The French New Wave classic chronicles the lives of two men and the dangerous object of their affections
François Truffaut’s Jules et Jim from 1962 is the love triangle that feels like it’s happening in the swinging 60s present moment, like Godard’s triple-header Bande à Part. Actually, it’s set before and after the first world war, and the three principals finally reunite by bumping into each other at a Paris cinema showing a newsreel about the Nazis’ book-burning.
Appropriately for this film’s internationalist ethos, neither male hero has a homeland-appropriate name. Oskar Werner is Jules, a diffident young Austrian living in 1912 Paris: scholar, translator and Francophile. He befriends the rather more worldly Frenchman Jim, the journalist and would-be author played by Henri Serre. They are instantly as thick as thieves, a couple of jaunty swells and elegant flâneurs, devoted to art and avowedly uninterested in money – though each,...
François Truffaut’s Jules et Jim from 1962 is the love triangle that feels like it’s happening in the swinging 60s present moment, like Godard’s triple-header Bande à Part. Actually, it’s set before and after the first world war, and the three principals finally reunite by bumping into each other at a Paris cinema showing a newsreel about the Nazis’ book-burning.
Appropriately for this film’s internationalist ethos, neither male hero has a homeland-appropriate name. Oskar Werner is Jules, a diffident young Austrian living in 1912 Paris: scholar, translator and Francophile. He befriends the rather more worldly Frenchman Jim, the journalist and would-be author played by Henri Serre. They are instantly as thick as thieves, a couple of jaunty swells and elegant flâneurs, devoted to art and avowedly uninterested in money – though each,...
- 2/2/2022
- by Peter Bradshaw
- The Guardian - Film News
The 13th Annual Robert Classic French Film Festival runs weekends from Aug. 13 through Aug. 29 at Webster and Washington Universities. Courtesy of Cinema St. Louis
The 13th 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, offering a revealing overview of French cinema.
The Robert Classic French Film Festival is the first Csl in-person event since the Covid-19 pandemic. The host venues — Washington University on Aug. 13-15 and Webster University on Aug. 20-22 and 27-29 — have not yet determined whether capacity limits or masks will be required. Details will be announced on the Csl website when available.
The fest annually includes significant restorations, and this year features a quintet of such works: Melvin Van Peebles’ “The Story of a Three-Day Pass,” Diane Kurys’ “Entre Nous,...
The 13th 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, offering a revealing overview of French cinema.
The Robert Classic French Film Festival is the first Csl in-person event since the Covid-19 pandemic. The host venues — Washington University on Aug. 13-15 and Webster University on Aug. 20-22 and 27-29 — have not yet determined whether capacity limits or masks will be required. Details will be announced on the Csl website when available.
The fest annually includes significant restorations, and this year features a quintet of such works: Melvin Van Peebles’ “The Story of a Three-Day Pass,” Diane Kurys’ “Entre Nous,...
- 8/18/2021
- by Cate Marquis
- WeAreMovieGeeks.com
The 13th 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, offering a revealing overview of French cinema.
The Robert Classic French Film Festival is the first Csl in-person event since the Covid-19 pandemic. The host venues — Washington University on Aug. 13-15 and Webster University on Aug. 20-22 and 27-29 — have not yet determined whether capacity limits or masks will be required. Details will be announced on the Csl website when available.
The fest annually includes significant restorations, and this year features a quintet of such works: Melvin Van Peebles’ “The Story of a Three-Day Pass,” Diane Kurys’ “Entre Nous,” Joseph Losey’s “Mr. Klein,” Jacques Deray’s “La piscine,” and the extended director’s cut of Jean-Jacques Beineix’s “Betty Blue.
The Robert Classic French Film Festival is the first Csl in-person event since the Covid-19 pandemic. The host venues — Washington University on Aug. 13-15 and Webster University on Aug. 20-22 and 27-29 — have not yet determined whether capacity limits or masks will be required. Details will be announced on the Csl website when available.
The fest annually includes significant restorations, and this year features a quintet of such works: Melvin Van Peebles’ “The Story of a Three-Day Pass,” Diane Kurys’ “Entre Nous,” Joseph Losey’s “Mr. Klein,” Jacques Deray’s “La piscine,” and the extended director’s cut of Jean-Jacques Beineix’s “Betty Blue.
- 7/21/2021
- by Michelle Hannett
- WeAreMovieGeeks.com
One Shot is a series that seeks to find an essence of cinema history in one single image of a movie. “A single frame is enough to show, from his [sic] choice and recording of matter, whether a director is talented, whether he is endowed with cinematic vision.”—Andrei Tarkovsky, Sculpting in TimeWe go to the films of Truffaut to enmesh ourselves in theories of love at its maximalist. That’s because Truffaut was such a romantic: timid, shy, yet unafraid of what he portrayed in the mirror of the big screen. He could look at his too-feeling soul straight on and diagnose for the world to see and to feel less lonely. In Stolen Kisses, Antoine Doinel (Jean-Pierre Léaud) looks at himself in a mirror. In his ratty bathroom, he chants the names of three people whom he adores—Fabienne Tabard, Christine Darbon, and himself—over and over and over again.
- 8/20/2020
- MUBI
Hi there! Welcome to Intermission, a spin-off podcast from The Film Stage Show. In a time when arthouse theaters are hurting more than ever and there are a plethora of streaming options at your fingertips, we wanted to introduce new conversations that put a specific focus on the films that are foundational or perhaps overlooked in cinephile culture. Led by yours truly, Michael Snydel, Intermission is a 1-on-1 supplementary discussion podcast that focuses on one arthouse, foreign, or experimental film per episode as picked by the guest–or by listeners.
Our first episode is with The Film Stage contributor, Ryan Swen, who chose François Truffaut’s 1971 film, Two English Girls, which is currently available on The Criterion Channel. The second adaptation of Henri-Pierre Roché’s novels after Truffaut’s seminal Jules and Jim, Two English Girls nonetheless has a starkly different energy than that French New Wave classic–despite some base similarities in plot.
Our first episode is with The Film Stage contributor, Ryan Swen, who chose François Truffaut’s 1971 film, Two English Girls, which is currently available on The Criterion Channel. The second adaptation of Henri-Pierre Roché’s novels after Truffaut’s seminal Jules and Jim, Two English Girls nonetheless has a starkly different energy than that French New Wave classic–despite some base similarities in plot.
- 5/1/2020
- by Michael Snydel
- The Film Stage
Collections of films by iconic directors such as François Truffaut and Charlie Chaplin are heading to Netflix as part of a wide-ranging deal struck with distributor MK2 Films.
The titles will be available only in France for now.
Twelve of Truffaut’s seminal films, including “Jules and Jim” and “The 400 Blows” (pictured), will launch on the streaming giant on April 24. The deal is particularly auspicious given France’s ongoing coronavirus lockdown, which is due to remain in place until May 11.
The pact between Netflix and the indie arthouse distributor covers a catalogue of 50 films directed by Truffaut, Chaplin, Demy, Alain Resnais, David Lynch, Emir Kusturica, Michael Haneke, Xavier Dolan, Steve McQueen and Krzysztof Kieslowski.
The agreement, however, is not exclusive, and select titles are still available on other platforms, such as Amazon Prime Video. However, the pact — which will see all 50 films rolled out throughout the year — does mark...
The titles will be available only in France for now.
Twelve of Truffaut’s seminal films, including “Jules and Jim” and “The 400 Blows” (pictured), will launch on the streaming giant on April 24. The deal is particularly auspicious given France’s ongoing coronavirus lockdown, which is due to remain in place until May 11.
The pact between Netflix and the indie arthouse distributor covers a catalogue of 50 films directed by Truffaut, Chaplin, Demy, Alain Resnais, David Lynch, Emir Kusturica, Michael Haneke, Xavier Dolan, Steve McQueen and Krzysztof Kieslowski.
The agreement, however, is not exclusive, and select titles are still available on other platforms, such as Amazon Prime Video. However, the pact — which will see all 50 films rolled out throughout the year — does mark...
- 4/20/2020
- by Manori Ravindran
- Variety Film + TV
Netflix has announced a new partnership with M2K Films that will bring heavyweight auteurs such as Charlie Chaplin, François Truffaut, Jacques Demy, Alain Resnais, Krzysztof Kieślowski, and more to the streaming platform. The deal is set to bring 50 movies from the MK2 Films catalogue to Netflix throughout 2020, beginning April 24 with the launch of 12 Truffaut classics: “Bed and Board,” “Fahrenheit 451,” “Confidentially Yours,” “Jules and Jim,” “Love on the Run,” “Shoot the Piano Player,” “Stolen Kisses,” “The 400 Blows,” “The Last Metro,” “The Soft Skin,” “The Woman Next Door,” and “Two English Girls.”
Cinephile early adopters may remember that around 2007 and 2008, when Netflix first introduced streaming for some movies — via a blue “Instant Viewing” button that would appear next to certain titles in addition to the option to add the DVD to your queue — the service actually did include a sizable number of classic titles, including “Fahrenheit 451.” But as...
Cinephile early adopters may remember that around 2007 and 2008, when Netflix first introduced streaming for some movies — via a blue “Instant Viewing” button that would appear next to certain titles in addition to the option to add the DVD to your queue — the service actually did include a sizable number of classic titles, including “Fahrenheit 451.” But as...
- 4/20/2020
- by Zack Sharf
- Indiewire
Greta Gerwig wrote and directed Sony’s “Little Women,” a new look at Louisa May Alcott’s much-loved 19th-century classic. Eager to pay tribute to her artisan colleagues, Gerwig says, “It was a joy for me to work with all these people. It’s a movie that’s impossible to create without world-class artists. They killed themselves for me!”
Yorick Le Saux, cinematographer
“We shot on film, which was critical to having the film look like we wanted. Yorick made every scene look like source lighting. I didn’t want the film to be overlit in evening scenes, especially interiors; I was Ok with dark corners falling away. Besides, it’s more romantic to have the light of a candle and to have things fall into shadow. It’s his skill and his team’s skill that allowed us to shoot that way.
In pre-production, there were a lot of films we used as reference.
Yorick Le Saux, cinematographer
“We shot on film, which was critical to having the film look like we wanted. Yorick made every scene look like source lighting. I didn’t want the film to be overlit in evening scenes, especially interiors; I was Ok with dark corners falling away. Besides, it’s more romantic to have the light of a candle and to have things fall into shadow. It’s his skill and his team’s skill that allowed us to shoot that way.
In pre-production, there were a lot of films we used as reference.
- 12/12/2019
- by Tim Gray
- Variety Film + TV
Starting this week, the Film Society of Lincoln Center hosts a retrospective of the 57-year career of one of the most iconic figures of modern cinema: Jean-Pierre Léaud. The child who grew up and grew old before our eyes, Léaud will forever be associated with one film above all, François Truffaut’s The 400 Blows, made when he was only 14, and its character, Antoine Doinel, who he, in many ways, created. In a letter to his friend Helen Scott in 1962 Truffaut wrote, “I would prefer a film to change its meaning along the way rather than have an actor ill at ease. Jean-Pierre wasn’t the character I had intended for The 400 Blows.” When the Film Society first fêted Léaud, in 1994, in the series “Growing Up with Jean-Pierre Léaud: Nouvelle Vague’s Wild Child” (programmed by my future wife no less), the actor had only just turned 50. Léaud...
- 3/31/2017
- MUBI
Day for Night
Written by François Truffaut, Jean-Louis Richard, and Suzanne Schiffman
Directed by François Truffaut
France, 1973
From Fellini to Fassbinder, Minnelli to Godard, some of international cinema’s greatest directors have turned their camera on their art and, by extension, themselves. But in the annals of great films about filmmaking, few movies have captured the rapturous passion of cinematic creation and the consuming devotion to film as well as François Truffaut’s Day for Night. While there are a number of stories at play in this love letter to the movies, along with several terrific performances throughout, the crux of the film, the real star of the show, is cinema itself.
Prior to Martin Scorsese and Quentin Tarantino, Truffaut was arguably the most fervent film loving filmmaker, wearing his affection for the medium on his directorial sleeve and seldom missing an opportunity to sound off in interviews or in...
Written by François Truffaut, Jean-Louis Richard, and Suzanne Schiffman
Directed by François Truffaut
France, 1973
From Fellini to Fassbinder, Minnelli to Godard, some of international cinema’s greatest directors have turned their camera on their art and, by extension, themselves. But in the annals of great films about filmmaking, few movies have captured the rapturous passion of cinematic creation and the consuming devotion to film as well as François Truffaut’s Day for Night. While there are a number of stories at play in this love letter to the movies, along with several terrific performances throughout, the crux of the film, the real star of the show, is cinema itself.
Prior to Martin Scorsese and Quentin Tarantino, Truffaut was arguably the most fervent film loving filmmaker, wearing his affection for the medium on his directorial sleeve and seldom missing an opportunity to sound off in interviews or in...
- 8/19/2015
- by Jeremy Carr
- SoundOnSight
Jean Gruault, who wrote 25 screenplays between 1960 and 1995, has His screenplay for Alain Renais's Mon oncle d'Amérique (1980) was nominated for an Oscar and a César and won a David di Donatello Award. Other notable works include Jacques Rivette's debut feature, Paris Belongs to Us (1960), and Rivette's The Nun (1966); Roberto Rossellini's Vanina Vanini (1961) and The Taking of Power by Louis Xiv (1966); Jules and Jim (1962), co-written with François Truffaut, as well as Truffaut's The Wild Child (1970), Two English Girls (1971) and The Green Room (1978); Jean-Luc Godard's Les carabiniers (1963); Chantal Akerman's The Eighties (1983) and Golden Eighties (1986); the scenario for Resnais's Love Unto Death (1984); and he worked with Jean-Pierre Dardenne and Luc Dardenne on You're on My Mind (1992). » - David Hudson...
- 6/9/2015
- Fandor: Keyframe
Jean Gruault, who wrote 25 screenplays between 1960 and 1995, has His screenplay for Alain Renais's Mon oncle d'Amérique (1980) was nominated for an Oscar and a César and won a David di Donatello Award. Other notable works include Jacques Rivette's debut feature, Paris Belongs to Us (1960), and Rivette's The Nun (1966); Roberto Rossellini's Vanina Vanini (1961) and The Taking of Power by Louis Xiv (1966); Jules and Jim (1962), co-written with François Truffaut, as well as Truffaut's The Wild Child (1970), Two English Girls (1971) and The Green Room (1978); Jean-Luc Godard's Les carabiniers (1963); Chantal Akerman's The Eighties (1983) and Golden Eighties (1986); the scenario for Resnais's Love Unto Death (1984); and he worked with Jean-Pierre Dardenne and Luc Dardenne on You're on My Mind (1992). » - David Hudson...
- 6/9/2015
- Keyframe
“A 19th Century Stalker”
By Raymond Benson
The youngest daughter of the great French author, Victor Hugo, was a victim of schizophrenia. Although she was devastatingly beautiful, history tells us that Adèle Hugo was seriously disturbed.
Around the time of America’s Civil War, Adèle became fixated on a British soldier, one Lieutenant Pinson. She followed him across the Atlantic to Nova Scotia, where he was stationed, for she was convinced that he loved her and would marry her. In fact, the couple had experienced a brief relationship in England (while Victor Hugo was living in Guernsey, in exile from France), but Pinson ultimately rejected Adèle and wanted no more to do with her. Even though he was obviously a rakish cad, the girl became obsessed with the man and went to great lengths to pursue him.
These days we would call it stalking.
François Truffaut’s The Story of Adèle H.
By Raymond Benson
The youngest daughter of the great French author, Victor Hugo, was a victim of schizophrenia. Although she was devastatingly beautiful, history tells us that Adèle Hugo was seriously disturbed.
Around the time of America’s Civil War, Adèle became fixated on a British soldier, one Lieutenant Pinson. She followed him across the Atlantic to Nova Scotia, where he was stationed, for she was convinced that he loved her and would marry her. In fact, the couple had experienced a brief relationship in England (while Victor Hugo was living in Guernsey, in exile from France), but Pinson ultimately rejected Adèle and wanted no more to do with her. Even though he was obviously a rakish cad, the girl became obsessed with the man and went to great lengths to pursue him.
These days we would call it stalking.
François Truffaut’s The Story of Adèle H.
- 4/24/2015
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Above: Pedro Costa's Horse Money
The Locarno Film Festival has announced their lineup for the 67th edition, taking place this August between the 6th and 16th. It speaks for itself, but, um, wow...
"Every film festival, be it small or large, claims to offer, if not an account of the state of things, then an updated map of the art form and the world it seeks to represent. This cartography should show both the major routes and the byways, along with essential places to visit and those that are more unusual. The Festival del film Locarno is no exception to the rule, and I think that looking through the program you will be able to distinguish the route map for this edition." — Carlo Chatrian, Artistic Director
Above: Matías Piñeiro's The Princess of France
Concorso Internazionale (Official Competition)
A Blast (Syllas Tzoumerkas, Greece/Germany/Netherlands)
Alive (Jungbum Park, South Korea)
Horse Money (Pedro Costa,...
The Locarno Film Festival has announced their lineup for the 67th edition, taking place this August between the 6th and 16th. It speaks for itself, but, um, wow...
"Every film festival, be it small or large, claims to offer, if not an account of the state of things, then an updated map of the art form and the world it seeks to represent. This cartography should show both the major routes and the byways, along with essential places to visit and those that are more unusual. The Festival del film Locarno is no exception to the rule, and I think that looking through the program you will be able to distinguish the route map for this edition." — Carlo Chatrian, Artistic Director
Above: Matías Piñeiro's The Princess of France
Concorso Internazionale (Official Competition)
A Blast (Syllas Tzoumerkas, Greece/Germany/Netherlands)
Alive (Jungbum Park, South Korea)
Horse Money (Pedro Costa,...
- 7/25/2014
- by Notebook
- MUBI
Jules and Jim
Directed by François Truffaut
Written by François Truffaut and Jean Gruault
France, 1962
In François Truffaut’s debut feature, The 400 Blows, widely seen as the flagship production of the French Nouvelle Vague, or “New Wave,” he was able to convey a representation of youth in a very specific era and, at that time, in a very unique way. Autobiographical as the 1959 film was, it also featured a notable vitality and honesty, two traits that would distinguish several of these French films from the late 1950s and into the ’60s. While The 400 Blows was an earnest and refreshing portrayal of adolescence, in some ways, Truffaut’s 1962 feature, Jules and Jim, his third, feels even more youthful, in terms of stylistic daring and energetic exuberance. Though dealing with adults and serious adult situations, Jules and Jim exhibits a formal sense of unbridled glee, with brisk editing, amusing asides,...
Directed by François Truffaut
Written by François Truffaut and Jean Gruault
France, 1962
In François Truffaut’s debut feature, The 400 Blows, widely seen as the flagship production of the French Nouvelle Vague, or “New Wave,” he was able to convey a representation of youth in a very specific era and, at that time, in a very unique way. Autobiographical as the 1959 film was, it also featured a notable vitality and honesty, two traits that would distinguish several of these French films from the late 1950s and into the ’60s. While The 400 Blows was an earnest and refreshing portrayal of adolescence, in some ways, Truffaut’s 1962 feature, Jules and Jim, his third, feels even more youthful, in terms of stylistic daring and energetic exuberance. Though dealing with adults and serious adult situations, Jules and Jim exhibits a formal sense of unbridled glee, with brisk editing, amusing asides,...
- 2/7/2014
- by Jeremy Carr
- SoundOnSight
“Truffaut’s Gift”
By Raymond Benson
It’s not only my favorite Francois Truffaut film, but it’s also my favorite French New Wave picture. While Godard’s Breathless is often cited as the quintessential French New Wave movie—and it is indeed a hallmark of the movement—for me it’s Jules and Jim that fully represents that important development in cinema history. It contains all the recognizable stylistic and thematic qualities that those French upstarts brought to their films (what? French critics becoming filmmakers? How dare they!), but it’s also a darned good story with wonderful performances by its three leads. And while the movie ends on a bittersweet, somewhat tragic note, Jules and Jim is really a feel-good movie because of the way Truffaut chose to tell the tale. The director has never shied away from pathos and sentimentality—something the filmmaker was very good at...
By Raymond Benson
It’s not only my favorite Francois Truffaut film, but it’s also my favorite French New Wave picture. While Godard’s Breathless is often cited as the quintessential French New Wave movie—and it is indeed a hallmark of the movement—for me it’s Jules and Jim that fully represents that important development in cinema history. It contains all the recognizable stylistic and thematic qualities that those French upstarts brought to their films (what? French critics becoming filmmakers? How dare they!), but it’s also a darned good story with wonderful performances by its three leads. And while the movie ends on a bittersweet, somewhat tragic note, Jules and Jim is really a feel-good movie because of the way Truffaut chose to tell the tale. The director has never shied away from pathos and sentimentality—something the filmmaker was very good at...
- 2/1/2014
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
L to R: Werner Nievergeit, Amole Gupte, Kamal Musale
European Film Festival organized by Taj Enlighten Film Society was inaugurated at the Ncpa in Mumbai on Friday. Werner Nievergeit, Consulate General of Switzerland in Mumbai, Swiss-Indian filmmaker Kamal Musale and Indian filmmaker Amol Gupte were present at the opening ceremony of the festival.
Two short films by Kamal Musale: Les Trois Soldats (Three Soldiers) and Raclette Curry; and Two English Girls directed by François Truffaut were presented as the opening films of the festival.
The festival which will run through the month of June will focus on Switzerland. Documentaries and shorts of Kamal Musale and Daniel Schmid will be screened as part of the festival. The Swiss film package titled ‘Swiss Film 101’ will be complemented by 3 films by Jean-Luc Godard, the renowned French filmmaker who spent the later part of his career in Switzerland.
Werner Nievergeit, Consulate General of...
European Film Festival organized by Taj Enlighten Film Society was inaugurated at the Ncpa in Mumbai on Friday. Werner Nievergeit, Consulate General of Switzerland in Mumbai, Swiss-Indian filmmaker Kamal Musale and Indian filmmaker Amol Gupte were present at the opening ceremony of the festival.
Two short films by Kamal Musale: Les Trois Soldats (Three Soldiers) and Raclette Curry; and Two English Girls directed by François Truffaut were presented as the opening films of the festival.
The festival which will run through the month of June will focus on Switzerland. Documentaries and shorts of Kamal Musale and Daniel Schmid will be screened as part of the festival. The Swiss film package titled ‘Swiss Film 101’ will be complemented by 3 films by Jean-Luc Godard, the renowned French filmmaker who spent the later part of his career in Switzerland.
Werner Nievergeit, Consulate General of...
- 6/4/2011
- by NewsDesk
- DearCinema.com
Still from Soul Kitchen
Taj Enlighten Film Society, supported by the Consulate of Switzerland will organise an European Film Festival in Mumbai in June .
The selection will include a retrospective of Jean-Luc Godard and a Swiss film package.
The festival will be inaugurated by Swiss-Indian filmmaker Kamal Musale and Indian filmmaker Amole Gupte. There will also be a workshop on documentary filmmaking by Kamal Musale.
The screenings will be held across five venues in Mumbai: National Centre for Performing Arts, Cinemax Versova, Metro Big Cinemas, World Media College and Mumbai Times Cafe.
The schedule for the festival:
Ncpa
3rd June, 2011, 6.30 Pm -Inauguration by Kamal Musale and Amole Gupte
Screening: 2 short films by Kamal Musale: Three Soldiers (1987) and Raclette Curry (1999)
Screening: Two English Girls (Francois Truffaut, 1971)
24th June, 2011-6.30 Pm- Bed&Board (Francois Truffaut, 1970)
Cinemax Versova
5th June-12 Pm– Army of Shadows (Jean Pierre Melville, 1969)
12th June- 12 Pm-Le Petit Soldat (Jean-Luc Godard,...
Taj Enlighten Film Society, supported by the Consulate of Switzerland will organise an European Film Festival in Mumbai in June .
The selection will include a retrospective of Jean-Luc Godard and a Swiss film package.
The festival will be inaugurated by Swiss-Indian filmmaker Kamal Musale and Indian filmmaker Amole Gupte. There will also be a workshop on documentary filmmaking by Kamal Musale.
The screenings will be held across five venues in Mumbai: National Centre for Performing Arts, Cinemax Versova, Metro Big Cinemas, World Media College and Mumbai Times Cafe.
The schedule for the festival:
Ncpa
3rd June, 2011, 6.30 Pm -Inauguration by Kamal Musale and Amole Gupte
Screening: 2 short films by Kamal Musale: Three Soldiers (1987) and Raclette Curry (1999)
Screening: Two English Girls (Francois Truffaut, 1971)
24th June, 2011-6.30 Pm- Bed&Board (Francois Truffaut, 1970)
Cinemax Versova
5th June-12 Pm– Army of Shadows (Jean Pierre Melville, 1969)
12th June- 12 Pm-Le Petit Soldat (Jean-Luc Godard,...
- 5/30/2011
- by NewsDesk
- DearCinema.com
Dustbin Film Festival, Chipping Sodbury
As the awards seasons winds towards its climax, why not forget about all those prestige movies and red-carpet fashion trends and come to where the real action is? This resolutely glamour-free event, now in its 11th year, screens only salvaged 16mm footage of machinery in action – from out-of-date promotional reels for vintage agricultural equipment to archive footage of trams being scrapped, cranes being tested or the first flight of Concorde – "anything with a fuel tank", they say. Best of all is the programming process: there isn't one. You just fish a random reel out of the big dustbin (hence the festival's name) and they stick it on.
Town Hall, Sat
Civic Life, On tour
You could be forgiven for thinking Joe Lawlor and Christine Molloy were newcomers after their 2008 feature debut Helen – an unsettling work centred around a police reconstruction. In fact, they've been carving...
As the awards seasons winds towards its climax, why not forget about all those prestige movies and red-carpet fashion trends and come to where the real action is? This resolutely glamour-free event, now in its 11th year, screens only salvaged 16mm footage of machinery in action – from out-of-date promotional reels for vintage agricultural equipment to archive footage of trams being scrapped, cranes being tested or the first flight of Concorde – "anything with a fuel tank", they say. Best of all is the programming process: there isn't one. You just fish a random reel out of the big dustbin (hence the festival's name) and they stick it on.
Town Hall, Sat
Civic Life, On tour
You could be forgiven for thinking Joe Lawlor and Christine Molloy were newcomers after their 2008 feature debut Helen – an unsettling work centred around a police reconstruction. In fact, they've been carving...
- 1/29/2011
- by Steve Rose
- The Guardian - Film News
François Truffaut, 1962
Jules and Jim was the biggest box-office success the French New Wave ever enjoyed. When it opened in Paris in January 1962, it played for nearly three months and it found the same crowds all over the world. (In America, two young men saw it – Robert Benton and David Newman – and they began to write a script that would become Bonnie and Clyde.) Although set in the era of the first world war, its sexual manners were an indicator of the 60s to come, with Catherine (Jeanne Moreau) in love with and loved by two men (at least) – Jules, a German, played by Oskar Werner, and Jim, a Frenchman, played by Henri Serre.
The way Jules and Jim emerged was a tribute to Moreau and to Truffaut's obsession with the idea that women were magical. It's an early dramatisation of feminist principles, but it's also the portrait of a bipolar personality drawn to self-destruction.
Jules and Jim was the biggest box-office success the French New Wave ever enjoyed. When it opened in Paris in January 1962, it played for nearly three months and it found the same crowds all over the world. (In America, two young men saw it – Robert Benton and David Newman – and they began to write a script that would become Bonnie and Clyde.) Although set in the era of the first world war, its sexual manners were an indicator of the 60s to come, with Catherine (Jeanne Moreau) in love with and loved by two men (at least) – Jules, a German, played by Oskar Werner, and Jim, a Frenchman, played by Henri Serre.
The way Jules and Jim emerged was a tribute to Moreau and to Truffaut's obsession with the idea that women were magical. It's an early dramatisation of feminist principles, but it's also the portrait of a bipolar personality drawn to self-destruction.
- 10/16/2010
- by David Thomson
- The Guardian - Film News
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