Veteran French editor Dominique Auvray says there’s an essential intuitive element to her work. The woman who created the sound for “Paris, Texas” and cut such films as “No Fear, No Die,” “L’Amour Fou,” and “Hu-Man” says her career has been built around one key ability: Tuning in to your eyes and ears.
Speaking at the Ji.hlava International Documentary Film Festival this week, the longtime collaborator with seminal French director and author Marguerite Duras said, “I think the first thing when you are an editor, you have to look and to listen. And to listen at the same time to your heart and your head. And to listen to the director. And to listen to what the images say, you know.”
Auvray says she approached her work on the definitive Duras films “Le Camion,” “Woman of the Ganges” and “Le Navire Night” this way, and is still listening...
Speaking at the Ji.hlava International Documentary Film Festival this week, the longtime collaborator with seminal French director and author Marguerite Duras said, “I think the first thing when you are an editor, you have to look and to listen. And to listen at the same time to your heart and your head. And to listen to the director. And to listen to what the images say, you know.”
Auvray says she approached her work on the definitive Duras films “Le Camion,” “Woman of the Ganges” and “Le Navire Night” this way, and is still listening...
- 10/28/2023
- by Will Tizard
- Variety Film + TV
“Mist” (Angae) or the Foggy Town is a South Korean film directed by the prolific filmmaker Kim Soo-Yong in 1967, inspired by the novel “Record of a Journey to Mujin” (무진기행) by novelist Kim Seung-ok. In 1968, “Mist” won the award for Best Director at the Asia Pacific Film Festival. This work undoubtedly stands as one of the most emblematic movies of Korean cinema's golden age (1955 to 1972). The historical backdrop in which this entire era of exploration is situated is essential for a comprehensive understanding of the works themselves.
Mist is screening at Film At Lincoln Center, as part of the Korean Cinema's Golden Decade: The 1960s program
The story follows Yun Gi-jun – portrayed by the legendary actor Shin Seong-il – a rich married businessman based in Seoul. Alienated and stressed by his job position, the protagonist decides to return to his hometown, Mujin, to visit the grave of his mother. There, he...
Mist is screening at Film At Lincoln Center, as part of the Korean Cinema's Golden Decade: The 1960s program
The story follows Yun Gi-jun – portrayed by the legendary actor Shin Seong-il – a rich married businessman based in Seoul. Alienated and stressed by his job position, the protagonist decides to return to his hometown, Mujin, to visit the grave of his mother. There, he...
- 8/30/2023
- by Siria Falleroni
- AsianMoviePulse
Films about the end of the world are nothing new. But films about the real end of the world–the moments in human history that seem to have put us on an inevitable path toward our own self-destruction–are less frequent. In the 1950s, as the Cold War took hold and the threat of nuclear war escalated, most of the films that came out dealt with it in terms of metaphor, usually sci-fi ones, like giant irradiated lizards and insects standing in for hydrogen bombs.
Christopher Nolan’s Oppenheimer addresses one of those moments in history head-on, giving us not just a glimpse into the tormented mind of the “father of the atomic bomb,” but a you-are-there, immersive front row seat to the very moment in which the first bomb was detonated and the end of the human race came into clear view, starting with what many now consider to...
Christopher Nolan’s Oppenheimer addresses one of those moments in history head-on, giving us not just a glimpse into the tormented mind of the “father of the atomic bomb,” but a you-are-there, immersive front row seat to the very moment in which the first bomb was detonated and the end of the human race came into clear view, starting with what many now consider to...
- 7/24/2023
- by Don Kaye
- Den of Geek
Bernard-Henri Lévy with Sergiy Kyslytsya (Ambassador Extraordinary and Plenipotentiary of Ukraine and Permanent Representative of Ukraine to the United Nations) and Nicolas de Rivière (Ambassador Permanent Representative of France to the United Nations) with Ukrainian soldiers at the Slava Ukraini première Photo: Anne-Katrin Titze
In the second instalment with Bernard-Henri Lévy we discuss war films, including Rémy Ourdan’s The Siege, André Malraux’s Espoir: Sierra de Teruel, and Terre d’Espagne by Joris Ivens; Chernobyl, quoting a line by Emmanuelle Riva in Alain Resnais’s Hiroshima Mon Amour, screenplay by Marguerite Duras, and chapters five, nine, and twelve of Slava Ukraini, co-directed with Marc Roussel (produced by François Margolin with associate producer Emily Hamilton and advisor Gilles Hertzog).
Bernard-Henri Lévy with Nicolas de Rivière and Sergiy Kyslytsya at the United Nations Photo: Anne-Katrin Titze
At the United Nations in New York inside the Eocsoc Chamber on the evening of May 4, Nicolas de Rivière,...
In the second instalment with Bernard-Henri Lévy we discuss war films, including Rémy Ourdan’s The Siege, André Malraux’s Espoir: Sierra de Teruel, and Terre d’Espagne by Joris Ivens; Chernobyl, quoting a line by Emmanuelle Riva in Alain Resnais’s Hiroshima Mon Amour, screenplay by Marguerite Duras, and chapters five, nine, and twelve of Slava Ukraini, co-directed with Marc Roussel (produced by François Margolin with associate producer Emily Hamilton and advisor Gilles Hertzog).
Bernard-Henri Lévy with Nicolas de Rivière and Sergiy Kyslytsya at the United Nations Photo: Anne-Katrin Titze
At the United Nations in New York inside the Eocsoc Chamber on the evening of May 4, Nicolas de Rivière,...
- 5/8/2023
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Each week we highlight the noteworthy titles that have recently hit streaming platforms in the United States. Check out this week’s selections below and past round-ups here.
Avatar: The Way of Water (James Cameron)
James Cameron’s long-awaited sequel finally arrived. If not to just wax poetic on the photo-realistic Na’vi and the water they inhabit, one has to admire the megalomaniac yet compassionate director’s knack for a satisfying narrative. Culminating in a perfectly constructed final act which shifts from about four different kinds of action sequence, constantly escalating the stakes and managing to conclude with a lovely, Miyazaki-like grace note… well, you can’t help but admire a blockbuster that has the whole package. – Ethan V.
Where to Stream: VOD
Creed III (Michael B. Jordan)
Just to get it out of the way: the first Creed is the best Rocky film. They share the same formula,...
Avatar: The Way of Water (James Cameron)
James Cameron’s long-awaited sequel finally arrived. If not to just wax poetic on the photo-realistic Na’vi and the water they inhabit, one has to admire the megalomaniac yet compassionate director’s knack for a satisfying narrative. Culminating in a perfectly constructed final act which shifts from about four different kinds of action sequence, constantly escalating the stakes and managing to conclude with a lovely, Miyazaki-like grace note… well, you can’t help but admire a blockbuster that has the whole package. – Ethan V.
Where to Stream: VOD
Creed III (Michael B. Jordan)
Just to get it out of the way: the first Creed is the best Rocky film. They share the same formula,...
- 3/31/2023
- by Jordan Raup
- The Film Stage
Margot Robbie has made quite a name for herself in Hollywood thanks to a list of must-see projects. Her success proved that acting was the right career move for her. However, it was a profession she became interested in thanks to a surprising source.
Margot Robbie briefly studied law before becoming an actor Margot Robbie | Axelle/Bauer-Griffin/Getty Images
Robbie’s parents thought their daughter might be best suited for a career much different than acting. In a resurfaced interview with Blush, Robbie discussed her brief path to becoming a lawyer. She was confident that if she continued pursuing an education in law, she would’ve been a more than efficient attorney.
“Once I graduated from high school, my parents forced me to study law. They wanted me to become a lawyer! I was very capable and I think I could have worked wonders in a courtroom. But I couldn...
Margot Robbie briefly studied law before becoming an actor Margot Robbie | Axelle/Bauer-Griffin/Getty Images
Robbie’s parents thought their daughter might be best suited for a career much different than acting. In a resurfaced interview with Blush, Robbie discussed her brief path to becoming a lawyer. She was confident that if she continued pursuing an education in law, she would’ve been a more than efficient attorney.
“Once I graduated from high school, my parents forced me to study law. They wanted me to become a lawyer! I was very capable and I think I could have worked wonders in a courtroom. But I couldn...
- 3/31/2023
- by Antonio Stallings
- Showbiz Cheat Sheet
Jean-Luc Godard, the pioneering French New Wave director who challenged and upended conventional filmmaking methods for over half a century, died today according to multiple reports in the French media. He was 91.
Godard’s celebrity mystique was defined by the image of the enigmatic chain-smoking auteur, adorned in sunglasses while indulging in existential insight, revolutionary politics, and radical ideas about art. But his career never rested on that cartoonish brand.
Though he would remain most famous for his first feature, the 1960 meta-noir “Breathless,” that iconic debut kickstarted a lifetime of ambitious, often confrontational work. His filmography consists of everything from genre deconstructions to political screeds and avant-garde gambles designed to confuse and provoke new avenues for an evolving art form. Through it all, Godard remained a divisive figure whose prolific output embodied — and often interrogated — the cultural and intellectual proclivities of French society and the world at large.
His legacy...
Godard’s celebrity mystique was defined by the image of the enigmatic chain-smoking auteur, adorned in sunglasses while indulging in existential insight, revolutionary politics, and radical ideas about art. But his career never rested on that cartoonish brand.
Though he would remain most famous for his first feature, the 1960 meta-noir “Breathless,” that iconic debut kickstarted a lifetime of ambitious, often confrontational work. His filmography consists of everything from genre deconstructions to political screeds and avant-garde gambles designed to confuse and provoke new avenues for an evolving art form. Through it all, Godard remained a divisive figure whose prolific output embodied — and often interrogated — the cultural and intellectual proclivities of French society and the world at large.
His legacy...
- 9/13/2022
- by Eric Kohn
- Indiewire
Harry Styles hasn’t just found the one: He’s actually found the two people he wants to spend forever with.
Styles plays Tom, a closeted police officer in 1957 Brighton, U.K. who marries Marion (Emma Corrin), while secretly dating arts curator Patrick (David Dawson). “My Policeman” is directed and executive produced by Michael Grandage (“Genius”) with a script penned by Ron Nyswaner and adapted from Bethan Roberts’ 2012 romance novel of the same name. The film premieres in theaters October 21 before streaming on Amazon Prime Video November 4.
The first look at the period romance drama shows Patrick, Marion, and Tom spending time together as a trio, with Tom torn between his two loves. The film later jumps between the 1950s and the 1990s, with Styles’ Tom later being played by Linus Roache and Marion now portrayed by Gina McKee, as the couple decide to take an ailing Patrick (Rupert Everett...
Styles plays Tom, a closeted police officer in 1957 Brighton, U.K. who marries Marion (Emma Corrin), while secretly dating arts curator Patrick (David Dawson). “My Policeman” is directed and executive produced by Michael Grandage (“Genius”) with a script penned by Ron Nyswaner and adapted from Bethan Roberts’ 2012 romance novel of the same name. The film premieres in theaters October 21 before streaming on Amazon Prime Video November 4.
The first look at the period romance drama shows Patrick, Marion, and Tom spending time together as a trio, with Tom torn between his two loves. The film later jumps between the 1950s and the 1990s, with Styles’ Tom later being played by Linus Roache and Marion now portrayed by Gina McKee, as the couple decide to take an ailing Patrick (Rupert Everett...
- 9/7/2022
- by Samantha Bergeson
- Indiewire
In 2016, in the courtroom of Saint-Omer, a small, untouristed town off a D-road between Calais and Lille, the trial took place of a young Senegalese Frenchwoman accused of murdering her baby: an act so utterly antithetical to accepted ideas of motherhood and womanhood that it is inescapably considered the “worst of all possible crimes.” The woman, a PhD student with a reported genius Iq and a flair for flamboyantly intellectual French, confessed but claimed sorcery as the real culprit. It’s the kind of true story that presents an obvious opportunity for a sensitive social drama given to sober, sorrowfully objective observations about the perilous, tumbling vortex of class, gender, ethnic and cultural issues in which it plays out. “Saint Omer,” the deceptively austere, extraordinarily multifaceted fiction debut from documentarian Alice Diop, is not that film.
Instead, positioned on a mesmerizingly steady axis stretching, as though along a fascinated gaze,...
Instead, positioned on a mesmerizingly steady axis stretching, as though along a fascinated gaze,...
- 9/7/2022
- by Jessica Kiang
- Variety Film + TV
Joachim Trier, writer/director of the multi-Oscar nominated film The Worst Person in the World, discusses his favorite movies with hosts Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
A History of Violence (2005)
Gremlins (1984) – Glenn Erickson’s Blu-ray review, Tfh’s retrospective links
Innerspace (1987) – Glenn Erickson’s Blu-ray review
The Worst Person In The World (2021)
Back To The Future (1985)
Hiroshima Mon Amour (1959)
Hour of the Wolf (1968)
2001: A Space Odyssey (1968) – John Landis’s trailer commentary, Dennis Cozzalio’s review
Mirror (1975)
Stalker (1979) – Glenn Erickson’s Criterion Blu-ray review
Soylent Green (1973)
Dr. Strangelove (1964) – Michael Lehmann’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
Last Year At Marienbad (1961)
The Hunt (1959)
Remonstrance (1972)
Don’t Look Now (1973) – John Landis’s trailer commentary
Bad Timing (1980) – Bernard Rose’s trailer commentary
Walkabout (1971) – Larry Karaszewski’s trailer commentary
Performance (1970) – Mark Goldblatt’s trailer commentary
Drive My Car (2021)
491 (1964)
The Seventh Seal (1957)
Persona (1966)
The Wild Strawberries...
Show Notes: Movies Referenced In This Episode
A History of Violence (2005)
Gremlins (1984) – Glenn Erickson’s Blu-ray review, Tfh’s retrospective links
Innerspace (1987) – Glenn Erickson’s Blu-ray review
The Worst Person In The World (2021)
Back To The Future (1985)
Hiroshima Mon Amour (1959)
Hour of the Wolf (1968)
2001: A Space Odyssey (1968) – John Landis’s trailer commentary, Dennis Cozzalio’s review
Mirror (1975)
Stalker (1979) – Glenn Erickson’s Criterion Blu-ray review
Soylent Green (1973)
Dr. Strangelove (1964) – Michael Lehmann’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
Last Year At Marienbad (1961)
The Hunt (1959)
Remonstrance (1972)
Don’t Look Now (1973) – John Landis’s trailer commentary
Bad Timing (1980) – Bernard Rose’s trailer commentary
Walkabout (1971) – Larry Karaszewski’s trailer commentary
Performance (1970) – Mark Goldblatt’s trailer commentary
Drive My Car (2021)
491 (1964)
The Seventh Seal (1957)
Persona (1966)
The Wild Strawberries...
- 3/15/2022
- by Kris Millsap
- Trailers from Hell
The oscillation between the calm of this being one story among many, merely one link in a long chain of lives, and the very concrete, time-stamped search for identity by the heroine is beautifully constructed in Joachim Trier’s The Worst Person In The World (Verdens Verste Menneske), co-written with longtime collaborator Eskil Vogt.
The two have teamed up to present at Film at Lincoln Center Joachim Trier: The Oslo Trilogy and nine films selected by them to screen, including Martin Scorsese’s The Age Of Innocence; John Hughes’s The Breakfast Club; Agnès Varda’s Cléo From 5 To 7; Alain Resnais’ Hiroshima Mon Amour; Arnaud Desplechin’s My Sex Life… or How I Got Into An Argument, and George Cukor’s The Philadelphia Story....
The two have teamed up to present at Film at Lincoln Center Joachim Trier: The Oslo Trilogy and nine films selected by them to screen, including Martin Scorsese’s The Age Of Innocence; John Hughes’s The Breakfast Club; Agnès Varda’s Cléo From 5 To 7; Alain Resnais’ Hiroshima Mon Amour; Arnaud Desplechin’s My Sex Life… or How I Got Into An Argument, and George Cukor’s The Philadelphia Story....
- 1/30/2022
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Each week we highlight the noteworthy titles that have recently hit streaming platforms in the United States. Check out this week’s selections below and past round-ups here.
The Fever (Maya Da-Rin)
The Fever, director-cum-visual artist Da-Rin’s first full-length feature project, puts a human face to a statistic that hardly captures the genocide Brazil is suffering. This is not just a wonderfully crafted, superb exercise in filmmaking, a multilayered tale that seesaws between social realism and magic. It is a call to action, an unassuming manifesto hashed in the present tense but reverberating as a plea from a world already past us, a memoir of sorts. – Leonardo G. (full review)
Where to Stream: The Criterion Channel
French New Wave
Dive into one of the most fertile eras of moving pictures with a new massive 45-film series on The Criterion Channel dedicated to the French New Wave. Highlights include Le...
The Fever (Maya Da-Rin)
The Fever, director-cum-visual artist Da-Rin’s first full-length feature project, puts a human face to a statistic that hardly captures the genocide Brazil is suffering. This is not just a wonderfully crafted, superb exercise in filmmaking, a multilayered tale that seesaws between social realism and magic. It is a call to action, an unassuming manifesto hashed in the present tense but reverberating as a plea from a world already past us, a memoir of sorts. – Leonardo G. (full review)
Where to Stream: The Criterion Channel
French New Wave
Dive into one of the most fertile eras of moving pictures with a new massive 45-film series on The Criterion Channel dedicated to the French New Wave. Highlights include Le...
- 1/7/2022
- by Jordan Raup
- The Film Stage
A superfan dates his idol in Claire Simon’s I Want To Talk About Duras (Vous Ne Désirez Que Moi), premiering in the San Sebastian Film Festival’s Official Competition before screening at the New York Film Festival. Based on the transcript of an audio interview, the French language drama stars Swann Arlaud as Yann Andréa, a man 38 years younger than his novelist partner Marguerite Duras, whose screenplay for Hiroshima Mon Amour won her an Oscar nomination in 1959.
In 1980, the pair stirred the literary world by getting together, and two years into their relationship, Andréa confided in Michèle Manceaux (Emmanuelle Devos) over several taped sessions. The results were turned into a book after his death, no doubt a compelling read but a cinematic challenge. As Simon herself has said, “This is completely unsuited to cinema,” although the book did inspire a more conventional drama, Cet Amour-Là, in 2001. But if you...
In 1980, the pair stirred the literary world by getting together, and two years into their relationship, Andréa confided in Michèle Manceaux (Emmanuelle Devos) over several taped sessions. The results were turned into a book after his death, no doubt a compelling read but a cinematic challenge. As Simon herself has said, “This is completely unsuited to cinema,” although the book did inspire a more conventional drama, Cet Amour-Là, in 2001. But if you...
- 9/20/2021
- by Anna Smith
- Deadline Film + TV
Two internationally-acclaimed documentaries from the Nordic region – “Flee” and “Gunda” – are among the five films nominated for a Nordic Council Film Prize.
This is the most prestigious film award in the Nordic region, celebrating films with unique artistic visions that actively engage with Nordic culture. It’s the eighteenth year the Nordic Council Film Prize is awarded, and the winner will be announced on Nov. 2 in Copenhagen, taking home a prize of Dkk 300,000 to be shared equally among the screenwriter, director, and producer. Here are the five film nominations:
“Flee,” (Jonas Poher Rasmussen, Denmark)
Co-written by Amin (a pseudonym), and produced by leading Danish company Final Cut for Reel (nominated for an Oscar for both “The Act of Killing” and “The Look of Silence”), the film has already had a hugely successful festival circuit run. At Sundance, it won the Grand Jury Prize in the World Cinema Documentary section, while...
This is the most prestigious film award in the Nordic region, celebrating films with unique artistic visions that actively engage with Nordic culture. It’s the eighteenth year the Nordic Council Film Prize is awarded, and the winner will be announced on Nov. 2 in Copenhagen, taking home a prize of Dkk 300,000 to be shared equally among the screenwriter, director, and producer. Here are the five film nominations:
“Flee,” (Jonas Poher Rasmussen, Denmark)
Co-written by Amin (a pseudonym), and produced by leading Danish company Final Cut for Reel (nominated for an Oscar for both “The Act of Killing” and “The Look of Silence”), the film has already had a hugely successful festival circuit run. At Sundance, it won the Grand Jury Prize in the World Cinema Documentary section, while...
- 8/24/2021
- by Alexander Durie
- Variety Film + TV
“A love letter to cinema” was the tired-but-true trope that everyone trotted out when Quentin Tarantino’s “Once Upon a Time in Hollywood,” the movie, hit theaters two years ago. But it’s now clear just how insufficient a mere mash note to the movies was for Tarantino. This week saw the arrival of “Once Upon a Time in Hollywood,” the 400-page book, as his epic Penthouse Forum Letter to cinema. You’ll know this trade-paperback novelization is cineaste-populist porn when you see it.
The end result is not so much like reliving the movie on the page — although the book does have a few scenes in which the dialogue and descriptive beats are transcribed note-for-note from the screenplay — as much as a catalog of constant diversions that’s like being locked inside the New Beverly for a week with Pauline Kael, Harry Knowles and Leonard Maltin. Let that intrigue...
The end result is not so much like reliving the movie on the page — although the book does have a few scenes in which the dialogue and descriptive beats are transcribed note-for-note from the screenplay — as much as a catalog of constant diversions that’s like being locked inside the New Beverly for a week with Pauline Kael, Harry Knowles and Leonard Maltin. Let that intrigue...
- 7/3/2021
- by Chris Willman
- Variety Film + TV
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It’s hard to think of a cinematic movement more influential, and instantly recognizable, than the French New Wave. In the late 1950s, a group of young writers for the French publication “Cahiers du Cinéma” began to question the safe, compromising choices made by filmmakers and demand something more daring and honest. Many of these writers, including the likes of Jean-Luc Godard and François Truffaut, became filmmakers themselves. And the results were extraordinary.
Happy endings and sentimentality were replaced with stripped down, meandering plots with conclusions that were often unsatisfying. Many films used nonlinear storytelling, packing a stronger emotional punch by utilizing techniques that shocked the world. Slick production values were often abandoned,...
It’s hard to think of a cinematic movement more influential, and instantly recognizable, than the French New Wave. In the late 1950s, a group of young writers for the French publication “Cahiers du Cinéma” began to question the safe, compromising choices made by filmmakers and demand something more daring and honest. Many of these writers, including the likes of Jean-Luc Godard and François Truffaut, became filmmakers themselves. And the results were extraordinary.
Happy endings and sentimentality were replaced with stripped down, meandering plots with conclusions that were often unsatisfying. Many films used nonlinear storytelling, packing a stronger emotional punch by utilizing techniques that shocked the world. Slick production values were often abandoned,...
- 4/1/2021
- by Christian Zilko
- Indiewire
Lim Jung-eun’s directorial debut Our Midnight immediately draws comparisons to other contemporary works. Its use of structure, black-and-white photography, and the central dynamic between its protagonists is incredibly reminiscent of several Hong Sang-soo and Jim Jarmusch films, other aspects taking inspiration from Before Sunrise and Hiroshima Mon Amour. While inspiration can be a crutch for many debut filmmakers relying on influences too severely, the director thankfully takes the best of what’s come before and channels them into a work completely its own.
The film is centered on Ji-hoon (Lee Seung-hun), a struggling actor who has recently found out that his girlfriend is getting married to another man, and Eun-yeong (Park Seo-eun), a woman who has just reported her boyfriend and work colleague to the police for domestic assault. Ji-hoon’s despair is made apparent immediately through the agonizing interaction with his girlfriend, as he tries to defend his...
The film is centered on Ji-hoon (Lee Seung-hun), a struggling actor who has recently found out that his girlfriend is getting married to another man, and Eun-yeong (Park Seo-eun), a woman who has just reported her boyfriend and work colleague to the police for domestic assault. Ji-hoon’s despair is made apparent immediately through the agonizing interaction with his girlfriend, as he tries to defend his...
- 3/10/2021
- by Logan Kenny
- The Film Stage
Mubi's series Hypnotic Incantations: A Marguerite Duras Focus is showing September - October, 2020 in the United Kingdom and United States.In 1955, Jacques Rivette famously wrote that Roberto Rossellini’s Voyage to Italy “opens a breach… that all cinema, on pain of death, must pass through.” For Rivette and many others, the film heralded nothing less than the arrival of a modern cinema—and not five years later, Alain Resnais, with a screenplay from Marguerite Duras, took up this challenge with Hiroshima mon amour (1959). Following the film’s seismic premiere, Eric Rohmer declared it either “the most important film since the war” or “the first modern film of sound cinema,” its overture of tangled, ash-covered limbs even echoing the embalmed couple Ingrid Bergman turns away from in Voyage to Italy’s memorable Pompeii-set passage. With her seminal script, Duras could thus claim to have widened the gap opened by Rossellini,...
- 9/4/2020
- MUBI
It’s difficult to quantify the breadth of the effects of Hiroshima and Nagasaki; but since those pivotal August days in 1945 when World War II suddenly became a nuclear war, many filmmakers have attempted to capture the uncertainty that nuclear weapons have unleashed. You know that feeling of uncertainty. Anyone who saw that mushroom cloud exploding out of Beirut August 4 was filled with nuclear age dread, even though it appears, thankfully, as if no nuclear material was part of the blast.
“the bomb” is a film and art installation created by artist/filmmaker Smriti Keshari, Kevin Ford, and author Eric Schlosser (“Fast Food Nation”) that explores the threat of nuclear weapons and captures much of that anxiety. After premiering it at Berlin and Tribeca in 2017, the filmmakers have adapted it into a museum piece that will premiere at Pioneer Works. To commemorate the 75th anniversary of the destruction of Hiroshima and Nagasaki,...
“the bomb” is a film and art installation created by artist/filmmaker Smriti Keshari, Kevin Ford, and author Eric Schlosser (“Fast Food Nation”) that explores the threat of nuclear weapons and captures much of that anxiety. After premiering it at Berlin and Tribeca in 2017, the filmmakers have adapted it into a museum piece that will premiere at Pioneer Works. To commemorate the 75th anniversary of the destruction of Hiroshima and Nagasaki,...
- 8/5/2020
- by Smriti Keshari
- Indiewire
Hideo Sekigawa’s Hiroshima (1953) is currently available on Blu-ray From Arrow Academy.
Hiroshima (1953) is a powerful evocation of the devastation wrought by the world s first deployment of the atomic bomb and its aftermath, based on the written eye-witness accounts of its child survivors compiled by Dr. Arata Osada for the 1951 book Children Of The A Bomb: Testament Of The Boys And Girls Of Hiroshima.
Adapted for the screen by independent director Hideo Sekigawa and screenwriter Yasutaro Yagi, Hiroshima combines a harrowing documentary realism with moving human drama, in a tale of the suffering, endurance and survival of a group of teachers, their students and their families. It boasts a rousing score composed by Akira Ifukube (Godzilla) and an all-star cast including Yumeji Tsukioka, Isuzu Yamada and Eiji Okada, appearing alongside an estimated 90,000 residents from the city as extras, including many survivors from that fateful day on 6th August 1945.
Hiroshima...
Hiroshima (1953) is a powerful evocation of the devastation wrought by the world s first deployment of the atomic bomb and its aftermath, based on the written eye-witness accounts of its child survivors compiled by Dr. Arata Osada for the 1951 book Children Of The A Bomb: Testament Of The Boys And Girls Of Hiroshima.
Adapted for the screen by independent director Hideo Sekigawa and screenwriter Yasutaro Yagi, Hiroshima combines a harrowing documentary realism with moving human drama, in a tale of the suffering, endurance and survival of a group of teachers, their students and their families. It boasts a rousing score composed by Akira Ifukube (Godzilla) and an all-star cast including Yumeji Tsukioka, Isuzu Yamada and Eiji Okada, appearing alongside an estimated 90,000 residents from the city as extras, including many survivors from that fateful day on 6th August 1945.
Hiroshima...
- 7/26/2020
- by Tom Stockman
- WeAreMovieGeeks.com
“Americans live on ketchup and milk. I’m a whiz at geography.”
Cinema St. Louis’ 12th Annual Robert Classic French Film Festivalruns July 17-23, 2020. Individual tickets are $10 for general admission, $8 for Cinema St. Louis members and students with valid and current photo IDs. All-access passes are available for $25, $20 for Csl members. Ticket and Pass Purchaseinformation can be found Here. Regrettably, streaming rights to most of the films Cinema St. Louis planned to feature at the 2020 Robert Classic French Film Festival were not available to them. But they are pleased that they’re able to offer a trio of works from the original lineup: Marguerite Duras’ rarely seen “India Song”; a new restoration of Jacqueline Audry’s “Olivia”; and René Clément’s “Rider on the Rain,” which is part of their year-long Golden Anniversaries programming that features films from 1970. All films are in French with English subtitles.
Tom Stockman, editor of...
Cinema St. Louis’ 12th Annual Robert Classic French Film Festivalruns July 17-23, 2020. Individual tickets are $10 for general admission, $8 for Cinema St. Louis members and students with valid and current photo IDs. All-access passes are available for $25, $20 for Csl members. Ticket and Pass Purchaseinformation can be found Here. Regrettably, streaming rights to most of the films Cinema St. Louis planned to feature at the 2020 Robert Classic French Film Festival were not available to them. But they are pleased that they’re able to offer a trio of works from the original lineup: Marguerite Duras’ rarely seen “India Song”; a new restoration of Jacqueline Audry’s “Olivia”; and René Clément’s “Rider on the Rain,” which is part of their year-long Golden Anniversaries programming that features films from 1970. All films are in French with English subtitles.
Tom Stockman, editor of...
- 7/15/2020
- by Tom Stockman
- WeAreMovieGeeks.com
” Je t’aime bien, mon enfant… plus que tu ne crois. I love you, my child… more than you believe. “
Cinema St. Louis’ 12th Annual Robert Classic French Film Festival runs July 17-23, 2020. Individual tickets are $10 for general admission, $8 for Cinema St. Louis members and students with valid and current photo IDs. All-access passes are available for $25, $20 for Csl members. Ticket and Pass Purchase information can be found Here
The 12th Annual Robert Classic French Film Festival — presented by TV5MONDE, sponsored by the Jane M. & Bruce P. Robert Charitable Foundation, and produced by Cinema St. Louis (Csl) — celebrates St. Louis’ Gallic heritage and France’s extraordinary cinematic legacy.
Because of the Covid-19 health crisis, the fest will be presented virtually this year. Csl is partnering with Eventive, which also handles our ticketing, to present the Virtual Festival. Filmswill be available to view on demand anytime from July 17-23. Access to...
Cinema St. Louis’ 12th Annual Robert Classic French Film Festival runs July 17-23, 2020. Individual tickets are $10 for general admission, $8 for Cinema St. Louis members and students with valid and current photo IDs. All-access passes are available for $25, $20 for Csl members. Ticket and Pass Purchase information can be found Here
The 12th Annual Robert Classic French Film Festival — presented by TV5MONDE, sponsored by the Jane M. & Bruce P. Robert Charitable Foundation, and produced by Cinema St. Louis (Csl) — celebrates St. Louis’ Gallic heritage and France’s extraordinary cinematic legacy.
Because of the Covid-19 health crisis, the fest will be presented virtually this year. Csl is partnering with Eventive, which also handles our ticketing, to present the Virtual Festival. Filmswill be available to view on demand anytime from July 17-23. Access to...
- 6/17/2020
- by Tom Stockman
- WeAreMovieGeeks.com
The Japan Foundation Asia Center and Tokyo International Film Festival have uploaded the first of their omnibus film series, “Asian Three-Fold Mirror 2016: Reflections.” This film is in and of itself a compilation of three shorts; industry veterans Brillante Ma Mendoza, Isao Yukisada, and Sotho Kulikar illustrate three tales interrelating Japan to the Philippines, Malaysia, and Cambodia. While their plotlines are disconnected, their political arguments are not. Loosely tied to the theme “Living Together in Asia,” the three films wrest tongue-in-cheek responses to the inherently uneasy power dynamics between wealthy Japan and poorer parts of Southeast Asia. The collection peels back long-standing issues of poverty, servitude, and cross-cultural romance, bringing forth the lingering traces of Japanese (neo)imperialism.
The first and last shorts sing their songs of heartbreak and betrayal the most. The first, Brillante Ma Mendoza’s “Shiniuma Dead Horse,” follows the bleary-eyed amputee Marcial (Lou Veloso), an undocumented...
The first and last shorts sing their songs of heartbreak and betrayal the most. The first, Brillante Ma Mendoza’s “Shiniuma Dead Horse,” follows the bleary-eyed amputee Marcial (Lou Veloso), an undocumented...
- 5/31/2020
- by Grace Han
- AsianMoviePulse
Considering today’s Hollywood seemingly has little room for adult-focused dramas that don’t appeal to every quadrant, Michael Mann has had to find other ways to tell his stories. As the pandemic hit, he was in production on the pilot for his HBO Max series Tokyo Vice, a crime drama starring Ansel Elgort, Ken Watanabe, and Rinko Kikuchi. While he continues to edit that project with an eye to finish production when it’s safe, he thankfully also has plans to return to the big screen.
Speaking to Deadline, he revealed that his long-planned prequel novel to Heat, set to arrive later this year, won’t just stay on the page. When asked about how the novel is going, he said, “It’s a stack about 10 inches high on my desk right now. We’re on it, and I’m putting time into that and a screenplay I can’t tell you about.
Speaking to Deadline, he revealed that his long-planned prequel novel to Heat, set to arrive later this year, won’t just stay on the page. When asked about how the novel is going, he said, “It’s a stack about 10 inches high on my desk right now. We’re on it, and I’m putting time into that and a screenplay I can’t tell you about.
- 5/16/2020
- by Jordan Raup
- The Film Stage
As part of their release slates for the months June and July 2020 Arrow Academy will release the classic Nagisa Oshima “Merry Christmas Mr Lawrence” starring David Bowie and Hideo Sekigawa’s powerful documentary “Hiroshima”
Synopsis for “Merry Christmas Mr Lawrence”
David Bowie stars in Nagisa Oshima’s 1983 Palme d’Or-nominated portrait of resilience, pride, friendship and obsession among four very different men confined in the stifling jungle heat of a Japanese prisoner-of-war camp in Java during World War II.
In 1942, British officer Major Jack Celliers (Bowie) is captured by Japanese soldiers, and after a brutal trial sent, physically debilitated but indomitable in mind, to a Pow camp overseen by the zealous Captain Yonoi (Ryuichi Sakamoto). Celliers’ stubbornness sees him locked in a battle of wills with the camp’s new commandant, a man obsessed with discipline and the glory of Imperial Japan who becomes unnaturally preoccupied with the young Major,...
Synopsis for “Merry Christmas Mr Lawrence”
David Bowie stars in Nagisa Oshima’s 1983 Palme d’Or-nominated portrait of resilience, pride, friendship and obsession among four very different men confined in the stifling jungle heat of a Japanese prisoner-of-war camp in Java during World War II.
In 1942, British officer Major Jack Celliers (Bowie) is captured by Japanese soldiers, and after a brutal trial sent, physically debilitated but indomitable in mind, to a Pow camp overseen by the zealous Captain Yonoi (Ryuichi Sakamoto). Celliers’ stubbornness sees him locked in a battle of wills with the camp’s new commandant, a man obsessed with discipline and the glory of Imperial Japan who becomes unnaturally preoccupied with the young Major,...
- 4/18/2020
- by Rouven Linnarz
- AsianMoviePulse
The pretty girl, the bad boy, the Champs-Élysées ... nope, never seen Jean-Luc Godard’s debut masterpiece. But I know what it’s about – don’t I?
See the other classic missed films in this series
I’ve never seen a Jean-Luc Godard movie. Or, I hadn’t, until this assignment. I know, embarrassing, especially for a so-called film critic. I’ve long blamed this gap in my knowledge on the fact that I didn’t take a first year university course in French New Wave cinema, but I know as well as anyone you don’t need to be a student to study. It’s not even that the Nouvelle Vague is a blind spot, necessarily – I’m an admirer of other films from the movement, such as Alain Resnais’s Hiroshima Mon Amour, Agnés Varda’s Cléo de 5 à 7, François Truffaut’s Jules et Jim and Jacques Demy...
See the other classic missed films in this series
I’ve never seen a Jean-Luc Godard movie. Or, I hadn’t, until this assignment. I know, embarrassing, especially for a so-called film critic. I’ve long blamed this gap in my knowledge on the fact that I didn’t take a first year university course in French New Wave cinema, but I know as well as anyone you don’t need to be a student to study. It’s not even that the Nouvelle Vague is a blind spot, necessarily – I’m an admirer of other films from the movement, such as Alain Resnais’s Hiroshima Mon Amour, Agnés Varda’s Cléo de 5 à 7, François Truffaut’s Jules et Jim and Jacques Demy...
- 4/1/2020
- by Simran Hans
- The Guardian - Film News
Early in “Irradiated,” a powerful but troublesome documentary howl of despair from Cambodian director Rithy Panh, the narration describes an act that must be familiar to anyone similarly transfixed by history. Referring to the black and white archival war footage that marches in triplicate across a screen that’s divided into three panels, the narrator speaks of “searching the eyes of the soldiers… but finding nothing there.” Anyone who has ever stared long and hard at a photograph of a deceased loved one, or at a picture of conflict reportage must relate to the frustration: It’s as though somehow we believe that an image must have within it some clue to the understanding of the incomprehensible loss or tragedy it depicts, and we can be acutely disappointed to find no such enlightenment.
This urge informs and complicates “Irradiated,” a film that is broader, wider and more ambitious in scope...
This urge informs and complicates “Irradiated,” a film that is broader, wider and more ambitious in scope...
- 2/28/2020
- by Jessica Kiang
- Variety Film + TV
“Open To Interpretation”
By Raymond Benson
Last Year at Marienbad should have had the marketing tagline: “Open to Interpretation,” for the film belongs at the top of a list entitled Movies That Make You Go ‘Huh??’
Alain Resnais’ enigmatic, surreal, and puzzling experimental picture from 1961, the follow-up to his acclaimed Hiroshima mon amour (1959), won the Golden Lion at the Venice Film Festival. The picture has been simultaneously praised and reviled since its release because audiences generally don’t know what to make of it.
Yes, it’s beautiful to look at. The cinematography by Sacha Vierny is magnificent in its black and white, widescreen splendor. The settings at such Baroque palaces as Nymphenburg and Schleissheim in Munich evoke a mysterious past that might be an alternate timeline. The music by Francis Seyrig might belong in a creepy cathedral with its gothic horror organ. The pace is slow, but the picture...
By Raymond Benson
Last Year at Marienbad should have had the marketing tagline: “Open to Interpretation,” for the film belongs at the top of a list entitled Movies That Make You Go ‘Huh??’
Alain Resnais’ enigmatic, surreal, and puzzling experimental picture from 1961, the follow-up to his acclaimed Hiroshima mon amour (1959), won the Golden Lion at the Venice Film Festival. The picture has been simultaneously praised and reviled since its release because audiences generally don’t know what to make of it.
Yes, it’s beautiful to look at. The cinematography by Sacha Vierny is magnificent in its black and white, widescreen splendor. The settings at such Baroque palaces as Nymphenburg and Schleissheim in Munich evoke a mysterious past that might be an alternate timeline. The music by Francis Seyrig might belong in a creepy cathedral with its gothic horror organ. The pace is slow, but the picture...
- 8/5/2019
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Arguably the greatest film-maker of the French New Wave, Varda – who has died – continued making her distinctive brand of wise, personal, accessible cinema into her late 80s
For me, Agnès Varda was the greatest of that great and long-lived generation of the French New Wave. She was a master of personal cinema and essay cinema, drama, satire, documentary and romance, and her work had a distinctive richness and wisdom. Her debut feature, La Pointe Courte (1954), is a study in contemporary relationships with a poetic poise that surpasses Hiroshima Mon Amour. Her early masterpiece Cléo from 5 to 7 (1961) is news that stays news: a thrillingly urgent, intensely sexy and melancholy despatch from the epicentre of the 60s Parisian zeitgeist, which is far more interesting and conceptually supple than Jean-Luc Godard’s Breathless.
Related: Agnès Varda: ‘I am still alive, I am still curious. I am not a piece of rotting flesh’
Continue reading.
For me, Agnès Varda was the greatest of that great and long-lived generation of the French New Wave. She was a master of personal cinema and essay cinema, drama, satire, documentary and romance, and her work had a distinctive richness and wisdom. Her debut feature, La Pointe Courte (1954), is a study in contemporary relationships with a poetic poise that surpasses Hiroshima Mon Amour. Her early masterpiece Cléo from 5 to 7 (1961) is news that stays news: a thrillingly urgent, intensely sexy and melancholy despatch from the epicentre of the 60s Parisian zeitgeist, which is far more interesting and conceptually supple than Jean-Luc Godard’s Breathless.
Related: Agnès Varda: ‘I am still alive, I am still curious. I am not a piece of rotting flesh’
Continue reading.
- 3/29/2019
- by Peter Bradshaw
- The Guardian - Film News
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’re highlighting the noteworthy titles that have recently hit platforms. Check out this week’s selections below and an archive of past round-ups here.
Jupiter’s Moon (Kornél Mundruczó)
The juxtaposition of supernatural thriller tropes and urgent socio-political issues in Kornél Mundruczó’s latest movie — an original take on the superhero origin story set to the backdrop of the refugee crisis — might prove a delicate one for some viewers to take. Those unperturbed, however, should find much to relish in Jupiter’s Moon, a film that somewhat lightly plays with themes of religion and immigration as it rumbles, crashes, and ultimately soars through the streets of the Hungarian capital. It’s a tricky balance and Mundruczó (who had a break-out with his canine revolt film White God in 2014) strikes it with style and confidence.
Jupiter’s Moon (Kornél Mundruczó)
The juxtaposition of supernatural thriller tropes and urgent socio-political issues in Kornél Mundruczó’s latest movie — an original take on the superhero origin story set to the backdrop of the refugee crisis — might prove a delicate one for some viewers to take. Those unperturbed, however, should find much to relish in Jupiter’s Moon, a film that somewhat lightly plays with themes of religion and immigration as it rumbles, crashes, and ultimately soars through the streets of the Hungarian capital. It’s a tricky balance and Mundruczó (who had a break-out with his canine revolt film White God in 2014) strikes it with style and confidence.
- 3/8/2019
- by Jordan Raup
- The Film Stage
Film critic Jean-Luc Godard’s first feature directorial outing, based on a concept by Francois Truffaut, followed The 400 Blows and Hiroshima Mon Amour‚ as a pillar of the French New Wave. Shooting on the run without permits, sound equipment or much in the way of lights, Godard rewrote and improvised anew each day. Star Jean Seberg, playing without makeup, was initially perplexed by the home movie atmosphere and Godard’s apparent misogyny, but returned to reprise her Breathless character in Godard’s short Le Grand Escroc. Jim McBride’s 1983 American remake starred Richard Gere.
The post Breathless appeared first on Trailers From Hell.
The post Breathless appeared first on Trailers From Hell.
- 11/30/2018
- by TFH Team
- Trailers from Hell
Stan Lee has shuffled off this mortal coil, but his legacy lives on. Although he’s best known for Marvel Comics and the ever-expanding cinematic universe based on them, the superhero legend had his fair share of unrealized projects as well. Among them was “The Monster Maker,” a sci-fi screenplay he worked on with “Hiroshima Mon Amour” and “Last Year at Marienbad” auteur Alain Resnais.
In a short documentary produced by the Criterion Collection about the thwarted collaboration, Lee reveals that he became “very, very close friends” with Resnais after receiving a letter from the filmmaker. Resnais even stayed in Lee’s guest house while visiting America. “He actually talked me into writing a screenplay about pollution, the evils of it,” Lee said. Doing so took three weeks, with “The Monster Maker” being fashioned in the style of a Roger Corman movie: inexpensive and pulpy.
“Resnais was really a pleasure to work with,...
In a short documentary produced by the Criterion Collection about the thwarted collaboration, Lee reveals that he became “very, very close friends” with Resnais after receiving a letter from the filmmaker. Resnais even stayed in Lee’s guest house while visiting America. “He actually talked me into writing a screenplay about pollution, the evils of it,” Lee said. Doing so took three weeks, with “The Monster Maker” being fashioned in the style of a Roger Corman movie: inexpensive and pulpy.
“Resnais was really a pleasure to work with,...
- 11/12/2018
- by Michael Nordine
- Indiewire
Mélanie Thierry as Marguerite Duras in Memoir Of War. © Music Box Films
Melanie Thierry gives a haunting performance in director Emmanuel Finkiel’s finely-crafted Memoir Of War. This powerful, beautifully-shot French-language drama is an adaptation of Marguerite Duras’ partly-autobiographical novel “The War: A Memoir” about her experiences in Paris in World War II.
In Nazi-occupied Paris 1944, Marguerite Duras and her husband Robert Antelme are members of the French Resistance when Robert is arrested by the Gestapo. Seeking answers about her husband’s fate, Marguerite (Melanie Thierry) goes to the local authorities, where French police are working with the Gestapo. In the waiting room, she is approached by a French collaborator, Rabier (Benoit Magimel), who offers to help her find out where her husband is being held. Sensing Rabier’s romantic interest, Marguerite begins a cat-and-mouse relationship in which she probes for information about her husband’s fate as the policeman...
Melanie Thierry gives a haunting performance in director Emmanuel Finkiel’s finely-crafted Memoir Of War. This powerful, beautifully-shot French-language drama is an adaptation of Marguerite Duras’ partly-autobiographical novel “The War: A Memoir” about her experiences in Paris in World War II.
In Nazi-occupied Paris 1944, Marguerite Duras and her husband Robert Antelme are members of the French Resistance when Robert is arrested by the Gestapo. Seeking answers about her husband’s fate, Marguerite (Melanie Thierry) goes to the local authorities, where French police are working with the Gestapo. In the waiting room, she is approached by a French collaborator, Rabier (Benoit Magimel), who offers to help her find out where her husband is being held. Sensing Rabier’s romantic interest, Marguerite begins a cat-and-mouse relationship in which she probes for information about her husband’s fate as the policeman...
- 8/24/2018
- by Cate Marquis
- WeAreMovieGeeks.com
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.
Dunkirk (Christopher Nolan)
In the hours since viewing Dunkirk – the newest film from surprisingly divisive blockbuster director Christopher Nolan – one sensory recollection has stuck out above all others. Every time that British spitfire pilot Farrier (Tom Hardy) accelerates or banks his plane, the soundtrack fills with the noise of metallic rattling, an uncomfortable chorus of knocks and pings that lets you know exactly how much stress and force are...
Dunkirk (Christopher Nolan)
In the hours since viewing Dunkirk – the newest film from surprisingly divisive blockbuster director Christopher Nolan – one sensory recollection has stuck out above all others. Every time that British spitfire pilot Farrier (Tom Hardy) accelerates or banks his plane, the soundtrack fills with the noise of metallic rattling, an uncomfortable chorus of knocks and pings that lets you know exactly how much stress and force are...
- 12/15/2017
- by The Film Stage
- The Film Stage
French screen icon joins writer-directors Dominique Abel and Fiona Gordon for one of her final appearances
Here is one of the final screen appearances of Emmanuelle Riva, icon of movies from Michael Haneke’s Amour to Gillo Pontecorvo’s Kapò and Alain Resnais’s Hiroshima Mon Amour, who died in January at the age of 89. It is a delectably gentle, elegant, self-effacing performance. Riva plays a lovably scatty old lady called Marthe in this Tati-esque comedy from French writer-directors Dominique Abel and Fiona Gordon. The movie they have jointly devised, and in which they star, is a clever, funny and distinctly unworldly comedy with an insouciant line in visual humour.
Fiona (Fiona Gordon) is a young goof from Canada who comes to Paris to visit her similarly away-with-the-fairies aunt Marthe (Riva). A mishap on the banks of, and then in, the Seine leads to an encounter with a romantic tramp...
Here is one of the final screen appearances of Emmanuelle Riva, icon of movies from Michael Haneke’s Amour to Gillo Pontecorvo’s Kapò and Alain Resnais’s Hiroshima Mon Amour, who died in January at the age of 89. It is a delectably gentle, elegant, self-effacing performance. Riva plays a lovably scatty old lady called Marthe in this Tati-esque comedy from French writer-directors Dominique Abel and Fiona Gordon. The movie they have jointly devised, and in which they star, is a clever, funny and distinctly unworldly comedy with an insouciant line in visual humour.
Fiona (Fiona Gordon) is a young goof from Canada who comes to Paris to visit her similarly away-with-the-fairies aunt Marthe (Riva). A mishap on the banks of, and then in, the Seine leads to an encounter with a romantic tramp...
- 11/24/2017
- by Peter Bradshaw
- The Guardian - Film News
Editor’s Note: This article is presented in partnership with FilmStruck. The exclusive streaming home for The Criterion Collection, FilmStruck features the largest streaming library of contemporary and classic arthouse, indie, foreign and cult films as well as extensive bonus content, filmmaker interviews and rare footage. Learn more here.
Throughout its 70 year history, the Cannes Film Festival has been at the forefront of game-changing cinema. New directorial voices and international film movements have all used the festival as a launch pad to global recognition. If a film or artist has shaped cinema over the last seven decades, chances are they’ve been the toast of Cannes at least once. Many of these historic Cannes titles are streaming exclusively on FilmStruck, and we gathered up 10 of our favorites you need to watch below.
“Rome, Open City”
The first Cannes Film Festival was originally set for September 1939, but World War II caused a seven-year delay.
Throughout its 70 year history, the Cannes Film Festival has been at the forefront of game-changing cinema. New directorial voices and international film movements have all used the festival as a launch pad to global recognition. If a film or artist has shaped cinema over the last seven decades, chances are they’ve been the toast of Cannes at least once. Many of these historic Cannes titles are streaming exclusively on FilmStruck, and we gathered up 10 of our favorites you need to watch below.
“Rome, Open City”
The first Cannes Film Festival was originally set for September 1939, but World War II caused a seven-year delay.
- 5/16/2017
- by Zack Sharf
- 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.
Quad Cinema
A series devoted to films scored by Ryuichi Sakamoto offers an absolute murderer’s row.
The Wertmüller series winds down.
Film Society of Lincoln Center
Tarkovsky-twofer: restored versions of Stalker and Solaris are both screening.
BAMcinématek
Lynch, Lynch, and De Palma screen in the Twin Peaks-centered “Peak Performances.”
Anthology Film Archives
Middle Eastern cinema,...
Quad Cinema
A series devoted to films scored by Ryuichi Sakamoto offers an absolute murderer’s row.
The Wertmüller series winds down.
Film Society of Lincoln Center
Tarkovsky-twofer: restored versions of Stalker and Solaris are both screening.
BAMcinématek
Lynch, Lynch, and De Palma screen in the Twin Peaks-centered “Peak Performances.”
Anthology Film Archives
Middle Eastern cinema,...
- 5/12/2017
- by Nick Newman
- The Film Stage
One week a month, Watch This offers movie recommendations inspired by new releases or premieres. This week: With the Academy Awards a few days away, we look back at some of the unlikeliest Oscar nominees, picking a different major category every day.
The Red Balloon (1956)
From the mid-1950s through the early 1970s, Hollywood often looked to Europe (especially France and Italy) as the cutting edge of movie style. It was during this period that the award for Best Original Screenplay became an unofficial arthouse category at the Oscars, earning nominations and even wins for all sorts of movies whose modern equivalents one couldn’t imagine getting nominated today, like Blow-Up or any of the three Alain Resnais films that received nods in the 1960s: Hiroshima Mon Amour, Last Year At Marienbad, and the less famous La Guerre Est Finie. (What, no love for Muriel?) Federico Fellini and Ingmar Bergman...
The Red Balloon (1956)
From the mid-1950s through the early 1970s, Hollywood often looked to Europe (especially France and Italy) as the cutting edge of movie style. It was during this period that the award for Best Original Screenplay became an unofficial arthouse category at the Oscars, earning nominations and even wins for all sorts of movies whose modern equivalents one couldn’t imagine getting nominated today, like Blow-Up or any of the three Alain Resnais films that received nods in the 1960s: Hiroshima Mon Amour, Last Year At Marienbad, and the less famous La Guerre Est Finie. (What, no love for Muriel?) Federico Fellini and Ingmar Bergman...
- 2/23/2017
- by Ignatiy Vishnevetsky
- avclub.com
Emmanuelle Riva with Vanessa Redgrave and Michael Barker for Michael Haneke's Amour Photo: Anne-Katrin Titze
Emmanuelle Riva, César, Lumière, and BAFTA Best Actress winner and Oscar nominee for Michael Haneke's Best Foreign Language Film winner Amour died at the age of 89 on Friday, January 27, 2017 in Paris.
Riva's performance with Eiji Okada in Alain Renais' Hiroshima Mon Amour in 1959 cuts so sharply to the truth about love and war that even after many viewings it is difficult to fully grasp the film's historical significance, storytelling innovations and stylistic brilliance.
Emmanuelle Riva in the hands of Jean-Louis Trintignant in Amour
Annette Insdorf, Professor in the Graduate Film Program of Columbia’s School of the Arts, Mademoiselle C director Fabien Constant, and Ingrid Bergman: In Her Own Words director Stig Björkman sent their remembrances.
"I consider Emmanuelle Riva one of the greatest actors of the past 60 years. I last saw...
Emmanuelle Riva, César, Lumière, and BAFTA Best Actress winner and Oscar nominee for Michael Haneke's Best Foreign Language Film winner Amour died at the age of 89 on Friday, January 27, 2017 in Paris.
Riva's performance with Eiji Okada in Alain Renais' Hiroshima Mon Amour in 1959 cuts so sharply to the truth about love and war that even after many viewings it is difficult to fully grasp the film's historical significance, storytelling innovations and stylistic brilliance.
Emmanuelle Riva in the hands of Jean-Louis Trintignant in Amour
Annette Insdorf, Professor in the Graduate Film Program of Columbia’s School of the Arts, Mademoiselle C director Fabien Constant, and Ingrid Bergman: In Her Own Words director Stig Björkman sent their remembrances.
"I consider Emmanuelle Riva one of the greatest actors of the past 60 years. I last saw...
- 2/1/2017
- by Anne-Katrin Titze
- eyeforfilm.co.uk
"Emmanuelle once told me the journey of her life, which was quite amazing. She was born in Vosges, a countryside village in the east of France. She was meant to be a seamstress, but she went to Paris, was discovered by Alain Resnais and landed her breakthrough role in his film Hiroshima mon amour.
"She never submitted to any of the usual codes of the life of an actress; she was pure and strong. For each role, she would create her own world for herself, and she would carry something so undefinable that you could call it poetry. You understood...
"She never submitted to any of the usual codes of the life of an actress; she was pure and strong. For each role, she would create her own world for herself, and she would carry something so undefinable that you could call it poetry. You understood...
- 1/31/2017
- by THR Staff
- The Hollywood Reporter - Movie News
French actress starred in new wave classic Hiroshima Mon Amour.
Oscar-nominated French actress Emmanuelle Riva has died in Paris aged 89.
Riva, who had cancer, became the oldest woman to be Oscar-nominated in the best actress category for her performance in Michael Haneke’s 2012 drama Amour.
In the acclaimed feature, Riva plays an octegenarian music teacher who suffers a series of devastating strokes.
While the actress missed out on the Oscar to Jennifer Lawrence her performance garnered wins at the Céssar and Bafta awards.
Riva shot to fame aged 26 in 1959 new wave classic Hiroshima Mon Amour and worked steadily on stage and screen over six decades.
During her career she worked with film directors including Gillo Pontecorvo, Jean-Pierre Melville, Georges Franju, Marco Bellochhio, Julie Delpy and Krzysztof Kieslowski in Three Colours: Blue.
She most recently performed in 2016 Icelandic thriller Alma, which is currently in post-production.
Oscar-nominated French actress Emmanuelle Riva has died in Paris aged 89.
Riva, who had cancer, became the oldest woman to be Oscar-nominated in the best actress category for her performance in Michael Haneke’s 2012 drama Amour.
In the acclaimed feature, Riva plays an octegenarian music teacher who suffers a series of devastating strokes.
While the actress missed out on the Oscar to Jennifer Lawrence her performance garnered wins at the Céssar and Bafta awards.
Riva shot to fame aged 26 in 1959 new wave classic Hiroshima Mon Amour and worked steadily on stage and screen over six decades.
During her career she worked with film directors including Gillo Pontecorvo, Jean-Pierre Melville, Georges Franju, Marco Bellochhio, Julie Delpy and Krzysztof Kieslowski in Three Colours: Blue.
She most recently performed in 2016 Icelandic thriller Alma, which is currently in post-production.
- 1/29/2017
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Actor celebrated for her intellectual performances who achieved early success in Hiroshima Mon Amour
For her brave, unsentimental performance as an elderly woman agonisingly declining physically and mentally in Michael Haneke’s Amour (2012), Emmanuelle Riva, who has died aged 89, became the oldest best actress Oscar nominee ever, at 85. It was more than half a century since Riva’s soothing cadenced voice and delicate features had dominated Alain Resnais’ masterful Hiroshima Mon Amour (1959).
In that film, the voice of Riva as Elle is first heard over horrific newsreel images of the victims of the atom bomb, and it is almost 10 minutes into the film before we see her in the arms of her Japanese lover (Eiji Okada), called simply Lui. She is a French actor in Hiroshima, he is an architect. The repeated phrases of their dialogue echo throughout the film written by Marguerite Duras. He says: “You saw nothing in Hiroshima.
For her brave, unsentimental performance as an elderly woman agonisingly declining physically and mentally in Michael Haneke’s Amour (2012), Emmanuelle Riva, who has died aged 89, became the oldest best actress Oscar nominee ever, at 85. It was more than half a century since Riva’s soothing cadenced voice and delicate features had dominated Alain Resnais’ masterful Hiroshima Mon Amour (1959).
In that film, the voice of Riva as Elle is first heard over horrific newsreel images of the victims of the atom bomb, and it is almost 10 minutes into the film before we see her in the arms of her Japanese lover (Eiji Okada), called simply Lui. She is a French actor in Hiroshima, he is an architect. The repeated phrases of their dialogue echo throughout the film written by Marguerite Duras. He says: “You saw nothing in Hiroshima.
- 1/29/2017
- by Ronald Bergan
- The Guardian - Film News
This year’s Academy Awards is already drumming up a lot of controversy due to the potential absence of Iranian director Asghar Farhadi who is already an Oscar winner this year. President Trump’s immigration ban has caused an uproar and the Academy is just one organization who has issued a response to the new order. Unfortunately another blow to the Oscars took place in the last 24 hours. The oldest nominated actress in Oscars history, French legend Emmanuelle Riva, has died at the age of 89. Riva, star of 1959 classic “Hiroshima Mon Amour” and more recently the oldest best actress
Emmanuelle Riva, Oldest Oscar-Nominated Actress, Dies at 89...
Emmanuelle Riva, Oldest Oscar-Nominated Actress, Dies at 89...
- 1/29/2017
- by Nat Berman
- TVovermind.com
Variety reports that celebrated French actress Emmanuelle Riva has died, at the age of 89. Over the course of her career, Riva worked with some of the most prominent directors in French and European cinema, with Alain Resnais, Jean-Pierre Melville, Georges Franju, Krzysztof Kieślowski, and Michael Haneke all employing her talents. Her work with Haneke, on 2012’s Amour, (besides being both riveting and heartbreaking in its own right) earned her the distinction of being the oldest person ever to be nominated for Best Actress or Best Actor by the Academy Awards.
In her early career, Riva played the mysterious muse, lending wounded passion to her breakout role in Resnais’ philosophical romance, Hiroshima Mon Amour. She played a similar enigma in Franju’s Thérèse Desqueyroux, portraying a woman who lashes out at her hapless husband and unhappy existence in subtle, deadly ways. (Few actresses have ever made walking down the ...
In her early career, Riva played the mysterious muse, lending wounded passion to her breakout role in Resnais’ philosophical romance, Hiroshima Mon Amour. She played a similar enigma in Franju’s Thérèse Desqueyroux, portraying a woman who lashes out at her hapless husband and unhappy existence in subtle, deadly ways. (Few actresses have ever made walking down the ...
- 1/28/2017
- by William Hughes
- avclub.com
Emmanuelle Riva, French actress known for her role in “Amour,” died on Friday, January 27, in a Paris clinic from a long illness, her agent, Anne Alvarez Correa, told The Associated Press. She was 89.
French President Francois Hollande said in a statement, via The Hollywood Reporter, that Riva “deeply marked French cinema” and “created intense emotion in all the roles she played.”
With a career spanning 60 years, Riva received her first Oscar nomination in 2013 for her performance in Michael Haneke’s film “Amour,” about an older couple’s bond of love after one of them suffers a stroke. That same role earned her a BAFTA Award and the prestigious César Award in the Best Actress categories.
“I have always encountered captivating roles and characters. I have often been happy, and still am now, with this exceptional film which happened at the exact moment in my life when I could do it,...
French President Francois Hollande said in a statement, via The Hollywood Reporter, that Riva “deeply marked French cinema” and “created intense emotion in all the roles she played.”
With a career spanning 60 years, Riva received her first Oscar nomination in 2013 for her performance in Michael Haneke’s film “Amour,” about an older couple’s bond of love after one of them suffers a stroke. That same role earned her a BAFTA Award and the prestigious César Award in the Best Actress categories.
“I have always encountered captivating roles and characters. I have often been happy, and still am now, with this exceptional film which happened at the exact moment in my life when I could do it,...
- 1/28/2017
- by Liz Calvario
- Indiewire
Emmanuelle Riva — the legendary French actress who received an Oscar nomination for her role in 2013’s Amour — has died, her agent said. She was 89.
Anne Alvares Correa told the Associate Press that Riva died Friday in a Paris clinic after battling a long illness.
Throughout the course of her six-decade career, Riva appeared in over 70 features. She scored her first lead role in Alain Resnais’ Hiroshima Mon Amour — which premiered at the Cannes Film Festival in 1959. She worked with acclaimed directors like Jean-Pierre Melville, Gillo Pontecorvo, Marco Bellocchio, Philippe Garrel, Francois Mauriac, and Krzysztof Kieslowski — playing an Alzheimer’s-afflicted mother...
Anne Alvares Correa told the Associate Press that Riva died Friday in a Paris clinic after battling a long illness.
Throughout the course of her six-decade career, Riva appeared in over 70 features. She scored her first lead role in Alain Resnais’ Hiroshima Mon Amour — which premiered at the Cannes Film Festival in 1959. She worked with acclaimed directors like Jean-Pierre Melville, Gillo Pontecorvo, Marco Bellocchio, Philippe Garrel, Francois Mauriac, and Krzysztof Kieslowski — playing an Alzheimer’s-afflicted mother...
- 1/28/2017
- by Dave Quinn
- PEOPLE.com
Emmanuelle Riva, the veteran French actress who became the oldest Best Actress nominee in Oscar history for her role in Michael Haneke’s 2012 drama “Amour,” died Friday at the age of 89, according to the Associated Press. Riva, who died in a Paris clinic after a long illness, launched her 60-year career with an early role in director Alain Resnais’ acclaimed “Hiroshima Mon Amour” in 1959. Other noteworthy movies include the 1959 Oscar nominee “Kapo,” 1961’s “Priest” opposite Jean-Paul Belmondo, and 1993’s “Three Colors: Blue,” in which she played Juliette Binoche’s mother. While she continued to work in both movies and on.
- 1/28/2017
- by Thom Geier
- The Wrap
Iconic French actress and Oscar nominee Emmanuelle Riva, whose career spanned six decades, has died. Riva passed away Friday afternoon in Paris following a long battle with cancer; she was 89. Consistently an in-demand actress, Riva was best known internationally for two roles that essentially bookended her career. In 1959, she starred in Alain Resnais’ classic Hiroshima Mon Amour, picking up a BAFTA nomination. Fifty-three years later, she played Anne in Michael Haneke’s…...
- 1/28/2017
- Deadline
Seddok, l’erede di Satana (Atom Age Vampire)
Region 2 Pal DVD
Terminal Video Italia Srl
1960 / B&W / 1:66 flat letterbox / 103 min. / Street Date June 12, 2011 / available through Amazon.it / Eur 6,64
Starring: Alberto Lupo, Ivo Garrani, Susanne Loret, Sergio Fantoni, Rina Franchetti, Franca Parisi, Roberto Bertea.
Cinematography: Aldo Giordani
Film Editor: Gabrielle Varriale
Makeup Effects: Euclide Santoli
Original Music: Armando Trovajoli
Written by: Gino De Santis, Alberto Bevilacqua, Anton Giulio Majano; story by Piero Monviso
Produced by: Elio Ippolito Mellino (as Mario Fava)
Directed by Anton Giulio Majano
Let me herewith take a break from new discs to review an Italian release from six years ago, a movie that for years we knew only as Atom Age Vampire. Until sporadic late- night TV showings appeared, it existed for us ’60s kids as one or two interesting photos in Famous Monsters magazine. Forry Ackerman steered away from adult films, with the effect that...
Region 2 Pal DVD
Terminal Video Italia Srl
1960 / B&W / 1:66 flat letterbox / 103 min. / Street Date June 12, 2011 / available through Amazon.it / Eur 6,64
Starring: Alberto Lupo, Ivo Garrani, Susanne Loret, Sergio Fantoni, Rina Franchetti, Franca Parisi, Roberto Bertea.
Cinematography: Aldo Giordani
Film Editor: Gabrielle Varriale
Makeup Effects: Euclide Santoli
Original Music: Armando Trovajoli
Written by: Gino De Santis, Alberto Bevilacqua, Anton Giulio Majano; story by Piero Monviso
Produced by: Elio Ippolito Mellino (as Mario Fava)
Directed by Anton Giulio Majano
Let me herewith take a break from new discs to review an Italian release from six years ago, a movie that for years we knew only as Atom Age Vampire. Until sporadic late- night TV showings appeared, it existed for us ’60s kids as one or two interesting photos in Famous Monsters magazine. Forry Ackerman steered away from adult films, with the effect that...
- 1/21/2017
- by Glenn Erickson
- Trailers from Hell
‘Toni Erdmann’ (Courtesy: Tiff)
By: Carson Blackwelder
Managing Editor
It’s not too often that foreign-language films get recognized for anything at the Oscars beyond the best foreign-language film category — but it does happen. And, believe it or not, it happens more for best original screenplay and best adapted screenplay than many other categories. A prime example of that is Toni Erdmann, Germany’s submission this year that is proving to be a cross-category threat, which could score a nomination — or a win — for its writing.
The story of Toni Erdmann — which has a solid Rotten Tomatoes score of 91% — follows a father who is trying to reconnect with his adult daughter after the death of his dog. It sounds simple enough but, of course, the two couldn’t be more unalike. The film premiered at the Cannes Film Festival in 2016 and where it won the Fipresci Prize. Since then, it...
By: Carson Blackwelder
Managing Editor
It’s not too often that foreign-language films get recognized for anything at the Oscars beyond the best foreign-language film category — but it does happen. And, believe it or not, it happens more for best original screenplay and best adapted screenplay than many other categories. A prime example of that is Toni Erdmann, Germany’s submission this year that is proving to be a cross-category threat, which could score a nomination — or a win — for its writing.
The story of Toni Erdmann — which has a solid Rotten Tomatoes score of 91% — follows a father who is trying to reconnect with his adult daughter after the death of his dog. It sounds simple enough but, of course, the two couldn’t be more unalike. The film premiered at the Cannes Film Festival in 2016 and where it won the Fipresci Prize. Since then, it...
- 1/4/2017
- by Carson Blackwelder
- Scott Feinberg
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