Michel Delahaye and Ingrid Bourgoin in Marie-Claude Treilhou’s Simone Barbès Or Virtue
At the New York Film Festival in 2020, there were a number of terrific free talks, including Gianfranco Rosi on Notturno (Italy’s Oscar submission); Christian Petzold with Heinz Emigholz (The Last City and The Lobby with John Erdman); Steve McQueen with Small Axe cinematographer Shabier Kirchner and his Lovers Rock (Opening Night Gala selection) cast Amarah-Jae St. Aubyn and Micheal Ward; Laura Dern, Joyce Chopra, and Joyce Carol Oates on Smooth Talk (Revivals selection); Chloé Zhao with Nomadland (Centerpiece selection) producer Peter Spears; Dea Kulumbegashvili on Beginning, and Michelle Pfeiffer, Lucas Hedges and Azazel Jacobs on French Exit (Closing Night selection).
Serge Bozon discussed Simone Barbès Or Virtue with Marie-Claude Treilhou Photo: Anne-Katrin Titze
Serge Bozon (director of Madame Hyde,...
At the New York Film Festival in 2020, there were a number of terrific free talks, including Gianfranco Rosi on Notturno (Italy’s Oscar submission); Christian Petzold with Heinz Emigholz (The Last City and The Lobby with John Erdman); Steve McQueen with Small Axe cinematographer Shabier Kirchner and his Lovers Rock (Opening Night Gala selection) cast Amarah-Jae St. Aubyn and Micheal Ward; Laura Dern, Joyce Chopra, and Joyce Carol Oates on Smooth Talk (Revivals selection); Chloé Zhao with Nomadland (Centerpiece selection) producer Peter Spears; Dea Kulumbegashvili on Beginning, and Michelle Pfeiffer, Lucas Hedges and Azazel Jacobs on French Exit (Closing Night selection).
Serge Bozon discussed Simone Barbès Or Virtue with Marie-Claude Treilhou Photo: Anne-Katrin Titze
Serge Bozon (director of Madame Hyde,...
- 1/5/2021
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Editor’s note: The following is an exclusive excerpt from “’Castles of Subversion’ Continued: From the Roman Noir and Surrealism to Jean Rollin” by Virginie Sélavy. This essay is featured in “Lost Girls: The Phantasmagorical Cinema of Jean Rollins,” which is available now. To celebrate the book’s release, curator and editor Samm Deighan will be on hand to introduce a special screening of Rollin’s 1971 film “The Shiver of the Vampires” at the Brooklyn Horror Festival on October 14.
Usually deserted or abandoned, often in ruins or in a state of decay, sometimes captured just before demolition, always bearing the melancholy traces of human presence, locations are key to Jean Rollin’s cinema and often were the starting points for his films. Three in particular recur throughout his work: the famous Dieppe beach (specifically Pourville-sur-Mer), the cemetery, and the castle. The latter two are typical Gothic locations and an...
Usually deserted or abandoned, often in ruins or in a state of decay, sometimes captured just before demolition, always bearing the melancholy traces of human presence, locations are key to Jean Rollin’s cinema and often were the starting points for his films. Three in particular recur throughout his work: the famous Dieppe beach (specifically Pourville-sur-Mer), the cemetery, and the castle. The latter two are typical Gothic locations and an...
- 9/25/2017
- by Indiewire Staff
- Indiewire
Final paintings, final books, and final films are often read into because of their terminating chronology. Did the artist know they were close to death? How is that shown in the art? When he died in 1968, Carl Dreyer had many projects lined up, including Medea and Jesus of Nazareth, which he had been preparing and researching for years, to the point of learning Hebrew. His last films, Ordet in 1955 and Gertrud in 1964, embody the exacting visual style he forged during his fifty-five-year career—a style he explicated in short essays written ten and twenty years before Gertrud. Being a director who worked with and without sound, we should trust Dreyer when he says film “first and foremost directs itself to the eye, and that the picture far, far more easily than the spoken word penetrates deeply into a spectator’s consciousness.”1 Gerturd is as much about the eponymous character's face...
- 12/18/2014
- by Greg Gerke
- MUBI
This video essay collaboration on Jacques Rivette's Out 1 is the second entry in the Out 1 Video Essay Project commissioned by the Melbourne International Film Festival. The first entry, by Cristina Álvarez López and Adrian Martin, can be found here.
The following "messages" were sent to Kevin B. Lee as part of the preparatory work for our video Out 1 Solitaire:
Part of the impact of Out 1 derives from the way it captures several aspects of transatlantic 60s counterculture, but the differences between North America and France during this period are telling. Psychedelic drug culture hadn't yet made many discernible inroads, although things we associate with that culture—especially LSD trips and changing perceptions of duration—seem present in some form, especially in Colin's solipsistic fantasies and preoccupations and some of the "tribal" rituals of the theater group's exercises. Politics were also perceived differently, above all because of the experience of...
The following "messages" were sent to Kevin B. Lee as part of the preparatory work for our video Out 1 Solitaire:
Part of the impact of Out 1 derives from the way it captures several aspects of transatlantic 60s counterculture, but the differences between North America and France during this period are telling. Psychedelic drug culture hadn't yet made many discernible inroads, although things we associate with that culture—especially LSD trips and changing perceptions of duration—seem present in some form, especially in Colin's solipsistic fantasies and preoccupations and some of the "tribal" rituals of the theater group's exercises. Politics were also perceived differently, above all because of the experience of...
- 9/30/2014
- by Jonathan Rosenbaum and Kevin B. Lee
- MUBI
The retrospective dedicated to the work of Peter Nestler organized by Tate Modern and Goethe-Institut in London that runs between the 10th and the 17th of November is the first big retrospective of Nestler’s films in the Anglophone world. The program of the documentary festival Dok Leipzig also featured a collection of Nestler’s films, and absolut Medien just put out a DVD box set featuring many of Nestler’s films. This interview, conducted with Martin Grennberger, is a shorter version of the original text published at Magasinet Walden and was translated to English by myself and Kurt Walker.
Martin Grennberger: The documentary filmmaker Hartmut Bitomsky has described your thematic approaches and ideological concerns as a product of attitudes that took shape during the 1950s. Specifically, a position which tries to establish a functional critical attitude and a policy based on an anti-fascist stance; but also criticizes what you...
Martin Grennberger: The documentary filmmaker Hartmut Bitomsky has described your thematic approaches and ideological concerns as a product of attitudes that took shape during the 1950s. Specifically, a position which tries to establish a functional critical attitude and a policy based on an anti-fascist stance; but also criticizes what you...
- 11/13/2012
- by Stefan Ramstedt
- MUBI
Via Emissions in the Dark comes word of an amazing followup to Thursday's terrific find: Letters to Jane has posted another freely downloadable issue of Cahiers du Cinéma in English. Issue 8, which appeared in February 1967, features Jean-Luc Godard and Michel Delahaye's lengthy interview with Robert Bresson, conducted the previous year. As Emissions points out, we're doubly blessed, as today marks the 110th anniversary of Bresson's birth.
Also in this issue: Two pieces on Joseph L Mankiewicz, three on Milos Forman, two on Resnais's La Guerre est finie (1966) and another "Council of Ten" chart, all wrapped up with Andrew Sarris's closing editorial.
For news and tips throughout the day every day, follow @thedailyMUBI on Twitter and/or the RSS feed....
Also in this issue: Two pieces on Joseph L Mankiewicz, three on Milos Forman, two on Resnais's La Guerre est finie (1966) and another "Council of Ten" chart, all wrapped up with Andrew Sarris's closing editorial.
For news and tips throughout the day every day, follow @thedailyMUBI on Twitter and/or the RSS feed....
- 9/25/2011
- MUBI
Via Les Films du Losange's tumblr comes a find so fantastic, I'm making today's a single-themed Briefing.
Cahiers du Cinéma in English, Number 10, appearing in May 1967 and edited by Andrew Sarris, features a still from Bresson's Mouchette on the cover, and inside: "Three Thousand Hours of Cinema," something of a diary by Jean-Luc Godard (sample entry: "In Positif, a remarkable article by Tailleur on Harper. A shame that one reads prose of that quality less and less often in Cahiers." He's also miffed that Sartre keeps turning down requests for an interview); Bertolucci, Michel Delahaye and Jean Narboni on Godard; an interview with Andy Warhol and two pieces on him (one by Sarris, the other by Serge Gavronsky); a Hitchcock package (including a piece by André Téchiné); best of 1966 lists, including submissions from Jacques Rivette, Alain Robbe-Grillet and dozens more; a Film Comment-like chart with stars and bombs...
Cahiers du Cinéma in English, Number 10, appearing in May 1967 and edited by Andrew Sarris, features a still from Bresson's Mouchette on the cover, and inside: "Three Thousand Hours of Cinema," something of a diary by Jean-Luc Godard (sample entry: "In Positif, a remarkable article by Tailleur on Harper. A shame that one reads prose of that quality less and less often in Cahiers." He's also miffed that Sartre keeps turning down requests for an interview); Bertolucci, Michel Delahaye and Jean Narboni on Godard; an interview with Andy Warhol and two pieces on him (one by Sarris, the other by Serge Gavronsky); a Hitchcock package (including a piece by André Téchiné); best of 1966 lists, including submissions from Jacques Rivette, Alain Robbe-Grillet and dozens more; a Film Comment-like chart with stars and bombs...
- 9/22/2011
- MUBI
April 13-18
Fifty years after Jean-Luc Godard, Serge Bozon and the .young turks. of Cahiers du cinéma resolved that the best way to criticize movies was to make their own films. The result was the creation of another exciting .new wave. of critic-filmmakers, hailing from the iconoclastic film magazine La lettre du cinéma(1997-2005), boldly storming the gates of the French film establishment.
The Film Society of Lincoln Center brings writer, director, actor and DJ, Serge Bozon to New York to present this first major North American survey of films by the Lettre du cinéma circle as well as to curate and present a series of screenings of rarities (along with Anthology Film Archives) that have influenced his work. Also introducing and discussing their films will be his fellow filmmakers, Jean-Charles Fitoussi and Aurélia Georges. And if that weren.t enough, Bozon will also put his DJ skills on display,...
Fifty years after Jean-Luc Godard, Serge Bozon and the .young turks. of Cahiers du cinéma resolved that the best way to criticize movies was to make their own films. The result was the creation of another exciting .new wave. of critic-filmmakers, hailing from the iconoclastic film magazine La lettre du cinéma(1997-2005), boldly storming the gates of the French film establishment.
The Film Society of Lincoln Center brings writer, director, actor and DJ, Serge Bozon to New York to present this first major North American survey of films by the Lettre du cinéma circle as well as to curate and present a series of screenings of rarities (along with Anthology Film Archives) that have influenced his work. Also introducing and discussing their films will be his fellow filmmakers, Jean-Charles Fitoussi and Aurélia Georges. And if that weren.t enough, Bozon will also put his DJ skills on display,...
- 3/15/2011
- by Melissa Howland
- WeAreMovieGeeks.com
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