Claude Chabrol’s ‘minor’ wartime drama is one of the best movies of its kind I’ve seen. A French town under German rule lies on a river straddling occupied and Vichy territories, and becomes a hotbed of intrigues. Yes, there’s resistance activity, but we also see that most people avoid involvement — and some find ways to profit from the desperation of refugees fleeing the Nazis. It’s a case of small town, everyday terror. The stellar cast is subordinated to the powerful, non-exploitative drama: Jean Seberg, Maurice Ronet, Daniel Gélin, Jacques Perrin & Stéphane Audran. Samm Deighan’s informative commentary is a big +Plus.
Line of Demarcation
Blu-ray
Kl Studio Classics
1966 / B&w / 1:66 widescreen / 121 min. / Street Date February 25, 2020 / La ligne de démarcation / available through Kino Lorber / 29.95
Starring: Jean Seberg, Maurice Ronet, Daniel Gélin, Jacques Perrin, Stéphane Audran, Reinhard Kolldehoff, Claude Léveillée, Roger Dumas, Jean Yanne, Jean-Louis Maury, Pierre Gualdi,...
Line of Demarcation
Blu-ray
Kl Studio Classics
1966 / B&w / 1:66 widescreen / 121 min. / Street Date February 25, 2020 / La ligne de démarcation / available through Kino Lorber / 29.95
Starring: Jean Seberg, Maurice Ronet, Daniel Gélin, Jacques Perrin, Stéphane Audran, Reinhard Kolldehoff, Claude Léveillée, Roger Dumas, Jean Yanne, Jean-Louis Maury, Pierre Gualdi,...
- 7/31/2021
- by Glenn Erickson
- Trailers from Hell
This unheralded story of the French retreat in 1954 Vietnam is one of the best films ever about guerilla combat. The professional French soldiers do what they can to avoid capture, but the new Lieutenant won’t abandon their wounded. The Alsatian top sergeant fought with the Germans ten years before, yet is the best and fairest man in the unit. Director Pierre Schoendoerffer knows of what he films — he was captured by the Viet Minh at the fall of Dien Bien Phu. With the able camerawork of the legendary Raoul Coutard, the movie feels very realistic; we’re told that it was used to teach military cadets.
The 317th Platoon
DVD
Icarus Films
1965 / B&w / 1:66 widescreen / 95 min. / La 317ème section / Street Date June 29, 2021 / Available from Icarus Films / 29.98
Starring: Jacques Perrin, Bruno Cremer, Pierre Fabre, Manuel Zarzo, Boramy Tioulong, Saksi Sbong.
Cinematography: Raoul Coutard
Film Editor: Armand Psenny
Original Music:...
The 317th Platoon
DVD
Icarus Films
1965 / B&w / 1:66 widescreen / 95 min. / La 317ème section / Street Date June 29, 2021 / Available from Icarus Films / 29.98
Starring: Jacques Perrin, Bruno Cremer, Pierre Fabre, Manuel Zarzo, Boramy Tioulong, Saksi Sbong.
Cinematography: Raoul Coutard
Film Editor: Armand Psenny
Original Music:...
- 6/22/2021
- by Glenn Erickson
- Trailers from Hell
Full list of winners revealed.
Carolina Moscoso’s Night Shot has won the Grand Prix at the Marseille International Film Festival (FIDMarseille).
The Chilean film marks Moscoco’s debut feature and uses text, candid footage, animation and sound design to confront her past trauma: a violent rape that occurred eight years previously when she was a film student. It was produced by Santiago-based El Espino Films.
Scroll down for full list of winners
The feature received its international premiere at the festival that ran from July 22-26 in southern France. It was the first physical film event of its kind...
Carolina Moscoso’s Night Shot has won the Grand Prix at the Marseille International Film Festival (FIDMarseille).
The Chilean film marks Moscoco’s debut feature and uses text, candid footage, animation and sound design to confront her past trauma: a violent rape that occurred eight years previously when she was a film student. It was produced by Santiago-based El Espino Films.
Scroll down for full list of winners
The feature received its international premiere at the festival that ran from July 22-26 in southern France. It was the first physical film event of its kind...
- 7/27/2020
- by 1100453¦Michael Rosser¦9¦
- ScreenDaily
Auteurist film books from the early ’70s touted the crime pictures of Jean-Pierre Melville, a Yankeephile Frenchman who chose a new name for himself and embraced crime pix because he loved John Huston’s The Asphalt Jungle. This tale of utter ruthlessness among thieves is one of Melville’s best. The great Jean-Paul Belmondo and Serge Reggiani leading a superior cast of underworld losers: Fabienne Dali, Michel Piccoli, Jean Desailly and Monique Hennessy.
Le Doulos
Blu-ray
Kl Studio Classics
1962 / B&w / 1:66 widescreen / 109 min. / Street Date July 2, 2019 / available through Kino Lorber / 29.95
Starring: Jean-Paul Belmondo, Serge Reggiani, Fabienne Dali, Michel Piccoli, Jean Desailly, René Lefèvre, Aimé De March, Monique Hennessy, Carl Studer.
Cinematography: Nicolas Hayer
Film Editor: Monique Bonnot
Original Music: Paul Misraki
Written by Jean-Pierre Melville from a book by Pierre Lesou
Produced by Carlo Ponti, Georges De Beauregard
Directed by Jean-Pierre Melville
Having plumbed the libraries of some of...
Le Doulos
Blu-ray
Kl Studio Classics
1962 / B&w / 1:66 widescreen / 109 min. / Street Date July 2, 2019 / available through Kino Lorber / 29.95
Starring: Jean-Paul Belmondo, Serge Reggiani, Fabienne Dali, Michel Piccoli, Jean Desailly, René Lefèvre, Aimé De March, Monique Hennessy, Carl Studer.
Cinematography: Nicolas Hayer
Film Editor: Monique Bonnot
Original Music: Paul Misraki
Written by Jean-Pierre Melville from a book by Pierre Lesou
Produced by Carlo Ponti, Georges De Beauregard
Directed by Jean-Pierre Melville
Having plumbed the libraries of some of...
- 7/2/2019
- by Glenn Erickson
- Trailers from Hell
After winning the top prize at this year’s Locarno International Film Festival’s Signs of Life sidebar section (a program dedicated to “investigating experimental forms of narration and innovations in film language”), Nelson Carlo de los Santos Arias’ “Cocote” will next hit Tiff’s similarly ambitious Wavelengths section later this month. Bundled up in a surprisingly staid plot — a man returns home to help bury his father, and family dramas come to a head — is a bold and unnerving drama about personal choice and religious power.
Per the film’s official synopsis, it “is the story of Alberto, an evangelical gardener, returns to his hometown to attend his father’s funeral, killed by an influential man. To mourn the deceased, he is forced to participate in religion celebrations that are contrary to his will and beliefs.”
In our exclusive new trailer, that story is at the fore, but so...
Per the film’s official synopsis, it “is the story of Alberto, an evangelical gardener, returns to his hometown to attend his father’s funeral, killed by an influential man. To mourn the deceased, he is forced to participate in religion celebrations that are contrary to his will and beliefs.”
In our exclusive new trailer, that story is at the fore, but so...
- 8/31/2017
- by Kate Erbland
- Indiewire
Every so often, usually while walking around Toronto on a busy day, I'll be struck by the vividness and accuracy of Agnès Varda's singular portrayal of a day in the life (barely two hours, really, making it even more remarkable) spent in the various layers and spaces of the urban environment. I speak, of course, of Cléo from 5 to 7, Varda's 1962 classic and the first film of hers I fell in love with. In those instances, I'll find myself returning to the moments I've cherry-picked as my favorites over the years, skipping across the linear sequence of events that follow the titular singer (Corinne Marchand) across Paris as she waits for the results from a medical examination within the film's designated timeframe (minus half an hour, as the film famously ends at the ninety minute mark). More than for any other film, engaging in these mental replays feels very much like replaying the events of a day I had once experienced myself long ago—albeit one that I’ve been able to revisit and come to know nearly by heart, complete with all of my favorite moments and details waiting in their proper places, so often have I gone back to that June 21st in Paris, 1961.Varda has even made it relatively easy for anyone who wishes to explore and investigate to their heart's content the events of that fateful first day of summer from so long ago now, not only by making such a crisp cinematic itinerary of the various locations visited in the film itself, but also by helpfully providing a map in her book Varda par Agnès complete with a color-coded legend indicating the locations of key scenes from the film, practically inviting the reader to recreate Cléo’s journey for themselves on the streets of present-day Paris. At once attentive and relaxed in its tour of the city (mainly focused in the Left Bank), Cléo is ably conducted in a number of different registers: as an uncommonly lovely essay-poem on the ebb and flow of urban life, an at-times somber meditation on the precarious balance between life and death, and a revealing and honest study of female identity and the ways it is scrutinized and distorted in the public’s relentless gaze. In a feat of remarkable economy and resourcefulness, the film was shot in chronological order across a five-week period, beginning on the date of the story’s events, synchronized as closely as possible to the times in the day Cléo experiences them, in keeping with narrative fidelity and proper quality of light for each scene. Neatly arranged into thirteen chapters, each with its duration clearly stated so we can easily keep track in real time, Cléo’s lucid odyssey through the various public and private spaces that make up her day is observational cinema at its most fertile, free, and magically attuned to its subjects, partly the result of Varda and her team’s carefully planned and executed shoot, partly that of simply being in the right places at the right times.Together, the films of the French New Wave make up one of the most valuable and immersive audiovisual documents of a specific time and place in history—namely France in the late 1950s and early 1960s—that we have. This is especially true of the Paris-situated films, which create the alluring image of an interconnected network of overlapping stories concentrated in a single city. The sharing of certain actors, cinematographers, writers, composers, and other key artists and technicians across different films by different directors especially helped make the impression of one Paris holding an eclectic anthology of New Wave tales. This perception was further reinforced by the cheeky self-referential winks and nods that so many of the New Wave directors—Jean-Luc Godard in particular—lovingly included in their films as gestures of solidarity and support with their nouvelle vague comrades. This is why the eponymous hero of Jean-Pierre Melville’s Bob le flambeur, noted by many as a crucial New Wave precursor, gets name-checked by Jean-Paul Belmondo in Godard’s Breathless, why Truffaut muses Marie Dubois and Jeanne Moreau both pop up in A Woman Is a Woman, with Moreau getting asked by Belmondo how Jules and Jim is coming along, and why Anna Karina’s Nana glimpses a giant poster for the same Truffaut film as she is being driven to her fate in the final moments of Vivre sa vie.Varda got in on the fun herself in Cléo from 5 to 7 not only by casting Michel Legrand, who provided the film with its robust score, as Cléo’s musical partner Bob (a part that gives the legendary composer a substantial amount of screen time and amply shows off his incandescent charm), but also by extending the invitation to Godard, Karina, Sami Frey, Eddie Constantine, Jean-Claude Brialy, producer Georges de Beauregard, and Alan Scott, who had appeared in Jacques Demy’s Lola. They all show up in Les fiancés du pont Macdonald, the silent comedy short-within-the-film that serves triple duty as a welcome diversion for our stressed heroine, a loving cinephilic tribute to the legacy of Chaplin, Keaton, and Lloyd, and an irresistible, bite-sized New Wave party. And yet I find Cléo to be perhaps the most enchanting of all the New Wave films not for the aesthetic commonalities and cleverly devised linkages that bind it to The 400 Blows, Breathless, Paris Belongs to Us, and its other cinematic brethren, but rather for the tapestry of curious details that root it in its specific time and place and entice on the power of their inherent uniqueness and beauty. “Here,” Varda seems to say as she follows Cléo across the city, “let’s have a look at these interesting people and places on this first day of summer here in Paris, and see what we can see after watching them for a while.” The film’s opening scene continues to extend this invitation as it draws us in closer. It shows us, through the sepia-hued Eastmancolor that deviates from the rest of the film’s silvery monochrome and the “God’s eye” overhead shots (long before Martin Scorsese and Wes Anderson adopted the technique as their own), the cryptic spectacle of Tarot cards being shuffled, placed down, and turned over to reveal the story of Cléo’s potential fate before we’ve even gotten a chance to properly meet Cléo herself. The slightly macabre illustrations to which Varda and cinematographer Jean Rabier dedicate their tight close-ups and the elderly card reader’s accompanying explanations of their meanings lend an air of prophecy to the events to come while also fueling Cléo’s anxiety surrounding her fate (when pressed for a clearer forecast of the future through a palm reading, the reader’s evasive response is less than inspiring). This introduction effectively locks us into Cléo’s perspective, preparing us for the next hour and a half that we will spend quietly observing as, following her distraught exit from the reader’s apartment, she grapples with her fears and insecurities, contemplates and revises her appearance and the identity behind it (tellingly, we discover late in the film that Cléo's real name is Florence), and comes to terms with the ultimately fragile nature of her own mortality. In our allotted chunk of time with her, we see the pouty girl-child subtly shift and adjust her attitude, inching a little closer towards a place of earned maturity, grace, and acceptance regarding her fate, wherever it may take her.Along the way, the film seems to expand to take in as much of the people and places around Cléo as it can. Scene by scene, her Paris makes itself felt and known through key peripheral details: a pair of lovers having an argument in a café near where Cléo sits, listening in; the procession of uniformed officers on horseback heard clip-clopping through the street on the soundtrack and seen reflected in the array of mirrors placed throughout a hat shop; a spider web of shattered mirror and a cloth pressed against a bloody wound, indicating some incident that occurred just before Cléo happened along the scene of the confused aftermath. Other stimuli fill a dazzling program of serendipitous entertainments for us to take in one by one: whirlwind rides in two taxis and a bus, an intimate musical rehearsal in Cléo’s chic, kitten-filled apartment (with Legrand, no less, clearly having a great time, his nimble fingers releasing ecstatic bursts of notes and melodies from Cléo’s piano as if they were exotic birds), the aforementioned silent short, a sculpting studio (the space alive with the indescribably pleasant sound of chisels being tapped at different tempos through soft stone), a frog swallower, a burly street performer who wiggles an iron spike through his arm, and the soothing sights and sounds of the Parc de Montsouris, among a hundred other subtle and overt pleasures scattered throughout this gently orchestrated city symphony, a heap of specificities found and sorted into a chorus of universal experience.Very much in her own way, across a body of work informed by a boundless spirit of generosity, Agnès Varda has gone about carefully collecting and preserving a marvelously varied assortment of subjects throughout her busy life, shedding fresh light on some of the most unlikely (and overlooked) people and places in the world. She refers to her self-made approach to filmmaking as ciné-criture (her own version of Alexandre Astruc's caméra-stylo), which, as we’ve come to know it through Varda’s intensely personal works, is a little like cinema, a little like writing, and uses aspects of both media to make a compassionate, genuine, and wholly original film language. Just as Antoine (Antoine Bourseiller), the dreamy young man whom Cléo encounters in the Parc de Montsouris, translates the world around them into a stream of fanciful observations and flowery speech, so too does Varda, in allegiance with poetry, ditch any semblance of objectivity, going instead for presenting the world simply as she sees it, investing it with her own unmistakable blend of charm, warmth, eloquence, and empathy, all somehow executed with nary a shred of ego or preachiness.“All these stories we simply can’t understand!” randomly exclaims a café patron to her young companion at one point late in Cléo’s journey, perhaps suddenly becoming aware, as we gradually have, of the unfathomable multitude of trajectories that trace themselves across every city every day in a dense tangle of narrative strands. In picking up Cléo’s and diligently following it with her camera for an hour and a half, Varda draws our attention to all those other strands that make up the lives of other people, leading off into their own directions, fated to become entangled with others still. Wisely, deftly, one discovered strand at a time, she helps us better appreciate, again and again, the humble miracle of so many lives coursing and thriving alongside each other, each one special and strange, each rooted in its own distinct flavor of being-ness. Cléo from 5 to 7 in turn roots us in another person’s life for its short time span and ends up giving us a whole universe, casually overflowing with meaning, life, lives, and the myriad details that shape and define them. No, we can’t understand all the stories we come across in a day. But then again, sometimes we don’t really need to understand so much as simply see. See, and accept, and appreciate what is...and then move along to whatever’s next.
- 6/20/2017
- MUBI
The French film industry has always been among the worlds most important……at least to film studies professors. Most French movies are either funded by the French government or made with the support of government-linked media companies. Filmmakers face little market pressure in the creative process. That helps explain why they’re so boring!
Starbuck opens this weekend so we here at We Are Movie Geeks have decided to post this article about our favorite French films. Okay, so Starbuck is technically a Canadian film shot in Quebec, but its French language so, in our eyes that makes it French! The Hollywood remake is already in the can. It stars Vince Vaughn. The remake was originally tilted Dickie Donor but they’ve changed it to Delivery Man, so you just know they’ve screwed it up bad. This list may not line up with that of your typical French Cinema scholar.
Starbuck opens this weekend so we here at We Are Movie Geeks have decided to post this article about our favorite French films. Okay, so Starbuck is technically a Canadian film shot in Quebec, but its French language so, in our eyes that makes it French! The Hollywood remake is already in the can. It stars Vince Vaughn. The remake was originally tilted Dickie Donor but they’ve changed it to Delivery Man, so you just know they’ve screwed it up bad. This list may not line up with that of your typical French Cinema scholar.
- 4/30/2013
- by Movie Geeks
- WeAreMovieGeeks.com
The shadow of cinematographer Charles L. Bitsch and his camera, briefly visible during a dolly shot in Jacques Rivette's Paris Belongs to Us (1961). Hardly a "material object," you'd say, but Rivette's plots are often about the blurred line between the non-existent and the totally tangible, and, like one of his barely-there conspiracies (such as, well, the one in Paris Belongs to Us), the shadow cast by Bitsch beckons to be interpreted in paranoid, metaphorical terms.
Jonathan Rosenabum once described Paris Belongs to Us as the most mature of the Nouvelle Vague debuts, and the most amateurish. It's certainly a film of impoverished means. Though it's hard to find details on how much—or rather how little—it cost to make, the Cahiers du cinéma group's debuts were all cheapies (adjusted for inflation, the most expensive was probably the half-million-dollar Le beau Serge, with Breathless costing the modern equivalent of...
Jonathan Rosenabum once described Paris Belongs to Us as the most mature of the Nouvelle Vague debuts, and the most amateurish. It's certainly a film of impoverished means. Though it's hard to find details on how much—or rather how little—it cost to make, the Cahiers du cinéma group's debuts were all cheapies (adjusted for inflation, the most expensive was probably the half-million-dollar Le beau Serge, with Breathless costing the modern equivalent of...
- 2/27/2012
- MUBI
This year sees the 50th anniversary of the classic Jean-Luc Godard film Breathless, which many believe changed the face of cinema with its innovative filming and editing style. Screenrush talked to Godard's assistant director, Pierre Rissient, as he reflected on making Breathless and the impact the New Wave masterpiece has had on movie-goers for the past five decades.
Looking back on the 50 years since the release of Breathless, what do you think its legacy is?
I think the legacy is 'dare to be different'. Dare to have no rules. Create your own, new rules and be bold. I had the modest role of being Godard's assistant, so he was and is the full author of the film. And I don't think he necessarily thought there would be a legacy, but yes, he was clear in his own mind that he wanted to make his own film and being his own film,...
Looking back on the 50 years since the release of Breathless, what do you think its legacy is?
I think the legacy is 'dare to be different'. Dare to have no rules. Create your own, new rules and be bold. I had the modest role of being Godard's assistant, so he was and is the full author of the film. And I don't think he necessarily thought there would be a legacy, but yes, he was clear in his own mind that he wanted to make his own film and being his own film,...
- 6/25/2010
- Screenrush
Cinematographer Raoul Coutard reflects on his time working with Jean-Luc Godard on the set of Breathless
Fifty years of Breathless is of course remarkable, but I think the fact that we're all still breathing is just as remarkable.I am 86 years old now but I remember working on the film very clearly. I had no idea at the time that 50 years afterwards I would still be talking about it, but I did know that it was a very different film, that we were doing something that had never really been done or seen in cinema before. I didn't know it would work, though.
I had met Jean-Luc Godard when he was working in the publicity department of 20th Century-Fox in Paris. I had been a war photographer for magazines but I had started making films almost by mistake. I didn't have any training with a film camera at all, so...
Fifty years of Breathless is of course remarkable, but I think the fact that we're all still breathing is just as remarkable.I am 86 years old now but I remember working on the film very clearly. I had no idea at the time that 50 years afterwards I would still be talking about it, but I did know that it was a very different film, that we were doing something that had never really been done or seen in cinema before. I didn't know it would work, though.
I had met Jean-Luc Godard when he was working in the publicity department of 20th Century-Fox in Paris. I had been a war photographer for magazines but I had started making films almost by mistake. I didn't have any training with a film camera at all, so...
- 6/7/2010
- by Jason Solomons
- The Guardian - Film News
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