François Truffaut goes deep and morbid adapting a Henry James story about a man who chooses to ‘devote himself to his beloved dead.’ He builds an altar-shrine to a departed bride and comrades that didn’t survive the Great War. A sympathetic woman considers aiding him, but his obsession keeps choosing life-negating directions. It’s a weird, morbid but highly understandable tale from the edge of the fantastic. The cinematographer is Néstor Almendros; the film is part of a 4-title François Truffaut Collection.
The Green Room
Blu-ray
Kl Studio Classics
Part of Kino’s François Truffaut Collection, with The Wild Child, Small Change and The Man Who Loved Women
1978 / Color / 1:66 widescreen / 94 min. / Street Date February 14, 2023 / La chanbre verte, The Vanishing Fiancée / available through Kino Lorber / 59.95
Starring: François Truffaut, Nathalie Baye, Jean Dast´, Patrick Maléon, Jeanne Lobre, Antoine Vitez, Jean-Pierre Moulin, Serge Rousseau, Annie Miller, Nathan Miller, Marcel Berbert.
Cinematography:...
The Green Room
Blu-ray
Kl Studio Classics
Part of Kino’s François Truffaut Collection, with The Wild Child, Small Change and The Man Who Loved Women
1978 / Color / 1:66 widescreen / 94 min. / Street Date February 14, 2023 / La chanbre verte, The Vanishing Fiancée / available through Kino Lorber / 59.95
Starring: François Truffaut, Nathalie Baye, Jean Dast´, Patrick Maléon, Jeanne Lobre, Antoine Vitez, Jean-Pierre Moulin, Serge Rousseau, Annie Miller, Nathan Miller, Marcel Berbert.
Cinematography:...
- 2/25/2023
- by Glenn Erickson
- Trailers from Hell
Cohen Media Group presents a double feature of two mid-period films from French auteur Alain Resnais, both significant titles overlooked on a resume of important and notable works. The first is 1983’s Love is a Bed of Roses, featuring revolving cast members who would frequent other titles from the director throughout the remainder of that decade, and also represents his first collaboration with actress/wife Sabine Azema, who would appear in nearly every one of his remaining film productions. The second is the superb 1984 film Love Unto Death, an existential portrait of love and death as fluid states of mind.
The playful Life is a Bed of Roses premiered at the Venice Film Festival and nabbed Cesar nominations for Azema as Best Supporting Actress and for production designer Jacques Saulnier. Penned by Jean Gruault (who wrote Resnais’ previous feature, 1980’s superior Mon Oncle D’Amerique), it’s a non-linear film divided into three distinct parts,...
The playful Life is a Bed of Roses premiered at the Venice Film Festival and nabbed Cesar nominations for Azema as Best Supporting Actress and for production designer Jacques Saulnier. Penned by Jean Gruault (who wrote Resnais’ previous feature, 1980’s superior Mon Oncle D’Amerique), it’s a non-linear film divided into three distinct parts,...
- 8/4/2015
- by Nicholas Bell
- IONCINEMA.com
I'm not interested in The Bible, I'm interested in death.
So, you think you're an art house movie buff? Good for you, buddy, because I don't know if I can handle it. My ambitions are entertainment with literacy with a wide definition for both. Alain Resnais is surely an opaque dividing line between my sort of dilettantism and the hard core, high art snob/hippie with Last Year at Marienbad (1961) being a classic example of unwatchable inner-rectal filmmaking to your mainstream audience. The Cohen Collection has put together two of his films, from the early 1980's, written by Jean Gruault, Life is a Bed of Roses (1983) and Love Unto Death (1984) one presumes because Criterion already has the rights to Last Year at Marienbad, Hiroshima Mon Amour (1959), and Night and Fog (1955). Still, given Resnais's stature in film history, he is criminally underrepresented in home video and these are odd enough to...
So, you think you're an art house movie buff? Good for you, buddy, because I don't know if I can handle it. My ambitions are entertainment with literacy with a wide definition for both. Alain Resnais is surely an opaque dividing line between my sort of dilettantism and the hard core, high art snob/hippie with Last Year at Marienbad (1961) being a classic example of unwatchable inner-rectal filmmaking to your mainstream audience. The Cohen Collection has put together two of his films, from the early 1980's, written by Jean Gruault, Life is a Bed of Roses (1983) and Love Unto Death (1984) one presumes because Criterion already has the rights to Last Year at Marienbad, Hiroshima Mon Amour (1959), and Night and Fog (1955). Still, given Resnais's stature in film history, he is criminally underrepresented in home video and these are odd enough to...
- 8/3/2015
- by Jason Ratigan
- JustPressPlay.net
Award-winning French screenwriter known for his work on Jules and Jim, Paris Belongs to Us and and My American Uncle
The French New Wave, which changed notions of how films could be made, gave birth to a group of young directors headed by Jean-Luc Godard, Jacques Rivette, Eric Rohmer, Claude Chabrol, Alain Resnais and François Truffaut. Although they believed in Alexandre Astruc’s concept of the caméra-stylo – that film-makers should use the camera much as a writer uses a pen to create a personal vision – they still depended, for the most part, on screenwriters to help forge that vision. Among the writers most in demand, particularly by Truffaut and Resnais, was Jean Gruault, who has died aged 90.
Gruault arrived at the start of the New Wave when he co-wrote (with the directors) Rivette’s Paris Belongs to Us (Paris Nous Appartient, shot in 1958, but released in 1961) and Truffaut’s Jules and Jim...
The French New Wave, which changed notions of how films could be made, gave birth to a group of young directors headed by Jean-Luc Godard, Jacques Rivette, Eric Rohmer, Claude Chabrol, Alain Resnais and François Truffaut. Although they believed in Alexandre Astruc’s concept of the caméra-stylo – that film-makers should use the camera much as a writer uses a pen to create a personal vision – they still depended, for the most part, on screenwriters to help forge that vision. Among the writers most in demand, particularly by Truffaut and Resnais, was Jean Gruault, who has died aged 90.
Gruault arrived at the start of the New Wave when he co-wrote (with the directors) Rivette’s Paris Belongs to Us (Paris Nous Appartient, shot in 1958, but released in 1961) and Truffaut’s Jules and Jim...
- 6/16/2015
- by Ronald Bergan
- The Guardian - Film News
Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.The New York Film Festival has revealed that Robert Zemeckis's much-anticipated 3D quasi-heist film The Walk will open the 2015 event. The newly released full trailer can be watched above.Famed writer Jean Gruault has died at the age of 90. Gruault had written scripts for François Truffaut (Jules and Jim), Jacques Rivette (The Nun), Alain Resnais (Mon oncle d'Amérique), and others, including writing the novel on which Valérie Donzelli's Cannes competitor this year, Marguerite & Julien, was based.We're crossing our fingers that Quentin Tarantino's The Hateful Eight will make 50+ cinemas in the U.S. equipped to project 70mm.This week is a trailer bonanza, including Mistress America, the new Noah Baumbach collaboration with actress Greta Gerwig after Frances Ha.This Long Century has published several new pieces, including...
- 6/10/2015
- by Notebook
- MUBI
Jean Gruault, who wrote 25 screenplays between 1960 and 1995, has His screenplay for Alain Renais's Mon oncle d'Amérique (1980) was nominated for an Oscar and a César and won a David di Donatello Award. Other notable works include Jacques Rivette's debut feature, Paris Belongs to Us (1960), and Rivette's The Nun (1966); Roberto Rossellini's Vanina Vanini (1961) and The Taking of Power by Louis Xiv (1966); Jules and Jim (1962), co-written with François Truffaut, as well as Truffaut's The Wild Child (1970), Two English Girls (1971) and The Green Room (1978); Jean-Luc Godard's Les carabiniers (1963); Chantal Akerman's The Eighties (1983) and Golden Eighties (1986); the scenario for Resnais's Love Unto Death (1984); and he worked with Jean-Pierre Dardenne and Luc Dardenne on You're on My Mind (1992). » - David Hudson...
- 6/9/2015
- Fandor: Keyframe
Jean Gruault, who wrote 25 screenplays between 1960 and 1995, has His screenplay for Alain Renais's Mon oncle d'Amérique (1980) was nominated for an Oscar and a César and won a David di Donatello Award. Other notable works include Jacques Rivette's debut feature, Paris Belongs to Us (1960), and Rivette's The Nun (1966); Roberto Rossellini's Vanina Vanini (1961) and The Taking of Power by Louis Xiv (1966); Jules and Jim (1962), co-written with François Truffaut, as well as Truffaut's The Wild Child (1970), Two English Girls (1971) and The Green Room (1978); Jean-Luc Godard's Les carabiniers (1963); Chantal Akerman's The Eighties (1983) and Golden Eighties (1986); the scenario for Resnais's Love Unto Death (1984); and he worked with Jean-Pierre Dardenne and Luc Dardenne on You're on My Mind (1992). » - David Hudson...
- 6/9/2015
- Keyframe
I’ve been there before. One week into the strenuous daily grind that is Cannes and the tired journalist/critic might think twice about a project featuring 15th century incest from a filmmaker whose only break out film was the Critics’ Week selected Declaration of War back in 2011. The byline you’ll read every review is the fact the film’s (partly) based on a screenplay that Jean Gruault wrote for Francois Truffaut in the 70s and that he it never materialized until now. Since 2009’s The Queen of Hearts, creative pairing Valerie Donzelli and JeremieElkaïm are on a film per year pace (add Hand in Hand (2012) and Just Love! (2013) to the filmography) and their In Comp debut tackles taboo in fairy tale mode. Starring Elkaïm and Anaïs Demoustier as brother and sister, the film is being called beautiful to look at by some, but in our critics grid we...
- 5/20/2015
- by Eric Lavallee
- IONCINEMA.com
There is always that one movie in Cannes. It’s “the child molester movie” or “the father- daughter incest movie” or “the middle-aged women paying for impoverished sex workers movie.” Now we have “the brother-and-sister incest fairy tale.” That pretty well sums up “Marguerite & Julien,” a film with a bit of a backstory. Author Jean Gruault once wrote a screenplay for Francois Truffaut called “History of Julien & Marguerite,” the true story of a brother and sister who were executed for adultery and incest. Truffaut was planning to make it into a sweeping epic in the 1970s. Donzelli then took up.
- 5/19/2015
- by Sasha Stone
- The Wrap
Woody Allen, Asif Kapadia, Natalie Portman and Pete Docter set for Out of Competition screenings.Cannes 2015Full line-upCOMMENT: surprises and no-showsBLOG: Comment and reactions
Cannes Film Festival delegate general Thierry Fremaux unveiled the Official Selection for its 68th edition (May 13-24) at a packed conference in Paris On Thursday morning.
“It’s a beautiful, fresh line-up which formulates ideas, takes risks and says something about the state of creativity in cinema around the world,” Fremaux told reporters at the Ugc Normandie Cinema on the Champs Elysées
The selection is a sign that Fremaux and his programming team are attempting to shake things up with Cannes old-timers vying for the Palme d’Or against a slew of first-time contenders.
Jacques Audiard’s provisionally titled Dheepan, Hou Hsiao Hsien’s The Assassin and Nanni Moretti’s Mia Madre will compete with French director Valérie Donzelli’s Marguerite And Julien, Norwegian Joachim Trier’s Louder Than Bombs, Greek filmmaker...
Cannes Film Festival delegate general Thierry Fremaux unveiled the Official Selection for its 68th edition (May 13-24) at a packed conference in Paris On Thursday morning.
“It’s a beautiful, fresh line-up which formulates ideas, takes risks and says something about the state of creativity in cinema around the world,” Fremaux told reporters at the Ugc Normandie Cinema on the Champs Elysées
The selection is a sign that Fremaux and his programming team are attempting to shake things up with Cannes old-timers vying for the Palme d’Or against a slew of first-time contenders.
Jacques Audiard’s provisionally titled Dheepan, Hou Hsiao Hsien’s The Assassin and Nanni Moretti’s Mia Madre will compete with French director Valérie Donzelli’s Marguerite And Julien, Norwegian Joachim Trier’s Louder Than Bombs, Greek filmmaker...
- 4/16/2015
- ScreenDaily
Exclusive: Company racks up sales on Margarethe von Trotta’s The Misplaced World ahead of Berlinale premiere.
Paris-based sales powerhouse Wild Bunch has unveiled a packed Efm slate, including Margarethe von Trotta’s The Misplaced World, Michel Franco’s English-language debut Chronic and The Goetz Brothers’ Martyrs.
The company is already reporting strong business ahead of the Berlinale Special premiere for The Misplaced World, about a German jazz singer who discovers a family secret when she heads to New York to track down an opera singer who resembles her late mother.
It is von Trotta’s first film since her 2012 Hannah Arendt, which played successfully in theatres worldwide.
So far, The Misplaced World has been picked up for Spain (Golem Distribucion), Greece (Strada Films) Portugal (Leopardo Filmes), Hungary (Vertigo Films), Israel (Nachshon Films), Turkey (Calinos Film), Brazil (Mares Films) and Japan (Gaga Corporation). Van Trotta’s long-time distributor Concorde will release the film in Germany.
Wild Bunch co-chief...
Paris-based sales powerhouse Wild Bunch has unveiled a packed Efm slate, including Margarethe von Trotta’s The Misplaced World, Michel Franco’s English-language debut Chronic and The Goetz Brothers’ Martyrs.
The company is already reporting strong business ahead of the Berlinale Special premiere for The Misplaced World, about a German jazz singer who discovers a family secret when she heads to New York to track down an opera singer who resembles her late mother.
It is von Trotta’s first film since her 2012 Hannah Arendt, which played successfully in theatres worldwide.
So far, The Misplaced World has been picked up for Spain (Golem Distribucion), Greece (Strada Films) Portugal (Leopardo Filmes), Hungary (Vertigo Films), Israel (Nachshon Films), Turkey (Calinos Film), Brazil (Mares Films) and Japan (Gaga Corporation). Van Trotta’s long-time distributor Concorde will release the film in Germany.
Wild Bunch co-chief...
- 1/31/2015
- ScreenDaily
Sales company unveils new films by Donzelli, Sfar, Odoul and Garrel at Paris Rendez-vous.
Wild Bunch will kick off sales on nine new French titles at this year’s Rendez-vous with French Cinema in Paris (Jan 15-19), many of which will be completed in time for a potential Cannes slot, including an incestuous love story by Valérie Donzelli and First World War drama by Damien Odoul.
The company will also show first images of several previously announced productions including Jacques Audiard’s untitled drama revolving around Sri Lankan immigrants in Paris, which it is co-selling with Celluloid Dreams, and Julie Delpy’s France-set romance Lolo, in which she stars as a chic Parisian sophisticate who falls for a geeky It expert played by Dany Boon.
There will also be a promo-reel for Arnaud Desplechin’s My Golden Years (aka Three Memories of Childhood), revisiting the childhood of Paul Dédalus, the protagonist in his 1997 film My Sex Lifewho...
Wild Bunch will kick off sales on nine new French titles at this year’s Rendez-vous with French Cinema in Paris (Jan 15-19), many of which will be completed in time for a potential Cannes slot, including an incestuous love story by Valérie Donzelli and First World War drama by Damien Odoul.
The company will also show first images of several previously announced productions including Jacques Audiard’s untitled drama revolving around Sri Lankan immigrants in Paris, which it is co-selling with Celluloid Dreams, and Julie Delpy’s France-set romance Lolo, in which she stars as a chic Parisian sophisticate who falls for a geeky It expert played by Dany Boon.
There will also be a promo-reel for Arnaud Desplechin’s My Golden Years (aka Three Memories of Childhood), revisiting the childhood of Paul Dédalus, the protagonist in his 1997 film My Sex Lifewho...
- 1/14/2015
- ScreenDaily
Valérie Donzelli, the actress-turned director who we most recently caught as a supporting player in the garishly dressed Saint Laurent, Bertrand Bonello’s stylized biopic might have found a taste for risky content as cameras are set to lense next week on her fourth feature film. The Cineuropa folks report that Donzelli has completed the casting on Marguerite et Julien, a project that François Truffaut flirted with but ultimately passed on. Completing the cast we find Aurélia Petit (The Science of Sleep), vet thesps Sami Frey and Geraldine Chaplin, reuniting with her fellow Declaration of War‘s Frédéric Pierrot and Bastien Bouillon who join the previously announced duo of Anaïs Demoustier (you can find her in Ozon’s latest, the recently acquired Cohen Media’s The New Girlfriend) and Jérémie Elkaïm (full-time collaborator with Donzelli who we also discovered in Declaration of War). Rectangle Productions’ Edouard Weil (Benoît Jacquot’s...
- 9/30/2014
- by Eric Lavallee
- IONCINEMA.com
Mon oncle d’Amérique
Written by Jean Gruault and Henri Laborit
Directed by Alain Resnais
France, 1980
To wax in a state of eulogy about Alain Resnais is to have reviewed his last few features at the times they premiered. With Wild Grass, You Ain’t Seen Nothin’ Yet, and the incredibly recent Life of Riley, reviewers understandably noted his age. Resnais was in his late eighties and early nineties, still producing films containing a youthful charm, his resolution on the festival circuit as firm as ever. Perhaps then, it still came as a surprise that at the age of 91, Resnais had passed, leaving a remarkable six decades of major work behind, rivaled at this point only by 105-year-old arthouse compatriot Manoel de Oliveira. Surprising, yes, thanks to his experimental shock to the film world in Last Year at Marienbad and Hiroshima, mon amour being equaled by his recent output, a promising second wind.
Written by Jean Gruault and Henri Laborit
Directed by Alain Resnais
France, 1980
To wax in a state of eulogy about Alain Resnais is to have reviewed his last few features at the times they premiered. With Wild Grass, You Ain’t Seen Nothin’ Yet, and the incredibly recent Life of Riley, reviewers understandably noted his age. Resnais was in his late eighties and early nineties, still producing films containing a youthful charm, his resolution on the festival circuit as firm as ever. Perhaps then, it still came as a surprise that at the age of 91, Resnais had passed, leaving a remarkable six decades of major work behind, rivaled at this point only by 105-year-old arthouse compatriot Manoel de Oliveira. Surprising, yes, thanks to his experimental shock to the film world in Last Year at Marienbad and Hiroshima, mon amour being equaled by his recent output, a promising second wind.
- 3/10/2014
- by Zach Lewis
- SoundOnSight
Complex and avant-garde French film director best known for Night and Fog and Last Year in Marienbad
Alain Resnais, who has died aged 91, was a director of elegance and distinction who, despite generally working from the screenplays of other writers, established an auteurist reputation. His films were singular, instantly recognisable by their style as well as through recurring themes and preoccupations. Primary concerns were war, sexual relationships and the more abstract notions of memory and time. His characters were invariably adult (children were excluded as having no detailed past) middle-class professionals. His style was complex, notably in the editing and often – though not always – dominated by tracking shots and multilayered sound.
He surrounded himself with actors, musicians and writers of enormous talent and the result was a somewhat elitist body of work with little concern for realism or the socially or intellectually deprived. Even overtly political works, Night and Fog,...
Alain Resnais, who has died aged 91, was a director of elegance and distinction who, despite generally working from the screenplays of other writers, established an auteurist reputation. His films were singular, instantly recognisable by their style as well as through recurring themes and preoccupations. Primary concerns were war, sexual relationships and the more abstract notions of memory and time. His characters were invariably adult (children were excluded as having no detailed past) middle-class professionals. His style was complex, notably in the editing and often – though not always – dominated by tracking shots and multilayered sound.
He surrounded himself with actors, musicians and writers of enormous talent and the result was a somewhat elitist body of work with little concern for realism or the socially or intellectually deprived. Even overtly political works, Night and Fog,...
- 3/3/2014
- by Brian Baxter
- The Guardian - Film News
Jules and Jim
Directed by François Truffaut
Written by François Truffaut and Jean Gruault
France, 1962
In François Truffaut’s debut feature, The 400 Blows, widely seen as the flagship production of the French Nouvelle Vague, or “New Wave,” he was able to convey a representation of youth in a very specific era and, at that time, in a very unique way. Autobiographical as the 1959 film was, it also featured a notable vitality and honesty, two traits that would distinguish several of these French films from the late 1950s and into the ’60s. While The 400 Blows was an earnest and refreshing portrayal of adolescence, in some ways, Truffaut’s 1962 feature, Jules and Jim, his third, feels even more youthful, in terms of stylistic daring and energetic exuberance. Though dealing with adults and serious adult situations, Jules and Jim exhibits a formal sense of unbridled glee, with brisk editing, amusing asides,...
Directed by François Truffaut
Written by François Truffaut and Jean Gruault
France, 1962
In François Truffaut’s debut feature, The 400 Blows, widely seen as the flagship production of the French Nouvelle Vague, or “New Wave,” he was able to convey a representation of youth in a very specific era and, at that time, in a very unique way. Autobiographical as the 1959 film was, it also featured a notable vitality and honesty, two traits that would distinguish several of these French films from the late 1950s and into the ’60s. While The 400 Blows was an earnest and refreshing portrayal of adolescence, in some ways, Truffaut’s 1962 feature, Jules and Jim, his third, feels even more youthful, in terms of stylistic daring and energetic exuberance. Though dealing with adults and serious adult situations, Jules and Jim exhibits a formal sense of unbridled glee, with brisk editing, amusing asides,...
- 2/7/2014
- by Jeremy Carr
- SoundOnSight
I don't remember the first time I watched Fran?ois Truffaut's Jules and Jim, but I remember appreciating it though not loving it. Watching it again on Criterion's new Blu-ray release (buy it here) I feel a greater level of respect, but the film almost feels clinical to me more than anything else. As Truffaut tells the story of a love triangle between Jules (Oskar Werner), Jim (Henri Serre) and the free-spirited Catherine (Jeanne Moreau) I couldn't help but feel that each scene is a masterclass in filmmaking, though almost to a fault. Frequently cited as one of the best films ever made, and I assume many would argue Truffaut's best film, though I'm sure admirers of The 400 Blows would beg to differ, Jules and Jim is an adaptation of Henri-Pierre Roche's novel, which Truffaut clearly adored as evidenced by the multitude of interview segments included on this disc.
- 2/6/2014
- by Brad Brevet
- Rope of Silicon
Blu-ray & DVD Release Date: Feb. 4, 2014
Price: Blu-ray/DVD Combo $39.95
Studio: Criterion
Hailed as one of the finest films ever made, the 1962 drama-romance Jules and Jim charts, over twenty-five years, the relationship between two friends and the object of their mutual obsession.
The legendary François Truffaut (The 400 Blows) directs, and Jeanne Moreau (La Notte) stars as the alluring and willful Catherine, whose enigmatic smile and passionate nature lure Jules (The Spy Who Came in from the Cold’s Oskar Werner) and Jim (The Fire Within’s Henri Serre) into one of cinema’s most captivating romantic triangles.
An exuberant and poignant meditation on freedom, loyalty, and the fortitude of love, the classic Jules and Jim was a worldwide smash a half-century ago and remains every bit as audacious and entrancing today.
Presented in French with English subtitles, Criterion’s Blu-ray/DVD Combo of Jules and Jim includes the following features:
• New 2K digital restoration,...
Price: Blu-ray/DVD Combo $39.95
Studio: Criterion
Hailed as one of the finest films ever made, the 1962 drama-romance Jules and Jim charts, over twenty-five years, the relationship between two friends and the object of their mutual obsession.
The legendary François Truffaut (The 400 Blows) directs, and Jeanne Moreau (La Notte) stars as the alluring and willful Catherine, whose enigmatic smile and passionate nature lure Jules (The Spy Who Came in from the Cold’s Oskar Werner) and Jim (The Fire Within’s Henri Serre) into one of cinema’s most captivating romantic triangles.
An exuberant and poignant meditation on freedom, loyalty, and the fortitude of love, the classic Jules and Jim was a worldwide smash a half-century ago and remains every bit as audacious and entrancing today.
Presented in French with English subtitles, Criterion’s Blu-ray/DVD Combo of Jules and Jim includes the following features:
• New 2K digital restoration,...
- 11/19/2013
- by Laurence
- Disc Dish
You must publish that poem. You must!
Representing the writing process is notoriously difficult. Writing is an internal event that takes time and, to an outside observer, is quite boring. That is the kind of thing you’d find in a "how-to" book on screenwriting. After seeing Les soeurs Brontë (1979) (The Brontë Sisters), one might have a small pause before agreeing. Director André Téchiné (with Pascal Bonitzer and Jean Gruault) approached the task by performing scenes from the authors’ lives that find their way into the famous novels (much like Shakespeare In Love (1998)). Emily (Isabelle Adjani), Charlotte (Marie-France Pisier), and Anne (Isabelle Huppert) all wrote about brooding, quiet lives in the cold, hard north of England.
Read more...
Representing the writing process is notoriously difficult. Writing is an internal event that takes time and, to an outside observer, is quite boring. That is the kind of thing you’d find in a "how-to" book on screenwriting. After seeing Les soeurs Brontë (1979) (The Brontë Sisters), one might have a small pause before agreeing. Director André Téchiné (with Pascal Bonitzer and Jean Gruault) approached the task by performing scenes from the authors’ lives that find their way into the famous novels (much like Shakespeare In Love (1998)). Emily (Isabelle Adjani), Charlotte (Marie-France Pisier), and Anne (Isabelle Huppert) all wrote about brooding, quiet lives in the cold, hard north of England.
Read more...
- 8/6/2013
- by Jason Ratigan
- JustPressPlay.net
Col*Coa is winding down, but you can still catch a few stellar films and see the award winners for free Monday, April 22, 2013.
Award Screenings at 6:00 pm: The evening will start with the rerun of two awarded films in the Renoir and Truffaut Theaters at the DGA. Films will be announced on Sunday April 21 on the Col*Coa website, on Facebook, Twitter and on the Col•Coa info line (310) 289 5346. Free admission on a First comes First Served basis. No RSVP needed.
You can stay and also see the Closing Night Films at 8:30 pm at the DGA. Reservations needed. Those are both North American Premieres of two very anticipated French films. The thriller Moebus by Eric Rochant will show for free as will the comedy Like Brothers by Hugo Gélin.
Being among the French filmmakers (and I saw way too few of the films) gave me such a surprising sense of renewal - again because of this upcoming generation. After seeing City of Lights, the short by Pascal Tessaud which preceded the classic Jacques Demy film Bay of Angels starring a platinum blond gambling-addicted Jeanne Moreau in Cannes, Nice and Monte Carlo in 1963, we spoke at length about what is called "The New Vibe". City of Lights stars a deeply quiet young man from "les banlieus", the notorious "suburbs" surrounding Paris where the international mix of young (and old) proletariat population is invisible to the rest of France except when the anger erupts into riots. This first generation has the French education but not the money or jobs and it hurts. They have picked up the cameras and with no money are creating films which express their lives in many ways like the new Latin American filmmakers or the new Eastern European filmmakers. Tessaud gave me an entire education in the hour we talked and I will share this in time. For now, aside from his wonderfuly trenchant film which played like a feature, which captured the Paris this young generation recognizes as The City of Lights - dancing, the kitchen of a very upscale restaurant, the dreary streets filled with construction, there is another example of The New Vibe, started by Rachid Djaïdani (a story in himself) the film Hold Back (Rengaine) leads the pack of the 20-some-odd new films of The New Vibe. It is produced by Anne-Dominque Toussaint (Les Films des Tournelles) whose films are too numerous to name but include my favorite The Hedgehog which I wrote about at Col*Coa two years ago, Col*Coa's current Cycling with Moliere, 2002's Respiro and many many others. Hold Back took 9 years to make and most of the team was unpaid. The New Vibe makes films without the aid of the French system of funding; it is more guerilla-style, not New Wave, not Dogma but New Vibe. Hold Back took Cannes by storm when it showed last year in Directors Fortnight and went on to New Directors/ New Films in New York. The classic story of a Catholic and a Muslim who want to marry but whose family objects, this rendition the Juliet has a brother who marches throughout Paris to alert her 39 other brothers that she wants to marry outside her cultural and religious traditions. "This fresh debut mixes fable, plucky social commentary - particularly about France's Arab community - and inventive comic setpieces" (Col*Coa)
Hold Back (Rengaine) (Isa: Pathe) goes beyond the funny but "establishmant" film Intouchable which played here last year. It is the exact opposite of such films as Sister or even Aliyah (Isa: Rezo) which played here this year and also in Directors Fortnight last year. Aliyah is about a young French Jewish man who must make his last drug sale in order to escape his brother's destructive behavior. He escapes by immigrating to Israel. These films are made by filmmakers within the French establishment and describe a proletariat existence which exists in their bourgeois minds. They lack a certain "verite" which can only be captured by one who knows viscerally what such marginal existence is.
At the opposite end of the contemporary spectrum of films today, a real establishment film is You Ain't Seen Nothing Yet by Alain Renais (you have to be a Renais fan to love it who was so avant-garde in his day). Those old New Wave films one could see here stand out in beautiful contrast to today's New Vibe: Renais' Stavisky or the 1963 film The Fire Within (Le feu follet) by Louis Malle again starring the beautiful Jeanne Moreau. I missed them both to my regret. When I miss a film I always tell myself I can see it when it's released or on DVD or Mubi, but rarely do I get to see it. Instead I can only read about it as here written up by Beth Hanna on Indiewire blog ToH. The Fire Within was part of Wes Anderson's choices, one of the various showcases of Col*Coa. Says Hanna: "Anderson's taste is impeccable: He has selected Louis Malle's 1963 lyrical depression drama The Fire Within." It was made after the classic Elevator to the Gallows (1958) which Miles Davis scored and which also starred the young Jeanne Moreau. She also could be seen her in Col*Coa in the classic 1963 Jacques Demy-directed Bay of Angels.
Col*Coa really offered something for everyone this year. Another of my favorite film genres, the Jewish film, was represented by Aliyah and The Dandelions (Du Vent dans mes mollets) (Isa: Gaumont), Stavisky, and It Happened in St. Tropez (Isa: Pathe), a classic French comedy -- though a bit dark and yet still comedic, about romance, love and marriage switching between generations in a neurotic, comfortably wealthy Jewish family. The Dandelions was, according to my friend Debra Levine, a writer on culture including film and dance, (see her blog artsmeme), "darling, so touching, so well made, so creative ... i really liked it. Went into that rabbit hole of little girls together ... Barbie doll play. Crazy creative play. As looney as kids can be."
Ian Birnie's favorite film was Becoming Traviata. Greg Katchel's favorite originally was Rendez-vous à Kiruna by Anna Novion, but when I saw him later in the festival his favorite was Cycling with Moliere (Alceste a bicyclette) (Isa: Pathe), again produced by Anne-Dominque Toussaint and directed by Philippe Le Guay who directed one of my favorites, The Women on the 6th Floor. Greg also liked Three Worlds though it was a bit "schematic" in depicting the clash of different cultures which were also shown in Hold Back.
Of the few films I was able to see, the most interesting was Augustine by Alice Winokur. It is the French response to David Cronenberg's A Dangerous Method and the British film Hysteria. All three were about the turn of the century concern of psychologists or doctors with female hysteria. This one concerned Jean-Martin Charcot and the neurologist's belief that hysteria was a neurological disease and he used hypnosis to get at its roots, whild in A Dangerous Method it was seen by Freud and Jung as a mental disorder and in Hysteria by Tanya Wexler (Tiff 2011) in which Dr. Mortimer Granville devises the invention of the first vibrator in the name of medical science.
Take a look at Indiewire's own article here for more on Los Angeles's greatest French attraction, the second largest French film festival in the world.
Several American distributors will present their films at Col•Coa before their U.S. release: Kino Lorber – You Ain’t Seen Nothing Yet, co-written and directed by Alain Resnais (Focus on a Filmmaker); Mpi Media – Thérèse, the last film of director/co-writer Claude Miller starring Audrey Tautou; Cohen Media Group – In the House, written and directed by François Ozon and The Attack, co-written and directed by Ziad Doueiri; Distrib Films for two documentaries: Becoming Traviata and The Invisibles; Film Movement for two thrillers: Aliyah and Three Worlds; The Weinstein Company - Populaire.
Below you can see the international sales agents for the current features showing.
11.6 / 11.6 (Isa: Wild Bunch)
Directed by: Philippe Godeau
Written by: Philippe Godeau, Agnès De Sacy
A Few Hours Of Spring / Quelques heures de printemps (Isa: Rezo)
Directed by: Stéphane Brizé ♀
Written by: Stéphane Brizé, Florence Vignon
Cast: Vincent Lindon, Hélène Vincent, Emmanuelle Seigner, Olivier Perrier
Aliyah/Alyah ✡ (Isa: Rezo, U.S.: Film Movement
Directed by: Élie Wajeman
Written by: Élie Wajeman, Gaëlle Macé
Armed Hands / Mains armées (Isa: Films Distribution)
Directed by: Pierre Jolivet
Written by: Pierre Jolivet, Simon Michaël
Augustine / Augustine (Isa: Kinology, U.S.: Music Box)
Directed by: Alice Winocour ♀
Written by: Alice Winocour
Aya Of Yop City / Aya de Yopougon (Isa: TF1)
Directed by: Clément Oubrerie, Marguerite Abouet ♀
Written by: Marguerite Abouet
Bay Of Angels / La Baie des anges (U.S.: Criterion)
Directed by: Jacques Demy
Written by: Jacques Demy
Becoming Traviata /Traviata et nous (Isa: Films Boutique, U.S. Distrib Films and Cinema Guild)
Directed by: Philippe Béziat
Written by: Philippe Béziat
Cycling With MOLIÈRE / Alceste à bicyclette (Isa: Pathe)
Directed by: Philippe Le Guay
Written by: Philippe Le Guay, based on an original idea by Fabrice Luchini and Philippe Le Guay
Fly Me To The Moon / Un plan parfait (Isa: Kinology)
Directed By: Pascal Chaumeil
Written By: Laurent Zeitoun, Yoann Gromb, Philippe Mechelen
Haute Cuisine / Les Saveurs du palais (Isa: Wild Bunch, U.S.: The Weinstein Company)
Directed by: Christian Vincent
Written by: Etienne Comar & Christian Vincent, based on the life of Danièle Mazet-Delpeuch
Hidden Beauties / Mille-Feuille (Isa: Other Angle Pictures)
Directed by: Nouri Bouzid
Written by: Nouri Bouzid, Joumène Limam
Hold Back / Rengaine (Isa: Pathe)
Directed by: Rachid Djaïdani
Written by: Rachid Djaïdani
In The House / Dans la maison (Isa: Wild Bunch, U.S.: Cohen Media Group)
Directed by: François Ozon
Written by: François Ozon
It Happened In Saint-tropez / Des Gens qui s’embrassent (Isa: Pathe)
Directed by: Danièle Thompson ♀
Written by: Danièle Thompson, Christopher Thompson
Jappeloup/ Jappeloup (Isa: Pathe)
Directed by: Christian Duguay
Written by: Guillaume Canet
Le Grand Soir / Le grand soir (Isa: Funny Balloons)
Directed by: Benoît Delépine and Gustave de Kervern
Written by: Benoît Delépine and Gustave de Kervern
Little Lion / Comme un Lion (Isa: Pyramide)
Directed by: Samuel Collardey
Written by: Catherine Paillé, Nadège Trebal, Samuel Collardey
Moon Man / Jean de la lune (Isa: Le Pacte)
Directed By: Stephan Schesch
Written By: Stephan Schesch, Ralph Martin. Based on the book by: Tomi Ungerer
Populaire / Populaire (Isa: Wild Bunch, U.S.: TWC)
Directed By: Régis Roinsard
Written By: Régis Roinsard, Daniel Presley, Romain Compingt
Rendezvous In Kiruna / Rendez-vous à Kiruna (Isa: Pyramide)
Directed by: Anne Novion ♀
Written by: Olivier Massart, Anne Novion, Pierre Novion
Sons Of The Wind / Les Fils du vent (Isa: Wide)
Directed by: Bruno Le Jean
Written by: Bruno Le Jean
Stavisky / Stavisky (1974) (Isa: StudioCanal)
Directed by: Alain Resnais
Written by: Jorge Semprún
The Attack / L’Attentat
France, Belgium, Lebanon, Qatar, 2013
Directed by: Ziad Doueiri (Isa: Wild Bunch, U.S.: Cohen Media Group)
The BRONTË Sisters / Les Soeurs Brontë (Isa: Gaumont, U.S.: Cohen Media Group)
Directed by: André Téchiné
Written by: André Téchiné, Jean Gruault, Pascal Bonitzer
The Dandelions / Du Vent dans mes mollets ✡
Directed By: Carine Tardieu ♀
Written By: Carine Tardieu, Raphaële Moussafir, Olivier Beer
The Fire Within / Le Feu Follet (1963) (Isa: Pyramide, U.S.: Janus Films)
Directed by: Louis Malle
Written by: Louis Malle
The Invisibles / Les Invisibles (Isa: Doc & Film, U.S. Distrib Films))
Directed By: Sébastien Lifshitz
The Man Who Laughs/ L’Homme qui rit (Isa: EuropaCorps)
Directed by: Jean-Pierre Améris
Written by: Jean-Pierre Améris , Guillaume Laurant
THÉRÈSE / Thérèse Desqueyroux (Isa: TF1, U.S.: Mpi)
Directed by: Claude Miller
Written by: Claude Miller, Natalie Carter
Three Worlds / Trois mondes (Isa: Pyramide, U.S.: Film Movement)
Directed by: Catherine Corsini ♀
Written by: Catherine Corsini, Benoît Graffin
To Our Loves / À nos amours (1983) (U.S. Janus)
Directed By: Maurice Pialat
Written By: Arlette Langmann, Maurice Pialat
True Friends / Amitiés sincères (Isa: Snd Groupe 6)
Directed By: Stéphan Archinard, François Prévôt-Leygonie
Written By: Stéphan Archinard, François Prévôt-Leygonie, Marie-Pierre Huster
Welcome To Argentina / Mariage à Mendoza (Isa: Kinology)
Directed By: Édouard Deluc
Written By: Anaïs Carpita, Édouard Deluc, Thomas Lilti, Philippe Rebbot
What’S In A Name / Le prénom (Isa: Pathe, U.S. Under The Milky Way)
Directed by: Alexandre de La Patellière, Matthieu Delaporte
Written by: Alexandre de La Patellière, Matthieu Delaporte
You Ain’T Seen Nothin’ Yet / Vous n’avez encore rien vu (Isa: StudioCanal, U.S.: Kino Lorber)
Directed By: Alain Resnais
Written By: Alain Resnais, Laurent Herbiet...
Award Screenings at 6:00 pm: The evening will start with the rerun of two awarded films in the Renoir and Truffaut Theaters at the DGA. Films will be announced on Sunday April 21 on the Col*Coa website, on Facebook, Twitter and on the Col•Coa info line (310) 289 5346. Free admission on a First comes First Served basis. No RSVP needed.
You can stay and also see the Closing Night Films at 8:30 pm at the DGA. Reservations needed. Those are both North American Premieres of two very anticipated French films. The thriller Moebus by Eric Rochant will show for free as will the comedy Like Brothers by Hugo Gélin.
Being among the French filmmakers (and I saw way too few of the films) gave me such a surprising sense of renewal - again because of this upcoming generation. After seeing City of Lights, the short by Pascal Tessaud which preceded the classic Jacques Demy film Bay of Angels starring a platinum blond gambling-addicted Jeanne Moreau in Cannes, Nice and Monte Carlo in 1963, we spoke at length about what is called "The New Vibe". City of Lights stars a deeply quiet young man from "les banlieus", the notorious "suburbs" surrounding Paris where the international mix of young (and old) proletariat population is invisible to the rest of France except when the anger erupts into riots. This first generation has the French education but not the money or jobs and it hurts. They have picked up the cameras and with no money are creating films which express their lives in many ways like the new Latin American filmmakers or the new Eastern European filmmakers. Tessaud gave me an entire education in the hour we talked and I will share this in time. For now, aside from his wonderfuly trenchant film which played like a feature, which captured the Paris this young generation recognizes as The City of Lights - dancing, the kitchen of a very upscale restaurant, the dreary streets filled with construction, there is another example of The New Vibe, started by Rachid Djaïdani (a story in himself) the film Hold Back (Rengaine) leads the pack of the 20-some-odd new films of The New Vibe. It is produced by Anne-Dominque Toussaint (Les Films des Tournelles) whose films are too numerous to name but include my favorite The Hedgehog which I wrote about at Col*Coa two years ago, Col*Coa's current Cycling with Moliere, 2002's Respiro and many many others. Hold Back took 9 years to make and most of the team was unpaid. The New Vibe makes films without the aid of the French system of funding; it is more guerilla-style, not New Wave, not Dogma but New Vibe. Hold Back took Cannes by storm when it showed last year in Directors Fortnight and went on to New Directors/ New Films in New York. The classic story of a Catholic and a Muslim who want to marry but whose family objects, this rendition the Juliet has a brother who marches throughout Paris to alert her 39 other brothers that she wants to marry outside her cultural and religious traditions. "This fresh debut mixes fable, plucky social commentary - particularly about France's Arab community - and inventive comic setpieces" (Col*Coa)
Hold Back (Rengaine) (Isa: Pathe) goes beyond the funny but "establishmant" film Intouchable which played here last year. It is the exact opposite of such films as Sister or even Aliyah (Isa: Rezo) which played here this year and also in Directors Fortnight last year. Aliyah is about a young French Jewish man who must make his last drug sale in order to escape his brother's destructive behavior. He escapes by immigrating to Israel. These films are made by filmmakers within the French establishment and describe a proletariat existence which exists in their bourgeois minds. They lack a certain "verite" which can only be captured by one who knows viscerally what such marginal existence is.
At the opposite end of the contemporary spectrum of films today, a real establishment film is You Ain't Seen Nothing Yet by Alain Renais (you have to be a Renais fan to love it who was so avant-garde in his day). Those old New Wave films one could see here stand out in beautiful contrast to today's New Vibe: Renais' Stavisky or the 1963 film The Fire Within (Le feu follet) by Louis Malle again starring the beautiful Jeanne Moreau. I missed them both to my regret. When I miss a film I always tell myself I can see it when it's released or on DVD or Mubi, but rarely do I get to see it. Instead I can only read about it as here written up by Beth Hanna on Indiewire blog ToH. The Fire Within was part of Wes Anderson's choices, one of the various showcases of Col*Coa. Says Hanna: "Anderson's taste is impeccable: He has selected Louis Malle's 1963 lyrical depression drama The Fire Within." It was made after the classic Elevator to the Gallows (1958) which Miles Davis scored and which also starred the young Jeanne Moreau. She also could be seen her in Col*Coa in the classic 1963 Jacques Demy-directed Bay of Angels.
Col*Coa really offered something for everyone this year. Another of my favorite film genres, the Jewish film, was represented by Aliyah and The Dandelions (Du Vent dans mes mollets) (Isa: Gaumont), Stavisky, and It Happened in St. Tropez (Isa: Pathe), a classic French comedy -- though a bit dark and yet still comedic, about romance, love and marriage switching between generations in a neurotic, comfortably wealthy Jewish family. The Dandelions was, according to my friend Debra Levine, a writer on culture including film and dance, (see her blog artsmeme), "darling, so touching, so well made, so creative ... i really liked it. Went into that rabbit hole of little girls together ... Barbie doll play. Crazy creative play. As looney as kids can be."
Ian Birnie's favorite film was Becoming Traviata. Greg Katchel's favorite originally was Rendez-vous à Kiruna by Anna Novion, but when I saw him later in the festival his favorite was Cycling with Moliere (Alceste a bicyclette) (Isa: Pathe), again produced by Anne-Dominque Toussaint and directed by Philippe Le Guay who directed one of my favorites, The Women on the 6th Floor. Greg also liked Three Worlds though it was a bit "schematic" in depicting the clash of different cultures which were also shown in Hold Back.
Of the few films I was able to see, the most interesting was Augustine by Alice Winokur. It is the French response to David Cronenberg's A Dangerous Method and the British film Hysteria. All three were about the turn of the century concern of psychologists or doctors with female hysteria. This one concerned Jean-Martin Charcot and the neurologist's belief that hysteria was a neurological disease and he used hypnosis to get at its roots, whild in A Dangerous Method it was seen by Freud and Jung as a mental disorder and in Hysteria by Tanya Wexler (Tiff 2011) in which Dr. Mortimer Granville devises the invention of the first vibrator in the name of medical science.
Take a look at Indiewire's own article here for more on Los Angeles's greatest French attraction, the second largest French film festival in the world.
Several American distributors will present their films at Col•Coa before their U.S. release: Kino Lorber – You Ain’t Seen Nothing Yet, co-written and directed by Alain Resnais (Focus on a Filmmaker); Mpi Media – Thérèse, the last film of director/co-writer Claude Miller starring Audrey Tautou; Cohen Media Group – In the House, written and directed by François Ozon and The Attack, co-written and directed by Ziad Doueiri; Distrib Films for two documentaries: Becoming Traviata and The Invisibles; Film Movement for two thrillers: Aliyah and Three Worlds; The Weinstein Company - Populaire.
Below you can see the international sales agents for the current features showing.
11.6 / 11.6 (Isa: Wild Bunch)
Directed by: Philippe Godeau
Written by: Philippe Godeau, Agnès De Sacy
A Few Hours Of Spring / Quelques heures de printemps (Isa: Rezo)
Directed by: Stéphane Brizé ♀
Written by: Stéphane Brizé, Florence Vignon
Cast: Vincent Lindon, Hélène Vincent, Emmanuelle Seigner, Olivier Perrier
Aliyah/Alyah ✡ (Isa: Rezo, U.S.: Film Movement
Directed by: Élie Wajeman
Written by: Élie Wajeman, Gaëlle Macé
Armed Hands / Mains armées (Isa: Films Distribution)
Directed by: Pierre Jolivet
Written by: Pierre Jolivet, Simon Michaël
Augustine / Augustine (Isa: Kinology, U.S.: Music Box)
Directed by: Alice Winocour ♀
Written by: Alice Winocour
Aya Of Yop City / Aya de Yopougon (Isa: TF1)
Directed by: Clément Oubrerie, Marguerite Abouet ♀
Written by: Marguerite Abouet
Bay Of Angels / La Baie des anges (U.S.: Criterion)
Directed by: Jacques Demy
Written by: Jacques Demy
Becoming Traviata /Traviata et nous (Isa: Films Boutique, U.S. Distrib Films and Cinema Guild)
Directed by: Philippe Béziat
Written by: Philippe Béziat
Cycling With MOLIÈRE / Alceste à bicyclette (Isa: Pathe)
Directed by: Philippe Le Guay
Written by: Philippe Le Guay, based on an original idea by Fabrice Luchini and Philippe Le Guay
Fly Me To The Moon / Un plan parfait (Isa: Kinology)
Directed By: Pascal Chaumeil
Written By: Laurent Zeitoun, Yoann Gromb, Philippe Mechelen
Haute Cuisine / Les Saveurs du palais (Isa: Wild Bunch, U.S.: The Weinstein Company)
Directed by: Christian Vincent
Written by: Etienne Comar & Christian Vincent, based on the life of Danièle Mazet-Delpeuch
Hidden Beauties / Mille-Feuille (Isa: Other Angle Pictures)
Directed by: Nouri Bouzid
Written by: Nouri Bouzid, Joumène Limam
Hold Back / Rengaine (Isa: Pathe)
Directed by: Rachid Djaïdani
Written by: Rachid Djaïdani
In The House / Dans la maison (Isa: Wild Bunch, U.S.: Cohen Media Group)
Directed by: François Ozon
Written by: François Ozon
It Happened In Saint-tropez / Des Gens qui s’embrassent (Isa: Pathe)
Directed by: Danièle Thompson ♀
Written by: Danièle Thompson, Christopher Thompson
Jappeloup/ Jappeloup (Isa: Pathe)
Directed by: Christian Duguay
Written by: Guillaume Canet
Le Grand Soir / Le grand soir (Isa: Funny Balloons)
Directed by: Benoît Delépine and Gustave de Kervern
Written by: Benoît Delépine and Gustave de Kervern
Little Lion / Comme un Lion (Isa: Pyramide)
Directed by: Samuel Collardey
Written by: Catherine Paillé, Nadège Trebal, Samuel Collardey
Moon Man / Jean de la lune (Isa: Le Pacte)
Directed By: Stephan Schesch
Written By: Stephan Schesch, Ralph Martin. Based on the book by: Tomi Ungerer
Populaire / Populaire (Isa: Wild Bunch, U.S.: TWC)
Directed By: Régis Roinsard
Written By: Régis Roinsard, Daniel Presley, Romain Compingt
Rendezvous In Kiruna / Rendez-vous à Kiruna (Isa: Pyramide)
Directed by: Anne Novion ♀
Written by: Olivier Massart, Anne Novion, Pierre Novion
Sons Of The Wind / Les Fils du vent (Isa: Wide)
Directed by: Bruno Le Jean
Written by: Bruno Le Jean
Stavisky / Stavisky (1974) (Isa: StudioCanal)
Directed by: Alain Resnais
Written by: Jorge Semprún
The Attack / L’Attentat
France, Belgium, Lebanon, Qatar, 2013
Directed by: Ziad Doueiri (Isa: Wild Bunch, U.S.: Cohen Media Group)
The BRONTË Sisters / Les Soeurs Brontë (Isa: Gaumont, U.S.: Cohen Media Group)
Directed by: André Téchiné
Written by: André Téchiné, Jean Gruault, Pascal Bonitzer
The Dandelions / Du Vent dans mes mollets ✡
Directed By: Carine Tardieu ♀
Written By: Carine Tardieu, Raphaële Moussafir, Olivier Beer
The Fire Within / Le Feu Follet (1963) (Isa: Pyramide, U.S.: Janus Films)
Directed by: Louis Malle
Written by: Louis Malle
The Invisibles / Les Invisibles (Isa: Doc & Film, U.S. Distrib Films))
Directed By: Sébastien Lifshitz
The Man Who Laughs/ L’Homme qui rit (Isa: EuropaCorps)
Directed by: Jean-Pierre Améris
Written by: Jean-Pierre Améris , Guillaume Laurant
THÉRÈSE / Thérèse Desqueyroux (Isa: TF1, U.S.: Mpi)
Directed by: Claude Miller
Written by: Claude Miller, Natalie Carter
Three Worlds / Trois mondes (Isa: Pyramide, U.S.: Film Movement)
Directed by: Catherine Corsini ♀
Written by: Catherine Corsini, Benoît Graffin
To Our Loves / À nos amours (1983) (U.S. Janus)
Directed By: Maurice Pialat
Written By: Arlette Langmann, Maurice Pialat
True Friends / Amitiés sincères (Isa: Snd Groupe 6)
Directed By: Stéphan Archinard, François Prévôt-Leygonie
Written By: Stéphan Archinard, François Prévôt-Leygonie, Marie-Pierre Huster
Welcome To Argentina / Mariage à Mendoza (Isa: Kinology)
Directed By: Édouard Deluc
Written By: Anaïs Carpita, Édouard Deluc, Thomas Lilti, Philippe Rebbot
What’S In A Name / Le prénom (Isa: Pathe, U.S. Under The Milky Way)
Directed by: Alexandre de La Patellière, Matthieu Delaporte
Written by: Alexandre de La Patellière, Matthieu Delaporte
You Ain’T Seen Nothin’ Yet / Vous n’avez encore rien vu (Isa: StudioCanal, U.S.: Kino Lorber)
Directed By: Alain Resnais
Written By: Alain Resnais, Laurent Herbiet...
- 4/20/2013
- by Sydney Levine
- Sydney's Buzz
In conjunction with La Furia Umana, Notebook is very happy to present Ted Fendt's original English translation of Luc Moullet's "Rockefeller's Melancholy," on Michelangelo Antonioni. Moullet's original French version can be found at La Furia Umana. Our special thanks to Mr. Moullet, La Furia Umana and Ted Fendt for making this possible.
Above: "John D. Rockefeller" (1917) by John Singer Sargent.
Drifting is the fundamental subject of Antonioni’s films. They are about beings who don’t know where they are going, who constantly contradict themselves, and are guided by their momentary impulses. We don’t understand what they feel or why they act as they do.
Psychological cinema could be defined in this way: it is psychological when you don’t understand the motivation of emotions and behaviors. If you understand, it means it’s easy, immediately, at a very superficial level... The filmmaker must therefore let it be...
Above: "John D. Rockefeller" (1917) by John Singer Sargent.
Drifting is the fundamental subject of Antonioni’s films. They are about beings who don’t know where they are going, who constantly contradict themselves, and are guided by their momentary impulses. We don’t understand what they feel or why they act as they do.
Psychological cinema could be defined in this way: it is psychological when you don’t understand the motivation of emotions and behaviors. If you understand, it means it’s easy, immediately, at a very superficial level... The filmmaker must therefore let it be...
- 4/2/2012
- MUBI
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