French actress and long-time Alain Resnais collaborator to preside over jury to select the best first film presented at the 68th Cannes Film Festival.
Sabine Azema has been named president of the Caméra d’or Jury at this year’s Cannes Film Festival (May 13-24).
The jury selects the best directorial debut presented in Official Selection (In Competition, Out of Competition and Un Certain Regard), Critics’ Week or Directors’ Fortnight, which this year represents 26 films.
French actress Azema, who won her first César in 1985 for Bertrand Tavernier’s Cannes Competition title A Sunday in the Country, follows in the footsteps of Bong Joon-Ho, Gael García Bernal, Carlos Diegues and Nicole Garcia.
Azema is known for her nearly three-decade collaboration with director Alain Resnais for whom she has performed as the tragic heroine in Love Unto Death (1984), then in Mélo (1986) for which she was awarded her second César.
Other Resnais films in which she has performed include Smoking...
Sabine Azema has been named president of the Caméra d’or Jury at this year’s Cannes Film Festival (May 13-24).
The jury selects the best directorial debut presented in Official Selection (In Competition, Out of Competition and Un Certain Regard), Critics’ Week or Directors’ Fortnight, which this year represents 26 films.
French actress Azema, who won her first César in 1985 for Bertrand Tavernier’s Cannes Competition title A Sunday in the Country, follows in the footsteps of Bong Joon-Ho, Gael García Bernal, Carlos Diegues and Nicole Garcia.
Azema is known for her nearly three-decade collaboration with director Alain Resnais for whom she has performed as the tragic heroine in Love Unto Death (1984), then in Mélo (1986) for which she was awarded her second César.
Other Resnais films in which she has performed include Smoking...
- 5/5/2015
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Complex and avant-garde French film director best known for Night and Fog and Last Year in Marienbad
Alain Resnais, who has died aged 91, was a director of elegance and distinction who, despite generally working from the screenplays of other writers, established an auteurist reputation. His films were singular, instantly recognisable by their style as well as through recurring themes and preoccupations. Primary concerns were war, sexual relationships and the more abstract notions of memory and time. His characters were invariably adult (children were excluded as having no detailed past) middle-class professionals. His style was complex, notably in the editing and often – though not always – dominated by tracking shots and multilayered sound.
He surrounded himself with actors, musicians and writers of enormous talent and the result was a somewhat elitist body of work with little concern for realism or the socially or intellectually deprived. Even overtly political works, Night and Fog,...
Alain Resnais, who has died aged 91, was a director of elegance and distinction who, despite generally working from the screenplays of other writers, established an auteurist reputation. His films were singular, instantly recognisable by their style as well as through recurring themes and preoccupations. Primary concerns were war, sexual relationships and the more abstract notions of memory and time. His characters were invariably adult (children were excluded as having no detailed past) middle-class professionals. His style was complex, notably in the editing and often – though not always – dominated by tracking shots and multilayered sound.
He surrounded himself with actors, musicians and writers of enormous talent and the result was a somewhat elitist body of work with little concern for realism or the socially or intellectually deprived. Even overtly political works, Night and Fog,...
- 3/3/2014
- by Brian Baxter
- The Guardian - Film News
The following is an essay featured in the anthology George Cukor - On/Off Hollywood (Capricci, Paris, 2013), for sale at www.capricci.fr.
The Film Society of Lincoln Center will be running a complete retrospective on the director, "The Discreet Charm of George Cukor," in New York December 13, 2013 - January 7, 2014. Many thanks to David Phelps, Fernando Ganzo, and Camille Pollas for their generous permission.
The Second-hand Illusion:
Notes on Cukor
Above: The Chapman Report (1962), A Life of Her Own (1950)
“There’s always something about them that you don’t know that you’d like to know. Spencer Tracy had that. In fact, they do all have that – all the big ones have it. You feel very close to them but there is the ultimate thing withheld from you – and you want to find out.” —George Cukor1
“Can you tell what a woman’s like by just looking at her?” —The Chapman Report...
The Film Society of Lincoln Center will be running a complete retrospective on the director, "The Discreet Charm of George Cukor," in New York December 13, 2013 - January 7, 2014. Many thanks to David Phelps, Fernando Ganzo, and Camille Pollas for their generous permission.
The Second-hand Illusion:
Notes on Cukor
Above: The Chapman Report (1962), A Life of Her Own (1950)
“There’s always something about them that you don’t know that you’d like to know. Spencer Tracy had that. In fact, they do all have that – all the big ones have it. You feel very close to them but there is the ultimate thing withheld from you – and you want to find out.” —George Cukor1
“Can you tell what a woman’s like by just looking at her?” —The Chapman Report...
- 12/10/2013
- by David Phelps
- MUBI
He used to tackle big issues: Hiroshima, the Algerian war. But Alain Resnais's latest film is about the theft of a wallet. The director tells Gilbert Adair why
Old age is always faintly unnerving. Although, at 88, Alain Resnais isn't by any means the most venerable of active film-makers, it's still hard to credit that the film I've come to Paris to talk to him about – Wild Grass, an authentic surrealist romance, as far from being geriatric in style as it's possible to imagine – was made by this elegant, eloquent gentleman sitting opposite me at the Hôtel Claridge, near the Champs Elysées.
I last met Resnais a couple of decades ago, and he has remained much as I remembered: the superb mane of snow-white hair, flaming red shirt, tightly knotted black tie and trademark white trainers. All that's missing is a viewfinder dangling on his pullover, as nonchalantly as a monocle.
Old age is always faintly unnerving. Although, at 88, Alain Resnais isn't by any means the most venerable of active film-makers, it's still hard to credit that the film I've come to Paris to talk to him about – Wild Grass, an authentic surrealist romance, as far from being geriatric in style as it's possible to imagine – was made by this elegant, eloquent gentleman sitting opposite me at the Hôtel Claridge, near the Champs Elysées.
I last met Resnais a couple of decades ago, and he has remained much as I remembered: the superb mane of snow-white hair, flaming red shirt, tightly knotted black tie and trademark white trainers. All that's missing is a viewfinder dangling on his pullover, as nonchalantly as a monocle.
- 6/22/2010
- by Gilbert Adair
- The Guardian - Film News
PARIS -- Filmmaker Denys Arcand's The Barbarian Invasions, an ode to friendship and death, was the big winner at France's top film honors, the Cesars. Invasions -- a sequel to Arcand's The Decline of the American Empire, which the Canadian director made 17 years ago -- won Cesars for best French film of the year, best director and best original screenplay at the glittering awards ceremony on Saturday night. Invasions, which reunites a group of friends around the deathbed of one of the film's characters, will compete for two Oscars for best foreign-language film and best screenplay. The film beat out top contenders Bon Voyage and Pas sur la bouche (Not on the Mouth), which had 11 and eight nominations, respectively. Jean-Paul Rappeneau's 1940s drama of romance and political intrigue, Bon Voyage won three Cesars for best cinematography, best production design and best male newcomer, Gregori Derangere.
- 2/23/2004
- The Hollywood Reporter - Movie News
PARIS -- Sylvain Chomet's The Triplets of Belleville, which will vie for two Oscars, was named best French film of 2003 on Tuesday at the ninth Lumieres Awards. Alain Resnais was voted best director for his operetta Pas sur la bouche (Not on the Mouth). He received a standing ovation along with the prize after some embarrassing moments for the organizers, who showed a trailer of Pierre Salvadori's comedy Apres vous (After You) in place of a clip from Resnais' stylish period musical. Bouche cornered nine nominations for the Cesar Awards, France's top film awards, which will be presented Saturday. Belleville, nominated for animated film and original song Academy Awards, also is competing for three Cesars.
- 2/18/2004
- The Hollywood Reporter - Movie News
PARIS -- French actress Fanny Ardant will preside over the 29th Cesar Awards, France's top film honors, the organizers said Monday. Ardant, who won the best actress Cesar in 1997 for her role as the owner of a gay bar in the comedy Pedale Douce, has been nominated four times for the awards. Her latest film, Nathalie, in which she plays a jealous wife who befriends a prostitute (Emmanuelle Beart) to understand her husband (Gerard Depardieu) better, is currently playing in Paris. Veteran actress Micheline Presle will be honored at the ceremony Feb. 21 at Paris' Theatre du Chatelet. The awards will be transmitted live on French TV channel Canal Plus. Jean-Paul Rappeneau's Bon Voyage and Alain Resnais' Pas sur la Bouche (Not on the Mouth) received 11 and nine nominations, respectively (HR 1/26). The 3,300-plus members of the Academie des Arts et Techniques du Cinema will vote for the best of French cinema, as well as for the best European and international films of 2003.
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