![Image](https://m.media-amazon.com/images/M/MV5BNzIyM2UzMmYtN2MyZC00MzAzLTk5NGQtMjljNDI0YmU5N2U1XkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UY281_CR34,0,500,281_.jpg)
’She Said’, ‘Strange World’, ‘Bones and All’ and ‘Glass Onion: A Knives Out Mystery’ all debut.
Sony’s hoping to be top of the class this weekend at the UK-Ireland box office, with BFI London Film Festival premiere Roald Dahl’s Matilda The Musical playing in 670 sites.
The musical feature is directed by Matthew Warchus, with Dennis Kelly writing and Tim Minchin composing, and is based on the stage musical created by the same trio. Working Title produces, with Netflix releasing around the rest of the world from December, and in the UK in summer 2023.
It boasts a cast including...
Sony’s hoping to be top of the class this weekend at the UK-Ireland box office, with BFI London Film Festival premiere Roald Dahl’s Matilda The Musical playing in 670 sites.
The musical feature is directed by Matthew Warchus, with Dennis Kelly writing and Tim Minchin composing, and is based on the stage musical created by the same trio. Working Title produces, with Netflix releasing around the rest of the world from December, and in the UK in summer 2023.
It boasts a cast including...
- 11/25/2022
- by Mona Tabbara
- ScreenDaily
![Simone Signoret in Casque d'Or (1952)](https://m.media-amazon.com/images/M/MV5BMjE1MjI0MzIxNl5BMl5BanBnXkFtZTcwMTYzMjQ4Ng@@._V1_QL75_UY207_CR9,0,140,207_.jpg)
![Simone Signoret in Casque d'Or (1952)](https://m.media-amazon.com/images/M/MV5BMjE1MjI0MzIxNl5BMl5BanBnXkFtZTcwMTYzMjQ4Ng@@._V1_QL75_UY207_CR9,0,140,207_.jpg)
Simone Signoret stars in a dark tale of love in the belle époque underworld that is a unmissable classic with a pitilessly grim finale
A 70th-anniversary rerelease for this film by a masterly French director who is known for his craftsmanship – but deserves also to be known for his artistry. Jacques Becker’s Casque d’Or is a gripping tragic drama of Parisian lowlife set at the turn of the century, based on news stories and apocryphal tales of the “apache” criminal gangs that roamed the Paris underworld in the belle époque, terrifying and titillating those wealthy boulevardiers who liked to slum it in seedy dives.
Simone Signoret is glorious as Marie (nicknamed “Casque d’Or” for her golden helmet of hair); she is a woman of the night, based on the “gigolettes” tempting gentlemen into dark alleys, who would then be beaten and robbed by the woman’s male accomplices lurking behind her.
A 70th-anniversary rerelease for this film by a masterly French director who is known for his craftsmanship – but deserves also to be known for his artistry. Jacques Becker’s Casque d’Or is a gripping tragic drama of Parisian lowlife set at the turn of the century, based on news stories and apocryphal tales of the “apache” criminal gangs that roamed the Paris underworld in the belle époque, terrifying and titillating those wealthy boulevardiers who liked to slum it in seedy dives.
Simone Signoret is glorious as Marie (nicknamed “Casque d’Or” for her golden helmet of hair); she is a woman of the night, based on the “gigolettes” tempting gentlemen into dark alleys, who would then be beaten and robbed by the woman’s male accomplices lurking behind her.
- 11/24/2022
- by Peter Bradshaw
- The Guardian - Film News
![Image](https://m.media-amazon.com/images/M/MV5BMDMyMjZiYTItNmVjZS00ODMyLTg4NWItNTNiYmJmNTZmZTVmXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX140_CR0,0,140,140_.jpg)
![Image](https://m.media-amazon.com/images/M/MV5BMDMyMjZiYTItNmVjZS00ODMyLTg4NWItNTNiYmJmNTZmZTVmXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX140_CR0,0,140,140_.jpg)
Hungry for those wet Parisian streets, the city lights, and cadavres en lambeaux in the pale moonlight? Enter three highly atmospheric, star-studded Crime Noirs, one of which is a stealth classic of Gallic Pulp. Stars Jean Gabin, Jeanne Moreau, Lino Ventura, Marcel Bozzuffi, Gérard Oury, Sandra Milo, and Annie Girardot bring the tales of à sang froid malice and mayhem to life. The films featured are Gilles Grangier’s Speaking of Murder (Le rouge est mis) and Édouard Molinaro’s Back to the Wall (Le dos au mur) and Witness in the City (Un Témoin dans la ville). Beware of French husbands when cucklolded — they show no pity. Bonne chance, victimes!
French Noir Collection
Blu-ray
Kl Studio Classics
1957-59 / B&w / 1:66 widescreen, 1:37 Academy / 265 minutes / Street Date November 29, 2022 / available through Kino Lorber / 49.95
Starring: Jean Gabin, Jeanne Moreau, Lino Ventura, Marcel Bozzuffi, Gérard Oury, Sandra Milo, Annie Girardot, Paul Frankeur,...
French Noir Collection
Blu-ray
Kl Studio Classics
1957-59 / B&w / 1:66 widescreen, 1:37 Academy / 265 minutes / Street Date November 29, 2022 / available through Kino Lorber / 49.95
Starring: Jean Gabin, Jeanne Moreau, Lino Ventura, Marcel Bozzuffi, Gérard Oury, Sandra Milo, Annie Girardot, Paul Frankeur,...
- 11/19/2022
- by Glenn Erickson
- Trailers from Hell
![Image](https://m.media-amazon.com/images/M/MV5BMmRmNzNmODMtMGZkYi00NDc3LWI2YjAtNzFkMzVkZjE5MzlhXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX140_CR0,0,140,140_.jpg)
![Image](https://m.media-amazon.com/images/M/MV5BMmRmNzNmODMtMGZkYi00NDc3LWI2YjAtNzFkMzVkZjE5MzlhXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX140_CR0,0,140,140_.jpg)
The tough guys in Yves Boisset’s crime drama answer revenge with revenge, and Michel Bouquet’s rogue cop commits outrageous acts of lawlessness to nail his partner’s killer. The French censors were up at arms over Boisset’s slight to police honor, yet the subject isn’t corruption — everything is ‘honor and decency.’ A fine gallery of Gallic thugs fills out the cast; both they and the attitude toward law and order are a step beyond Jean-Pierre Melville, but not an improvement. With standout work from Michel Constantin, Théo Sarapo, Henri Garcin and Bernard Fresson.
The Cop aka Un condé
Blu-ray
Kl Studio Classics
1970 / B&w / 1:66 widescreen / 98 min. / Street Date September 6, 2022 / available through Kino Lorber / 24.95
Starring: Michel Bouquet, Françoise Fabian, Gianni Garko, Michel Constantin, Théo Sarapo, Henri Garcin, Anne Carrère, Bernard Fresson, Pierre Massimi, Roger Lumont.
Cinematography: Jean-Marc Ripert
Film Editor: Albert Jurgenson, Vincenzo Tomassi
Original Music:...
The Cop aka Un condé
Blu-ray
Kl Studio Classics
1970 / B&w / 1:66 widescreen / 98 min. / Street Date September 6, 2022 / available through Kino Lorber / 24.95
Starring: Michel Bouquet, Françoise Fabian, Gianni Garko, Michel Constantin, Théo Sarapo, Henri Garcin, Anne Carrère, Bernard Fresson, Pierre Massimi, Roger Lumont.
Cinematography: Jean-Marc Ripert
Film Editor: Albert Jurgenson, Vincenzo Tomassi
Original Music:...
- 9/13/2022
- by Glenn Erickson
- Trailers from Hell
![Image](https://m.media-amazon.com/images/M/MV5BMjZiNmNkOTUtNDZiNi00ODE2LWIyMWMtODQ3YTE2Y2I5MmFkXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UY281_CR86,0,500,281_.jpg)
The CrewElite soldiers and seasoned criminals know how to breathe under pressure in the cinema of Julien Leclercq. It’s what separates them from everyday citizens and inexperienced combatants who cross their paths in a gunfight or heist. Moments of measured calm preceding volatile action becomes a visual motif for the talented French filmmaker. One incredible example stands out in Leclercq’s oeuvre: Seconds before strapping a pillow to his chest and playing vehicular chicken with an armored truck in The Crew (2015), master thief Yanis (Sami Bouajila) exhales deeply while staring ahead with the keen focus of a shark. The shot seems to last forever.Honoring the cool-as-a-cucumber tradition of French crime cinema perfected by Jacques Becker and Jean-Pierre Melville, Leclercq’s films are kinetic portraits of professional specialists with personal blind spots. No matter how much firepower or experience they bring into conflict, individual vulnerabilities get exposed. Family members are used as bargaining chips,...
- 1/19/2022
- MUBI
![Image](https://m.media-amazon.com/images/M/MV5BZjU5OGZjNWItYWZlNS00ODMyLTlmNTEtNDNiMmIxZjlkZmZmXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,0,500,281_.jpg)
Wes Anderson’s long-awaited “The French Dispatch” is finally here. After world premiering to strong reviews at the Cannes Film Festival in July, the anthology film traveled to Telluride and the New York Film Festival ahead of its theatrical release October 22. The movie is billed as “a love letter to journalists set at an outpost of an American newspaper in a fictional 20th century French city.” The cast includes Benicio del Toro, Adrien Brody, Tilda Swinton, Léa Seydoux, Frances McDormand, Timothée Chalamet, Lyna Khoudri, Jeffrey Wright, Mathieu Amalric, Stephen Park, Bill Murray, and Owen Wilson.
IndieWire’s Eric Kohn awarded “The French Dispatch” a B+ review out of Cannes. “It’s hard to imagine another living filmmaker with a style as instantly recognizable as Wes Anderson, a feat that works against him no matter how expansive his approach,” Kohn wrote. “‘The French Dispatch’ doubles down on it, with a freewheeling...
IndieWire’s Eric Kohn awarded “The French Dispatch” a B+ review out of Cannes. “It’s hard to imagine another living filmmaker with a style as instantly recognizable as Wes Anderson, a feat that works against him no matter how expansive his approach,” Kohn wrote. “‘The French Dispatch’ doubles down on it, with a freewheeling...
- 10/21/2021
- by Zack Sharf
- Indiewire
![Image](https://m.media-amazon.com/images/M/MV5BMGMwN2E4M2ItODEyYS00NzA0LTkzYmQtZjljOGQyZWE1YTIyXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,0,500,281_.jpg)
Institutions working on film restoration around the world are deploying remarkable creativity to get the films they’ve restored into theaters – the Lumière Institute’s eponymous film festival currently running in Lyon being a prime example.
“Here at the festival, we show a lot of restored films, but we also generate many: some films are restored specially to be shown here. That allows them to get a theatrical release; it grows from a cultural project into an economic project,” says Lumière programmer Maelle Arnaud, who adds that organizers are working on a traveling festival with films bearing the “Lumiere” label.
“The work the institutions do is colossal,” says Jean-Fabrice Janaudy, head of indie outfit Les Acacias, which specializes in independent and heritage films, and manager of the independent cinema theater Le Vincennes, near Paris.
“Being able to work with them on an event is an amazing opportunity for us,” he adds,...
“Here at the festival, we show a lot of restored films, but we also generate many: some films are restored specially to be shown here. That allows them to get a theatrical release; it grows from a cultural project into an economic project,” says Lumière programmer Maelle Arnaud, who adds that organizers are working on a traveling festival with films bearing the “Lumiere” label.
“The work the institutions do is colossal,” says Jean-Fabrice Janaudy, head of indie outfit Les Acacias, which specializes in independent and heritage films, and manager of the independent cinema theater Le Vincennes, near Paris.
“Being able to work with them on an event is an amazing opportunity for us,” he adds,...
- 10/15/2021
- by Lise Pedersen
- Variety Film + TV
![Wes Anderson](https://m.media-amazon.com/images/M/MV5BMTY1MjgzODIwNF5BMl5BanBnXkFtZTcwNTM2NzExMw@@._V1_QL75_UY207_CR7,0,140,207_.jpg)
![Wes Anderson](https://m.media-amazon.com/images/M/MV5BMTY1MjgzODIwNF5BMl5BanBnXkFtZTcwNTM2NzExMw@@._V1_QL75_UY207_CR7,0,140,207_.jpg)
With it being seven years since his last live-action film, 2014’s The Grand Budapast Hotel, Wes Anderson is hard at work. Following a Cannes premiere, The French Dispatch finally arrives in limited theaters on October 22 followed by a wide release the following week, and he’s already shooting his next film (recently revealed to have the title Asteroid City) outside of Madrid with Tilda Swinton, Bill Murray, Adrien Brody, Tom Hanks, Margot Robbie, Rupert Friend, Jason Schwartzman, Scarlett Johansson, Bryan Cranston, Hope Davis, Jeffrey Wright, Liev Schreiber, Tony Revolori, and Matt Dillon.
As is the case with all of his work, Wes Anderson synthesizes cinema history in his own specific language and for The French Dispatch he has provided a list of influences. As revealed in a promotional book sent to The Flim Stage and styled after the film’s magazine, 32 films are listed that “provided inspiration to the filmmakers,...
As is the case with all of his work, Wes Anderson synthesizes cinema history in his own specific language and for The French Dispatch he has provided a list of influences. As revealed in a promotional book sent to The Flim Stage and styled after the film’s magazine, 32 films are listed that “provided inspiration to the filmmakers,...
- 10/12/2021
- by Jordan Raup
- The Film Stage
While Netflix is far from being a haven for admirers of classic cinema, they thankfully are backing strong repertory programming in New York City. After acquiring The Paris Theater, located on 58th Street in Manhattan, and briefly reopening with some runs of Netflix features and other specialty programming, they are now officially opening their doors again on August 6 with a more substantial slate of classic cinema.
Featuring two programs, one curated by Radha Blank and another by the theater’s programmer David Schwartz, the reopening lineup features work by John Cassavetes, Kathleen Collins, Luis Buñuel, Mira Nair, Jean-Pierre Jeunet, Ingmar Bergman, Terence Davies, and much more––with many on film prints.
One can also enter to win a pass for Schwartz’s series “The Paris is For Lovers,” with a newly-unveiled scavenger hunt tied to Ira Deutchman’s new documentary Searching for Mr. Rugoff, which opens on August 13 and is part of the lineup.
Featuring two programs, one curated by Radha Blank and another by the theater’s programmer David Schwartz, the reopening lineup features work by John Cassavetes, Kathleen Collins, Luis Buñuel, Mira Nair, Jean-Pierre Jeunet, Ingmar Bergman, Terence Davies, and much more––with many on film prints.
One can also enter to win a pass for Schwartz’s series “The Paris is For Lovers,” with a newly-unveiled scavenger hunt tied to Ira Deutchman’s new documentary Searching for Mr. Rugoff, which opens on August 13 and is part of the lineup.
- 7/28/2021
- by Leonard Pearce
- The Film Stage
![Image](https://m.media-amazon.com/images/M/MV5BZDRiYTkxNGQtM2QxZS00YjE2LTg0NGEtYTMyMjNmYWI5MzRjXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,0,500,281_.jpg)
The Paris Theater, a beloved arthouse cinema in New York City, is reopening its doors next month.
To celebrate its return on Aug. 6, filmmaker Radha Blank is curating a slate of repertory titles to screen alongside her directorial debut “The Forty-Year-Old Version.” Her movie, which premiered at Sundance Film Festival, is playing through Aug. 12.
The Paris opened in 1948 and is the only single-screen movie theater in Manhattan. Netflix acquired the 545-seat venue in 2019 and, prior to Covid-19, held premieres, special events and screenings of its films in the storied institution, which is just south of Central Park.
“I made ‘Forty-Year-Old Version’ in 35mm Black & White in the spirit of the many great films that informed my love of cinema,” says Blank. “I’m excited to show the film in 35mm as intended and alongside potent films by fearless filmmakers who inspired my development as a storyteller and expanded my vision...
To celebrate its return on Aug. 6, filmmaker Radha Blank is curating a slate of repertory titles to screen alongside her directorial debut “The Forty-Year-Old Version.” Her movie, which premiered at Sundance Film Festival, is playing through Aug. 12.
The Paris opened in 1948 and is the only single-screen movie theater in Manhattan. Netflix acquired the 545-seat venue in 2019 and, prior to Covid-19, held premieres, special events and screenings of its films in the storied institution, which is just south of Central Park.
“I made ‘Forty-Year-Old Version’ in 35mm Black & White in the spirit of the many great films that informed my love of cinema,” says Blank. “I’m excited to show the film in 35mm as intended and alongside potent films by fearless filmmakers who inspired my development as a storyteller and expanded my vision...
- 7/28/2021
- by Rebecca Rubin
- Variety Film + TV
![Image](https://m.media-amazon.com/images/M/MV5BMTJjNWM0MDMtMjYyYy00MzJmLTliNWYtYmU3NDBiMzg2NTBjXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,26,500,281_.jpg)
The Paris Theater, an NYC cinematic landmark rescued by Netflix in 2019, will officially reopen August 6 with the streamer’s The Forty-Year-Old Version by Radha Blank and a week of repertory films programmed by the director.
The only single-screen movie theater in Manhattan and the borough’s largest, with 545 seats, has hosted limited theatrical engagements since March that included Netflix’ 17 Oscar-nominated films, retrospectives of Charlie Kaufman and Orson Wells, zombie movie classics and a Bob Dylan film series.
The Paris closed in August of 2019 after its lease with City Cinemas expired. That November, Netflix entered an extended lease agreement, said to be for ten years with owner the Solow Family, to keep the theater open and use it for events, screenings and theatrical releases of its films. The first was Noah Baumbach’s Marriage Story. The theater was shuttered by Covid-19 last spring.
(In May of 2020, Netflix acquired another storied theaters,...
The only single-screen movie theater in Manhattan and the borough’s largest, with 545 seats, has hosted limited theatrical engagements since March that included Netflix’ 17 Oscar-nominated films, retrospectives of Charlie Kaufman and Orson Wells, zombie movie classics and a Bob Dylan film series.
The Paris closed in August of 2019 after its lease with City Cinemas expired. That November, Netflix entered an extended lease agreement, said to be for ten years with owner the Solow Family, to keep the theater open and use it for events, screenings and theatrical releases of its films. The first was Noah Baumbach’s Marriage Story. The theater was shuttered by Covid-19 last spring.
(In May of 2020, Netflix acquired another storied theaters,...
- 7/28/2021
- by Jill Goldsmith
- Deadline Film + TV
![The Wolf's Call (2019)](https://m.media-amazon.com/images/M/MV5BN2IyZGYzNjYtZTA5NS00OWE0LWJjN2MtMzA5ZWUzZDUxYTEyXkEyXkFqcGdeQXVyMTA3MzQ4MTc0._V1_QL75_UY207_CR7,0,140,207_.jpg)
![The Wolf's Call (2019)](https://m.media-amazon.com/images/M/MV5BN2IyZGYzNjYtZTA5NS00OWE0LWJjN2MtMzA5ZWUzZDUxYTEyXkEyXkFqcGdeQXVyMTA3MzQ4MTc0._V1_QL75_UY207_CR7,0,140,207_.jpg)
The Wolf’s Call director and Quai d'Orsay writer Antonin Baudry: “Bertrand Tavernier was not only a wonderful, unique filmmaker, who made essential images of our history and society.” Photo: Anne-Katrin Titze
When Harry Dean Stanton died in 2017, I reached out to Bertrand Tavernier for a remembrance of the man who starred opposite Romy Schneider in Death Watch (La Mort En Direct). He sent a lovely tribute and wrote to me “Correct The Mistakes”. In 2014, when Bertrand presented his masterpiece Coup De Torchon at Hunter College he told me: “I said to Philippe Noiret, in this film I want you to play each scene without thinking of the scene before or the scene after.” Discussing The French Minister (based on Antonin Baudry's Quai d'Orsay): “I was thinking, as a matter of rhythm, of some of the comedies of Billy Wilder or Jacques Becker. People who were doing films with...
When Harry Dean Stanton died in 2017, I reached out to Bertrand Tavernier for a remembrance of the man who starred opposite Romy Schneider in Death Watch (La Mort En Direct). He sent a lovely tribute and wrote to me “Correct The Mistakes”. In 2014, when Bertrand presented his masterpiece Coup De Torchon at Hunter College he told me: “I said to Philippe Noiret, in this film I want you to play each scene without thinking of the scene before or the scene after.” Discussing The French Minister (based on Antonin Baudry's Quai d'Orsay): “I was thinking, as a matter of rhythm, of some of the comedies of Billy Wilder or Jacques Becker. People who were doing films with...
- 3/28/2021
- by Anne-Katrin Titze
- eyeforfilm.co.uk
![Image](https://m.media-amazon.com/images/M/MV5BMDI4NWU5ZDYtMTliYS00ZTQyLWFiMGUtMThkOTEzMzM3NjJiXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,47,500,281_.jpg)
by Eric Blume
Today is the centennial of French Oscar-winner Simone Signoret. Daniel paid lovely tribute to her last night for her brief role in 1950's La Ronde. Her next big film, director Jacques Becker's 1952 movie Casque d'Or, made her a star six years before Oscar embraced her with Room at the Top. Becker captures all of Signoret's magic in this turn-of-the-century Paris underworld story. It doesn't hurt that he has his cinematographer, Robert Le Febvre, lighting her in a gloriously celestial way throughout the movie...
Today is the centennial of French Oscar-winner Simone Signoret. Daniel paid lovely tribute to her last night for her brief role in 1950's La Ronde. Her next big film, director Jacques Becker's 1952 movie Casque d'Or, made her a star six years before Oscar embraced her with Room at the Top. Becker captures all of Signoret's magic in this turn-of-the-century Paris underworld story. It doesn't hurt that he has his cinematographer, Robert Le Febvre, lighting her in a gloriously celestial way throughout the movie...
- 3/26/2021
- by Eric Blume
- FilmExperience
![King Vidor](https://m.media-amazon.com/images/M/MV5BNGIxOTgxZjAtNmZlYy00MjA0LTk1ZjYtMjg5ZGRjMzliNDZjXkEyXkFqcGdeQXVyMjUxODE0MDY@._V1_QL75_UX140_CR0,4,140,207_.jpg)
![King Vidor](https://m.media-amazon.com/images/M/MV5BNGIxOTgxZjAtNmZlYy00MjA0LTk1ZjYtMjg5ZGRjMzliNDZjXkEyXkFqcGdeQXVyMjUxODE0MDY@._V1_QL75_UX140_CR0,4,140,207_.jpg)
Whether a viewer in 1896 or 2020, cinema has always been a dynamic and variable experience. Cinema as an event—as a manifestation of a meeting point between the art of moving images and an audience, big or small—has never fit any one definition, and this last year, so severely disrupted by a global pandemic, has deeply underscored the versatility and resilience of our great love.Our viewing this year, like that of so many, has been strange: compromised, confrontational, escapist, euphoric, painful, revelatory—encompassing all of the reactions one can have to film. How we encountered our favorite movies and most meaningful cinematic experiences of the year was hardly new: A by-now-normal mix of festivals, theatres, various subscription and transactional streaming services, as well as private screener links and gems buried on over-stuffed hard drives. But for most of the year, the communal experience shrunk to living rooms and glowing screens.
- 12/23/2020
- MUBI
![Jean-Paul Belmondo and Jean Seberg in Breathless (1960)](https://m.media-amazon.com/images/M/MV5BNTAyY2M0YjEtNTQzOS00MTRjLTk2MDgtMTRkMzJkYzU4ZjJlXkEyXkFqcGdeQXVyNDkzNTM2ODg@._V1_QL75_UY207_CR5,0,140,207_.jpg)
Studiocanal Set to Re-Release ‘Breathless’ Following Success With ‘Flash Gordon,’ ‘The Elephant Man’
![Jean-Paul Belmondo and Jean Seberg in Breathless (1960)](https://m.media-amazon.com/images/M/MV5BNTAyY2M0YjEtNTQzOS00MTRjLTk2MDgtMTRkMzJkYzU4ZjJlXkEyXkFqcGdeQXVyNDkzNTM2ODg@._V1_QL75_UY207_CR5,0,140,207_.jpg)
Leading producer-distributor Studiocanal, which boasts one of the biggest film libraries in the world with more than 5,500 movies, is gearing up for a slew of major theatrical and DVD releases sure to titillate fans of classic cinema, among them Jean-Luc Godard’s beloved 1960 film “Breathless.”
The company has enjoyed recent successes with re-releases of such classics as David Lynch’s 1980 Victorian drama “The Elephant Man,” Volker Schlöndorff’s 1979 Oscar-winning “The Tin Drum” and Mike Hodges’ 1980 sci-fi extravaganza “Flash Gordon.”
Studiocanal is expecting similar success with its newly restored reissues.
“Breathless” is “one of our biggest upcoming catalog releases,” said Juliette Hochart, Studiocanal’s executive VP of library.
The film will be released in theaters in France on Oct. 28, in Germany the following day and in the U.K. on Nov. 13. It will also be reissued in other territories, such as Italy and Japan, in 2021.
A new Uhd collector’s edition...
The company has enjoyed recent successes with re-releases of such classics as David Lynch’s 1980 Victorian drama “The Elephant Man,” Volker Schlöndorff’s 1979 Oscar-winning “The Tin Drum” and Mike Hodges’ 1980 sci-fi extravaganza “Flash Gordon.”
Studiocanal is expecting similar success with its newly restored reissues.
“Breathless” is “one of our biggest upcoming catalog releases,” said Juliette Hochart, Studiocanal’s executive VP of library.
The film will be released in theaters in France on Oct. 28, in Germany the following day and in the U.K. on Nov. 13. It will also be reissued in other territories, such as Italy and Japan, in 2021.
A new Uhd collector’s edition...
- 10/14/2020
- by Ed Meza
- Variety Film + TV
With a knowledge of cinema history simply unparalleled even when it comes to the greatest film scholars, a new Martin Scorsese film also means a wealth of commentary as it pertains to the films that he thought of during development and production. As for his crime epic The Irishman, he’s been fairly tight-lipped about influences, but has now revealed a handful during an insightful conversation with Spike Lee. Check out the films (and a book mention) he discussed below, a few of which are now available in new brand-new restorations on Blu-ray.
Jean-Pierre Melville x 2
While Scorsese said he didn’t screen many cinematic influences with cinematographer Rodrigo Prieto regarding the look of the film, it was important to get the tone of the movie right. “The tone of the movie, it had to be contemplative and an epic, but it had to be an intimate epic,” he said.
Jean-Pierre Melville x 2
While Scorsese said he didn’t screen many cinematic influences with cinematographer Rodrigo Prieto regarding the look of the film, it was important to get the tone of the movie right. “The tone of the movie, it had to be contemplative and an epic, but it had to be an intimate epic,” he said.
- 10/27/2019
- by Jordan Raup
- The Film Stage
‘Hands off the Loot!’ Jacques Becker’s crackling Paris crime tale is a time machine to an age of Parisian tough guys in double breasted suits, who never show their cards, and mistreat women in ways the Hollywood production code would never allow. Old thief Jean Gabin’s ill-gotten wealth is threatened by the newcomer creep Lino Ventura, thanks to the treachery of a very young Jeanne Moreau; the struggle revives weapons and tactics not used since the Occupation. One of the Great Euro crime classics is now looking terrific in Kino/Studio Canal’s restoration.
Touchez pas au grisbi
Blu-ray
Kl Studio Classics
1954 / B&w / 1:37 flat Academy / 96 min. / Honor among Thieves / Street Date August 13, 2019 / available through Kino Lorber / 29.95
Starring: Jean Gabin, René Dary, Paul Frankeur, Lino Ventura, Jeanne Moreau, Dora Doll, Daniel Cauchy, Michel Jourdan, Marilyn Buferd, Denise Clair, Gaby Basset, Delia Scala.
Cinematography: Pierre Montazel
Film Editor:...
Touchez pas au grisbi
Blu-ray
Kl Studio Classics
1954 / B&w / 1:37 flat Academy / 96 min. / Honor among Thieves / Street Date August 13, 2019 / available through Kino Lorber / 29.95
Starring: Jean Gabin, René Dary, Paul Frankeur, Lino Ventura, Jeanne Moreau, Dora Doll, Daniel Cauchy, Michel Jourdan, Marilyn Buferd, Denise Clair, Gaby Basset, Delia Scala.
Cinematography: Pierre Montazel
Film Editor:...
- 9/21/2019
- by Glenn Erickson
- Trailers from Hell
The 23rd annual Colcoa French Film Festival in Los Angeles, taking place September 23-28 at the Directors Guild of America, has landed the U.S. premiere of Amazon Studios’ Oscar contender “Les Misérables” for its opening night. The film directed by Ladj Ly, which won the Jury Prize at the 2019 Cannes Film Festival, will kick off a week of new and classic French-language films for La audiences.
The event will offer a splashy La bow for Amazon’s Oscar hopeful in a city packed with Academy voters. France has yet to submit a film for the 2020 Best International Film Oscar, but “Les Misérables” is among the top contenders. Inspired by the riots of 2005 in the suburbs of Paris, Ly’s film revolves around three members of an anti-crime brigade who are overrun while trying to make an arrest.
“This high-profile program includes several films from Cannes and Venice programmed for...
The event will offer a splashy La bow for Amazon’s Oscar hopeful in a city packed with Academy voters. France has yet to submit a film for the 2020 Best International Film Oscar, but “Les Misérables” is among the top contenders. Inspired by the riots of 2005 in the suburbs of Paris, Ly’s film revolves around three members of an anti-crime brigade who are overrun while trying to make an arrest.
“This high-profile program includes several films from Cannes and Venice programmed for...
- 8/28/2019
- by Ryan Lattanzio
- Indiewire
![Christos Loulis in Adults in the Room (2019)](https://m.media-amazon.com/images/M/MV5BNjQ0MDg4Y2ItMjI2NS00NzQ5LWI5MDUtNTJkMmRkYmRkMzM0XkEyXkFqcGdeQXVyODc0OTEyNDU@._V1_QL75_UY207_CR8,0,140,207_.jpg)
![Christos Loulis in Adults in the Room (2019)](https://m.media-amazon.com/images/M/MV5BNjQ0MDg4Y2ItMjI2NS00NzQ5LWI5MDUtNTJkMmRkYmRkMzM0XkEyXkFqcGdeQXVyODc0OTEyNDU@._V1_QL75_UY207_CR8,0,140,207_.jpg)
Line-up includes the North American premieres of Costa-Gavras’ political thriller Adults In The Room, the Dardenne brothers’ drama Young Ahmed.
The 23rd annual Colcoa French Film Festival in Los Angeles will open on Sept. 23 with the Us premiere of Ladj Ly’s hit Cannes drama Les Misérables.
The line-up includes the North American premieres of Costa-Gavras’ political thriller Adults In The Room, the Dardenne brothers’ drama Young Ahmed, Christophe Honoré’s On A Magical Night, Cédric Klapisch’s Someone, Somewhere, Cédric Kahn’s Happy Birthday, and Marie-Sophie Chambon’s debut feature Stars By The Pound.
Receiving its Us premiere is...
The 23rd annual Colcoa French Film Festival in Los Angeles will open on Sept. 23 with the Us premiere of Ladj Ly’s hit Cannes drama Les Misérables.
The line-up includes the North American premieres of Costa-Gavras’ political thriller Adults In The Room, the Dardenne brothers’ drama Young Ahmed, Christophe Honoré’s On A Magical Night, Cédric Klapisch’s Someone, Somewhere, Cédric Kahn’s Happy Birthday, and Marie-Sophie Chambon’s debut feature Stars By The Pound.
Receiving its Us premiere is...
- 8/27/2019
- by Jeremy Kay
- ScreenDaily
For auteurists in New York there can hardly be a better series playing right now than "Trilogies" at Film Forum: a four-week extravaganza of 78 films comprising 26 mini director retrospectives from Angelopoulos to Wenders and 24 other auteurs in between. Many of the groupings in the series are actual sequential trilogies, like Kobayashi’s The Human Condition or Satyajit Ray’s Apu Trilogy, while others more loosely stretch the term, such as Lucrecia Martel’s "Salta Trilogy" or Hou Hsiao-hsien’s "Coming of Age Trilogy," very welcome though those are.Very few of the trilogies in the series, however, have posters that were conceived as trios themselves, the French posters for Kieslowski’s Three Colors, above, and Albert Dubout’s cartoony designs for Marcel Pagnol’s Marseilles Trilogy being the major exceptions. There are two terrific matching posters by Jan Lenica for the first two films in Mark Donskoy's Maxim Gorky Trilogy,...
- 4/25/2019
- MUBI
Cinema St. Louis presents the 11th Annual Robert Classic French Film Festival which takes place March 8-10, 15-17, and 22-24, 2019. The location this year is Washington University’s Brown Hall Auditorium, Forsyth & Skinker boulevards.
The 11th Annual Robert Classic French Film Festival — presented by TV5MONDE and produced by Cinema St. Louis — celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1930s through the 1990s, offering a revealing overview of French cinema. The fest annually includes significant restorations, and this year features seven such works: Pierre Schoendoerffer “The 317th Platoon,” Marcel Pagnol’s “The Baker’s Wife,” Olivier Assayas’ “Cold Water,” Jacques Becker’s “The Hole,” Jacques Rivette’s “The Nun,” Agnés Varda’s “One Sings, the Other Doesn’t,” and Diane Kurys’ “Peppermint Soda.” The schedule is rounded out by Robert Bresson’s final film, “L’argent,” and two 1969 films celebrating...
The 11th Annual Robert Classic French Film Festival — presented by TV5MONDE and produced by Cinema St. Louis — celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1930s through the 1990s, offering a revealing overview of French cinema. The fest annually includes significant restorations, and this year features seven such works: Pierre Schoendoerffer “The 317th Platoon,” Marcel Pagnol’s “The Baker’s Wife,” Olivier Assayas’ “Cold Water,” Jacques Becker’s “The Hole,” Jacques Rivette’s “The Nun,” Agnés Varda’s “One Sings, the Other Doesn’t,” and Diane Kurys’ “Peppermint Soda.” The schedule is rounded out by Robert Bresson’s final film, “L’argent,” and two 1969 films celebrating...
- 3/18/2019
- by Tom Stockman
- WeAreMovieGeeks.com
Cinema St. Louis presents the 11th Annual Robert Classic French Film Festival which takes place March 8-10, 15-17, and 22-24, 2019. The location this year is Washington University’s Brown Hall Auditorium, Forsyth & Skinker boulevards.
The 11th Annual Robert Classic French Film Festival — presented by TV5MONDE and produced by Cinema St. Louis — celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1930s through the 1990s, offering a revealing overview of French cinema. The fest annually includes significant restorations, and this year features seven such works: Pierre Schoendoerffer “The 317th Platoon,” Marcel Pagnol’s “The Baker’s Wife,” Olivier Assayas’ “Cold Water,” Jacques Becker’s “The Hole,” Jacques Rivette’s “The Nun,” Agnés Varda’s “One Sings, the Other Doesn’t,” and Diane Kurys’ “Peppermint Soda.” The schedule is rounded out by Robert Bresson’s final film, “L’argent,” and two 1969 films celebrating...
The 11th Annual Robert Classic French Film Festival — presented by TV5MONDE and produced by Cinema St. Louis — celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1930s through the 1990s, offering a revealing overview of French cinema. The fest annually includes significant restorations, and this year features seven such works: Pierre Schoendoerffer “The 317th Platoon,” Marcel Pagnol’s “The Baker’s Wife,” Olivier Assayas’ “Cold Water,” Jacques Becker’s “The Hole,” Jacques Rivette’s “The Nun,” Agnés Varda’s “One Sings, the Other Doesn’t,” and Diane Kurys’ “Peppermint Soda.” The schedule is rounded out by Robert Bresson’s final film, “L’argent,” and two 1969 films celebrating...
- 3/12/2019
- by Tom Stockman
- WeAreMovieGeeks.com
Cinema St. Louis presents the 11th Annual Robert Classic French Film Festival which takes place March 8-10, 15-17, and 22-24, 2019. The location this year is Washington University’s Brown Hall Auditorium, Forsyth & Skinker boulevards.
The 11th Annual Robert Classic French Film Festival — presented by TV5MONDE and produced by Cinema St. Louis — celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1930s through the 1990s, offering a revealing overview of French cinema. The fest annually includes significant restorations, and this year features seven such works: Pierre Schoendoerffer “The 317th Platoon,” Marcel Pagnol’s “The Baker’s Wife,” Olivier Assayas’ “Cold Water,” Jacques Becker’s “The Hole,” Jacques Rivette’s “The Nun,” Agnés Varda’s “One Sings, the Other Doesn’t,” and Diane Kurys’ “Peppermint Soda.” The schedule is rounded out by Robert Bresson’s final film, “L’argent,” and two 1969 films celebrating...
The 11th Annual Robert Classic French Film Festival — presented by TV5MONDE and produced by Cinema St. Louis — celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1930s through the 1990s, offering a revealing overview of French cinema. The fest annually includes significant restorations, and this year features seven such works: Pierre Schoendoerffer “The 317th Platoon,” Marcel Pagnol’s “The Baker’s Wife,” Olivier Assayas’ “Cold Water,” Jacques Becker’s “The Hole,” Jacques Rivette’s “The Nun,” Agnés Varda’s “One Sings, the Other Doesn’t,” and Diane Kurys’ “Peppermint Soda.” The schedule is rounded out by Robert Bresson’s final film, “L’argent,” and two 1969 films celebrating...
- 3/4/2019
- by Tom Stockman
- WeAreMovieGeeks.com
Cinema St. Louis presents the 11th Annual Robert Classic French Film Festival which takes place March 8-10, 15-17, and 22-24, 2019. The location this year is Washington University’s Brown Hall Auditorium, Forsyth & Skinker boulevards.
he 11th Annual Robert Classic French Film Festival — presented by TV5MONDE and produced by Cinema St. Louis — celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1930s through the 1990s, offering a revealing overview of French cinema.
The fest annually includes significant restorations, and this year features seven such works: Pierre Schoendoerffer “The 317th Platoon,” Marcel Pagnol’s “The Baker’s Wife,” Olivier Assayas’ “Cold Water,” Jacques Becker’s “The Hole,” Jacques Rivette’s “The Nun,” Agnés Varda’s “One Sings, the Other Doesn’t,” and Diane Kurys’ “Peppermint Soda.”
The schedule is rounded out by Robert Bresson’s final film, “L’argent,” and two 1969 films celebrating...
he 11th Annual Robert Classic French Film Festival — presented by TV5MONDE and produced by Cinema St. Louis — celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1930s through the 1990s, offering a revealing overview of French cinema.
The fest annually includes significant restorations, and this year features seven such works: Pierre Schoendoerffer “The 317th Platoon,” Marcel Pagnol’s “The Baker’s Wife,” Olivier Assayas’ “Cold Water,” Jacques Becker’s “The Hole,” Jacques Rivette’s “The Nun,” Agnés Varda’s “One Sings, the Other Doesn’t,” and Diane Kurys’ “Peppermint Soda.”
The schedule is rounded out by Robert Bresson’s final film, “L’argent,” and two 1969 films celebrating...
- 2/6/2019
- by Tom Stockman
- WeAreMovieGeeks.com
![Bertrand Tavernier](https://m.media-amazon.com/images/M/MV5BMTU1ODk3NjM0M15BMl5BanBnXkFtZTcwMDg2MzY4Mw@@._V1_QL75_UY140_CR36,0,140,140_.jpg)
![Bertrand Tavernier](https://m.media-amazon.com/images/M/MV5BMTU1ODk3NjM0M15BMl5BanBnXkFtZTcwMDg2MzY4Mw@@._V1_QL75_UY140_CR36,0,140,140_.jpg)
Veteran French helmer Bertrand Tavernier (“The French Minister”) is curating a 15-film retrospective of films by Henri Decoin (1890-1969), a larger-than-life character who before directing his first feature, at the age of 43, was an Olympic swimmer, Wwi pilot, sports journalist and novelist.
Decoin is one of the three directors – alongside Jean Grémillon and Max Ophuls – featured in the first episode of Tavernier’s “My Journeys Through French Cinema,” a follow-up project to his documentary “My Journey Through French Cinema”.
Tavernier believes that Decoin left a decisive mark on Gallic cinema due to the fluidity of his directing style, inspired in part by his sojourn in Hollywood in 1938, his innovative exploration of genres such as crime, espionage thrillers, historical sagas and psychological dramas, his remarkable adaptations of novels by George Simenon and his notable collaboration with actors such as Jean Gabin, Louis Jouvet and his second wife, Danielle Darrieux.
The retrospective...
Decoin is one of the three directors – alongside Jean Grémillon and Max Ophuls – featured in the first episode of Tavernier’s “My Journeys Through French Cinema,” a follow-up project to his documentary “My Journey Through French Cinema”.
Tavernier believes that Decoin left a decisive mark on Gallic cinema due to the fluidity of his directing style, inspired in part by his sojourn in Hollywood in 1938, his innovative exploration of genres such as crime, espionage thrillers, historical sagas and psychological dramas, his remarkable adaptations of novels by George Simenon and his notable collaboration with actors such as Jean Gabin, Louis Jouvet and his second wife, Danielle Darrieux.
The retrospective...
- 10/18/2018
- by Martin Dale
- Variety Film + TV
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Film Society of Lincoln Center
Films by Michael Almereyda (including the David Lynch-produced Nadja), Sadie Benning, and more are programmed in “The Strange Case of Pixelvision.”
Visconti’s The Leopard and The Damned are playing.
Spectacle
Fans of Asian cinema (or anything remotely outside the mainstream) cannot miss the series on Sogo Ishii, “the godfather of Japanese cyberpunk cinema.
Film Society of Lincoln Center
Films by Michael Almereyda (including the David Lynch-produced Nadja), Sadie Benning, and more are programmed in “The Strange Case of Pixelvision.”
Visconti’s The Leopard and The Damned are playing.
Spectacle
Fans of Asian cinema (or anything remotely outside the mainstream) cannot miss the series on Sogo Ishii, “the godfather of Japanese cyberpunk cinema.
- 8/10/2018
- by Nick Newman
- The Film Stage
Above: Italian 1960s re-release poster for Touchez pas au grisbi. Artist: Renato Casaro. In Bertrand Tavernier’s wonderful cine-memoire My Journey Through French Cinema (2016), he opens the film talking about the first film scene he remembers having an impact on him as a child: a chase scene of two motorcycle cops pursuing gangsters through a tunnel. It wasn’t until 25 years later that he discovered that the film was Jacques Becker’s debut Dernier atout (1942) and marvels at the fact that “the film that so impressed me was the work of one of France’s greatest filmmakers, one that I would worship. At age 6 I could have made a worse choice.” He goes on to devote the next 15 minutes of the film to Becker whom he describes as “the French director who best understood and mastered American filmmaking”—“Like many American directors he knew that pace is everything, and pace...
- 8/3/2018
- MUBI
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Film Society of Lincoln Center
Films by Bonello, Rivette, Akerman, Carax, and more screen in “The Female Gaze,” a retrospective of female cinematographers. Read our piece on it here.
Metrograph
The rarely screened work of Yoshishige Yoshida gets a three-title outing, while a look at the films of actor and director Gérard Blain is underway.
Film Society of Lincoln Center
Films by Bonello, Rivette, Akerman, Carax, and more screen in “The Female Gaze,” a retrospective of female cinematographers. Read our piece on it here.
Metrograph
The rarely screened work of Yoshishige Yoshida gets a three-title outing, while a look at the films of actor and director Gérard Blain is underway.
- 8/3/2018
- by Nick Newman
- The Film Stage
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSClaude Lanzmann, Simone de Beauvoir, Jean-Paul Satre, 1967. Photo via Rithy Panh.Shoah director and singular cinematic chronicler of the Holocaust, Claude Lanzmann has sadly left us. Daniel Lewis provides a comprehensive remembrance for The New York Times. Last year, we wrote on his last five films films, Napalm and The Four Sisters, a quartet of documentaries.Recommended VIEWINGEven through his perhaps more artistically compromised mainland blockbusters, we remain dedicated fans of Tsui Hark's daring, punk cinematic vision. We especially highly regard his Detective Dee films, and thus are very excited for the forthcoming Detective Dee: The Four Heavenly Kings, which has received this ecstatic new trailer.An oddly modern trailer showcasing the new gorgeous restoration of Jacques Rivette's first masterpiece (starring Anna Karina!), The Nun (1966). In a qualitative sense, Yorgos Lanthimos' films...
- 7/11/2018
- MUBI
![Jane Fonda at an event for U (2006)](https://m.media-amazon.com/images/M/MV5BMzQ5NTE2MDAzOV5BMl5BanBnXkFtZTgwOTQ3MTQ3MjE@._V1_QL75_UY207_CR18,0,140,207_.jpg)
![Jane Fonda at an event for U (2006)](https://m.media-amazon.com/images/M/MV5BMzQ5NTE2MDAzOV5BMl5BanBnXkFtZTgwOTQ3MTQ3MjE@._V1_QL75_UY207_CR18,0,140,207_.jpg)
Jane Fonda will receive this year’s Lumière Award at the 10th Lumière Festival in Lyon, France.
Describing the Oscar-winning actress, festival director Thierry Fremaux said Fonda is “a feminist, activist, and she remains a star.”
The festival said it was honoring Fonda for an “acting career that has led her from Sidney Pollack to Arthur Penn, from René Clément to Roger Vadim; for her willingness to embody fierce independence from a young age …” It also stressed the actress’ work as “a committed, life-long activist, ahead of her time as a vanguard of ideals,” calling her a “symbol of struggles for freedom, anti-racism and peace” as well as “an international star, an icon spanning several decades of audiences.”
“I am honored to be invited to the Lumière Festival in Lyon,” Fonda said, adding that she was “over the moon” upon hearing the news that she would receive the award.
As part of its tribute,...
Describing the Oscar-winning actress, festival director Thierry Fremaux said Fonda is “a feminist, activist, and she remains a star.”
The festival said it was honoring Fonda for an “acting career that has led her from Sidney Pollack to Arthur Penn, from René Clément to Roger Vadim; for her willingness to embody fierce independence from a young age …” It also stressed the actress’ work as “a committed, life-long activist, ahead of her time as a vanguard of ideals,” calling her a “symbol of struggles for freedom, anti-racism and peace” as well as “an international star, an icon spanning several decades of audiences.”
“I am honored to be invited to the Lumière Festival in Lyon,” Fonda said, adding that she was “over the moon” upon hearing the news that she would receive the award.
As part of its tribute,...
- 6/11/2018
- by Ed Meza and John Hopewell
- Variety Film + TV
The Tenth Annual Robert Classic French Film Festival — co-presented by Cinema St. Louis and the Webster University Film Series continues this weekend. — The Classic French Film Festival celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1920s through the mid-1990s, offering a revealing overview of French cinema. This year’s fest kicked off last weekend with a screening of Bertrand Tavernier’s acclaimed documentary My Journey Through French Cinema.
There are two more events for the Tenth Annual Robert Classic French Film Festival happening this weekend:
Saturday, March 9th at 7:30pm – Casque D’Or. Ticket information can be found Here
Jacques Becker lovingly evokes the belle epoque Parisian demimonde in this classic tale of doomed romance — the French equivalent of the legend of Frankie and Johnny. When gangster’s moll Marie (Simone Signoret) falls for reformed criminal Manda (Serge Reggiani...
There are two more events for the Tenth Annual Robert Classic French Film Festival happening this weekend:
Saturday, March 9th at 7:30pm – Casque D’Or. Ticket information can be found Here
Jacques Becker lovingly evokes the belle epoque Parisian demimonde in this classic tale of doomed romance — the French equivalent of the legend of Frankie and Johnny. When gangster’s moll Marie (Simone Signoret) falls for reformed criminal Manda (Serge Reggiani...
- 3/6/2018
- by Tom Stockman
- WeAreMovieGeeks.com
Louis Malle’s French thriller is cooler than cool — his first dramatic film is a slick suspense item with wicked twists of fate and images to die for: 1) Jeanne Moreau at the height of her beauty 2) walking through beautifully lit Parisian back streets 3) accompanied by a fantastic Miles Davis soundtrack. Murder in Paris doesn’t get any better.
Elevator to the Gallows
Blu-ray
The Criterion Collection 335
1957 / B&W / 1:66 anamorphic 16:9 / 88 min. / Ascenseur pour l’échafaud, Frantic / available through The Criterion Collection / Street Date March 6, 2018 / 39.95
Starring: Jeanne Moreau, Maurice Ronet, Georges Poujouly, Yori Bertin, Jean Wall, Iván Petrovich, Elga Andersen, Lino Ventura, Charles Denner.
Cinematography: Henri Decaë
Film Editor: Léonide Azar
Original Music: Miles Davis
Written by Louis Malle, Roger Nimier, Noël Calef from his novel
Produced by Jean Thuillier
Directed by Louis Malle
French director Louis Malle’s first fiction film is an assured and artistically adventurous suspense item. Unlike...
Elevator to the Gallows
Blu-ray
The Criterion Collection 335
1957 / B&W / 1:66 anamorphic 16:9 / 88 min. / Ascenseur pour l’échafaud, Frantic / available through The Criterion Collection / Street Date March 6, 2018 / 39.95
Starring: Jeanne Moreau, Maurice Ronet, Georges Poujouly, Yori Bertin, Jean Wall, Iván Petrovich, Elga Andersen, Lino Ventura, Charles Denner.
Cinematography: Henri Decaë
Film Editor: Léonide Azar
Original Music: Miles Davis
Written by Louis Malle, Roger Nimier, Noël Calef from his novel
Produced by Jean Thuillier
Directed by Louis Malle
French director Louis Malle’s first fiction film is an assured and artistically adventurous suspense item. Unlike...
- 3/3/2018
- by Glenn Erickson
- Trailers from Hell
The Tenth Annual Robert Classic French Film Festival — co-presented by Cinema St. Louis and the Webster University Film Series starts this Friday, March 2nd. — The Classic French Film Festival celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1920s through the mid-1990s, offering a revealing overview of French cinema. This year’s fest kicks off with a screening of Bertrand Tavernier’s acclaimed documentary My Journey Through French Cinema, the director’s personal reflections on key films and filmmakers. Several of the works he highlights — such as Jacques Becker’s “Casque d’or” and Jean-Pierre Melville’s “Le Samouraï” — are screened at this year’s fest.
Tickets: $13 General Admission. Cinema St. Louis Members: $10. Students: $10. Webster. U students: Free. Tickets for My Journey Through French Cinema can be purchased Here
All films are screened at Webster University’s Moore Auditorium (470 East Lockwood).
Friday,...
Tickets: $13 General Admission. Cinema St. Louis Members: $10. Students: $10. Webster. U students: Free. Tickets for My Journey Through French Cinema can be purchased Here
All films are screened at Webster University’s Moore Auditorium (470 East Lockwood).
Friday,...
- 2/26/2018
- by Tom Stockman
- WeAreMovieGeeks.com
The 10th Annual Robert Classic French Film Festival — co-presented by Cinema St. Louis and the Webster University Film Series — celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1920s through the 1990s, offering a revealing overview of French cinema.
This year’s fest kicks off with a screening of Bertrand Tavernier’s acclaimed documentary “My Journey Through French Cinema,” the director’s personal reflections on key films and filmmakers. Several of the works he highlights — such as Jacques Becker’s “Casque d’or” and Jean-Pierre Melville’s “Le Samouraï” — are screened at this year’s fest.
The fest annually includes significant restorations, and this year features New Wave master Jacques Rivette’s visually sumptuous “La belle noiseuse.” The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way, with Jean Renoir...
This year’s fest kicks off with a screening of Bertrand Tavernier’s acclaimed documentary “My Journey Through French Cinema,” the director’s personal reflections on key films and filmmakers. Several of the works he highlights — such as Jacques Becker’s “Casque d’or” and Jean-Pierre Melville’s “Le Samouraï” — are screened at this year’s fest.
The fest annually includes significant restorations, and this year features New Wave master Jacques Rivette’s visually sumptuous “La belle noiseuse.” The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way, with Jean Renoir...
- 1/18/2018
- by Tom Stockman
- WeAreMovieGeeks.com
Some 40 French companies will participate in Paris showcase.
Source: Alain Guizard
The Red Collar
Jean Becker’s WW1 drama The Red Collar will open Unifrance’s 20th Rendez-vous with French Cinema in Paris, running Jan 18-22, 2018, its international sales agent FranceTV Distribution (Ftd) has announced.
The Wwi drama, adapted from the 2014 novel by Jean-Christophe Rufin, resolves around the interrogation of a decorated war hero who has fallen from grace after staging a strange, anti-war protest using his medal.
Nicolas Duvauchelle plays the disgraced soldier opposite François Cluzet as a corrupt judge who is charged with the task of interrogating the young man. French-Belgian actress Sophie Verbeek plays the fallen hero’s lover. Above and below, Screen can reveal the two first look images from the film.
The production is one of the first titles to be completed on the slate of FranceTV Distribution’s new feature film division following its launch at the 2017 Paris Rendez-vous.
Other upcoming titles...
Source: Alain Guizard
The Red Collar
Jean Becker’s WW1 drama The Red Collar will open Unifrance’s 20th Rendez-vous with French Cinema in Paris, running Jan 18-22, 2018, its international sales agent FranceTV Distribution (Ftd) has announced.
The Wwi drama, adapted from the 2014 novel by Jean-Christophe Rufin, resolves around the interrogation of a decorated war hero who has fallen from grace after staging a strange, anti-war protest using his medal.
Nicolas Duvauchelle plays the disgraced soldier opposite François Cluzet as a corrupt judge who is charged with the task of interrogating the young man. French-Belgian actress Sophie Verbeek plays the fallen hero’s lover. Above and below, Screen can reveal the two first look images from the film.
The production is one of the first titles to be completed on the slate of FranceTV Distribution’s new feature film division following its launch at the 2017 Paris Rendez-vous.
Other upcoming titles...
- 12/21/2017
- by Melanie Goodfellow
- ScreenDaily
Some 40 French companies will participate in Paris showcase.
Source: Alain Guizard
The Red Collar
Jean Becker’s WW1 drama The Red Collar will open Unifrance’s 20th Rendez-vous with French Cinema in Paris, running Jan 18-22, 2018, its international sales agent FranceTV Distribution (Ftd) has announced.
The Wwi drama, adapted from the 2014 novel by Jean-Christophe Rufin, resolves around the interrogation of a decorated war hero who has fallen from grace after staging a strange, anti-war protest using his medal.
Nicolas Duvauchelle plays the disgraced soldier opposite François Cluzet as a corrupt judge who is charged with the task of interrogating the young man. French-Belgian actress Sophie Verbeek plays the fallen hero’s lover. Above and below, Screen can reveal the two first look images from the film.
The production is one of the first titles to be completed on the slate of FranceTV Distribution’s new feature film division following its launch at the 2017 Paris Rendez-vous.
Source: Alain Guizard
The Red Collar
Jean Becker’s WW1 drama The Red Collar will open Unifrance’s 20th Rendez-vous with French Cinema in Paris, running Jan 18-22, 2018, its international sales agent FranceTV Distribution (Ftd) has announced.
The Wwi drama, adapted from the 2014 novel by Jean-Christophe Rufin, resolves around the interrogation of a decorated war hero who has fallen from grace after staging a strange, anti-war protest using his medal.
Nicolas Duvauchelle plays the disgraced soldier opposite François Cluzet as a corrupt judge who is charged with the task of interrogating the young man. French-Belgian actress Sophie Verbeek plays the fallen hero’s lover. Above and below, Screen can reveal the two first look images from the film.
The production is one of the first titles to be completed on the slate of FranceTV Distribution’s new feature film division following its launch at the 2017 Paris Rendez-vous.
- 12/21/2017
- by Melanie Goodfellow
- Screen Daily Test
Some 40 French companies will participate in Paris showcase.
Source: Alain Guizard
The Red Collar
Jean Becker’s WW1 drama The Red Collar will open Unifrance’s 20th Rendez-vous with French Cinema in Paris, running Jan 18-22, 2018, its international sales agent FranceTV Distribution (Ftd) has announced.
The Wwi drama, adapted from the 2014 novel by Jean-Christophe Rufin, resolves around the interrogation of a decorated war hero who has fallen from grace after staging a strange, anti-war protest using his medal.
Nicolas Duvauchelle plays the disgraced soldier opposite François Cluzet as a corrupt judge who is charged with the task of interrogating the young man. French-Belgian actress Sophie Verbeek plays the fallen hero’s lover.
The production is one of the first titles to be completed on the slate of FranceTV Distribution’s new feature film division following its launch at the 2017 Paris Rendez-vous.
Other upcoming titles on its slate include Xabi Molia’s Comme Des Rois,...
Source: Alain Guizard
The Red Collar
Jean Becker’s WW1 drama The Red Collar will open Unifrance’s 20th Rendez-vous with French Cinema in Paris, running Jan 18-22, 2018, its international sales agent FranceTV Distribution (Ftd) has announced.
The Wwi drama, adapted from the 2014 novel by Jean-Christophe Rufin, resolves around the interrogation of a decorated war hero who has fallen from grace after staging a strange, anti-war protest using his medal.
Nicolas Duvauchelle plays the disgraced soldier opposite François Cluzet as a corrupt judge who is charged with the task of interrogating the young man. French-Belgian actress Sophie Verbeek plays the fallen hero’s lover.
The production is one of the first titles to be completed on the slate of FranceTV Distribution’s new feature film division following its launch at the 2017 Paris Rendez-vous.
Other upcoming titles on its slate include Xabi Molia’s Comme Des Rois,...
- 12/21/2017
- by Melanie Goodfellow
- Screen Daily Test
Some 40 French companies will participate in Paris showcase.
Source: Alain Guizard
The Red Collar
Jean Becker’s WW1 drama The Red Collar will open Unifrance’s 20th Rendez-vous with French Cinema in Paris, running Jan 18-22, 2018, its international sales agent FranceTV Distribution (Ftd) has announced.
The Wwi drama, adapted from the 2014 novel by Jean-Christophe Rufin, resolves around the interrogation of a decorated war hero who has fallen from grace after staging a strange, anti-war protest using his medal.
Nicolas Duvauchelle plays the disgraced soldier opposite François Cluzet as a corrupt judge who is charged with the task of interrogating the young man. French-Belgian actress Sophie Verbeek plays the fallen hero’s lover.
The production is one of the first titles to be completed on the slate of FranceTV Distribution’s new feature film division following its launch at the 2017 Paris Rendez-vous.
Other upcoming titles on its slate include Xabi Molia’s Comme Des Rois, starring Kad Merad as a con...
Source: Alain Guizard
The Red Collar
Jean Becker’s WW1 drama The Red Collar will open Unifrance’s 20th Rendez-vous with French Cinema in Paris, running Jan 18-22, 2018, its international sales agent FranceTV Distribution (Ftd) has announced.
The Wwi drama, adapted from the 2014 novel by Jean-Christophe Rufin, resolves around the interrogation of a decorated war hero who has fallen from grace after staging a strange, anti-war protest using his medal.
Nicolas Duvauchelle plays the disgraced soldier opposite François Cluzet as a corrupt judge who is charged with the task of interrogating the young man. French-Belgian actress Sophie Verbeek plays the fallen hero’s lover.
The production is one of the first titles to be completed on the slate of FranceTV Distribution’s new feature film division following its launch at the 2017 Paris Rendez-vous.
Other upcoming titles on its slate include Xabi Molia’s Comme Des Rois, starring Kad Merad as a con...
- 12/21/2017
- by Melanie Goodfellow
- ScreenDaily
The great French actress, who starred in films by Jacques Becker, Louis Malle, François Truffaut, Michelangelo Antonioni, and Orson Welles in her early career and by Theodoros Angelopoulos, Agnès Varda, Tsai Ming-liang and Manoel de Oliveira in her late career, has died at the age of 89. She consecrated the great modernist development of arthouse cinema with an unforgettable and unique poise, interiority and gravity.
- 7/31/2017
- MUBI
![The Beguiled (1971)](https://m.media-amazon.com/images/M/MV5BN2YyYThmZWMtOWFiNC00Njc1LTgxNjYtOTExZjcyMjlmMjkzXkEyXkFqcGdeQXVyNjc1NTYyMjg@._V1_QL75_UX140_CR0,2,140,207_.jpg)
![The Beguiled (1971)](https://m.media-amazon.com/images/M/MV5BN2YyYThmZWMtOWFiNC00Njc1LTgxNjYtOTExZjcyMjlmMjkzXkEyXkFqcGdeQXVyNjc1NTYyMjg@._V1_QL75_UX140_CR0,2,140,207_.jpg)
All of a sudden the scary decline at the indie box office has reversed. Through the first five months of 2017, only four films opening limited in the standard four New York/Los Angeles theaters opened with a per theater average of $20,000. In the last four weeks, four films have opened strong as “Beatriz at Dinner” (Roadside Attractions), “The Big Sick” (Lionsgate) and “The Beguiled” (Focus) opened well and reached crossover crowds.
This week’s addition, Sundance comedy hit “The Little Hours” (Gunpowder & Sky) is the latest surprise. Loosely inspired by the bawdy 14th-century Boccaccio classic “The Decameron” (The Hollywood version starred Joan Fontaine while Pasolini shocked in 1971), this tale is set in the Medieval Italian countryside with bawdy contemporary dialogue as a randy peasant hides out at a convent after his master catches him with his wife. It did strong business at four theaters on two coasts.
This comes the...
This week’s addition, Sundance comedy hit “The Little Hours” (Gunpowder & Sky) is the latest surprise. Loosely inspired by the bawdy 14th-century Boccaccio classic “The Decameron” (The Hollywood version starred Joan Fontaine while Pasolini shocked in 1971), this tale is set in the Medieval Italian countryside with bawdy contemporary dialogue as a randy peasant hides out at a convent after his master catches him with his wife. It did strong business at four theaters on two coasts.
This comes the...
- 7/2/2017
- by Tom Brueggemann
- Indiewire
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
BAMcinematek
Edgar Wright presents a series of crime films, while le cinema du southern gothic runs.
Metrograph
The directorial debuts of George Lucas and David Byrne play as part of “Welcome to Metrograph A-z.”
A series of concert films screen this weekend.
Museum of the Moving Image
Raiders of the Lost Ark, 1941, and Empire of the Sun all have screenings.
BAMcinematek
Edgar Wright presents a series of crime films, while le cinema du southern gothic runs.
Metrograph
The directorial debuts of George Lucas and David Byrne play as part of “Welcome to Metrograph A-z.”
A series of concert films screen this weekend.
Museum of the Moving Image
Raiders of the Lost Ark, 1941, and Empire of the Sun all have screenings.
- 6/29/2017
- by Nick Newman
- The Film Stage
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.
The Bad Batch (Ana Lily Amirpour)
Ana Lily Amirpour’s second feature shoots for Harmony Korine meets Mad Max and would have nearly almost hit the mark were it not for the gratingly aloof attitude and the swaths of directorial license being taken. The Bad Batch — an ambitious, expansive dystopian sci-fi western which features partying, drugs, and cannibals — might come as music to the ears of diehard fans of films like Spring Breakers and Gummo (a kid doesn’t quite eat spaghetti in a bathtub, but a kid does eat spaghetti after being in a bathtub). However, beneath its dazzlingly hip surface the script and characters leave much to be desired. It’s like taking a trip to Burning Man: a pseudo-spiritual, uniquely punky experience perhaps, but one that’s full of annoying rich kids and ultimately emotionally shallow. – Rory O. (full review)
Where to Stream: Amazon, iTunes
Kong: Skull Island (Jordan Vogt-Roberts)
Though it may not feel fully inspired so much as competently pre-visualized, Kong: Skull Island fits snugly into the growing canon of reboots that exist within ever-expanding movie universes. That’s a first sentence to a positive review that perhaps reads a bit more cynically than intended. Directed by Jordan Vogt-Roberts and written by a bunch of dudes (Dan Gilroy and Max Borenstein and Derek Connolly with a story credited to John Gatins), this umpteenth version of the King Kong story pulls from every available pop-culture source in building a fun creature feature. Much of the credit goes to the breathtaking effects and brisk pace, which distract from some lofty line readings and silly plot devices. – Dan M. (full review)
Where to Stream: Amazon, iTunes, Google
Le Trou (Jacques Becker)
One of the greatest prison escape dramas of all-time, Jacques Becker’s recently-restored Le Trou is a masterclass in tension. By putting us both in the physical and psychological headspace of our protagonists, it’s an enveloping experience as we see a number of close calls, leading up to one of the most unforgettable endings in cinema. – Jordan r.
Where to Stream: Mubi (free 30-day trial)
Moana (John Musker and Ron Clements)
It’s time for another Disney Princess movie, and you know how it goes. Disney knows too, and wants you to know that it knows. When the title character of Moana (Auli’i Cravalho) denies that she’s a princess, claiming that she’s merely the daughter of her island’s chief and the next chieftain, her adventuring partner Maui (Dwayne Johnson) asserts, “Same difference,” and that, “You wear a dress and have an animal sidekick. You’re a princess.” But Disney is doing its best to make the culture rethink cinematic fantasy princesses, countering the stereotypes of helpless femininity (which the studio largely put in place) with a new roster of highly capable action heroines. And Moana is, as they call it, a good role model. And the movie around her is fine. – Dan S. (full review)
Where to Stream: Netflix
Nobody Speak: Trials of the Free Press (Brian Knappenberger)
Nobody Speak: Trials of the Free Press uses a salacious story and website as the launching pad to discuss where we currently are, so much so that I imagine director Brian Knappenberger — who uses footage from President Trump’s infamous press conference only a few days before the film’s Sundance premiere — may wish to stay on the story. Gawker, a site spun out of Gizmodo, was founded to share the types of stories mainstream news outlets would often shy away from, including celebrity sex tapes, outings, drug use, and allegations that have swirled but not picked up traction. They’ve featured Rob Ford smoking crack, Bill Cosby’s multiple accusers, Hillary Clinton’s emails, Tom Cruise’s prominent role in Scientology, and the one that brought them down: the infamous Hulk Hogan sex tape recorded for private use by Hogan pal and infamous Tampa shock jock Bubba the Love Sponge Clem, best known nationally for his stint on Howard Stern’s satellite channel. Bubba’s antics will no doubt some day be the subject of a documentary of their own, from his role in both the Hogan affair to his odd appearance in the David Petraeus saga. – John F. (full review)
Where to Stream: Netflix
Paterson (Jim Jarmusch)
Jim Jarmusch proved he was back in a major way with Only Lovers Left Alive a few years ago, and the streak continues with Paterson, a calm, introspective drama with such positive views on marriage and creativity that I was left floored. In following the cyclical life of Adam Driver‘s Paterson, a bus driver in Paterson, New Jersey, who also has dreams of being a poet, Jarmusch superbly shows that one’s own life experience — however seemingly insubstantial — is the only requirement to produce something beautiful. Moreso than any other film in 2016, this is the kind of world I want to live in. – Jordan R.
Where to Stream: Amazon Prime
Star Trek Beyond (Justin Lin)
After the pleasant fluff of its kick-off installment and the frog march of unpleasantness that was Into Darkness, the rebooted Star Trek film series finally hits a fun median between big-budget bombast and classic Trek bigheartedness with Star Trek Beyond. Does the franchise’s full descent into action, with only the barest lip service paid to big ideas, cause Gene Roddenberry’s ashes to spin in their space capsule? Probably, but in the barren desert of summer 2016 blockbusters, this is a lovely oasis. – Dan S. (full review)
Where to Stream: Amazon Prime
Summer Hours (Olivier Assayas)
Perhaps a point of contention on New York Times’ top 25 films of the 21st century list, Olivier Assayas’ Summer Hours is a commendable top 10 pick. Led by Juliette Binoche, Charles Berling, Jérémie Renier, and Kyle Eastwood, this drama follows a family reuniting following the death of their mother. Like the best of Assayas’ films, it’s an impeccably-crafted, subtly-moving experience, one that wades in the ideas of the value of what we hold on to and a graceful reflection on the passage of time. – Jordan R.
Where to Stream: FilmStruck
Wilson (Craig Johnson)
The world of Daniel Clowes is one without manners, glamour, and tact, but it is also one of uncomfortable truth, as scathing as it might be. One may have never verbally conveyed the discourteous musings of his characters to the extent to which it is their everyday vernacular, but we’ve all had similar thoughts when life isn’t going our way. The latest adaptation of his work comes with Wilson, directed by Craig Johnson (The Skeleton Twins), featuring a role Woody Harrelson is clearly having the time of his life with. Despite his commitment to a lack of civility, there’s a darker film lying in the cynical heart of Wilson, one that gets squandered by its mawkish aesthetic and lack of interest in exploring these characters beyond their crudeness. – Jordan R. (full review)
Where to Stream: Amazon, iTunes, Google
The Zookeeper’s Wife (Niki Caro)
The Zookeeper’s Wife begins with those five famous words that hold the power to either become a film’s dependency (and therefore downfall) or its empowering catalyst, laying the foundation to convey a poignant tale: “Based on a true story.” Fortunately, The Zookeeper’s Wife sticks with the latter, and the true tale being told is one for the ages. Niki Caro‘s drama follows a couple who hide Jews in their zoo and use it as a point of passage and escape during the Nazi takeover of Warsaw. The narrative is a simple one, allowing The Zookeeper’s Wife to shine in its performances, imagery, and storytelling, which it pristinely accomplishes. – Chelsey G. (full review)
Where to Stream: Amazon, iTunes, Google
Also New to Streaming
Amazon
Night School (review)
FilmStruck
Rodeo and The Moment of Truth
Who Are You, Polly Maggoo? and Quadrophenia
An Actor’s Revenge
Her Brother
Conflagration
The Woman in Question
The Importance of Being Earnest
Mubi (free 30-day trial)
Paris Frills
The Train to Moscow: A Journey to Utopia
Lost in Lebanon
Being 14
Molly’s Theory of Relativity
Le Moulin
Netflix
The Stanford Prison Experiment (review)
Discover more titles that are now available to stream.
The Bad Batch (Ana Lily Amirpour)
Ana Lily Amirpour’s second feature shoots for Harmony Korine meets Mad Max and would have nearly almost hit the mark were it not for the gratingly aloof attitude and the swaths of directorial license being taken. The Bad Batch — an ambitious, expansive dystopian sci-fi western which features partying, drugs, and cannibals — might come as music to the ears of diehard fans of films like Spring Breakers and Gummo (a kid doesn’t quite eat spaghetti in a bathtub, but a kid does eat spaghetti after being in a bathtub). However, beneath its dazzlingly hip surface the script and characters leave much to be desired. It’s like taking a trip to Burning Man: a pseudo-spiritual, uniquely punky experience perhaps, but one that’s full of annoying rich kids and ultimately emotionally shallow. – Rory O. (full review)
Where to Stream: Amazon, iTunes
Kong: Skull Island (Jordan Vogt-Roberts)
Though it may not feel fully inspired so much as competently pre-visualized, Kong: Skull Island fits snugly into the growing canon of reboots that exist within ever-expanding movie universes. That’s a first sentence to a positive review that perhaps reads a bit more cynically than intended. Directed by Jordan Vogt-Roberts and written by a bunch of dudes (Dan Gilroy and Max Borenstein and Derek Connolly with a story credited to John Gatins), this umpteenth version of the King Kong story pulls from every available pop-culture source in building a fun creature feature. Much of the credit goes to the breathtaking effects and brisk pace, which distract from some lofty line readings and silly plot devices. – Dan M. (full review)
Where to Stream: Amazon, iTunes, Google
Le Trou (Jacques Becker)
One of the greatest prison escape dramas of all-time, Jacques Becker’s recently-restored Le Trou is a masterclass in tension. By putting us both in the physical and psychological headspace of our protagonists, it’s an enveloping experience as we see a number of close calls, leading up to one of the most unforgettable endings in cinema. – Jordan r.
Where to Stream: Mubi (free 30-day trial)
Moana (John Musker and Ron Clements)
It’s time for another Disney Princess movie, and you know how it goes. Disney knows too, and wants you to know that it knows. When the title character of Moana (Auli’i Cravalho) denies that she’s a princess, claiming that she’s merely the daughter of her island’s chief and the next chieftain, her adventuring partner Maui (Dwayne Johnson) asserts, “Same difference,” and that, “You wear a dress and have an animal sidekick. You’re a princess.” But Disney is doing its best to make the culture rethink cinematic fantasy princesses, countering the stereotypes of helpless femininity (which the studio largely put in place) with a new roster of highly capable action heroines. And Moana is, as they call it, a good role model. And the movie around her is fine. – Dan S. (full review)
Where to Stream: Netflix
Nobody Speak: Trials of the Free Press (Brian Knappenberger)
Nobody Speak: Trials of the Free Press uses a salacious story and website as the launching pad to discuss where we currently are, so much so that I imagine director Brian Knappenberger — who uses footage from President Trump’s infamous press conference only a few days before the film’s Sundance premiere — may wish to stay on the story. Gawker, a site spun out of Gizmodo, was founded to share the types of stories mainstream news outlets would often shy away from, including celebrity sex tapes, outings, drug use, and allegations that have swirled but not picked up traction. They’ve featured Rob Ford smoking crack, Bill Cosby’s multiple accusers, Hillary Clinton’s emails, Tom Cruise’s prominent role in Scientology, and the one that brought them down: the infamous Hulk Hogan sex tape recorded for private use by Hogan pal and infamous Tampa shock jock Bubba the Love Sponge Clem, best known nationally for his stint on Howard Stern’s satellite channel. Bubba’s antics will no doubt some day be the subject of a documentary of their own, from his role in both the Hogan affair to his odd appearance in the David Petraeus saga. – John F. (full review)
Where to Stream: Netflix
Paterson (Jim Jarmusch)
Jim Jarmusch proved he was back in a major way with Only Lovers Left Alive a few years ago, and the streak continues with Paterson, a calm, introspective drama with such positive views on marriage and creativity that I was left floored. In following the cyclical life of Adam Driver‘s Paterson, a bus driver in Paterson, New Jersey, who also has dreams of being a poet, Jarmusch superbly shows that one’s own life experience — however seemingly insubstantial — is the only requirement to produce something beautiful. Moreso than any other film in 2016, this is the kind of world I want to live in. – Jordan R.
Where to Stream: Amazon Prime
Star Trek Beyond (Justin Lin)
After the pleasant fluff of its kick-off installment and the frog march of unpleasantness that was Into Darkness, the rebooted Star Trek film series finally hits a fun median between big-budget bombast and classic Trek bigheartedness with Star Trek Beyond. Does the franchise’s full descent into action, with only the barest lip service paid to big ideas, cause Gene Roddenberry’s ashes to spin in their space capsule? Probably, but in the barren desert of summer 2016 blockbusters, this is a lovely oasis. – Dan S. (full review)
Where to Stream: Amazon Prime
Summer Hours (Olivier Assayas)
Perhaps a point of contention on New York Times’ top 25 films of the 21st century list, Olivier Assayas’ Summer Hours is a commendable top 10 pick. Led by Juliette Binoche, Charles Berling, Jérémie Renier, and Kyle Eastwood, this drama follows a family reuniting following the death of their mother. Like the best of Assayas’ films, it’s an impeccably-crafted, subtly-moving experience, one that wades in the ideas of the value of what we hold on to and a graceful reflection on the passage of time. – Jordan R.
Where to Stream: FilmStruck
Wilson (Craig Johnson)
The world of Daniel Clowes is one without manners, glamour, and tact, but it is also one of uncomfortable truth, as scathing as it might be. One may have never verbally conveyed the discourteous musings of his characters to the extent to which it is their everyday vernacular, but we’ve all had similar thoughts when life isn’t going our way. The latest adaptation of his work comes with Wilson, directed by Craig Johnson (The Skeleton Twins), featuring a role Woody Harrelson is clearly having the time of his life with. Despite his commitment to a lack of civility, there’s a darker film lying in the cynical heart of Wilson, one that gets squandered by its mawkish aesthetic and lack of interest in exploring these characters beyond their crudeness. – Jordan R. (full review)
Where to Stream: Amazon, iTunes, Google
The Zookeeper’s Wife (Niki Caro)
The Zookeeper’s Wife begins with those five famous words that hold the power to either become a film’s dependency (and therefore downfall) or its empowering catalyst, laying the foundation to convey a poignant tale: “Based on a true story.” Fortunately, The Zookeeper’s Wife sticks with the latter, and the true tale being told is one for the ages. Niki Caro‘s drama follows a couple who hide Jews in their zoo and use it as a point of passage and escape during the Nazi takeover of Warsaw. The narrative is a simple one, allowing The Zookeeper’s Wife to shine in its performances, imagery, and storytelling, which it pristinely accomplishes. – Chelsey G. (full review)
Where to Stream: Amazon, iTunes, Google
Also New to Streaming
Amazon
Night School (review)
FilmStruck
Rodeo and The Moment of Truth
Who Are You, Polly Maggoo? and Quadrophenia
An Actor’s Revenge
Her Brother
Conflagration
The Woman in Question
The Importance of Being Earnest
Mubi (free 30-day trial)
Paris Frills
The Train to Moscow: A Journey to Utopia
Lost in Lebanon
Being 14
Molly’s Theory of Relativity
Le Moulin
Netflix
The Stanford Prison Experiment (review)
Discover more titles that are now available to stream.
- 6/23/2017
- by Jordan Raup
- The Film Stage
Since revamping and reopening just a handful of months ago, New York City’s The Quad Cinema has become yet another top tier art house offering up some of the year’s most interesting retrospectives and film series. Be it a retrospective for filmmaker Lina Wertmuller or their superlative look at the immigrant experience through a cinematic lens, The Quad has given cinephiles rather frequent occasion to put down their hard earned cash and take in a film or two.
Now, on the occasion of the release of the director’s latest documentary, the theater is commencing yet another revelatory retrospective, this time of an underrated juggernaut of French cinema.
Rarely uttered in the same breath as the true titans of French cinema, director Bertrand Tavernier has cemented himself as one of the nation’s great cinematic artists through his human and humane portraits of various communities. After getting his start as an assistant to director Jean-Pierre Melville, Tavernier would in many ways jettison with stylistic formalism of his contemporaries for pictures that feel far more tactile and loose. Lived in is a term often thrown around with Tavernier’s work, and it’s fitting despite being something of a cliche. Yes, his pictures feel decidedly of one singular voice and worldview, yet there is an audacious energy to each frame that ultimately turns each picture into a vital document of a very specific subculture. Older than many New Wave directors, it’s clear to see that Tavernier would garner much influence from their work, yet he never lost sight of the specificity of his own aesthetic eye.
So, this retrospective couldn’t have come at a more exciting moment. Not only is Tavernier back with a new picture that is a centerpiece of sorts here, but the director is the type of undervalued auteur that is just the type of discovery cineastes crave. Take Death Watch, for example. A gorgeously composed satire that is only more relevant today as its tale of a reporter capturing the last moments of a woman’s life through the camera in his eye is as prescient as ever. Harvey Keitel stars opposite Romy Schneider, both of whom are truly fantastic here, in what plays like a minor work when taken in context of masterpieces like Coup de Torchon, but is a delightful discovery in its own right.
Speaking of Torchon, Tavernier’s masterpiece and still arguably his best picture is part of this 17 film series, as is the brilliant Round Midnight. Starring Dexter Gordon, the film introduces the viewer to a talented yet deeply troubled saxophone player in late 50’s Paris, and is one of Tavernier’s most moving and stylistically exciting works. The music here is recorded live, with Gordon playing opposite legends like Herbie Hancock and the brilliant Freddie Hubbard. It’s this type of tactile vitality that’s a staple of Tavernier’s work, proving the filmmaker to be something far more than the intellectual-turned-critic-turned-filmmaker that he is oft billed as.
But those seeking Tavernier’s critical lens won’t have to look much further than his dry but profoundly dense new film My Journey Through French Cinema. Clocking in at well over three hours, we watch as Tavernier weaves a yarn about ostensibly his experience with cinema of his homeland, going from the works of Jacques Becker to those of the New Wave generation that would come right after he began working. Looking critically at everything from Casque D’Or to Le Petit Soldat, Tavernier takes a similar route as someone like Martin Scorsese, ostensibly building a critical analysis of cinema out of a deeply personal memoir. Built around Tavernier’s own experiences seeing these respective films (even down to the specific theaters he saw them in), French Cinema doesn’t just see the personal nature of its title as a superficiality. While yes, the picture is quite dry and a lengthy watch, there’s something quietly moving about it, turning the often dull “video essay” into something far more captivating.
For more information on this retrospective, head over to The Quad online.
Now, on the occasion of the release of the director’s latest documentary, the theater is commencing yet another revelatory retrospective, this time of an underrated juggernaut of French cinema.
Rarely uttered in the same breath as the true titans of French cinema, director Bertrand Tavernier has cemented himself as one of the nation’s great cinematic artists through his human and humane portraits of various communities. After getting his start as an assistant to director Jean-Pierre Melville, Tavernier would in many ways jettison with stylistic formalism of his contemporaries for pictures that feel far more tactile and loose. Lived in is a term often thrown around with Tavernier’s work, and it’s fitting despite being something of a cliche. Yes, his pictures feel decidedly of one singular voice and worldview, yet there is an audacious energy to each frame that ultimately turns each picture into a vital document of a very specific subculture. Older than many New Wave directors, it’s clear to see that Tavernier would garner much influence from their work, yet he never lost sight of the specificity of his own aesthetic eye.
So, this retrospective couldn’t have come at a more exciting moment. Not only is Tavernier back with a new picture that is a centerpiece of sorts here, but the director is the type of undervalued auteur that is just the type of discovery cineastes crave. Take Death Watch, for example. A gorgeously composed satire that is only more relevant today as its tale of a reporter capturing the last moments of a woman’s life through the camera in his eye is as prescient as ever. Harvey Keitel stars opposite Romy Schneider, both of whom are truly fantastic here, in what plays like a minor work when taken in context of masterpieces like Coup de Torchon, but is a delightful discovery in its own right.
Speaking of Torchon, Tavernier’s masterpiece and still arguably his best picture is part of this 17 film series, as is the brilliant Round Midnight. Starring Dexter Gordon, the film introduces the viewer to a talented yet deeply troubled saxophone player in late 50’s Paris, and is one of Tavernier’s most moving and stylistically exciting works. The music here is recorded live, with Gordon playing opposite legends like Herbie Hancock and the brilliant Freddie Hubbard. It’s this type of tactile vitality that’s a staple of Tavernier’s work, proving the filmmaker to be something far more than the intellectual-turned-critic-turned-filmmaker that he is oft billed as.
But those seeking Tavernier’s critical lens won’t have to look much further than his dry but profoundly dense new film My Journey Through French Cinema. Clocking in at well over three hours, we watch as Tavernier weaves a yarn about ostensibly his experience with cinema of his homeland, going from the works of Jacques Becker to those of the New Wave generation that would come right after he began working. Looking critically at everything from Casque D’Or to Le Petit Soldat, Tavernier takes a similar route as someone like Martin Scorsese, ostensibly building a critical analysis of cinema out of a deeply personal memoir. Built around Tavernier’s own experiences seeing these respective films (even down to the specific theaters he saw them in), French Cinema doesn’t just see the personal nature of its title as a superficiality. While yes, the picture is quite dry and a lengthy watch, there’s something quietly moving about it, turning the often dull “video essay” into something far more captivating.
For more information on this retrospective, head over to The Quad online.
- 6/22/2017
- by Joshua Brunsting
- CriterionCast
![Hello Again (2017)](https://m.media-amazon.com/images/M/MV5BYzEzNjZkMWQtZTM2NS00YWQzLTk5ZWYtODkxZDM1NWNkZGVjXkEyXkFqcGdeQXVyMTM5NjQyNw@@._V1_QL75_UY207_CR2,0,140,207_.jpg)
![Hello Again (2017)](https://m.media-amazon.com/images/M/MV5BYzEzNjZkMWQtZTM2NS00YWQzLTk5ZWYtODkxZDM1NWNkZGVjXkEyXkFqcGdeQXVyMTM5NjQyNw@@._V1_QL75_UY207_CR2,0,140,207_.jpg)
There is a very niche swath of Broadway lovers and lesbians who will be over the moon to see Audra McDonald and Martha Plimpton share a seductive scene in “Hello Again,” a film adaptation of Michael John Lachiusa’s 1993 musical which released its steamy new trailer today.
Read More: Why the ‘Swiss Army Man’ Directors Backed the Psychedelic Comedy-Musical ‘Snowy Bing Bongs’
“Hello Again” tells ten love affairs set in each decade of the 20th century, following the sexual escapades of characters with names like The Whore, The College Boy, and The Young Thing. Lachiusa is best known for writing “The Wild Party,” which developed a cult following in the years since its Broadway debut in 1999. “Hello Again” is based on “La Ronde,” the 1897 play by Arthur Schnitzler which caused an uproar when it first played Berlin and Vienna in 1920.
Read More: ‘Dirty Dancing’ Review: ABC Musical Event Is Decidedly Not Worth Your Time
The movie stars six-time Tony Award winner Audra McDonald, as well as similarly lauded theater actors Martha Plimpton, T.R. Knight, Cheyenne Jackson, and Rumer Willis. “Hello Again” is directed by Tom Gustafson from a screenplay by Cory Krueckeberg, the same pair behind the 2012 musical comedy “Mariachi Gringo.”
How many Broadway stars can you find?
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Related stories'Le Trou' Trailer: Jacques Becker's Nerve-Wracking Prison Break Drama Gets a Stunning Restoration -- Watch'To the Bone' Trailer: Lily Collins Stars In Marti Noxon's Deeply Personal Eating Disorder Drama -- Watch'God's Own Country' Trailer: A Taut Gay Romance With Verité Intimacy Set In The Yorkshire Countryside -- Watch...
Read More: Why the ‘Swiss Army Man’ Directors Backed the Psychedelic Comedy-Musical ‘Snowy Bing Bongs’
“Hello Again” tells ten love affairs set in each decade of the 20th century, following the sexual escapades of characters with names like The Whore, The College Boy, and The Young Thing. Lachiusa is best known for writing “The Wild Party,” which developed a cult following in the years since its Broadway debut in 1999. “Hello Again” is based on “La Ronde,” the 1897 play by Arthur Schnitzler which caused an uproar when it first played Berlin and Vienna in 1920.
Read More: ‘Dirty Dancing’ Review: ABC Musical Event Is Decidedly Not Worth Your Time
The movie stars six-time Tony Award winner Audra McDonald, as well as similarly lauded theater actors Martha Plimpton, T.R. Knight, Cheyenne Jackson, and Rumer Willis. “Hello Again” is directed by Tom Gustafson from a screenplay by Cory Krueckeberg, the same pair behind the 2012 musical comedy “Mariachi Gringo.”
How many Broadway stars can you find?
Stay on top of the latest film and TV news! Sign up for our film and TV email newsletter here.
Related stories'Le Trou' Trailer: Jacques Becker's Nerve-Wracking Prison Break Drama Gets a Stunning Restoration -- Watch'To the Bone' Trailer: Lily Collins Stars In Marti Noxon's Deeply Personal Eating Disorder Drama -- Watch'God's Own Country' Trailer: A Taut Gay Romance With Verité Intimacy Set In The Yorkshire Countryside -- Watch...
- 6/21/2017
- by Jude Dry
- Indiewire
![Nicole Kidman, Kirsten Dunst, and Elle Fanning in The Beguiled (2017)](https://m.media-amazon.com/images/M/MV5BMTg5NjY3NDYxMl5BMl5BanBnXkFtZTgwMjI5ODgyMjI@._V1_QL75_UX140_CR0,0,140,207_.jpg)
![Nicole Kidman, Kirsten Dunst, and Elle Fanning in The Beguiled (2017)](https://m.media-amazon.com/images/M/MV5BMTg5NjY3NDYxMl5BMl5BanBnXkFtZTgwMjI5ODgyMjI@._V1_QL75_UX140_CR0,0,140,207_.jpg)
It’s almost time, ladies and gentlemen. Sofia Coppola’s “The Beguiled” is one of the biggest indie releases of the summer, and it finally arrives in select theaters this Friday. The Civil War-set drama stars Kirsten Dunst, Nicole Kidman, Elle Fanning, and Colin Farrell, and in our exclusive video below, the cast talks about what a dream it is to work on a Coppola set.
‘The Beguiled’ Review: Nicole Kidman and Kirsten Dunst Subvert Male Fantasies in Sofia Coppola’s Sensational Southern Potboiler
“It’s always very comfortable and everyone is so kind and everyone wants to be there because they want to be there,” Dunst explains. “She really puts together good energies of people and cast members so her vision naturally comes to life.”
“The Beguiled” is set at a Southern boarding school for girls. When a wounded Union solider is brought in to the school to be nursed back to health, the dynamics of the group is thrown into disarray.
Watch the exclusive behind-the-scenes video below.
Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
Related storiesSofia Coppola Explains Why She Left Her Ambitious Take on 'The Little Mermaid''Blade Runner 2049': Dazzling New Footage Proves This is the Year's Best Looking Blockbuster -- Watch'Le Trou' Trailer: Jacques Becker's Nerve-Wracking Prison Break Drama Gets a Stunning Restoration -- Watch...
‘The Beguiled’ Review: Nicole Kidman and Kirsten Dunst Subvert Male Fantasies in Sofia Coppola’s Sensational Southern Potboiler
“It’s always very comfortable and everyone is so kind and everyone wants to be there because they want to be there,” Dunst explains. “She really puts together good energies of people and cast members so her vision naturally comes to life.”
“The Beguiled” is set at a Southern boarding school for girls. When a wounded Union solider is brought in to the school to be nursed back to health, the dynamics of the group is thrown into disarray.
Watch the exclusive behind-the-scenes video below.
Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
Related storiesSofia Coppola Explains Why She Left Her Ambitious Take on 'The Little Mermaid''Blade Runner 2049': Dazzling New Footage Proves This is the Year's Best Looking Blockbuster -- Watch'Le Trou' Trailer: Jacques Becker's Nerve-Wracking Prison Break Drama Gets a Stunning Restoration -- Watch...
- 6/21/2017
- by Zack Sharf
- Indiewire
![Harrison Ford, Jared Leto, Ryan Gosling, and Ana de Armas in Blade Runner 2049 (2017)](https://m.media-amazon.com/images/M/MV5BNzA1Njg4NzYxOV5BMl5BanBnXkFtZTgwODk5NjU3MzI@._V1_QL75_UX140_CR0,0,140,207_.jpg)
‘Blade Runner 2049’: Dazzling New Footage Proves This is the Year’s Best Looking Blockbuster — Watch
![Harrison Ford, Jared Leto, Ryan Gosling, and Ana de Armas in Blade Runner 2049 (2017)](https://m.media-amazon.com/images/M/MV5BNzA1Njg4NzYxOV5BMl5BanBnXkFtZTgwODk5NjU3MzI@._V1_QL75_UX140_CR0,0,140,207_.jpg)
“Blade Runner” is turning 35 years old this Sunday, and what better way is there to celebrate then with brand new footage from the upcoming sequel? “Blade Runner 2049” is still months away, but People has debuted a new behind-the-scenes featurette that includes never-before-seen footage from Denis Villeneuve’s highly anticipated next installment.
Read More: Why ‘Blade Runner 2049′ Could Be Cinematographer Roger Deakins’ Masterpiece
“Blade Runner 2049” stars Ryan Gosling as Officer Q, a Los Angeles Police Department officer who uncovers a nefarious plan to destroy what’s left of civilization, leading him on a mission to locate Rick Deckard (Harrison Ford), who hasn’t been seen in over three decades.
The sequel is the latest major gig for Villeneuve, whose profile has been rising significantly over the last several years thanks to projects like “Prisoners,” “Sicario” and “Arrival.” The latter earned him his first Oscar nomination for Best Director this year. “Blade Runner 2049” will reunite him with cinematographer Roger Deakins, and the duo have cooked up what looks to go down as the most visually stunning movie of 2017.
Check out the dazzling new footage in the featurette below. “Blade Runner 2049” opens in theaters nationwide October 6.
Stay on top of the latest TV news! Sign up for our TV email newsletter here.
Related stories'The Beguiled' Exclusive: Here's What It's Like to Work On A Sofia Coppola Set -- Watch'Le Trou' Trailer: Jacques Becker's Nerve-Wracking Prison Break Drama Gets a Stunning Restoration -- WatchWatching 'Black Swan' and 'The Wrestler' Side By Side Proves Darren Aronofsky is Obsessed With Movement -- Watch...
Read More: Why ‘Blade Runner 2049′ Could Be Cinematographer Roger Deakins’ Masterpiece
“Blade Runner 2049” stars Ryan Gosling as Officer Q, a Los Angeles Police Department officer who uncovers a nefarious plan to destroy what’s left of civilization, leading him on a mission to locate Rick Deckard (Harrison Ford), who hasn’t been seen in over three decades.
The sequel is the latest major gig for Villeneuve, whose profile has been rising significantly over the last several years thanks to projects like “Prisoners,” “Sicario” and “Arrival.” The latter earned him his first Oscar nomination for Best Director this year. “Blade Runner 2049” will reunite him with cinematographer Roger Deakins, and the duo have cooked up what looks to go down as the most visually stunning movie of 2017.
Check out the dazzling new footage in the featurette below. “Blade Runner 2049” opens in theaters nationwide October 6.
Stay on top of the latest TV news! Sign up for our TV email newsletter here.
Related stories'The Beguiled' Exclusive: Here's What It's Like to Work On A Sofia Coppola Set -- Watch'Le Trou' Trailer: Jacques Becker's Nerve-Wracking Prison Break Drama Gets a Stunning Restoration -- WatchWatching 'Black Swan' and 'The Wrestler' Side By Side Proves Darren Aronofsky is Obsessed With Movement -- Watch...
- 6/21/2017
- by Zack Sharf
- Indiewire
Names you won’t hear in Bertrand Tavernier’s personal history of French cinema: Abel Gance, Marcel Pagnol, Sacha Guitry, Alain Resnais, Philippe Garrel. Don’t expect to hear about any directors who got started after the ’60s either: Tavernier begins with a solid overview of the glories of Jacques Becker, the first director to make an impression on him (“At age six, I could have chosen worse”) and ends with an equally lengthy tribute to Claude Sautet — along with Jean-Pierre Melville, one of his two professional fairy godmother gateways to the production side of French cinema. There is, to be sure, plenty of […]...
- 6/20/2017
- by Vadim Rizov
- Filmmaker Magazine - Blog
![Philippe Leroy, Michel Constantin, Jean Keraudy, Raymond Meunier, and Marc Michel in The Hole (1960)](https://m.media-amazon.com/images/M/MV5BYzg1ZWQxZDMtYjBhMC00OTNhLWJiNGYtMGFiNDQ4NzQ4NjVlXkEyXkFqcGdeQXVyNTA1NjYyMDk@._V1_QL75_UY207_CR7,0,140,207_.jpg)
![Philippe Leroy, Michel Constantin, Jean Keraudy, Raymond Meunier, and Marc Michel in The Hole (1960)](https://m.media-amazon.com/images/M/MV5BYzg1ZWQxZDMtYjBhMC00OTNhLWJiNGYtMGFiNDQ4NzQ4NjVlXkEyXkFqcGdeQXVyNTA1NjYyMDk@._V1_QL75_UY207_CR7,0,140,207_.jpg)
Praised for its realism and intensity, Jacques Becker’s 1960 prison break drama “Le Trou” is now bound for a pristine-looking 4K restoration, thanks to Rialto Pictures and Studio Canal. A nerve-wracking drama based on a true story, the film is adapted from the book “The Break” by ex-con José Giovanni and has been hailed as not just one of French cinema’s best films, but perhaps the best. (Lofty, we know.)
Based on a 1947 escape attempt enacted by five prisoners at France’s La Sante Prison, Becker used a slew of non-actors — including Jean Keraudy, who actually participated in the daring events the film portrays — to tell a gripping story that remains one of cinema’s most unnerving depictions of real-life drama.
Read More: ‘Il Boom’ Trailer: Vittorio De Sica’s Underseen Comedy Bound for Restoration and First-Ever U.S. Release — Watch
The film picks up after four prisoners and...
Based on a 1947 escape attempt enacted by five prisoners at France’s La Sante Prison, Becker used a slew of non-actors — including Jean Keraudy, who actually participated in the daring events the film portrays — to tell a gripping story that remains one of cinema’s most unnerving depictions of real-life drama.
Read More: ‘Il Boom’ Trailer: Vittorio De Sica’s Underseen Comedy Bound for Restoration and First-Ever U.S. Release — Watch
The film picks up after four prisoners and...
- 6/20/2017
- by Kate Erbland
- Indiewire
![Lily Collins in To the Bone (2017)](https://m.media-amazon.com/images/M/MV5BMTU1MTQ0NDAyNV5BMl5BanBnXkFtZTgwNjQ4MjE4MjI@._V1_QL75_UX140_CR0,0,140,207_.jpg)
![Lily Collins in To the Bone (2017)](https://m.media-amazon.com/images/M/MV5BMTU1MTQ0NDAyNV5BMl5BanBnXkFtZTgwNjQ4MjE4MjI@._V1_QL75_UX140_CR0,0,140,207_.jpg)
“Funny” isn’t the first word that comes to mind when describing a film about eating disorders and the people who suffer from them, but Marti Noxon’s “To the Bone” manages to be both very funny and very moving, often at the same time. Loosely based on her own experiences with anorexia, the lauded writer and showrunner’s feature directorial debut is bound for a Netflix release after the streaming outfit picked up the film after its Sundance premiere earlier this year.
It was a good buy, and Netflix seems to be celebrating that with an equally as good trailer, one that plays on both the film’s humor and heart.
Read More: ‘To the Bone’: How Marti Noxon Turned Her Anorexia Battles Into a $8 Million Netflix Buy — Sundance 2017
Starring Lily Collins as Ellen, a long-time anorexic who is forced to try a radical new therapy when her illness becomes clearly life-threatening,...
It was a good buy, and Netflix seems to be celebrating that with an equally as good trailer, one that plays on both the film’s humor and heart.
Read More: ‘To the Bone’: How Marti Noxon Turned Her Anorexia Battles Into a $8 Million Netflix Buy — Sundance 2017
Starring Lily Collins as Ellen, a long-time anorexic who is forced to try a radical new therapy when her illness becomes clearly life-threatening,...
- 6/20/2017
- by Kate Erbland
- Indiewire
![Brokeback Mountain (2005)](https://m.media-amazon.com/images/M/MV5BNTM4NTFiZGMtNjljZi00MDIzLWJkNTctMzA0NWViNjYxMDY1XkEyXkFqcGdeQXVyMTU3NDU4MDg2._V1_QL75_UX140_CR0,1,140,207_.jpg)
![Brokeback Mountain (2005)](https://m.media-amazon.com/images/M/MV5BNTM4NTFiZGMtNjljZi00MDIzLWJkNTctMzA0NWViNjYxMDY1XkEyXkFqcGdeQXVyMTU3NDU4MDg2._V1_QL75_UX140_CR0,1,140,207_.jpg)
The sexual tension mingles with the mud and sweat of a hard day’s farm work in Francis Lee’s stunnign debut film, “God’s Own Country,” which released its first official trailer today. The movie played Sundance earlier this year to rave reviews, with its country setting and restrained storytelling earning inevitable comparisons to “Brokeback Mountain.” But “God’s Own Country” has the benefit of two fresh young faces in the leads (Josh O’Connor and Alec Secareanu) to fully inhabit the roles with no prior associations, as well as the freedom to buck Hollywood tropes. Including that pesky one where gay films have to end in tragedy.
Read More: ‘God’s Own Country’ Review: A British ‘Brokeback Mountain,’ But Better — Sundance 2017
The film is set in the bleak but beautiful Yorkshire countryside, where young Johnny (O’Connor) carries the burden of managing his family’s livelihood int he...
Read More: ‘God’s Own Country’ Review: A British ‘Brokeback Mountain,’ But Better — Sundance 2017
The film is set in the bleak but beautiful Yorkshire countryside, where young Johnny (O’Connor) carries the burden of managing his family’s livelihood int he...
- 6/19/2017
- by Jude Dry
- Indiewire
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