-baring conversation undertaken at length in blistering heat. Such epiphanies are the implied intent of the Estonian nature spas, and Hints’s candid presentation of these moments is testament to both her technical commitment...
- 11/23/2023
- by Carson Lund
- Slant Magazine
Veteran French editor Dominique Auvray says there’s an essential intuitive element to her work. The woman who created the sound for “Paris, Texas” and cut such films as “No Fear, No Die,” “L’Amour Fou,” and “Hu-Man” says her career has been built around one key ability: Tuning in to your eyes and ears.
Speaking at the Ji.hlava International Documentary Film Festival this week, the longtime collaborator with seminal French director and author Marguerite Duras said, “I think the first thing when you are an editor, you have to look and to listen. And to listen at the same time to your heart and your head. And to listen to the director. And to listen to what the images say, you know.”
Auvray says she approached her work on the definitive Duras films “Le Camion,” “Woman of the Ganges” and “Le Navire Night” this way, and is still listening...
Speaking at the Ji.hlava International Documentary Film Festival this week, the longtime collaborator with seminal French director and author Marguerite Duras said, “I think the first thing when you are an editor, you have to look and to listen. And to listen at the same time to your heart and your head. And to listen to the director. And to listen to what the images say, you know.”
Auvray says she approached her work on the definitive Duras films “Le Camion,” “Woman of the Ganges” and “Le Navire Night” this way, and is still listening...
- 10/28/2023
- by Will Tizard
- Variety Film + TV
Among the myriad reasons we could call the Criterion Channel the single greatest streaming service is its leveling of cinematic snobbery. Where a new World Cinema Project restoration plays, so too does Tales from the Crypt: Demon Knight. I think about this looking at November’s lineup and being happiest about two new additions: a nine-film Robert Bresson retro including L’argent and The Devil, Probably; and a one-film Hype Williams retro including Belly and only Belly, but bringing as a bonus the direct-to-video Belly 2: Millionaire Boyz Club. Until recently such curation seemed impossible.
November will also feature a 20-film noir series boasting the obvious and the not. Maybe the single tightest collection is “Women of the West,” with Johnny Guitar and The Beguiled and Rancho Notorious and The Furies only half of it. Lynch/Oz, Irradiated, and My Two Voices make streaming premieres; Drylongso gets a Criterion Edition; and joining...
November will also feature a 20-film noir series boasting the obvious and the not. Maybe the single tightest collection is “Women of the West,” with Johnny Guitar and The Beguiled and Rancho Notorious and The Furies only half of it. Lynch/Oz, Irradiated, and My Two Voices make streaming premieres; Drylongso gets a Criterion Edition; and joining...
- 10/24/2023
- by Nick Newman
- The Film Stage
Right from its opening moments, Austrian director Elisabeth Scharang’s Woodland is visually arresting, commanding one’s attention. Which is fortunate as the film is light on dialogue and primarily concerns the isolating experience of a woman living alone in wooded country. Through jagged memories that pierce the placid exterior of the film and our protagonist, we uncover the buried traumas and demons she is running away from. Or running towards, as it turns out. In her native hometown, a reckoning awaits her, that just might set her free.
Adapted from Doris Knecht’s novel Wald and inspired by Scharang’s personal experience, Woodland charts Marian’s (Brigitte Hobmeier) return to the small agrarian town she grew up in. She sets up camp in her abandoned family home––cobwebbed, without electricity, and freezing––and only occasionally charges her cell phone at the local pub. Her desire to disconnect from the world seems paramount.
Adapted from Doris Knecht’s novel Wald and inspired by Scharang’s personal experience, Woodland charts Marian’s (Brigitte Hobmeier) return to the small agrarian town she grew up in. She sets up camp in her abandoned family home––cobwebbed, without electricity, and freezing––and only occasionally charges her cell phone at the local pub. Her desire to disconnect from the world seems paramount.
- 9/25/2023
- by Ankit Jhunjhunwala
- The Film Stage
Films about the end of the world are nothing new. But films about the real end of the world–the moments in human history that seem to have put us on an inevitable path toward our own self-destruction–are less frequent. In the 1950s, as the Cold War took hold and the threat of nuclear war escalated, most of the films that came out dealt with it in terms of metaphor, usually sci-fi ones, like giant irradiated lizards and insects standing in for hydrogen bombs.
Christopher Nolan’s Oppenheimer addresses one of those moments in history head-on, giving us not just a glimpse into the tormented mind of the “father of the atomic bomb,” but a you-are-there, immersive front row seat to the very moment in which the first bomb was detonated and the end of the human race came into clear view, starting with what many now consider to...
Christopher Nolan’s Oppenheimer addresses one of those moments in history head-on, giving us not just a glimpse into the tormented mind of the “father of the atomic bomb,” but a you-are-there, immersive front row seat to the very moment in which the first bomb was detonated and the end of the human race came into clear view, starting with what many now consider to...
- 7/24/2023
- by Don Kaye
- Den of Geek
Birkin’s death has shocked her adopted France over the long Bastille Day weekend.
Anglo-French actress, director and singer Jane Birkin has died at the age of 76.
Born and brought up in the UK, Birkin rose to fame in France in the 1960s with a parallel acting and singing career and became a global fashion icon and a woman’s rights activist. France claimed the naturalised citizen as their own.
Birkin starred in around 70 films including Michelangelo Antonioni’s 1966 film Blow Up, 1969’s The Swimming Pool opposite Alain Delon and Romy Schneider, Roger Vadim’s Don Juan, Or if Don...
Anglo-French actress, director and singer Jane Birkin has died at the age of 76.
Born and brought up in the UK, Birkin rose to fame in France in the 1960s with a parallel acting and singing career and became a global fashion icon and a woman’s rights activist. France claimed the naturalised citizen as their own.
Birkin starred in around 70 films including Michelangelo Antonioni’s 1966 film Blow Up, 1969’s The Swimming Pool opposite Alain Delon and Romy Schneider, Roger Vadim’s Don Juan, Or if Don...
- 7/16/2023
- by Rebecca Leffler
- ScreenDaily
Jane Birkin, the iconic British-born actress, singer and model who became a chart-topping artist in France with her collaborations with then-partner Serge Gainsbourg, has died at the age of 76.
Birkin’s death was announced Sunday by the French culture ministry, which said Birkin was found dead at her Paris home. No cause of death was provided. Birkin recently canceled concerts due to unspecified health reasons; in recent years, she also suffered a stroke and battled leukemia.
French president Emmanuel Macron tweeted Sunday, “Because she embodied freedom, because she sang the...
Birkin’s death was announced Sunday by the French culture ministry, which said Birkin was found dead at her Paris home. No cause of death was provided. Birkin recently canceled concerts due to unspecified health reasons; in recent years, she also suffered a stroke and battled leukemia.
French president Emmanuel Macron tweeted Sunday, “Because she embodied freedom, because she sang the...
- 7/16/2023
- by Daniel Kreps
- Rollingstone.com
This year’s New York Film Festival will open with the North American premiere of Todd Haynes’s new film “May December,” festival organizers announced on Tuesday.
“‘May December’ is a tour-de-force of writing, acting, and directing: a film built on moment-to-moment surprise, as thought-provoking as it is purely pleasurable,” said Dennis Lim, the artistic director at the New York Film Festival, in a press release. “It cements Todd Haynes’s place as one of American cinema’s most brilliant mischief-makers and as an all-time great director of actors. Todd has been a consistent presence at the New York Film Festival for almost his entire career, and we are very excited to open this edition with one of his most dazzling achievements.”
“We are all so proud and moved to have been invited to open the New York Film Festival with the North American premiere of ‘May December,’” Haynes said...
“‘May December’ is a tour-de-force of writing, acting, and directing: a film built on moment-to-moment surprise, as thought-provoking as it is purely pleasurable,” said Dennis Lim, the artistic director at the New York Film Festival, in a press release. “It cements Todd Haynes’s place as one of American cinema’s most brilliant mischief-makers and as an all-time great director of actors. Todd has been a consistent presence at the New York Film Festival for almost his entire career, and we are very excited to open this edition with one of his most dazzling achievements.”
“We are all so proud and moved to have been invited to open the New York Film Festival with the North American premiere of ‘May December,’” Haynes said...
- 7/11/2023
- by Christopher Rosen
- Gold Derby
Sometimes, you think you know all there is to know about classic cinema, and then someone like the cinephiles at Janus Films reminds you there are still so many hidden gems to rediscover. While not as well-known as the French New Wave icons like Jean-Luc Godard, François Truffaut, Éric Rohmer, Alain Resnais, Agnès Varda, etc., French filmmaker Jean Eustache is still a key figure in the history of the Nouvelle Vague.
Continue reading ‘The Mother & The Whore’ Trailer: Jean Eustache Post-French New Wave Masterpiece Gets The New 4K Restoration Re-Release Treatment at The Playlist.
Continue reading ‘The Mother & The Whore’ Trailer: Jean Eustache Post-French New Wave Masterpiece Gets The New 4K Restoration Re-Release Treatment at The Playlist.
- 6/14/2023
- by Rodrigo Perez
- The Playlist
Editor’s note: This review was originally published at the 2023 Cannes Film Festival. A24 releases the film in limited theaters on Monday, December 25.
A four-and-a-half-hour World War II documentary that doesn’t include a single frame of archival footage or talking head testimony, Steve McQueen’s provocative but emotionally stultifying “Occupied City” refracts the fading memory of Nazi-occupied Amsterdam through the prism of the city’s more recent Covid lockdown — a rare pause in the flow of time, and one that McQueen eagerly seized upon as a chance to measure its powers of erosion.
The film’s conceit is as simple as it is almost immediately numbing: Each of its 130 fragments is dedicated to a different address throughout the city, the past and present of these sites fractured across two parallel timelines that are offered to us all at once. While our ears listen to monotone narrator Melanie Hyams list...
A four-and-a-half-hour World War II documentary that doesn’t include a single frame of archival footage or talking head testimony, Steve McQueen’s provocative but emotionally stultifying “Occupied City” refracts the fading memory of Nazi-occupied Amsterdam through the prism of the city’s more recent Covid lockdown — a rare pause in the flow of time, and one that McQueen eagerly seized upon as a chance to measure its powers of erosion.
The film’s conceit is as simple as it is almost immediately numbing: Each of its 130 fragments is dedicated to a different address throughout the city, the past and present of these sites fractured across two parallel timelines that are offered to us all at once. While our ears listen to monotone narrator Melanie Hyams list...
- 5/17/2023
- by David Ehrlich
- Indiewire
Bernard-Henri Lévy with Sergiy Kyslytsya (Ambassador Extraordinary and Plenipotentiary of Ukraine and Permanent Representative of Ukraine to the United Nations) and Nicolas de Rivière (Ambassador Permanent Representative of France to the United Nations) with Ukrainian soldiers at the Slava Ukraini première Photo: Anne-Katrin Titze
In the second instalment with Bernard-Henri Lévy we discuss war films, including Rémy Ourdan’s The Siege, André Malraux’s Espoir: Sierra de Teruel, and Terre d’Espagne by Joris Ivens; Chernobyl, quoting a line by Emmanuelle Riva in Alain Resnais’s Hiroshima Mon Amour, screenplay by Marguerite Duras, and chapters five, nine, and twelve of Slava Ukraini, co-directed with Marc Roussel (produced by François Margolin with associate producer Emily Hamilton and advisor Gilles Hertzog).
Bernard-Henri Lévy with Nicolas de Rivière and Sergiy Kyslytsya at the United Nations Photo: Anne-Katrin Titze
At the United Nations in New York inside the Eocsoc Chamber on the evening of May 4, Nicolas de Rivière,...
In the second instalment with Bernard-Henri Lévy we discuss war films, including Rémy Ourdan’s The Siege, André Malraux’s Espoir: Sierra de Teruel, and Terre d’Espagne by Joris Ivens; Chernobyl, quoting a line by Emmanuelle Riva in Alain Resnais’s Hiroshima Mon Amour, screenplay by Marguerite Duras, and chapters five, nine, and twelve of Slava Ukraini, co-directed with Marc Roussel (produced by François Margolin with associate producer Emily Hamilton and advisor Gilles Hertzog).
Bernard-Henri Lévy with Nicolas de Rivière and Sergiy Kyslytsya at the United Nations Photo: Anne-Katrin Titze
At the United Nations in New York inside the Eocsoc Chamber on the evening of May 4, Nicolas de Rivière,...
- 5/8/2023
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Mubi has announced its lineup of streaming offerings for next month, including a Béla Tarr double bill, with new 4K restorations of Damnation and Sátántangó, Léa Mysius’ The Five Devils, Radu Jude’s short The Potemkinists, and Kira Kovalenko’s Unclenching the Fists.
They will also present a series on past Cannes Film Festival selections with films by Abderrahmane Sissako, Alice Rohrwacher, Djibril Diop Mambéty, Jeremy Saulnier, and more. Ana Vaz’s The Age of Stone and most recent work It is Night in America will arrive on the service, plus a Merchant Ivory series.
Check out the lineup below and get 30 days free here.
May 1 – Blind Spot, directed by Claudia von Alemann | What Sets Us Free? German Feminist Cinema
May 2 – Heat and Dust, directed by James Ivory | Gilded Passions: Films by Merchant Ivory
May 3 – Damnation, directed by Béla Tarr | Béla Tarr: A Double Bill
May 4 – The Bostonians, directed by...
They will also present a series on past Cannes Film Festival selections with films by Abderrahmane Sissako, Alice Rohrwacher, Djibril Diop Mambéty, Jeremy Saulnier, and more. Ana Vaz’s The Age of Stone and most recent work It is Night in America will arrive on the service, plus a Merchant Ivory series.
Check out the lineup below and get 30 days free here.
May 1 – Blind Spot, directed by Claudia von Alemann | What Sets Us Free? German Feminist Cinema
May 2 – Heat and Dust, directed by James Ivory | Gilded Passions: Films by Merchant Ivory
May 3 – Damnation, directed by Béla Tarr | Béla Tarr: A Double Bill
May 4 – The Bostonians, directed by...
- 4/21/2023
- by Leonard Pearce
- The Film Stage
The relationship drama premiered in competition at the 2022 Berlinale.
Michael Koch’s second feature A Piece Of Sky was named best feature film at this year’s Swiss Film Awards which were held at a gala ceremony in Geneva at the weekend.
The Alpine love story premiered in competition at the 2022 Berlinale and was Switzerland’s entry for the International Feature Film category of the Academy Awards this year.
Members of the Swiss Film Academy voted Elena Avdija’s Stuntwomen (Cascadeuses) as best documentary, while Ursula Meier’s The Line - which premiered at the Berlinale in the main competition...
Michael Koch’s second feature A Piece Of Sky was named best feature film at this year’s Swiss Film Awards which were held at a gala ceremony in Geneva at the weekend.
The Alpine love story premiered in competition at the 2022 Berlinale and was Switzerland’s entry for the International Feature Film category of the Academy Awards this year.
Members of the Swiss Film Academy voted Elena Avdija’s Stuntwomen (Cascadeuses) as best documentary, while Ursula Meier’s The Line - which premiered at the Berlinale in the main competition...
- 3/28/2023
- by Martin Blaney
- ScreenDaily
Christophe Honoré selected Catherine Breillat’s 36 Fillette: “Her work is very important for French cinema.” Photo: Anne-Katrin Titze
Jacques Demy’s Lola (starring Anouk Aimée with Marc Michel), Wim Wenders’ Paris, Texas, Zhangke Jia and composer Yoshihiro Hanno, Yves Robert’s La Guerre des Boutons, Alain Resnais’ Providence and L'Année Dernière à Marienbad, Kenneth Lonergan’s Manchester By The Sea, Sophie's Misfortunes, and Catherine Breillat’s 36 Fillette all came up in our discussion.
Christophe Honoré with Anne-Katrin Titze on why Alain Resnais is a king: “I’m interested in narrative play and people who have a ludic relationship to storytelling.” Photo: Anne-Katrin Titze
Christophe Honoré was in New York to present Winter Boy, starring Paul Kircher, Vincent Lacoste, Juliette Binoche, and Erwan Kepoa Falé, shot by Rémy Chevrin (Guermantes, [film]On...
Jacques Demy’s Lola (starring Anouk Aimée with Marc Michel), Wim Wenders’ Paris, Texas, Zhangke Jia and composer Yoshihiro Hanno, Yves Robert’s La Guerre des Boutons, Alain Resnais’ Providence and L'Année Dernière à Marienbad, Kenneth Lonergan’s Manchester By The Sea, Sophie's Misfortunes, and Catherine Breillat’s 36 Fillette all came up in our discussion.
Christophe Honoré with Anne-Katrin Titze on why Alain Resnais is a king: “I’m interested in narrative play and people who have a ludic relationship to storytelling.” Photo: Anne-Katrin Titze
Christophe Honoré was in New York to present Winter Boy, starring Paul Kircher, Vincent Lacoste, Juliette Binoche, and Erwan Kepoa Falé, shot by Rémy Chevrin (Guermantes, [film]On...
- 3/13/2023
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Christophe Honoré with Anne-Katrin Titze at Rendez-Vous with French Cinema in New York Photo: Anne-Katrin Titze
Christophe Honoré (Winter Boy), Florent Gouëlou (Three Nights A Week), Vuk Lungulov-Klotz (Mutt), and Georden West (Playland), will participate in a Rendez-Vous with French Cinema Free Talk: Queer Identities On Screen, moderated by filmmaker and Cuny professor Yoruba Richen (director of The Green Book: Guide to Freedom) on Friday, March 10 at 4:00pm inside the Amphitheater of the Elinor Bunin Munroe Film Center.
Autofiction at Work: An Intimate Portrait of Christophe Honoré at Metrograph
Christophe is also presenting Dans Paris and Sorry Angel, Alain Resnais’s Providence, Catherine Breillat’s 36 Fillette, and Kenneth Lonergan’s Manchester By The Sea in Autofiction at Work: An Intimate Portrait of Christophe Honoré at Metrograph this weekend, curated by Uptown Flicks Adeline Monzier with the support of Unifrance and Villa Albertine.
“As a queer auteur and a...
Christophe Honoré (Winter Boy), Florent Gouëlou (Three Nights A Week), Vuk Lungulov-Klotz (Mutt), and Georden West (Playland), will participate in a Rendez-Vous with French Cinema Free Talk: Queer Identities On Screen, moderated by filmmaker and Cuny professor Yoruba Richen (director of The Green Book: Guide to Freedom) on Friday, March 10 at 4:00pm inside the Amphitheater of the Elinor Bunin Munroe Film Center.
Autofiction at Work: An Intimate Portrait of Christophe Honoré at Metrograph
Christophe is also presenting Dans Paris and Sorry Angel, Alain Resnais’s Providence, Catherine Breillat’s 36 Fillette, and Kenneth Lonergan’s Manchester By The Sea in Autofiction at Work: An Intimate Portrait of Christophe Honoré at Metrograph this weekend, curated by Uptown Flicks Adeline Monzier with the support of Unifrance and Villa Albertine.
“As a queer auteur and a...
- 3/8/2023
- by Anne-Katrin Titze
- eyeforfilm.co.uk
After he had cut ties with production company Nikkatsu, director Seijun Suzuki struggled for a long time to find new projects, due to the structure of the Japanese film industry as a whole and his recognition as someone who could not follow orders. With “Zigeunerweisen”, released over a decade after his last work for Nikkatsu, he returned to the spotlight in a way, directing a feature that would also mark a blend of his former stylistic approach as well as new themes and aesthetics. “Kagero-za” is the second entry into the so-called Taisho trilogy, named after the period all three features are set in, and is widely regarded as perhaps the best one in the series. While the feature may prove just as challenging for the viewer, narratively and stylistically, as the other entries in the trilogy, the story about disorientation as well as past and present longings contains some...
- 2/3/2023
- by Rouven Linnarz
- AsianMoviePulse
New York City’s fabled movie rental chain, Kim’s Video, shuttered its downtown locations throughout the early-to-mid aughts, offering an early warning sign that the cinema as we once knew it was dying, or at least migrating to other formats.
The chain’s disappearance left an open wound among lower Manhattan film buffs, stranding Kim’s hundreds of thousands of members without a good place — any place, actually — to rent movies, while leaving behind a collection of 55,000 VHS tapes and DVDs that encompassed everything from horror flicks like C.H.U.D. to the complete works of Paul Morrissey to bootleg copies of Jean-Luc Godard’s Histoire(s) du cinéma.
What happened to Kim’s treasure trove of films remained a mystery for quite some time, with occasional stories popping up — including a long-form Village Voice piece by movie critic and podcaster Karina Longworth (You Must Remember This) — explaining...
The chain’s disappearance left an open wound among lower Manhattan film buffs, stranding Kim’s hundreds of thousands of members without a good place — any place, actually — to rent movies, while leaving behind a collection of 55,000 VHS tapes and DVDs that encompassed everything from horror flicks like C.H.U.D. to the complete works of Paul Morrissey to bootleg copies of Jean-Luc Godard’s Histoire(s) du cinéma.
What happened to Kim’s treasure trove of films remained a mystery for quite some time, with occasional stories popping up — including a long-form Village Voice piece by movie critic and podcaster Karina Longworth (You Must Remember This) — explaining...
- 1/20/2023
- by Jordan Mintzer
- The Hollywood Reporter - Movie News
It is with great sadness that we have just learned of the death at the age of 89 of Kiju Yoshida, considered as the Alain Resnais of the New Wave of Japanese cinema.
The Festival International des Cinémas d’Asie de Vesoul paid tribute to him, in his presence, during its 7th edition in 2001. Francophone and Francophile, extraordinary presence, demanding worker, faithful in friendships, these are the words that spontaneously come to mind to pay a last tribute to this giant of the seventh art, director of a considerable work among which “Coup d’état”, “Femmes en miroir”, “Flamme et femme”, “Histoire écrite par l’eau”, “Onimaru”, “Promesse”, “Éros + Massacre”, … Pax Aeterna.
The Festival International des Cinémas d’Asie de Vesoul paid tribute to him, in his presence, during its 7th edition in 2001. Francophone and Francophile, extraordinary presence, demanding worker, faithful in friendships, these are the words that spontaneously come to mind to pay a last tribute to this giant of the seventh art, director of a considerable work among which “Coup d’état”, “Femmes en miroir”, “Flamme et femme”, “Histoire écrite par l’eau”, “Onimaru”, “Promesse”, “Éros + Massacre”, … Pax Aeterna.
- 12/13/2022
- by Panos Kotzathanasis
- AsianMoviePulse
Who would have expected that Derek Zoolander himself would end up becoming one of today's most prominent dramatic storytellers? In recent years, Ben Stiller has set his comedic aspirations aside for an emphasis on prestige television. He directed the entirety of the riveting prison break miniseries "Escape at Dannemora" and the psychological thriller "Severance." If you've been paying attention, it's been clear that Stiller is a creative storyteller who knows how to surprise an audience. It's only a surprise to see the new direction in his career because he's always been making us laugh so much.
In the late 1990s, a group of comic actors known as the "Frat Pack" began to dominate mainstream comedy. While the careers of Will Ferrell, Owen Wilson, Vince Vaughn, Steve Carrell, Jack Black, and Paul Rudd were fairly consistent, Stiller managed to mix in a variety of independent projects alongside mainstream studio films. Although...
In the late 1990s, a group of comic actors known as the "Frat Pack" began to dominate mainstream comedy. While the careers of Will Ferrell, Owen Wilson, Vince Vaughn, Steve Carrell, Jack Black, and Paul Rudd were fairly consistent, Stiller managed to mix in a variety of independent projects alongside mainstream studio films. Although...
- 11/21/2022
- by Liam Gaughan
- Slash Film
Media coverage of Jean-Luc Godard’s death will fall short of what he merits. He was a game-changing creator on the level of Sergei Eisenstein, Charlie Chaplin, D.W. Griffith, and others who changed the grammar of film forever, but his best-known films are from a half-century ago. And there’s this: Under the standards by which successful directors are judged today — box office and awards — Godard was strictly a minor-league player.
His lifelong regard as a master is a tribute to his films above all, but it also speaks to a cinephile culture that elevated and supported him for decades despite the general public’s disinterest.
In the U.S., Godard’s films initially received erratic distribution with short-run showings at a few big-city theaters; even his best-known titles like “Breathless” and “Week-end” received marginal releases. They appeared erratically, out of order, and sometimes not until two or three years after their public debuts.
His lifelong regard as a master is a tribute to his films above all, but it also speaks to a cinephile culture that elevated and supported him for decades despite the general public’s disinterest.
In the U.S., Godard’s films initially received erratic distribution with short-run showings at a few big-city theaters; even his best-known titles like “Breathless” and “Week-end” received marginal releases. They appeared erratically, out of order, and sometimes not until two or three years after their public debuts.
- 9/14/2022
- by Tom Brueggemann
- Indiewire
Jean-Luc Godard passed away on September 13, 2022 at the age of 91. In a vast and prolific career that spanned seven decades Godard never once shied away from confrontation. Godard was a film brat of the highest order, who used his early New Wave films as a playful, somewhat bitter commentary on the insidious infiltration of cinematic images into our minds. His most celebrated film, "Breathless" (1960), takes place in a world where characters have internalized an ineffable sense of "cool" they learned directly from American movies; in one scene, Jean-Paul Belmondo, sporting a fedora and cigarette, spends a moment to look at a headshot of Humphrey Bogart, a photo he seems to regard like a mirror.
Much hay has been made by talented and insightful essayists over the impact Godard has had on modern filmmaking. He made movies about people who lived in movies. He was of a generation of French filmmakers...
Much hay has been made by talented and insightful essayists over the impact Godard has had on modern filmmaking. He made movies about people who lived in movies. He was of a generation of French filmmakers...
- 9/13/2022
- by Witney Seibold
- Slash Film
Jean-Luc Godard, the pioneering French New Wave director who challenged and upended conventional filmmaking methods for over half a century, died today according to multiple reports in the French media. He was 91.
Godard’s celebrity mystique was defined by the image of the enigmatic chain-smoking auteur, adorned in sunglasses while indulging in existential insight, revolutionary politics, and radical ideas about art. But his career never rested on that cartoonish brand.
Though he would remain most famous for his first feature, the 1960 meta-noir “Breathless,” that iconic debut kickstarted a lifetime of ambitious, often confrontational work. His filmography consists of everything from genre deconstructions to political screeds and avant-garde gambles designed to confuse and provoke new avenues for an evolving art form. Through it all, Godard remained a divisive figure whose prolific output embodied — and often interrogated — the cultural and intellectual proclivities of French society and the world at large.
His legacy...
Godard’s celebrity mystique was defined by the image of the enigmatic chain-smoking auteur, adorned in sunglasses while indulging in existential insight, revolutionary politics, and radical ideas about art. But his career never rested on that cartoonish brand.
Though he would remain most famous for his first feature, the 1960 meta-noir “Breathless,” that iconic debut kickstarted a lifetime of ambitious, often confrontational work. His filmography consists of everything from genre deconstructions to political screeds and avant-garde gambles designed to confuse and provoke new avenues for an evolving art form. Through it all, Godard remained a divisive figure whose prolific output embodied — and often interrogated — the cultural and intellectual proclivities of French society and the world at large.
His legacy...
- 9/13/2022
- by Eric Kohn
- Indiewire
The following appeared in Filmmaker‘s Spring, 2000 edition accompanying All Tomorrow’s Yesterdays, an article in which four filmmakers reflect on the work of Alain Resnais. — Editor Anatole Dauman, through his company Argos Films, produced or co-produced many of the masterworks of postwar European cinema – including Alain Resnais’s Night and Fog; Hiroshima, Mon Amour; Last Year at Marienbad; and Muriel.Following his death in 1998, his daughter, Florence Dauman (herself a producer of A Personal Journey with Martin Scorsese Through American Cinema), assumed control of the company, which today houses the greatest collection of independent cinema in France. Ms. Dauman […]
The post “What Would Resnais Bring Back from Japan? I Had Not a Clue”: Producer Anatole Dauman on Alain Resnais, Night and Fog and Hiroshima Mon Amour first appeared on Filmmaker Magazine.
The post “What Would Resnais Bring Back from Japan? I Had Not a Clue”: Producer Anatole Dauman on Alain Resnais, Night and Fog and Hiroshima Mon Amour first appeared on Filmmaker Magazine.
- 8/11/2022
- by Filmmaker Staff
- Filmmaker Magazine - Blog
The following appeared in Filmmaker‘s Spring, 2000 edition accompanying All Tomorrow’s Yesterdays, an article in which four filmmakers reflect on the work of Alain Resnais. — Editor Anatole Dauman, through his company Argos Films, produced or co-produced many of the masterworks of postwar European cinema – including Alain Resnais’s Night and Fog; Hiroshima, Mon Amour; Last Year at Marienbad; and Muriel.Following his death in 1998, his daughter, Florence Dauman (herself a producer of A Personal Journey with Martin Scorsese Through American Cinema), assumed control of the company, which today houses the greatest collection of independent cinema in France. Ms. Dauman […]
The post “What Would Resnais Bring Back from Japan? I Had Not a Clue”: Producer Anatole Dauman on Alain Resnais, Night and Fog and Hiroshima Mon Amour first appeared on Filmmaker Magazine.
The post “What Would Resnais Bring Back from Japan? I Had Not a Clue”: Producer Anatole Dauman on Alain Resnais, Night and Fog and Hiroshima Mon Amour first appeared on Filmmaker Magazine.
- 8/11/2022
- by Filmmaker Staff
- Filmmaker Magazine-Director Interviews
In 2000, Filmmaker, timed to a traveling retrospective, asked four directors to reflect on the work of legendary French film director Alain Resnais. We are reposting this piece now as another retrospective, Film Forum’s Alain Resnais 100, opens tomorrow. The below films, with the exception of Je T’aime, Je T’aime, are all also streaming now on the Criterion Channel. See as well this article’s original sidebar, in which producer Anatole Dauman reflects on the making of Night and Fog and Hiroshima, Mon Amour. — Editor Perhaps more than those of any other modern director, the films of Alain Resnais are […]
The post All Tomorrow’s Yesterdays: Keith Gordon, Radley Metzger, Errol Morris and Christopher Münch on the Films of Alain Resnais first appeared on Filmmaker Magazine.
The post All Tomorrow’s Yesterdays: Keith Gordon, Radley Metzger, Errol Morris and Christopher Münch on the Films of Alain Resnais first appeared on Filmmaker Magazine.
- 8/11/2022
- by Filmmaker Staff
- Filmmaker Magazine - Blog
In 2000, Filmmaker, timed to a traveling retrospective, asked four directors to reflect on the work of legendary French film director Alain Resnais. We are reposting this piece now as another retrospective, Film Forum’s Alain Resnais 100, opens tomorrow. The below films, with the exception of Je T’aime, Je T’aime, are all also streaming now on the Criterion Channel. See as well this article’s original sidebar, in which producer Anatole Dauman reflects on the making of Night and Fog and Hiroshima, Mon Amour. — Editor Perhaps more than those of any other modern director, the films of Alain Resnais are […]
The post All Tomorrow’s Yesterdays: Keith Gordon, Radley Metzger, Errol Morris and Christopher Münch on the Films of Alain Resnais first appeared on Filmmaker Magazine.
The post All Tomorrow’s Yesterdays: Keith Gordon, Radley Metzger, Errol Morris and Christopher Münch on the Films of Alain Resnais first appeared on Filmmaker Magazine.
- 8/11/2022
- by Filmmaker Staff
- Filmmaker Magazine-Director Interviews
NYC Weekend Watch is our weekly round-up of repertory offerings.
Film Forum
To mark the great Alain Resnias’ centennial, a massive retrospective starts with Marienbad, Muriel, Hiroshima, and Je t’aime, je t’aime; The Discreet Charm of the Bourgeoisie and The Umbrellas of Cherbourg screen.
Bam
“Intimate Epics” begins with a print of Yi Yi, Happy Hour, and Ottinger’s Joan of Arc of Mongolia.
Museum of the Moving Image
Once Upon a Time in Hollywood and Licorice Pizza play back-to-back on 70mm this weekend, while one of cinema’s most unsung heroes—women in Australian cinema—get their due in a new retrospective.
Japan Society
Kore-eda’s After Life is screening on Friday.
Film at Lincoln Center
Three Colors: Blue, Three Colors: White, and a massive retrospective of King Vidor all continue.
Roxy Cinema
The series “Woman as Witch” offers plenty scintillating—prints of Alien 3, Lady Sings the Blues,...
Film Forum
To mark the great Alain Resnias’ centennial, a massive retrospective starts with Marienbad, Muriel, Hiroshima, and Je t’aime, je t’aime; The Discreet Charm of the Bourgeoisie and The Umbrellas of Cherbourg screen.
Bam
“Intimate Epics” begins with a print of Yi Yi, Happy Hour, and Ottinger’s Joan of Arc of Mongolia.
Museum of the Moving Image
Once Upon a Time in Hollywood and Licorice Pizza play back-to-back on 70mm this weekend, while one of cinema’s most unsung heroes—women in Australian cinema—get their due in a new retrospective.
Japan Society
Kore-eda’s After Life is screening on Friday.
Film at Lincoln Center
Three Colors: Blue, Three Colors: White, and a massive retrospective of King Vidor all continue.
Roxy Cinema
The series “Woman as Witch” offers plenty scintillating—prints of Alien 3, Lady Sings the Blues,...
- 8/11/2022
- by Nick Newman
- The Film Stage
In one of the hardest sequences to look at in “From Where They Stood” (it’s also one of the hardest to look away from), we see four photographs taken inside the Buchenwald concentration camp by Alberto Errera, a Jewish prisoner from Greece who was a member of the Sonderkommando — the inmates who were allowed to live, at least for a time, because they agreed to be part of the grisliest work detail. There is no known photograph that exists of what went on inside the gas chambers. But Errera came close by taking several clandestine photographs from the gas chambers, giving us a window into what happened before and after.
One of his images shows a group of women prisoners, several of them naked, against a woodland setting; they think they’re about to take a shower, which is the lie that was told to prisoners to get them to enter the gas chambers.
One of his images shows a group of women prisoners, several of them naked, against a woodland setting; they think they’re about to take a shower, which is the lie that was told to prisoners to get them to enter the gas chambers.
- 8/5/2022
- by Owen Gleiberman
- Variety Film + TV
Following its world premiere at the Venice Film Festival Film, Noah Baumbach’s feature take of Don DeLillo’s 1985 novel White Noise will also open the 60th New York Film Festival, making its North American premiere at Alice Tully Hall on September 30.
In the Netflix movie, Adam Driver plays Jack Gladney, an ostentatious “Hitler Studies” professor and father-of-four whose comfortable suburban college town life and marriage to the secretive Babette (Greta Gerwig) are upended after a horrifying nearby accident creates an airborne toxic event of frightening and unknowable proportions. DeLillo’s novel is known for being a pop-philosophical nightmare on unbounded consumerism, ecological catastrophe, and the American obsession with death.
“In 1985 my father and I drove from Brooklyn to see Kurosawa’s Ran open the 23rd NYFF, the same year that he brought home the hardback of Don DeLillo’s White Noise,” said Baumbach. “Opening the 60th NYFF with White...
In the Netflix movie, Adam Driver plays Jack Gladney, an ostentatious “Hitler Studies” professor and father-of-four whose comfortable suburban college town life and marriage to the secretive Babette (Greta Gerwig) are upended after a horrifying nearby accident creates an airborne toxic event of frightening and unknowable proportions. DeLillo’s novel is known for being a pop-philosophical nightmare on unbounded consumerism, ecological catastrophe, and the American obsession with death.
“In 1985 my father and I drove from Brooklyn to see Kurosawa’s Ran open the 23rd NYFF, the same year that he brought home the hardback of Don DeLillo’s White Noise,” said Baumbach. “Opening the 60th NYFF with White...
- 8/2/2022
- by Anthony D'Alessandro
- Deadline Film + TV
Christophe Cognet: 'I discovered the book of an Israeli writer, Leïb Rochman, À Pas aveugles de par le monde' Photo: l’atelier documentaire Christophe Cognet with Anne-Katrin Titze on a film always being in the present: 'Hic et nunc in Latin. It’s very important for me. It’s the same in Alain Resnais’s film Nuit et Bruillard' Claude Lanzmann’s masterpieces, Four Sisters, The Last Of The Unjust, and, of course, the incomparable Shoah, for which no archival footage was ever used, broke the ground for the sense of the perpetual present, which is the prerequisite to begin to understand. Alain Resnais with his devastating Nuit et Brouillard, and I would add Hiroshima Mon Amour and its focus on forgetting and remembering, are also never far. Christophe Cognet’s extraordinary and far-reaching From Where They Stood (À pas aveugles) begins at a pond in the rain surrounded by birch trees.
- 7/21/2022
- by Anne-Katrin Titze
- eyeforfilm.co.uk
The Video Essay is a joint project of Mubi and Filmadrid International Film Festival. Film analysis and criticism found a completely new and innovative path with the arrival of the video essay, a relatively recent form that has already its own masters and is becoming increasingly popular. The limits of this discipline are constantly expanding; new essayists are finding innovative ways to study the history of cinema working with images. With this non-competitive section of the festival both Mubi and Filmadrid will offer the platform and visibility the video essay deserves. The seven selected works will be premiering online from June 6 - 12, 2022 on Mubi's Notebook. The selection was made by the programmers of Mubi and Filmadrid.Helmut's Triumph by Francisco NoronhaHow can the Nazi psyche and praxis adapt and disguise themselves in a democratic society? This video essay offers a reflection on how this occurs in Martha (1973), a Sirkian melodrama...
- 6/5/2022
- MUBI
MK2 Films is shooting “Curiosity Room,” a remake of Wim Wenders’s cult 1982 documentary “Room 666,” during the Cannes Film Festival. Produced by Mk Prods. in collaboration with the Cannes Film Festival, “Curiosity Room” will be directed Lubna Playoust, an actor (“The French Dispatch”) and filmmaker who notably helmed “Le Cormoran.”
Following the same set up as the original film, “Curiosity Room” is filming every day of the festival in a room at the Marriott Hotel on the Croisette, where 30 filmmakers, many of whom are either on juries or have movies and projects presented at this year’s Cannes, will answer questions about filmmaking and the future of cinema. Playoust is asking fellow directors if “cinema is a language about to get lost, an art about to die?,” said Nathanael Karmitz, MK2 Films’s CEO.
The remake is particularly relevant at this point since the film industry is going through a...
Following the same set up as the original film, “Curiosity Room” is filming every day of the festival in a room at the Marriott Hotel on the Croisette, where 30 filmmakers, many of whom are either on juries or have movies and projects presented at this year’s Cannes, will answer questions about filmmaking and the future of cinema. Playoust is asking fellow directors if “cinema is a language about to get lost, an art about to die?,” said Nathanael Karmitz, MK2 Films’s CEO.
The remake is particularly relevant at this point since the film industry is going through a...
- 5/20/2022
- by Elsa Keslassy
- Variety Film + TV
Michelangelo Frammartino on Nicola Lanza, the shepherd in Il Buco (The Hole): “His face seems like the bark of a tree; it seems created by the stones of the Pollino.”
When I spoke with Michelangelo Frammartino in 2013 at the Tribeca Film Festival MoMA PS1 world première of Alberi, hosted by Artistic Director Frédéric Boyer, I mentioned that he should check out James Turrell’s Meeting on the third floor. Now in 2022 he sees the connection to Meeting and the opening shot by cinematographer Renato Berta in Il Buco (The Hole), co-written with Giovanna Giuliani and produced by Marco Serrecchia.
Michelangelo Frammartino with Anne-Katrin Titze and the rock on shepherds: “They have this ability to never appear, and therefore they are the voice of the mountain.”
Bird sounds start the film, as we see the sky from below, from the perspective of a cave with a vaguely horseshoe-shaped opening. The...
When I spoke with Michelangelo Frammartino in 2013 at the Tribeca Film Festival MoMA PS1 world première of Alberi, hosted by Artistic Director Frédéric Boyer, I mentioned that he should check out James Turrell’s Meeting on the third floor. Now in 2022 he sees the connection to Meeting and the opening shot by cinematographer Renato Berta in Il Buco (The Hole), co-written with Giovanna Giuliani and produced by Marco Serrecchia.
Michelangelo Frammartino with Anne-Katrin Titze and the rock on shepherds: “They have this ability to never appear, and therefore they are the voice of the mountain.”
Bird sounds start the film, as we see the sky from below, from the perspective of a cave with a vaguely horseshoe-shaped opening. The...
- 5/19/2022
- by Anne-Katrin Titze
- eyeforfilm.co.uk
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