Zehn Filme konkurrieren im Wettbewerb des neuen Berliner Dokumentarfilmfestivals Dokumentale. Der Hauptpreis ist mit 20.000 Euro ausgestattet. Heute wurde das Gesamtprogramm verkündet.
„Pepi Fandango“ (Credit: Samuel Navarrete)
Das neue Berliner Dokumentarfilmfestival Dokumentale (10.-20. Oktober) unter der künstlerischen Leitung von Anna Ramskogler-Witt hat sein Gesamtprogramm für seine erste Ausgabe verkündet. Zehn Filme – davon acht Deutschlandpremieren und eine Internationale Premiere – konkurrieren um den mit 20.000 Euro dotierten Hauptpreis. Eine Jury um Marie Erbs Ørbæk (Cph:Dox), Mara Prohaska Marković (Beldocs) und dem Regisseur Ibrahim Nash’at („Hollywoodgate“) wird über den Gewinner entscheiden. Dabei gehen 10.000 Euro direkt an die Filmemacher:in, die anderen 10.000 Euro sollen die Marketingmaßnahmen rund um die Filmveröffentlichung unterstützen, weil es der Dokumentale wichtig ist, die Auswertung von Dokumentarfilmen im Kino zu fördern.
In den Wettbewerb eingeladen wurden unter anderem „Standing Above the Ground“ von Jalena Keane-Lee, „Yintah“ von Branda Michell, Michael Toledano und Jennifer Wickham oder „The Tempest of Neptun“ von Katarina Stankovic,...
„Pepi Fandango“ (Credit: Samuel Navarrete)
Das neue Berliner Dokumentarfilmfestival Dokumentale (10.-20. Oktober) unter der künstlerischen Leitung von Anna Ramskogler-Witt hat sein Gesamtprogramm für seine erste Ausgabe verkündet. Zehn Filme – davon acht Deutschlandpremieren und eine Internationale Premiere – konkurrieren um den mit 20.000 Euro dotierten Hauptpreis. Eine Jury um Marie Erbs Ørbæk (Cph:Dox), Mara Prohaska Marković (Beldocs) und dem Regisseur Ibrahim Nash’at („Hollywoodgate“) wird über den Gewinner entscheiden. Dabei gehen 10.000 Euro direkt an die Filmemacher:in, die anderen 10.000 Euro sollen die Marketingmaßnahmen rund um die Filmveröffentlichung unterstützen, weil es der Dokumentale wichtig ist, die Auswertung von Dokumentarfilmen im Kino zu fördern.
In den Wettbewerb eingeladen wurden unter anderem „Standing Above the Ground“ von Jalena Keane-Lee, „Yintah“ von Branda Michell, Michael Toledano und Jennifer Wickham oder „The Tempest of Neptun“ von Katarina Stankovic,...
- 9/19/2024
- by Barbara Schuster
- Spot - Media & Film
The Vietnamese American Arts and Letters Association (Vaala) is excited to announce the highly anticipated return of Viet Film Fest 2024, the largest international Vietnamese film festival in the diaspora. This year’s festival, with designs inspired by the surrounding Californian landscape, promises to be a must-visit destination festival. Celebrating over 20 years of Vietnamese cinema, Viet Film Fest 2024 will take place virtually on your home screens from October 5 to 20, and with a three-day in-person festival on October 11,12, and 13.
With its first screening in 2003 at University of California, Irvine, Viet Film Fest was created by Ysa Le and Tram Le to fill the void of underrepresented films centering around the Vietnamese experience. Now running successfully for over two decades, the festival has attracted thousands of national and international attention for its stunning showcase of shorts and features submitted from many corners of the world, including Australia, Cambodia, Canada, France, Germany, Israel, Japan,...
With its first screening in 2003 at University of California, Irvine, Viet Film Fest was created by Ysa Le and Tram Le to fill the void of underrepresented films centering around the Vietnamese experience. Now running successfully for over two decades, the festival has attracted thousands of national and international attention for its stunning showcase of shorts and features submitted from many corners of the world, including Australia, Cambodia, Canada, France, Germany, Israel, Japan,...
- 9/9/2024
- by Panos Kotzathanasis
- AsianMoviePulse
The French New Wave, or La Nouvelle Vague is one of the most important movements in film history. Its fresh energy and vision changed the cinematic landscape during the 50s and 60s and greatly impacted pop culture. The new wave of cinematic auteurs was on the rise and pushed back on the traditional form of filmmaking, instead focusing on social realism, experimentation, and depicting everyday life through the lens.
At the forefront of this movement were French directors François Truffaut, Francoise Bonnot, Éric Rohmer, Jacques Rivette, and Jean-Luc Godard who pushed visual and stylistic techniques. These included a move away from traditional storytelling by applying nonlinear narrative techniques, jump cuts, and handheld cameras that impacted cinema around the world and influenced a new movement of cinema in the United States.
This volume French New Wave: A Revolution in Design celebrates the groundbreaking poster art in selling these Nouvelle Vague films...
At the forefront of this movement were French directors François Truffaut, Francoise Bonnot, Éric Rohmer, Jacques Rivette, and Jean-Luc Godard who pushed visual and stylistic techniques. These included a move away from traditional storytelling by applying nonlinear narrative techniques, jump cuts, and handheld cameras that impacted cinema around the world and influenced a new movement of cinema in the United States.
This volume French New Wave: A Revolution in Design celebrates the groundbreaking poster art in selling these Nouvelle Vague films...
- 4/26/2023
- by Robert Lang
- Deadline Film + TV
Du côté d’Orouët (1971).The water is too cold for swimming and there’s the subtle threat of a gale in Jacques Rozier’s 1971 film Du côté d’Orouët. Ostensibly a summer movie, this lackadaisical, two-and-a-half hour dispatch from three girls’ eponymous beachfront holiday nevertheless has trouble fulfilling the hallmarks of a successful vacation. In addition to the especially crummy weather, the beachhouse grows messier and the local patisserie, one of the only eateries, shutters for the impending fall and winter seasons. Such is the liminality of September, where the worst elements of August and October mingle without ever fully committing to one or the other, and these three weeks are the chosen off-time chosen by Caroline (Caroline Cartier), Kareen (Francoise Guégan) and Joëlle (Danièle Croisy). These 21 days equally swirl with torpor and fleetingness, Rozier evincing an impossible relationship between the two to convey both the longueurs and excitability of vacation.
- 9/19/2022
- MUBI
The pretty girl, the bad boy, the Champs-Élysées ... nope, never seen Jean-Luc Godard’s debut masterpiece. But I know what it’s about – don’t I?
See the other classic missed films in this series
I’ve never seen a Jean-Luc Godard movie. Or, I hadn’t, until this assignment. I know, embarrassing, especially for a so-called film critic. I’ve long blamed this gap in my knowledge on the fact that I didn’t take a first year university course in French New Wave cinema, but I know as well as anyone you don’t need to be a student to study. It’s not even that the Nouvelle Vague is a blind spot, necessarily – I’m an admirer of other films from the movement, such as Alain Resnais’s Hiroshima Mon Amour, Agnés Varda’s Cléo de 5 à 7, François Truffaut’s Jules et Jim and Jacques Demy...
See the other classic missed films in this series
I’ve never seen a Jean-Luc Godard movie. Or, I hadn’t, until this assignment. I know, embarrassing, especially for a so-called film critic. I’ve long blamed this gap in my knowledge on the fact that I didn’t take a first year university course in French New Wave cinema, but I know as well as anyone you don’t need to be a student to study. It’s not even that the Nouvelle Vague is a blind spot, necessarily – I’m an admirer of other films from the movement, such as Alain Resnais’s Hiroshima Mon Amour, Agnés Varda’s Cléo de 5 à 7, François Truffaut’s Jules et Jim and Jacques Demy...
- 4/1/2020
- by Simran Hans
- The Guardian - Film News
In venturing out of the Luzzatti quarter of Naples where most of the first season of “My Brilliant Friend” is set, the second season, subtitled “The Story of a New Name,” breaks new ground in several ways that are key to understanding the show’s overall vision and ambitious aesthetic scope.
The eight new episodes based on Elena Ferrante’s bestselling “Neapolitan Novels” debut March 16 in the U.S. and sees the tale evolve on many levels as the friendship between Lila (Gaia Girace) and Elena (Margherita Mazzucco) is tested by new twists. The former is now unhappily married while the latter is a model student who moves to Pisa. And then there is a crucial holiday on the island of Ischia where they meet up with old childhood friend Nino Sarratore (Francesco Serpico).
“When I read the books I had the impression that the characters moved in different ways...
The eight new episodes based on Elena Ferrante’s bestselling “Neapolitan Novels” debut March 16 in the U.S. and sees the tale evolve on many levels as the friendship between Lila (Gaia Girace) and Elena (Margherita Mazzucco) is tested by new twists. The former is now unhappily married while the latter is a model student who moves to Pisa. And then there is a crucial holiday on the island of Ischia where they meet up with old childhood friend Nino Sarratore (Francesco Serpico).
“When I read the books I had the impression that the characters moved in different ways...
- 3/13/2020
- by Nick Vivarelli
- Variety Film + TV
Veteran French director Bertrand Tavernier (“Round Midnight”) – president and director of the Institut Lumière and Lumière Festival, which he co-manages with Cannes’ Thierry Frémaux – has played a pivotal role in restoring classic French films and defending the importance of French directors, such as Claude Autant Lara, Henri Decoin and André Cayatte, who were attacked by the film critics of the Nouvelle Vague.
He says his aim is to strike a new view of this period of French film history, citing the example of Francis Ford Coppola who praised and rehabilitated British filmmakers such as Michael Powell, similarly written off by some critics.
In 2016 Tavernier released his feature documentary “My Journey Through French Cinema,” and follow-up 8-episode TV series released in 2018, both of which are inspired by Martin Scorsese’s personal documentaries on American and Italian cinema.
Guests of this year’s 10th Lumiere Festival include Coppola, who receives a retrospective,...
He says his aim is to strike a new view of this period of French film history, citing the example of Francis Ford Coppola who praised and rehabilitated British filmmakers such as Michael Powell, similarly written off by some critics.
In 2016 Tavernier released his feature documentary “My Journey Through French Cinema,” and follow-up 8-episode TV series released in 2018, both of which are inspired by Martin Scorsese’s personal documentaries on American and Italian cinema.
Guests of this year’s 10th Lumiere Festival include Coppola, who receives a retrospective,...
- 10/13/2019
- by Martin Dale
- Variety Film + TV
While Osamu Takahashi is not an unimportant figure in the Shochiku Nouvelle Vague movement, his contributions as writer and as Naoki Prize winner are more known than his cinematographic work. One could even argue that his greatest contribution to the Nouvelle Vague movement is not so much his debut narrative, but his fundamental role in the launch of the film journal Shichinin (The Seven) with his circle of fellow directors, which included Nagisa Oshima and Kiju Yoshida.
Despite his limited importance as director, it nevertheless remains valuable to return to and review his debut narrative, which, as it deals with sexual violence, fits perfectly within the Japanese Nouvelle Vague movement as such.
“Only She Knows” is screening as part of Japan Society:
On Christmas Eve, the whole police division is requested to attend a strategy meeting concerning a rapist murderer on the loose. Division Chief Kitae (Kappei Matsumoto) has...
Despite his limited importance as director, it nevertheless remains valuable to return to and review his debut narrative, which, as it deals with sexual violence, fits perfectly within the Japanese Nouvelle Vague movement as such.
“Only She Knows” is screening as part of Japan Society:
On Christmas Eve, the whole police division is requested to attend a strategy meeting concerning a rapist murderer on the loose. Division Chief Kitae (Kappei Matsumoto) has...
- 4/2/2019
- by Pieter-Jan Van Haecke
- AsianMoviePulse
Known outside France for her roles in film classics like Last Year at Marienbad, Stolen Kisses and The Discreet Charm of the Bourgeoisie, the late actress Delphine Seyrig was, along with Catherine Deneuve, Jeanne Moreau and Anna Karina, one of the great female talents to emerge at the birth of the Nouvelle Vague.
But perhaps unbeknownst to most foreigners was Seyrig’s involvement, beginning in the late 60s, with the French feminist movement, for which she became one of its leading celebrity mouthpieces during the latter part of her career. That part of the actress’s life is revealed with considerable ...
But perhaps unbeknownst to most foreigners was Seyrig’s involvement, beginning in the late 60s, with the French feminist movement, for which she became one of its leading celebrity mouthpieces during the latter part of her career. That part of the actress’s life is revealed with considerable ...
Known outside France for her roles in film classics like Last Year at Marienbad, Stolen Kisses and The Discreet Charm of the Bourgeoisie, the late actress Delphine Seyrig was, along with Catherine Deneuve, Jeanne Moreau and Anna Karina, one of the great female talents to emerge at the birth of the Nouvelle Vague.
But perhaps unbeknownst to most foreigners was Seyrig’s involvement, beginning in the late 60s, with the French feminist movement, for which she became one of its leading celebrity mouthpieces during the latter part of her career. That part of the actress’s life is revealed with considerable ...
But perhaps unbeknownst to most foreigners was Seyrig’s involvement, beginning in the late 60s, with the French feminist movement, for which she became one of its leading celebrity mouthpieces during the latter part of her career. That part of the actress’s life is revealed with considerable ...
Margarette von Trotta found Ingmar Bergman a long time ago. She recollects as much in her new documentary about the iconoclast Swedish filmmaker, Searching for Ingmar Bergman, an excellent, excellent effort which she goes ahead and stars in. She was a young lady, living in late-1950s Paris, when her Nouvelle Vague-obsessed cohorts dragged her to a screening of Bergman’s first internationally acclaimed masterpiece, The Seventh Seal. Like many, this radical discovery was her introduction to the man who’d globally impact cinema; an impact felt to this day. Von Trotta went on to become an actress and an award-winning filmmaker; an essential personality in the New German Cinema movement. Her career has been rich, her love of cinema even richer; her soul ever-curious. She may’ve...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 9/27/2018
- Screen Anarchy
“The last thing I hate is that life always forces us to keep moving forwards.”
In the aftermath of the New York Film Festival, reporter Vincent Canby wrote an article about the films of the festival he aptly named “Why Some Films Don’t Travel Well”. Works such as Zhang Yimou’s “Red Sorghum”, Andrei Konchalovsky’s “Asya’s Happiness” and Hou Hsiao-Hsien’s “Daughter of the Nile” are mostly relevant thanks to their “sociology factor” Canby begins his article, an aspect that these works are and have been applauded for around the world while as films themselves they are not that interesting. Hou Hsiao-Hien, one of the most popular directors of Taiwanese New Cinema along with Edward Yang, was still trying to find a cinematic language for his films, one which strongly resembled the works of Yasujiro Ozu in terms of style and content, the sense of resignation, as...
In the aftermath of the New York Film Festival, reporter Vincent Canby wrote an article about the films of the festival he aptly named “Why Some Films Don’t Travel Well”. Works such as Zhang Yimou’s “Red Sorghum”, Andrei Konchalovsky’s “Asya’s Happiness” and Hou Hsiao-Hsien’s “Daughter of the Nile” are mostly relevant thanks to their “sociology factor” Canby begins his article, an aspect that these works are and have been applauded for around the world while as films themselves they are not that interesting. Hou Hsiao-Hien, one of the most popular directors of Taiwanese New Cinema along with Edward Yang, was still trying to find a cinematic language for his films, one which strongly resembled the works of Yasujiro Ozu in terms of style and content, the sense of resignation, as...
- 9/26/2018
- by Rouven Linnarz
- AsianMoviePulse
Based on a novel that was written by the later Governor of Tokyo, „Crazed Fruit“ from 1956 offers a simple story with a messed up „boy meets girl“-plot. Director Kō Nakahira sets himself a controversial monument and immortalized his name in film history by telling the story of two brothers, who fall in love with the same girl.
Crazed Fruit is screening at the Japanese Avant-Garde and Experimental Film Festival
The love triangle is constructed between Eri, the femme fatale, who is married to a rich sugar daddy and has several toy boys besides; Haruji, the young, righteous main protagonist, whose innocence catches Eris attention; and Natsuhisa, who is Haruji’s older and reckless brother. Traveling to Kamakura, Natsuhisa introduces Haruji to his circle of friends. They are part of the so-called „Sun Tribe“, a youth culture based on cynical aimlessness or in their own words: „We live in boring times.
Crazed Fruit is screening at the Japanese Avant-Garde and Experimental Film Festival
The love triangle is constructed between Eri, the femme fatale, who is married to a rich sugar daddy and has several toy boys besides; Haruji, the young, righteous main protagonist, whose innocence catches Eris attention; and Natsuhisa, who is Haruji’s older and reckless brother. Traveling to Kamakura, Natsuhisa introduces Haruji to his circle of friends. They are part of the so-called „Sun Tribe“, a youth culture based on cynical aimlessness or in their own words: „We live in boring times.
- 9/22/2018
- by Alexander Knoth
- AsianMoviePulse
There are 18 films in competition will screen at the Cannes film festival this year. The 71st edition of the international festival in the south of France runs from May 8 to May 19. A filmmaker’s history at the festival offers insights as to who might be out front to take home the coveted Palme d’Or. Eight of the entries are by filmmakers that have had their work honored at past closing ceremonies. This year could definitely see someone new in the mix as four of the filmmakers are making their debuts on the Croisette while another four are having their films shown here in competition for the first time. The jury will be headed by two-time Oscar winner Cate Blanchett.
Below is a breakdown of the 18 films competing this year and the history of their helmers at the festival.
Stépane Brizé (“At War”)
When a company that has asked for...
Below is a breakdown of the 18 films competing this year and the history of their helmers at the festival.
Stépane Brizé (“At War”)
When a company that has asked for...
- 4/13/2018
- by Charles Bright
- Gold Derby
Cannes — Jean-Jacques Annaud’s “The Truth About the Harry Quebert Affair,” the Patrick Dempsey drama which will be showcased via a sneak peek of select scenes tonight at Canneseries, was inspired in part by advice given to a young Annaud by Alfred Hitchcock.
The French director’s first feature, the Africa-set “Black and White in Color,” won him a foreign-language Oscar, and bought him a ticket to Hollywood. Once there, he was asked if he’d like to meet Hitchcock at his chalet on the Warner Bros. lot.
“Most of all, don’t do like me; the same thing all the time. That’s very boring,” Hitchcock told him. “Crime stories bore me out of my brains.”
At a Canneseries masterclass on Friday, which was rich is such anecdote, Annaud reviewed a career which includes some of the great movies of the post Nouvelle Vague, led by “Quest for Fire...
The French director’s first feature, the Africa-set “Black and White in Color,” won him a foreign-language Oscar, and bought him a ticket to Hollywood. Once there, he was asked if he’d like to meet Hitchcock at his chalet on the Warner Bros. lot.
“Most of all, don’t do like me; the same thing all the time. That’s very boring,” Hitchcock told him. “Crime stories bore me out of my brains.”
At a Canneseries masterclass on Friday, which was rich is such anecdote, Annaud reviewed a career which includes some of the great movies of the post Nouvelle Vague, led by “Quest for Fire...
- 4/7/2018
- by John Hopewell
- Variety Film + TV
Hollywood film actor who starred in the now-revered 1950 B-movie Gun Crazy, a forerunner of Bonnie and Clyde
The British actor Peggy Cummins, who has died aged 92, was discovered by the Hollywood mogul Darryl F Zanuck when she was a teenager and almost immediately given the lead in his big film of the age, Forever Amber, based on the historical romance by Kathleen Winsor. In 1946 she began filming the part of Amber St Clare, a young beauty making her way in 17th-century England, shooting opposite Vincent Price as Almsbury. Hundreds of stills were shot of her in period costume. But then the director was sacked, filming started all over again – and Cummins was replaced (as was Price).
A career that had promised so much for Cummins was reduced to small parts in big films and big parts in small pictures. Among these, her best known performance was in Gun Crazy (1950), directed by Joseph H Lewis,...
The British actor Peggy Cummins, who has died aged 92, was discovered by the Hollywood mogul Darryl F Zanuck when she was a teenager and almost immediately given the lead in his big film of the age, Forever Amber, based on the historical romance by Kathleen Winsor. In 1946 she began filming the part of Amber St Clare, a young beauty making her way in 17th-century England, shooting opposite Vincent Price as Almsbury. Hundreds of stills were shot of her in period costume. But then the director was sacked, filming started all over again – and Cummins was replaced (as was Price).
A career that had promised so much for Cummins was reduced to small parts in big films and big parts in small pictures. Among these, her best known performance was in Gun Crazy (1950), directed by Joseph H Lewis,...
- 1/9/2018
- by Michael Freedland
- The Guardian - Film News
Distinctive French actor who made an extraordinary debut in Au Hasard Balthazar and became a star of the Nouvelle Vague
“At the age of 17 I was chosen,” recalled Anne Wiazemsky of the moment in April 1965 when the film director Robert Bresson cast her in Au Hasard Balthazar. She had no formal training – for Bresson an essential requirement – and, as well as an aura of mystery, possessed a soft, flat voice perfectly suited to deliver opaque lines. She appeared at once fragile and headstrong, introspective and direct, sensuous and ironically detached. There was a quiet, radiant intensity to her fathomless gaze, as of pure, still waters running deep.
Related: Anne Wiazemsky, French actor, novelist and muse to Jean-Luc Godard, dies aged 70
Continue reading...
“At the age of 17 I was chosen,” recalled Anne Wiazemsky of the moment in April 1965 when the film director Robert Bresson cast her in Au Hasard Balthazar. She had no formal training – for Bresson an essential requirement – and, as well as an aura of mystery, possessed a soft, flat voice perfectly suited to deliver opaque lines. She appeared at once fragile and headstrong, introspective and direct, sensuous and ironically detached. There was a quiet, radiant intensity to her fathomless gaze, as of pure, still waters running deep.
Related: Anne Wiazemsky, French actor, novelist and muse to Jean-Luc Godard, dies aged 70
Continue reading...
- 10/10/2017
- by James S Williams
- The Guardian - Film News
Actor appeared in films by Bresson, Pasolini and Godard, to whom she was married for 12 years and whose memoir of their relationship was adapted into the 2017 film Redoubtable
Anne Wiazemsky, the actor best known for her appearances in films of the French Nouvelle Vague and marriage to director Jean-Luc Godard, has died aged 70 after a battle with cancer. “Anne died this morning. She had been very sick,” her brother Pierre told Afp.
Related: 'Godard is not God!' … Michel Hazanavicius on his film about France's most notorious director
Continue reading...
Anne Wiazemsky, the actor best known for her appearances in films of the French Nouvelle Vague and marriage to director Jean-Luc Godard, has died aged 70 after a battle with cancer. “Anne died this morning. She had been very sick,” her brother Pierre told Afp.
Related: 'Godard is not God!' … Michel Hazanavicius on his film about France's most notorious director
Continue reading...
- 10/5/2017
- by Gwilym Mumford and agencies
- The Guardian - Film News
Never Forget: Schroeder Quietly Examines Cultural Identity in Isolation
In an intriguingly varied career, which was kick started during the early days of the Nouvelle Vague when he starred in and produced titles by Eric Rohmer and Jean-Luc Godard, Barbet Schroeder’s filmography reflects a haphazard cultural influence, perhaps no more evident than in his own directorial output, beginning with 1969’s More.
Continue reading...
In an intriguingly varied career, which was kick started during the early days of the Nouvelle Vague when he starred in and produced titles by Eric Rohmer and Jean-Luc Godard, Barbet Schroeder’s filmography reflects a haphazard cultural influence, perhaps no more evident than in his own directorial output, beginning with 1969’s More.
Continue reading...
- 7/28/2017
- by Nicholas Bell
- IONCINEMA.com
“We must confront vague ideas with clear images” (“Il faut confronter les idées vagues avec des images claires”), reads a graffito on the wall of the bourgeois apartment that is the setting for La chinoise. Jean-Luc Godard’s explosive 14th feature film (one of no less than three Godard masterpieces that were released in 1967), which Pauline Kael called “ a speed-freak’s anticipatory vision of the political horrors to come,” is getting a 50th anniversary re-release at the Quad Cinema in New York.Is there any clearer image than that of Juliet Berto in red war paint, against a red wall, surrounded by a fort of Chairman Mao’s Little Red Books, pointing a machine gun at the camera? In 1964 Godard had famously said, quoting D.W. Griffith, that all filmgoers want is a girl and a gun. And that is what René Ferracci (1927-1982), the house designer of the Nouvelle Vague,...
- 7/21/2017
- MUBI
Every week, IndieWire asks a select handful of film and TV critics two questions and publishes the results on Monday. (The answer to the second, “What is the best film in theaters right now?”, can be found at the end of this post.)
This week’s question: In honor of David Lowery’s “A Ghost Story,” what is the best movie about the afterlife?
Kate Erbland (@katerbland), IndieWire
It will come as no surprise to anyone that, as a child, I watched a lot of television. A lot. I was mostly obsessed with HBO — our single movie channel, number 2 on the dial; yes, my childhood TV had a dial, don’t ask — with intermittent deviations into mostly inappropriate mini-series (thus explaining my rarely disclosed expertise on “The Thornbirds”), and was pretty much given free range to watch whatever the hell I wanted, whenever I wanted. This is why my favorite...
This week’s question: In honor of David Lowery’s “A Ghost Story,” what is the best movie about the afterlife?
Kate Erbland (@katerbland), IndieWire
It will come as no surprise to anyone that, as a child, I watched a lot of television. A lot. I was mostly obsessed with HBO — our single movie channel, number 2 on the dial; yes, my childhood TV had a dial, don’t ask — with intermittent deviations into mostly inappropriate mini-series (thus explaining my rarely disclosed expertise on “The Thornbirds”), and was pretty much given free range to watch whatever the hell I wanted, whenever I wanted. This is why my favorite...
- 7/10/2017
- by David Ehrlich
- Indiewire
As a filmmaker, Jean-Luc Godard is a brilliant enigma whose work offers more questions than answers. “Redoubtable” solves that challenge with an outside source: Adapted from actress-turned-author Anne Wiazemsky’s 2015 memoir, “Un An Apres” (“One Year Later”), this surprisingly endearing tragicomedy recounts her short-lived marriage to Godard and the moment in which the feisty filmmaker soured into the angry, outspoken political radical that became his post-’60s persona.
Written and directed by Michel Hazanavicius (“The Artist”), the movie toys with Godard’s own early filmmaking style in a wry effort to salute his legacy and demystify its evolution. Light and inoffensive, it trades the intellectual rigor of Godard’s work for fluffy sentiments, but never gets crass. Above all else, it succeeds at transforming cinephile trivia into a genuine crowdpleaser.
A welcome rebound after Hazanvicius’ misbegotten remake “The Search,” the new movie is a return to the colorful period details...
Written and directed by Michel Hazanavicius (“The Artist”), the movie toys with Godard’s own early filmmaking style in a wry effort to salute his legacy and demystify its evolution. Light and inoffensive, it trades the intellectual rigor of Godard’s work for fluffy sentiments, but never gets crass. Above all else, it succeeds at transforming cinephile trivia into a genuine crowdpleaser.
A welcome rebound after Hazanvicius’ misbegotten remake “The Search,” the new movie is a return to the colorful period details...
- 5/20/2017
- by Eric Kohn
- Indiewire
Starting this week, the Film Society of Lincoln Center hosts a retrospective of the 57-year career of one of the most iconic figures of modern cinema: Jean-Pierre Léaud. The child who grew up and grew old before our eyes, Léaud will forever be associated with one film above all, François Truffaut’s The 400 Blows, made when he was only 14, and its character, Antoine Doinel, who he, in many ways, created. In a letter to his friend Helen Scott in 1962 Truffaut wrote, “I would prefer a film to change its meaning along the way rather than have an actor ill at ease. Jean-Pierre wasn’t the character I had intended for The 400 Blows.” When the Film Society first fêted Léaud, in 1994, in the series “Growing Up with Jean-Pierre Léaud: Nouvelle Vague’s Wild Child” (programmed by my future wife no less), the actor had only just turned 50. Léaud...
- 3/31/2017
- MUBI
Image Et Parole
Director: Jean-Luc Godard
Writer: Jean-Luc Godard
Little is known about a new project from Nouvelle Vague icon Jean-Luc Godard, a project fleetingly announced in 2015 as something tentatively titled Tentative de Bleu (roughly, Attempt of Blue) and may have filmed in mid-2016.
Continue reading...
Director: Jean-Luc Godard
Writer: Jean-Luc Godard
Little is known about a new project from Nouvelle Vague icon Jean-Luc Godard, a project fleetingly announced in 2015 as something tentatively titled Tentative de Bleu (roughly, Attempt of Blue) and may have filmed in mid-2016.
Continue reading...
- 1/9/2017
- by Nicholas Bell
- IONCINEMA.com
★★★★☆ Widely regarded as François Truffaut's greatest masterpiece, Day for Night also signalled the end of the French New Wave and caused a life-long rift between the director and his friend and fellow Nouvelle Vague auteur Jean-Luc Godard. Truffaut was never interested in being the rebel that Godard saw himself as, believing instead that a director could work within the system as a legitimate artist. In one of its most celebrated scenes, Day for Night cites Hollywood studio directors Alfred Hitchcock and Howard Hawks alongside European masters Luis Buñuel, Carl Dreyer and Godard.
- 10/25/2016
- by CineVue UK
- CineVue
David’s Quick Take for the tl;dr Media Consumer:
Stolen Kisses was Francois Truffaut’s third exploration of the character Antoine Doinel, to whom we were introduced when he was a child in The 400 Blows and was glimpsed a few years later in a short segment Antoine and Colette that was part of an omnibus film titled Love at 20. Here we see Antoine as a young man, as he stumbles into adulthood working a variety of unskilled entry-level jobs, impulsively falling in love and gliding from one scrape with authority into another as he seeks to find his way through the world. The tone of this film is lighter, more overtly a romantic comedy, and seemingly inconsequential in terms of enduring substance and social commentary when compared to The 400 Blows. It could have been easily plausible to make this same movie with a lead character of a different name,...
Stolen Kisses was Francois Truffaut’s third exploration of the character Antoine Doinel, to whom we were introduced when he was a child in The 400 Blows and was glimpsed a few years later in a short segment Antoine and Colette that was part of an omnibus film titled Love at 20. Here we see Antoine as a young man, as he stumbles into adulthood working a variety of unskilled entry-level jobs, impulsively falling in love and gliding from one scrape with authority into another as he seeks to find his way through the world. The tone of this film is lighter, more overtly a romantic comedy, and seemingly inconsequential in terms of enduring substance and social commentary when compared to The 400 Blows. It could have been easily plausible to make this same movie with a lead character of a different name,...
- 8/7/2016
- by David Blakeslee
- CriterionCast
Above: Danish poster for Maid for Murder a.k.a. She’ll Have to Go (Robert Asher, UK, 1962).Next week is a red letter week for New York cinephiles because Anna Karina is coming to town. Nouvelle vague icon, muse of Jean-Luc Godard, and one of the most alluring presences in cinema, Anna Karina, now aged 75 and still gorgeous, is gracing us with her presence at three of New York’s temples of cinema: at Bam on Tuesday, May 3, where she will talk to Melissa Anderson following a screening of A Woman is a Woman; at MoMI on Wednesday, May 4, where she will have a conversation with Molly Haskell following a screening of Pierrot le fou; and at Film Forum on Friday, May 6, where she will kick off a week long run of Band of Outsiders and the accompanying series Anna & Jean-Luc. It would be easy to fill this post...
- 5/1/2016
- MUBI
For the first time in the Us, Jacques Rivette’s 1961 directorial debut, Paris Belongs to Us is available thanks to an accomplished new restoration from Criterion. A neglected title associated with the same crew of vibrant auteurs eventually known as the Nouvelle Vague of the late 1950s and early 1960s, the Rivette’s thunder was stolen by more famous films from critics turned filmmakers Jean-Luc Godard, Claude Chabrol, and Francois Truffaut (even though it technically went into production before several of theirs). The initial lackluster response explains Rivette’s slower rise to notability, his particular methods and idiosyncrasies eventually embraced nearly a decade later when items like Mad Love (1969) and the monolithic Out 1 (1971), the legendary near thirteen hour production, were released.
Anne (Betty Schneider) is a young literature student in Paris, following in the footsteps of her older brother, Pierre (Francois Maistre). Afetr a disturbing interaction with a neighbor at her hostel,...
Anne (Betty Schneider) is a young literature student in Paris, following in the footsteps of her older brother, Pierre (Francois Maistre). Afetr a disturbing interaction with a neighbor at her hostel,...
- 3/8/2016
- by Nicholas Bell
- IONCINEMA.com
★★★★☆ Jean-Luc Godard's first feature, Breathless starts as the director meant to go on. With an effortless Gallic cool, Jean-Paul Belmondo, a Gauloises dangling from his lip, hot-wires an American car and accelerates off at high speed. He breaks rules and dances to his own tune all over town, and that is precisely was in turn to prove the director's own intention. For the last five decades, Godard has explored the ever more esoteric modes of celluloid expression, but with 1960's eye-catching debut - Breathless was the film that arguably defined La Nouvelle Vague - he kicked off a run of his most celebrated, accessible work. Those early years form the basis of StudioCanal's new Essential Blu-ray Collection.
- 2/1/2016
- by CineVue UK
- CineVue
Jacques Rivette: Nouvelle Vague director with a reputation for lengthy films Photo: Unifrance
A French film director who was an integral part of the French New Wave (or Nouvelle Vague), has died in Paris at the age of 87.
Jacques Rivette’s celebrated films include Paris Belongs To Us, Celine And Julie Go Boating in 1974 and the four-hour La Belle Noiseuse with Emmanuelle Béart, Michel Piccoli and Jane Birkin in 1991 (dealing with an elderly artist and his creative rebirth). He worked alongside the likes of François Truffaut, Jean-Luc Godard and Claude Chabrol in whose apartment he shot his first short film Le Coup de Berger. He was also a writer with Cahiers du Cinema magazine and assumed the editor’s chair from 1963 to 1965.
He borrowed money from the magazine to fund his first feature, Paris Belongs To Us, which was released in 1961. Its plot revolved around a group of actors...
A French film director who was an integral part of the French New Wave (or Nouvelle Vague), has died in Paris at the age of 87.
Jacques Rivette’s celebrated films include Paris Belongs To Us, Celine And Julie Go Boating in 1974 and the four-hour La Belle Noiseuse with Emmanuelle Béart, Michel Piccoli and Jane Birkin in 1991 (dealing with an elderly artist and his creative rebirth). He worked alongside the likes of François Truffaut, Jean-Luc Godard and Claude Chabrol in whose apartment he shot his first short film Le Coup de Berger. He was also a writer with Cahiers du Cinema magazine and assumed the editor’s chair from 1963 to 1965.
He borrowed money from the magazine to fund his first feature, Paris Belongs To Us, which was released in 1961. Its plot revolved around a group of actors...
- 1/29/2016
- by Richard Mowe
- eyeforfilm.co.uk
Each weekend we highlight the best repertory programming that New York City has to offer, and it’s about to get even better. Opening on February 19th at 7 Ludlow Street on the Lower East Side is Metrograph, the city’s newest indie movie theater. Sporting two screens, they’ve announced their first slate, which includes retrospectives for Fassbinder, Wiseman, Eustache, and more, special programs such as an ode to the moviegoing experience, and new independent features that we’ve admired on the festival circuit (including Afternoon, Office 3D, and Measure of a Man).
Artistic and Programming Director Jacob Perlin says in a press release, “Jean Eustache in a Rocky t-shirt. This is the image we had in mind while making this first calendar. Great cinema is there, wherever you can find it. The dismissed film now recognized as a classic, the forgotten box-office hit newly resurrected, the high and the low,...
Artistic and Programming Director Jacob Perlin says in a press release, “Jean Eustache in a Rocky t-shirt. This is the image we had in mind while making this first calendar. Great cinema is there, wherever you can find it. The dismissed film now recognized as a classic, the forgotten box-office hit newly resurrected, the high and the low,...
- 1/20/2016
- by Jordan Raup
- The Film Stage
Dailies is a round-up of essential film writing, news bits, videos, and other highlights from across the Internet. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.
A Girl Walks Home Alone at Night director Ana Lily Amirpour reveals her top 10 Criterions, topped by Mulholland Drive:
I was in film school when I first saw this film. I didn’t understand it. Or, more specifically, I watched it and then couldn’t grasp what had happened in any linear sense. I had conversations with film school friends about it, but I just couldn’t really remember anything except a girl-on-girl love scene and an audition. I watched it twenty-two times this way, not really remembering. Then one night, on an Mdma comedown, I couldn’t sleep and it was 8:00 a.m. and the movie was coming on.
A Girl Walks Home Alone at Night director Ana Lily Amirpour reveals her top 10 Criterions, topped by Mulholland Drive:
I was in film school when I first saw this film. I didn’t understand it. Or, more specifically, I watched it and then couldn’t grasp what had happened in any linear sense. I had conversations with film school friends about it, but I just couldn’t really remember anything except a girl-on-girl love scene and an audition. I watched it twenty-two times this way, not really remembering. Then one night, on an Mdma comedown, I couldn’t sleep and it was 8:00 a.m. and the movie was coming on.
- 11/30/2015
- by TFS Staff
- The Film Stage
Above: Italian poster for Weekend (Jean-Luc Godard, France, 1967).Flaming car aside, the poster above, with its emphasis on a torrid embrace that seems right off the cover of a Harlequin romance, doesn’t really scream Jean-Luc Godard. When I came across two Italian posters for Weekend the other day (the other, seen at the end of this piece, more sexploitation than romance but equally inappropriate to the film) I started to look at other Italian posters for Godard’s films and I found them all strikingly different from their French counterparts.While the Nouvelle vague in France coincided with a new wave in poster design, based mostly around photomontage, Italian distributors either resisted moving away from the kind of overtly emotional, painterly style of poster illustration that had been their stock in trade, or deliberately subverted the iconoclastic new films coming out of France with images that were more comfortingly familiar or sensationally commercial.
- 11/7/2015
- by Adrian Curry
- MUBI
Jean-Luc Godard in his youthful days. Jean-Luc Godard solution for the Greek debt crisis: 'Therefore' copyright payments A few years ago, Nouvelle Vague filmmaker Jean-Luc Godard, while plugging his Film Socialisme, chipped in with a surefire solution for the seemingly endless – and bottomless – Greek debt crisis. In July 2011, Godard told The Guardian's Fiachra Gibbons: The Greeks gave us logic. We owe them for that. It was Aristotle who came up with the big 'therefore'. As in, 'You don't love me any more, therefore ...' Or, 'I found you in bed with another man, therefore ...' We use this word millions of times, to make our most important decisions. It's about time we started paying for it. If every time we use the word therefore, we have to pay 10 euros to Greece, the crisis will be over in one day, and the Greeks will not have to sell the Parthenon to the Germans.
- 6/30/2015
- by Andre Soares
- Alt Film Guide
Today the estimable Shout Factory releases the 1983 Jim McBride film "Breathless" on Blu Ray. It stars Richard Gere and Valerie Kaprisky in a loose-limbed lovers-on-the-run story, features a pretty groovy soundtrack comprising Jerry Lee Lewis, Mink De Ville and Sam Cooke songs along with a rather insistently overused Philip Glass track, and you can even catch a glimpse of Richard Gere's peen if that's your thing. But none of that is the reason that "Breathless" is the curio that it is —it's because the film has the sheer gall to be a Hollywood remake of the groundbreaking 1960 Nouvelle Vague film by Jean-Luc Godard that we talk about it at all. Of course, remakes are mounted all the time. But a relatively unknown director (as McBride was) taking on the work of a monolithically accepted "auteur" is a little more unusual. And sometimes the reverse occurs, when a widely acclaimed...
- 4/7/2015
- by The Playlist Staff
- The Playlist
The former boy wonder, Xavier Dolan -- he's now 25 -- sauntered into New York about a week or so ago with a new movie, Mommy -- his fifth -- for which he won the Jury Prize at the 2014 Cannes Film Festival and received a thirteen-minute standing ovation. Well, truthfully, he shared the prize with Jean-Luc Godard (Goodbye to Language), which is inarguably like winning a second award. After all, having one's name forever linked with a kingpin of La Nouvelle Vague is nothing to sneeze at. (Who will ever forget Streisand and Hepburn sharing a Best Actress Oscar? New guard joining old guard.)
Talking about the Oscars, Mommy was Canada's submission for the Best Foreign Language Film category, and Dolan had been politicking on the West Coast, to no avail apparently, to get it a final nomination. So this afternoon the French-Canadian was a bit zonked because on top of...
Talking about the Oscars, Mommy was Canada's submission for the Best Foreign Language Film category, and Dolan had been politicking on the West Coast, to no avail apparently, to get it a final nomination. So this afternoon the French-Canadian was a bit zonked because on top of...
- 2/3/2015
- by Brandon Judell
- www.culturecatch.com
‘Starry Eyes’: The feel disturbed movie of the year
This film is at its very core a success story. A very demented, gory, horrifying and darkly comical success story – one with tinges of satanic cult horror wrapped in psychological terror. The plot follows a young aspiring actress, Sarah, as she is called back to audition for a horror film that is being produced by a mysterious production company that pushes her to her limits – a dark exchange for fame and fortune… click here to read the article.
‘The Hunger Games: Mockingjay – Part I’ is all prologue
In a previous review of the second instalment of The Hunger Games series for this website, I expressed some dismay that Catching Fire didn’t really have a conclusion to speak of, with its cliffhanger ending reminding me less of The Empire Strikes Back and more of The Matrix Reloaded orPirates of...
This film is at its very core a success story. A very demented, gory, horrifying and darkly comical success story – one with tinges of satanic cult horror wrapped in psychological terror. The plot follows a young aspiring actress, Sarah, as she is called back to audition for a horror film that is being produced by a mysterious production company that pushes her to her limits – a dark exchange for fame and fortune… click here to read the article.
‘The Hunger Games: Mockingjay – Part I’ is all prologue
In a previous review of the second instalment of The Hunger Games series for this website, I expressed some dismay that Catching Fire didn’t really have a conclusion to speak of, with its cliffhanger ending reminding me less of The Empire Strikes Back and more of The Matrix Reloaded orPirates of...
- 11/22/2014
- by Ricky
- SoundOnSight
Nouvelle Vague (1990) is not a cinematic treatment of the Young Turks breaking new ground in the sixties but a film about the history of cinema told as a biblical allegory. Old and New Testament; Old and New Wave; the studio system and the post-studio era; Delon as Roger and Richard Lennox who fall in love with the Countess Elena Torlato-Favrini. I must admit that the thought of Godard making a film about the New Wave directors sounds fascinating and the film-geek in me would have ate it up. Like many cinephiles I love films about films like The States of Things (1982) by Wim Wenders which is one of the greatest films in this subgenre or even The Last Movie (1971) by Dennis Hopper which is not a masterpiece by any stretch of the imagination. Alas this is not what Godard made. However, the Nouvelle Vague that Godard did make is immensely...
- 11/20/2014
- by Cody Lang
- SoundOnSight
The first time I saw anything from a Godard film, I hated it.
My first encounter with his work was perhaps appropriately abrupt and fragmentary. I was in my first year as a Film Studies major, in an introductory class about the French New Wave. Having grown up on a steady diet of Hollywood classics, I was hoping this would be an exciting new discovery. Mid-lecture, the professor showed a clip from the near the end of Tout va bien, his 1972 film co-directed with Jean-Pierre Gorin. The scene was the famous ten-minute-long tracking shot in which the camera moves laterally along a supermarket’s checkout aisles as student demonstrators wreak havoc. Going in, the professor warned us that we would likely find the scene annoying and overlong, and that that was “the point.”
I watched. I waited for enlightenment.
I was unimpressed.
I did not get it, but I was a quiet,...
My first encounter with his work was perhaps appropriately abrupt and fragmentary. I was in my first year as a Film Studies major, in an introductory class about the French New Wave. Having grown up on a steady diet of Hollywood classics, I was hoping this would be an exciting new discovery. Mid-lecture, the professor showed a clip from the near the end of Tout va bien, his 1972 film co-directed with Jean-Pierre Gorin. The scene was the famous ten-minute-long tracking shot in which the camera moves laterally along a supermarket’s checkout aisles as student demonstrators wreak havoc. Going in, the professor warned us that we would likely find the scene annoying and overlong, and that that was “the point.”
I watched. I waited for enlightenment.
I was unimpressed.
I did not get it, but I was a quiet,...
- 11/17/2014
- by Mallory Andrews
- SoundOnSight
Departure Day: When it comes to TV, is closure important?
If you happen to follow a decent number of TV critics on Twitter, you may have noticed a minor eruption of late. A schism has emerged, prompted by accounts like The Cancellation Bear, which concerns itself solely with the topic of whether or not series are likely to survive based on current ratings patterns. That may sound perfectly innocent on its own, but quite a few admirers have expressed the notion that they refuse to dive into a series if they get the sense that it will come to a premature end, thereby robbing them of closure. This idea has, naturally, left many critics incensed: isn’t TV a medium founded on chaos, on the thrill of working within limitations and at the whims of fickle audiences? Moreover, isn’t it silly to always want tidy resolution in the context...
If you happen to follow a decent number of TV critics on Twitter, you may have noticed a minor eruption of late. A schism has emerged, prompted by accounts like The Cancellation Bear, which concerns itself solely with the topic of whether or not series are likely to survive based on current ratings patterns. That may sound perfectly innocent on its own, but quite a few admirers have expressed the notion that they refuse to dive into a series if they get the sense that it will come to a premature end, thereby robbing them of closure. This idea has, naturally, left many critics incensed: isn’t TV a medium founded on chaos, on the thrill of working within limitations and at the whims of fickle audiences? Moreover, isn’t it silly to always want tidy resolution in the context...
- 10/18/2014
- by Ricky
- SoundOnSight
+“Sometimes the class struggle is also the struggle of one image against another image, of one sound against another sound. In a film, this struggle is against images and sounds.”
- British Sounds
There was something in the air when Jean-Luc Godard took up the political banner of the late 1960s and shifted his filmmaking focus in terms of storytelling style and stories told, and in a general sense of formal reevaluation and reinvention. Always considered something of the enfant terrible of the French Nouvelle Vague, Godard was keen from the start to experiment with the conventional norms of cinematic aesthetics, from the jarring jump cuts of Breathless (1960), to the self-conscious playfulness of A Woman is a Woman (1961), to the genre deviations of Band of Outsiders (1964) and Made in USA (1966). But Godard was still, at a most basic level, operating along a fairly conventional plane of fictional cinema, one with...
- British Sounds
There was something in the air when Jean-Luc Godard took up the political banner of the late 1960s and shifted his filmmaking focus in terms of storytelling style and stories told, and in a general sense of formal reevaluation and reinvention. Always considered something of the enfant terrible of the French Nouvelle Vague, Godard was keen from the start to experiment with the conventional norms of cinematic aesthetics, from the jarring jump cuts of Breathless (1960), to the self-conscious playfulness of A Woman is a Woman (1961), to the genre deviations of Band of Outsiders (1964) and Made in USA (1966). But Godard was still, at a most basic level, operating along a fairly conventional plane of fictional cinema, one with...
- 10/17/2014
- by Jeremy Carr
- SoundOnSight
Marie Dubois, actress in French New Wave films, dead at 77 (image: Marie Dubois in the mammoth blockbuster 'La Grande Vadrouille') Actress Marie Dubois, a popular French New Wave personality of the '60s and the leading lady in one of France's biggest box-office hits in history, died Wednesday, October 15, 2014, at a nursing home in Lescar, a suburb of the southwestern French town of Pau, not far from the Spanish border. Dubois, who had been living in the Pau area since 2010, was 77. For decades she had been battling multiple sclerosis, which later in life had her confined to a wheelchair. Born Claudine Huzé (Claudine Lucie Pauline Huzé according to some online sources) on January 12, 1937, in Paris, the blue-eyed, blonde Marie Dubois began her show business career on stage, being featured in plays such as Molière's The Misanthrope and Arthur Miller's The Crucible. François Truffaut discovery: 'Shoot the...
- 10/17/2014
- by Andre Soares
- Alt Film Guide
French director to receive the Pardo d’onore at the Locarno Film Festival next month - only the second woman to receive the honour.
French director Agnès Varda is to receive the Pardo d’onore (honorary Leopard) at the 67th edition of the Locarno Film Festival (Aug 6-16).
The festival’s tribute to her will be accompanied by screenings of a selection of her films: the features Cleo from 5 to 7 (1962), The Creatures (1966), Lions Love (…and Lies) (1969), Documenteur (1981), Vagabond (Sans toit ni loi, 1985), The Gleaners and I (Les glaneurs et la glaneuse, 2000) and The Beaches of Agnes (Les Plages d’Agnès, 2008), and the short film Oncle Yanco (1967), as well as the five episodes of the TV series Agnès de ci de là Varda (2011).
Varda will also take part in an on-stage coversation at the festival.
After working as a theatre photographer, Varda began directing in 1954 with the feature-length film La Pointe Courte, starring [link=nm...
French director Agnès Varda is to receive the Pardo d’onore (honorary Leopard) at the 67th edition of the Locarno Film Festival (Aug 6-16).
The festival’s tribute to her will be accompanied by screenings of a selection of her films: the features Cleo from 5 to 7 (1962), The Creatures (1966), Lions Love (…and Lies) (1969), Documenteur (1981), Vagabond (Sans toit ni loi, 1985), The Gleaners and I (Les glaneurs et la glaneuse, 2000) and The Beaches of Agnes (Les Plages d’Agnès, 2008), and the short film Oncle Yanco (1967), as well as the five episodes of the TV series Agnès de ci de là Varda (2011).
Varda will also take part in an on-stage coversation at the festival.
After working as a theatre photographer, Varda began directing in 1954 with the feature-length film La Pointe Courte, starring [link=nm...
- 7/3/2014
- by [email protected] (Michael Rosser)
- ScreenDaily
Thoughts occasioned by the release of Adieu au langage
Godard and the Permanently New
One “It has to face the men of the time and to meet/The women of the time. It has to think about war And it has to find what will suffice. It has/To construct a new stage. It has to be on that stage, and, like an insatiable actor, slowly and/With meditation, speak words that in the ear,
In the delicatest ear of the mind, repeat…”
Two “…no artist of any art, has his complete meaning alone. …what happens when a new work of art is created is something that happens simultaneously to all the works of art which preceded it….novelty is better than repetition.”
-and modernity, novelty, superventing contemporareity in his cinema begins with a re-evaluation of screen time, direction, and space and his satisfactions at segmenting space as determined by...
Godard and the Permanently New
One “It has to face the men of the time and to meet/The women of the time. It has to think about war And it has to find what will suffice. It has/To construct a new stage. It has to be on that stage, and, like an insatiable actor, slowly and/With meditation, speak words that in the ear,
In the delicatest ear of the mind, repeat…”
Two “…no artist of any art, has his complete meaning alone. …what happens when a new work of art is created is something that happens simultaneously to all the works of art which preceded it….novelty is better than repetition.”
-and modernity, novelty, superventing contemporareity in his cinema begins with a re-evaluation of screen time, direction, and space and his satisfactions at segmenting space as determined by...
- 6/4/2014
- by Jim Robison
- Trailers from Hell
Turkish director Nuri Bilge Ceylan this evening won Cannes' top prize, the coveted Palme d'Or, for his latest film, Winter Sleep. A worthy award winner after previously coming close with such past efforts as 2011's Once Upon a Time in Anatolia (2011) and Three Monkeys (2008), Alice Rohrwacher's The Wonders and Bennett Miller's Oscar hopeful Foxcatcher had to settle for the Grand Prix and Best Director awards respectively, with the Jury Prize a tie between Canadian enfant terrible Xavier Dolan for Mommy and French Nouvelle Vague old-hand Jean-Luc Godard for Adieu au Langage. Other winners on the night included Timothy Spall, Best Actor for his turn in Mike Leigh's Mr. Turner and Julianne Moore (Best Actress) for her terrific performance in David Cronenberg's Maps to the Stars.
- 5/28/2014
- by CineVue UK
- CineVue
We might have changed the notion and definition of what the La Nouvelle Vague at the 67th edition of the Cannes Film Festival. Youth are picking up the torch and reinvigorating future cinema — a sentiment that was expressed by jury members Jane Campion and Nicolas Winding Refn, and the more experienced folk are doing just the same. Godard broke the traditional narrative while Xavier Dolan and Alice Rohrwacher have made cinema feel fresh again and they were awarded for it. And the best news, the one master filmmaker who was due finally picked up a prize that had seemed to favor the Dardennes (who went o for 6 in their eligible categories with Julianne Moore finally getting some due (0 for 4 at the Oscars) for her deliriously fun bit in Maps to the Stars) won the Palme for Winter Sleep. Admittedly, the jury were afraid of the three plus hour film when they first viewed the scorecard,...
- 5/24/2014
- by Eric Lavallee
- IONCINEMA.com
Without the work of Jean-Luc Godard, there would be no Tiff Bell Lightbox. Godard, along with the Nouvelle Vague movement in cinema, introduced filmgoing audiences to the concept of film as intellectual pieces of art. Moreover, his films taught audiences that cinema could be so much more than populist escapist fare. Like the most renowned artists, he toyed with the conventions and possibilities of his art form. He brazenly used long takes, the breaking of the fourth wall, and jump cuts that audiences viewing modern films now take for granted. His ease with genre-hopping shaped the works of Denis, while his characters’ breaking of the fourth wall certainly had an influence on Scorsese, and McQueen’s intense long-take in Hunger pales in comparison to that in Godard’s Breathless, and the list goes on with a myriad number of modern filmmakers paying tribute to this unique auteur through their work.
- 1/25/2014
- by Leora Heilbronn
- IONCINEMA.com
As awards season draws nearer and best-of-the-year lists keep rolling in, there's only one thing left to do: get excited about what comes next. Here are 10 films you won't want to miss in 2014.
1. Adieu au language (Directed by Jean-Luc Godard)
Jean-Luc Godard, master of the French Nouvelle Vague, proved with 2010's extraordinary Film Socialisme that he remains among the most accomplished filmmakers working. His latest effort, the 3-D experiment Adieu au language (Goodbye to Language), looks no less ambitious or exciting, as the three-minute trailer released over the summer quite compellingly suggests.
2. Under the Skin (Directed by Jonathan Glazer)
The best film at 2013's Toronto International Film Festiva...
1. Adieu au language (Directed by Jean-Luc Godard)
Jean-Luc Godard, master of the French Nouvelle Vague, proved with 2010's extraordinary Film Socialisme that he remains among the most accomplished filmmakers working. His latest effort, the 3-D experiment Adieu au language (Goodbye to Language), looks no less ambitious or exciting, as the three-minute trailer released over the summer quite compellingly suggests.
2. Under the Skin (Directed by Jonathan Glazer)
The best film at 2013's Toronto International Film Festiva...
- 1/1/2014
- Village Voice
A total of 24 co-production projects and sections devoted to China, digital and remakes help make up Rome’s industry events.
The 8th Rome Film Festival (Nov 8-17) has revealed details of its International Film Market ahead of its launch next week.
Rome’s key industry initiatives – the informal The Business Street (TBS) screenings market and the New Cinema Network (Ncn) co-production market – will run from Nov 13-17.
Organisers are expecting distributors and producers from 45 countries and 700 accredited visitors as well as 24 selected projects, a China Day and a new initiative dedicated to remakes as well as meetings, panel discussions and conferences.
Single venue; digital focus
For its eighth edition, TBS will take place once again in Via Veneto, the street famously featured in Federico Fellini’s La Dolce Vita.
But for the first time both TBS and Ncn will be held in a single venue, the Hotel Bernini Bristol.
The Terrace will host the buyers and sellers...
The 8th Rome Film Festival (Nov 8-17) has revealed details of its International Film Market ahead of its launch next week.
Rome’s key industry initiatives – the informal The Business Street (TBS) screenings market and the New Cinema Network (Ncn) co-production market – will run from Nov 13-17.
Organisers are expecting distributors and producers from 45 countries and 700 accredited visitors as well as 24 selected projects, a China Day and a new initiative dedicated to remakes as well as meetings, panel discussions and conferences.
Single venue; digital focus
For its eighth edition, TBS will take place once again in Via Veneto, the street famously featured in Federico Fellini’s La Dolce Vita.
But for the first time both TBS and Ncn will be held in a single venue, the Hotel Bernini Bristol.
The Terrace will host the buyers and sellers...
- 11/4/2013
- by [email protected] (Michael Rosser)
- ScreenDaily
In his final column for the Observer, our film critic welcomes the re-release of two influential classics from the late 1950s
What goes around comes around. Or "This is where we came in!", the words we'd whisper back in the days of continuous movie performances, before heading for the exit when we reached the point at which we'd entered the cinema. Appropriately in the week I write my final film column, two classic movies, Bonjour Tristesse (1958) and Plein Soleil (aka Purple Noon, 1959), are re-released from that period at the end of the 1950s when I was embarking on a career as a professional writer. Both appear in beautiful new prints that do full justice to the Mediterranean sun which dictates their mood of dangerous eroticism, and both are closely associated with what was popularly known as the French Nouvelle Vague. In the first of them an English-speaking cast play French...
What goes around comes around. Or "This is where we came in!", the words we'd whisper back in the days of continuous movie performances, before heading for the exit when we reached the point at which we'd entered the cinema. Appropriately in the week I write my final film column, two classic movies, Bonjour Tristesse (1958) and Plein Soleil (aka Purple Noon, 1959), are re-released from that period at the end of the 1950s when I was embarking on a career as a professional writer. Both appear in beautiful new prints that do full justice to the Mediterranean sun which dictates their mood of dangerous eroticism, and both are closely associated with what was popularly known as the French Nouvelle Vague. In the first of them an English-speaking cast play French...
- 8/31/2013
- by Philip French
- The Guardian - Film News
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