My screening series Amnesiascope will have its next event on Tuesday, May 28 at the Brooklyn Center for Theatre Research. It was only a matter of time until I showed a film by Jean-Luc Godard, and if it’s so early into the programming cycle we can consider the work itself––to my mind his greatest feature (whatever its status as a rare object) and one that well embodies the creative spirit of the theater space that’s given Amnesiascope a home. This will mark its first New York screening since 2017.
Without revealing the film’s title I’ll say it’s a summit of Godard’s ’80s corpus, yet another self-reflecting vision of a director’s rise and fall, and makes for an essential study of Jean-Pierre Léaud as auteurism embodied. Were that, somehow, not enough, playwright (and Center co-founder) Matthew Gasda will once again mix cocktails that come far...
Without revealing the film’s title I’ll say it’s a summit of Godard’s ’80s corpus, yet another self-reflecting vision of a director’s rise and fall, and makes for an essential study of Jean-Pierre Léaud as auteurism embodied. Were that, somehow, not enough, playwright (and Center co-founder) Matthew Gasda will once again mix cocktails that come far...
- 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
Though Richard Linklater’s Hit Man is about to debut in theaters and on Netflix––just after his under-the-radar documentary God Save Texas: Hometown Prison came to Max––the ever-prolific American was recently in Paris for Nouvelle Vague, his chronicle of the making of Godard’s Breathless. (If not more: casting notices for Jean-Pierre Léaud around the time of François Truffaut’s The 400 Blows and Martin Lassale around the time of Robert Bresson’s Pickpocket popped up.) With filming recently wrapped, one might expect a fall premiere––expectations bolstered by today’s unveiling of our first real look, courtesy (who else!) Cahiers du cinéma.
Therein one can find Guillaume Marbeck as Jean-Luc Godard (previously unveiled in a cast-and-crew portrait) and filming of a scene on the Champs-Elysees. Meanwhile, Jean-Louis Fernandez shared a set photo suggesting the production design team should be paid handsomely.
Find them below:
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Therein one can find Guillaume Marbeck as Jean-Luc Godard (previously unveiled in a cast-and-crew portrait) and filming of a scene on the Champs-Elysees. Meanwhile, Jean-Louis Fernandez shared a set photo suggesting the production design team should be paid handsomely.
Find them below:
View this post...
- 5/9/2024
- by Leonard Pearce
- The Film Stage
Three-time Oscar winner Meryl Streep will be awarded an honorary Palme d’Or at the opening ceremony of the 74th edition of the Cannes Film Festival (May 14-25).
Streep will follow in the footsteps of previous recipients, including Jeanne Moreau, Catherine Deneuve, Alain Delon, Jean-Pierre Léaud, Jane Fonda, Agnès Varda, Forest Whittaker and Jodie Foster.
The opening ceremony will mark Streep’s first appearance at the festival in over 35 years. She last attended Cannes in 1989, when she won the best actress prize for her role as a mother accused of infanticide in Fred Schepisi’s Evil Angels.
“I am immeasurably...
Streep will follow in the footsteps of previous recipients, including Jeanne Moreau, Catherine Deneuve, Alain Delon, Jean-Pierre Léaud, Jane Fonda, Agnès Varda, Forest Whittaker and Jodie Foster.
The opening ceremony will mark Streep’s first appearance at the festival in over 35 years. She last attended Cannes in 1989, when she won the best actress prize for her role as a mother accused of infanticide in Fred Schepisi’s Evil Angels.
“I am immeasurably...
- 5/3/2024
- ScreenDaily
Meryl Streep is set to receive an honorary Palme d’Or at the opening ceremony of the Cannes Film Festival on May 14, organizers said Thursday.
The Hollywood star — who earned the best actress award at Cannes in 1989 for her performance in Fred Schepsi’s Evil Angels — will help kick off the 77th edition at the Grand Theatre Lumiere.
“I am immeasurably honored to receive the news of this prestigious award. To win a prize at Cannes, for the international community of artists, has always represented the highest achievement in the art of filmmaking. To stand in the shadow of those who have previously been honored is humbling and thrilling in equal part. I so look forward to coming to France to thank everyone in person this May!” Streep said in a statement.
She will return to the French festival after a celebrated career in Hollywood over five decades. “We all...
The Hollywood star — who earned the best actress award at Cannes in 1989 for her performance in Fred Schepsi’s Evil Angels — will help kick off the 77th edition at the Grand Theatre Lumiere.
“I am immeasurably honored to receive the news of this prestigious award. To win a prize at Cannes, for the international community of artists, has always represented the highest achievement in the art of filmmaking. To stand in the shadow of those who have previously been honored is humbling and thrilling in equal part. I so look forward to coming to France to thank everyone in person this May!” Streep said in a statement.
She will return to the French festival after a celebrated career in Hollywood over five decades. “We all...
- 5/2/2024
- by Etan Vlessing
- The Hollywood Reporter - Movie News
Meryl Streep will receive the honorary Palme d’Or on the opening night of the 77th edition of Cannes Film Festival, Variety has learned.
Luring the Oscar winner is yet another feat for this Cannes edition, which will bring together a flurry Hollywood legends. Notably, George Lucas will receive the honorary Palme d’Or during the closing ceremony; Francis Ford Coppola’s “Megalopolis” and Paul Schrader’s “Oh, Canada” are playing in competition; and George Miller‘s “Furiosa: A Mad Max Saga” and Kevin Costner’s Western epic “Horizon, an American Saga” are playing out of competition. Streep will be also in good company at the festival with “Barbie” director Greta Gerwig serving as jury president. The pair worked together on “Little Women.”
The honorary tribute will mark Streep’s long-awaited return to Cannes after decades. It appears that her last trip to the festival dates back to Fred Schepisi...
Luring the Oscar winner is yet another feat for this Cannes edition, which will bring together a flurry Hollywood legends. Notably, George Lucas will receive the honorary Palme d’Or during the closing ceremony; Francis Ford Coppola’s “Megalopolis” and Paul Schrader’s “Oh, Canada” are playing in competition; and George Miller‘s “Furiosa: A Mad Max Saga” and Kevin Costner’s Western epic “Horizon, an American Saga” are playing out of competition. Streep will be also in good company at the festival with “Barbie” director Greta Gerwig serving as jury president. The pair worked together on “Little Women.”
The honorary tribute will mark Streep’s long-awaited return to Cannes after decades. It appears that her last trip to the festival dates back to Fred Schepisi...
- 5/2/2024
- by Elsa Keslassy
- Variety Film + TV
[Editor’s Note: The following article contains spoilers for “Challengers”]
Despite the implications of this story’s headline, these two films are not alike. Well, they are. Kind of. In some regards. Mainly in the sense that the focal point of each is centered around the clashes that come as a result of non-monogamy and specifically the challenges of maintaining civility within a ménage-à-trois relationship. There’s also a connection between the two leads of each film, Zendaya and Jean-Pierre Léaud, in that both began their careers as children and used these roles to expand audiences’ perceptions of them as adults. Perhaps most tangentially, the two films cover time periods of great social ignorance — Post-’60s France and Pre-2020 America (as well as Pre-Housing and Financial Crisis America) — and are aimed at sparking the public’s curiosities, albeit in completely different ways. Thankfully, this piece does not aim to strictly draw comparisons between the two films, but rather convince readers...
Despite the implications of this story’s headline, these two films are not alike. Well, they are. Kind of. In some regards. Mainly in the sense that the focal point of each is centered around the clashes that come as a result of non-monogamy and specifically the challenges of maintaining civility within a ménage-à-trois relationship. There’s also a connection between the two leads of each film, Zendaya and Jean-Pierre Léaud, in that both began their careers as children and used these roles to expand audiences’ perceptions of them as adults. Perhaps most tangentially, the two films cover time periods of great social ignorance — Post-’60s France and Pre-2020 America (as well as Pre-Housing and Financial Crisis America) — and are aimed at sparking the public’s curiosities, albeit in completely different ways. Thankfully, this piece does not aim to strictly draw comparisons between the two films, but rather convince readers...
- 4/28/2024
- by Harrison Richlin
- Indiewire
Between last week’s release of his under-the-radar documentary God Save Texas: Hometown Prison and the June release of his wildly entertaining crowdpleaser Hit Man Trailer: Glen Powell Shapeshifts for Richard Linklater’s Comedy, Arriving in June”>Hit Man, Richard Linklater is embarking on his next film. Set to shoot this month and April in Paris, his new feature will capture the beginnings of the French New Wave, centered on the making of Jean-Luc Godard’s 1960 debut masterpiece Breathless.
We now have our first piece of casting as our new Jean Seberg has been unveiled. Zoey Deutch has revealed her Seberg look on Instagram, with hair colorist Tracey Cunningham confirming it’s for the role of the French New Wave Icon, who made her breakout in Godard’s debut. The film will mark a reunion following Everybody Wants Some!! for Linklater and Deutch, who will deliver the latest portrayal of...
We now have our first piece of casting as our new Jean Seberg has been unveiled. Zoey Deutch has revealed her Seberg look on Instagram, with hair colorist Tracey Cunningham confirming it’s for the role of the French New Wave Icon, who made her breakout in Godard’s debut. The film will mark a reunion following Everybody Wants Some!! for Linklater and Deutch, who will deliver the latest portrayal of...
- 3/5/2024
- by Jordan Raup
- The Film Stage
There is a sense of a running gag in Hors du Temps (renamed Suspended Time for the English-language market). In his complex, autofictional 2022 TV series Irma Vep, Olivier Assayas cast as the director of a film called Irma Vep — a film he had, in fact, made in real life 20 years earlier — the actor Vincent Macaigne, who cheekily developed a version of Assayas that not only picked up on his distinctively reedy voice, but also nobbled his quirky irritability and sensitivities.
That character was called Rene, but he was not a million miles from Paul, the character Macaigne plays in this account of two brothers confined with their partners for the duration of the Covid lockdown. They have returned to the house where they lived as boys and where they have rarely returned since: a vine-covered cottage in a picturesque hamlet. It is a glorious summer, just like the remembered summers of childhood.
That character was called Rene, but he was not a million miles from Paul, the character Macaigne plays in this account of two brothers confined with their partners for the duration of the Covid lockdown. They have returned to the house where they lived as boys and where they have rarely returned since: a vine-covered cottage in a picturesque hamlet. It is a glorious summer, just like the remembered summers of childhood.
- 2/18/2024
- by Stephanie Bunbury
- Deadline Film + TV
The werewolf, loup-garou, and the Lycanthrope are back in the brilliant thought-provoking film Wolfkin . Coming from the rich tradition of fiction such as Guy Endore’s 1933 seminal novel The Werewolf of Paris and the 1896 story The Were-wolf by Clemence Housman, this film is in my opinion an essential new addition to the werewolf film canon.
You can lump this film into the abyss of Folk Horror yet its just plain simple a damn good film from top to end credits because it tells an essential human story. Wolfkin (2022) a.k.a. Kommunioun is a Luxembourgian/French/Belgium production; directed by Jacques Molitor. The picture is elegantly shot and paced with true mastery and restraint, as does befit the subject matter of extreme, old-world control and remedy for the modern, uncontrolled animalistic urges.
Taking a cue from Hammer’s The Curse of the Werewolf (1961), Wolfkin (2022) reverses the fact that in that film,...
You can lump this film into the abyss of Folk Horror yet its just plain simple a damn good film from top to end credits because it tells an essential human story. Wolfkin (2022) a.k.a. Kommunioun is a Luxembourgian/French/Belgium production; directed by Jacques Molitor. The picture is elegantly shot and paced with true mastery and restraint, as does befit the subject matter of extreme, old-world control and remedy for the modern, uncontrolled animalistic urges.
Taking a cue from Hammer’s The Curse of the Werewolf (1961), Wolfkin (2022) reverses the fact that in that film,...
- 9/18/2023
- by Terry Sherwood
- Horror Asylum
It seems life in plastic may really be fantastic, if the first reactions to Greta Gerwig’s “Barbie” are to be believed. After the world premiere in Los Angeles on Sunday night, fans are more than tickled pink by Ryan Gosling and Margot Robbie’s performances.
Though we know it seemingly follows Barbie’s (Robbie) journey to self-discovery in the real world — which begins with her hilariously asking her Barbie friends if they “ever think about dying” in the trailer — the film’s core plot has largely been kept under wraps. We know that, in this world, Barbies do everything, while the men are just Kens.
But, according to those who have seen the movie (which Gerwig directed and co-wrote with Noah Baumbach), the “Little Women” filmmaker’s latest directorial outing is “a stunning achievement” that expertly addresses both the long-lasting love for the doll, and the criticisms of her over the years.
Though we know it seemingly follows Barbie’s (Robbie) journey to self-discovery in the real world — which begins with her hilariously asking her Barbie friends if they “ever think about dying” in the trailer — the film’s core plot has largely been kept under wraps. We know that, in this world, Barbies do everything, while the men are just Kens.
But, according to those who have seen the movie (which Gerwig directed and co-wrote with Noah Baumbach), the “Little Women” filmmaker’s latest directorial outing is “a stunning achievement” that expertly addresses both the long-lasting love for the doll, and the criticisms of her over the years.
- 7/10/2023
- by Andi Ortiz
- The Wrap
The title of Jean Eustache’s The Mother and the Whore refers to Marie (Bernadette Lafont), whose status as a 30-year-old marks her as effectively middle aged to her modestly younger peers, and Veronika (Françoise Lebrun), a hospital nurse who copes with the tedium of her experience with casual sex. These reductive, misogynistic archetypes of female behavior aren’t reflective of the film’s own views, but those of Alexandre (Jean-Pierre Léaud), a disaffected young intellectual who lives with Marie and is increasingly drawn to Veronika.
Alexandre airs his misogyny from the start as he meets up with his ex-girlfriend (Isabelle Weingarten). Speeding past any attempt at reconciliation, Alexandre proposes marriage, then proceeds to rant about her new relationship. Asking if she does the same things with her new beau as they did together, Alexandre maintains an outward veneer of calm but cannot keep the venom out of his voice.
Alexandre airs his misogyny from the start as he meets up with his ex-girlfriend (Isabelle Weingarten). Speeding past any attempt at reconciliation, Alexandre proposes marriage, then proceeds to rant about her new relationship. Asking if she does the same things with her new beau as they did together, Alexandre maintains an outward veneer of calm but cannot keep the venom out of his voice.
- 6/18/2023
- by Jake Cole
- Slant Magazine
Kohn’s Corner is a weekly column about the challenges and opportunities of sustaining American film culture.
Chances are that if you care about international cinema, you care about the French New Wave. A loose collective of young directors who came to define their country’s cinema as the 1950s gave way to the ’60s, the French New Wave gave cinema permission to be audacious and uncompromising while bolstering its style and personality. It was cool with purpose.
Jacques Rozier, the last living member of the Nouvelle Vague, died this week at 96. Rozier was a blind spot for me, but the French New Wave was my guide to grasping what the movies could be.
As a teenager, Jean-Luc Godard’s “Breathless” got me excited about the possibilities of the movies like nothing that came before. Francois Truffaut’s “The 400 Blows” was a formative encounter with the expansive possibilities of the coming-of-age story.
Chances are that if you care about international cinema, you care about the French New Wave. A loose collective of young directors who came to define their country’s cinema as the 1950s gave way to the ’60s, the French New Wave gave cinema permission to be audacious and uncompromising while bolstering its style and personality. It was cool with purpose.
Jacques Rozier, the last living member of the Nouvelle Vague, died this week at 96. Rozier was a blind spot for me, but the French New Wave was my guide to grasping what the movies could be.
As a teenager, Jean-Luc Godard’s “Breathless” got me excited about the possibilities of the movies like nothing that came before. Francois Truffaut’s “The 400 Blows” was a formative encounter with the expansive possibilities of the coming-of-age story.
- 6/17/2023
- by Eric Kohn
- Indiewire
Janus Films has released a trailer for the 4K restoration of Jean Eustache’s 1973 opus The Mother and the Whore, which will open at New York’s Film at Lincoln Center on June 23. An official synopsis of the restoration reads: After the French New Wave, the sexual revolution, and May ’68 came The Mother and the Whore, the legendary, autobiographical magnum opus by Jean Eustache that captured a disillusioned generation navigating the post-idealism 1970s within the microcosm of a ménage à trois. The aimless, clueless, Parisian pseudo-intellectual Alexandre (Jean-Pierre Léaud) lives with his tempestuous older girlfriend, Marie (Bernadette Lafont), and begins a […]
The post Trailer Watch: 4K Restoration of Jean Eustache’s The Mother and the Whore first appeared on Filmmaker Magazine.
The post Trailer Watch: 4K Restoration of Jean Eustache’s The Mother and the Whore first appeared on Filmmaker Magazine.
- 6/14/2023
- by Filmmaker Staff
- Filmmaker Magazine - Blog
Janus Films has released a trailer for the 4K restoration of Jean Eustache’s 1973 opus The Mother and the Whore, which will open at New York’s Film at Lincoln Center on June 23. An official synopsis of the restoration reads: After the French New Wave, the sexual revolution, and May ’68 came The Mother and the Whore, the legendary, autobiographical magnum opus by Jean Eustache that captured a disillusioned generation navigating the post-idealism 1970s within the microcosm of a ménage à trois. The aimless, clueless, Parisian pseudo-intellectual Alexandre (Jean-Pierre Léaud) lives with his tempestuous older girlfriend, Marie (Bernadette Lafont), and begins a […]
The post Trailer Watch: 4K Restoration of Jean Eustache’s The Mother and the Whore first appeared on Filmmaker Magazine.
The post Trailer Watch: 4K Restoration of Jean Eustache’s The Mother and the Whore first appeared on Filmmaker Magazine.
- 6/14/2023
- by Filmmaker Staff
- Filmmaker Magazine-Director Interviews
It used to be two options: live in a major city that busts out the one awful print or download the VHS rip from a dark-web torrent site. No wonder it was only hosannas upon learning the complete corpus of Jean Eustache would get its decades-overdue restoration––on basis of The Mother and the Whore alone it marks a moment in film history.
Janus Films (by extension Criterion) acquired the catalog from Les Films du Losange and begin their series, “The Dirty Stories of Jean Eustache,” this month at Lincoln Center before a larger rollout in weeks, months to come, and with it a trailer for Mother‘s 4K restoration is here. Just the first shot of Jean-Pierre Léaud––who, I feel compelled to note, is enduring hard times and seeking help via friends––completely rewires sense of a movie I’ve loved for a decade. But it’s all in tip-top shape: deep blacks,...
Janus Films (by extension Criterion) acquired the catalog from Les Films du Losange and begin their series, “The Dirty Stories of Jean Eustache,” this month at Lincoln Center before a larger rollout in weeks, months to come, and with it a trailer for Mother‘s 4K restoration is here. Just the first shot of Jean-Pierre Léaud––who, I feel compelled to note, is enduring hard times and seeking help via friends––completely rewires sense of a movie I’ve loved for a decade. But it’s all in tip-top shape: deep blacks,...
- 6/14/2023
- by Nick Newman
- The Film Stage
If you’ve ever wondered when it was that Michel Gondry, the gifted French director of “Eternal Sunshine of the Spotless Mind,” became the world’s most annoying filmmaker, you might say the answer is, “He always was.” Yet no one, including me, quite thinks of him that way. That’s because the few works of his that have come to prominence possess a special combination of facility and charm. I adore “Eternal Sunshine,” a virtuoso movie that bends your brain and breaks your heart at the same time. You might simply choose to characterize it as the masterpiece of screenwriter Charlie Kaufman, but the truth is that Gondry directed it — the leaps in time, the emotionally convulsive performances of Jim Carrey and Kate Winslet — with a masterful sense of play and gravitational control.
I’ve always heard that the script Kaufman originally turned in was twice as complicated, and...
I’ve always heard that the script Kaufman originally turned in was twice as complicated, and...
- 6/4/2023
- by Owen Gleiberman
- Variety Film + TV
Kohn’s Corner is a weekly column about the challenges and opportunities of sustaining American film culture.
When you’re living in the bubble of daily cinema life during the Cannes Film Festival, it’s hard to know if the rest of the world cares about any of the movies you’ve seen over the past two weeks. The obvious marketing hooks for “Indiana Jones and the Dial of Destiny” and “Killers of the Flower Moon” will take care of them. For everything else, who knows?
The last three Palme d’Or winner winners — “Triangle of Sadness,” “Titane,” and “Parasite” — leveraged their Cannes success into genuine cultural impact. The challenges in getting movies made and seen is higher than ever, but Cannes 2023 came ready for battle. Here are some of the most promising signs I found.
The French New Wave Isn’t Finished
For a generation of cinephiles, the death...
When you’re living in the bubble of daily cinema life during the Cannes Film Festival, it’s hard to know if the rest of the world cares about any of the movies you’ve seen over the past two weeks. The obvious marketing hooks for “Indiana Jones and the Dial of Destiny” and “Killers of the Flower Moon” will take care of them. For everything else, who knows?
The last three Palme d’Or winner winners — “Triangle of Sadness,” “Titane,” and “Parasite” — leveraged their Cannes success into genuine cultural impact. The challenges in getting movies made and seen is higher than ever, but Cannes 2023 came ready for battle. Here are some of the most promising signs I found.
The French New Wave Isn’t Finished
For a generation of cinephiles, the death...
- 5/26/2023
- by Eric Kohn
- Indiewire
Michael Douglas will receive an Honorary Palme d’Or for the sum of his career at the opening of the Cannes Film Festival on 16 May. Photo: Courtesy of Cannes Film Festival/ © Gareth Cattermole/Getty Images After previous tributes to Forest Whitaker, Agnès Varda, Jean-Pierre Léaud, Jodie Foster and Manoel de Oliveira it’s the turn of Michael Douglas to receive an honorary Palme d’Or for the sum of his career and achievements during the opening ceremony of the 76th Cannes Film Festival on 16 May.
Douglas came to the Festival for the first time in 1979 for the premiere of The China Syndrome alongside Jane Fonda and Jack Lemmon and returned in 2013 for Stephen Soderberg’s Behind The Candelabra in which he played Liberace.
When told of the news, he said: “The Festival has always reminded me that magic of cinema is not just in what we see onscreen but in...
Douglas came to the Festival for the first time in 1979 for the premiere of The China Syndrome alongside Jane Fonda and Jack Lemmon and returned in 2013 for Stephen Soderberg’s Behind The Candelabra in which he played Liberace.
When told of the news, he said: “The Festival has always reminded me that magic of cinema is not just in what we see onscreen but in...
- 5/3/2023
- by Richard Mowe
- eyeforfilm.co.uk
Festival will also screen upcoming Arte doc about actor’s life.
Cannes is to award legendary US actor Michael Douglas with an honorary Palme d’Or at this year’s festival.
The festival will pay tribute to him during the opening ceremony on May 16.
As part of the tribute, an upcoming Arte documentary - Michael Douglas, The Prodigal Son - by Amine Mesta, produced by Folamour, will be shown at the festival, for two days, from Sunday May 14 at 6pm to Tuesday May 16 at 6pm.
The festival has previously awarded its Palme d’Or d’Honneur to stars and filmmakers such as Forest Whitaker,...
Cannes is to award legendary US actor Michael Douglas with an honorary Palme d’Or at this year’s festival.
The festival will pay tribute to him during the opening ceremony on May 16.
As part of the tribute, an upcoming Arte documentary - Michael Douglas, The Prodigal Son - by Amine Mesta, produced by Folamour, will be shown at the festival, for two days, from Sunday May 14 at 6pm to Tuesday May 16 at 6pm.
The festival has previously awarded its Palme d’Or d’Honneur to stars and filmmakers such as Forest Whitaker,...
- 5/3/2023
- by Tim Dams
- ScreenDaily
When discussing the masters of French cinema, one name consistently stands out among the rest: François Truffaut. A pioneering director, screenwriter, and film critic, Truffaut left an indelible mark on the world of cinema, both in France and internationally. With a career spanning over three decades and numerous accolades to his name, Truffaut’s influence can be felt in the works of contemporary filmmakers to this day.
In this article, we will explore the life and career of François Truffaut, delving into the birth of the French New Wave, his key films, and his signature style and themes. We will also examine the impact Truffaut has had on contemporary filmmakers and his lasting legacy in French cinema. Finally, we will provide a list of essential François Truffaut films for those looking to immerse themselves in his remarkable body of work.
The Birth of the French New Wave
The French New Wave,...
In this article, we will explore the life and career of François Truffaut, delving into the birth of the French New Wave, his key films, and his signature style and themes. We will also examine the impact Truffaut has had on contemporary filmmakers and his lasting legacy in French cinema. Finally, we will provide a list of essential François Truffaut films for those looking to immerse themselves in his remarkable body of work.
The Birth of the French New Wave
The French New Wave,...
- 4/26/2023
- by Movies Martin Cid Magazine
- Martin Cid Magazine - Movies
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
Writer, director and occasional actor Philippe Garrel shot his first full-length movie, Marie pour mémoire, when he was only 19. That was amid the turmoil of May 1968, and since then he has made a new feature every few years, becoming a regular fixture in festivals and arthouses, especially in his native France.
Working with unknown or established actors, including Catherine Deneuve and Jean-Pierre Léaud, his intimate tales of emotional unrest — often the same story told again and again, during different epochs, in color or black-and-white — have turned him into a dependable auteur but also an acquired taste. If you don’t like French movies about love, sex, family, adultery and anguish, then you probably won’t like Garrel.
His work has always had an autobiographical bent to it, and one of his best films, 1970’s La Cicatrice Intérieure, starred his girlfriend at the time, Nico of The Velvet Underground. But his latest feature,...
Working with unknown or established actors, including Catherine Deneuve and Jean-Pierre Léaud, his intimate tales of emotional unrest — often the same story told again and again, during different epochs, in color or black-and-white — have turned him into a dependable auteur but also an acquired taste. If you don’t like French movies about love, sex, family, adultery and anguish, then you probably won’t like Garrel.
His work has always had an autobiographical bent to it, and one of his best films, 1970’s La Cicatrice Intérieure, starred his girlfriend at the time, Nico of The Velvet Underground. But his latest feature,...
- 2/21/2023
- by Jordan Mintzer
- The Hollywood Reporter - Movie News
As 2022 came to a close, we asked seven writers and filmmakers to reflect on Jean-Luc Godard's memory. Starting from a single aspect of his filmmaking—a particular film, image, sound cue, or affecting experience with his work—their responses evoke the breadth of his revolutionary legacy. We're thankful they found the words.The pieces below are written by Ephraim Asili, Richard Brody, A.S. Hamrah, Rachel Kushner, Miguel Marías, Andréa Picard, and Lucía Salas.In Memoriam JLGWhen I was in high school in the 1980s, I drove 50 miles with some friends to see Breathless at a student screening in a big auditorium at UConn. How did we know this screening was happening? How did we know how to get there? How did we even know anything was happening anywhere, ever? We saw listings in newspapers and paid attention to flyers. We had maps in our cars. But above all, it...
- 1/30/2023
- MUBI
Director Albert Serra will follow up his 2022 breakout “Pacifiction” with “Afternoons of Solitude,” an impressionistic documentary that will explore bullfighting from the tormented perspective of the man in the ring. The filmmaker is also developing his first English-language feature, Variety has learned.
“Bullfighting is one of the most excessive examples of the primitive origins of Southern European civilization,” Serra says of his longtime passion project. “It has a kind of showmanship on the edge of being art, and I like that idea. I like the violence of it. I like the pressure.”
“The film is about the spiritual pain of the torero,” he continues. “Of course we know about the animals’ suffering, but the humans involved suffer as well. I’m more focused on that than on the social debate about the practice.”
Produced by Serra’s longtime partners Luís Ferrón, Montse Triola and Pierre-Olivier Barde through their Andergraun Films banner,...
“Bullfighting is one of the most excessive examples of the primitive origins of Southern European civilization,” Serra says of his longtime passion project. “It has a kind of showmanship on the edge of being art, and I like that idea. I like the violence of it. I like the pressure.”
“The film is about the spiritual pain of the torero,” he continues. “Of course we know about the animals’ suffering, but the humans involved suffer as well. I’m more focused on that than on the social debate about the practice.”
Produced by Serra’s longtime partners Luís Ferrón, Montse Triola and Pierre-Olivier Barde through their Andergraun Films banner,...
- 1/15/2023
- by Ben Croll
- Variety Film + TV
Illustration by Leonardo Goi.Early into Don DeLillo’s White Noise, Jack Gladney joins his colleague Murray for a trip to the Most Photographed Barn in America. Jack, in DeLillo’s satire of academia and its improbable residents, is America’s foremost Hitler expert and Advanced Nazism professor at the fictional College-on-the-Hill; Murray an ex-sportswriter with an Amish beard and full corduroy outfit, determined to be to Elvis what Jack is to the Führer. It’s Murray who suggests the two should pay a visit to the barn. What that looks like, however, DeLillo never says. Jack and Murray arrive at a makeshift loft besieged by buses and cars and walk up to a hilltop where throngs of people surround the building, snapping pictures of it. There are no descriptors; for all we know the stable could all be an illusion, a hologram, a black hole. “No one sees the barn,...
- 12/5/2022
- MUBI
Ignore the Sitcom Title — ‘The Fabelmans’ Is the Rare Great Movie About the Ecstasy of Making Movies
When I saw Steven Spielberg’s “The Fabelmans” at the Toronto Film Festival in September, I absolutely loved it. And while I never expected the film to be some breakout smash, my hope for it — and my cautiously optimistic prediction — is that it would find a hook into the culture. I assumed that a drama about how Steven Spielberg got to be the genius he is would resonate, in a big way, with movie fans from multiple generations. Okay, not so much with those under 35. But that still leaves a lot of us!
“The Fabelmans,” I think, has a bad title — it sounds like a sitcom starring David Schwimmer and Mayim Bialik as the parents. But the movie is a rapt and enveloping experience, a true memoir on film. Like all good memoirs, the movie is about a few things at once — in this case, the adventure of growing up,...
“The Fabelmans,” I think, has a bad title — it sounds like a sitcom starring David Schwimmer and Mayim Bialik as the parents. But the movie is a rapt and enveloping experience, a true memoir on film. Like all good memoirs, the movie is about a few things at once — in this case, the adventure of growing up,...
- 11/26/2022
- by Owen Gleiberman
- Variety Film + TV
Truffaut’s portrait of a young misfit at war with his school, his family and himself, is never sentimental but always heartrending – in the words of Godard, “rigorous and tender.” The movie was the first of four films featuring Jean-Pierre Léaud as Antoine Doinel who, over the course of 20 years, grew from beleaguered adolescent to jaded roué.
The post The 400 Blows appeared first on Trailers From Hell.
The post The 400 Blows appeared first on Trailers From Hell.
- 11/23/2022
- by Charlie Largent
- Trailers from Hell
Eo (2022).It is not often that a film is made with radical sympathy. Too often, movies ignore the longing and pain of people, excluding their existence in form and feeling from storyworlds. And if such things are acknowledged, the movie will tend to make up for this rarity by overplaying misery and desperation. Jerzy Skolimowski's Eo, a tremendously sad but also overwhelmingly beautiful picture, chooses the radical path. The film is devoted, in body and soul, style and spirit, to sympathizing with another creature, and one who suffers a great deal without exploiting either its pathos or the viewer’s emotional reserves. Skolimowski and his co-writer, producer, and wife Ewa, in the spirit of great compassion, tell the story not of a human creature, but of an animal; and better yet, a donkey.Even with Robert Bresson’s Au hasard Balthazar (1966) as a precedent, it’s an unexpected subject,...
- 11/17/2022
- MUBI
What do you want when you already have paradise?
That question looms over Albert Serra’s singularly mysterious cinematic immersion into Tahiti, “Pacifiction.” The indigenous Polynesians living there would likely argue that this paradise hasn’t been theirs in a long time. Serra, the Catalan filmmaker behind such boundary-pushing works of experiential filmmaking as “Honor of the Knights” and “Story of My Death,” is yet another outsider coming to their shores, but he avoids the touristic travel-porn clichés of most movies set in some tropical locale. “Pacifiction” is not a vicarious experience of luxury; it is an experience of life. Set to its own tidal rhythm, it is , a film that makes you deeply ponder the fate of humanity itself.
Benoît Magimel plays De Roller, the High Commissioner for French Polynesia, still one of the “overseas territories” ruled from Paris as a vestige of France’s empire. He’s...
That question looms over Albert Serra’s singularly mysterious cinematic immersion into Tahiti, “Pacifiction.” The indigenous Polynesians living there would likely argue that this paradise hasn’t been theirs in a long time. Serra, the Catalan filmmaker behind such boundary-pushing works of experiential filmmaking as “Honor of the Knights” and “Story of My Death,” is yet another outsider coming to their shores, but he avoids the touristic travel-porn clichés of most movies set in some tropical locale. “Pacifiction” is not a vicarious experience of luxury; it is an experience of life. Set to its own tidal rhythm, it is , a film that makes you deeply ponder the fate of humanity itself.
Benoît Magimel plays De Roller, the High Commissioner for French Polynesia, still one of the “overseas territories” ruled from Paris as a vestige of France’s empire. He’s...
- 10/12/2022
- by Christian Blauvelt
- Indiewire
Jean Luc-Godard, who died Tuesday at the age of 91, was widely known as the King of the French New Wave. Since coming onto the scene in the 1960s, his seminal films such as “Breathless,” “Masculin, Feminin” and “Pierrot Le Fou,” introduced avante-garde techniques that have been since been replicated by innumerable filmmakers in the following decades.
In addition to a scathing intellectualism and stubborn stance against “the establishment”, the Franco-Swiss director was best known for changing the rules of cinema — his use of long-takes, jump-cuts and actor asides are just a few of the innovative practices he employed in his films that are still used to this day.
Thankfully, Godard left behind dozens of unforgettable films, many of which have been restored on Criterion. Below, check out some of Godard’s best films to celebrate the late director:
‘Pierrot le fou’ Courtesy of Amazon
Godard perfects the Pop Art color...
In addition to a scathing intellectualism and stubborn stance against “the establishment”, the Franco-Swiss director was best known for changing the rules of cinema — his use of long-takes, jump-cuts and actor asides are just a few of the innovative practices he employed in his films that are still used to this day.
Thankfully, Godard left behind dozens of unforgettable films, many of which have been restored on Criterion. Below, check out some of Godard’s best films to celebrate the late director:
‘Pierrot le fou’ Courtesy of Amazon
Godard perfects the Pop Art color...
- 9/14/2022
- by Anna Tingley
- Variety Film + TV
Pathé’s 4K restoration of No Fear No Die is a highlight of the Revivals program Photo: Anne-Katrin Titze
Film at Lincoln Center has announced the Revivals selections of the 60th New York Film Festival. Highlights include Pedro Costa’s O Sangue (Blood); Jean Eustache’s The Mother and the Whore, starring Jean-Pierre Léaud, Bernadette Lafont, and Françoise Lebrun; Jacques Tourneur’s Canyon Passage starring Brian Donlevy (with Martin Scorsese and Steven Spielberg consulting on this restoration); Claire Denis’s No Fear No Die with Isaach De Bankole, Alex Descas, and Jean-Claude Brialy; Mikko Niskanen’s Eight Deadly Shots; Manoel de Oliveira’s The Day Of Despair on the life of Camilo Castelo Branco, played by Mario Barroso; Edward Yang’s A Confucian Confusion starring Ni Shujun, and Balufu Bakupu-Kanyinda’s Le Damier, screening with Radu Jude’s short The Potemkinists (in the Currents program).
The 60th New York Film...
Film at Lincoln Center has announced the Revivals selections of the 60th New York Film Festival. Highlights include Pedro Costa’s O Sangue (Blood); Jean Eustache’s The Mother and the Whore, starring Jean-Pierre Léaud, Bernadette Lafont, and Françoise Lebrun; Jacques Tourneur’s Canyon Passage starring Brian Donlevy (with Martin Scorsese and Steven Spielberg consulting on this restoration); Claire Denis’s No Fear No Die with Isaach De Bankole, Alex Descas, and Jean-Claude Brialy; Mikko Niskanen’s Eight Deadly Shots; Manoel de Oliveira’s The Day Of Despair on the life of Camilo Castelo Branco, played by Mario Barroso; Edward Yang’s A Confucian Confusion starring Ni Shujun, and Balufu Bakupu-Kanyinda’s Le Damier, screening with Radu Jude’s short The Potemkinists (in the Currents program).
The 60th New York Film...
- 8/24/2022
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Film at Lincoln Center has announced the cinephile-favorite Revivals section for the 60th New York Film Festival, coming to NYC September 30 through October 16. The program showcases new restorations and preservations of important works from canonical filmmakers.
This year’s selection includes the hard-to-find “The Mother and the Whore” — which cameoed in the form of a poster featured in 2005’s “The Squid and the Whale” and brought the scandalous Jean Eustache some renewed attention. Starring Jean-Pierre Léaud, Bernadette Lafont, and Françoise Lebrun, the philosophical love triangle set against the sexual revolution divided Cannes audiences in 1973. Earlier this year, the Les Films du Losange restoration opened the Cannes Classics section. It makes its North American premiere at NYFF.
Many of the significant works featured in the lineup include the world premiere restoration of Claire Denis’ “No Fear No Die”; a new 4K restoration of Glauber Rocha’s incendiary, audience-provoking “Black God, White Devil...
This year’s selection includes the hard-to-find “The Mother and the Whore” — which cameoed in the form of a poster featured in 2005’s “The Squid and the Whale” and brought the scandalous Jean Eustache some renewed attention. Starring Jean-Pierre Léaud, Bernadette Lafont, and Françoise Lebrun, the philosophical love triangle set against the sexual revolution divided Cannes audiences in 1973. Earlier this year, the Les Films du Losange restoration opened the Cannes Classics section. It makes its North American premiere at NYFF.
Many of the significant works featured in the lineup include the world premiere restoration of Claire Denis’ “No Fear No Die”; a new 4K restoration of Glauber Rocha’s incendiary, audience-provoking “Black God, White Devil...
- 8/23/2022
- by Ryan Lattanzio
- Indiewire
(Welcome to The Daily Stream, an ongoing series in which the /Film team shares what they've been watching, why it's worth checking out, and where you can stream it.)
The Movie: "Irma Vep"
Where You Can Stream It: HBO Max, Criterion Channel
The Pitch: Hong Kong legend Maggie Cheung, playing a version of herself, has been hired as the lead in a remake of the classic silent serial "Les Vampires" by a fledgling French filmmaker named René Vidal (Jean-Pierre Léaud). The production is a bit of a mess, as many of Vidal's directorial choices baffle everyone, Cheung doesn't speak a lick of French, and journalists are looking to...
The post The Daily Stream: Irma Vep Perfectly Deglamorizes The Filmmaking Process appeared first on /Film.
The Movie: "Irma Vep"
Where You Can Stream It: HBO Max, Criterion Channel
The Pitch: Hong Kong legend Maggie Cheung, playing a version of herself, has been hired as the lead in a remake of the classic silent serial "Les Vampires" by a fledgling French filmmaker named René Vidal (Jean-Pierre Léaud). The production is a bit of a mess, as many of Vidal's directorial choices baffle everyone, Cheung doesn't speak a lick of French, and journalists are looking to...
The post The Daily Stream: Irma Vep Perfectly Deglamorizes The Filmmaking Process appeared first on /Film.
- 6/2/2022
- by Mike Shutt
- Slash Film
Vladimir and Rosa.“Cinema contains everything. It joins writing, painting, music. It is the most complete art.”—Juliet Berto, Ciné-Bulles, 19861Juliet Berto burst onto the Parisian film scene in the rich late 60s period of experimentation and radicalization, just as the New Wave diverged into competing streams of political and humanist directors. Her biography (what scant details are publicly available) is mythical, and tragically short: Annie Jamet, born and living in southern France, attends a Grenoble film screening where Jean-Luc Godard is present; the director, captivated by 19-year-old Annie, offers her a role in his film 2 or 3 Things I Know About Her. Annie moved to Paris, and by the end 1967, Juliet Berto (as she is credited onscreen) had appeared in three Godard films, a relationship that would deepen over the course of the radical 60s. Berto then worked with Jacques Rivette during the 70s as a key collaborator and...
- 6/1/2022
- MUBI
Notebook is covering the Cannes Film Festival with an on going correspondence between critics Leonardo Goi and Lawrence Garcia, and editor Daniel Kasman.One Fine Morning.Dear Danny and Leo,It is indeed very good to be back at Cannes—not just because it means seeing an entire slate of anticipated titles, but also because it means endless opportunities to talk about them, both in these correspondences and in person, which I'd missed more than I'd realized. Indeed, there’s so much to discuss that I’ll just dispense with the throat-clearing and get to the movies. Like you, Leo, I found both God’s Creatures and Scarlet productive to consider in relation to each other, what with their shared folktale affinities and archetypal approach to character. The most impressive aspect of God’s Creatures was how Saela Davis and Anna Rose Holmer managed, for a time, to balance the film's appealing behavioral ambiance,...
- 5/21/2022
- MUBI
Video Version of this Article Photo: François Truffaut and Antoine Doinel 1959’s ‘The 400 Blows’ is arguably the film that brought international attention to French New Wave, leading the movement to soar and flourish in the years to come. François Truffaut’s directorial debut, he was previously a revered critic of the Cahiers Du Cinema, tells the story of a Parisian adolescent, Antoine Doinel, as he tries to find his place in the world while dealing with affectionless and absent parents, totalitarian school staff, and dabbling in a life of petty crime. The film is semi-autobiographical, Truffaut himself never knew his father, having been adopted by his mother’s husband, and had a rebellious childhood while finding comfort in books and film. Related Video: Full Commentary on 'Top Gun: Maverick': Tom Cruise, Val Kilmer, Jennifer Connelly, Miles Teller Related video: 'Top Gun: Maverick' Full Premiere Reactions: Tom Cruise,...
- 5/19/2022
- by Jacqueline Postajian
- Hollywood Insider - Substance & Meaningful Entertainment
His parents were Nouvelle Vague royalty and he went on to star in one of the sexiest movies ever made. Now the actor and director is refining his “banter à la française” in a scramble to get his new film finished for Cannes
For Louis Garrel, the centre of the universe is located at the Cannes film festival. “It’s like a particle accelerator, like that place in Switzerland,” he says. “Your disappointments there are bigger, and your joy is bigger.” He is calling from Paris, where he is tinkering with the edit of his latest film The Innocent; his fourth feature as a director but the first to get an airing in Cannes’s galactic-sized Louis Lumière auditorium. At the time of our conversation he’s got 10 days to nail down the finer details: “It’s like being back at school. I used to leave everything to the last minute.
For Louis Garrel, the centre of the universe is located at the Cannes film festival. “It’s like a particle accelerator, like that place in Switzerland,” he says. “Your disappointments there are bigger, and your joy is bigger.” He is calling from Paris, where he is tinkering with the edit of his latest film The Innocent; his fourth feature as a director but the first to get an airing in Cannes’s galactic-sized Louis Lumière auditorium. At the time of our conversation he’s got 10 days to nail down the finer details: “It’s like being back at school. I used to leave everything to the last minute.
- 5/18/2022
- by Phil Hoad
- The Guardian - Film News
Late French post-New Wave director’s filmography was recently acquired and restored by Les Films du Losange.
Paris-based Les Films du Losange has posted a raft of fresh deals on the restored 4K catalogue of late French filmmaker Jean Eustache, whose cult drama The Mother And The Whore opens Cannes Classics on Tuesday.
It has sold to Spain (Filmin), Japan (Mermaid Films), Portugal (Leopardo), Switzerland (Cinémathèque Suisse) and Italy (I Wonder).
New York-based distributor Janus Films, a sister company to classic film label The Criterion Collection, announced earlier this month it had acquired the catalogue for North America as...
Paris-based Les Films du Losange has posted a raft of fresh deals on the restored 4K catalogue of late French filmmaker Jean Eustache, whose cult drama The Mother And The Whore opens Cannes Classics on Tuesday.
It has sold to Spain (Filmin), Japan (Mermaid Films), Portugal (Leopardo), Switzerland (Cinémathèque Suisse) and Italy (I Wonder).
New York-based distributor Janus Films, a sister company to classic film label The Criterion Collection, announced earlier this month it had acquired the catalogue for North America as...
- 5/17/2022
- by Melanie Goodfellow
- ScreenDaily
For years—I’m talking years—the films of Jean Eustache, post-New Wave genius and forefather of more than you’d ever realize, were basically impossible to find in high quality and through means we could strictly speaking call “legal.” The how and why are plenty complicated, but fear not: Les Films du Losange acquired and are overseeing 4K restorations of his complete catalogue, and Janus soon thereafter took up U.S. rights. What will hopefully prove a big rollout begins this month—Eustache’s most iconic film The Mother and the Whore is coming to Cannes Classics, and now we have a trailer foretelling a major upgrade.
“A major upgrade” speaking as one who saw Mother on a dusty 35mm print with several other freaks in 2013, at which time the movie left an indelible impression for its unsentimental depiction of post-68 Parisians—an image made more powerful for including Jean-Pierre Léaud,...
“A major upgrade” speaking as one who saw Mother on a dusty 35mm print with several other freaks in 2013, at which time the movie left an indelible impression for its unsentimental depiction of post-68 Parisians—an image made more powerful for including Jean-Pierre Léaud,...
- 5/16/2022
- by Leonard Pearce
- The Film Stage
Forest Whitaker will receive the honorary Palme d’or at the opening ceremony of the 75th Cannes Film Festival, following the footsteps of Jodie Foster.
Previous Cannes Palme d’Or honorees include Jeanne Moreau, Bernardo Bertolucci, Manoel de Oliveira, Jean-Pierre Léaud, Agnès Varda, or Alain Delon. The award pays tribute to a “sparkling artistic journey, a rare personality as well as a discreet but strong humanitarian commitment to key topical issues,” said the festival.
As part of the tribute, Christophe Castagne and Thomas Sametin’s movie “For the Sake of Peace,” which Whitaker produced, will play in the Special Screening section on May 18.
“34 years ago, attending Cannes for the first time changed my life, and assured me that I’d made the right decision to devote myself to finding connectivity in humanity through film,” said Whitaker. “It’s always a privilege to return to this beautiful festival to both screen my own work,...
Previous Cannes Palme d’Or honorees include Jeanne Moreau, Bernardo Bertolucci, Manoel de Oliveira, Jean-Pierre Léaud, Agnès Varda, or Alain Delon. The award pays tribute to a “sparkling artistic journey, a rare personality as well as a discreet but strong humanitarian commitment to key topical issues,” said the festival.
As part of the tribute, Christophe Castagne and Thomas Sametin’s movie “For the Sake of Peace,” which Whitaker produced, will play in the Special Screening section on May 18.
“34 years ago, attending Cannes for the first time changed my life, and assured me that I’d made the right decision to devote myself to finding connectivity in humanity through film,” said Whitaker. “It’s always a privilege to return to this beautiful festival to both screen my own work,...
- 5/5/2022
- by Elsa Keslassy
- Variety Film + TV
L’amour a la mer (1964). Courtesy of Lobster Films.There is a strange paradox in the popular consciousness of the French New Wave. On the one hand, the nouvelle vague is renowned as an explosion of new filmmaking talent in France. From the late 1950s to the mid-1960s, as so many histories of cinema tell us, masses of young directors debuted their work on the screens of France and then the world. After a decade and a half of sclerosis in the film industry, with rigid hierarchies and guild rules that prevented the emergence of directors who had not slowly made their way through the career rungs of the studios, a new generation burst onto the scene, upending the rules of filmmaking and forming a template for so many future new waves in the rest of the world. In many accounts, it is presented as something of a mass movement.
- 5/5/2022
- MUBI
Love triangle: Jean-Pierre Léaud, Françoise Lebrun and the late Bernadette Lafont in The Mother and the Whore Photo: Les Films du Losange The Cannes Classic section will showcase a restored copy of Jean Eustache’s groundbreaking The Mother And The Whore in the presence of actors Françoise Lebrun and Jean-Pierre Léaud.
Also in attendance on 17 May in the Debussy Theatre will be the director’s son Boris Eustache who was born in 1960 and worked on his father’s second feature and appears as an actor in Eustache’s short film Les photos d’Alix. He supervised the restoration.
The film which will be re-released in French cinemas after the Festival, is considered one of the key works of post-Nouvelle Vague French cinema. Eustache tragically shot himself in his Paris apartment just a few weeks before his 43rd birthday, leaving a legacy of two features and numerous shorts. The director...
Also in attendance on 17 May in the Debussy Theatre will be the director’s son Boris Eustache who was born in 1960 and worked on his father’s second feature and appears as an actor in Eustache’s short film Les photos d’Alix. He supervised the restoration.
The film which will be re-released in French cinemas after the Festival, is considered one of the key works of post-Nouvelle Vague French cinema. Eustache tragically shot himself in his Paris apartment just a few weeks before his 43rd birthday, leaving a legacy of two features and numerous shorts. The director...
- 5/2/2022
- by Richard Mowe
- eyeforfilm.co.uk
As exciting as the new films premiering at Cannes Film Festival is its Classics section, featuring new restorations as well as documentaries spotlighting film history. They’ve now unveiled their 2022 lineup which most notably includes the new, much-anticipated restoration of Jean Eustache’s masterpiece The Mother and the Whore, which it looks like Janus Films has picked up for a U.S. run later this year.
The lineup also includes new restorations of films by Satyajit Ray, Vittorio de Sica, Aravindan Govindan, Orson Welles, Martin Scorsese, Glauber Rocha, Vera Chytilová, and more, alongside new documentaries on Romy Schneider, Jane Campion, Souleymane Cissé, and beyond. Check out the full list below.
The Mother and the Whore back in the theater!
La Maman et la putain (The Mother and the Whore)
Jean Eustache
1972, 3h40, France
4K digital restoration of The Mother and the Whore was done in 2022 by Les Films du Losange,...
The lineup also includes new restorations of films by Satyajit Ray, Vittorio de Sica, Aravindan Govindan, Orson Welles, Martin Scorsese, Glauber Rocha, Vera Chytilová, and more, alongside new documentaries on Romy Schneider, Jane Campion, Souleymane Cissé, and beyond. Check out the full list below.
The Mother and the Whore back in the theater!
La Maman et la putain (The Mother and the Whore)
Jean Eustache
1972, 3h40, France
4K digital restoration of The Mother and the Whore was done in 2022 by Les Films du Losange,...
- 5/2/2022
- by Leonard Pearce
- The Film Stage
This year’s line-up will also celebrate classics such as Singin’ In The Rain and Indian director Satyajit Ray’s 1970 work The Adversary.
Late French filmmaker Jean Eustache’s recently restored cult 1973 drama The Mother And The Whore will open Cannes Classics this year, the line-up for which was announced on Monday (May 2).
Other highlights include two episodes of the series The Last Movie Stars directed by Ethan Hawke about Joanne Woodward and Paul Newman; a screening of Singin’ In The Rain to coincide with the 70th anniversary of its release and a restored 4K version of Vittorio de Sica’s 1946 work Sciuscià.
Late French filmmaker Jean Eustache’s recently restored cult 1973 drama The Mother And The Whore will open Cannes Classics this year, the line-up for which was announced on Monday (May 2).
Other highlights include two episodes of the series The Last Movie Stars directed by Ethan Hawke about Joanne Woodward and Paul Newman; a screening of Singin’ In The Rain to coincide with the 70th anniversary of its release and a restored 4K version of Vittorio de Sica’s 1946 work Sciuscià.
- 5/2/2022
- by Melanie Goodfellow
- ScreenDaily
The Notebook Primer introduces readers to some of the most important figures, films, genres, and movements in film history.It’s not always necessary to know a filmmaker’s biography in order to fully appreciate his or her work, but in the case of François Truffaut, it is not only beneficial, it may also be unavoidable. Few directors have so ardently worn their lives on their cinematic sleeve as Truffaut, persistently projecting his passions on the screen for all to see. Born February 6, 1932, he was a child of World War II, but only later in his career was that great tragedy the subject of conspicuous focus. Rather, his recurring concerns were of a more personal nature, ranging and reappearing throughout his work in the form of fleeting flirtations and complex affairs, the multifaceted unrest of childhood, and, of course, the cinema itself. As a wayward young man, Truffaut found refuge...
- 2/2/2022
- MUBI
Influential filmmaker’s best-known film is 1973 Cannes grand jury winner ’The Mother And The Whore’.
French film company Les Films du Losange has acquired the entire catalogue of influential post-New Wave director Jean Eustache, comprising five feature-length works and six short films.
The deal with the late filmmaker’s son Boris Eustache is a coup for Les Films du Losange’s new co-heads Charles Gillibert and Alexis Dantec who recently took over the company, which was established in 1962 by New Wave directors Eric Rohmer and Barbet Schroeder.
It brings an end to a dispute blocking the exploitation of the filmography for several decades,...
French film company Les Films du Losange has acquired the entire catalogue of influential post-New Wave director Jean Eustache, comprising five feature-length works and six short films.
The deal with the late filmmaker’s son Boris Eustache is a coup for Les Films du Losange’s new co-heads Charles Gillibert and Alexis Dantec who recently took over the company, which was established in 1962 by New Wave directors Eric Rohmer and Barbet Schroeder.
It brings an end to a dispute blocking the exploitation of the filmography for several decades,...
- 1/20/2022
- by Melanie Goodfellow
- ScreenDaily
Jean-Pierre Léaud dazzles at the heart of an autobiographical opus that invites new waves of adulation with each viewing
François Truffaut’s sublime autobiographical debut is now rereleased, a portrait of the artist as an unhappy child. He deserved every prize going simply for those heartstopping images of the children’s faces as they watch a Punch and Judy show. This is its first release in the UK since 2009, but maybe 62 years is now enough perspective to see fully how the grim scenes of home life and school life, which would have been accepted as contemporary realism in 1959 and for years afterwards, now look like historical documents. The title itself, from faire les quatre cent coups, means to hand out punishment, raise hell, sow wild oats – but this is an ironic upending. Truffaut’s alter ego, Antoine Doinel, is receiving the blows. They rain down on him. Cruelty and humiliation...
François Truffaut’s sublime autobiographical debut is now rereleased, a portrait of the artist as an unhappy child. He deserved every prize going simply for those heartstopping images of the children’s faces as they watch a Punch and Judy show. This is its first release in the UK since 2009, but maybe 62 years is now enough perspective to see fully how the grim scenes of home life and school life, which would have been accepted as contemporary realism in 1959 and for years afterwards, now look like historical documents. The title itself, from faire les quatre cent coups, means to hand out punishment, raise hell, sow wild oats – but this is an ironic upending. Truffaut’s alter ego, Antoine Doinel, is receiving the blows. They rain down on him. Cruelty and humiliation...
- 1/6/2022
- by Peter Bradshaw
- The Guardian - Film News
An event like the Festival Lumière, with its wide remit that sees classic films and retrospectives rub shoulders with the very latest and chic-est new titles, is always going to boast a thicket of hidden connections and surprising collisions. This year, for example, you could go from watching “8 ½,” Federico Fellini’s 1963 metafiction about his relationship with filmmaking, straight into “The Hand of God,” Paolo Sorrentino’s 2021 autofiction about his relationship with (among other things) Fellini. You could gorge yourself on Francois Truffaut’s Antoine Doinel films, starring Jean-Pierre Léaud, and then find yourself watching Gaspar Noé’s “Vortex,” featuring a superb Francoise Lebrun, who is best known for her role in Jean Eustache’s “The Mother and the Whore,” where she starred opposite… Jean-Pierre Léaud.
Such coincidences and congruities are part of the joy of a film festival, but occasionally they can also point to something deeper. This edition features...
Such coincidences and congruities are part of the joy of a film festival, but occasionally they can also point to something deeper. This edition features...
- 10/9/2021
- by Jessica Kiang
- Variety Film + TV
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSAbove: Son of the White Mare (1981)Pioneering Hungarian filmmaker Marcell Jankovics has died. Known for his fantastical and folkloric animations, Jankovics' films like Johnny Corncob (1973) and Son of the White Mare (1981) helped place Hungarian animation on the map. Last year, Jankovics discussed his recently re-released Son of the White Mare with Christopher L. Inoa. Amazon has bought MGM for $8.45 billion. Mike Hopkins, senior VP of Prime Video and Amazon Studios, has announced plans to reimagine MGM's "treasure trove of [intellectual property]," which includes 12 Angry Men, Basic Instinct, and Raging Bull. Cristian Mungiu will be the Jury President for this year's International Critics' Week at Cannes. The festival's lineup is set to be announced on June 7. Lemohang Jeremiah Mosese has started production on his next film, supported by the International Film Festival Rotterdam's Hubert Bals Fund.
- 6/2/2021
- MUBI
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