(l-r) Guillaume Canet as author Emile Zola and Guillaume Gallienne as painter Paul Cezanne, in Daniele Thompson’s biopic Cezanne Et Moi. Photo by Luc Roux. Courtesy of Magnolia Pictures ©
The French film Cezanne Et Moi (“Cezanne and I”) focuses on the real life-long, if sometimes stormy, friendship between a painter and an author. The “moi” in this historical drama is novelist Emile Zola, and the artist is, of course, post-Impressionist painter Paul Cezanne. One has to wonder why the filmmakers didn’t just title the film “Cezanne and Zola.” The title suggests that the story is told from Zola’s point-of-view but while it might favor Zola’s view-point a little, the film actually spends more screen time with Cezanne, wonderfully played by Guillaume Gallienne. Zola is played by French star Guillaume Canet, and the two Guillaumes are terrific in their scenes together
Strong acting, lush visuals, and historical...
The French film Cezanne Et Moi (“Cezanne and I”) focuses on the real life-long, if sometimes stormy, friendship between a painter and an author. The “moi” in this historical drama is novelist Emile Zola, and the artist is, of course, post-Impressionist painter Paul Cezanne. One has to wonder why the filmmakers didn’t just title the film “Cezanne and Zola.” The title suggests that the story is told from Zola’s point-of-view but while it might favor Zola’s view-point a little, the film actually spends more screen time with Cezanne, wonderfully played by Guillaume Gallienne. Zola is played by French star Guillaume Canet, and the two Guillaumes are terrific in their scenes together
Strong acting, lush visuals, and historical...
- 4/21/2017
- by Cate Marquis
- WeAreMovieGeeks.com
The Ninth Annual Robert Classic French Film Festival — co-presented by Cinema St. Louis and the Webster University Film Series started last Friday and continues the next two weekends — The Classic French Film Festival celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1920s through the mid-1990s, offering a revealing overview of French cinema.
All films are screened at Webster University’s Moore Auditorium (470 East Lockwood).
The fest is annually highlighted by significant restorations, which this year includes films by two New Wave masters: Jacques Rivette’s first feature, “Paris Belongs to Us,” and François Truffaut’s cinephilic love letter, “Day for Night.” The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way, with both Alain Resnais’ “Last Year at Marienbad” and Robert Bresson’s “Au hasard Balthazar” screening from 35mm prints.
All films are screened at Webster University’s Moore Auditorium (470 East Lockwood).
The fest is annually highlighted by significant restorations, which this year includes films by two New Wave masters: Jacques Rivette’s first feature, “Paris Belongs to Us,” and François Truffaut’s cinephilic love letter, “Day for Night.” The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way, with both Alain Resnais’ “Last Year at Marienbad” and Robert Bresson’s “Au hasard Balthazar” screening from 35mm prints.
- 3/21/2017
- by Tom Stockman
- WeAreMovieGeeks.com
The Ninth Annual Robert Classic French Film Festival — co-presented by Cinema St. Louis and the Webster University Film Series started last Friday and continues the next two weekends — The Classic French Film Festival celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1920s through the mid-1990s, offering a revealing overview of French cinema.
All films are screened at Webster University’s Moore Auditorium (470 East Lockwood).
The fest is annually highlighted by significant restorations, which this year includes films by two New Wave masters: Jacques Rivette’s first feature, “Paris Belongs to Us,” and François Truffaut’s cinephilic love letter, “Day for Night.” The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way, with both Alain Resnais’ “Last Year at Marienbad” and Robert Bresson’s “Au hasard Balthazar” screening from 35mm prints.
All films are screened at Webster University’s Moore Auditorium (470 East Lockwood).
The fest is annually highlighted by significant restorations, which this year includes films by two New Wave masters: Jacques Rivette’s first feature, “Paris Belongs to Us,” and François Truffaut’s cinephilic love letter, “Day for Night.” The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way, with both Alain Resnais’ “Last Year at Marienbad” and Robert Bresson’s “Au hasard Balthazar” screening from 35mm prints.
- 3/14/2017
- by Tom Stockman
- WeAreMovieGeeks.com
The Ninth Annual Robert Classic French Film Festival — co-presented by Cinema St. Louis and the Webster University Film Series starts this Friday, March 10th. — The Classic French Film Festival celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1920s through the mid-1990s, offering a revealing overview of French cinema.
All films are screened at Webster University’s Moore Auditorium (470 East Lockwood).
The fest is annually highlighted by significant restorations, which this year includes films by two New Wave masters: Jacques Rivette’s first feature, “Paris Belongs to Us,” and François Truffaut’s cinephilic love letter, “Day for Night.” The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way, with both Alain Resnais’ “Last Year at Marienbad” and Robert Bresson’s “Au hasard Balthazar” screening from 35mm prints. Even more traditional,...
All films are screened at Webster University’s Moore Auditorium (470 East Lockwood).
The fest is annually highlighted by significant restorations, which this year includes films by two New Wave masters: Jacques Rivette’s first feature, “Paris Belongs to Us,” and François Truffaut’s cinephilic love letter, “Day for Night.” The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way, with both Alain Resnais’ “Last Year at Marienbad” and Robert Bresson’s “Au hasard Balthazar” screening from 35mm prints. Even more traditional,...
- 3/6/2017
- by Tom Stockman
- WeAreMovieGeeks.com
The Ninth Annual Robert Classic French Film Festival — co-presented by Cinema St. Louis and the Webster University Film Series — celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1920s through the mid-1990s, offering a revealing overview of French cinema.
The fest is annually highlighted by significant restorations, which this year includes films by two New Wave masters: Jacques Rivette’s first feature, “Paris Belongs to Us,” and François Truffaut’s cinephilic love letter, “Day for Night.” The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way, with both Alain Resnais’ “Last Year at Marienbad” and Robert Bresson’s “Au hasard Balthazar” screening from 35mm prints. Even more traditional, we also offer a silent film with live music, and audiences are sure to delight in the Poor People of Paris...
The fest is annually highlighted by significant restorations, which this year includes films by two New Wave masters: Jacques Rivette’s first feature, “Paris Belongs to Us,” and François Truffaut’s cinephilic love letter, “Day for Night.” The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way, with both Alain Resnais’ “Last Year at Marienbad” and Robert Bresson’s “Au hasard Balthazar” screening from 35mm prints. Even more traditional, we also offer a silent film with live music, and audiences are sure to delight in the Poor People of Paris...
- 1/31/2017
- by Tom Stockman
- WeAreMovieGeeks.com
Mark and Aaron continue the French 1930s series by exploring the early career of Jean Renoir, easily the most recognizable director from the period. We begin with the beginning, by looking at his origins and childhood. We look at his early silent films, his first sound adaptations, and a couple of films from the middle of the decade where he began to settle into his poetic realist style.
7:00 – Why Renoir?
9:30 – Origins of Renoir
20:00 – Silent Renoir (Catherine, Whirlpool of Fate, Nana, Charleston Parade, The Little Match Girl)
51:30 – Early Sound (On purge bébé, La Chienne, Boudu Saved From Drowning)
1:21:30 – Poetic Realism in Mid-Thirties (Toni, A Day in the Country)
French 1930s Episode 1 Jean Renoir Taschen book Republic of Images Renoir Paintings at the Art Institute of Chicago DVD Beaver – Jean Renoir Collector’s Edition Aaron West – A Day in the Country David Blakeslee – A Day in the Country...
7:00 – Why Renoir?
9:30 – Origins of Renoir
20:00 – Silent Renoir (Catherine, Whirlpool of Fate, Nana, Charleston Parade, The Little Match Girl)
51:30 – Early Sound (On purge bébé, La Chienne, Boudu Saved From Drowning)
1:21:30 – Poetic Realism in Mid-Thirties (Toni, A Day in the Country)
French 1930s Episode 1 Jean Renoir Taschen book Republic of Images Renoir Paintings at the Art Institute of Chicago DVD Beaver – Jean Renoir Collector’s Edition Aaron West – A Day in the Country David Blakeslee – A Day in the Country...
- 12/23/2016
- by Aaron West
- CriterionCast
Glenda Jackson: Actress and former Labour MP. Two-time Oscar winner and former Labour MP Glenda Jackson returns to acting Two-time Best Actress Academy Award winner Glenda Jackson set aside her acting career after becoming a Labour Party MP in 1992. Four years ago, Jackson, who represented the Greater London constituency of Hampstead and Highgate, announced that she would stand down the 2015 general election – which, somewhat controversially, was won by right-wing prime minister David Cameron's Conservative party.[1] The silver lining: following a two-decade-plus break, Glenda Jackson is returning to acting. Now, Jackson isn't – for the time being – returning to acting in front of the camera. The 79-year-old is to be featured in the Radio 4 series Emile Zola: Blood, Sex and Money, described on their website as a “mash-up” adaptation of 20 Emile Zola novels collectively known as "Les Rougon-Macquart."[2] Part 1 of the three-part Radio 4 series will be broadcast daily during an...
- 7/2/2015
- by Andre Soares
- Alt Film Guide
Dorothy Arzner (1897-1979) was one of a kind in the history of American cinema, the only woman to carve out a professional career as a director in Hollywood's Golden Age. In its 62nd edition, the San Sebastian Festival pays homage to the work of Arzner, today considered a pioneer in women's incorporation to the film industry, proclaimed as a filmmaker of strong style and personality for which she earned undeniable prestige within the Hollywood studio system.
Born in San Francisco but raised in Los Angeles, Dorothy Arzner made her directorial debut with "Fashions for Women" (1927), going on the following year to become the first women ever to direct a talkie with Manhattan Cocktail (1928). Arzner directed 15 films throughout the 30s and the early 40s, working with Hollywood stars such as Clara Bow, Katharine Hepburn, Fredric March, Rosalind Russell, Claudette Colbert, Maureen O'Hara and Joan Crawford in comedies and melodramas with particular focus on female characters. In 1933 she became the first woman to join the Directors Guild of America and was its only female member for several decades. Although her name was progressively forgotten, Arzner's career was ratified in the 60s by feminist movements and received numerous tributes, including one by the Directors Guild of America in 1975. Today her films are not only newly appreciated for being an unusual exception in the history of American film, but also f or their intrinsic values. Arzner left her stamp on several films of refined visual style that questioned traditional sexual roles and the part played by women in society or which, according to certain critics, introduced veiled homosexual undertones to the rigid Hollywood structure of the time.
The retrospective dedicated by the San Sebastian Festival to Dorothy Arzner will feature her twelve surviving films. It is organised together with Filmoteca Española. To accompany the cycle, a bilingual (English and Spanish) book will be published on the filmmaker, written by Judith Mayne.
The Wild Party Dorothy Arzner (USA) 1929 The explosive Clara Bow (in her first talkie) and the man who would become one of Arzner's favourite actors, Fredric March, star in this surprising and brazen film shot before the Hays Code of censorship was imposed upon Hollywood.
Sarah and Son Dorothy Arzner (USA) 1930 A melodrama that earned the leading lady, Ruth Chatterton, an Academy Award nomination for her part as an opera singer searching for the son she lost many years ago.
Anybody's Woman Dorothy Arzner (USA) 1930 A rather daring romantic comedy for its day; a lawyer and a chorus girl waken man and wife after a night on the tiles. All sorts of confusions ensue.
Honor Among Lovers Dorothy Arzner (USA) 1931 A luxury cast (Claudette Colbert, Fredric March and Ginger Rogers) for a melodrama in which Dorothy Arzner looked at a rather unusual subject for films of the time: sexual harassment in the working environment.
Working Girls Dorothy Arzner (USA) 1931 Adaptation of a play by the author popular in her day, Vera Caspary, this film represents yet another shrewd look at the world of women by Dorothy Arzner seen through the portrayal of two friends in search of work and a husband.
Merrily We Go to Hell Dorothy Arzner (USA) 1932 The tale of an alcoholic author and the woman who rescues him is turned in Dorothy Arzner's hands into a romantic comedy taking yet another look at the role of women in a couple's relations.
Christopher Strong Dorothy Arzner (USA) 1933 Katharine Hepburn embodies one of her typical spirited female characters in this eye-opening melodrama from Arzner, a full-on snub of the nose to the usual roles played by women in classic movies: the love affair between an MP and an aviatrix.
Nana Dorothy Arzner (USA) 1934 Dorothy Arzner adapted Émile Zola's classic novel into a film to flatter a would-be star soon forgotten by Hollywood, Anna Sten. Set in 19th century Paris, this is a curious foray by the director into period melodrama.
Craig's Wife Dorothy Arzner (USA) 1936 This melodrama sees another of the big Hollywood stars who worked under the orders of Dorothy Arzner, Rosalind Russell, play a domineering woman who marries a wealthy man for money and power.
The Bride Wore Red Dorothy Arzner (USA) 1937 Joan Crawford and a spectacular red dress by the famous designer Adrian star in one of Dorothy Arzner's most popular romantic comedies, a tale of love and luxury once again featuring an unforgettable female character.
Dance, Girl, Dance Dorothy Arzner (USA) 1940 Maureen O'Hara and Lucille Ball wrangle in a professional and sentimental duel set in the world of show business and spiced up with musical numbers.
First Comes Courage Dorothy Arzner (USA) 1943 Dorothy Arzner's last film was her contribution to the warring efforts of the allies during World War II; a spy story where Merle Oberon brings life to an anti-Nazi resistance worker in Norway who must choose between love and duty.
Born in San Francisco but raised in Los Angeles, Dorothy Arzner made her directorial debut with "Fashions for Women" (1927), going on the following year to become the first women ever to direct a talkie with Manhattan Cocktail (1928). Arzner directed 15 films throughout the 30s and the early 40s, working with Hollywood stars such as Clara Bow, Katharine Hepburn, Fredric March, Rosalind Russell, Claudette Colbert, Maureen O'Hara and Joan Crawford in comedies and melodramas with particular focus on female characters. In 1933 she became the first woman to join the Directors Guild of America and was its only female member for several decades. Although her name was progressively forgotten, Arzner's career was ratified in the 60s by feminist movements and received numerous tributes, including one by the Directors Guild of America in 1975. Today her films are not only newly appreciated for being an unusual exception in the history of American film, but also f or their intrinsic values. Arzner left her stamp on several films of refined visual style that questioned traditional sexual roles and the part played by women in society or which, according to certain critics, introduced veiled homosexual undertones to the rigid Hollywood structure of the time.
The retrospective dedicated by the San Sebastian Festival to Dorothy Arzner will feature her twelve surviving films. It is organised together with Filmoteca Española. To accompany the cycle, a bilingual (English and Spanish) book will be published on the filmmaker, written by Judith Mayne.
The Wild Party Dorothy Arzner (USA) 1929 The explosive Clara Bow (in her first talkie) and the man who would become one of Arzner's favourite actors, Fredric March, star in this surprising and brazen film shot before the Hays Code of censorship was imposed upon Hollywood.
Sarah and Son Dorothy Arzner (USA) 1930 A melodrama that earned the leading lady, Ruth Chatterton, an Academy Award nomination for her part as an opera singer searching for the son she lost many years ago.
Anybody's Woman Dorothy Arzner (USA) 1930 A rather daring romantic comedy for its day; a lawyer and a chorus girl waken man and wife after a night on the tiles. All sorts of confusions ensue.
Honor Among Lovers Dorothy Arzner (USA) 1931 A luxury cast (Claudette Colbert, Fredric March and Ginger Rogers) for a melodrama in which Dorothy Arzner looked at a rather unusual subject for films of the time: sexual harassment in the working environment.
Working Girls Dorothy Arzner (USA) 1931 Adaptation of a play by the author popular in her day, Vera Caspary, this film represents yet another shrewd look at the world of women by Dorothy Arzner seen through the portrayal of two friends in search of work and a husband.
Merrily We Go to Hell Dorothy Arzner (USA) 1932 The tale of an alcoholic author and the woman who rescues him is turned in Dorothy Arzner's hands into a romantic comedy taking yet another look at the role of women in a couple's relations.
Christopher Strong Dorothy Arzner (USA) 1933 Katharine Hepburn embodies one of her typical spirited female characters in this eye-opening melodrama from Arzner, a full-on snub of the nose to the usual roles played by women in classic movies: the love affair between an MP and an aviatrix.
Nana Dorothy Arzner (USA) 1934 Dorothy Arzner adapted Émile Zola's classic novel into a film to flatter a would-be star soon forgotten by Hollywood, Anna Sten. Set in 19th century Paris, this is a curious foray by the director into period melodrama.
Craig's Wife Dorothy Arzner (USA) 1936 This melodrama sees another of the big Hollywood stars who worked under the orders of Dorothy Arzner, Rosalind Russell, play a domineering woman who marries a wealthy man for money and power.
The Bride Wore Red Dorothy Arzner (USA) 1937 Joan Crawford and a spectacular red dress by the famous designer Adrian star in one of Dorothy Arzner's most popular romantic comedies, a tale of love and luxury once again featuring an unforgettable female character.
Dance, Girl, Dance Dorothy Arzner (USA) 1940 Maureen O'Hara and Lucille Ball wrangle in a professional and sentimental duel set in the world of show business and spiced up with musical numbers.
First Comes Courage Dorothy Arzner (USA) 1943 Dorothy Arzner's last film was her contribution to the warring efforts of the allies during World War II; a spy story where Merle Oberon brings life to an anti-Nazi resistance worker in Norway who must choose between love and duty.
- 8/25/2014
- by Sydney Levine
- Sydney's Buzz
Molinaro-Directed Subtitled Comedy Blockbuster Led to Two Sequels and One Highly Popular U.S. Remake
‘La Cage aux Folles’ film: Edouard Molinaro international box office hit (photo: Ugo Tognazzi and Michel Serrault in ‘La Cage aux Folles’) (See previous post: “‘La Cage aux Folles’ Director Edouard Molinaro Dead at 85.”) But Edouard Molinaro’s best-known effort — comedy or otherwise — remains La Cage aux Folles (approximate translation: "The Cage of the Queens"), which sold 5.4 million tickets when it came out in France in 1978. Perhaps because many saw it as a letdown when compared to Jean Poiret’s immensely popular 1973 play, Molinaro’s movie ended up nominated for a single César Award — for eventual Best Actor winner Michel Serrault. Somewhat surprisingly, in the next couple of years La Cage aux Folles would become a major hit in the United States and other countries. Released by Metro-Goldwyn-Mayer in the U.S. in 1979, the film grossed $20.42 million at the North American box office — or about $65 million in 2013 dollars, a remarkable sum for a subtitled release.
- 12/8/2013
- by Andre Soares
- Alt Film Guide
Madonna has had the case of breaking the law in Russia promoting homosexuality dismissed, and as a bonus, Moscow has also vetoed their own version of the St. Petersburg law.
A couple of days ago, I played you the first episode of Log Jam, the gay Republican web series. I found it mildly amusing at best, but some people didn't find it funny at all. The San Francisco Log Cabin Republican President Frank Schein thinks it plays to a terrible stereotype, and he's never, ever in the Log Cabin group heard anyone say anything racist.
We appear to have lost another one. In Italy, a 15 year old boy has reportedly committed suicide after enduring anti-gay bullying. He work pink to school and even painted his nails, leading to bullying not only from his peers but also the school administration.
Is Thanksgiving the perfect holiday to come out to your family?...
A couple of days ago, I played you the first episode of Log Jam, the gay Republican web series. I found it mildly amusing at best, but some people didn't find it funny at all. The San Francisco Log Cabin Republican President Frank Schein thinks it plays to a terrible stereotype, and he's never, ever in the Log Cabin group heard anyone say anything racist.
We appear to have lost another one. In Italy, a 15 year old boy has reportedly committed suicide after enduring anti-gay bullying. He work pink to school and even painted his nails, leading to bullying not only from his peers but also the school administration.
Is Thanksgiving the perfect holiday to come out to your family?...
- 11/23/2012
- by lostinmiami
- The Backlot
Established as a platform for the fringe successes and overlooked treasures of the European festival scene, the Museum of the Moving Image’s new First Look festival in New York acts as a much-needed bright spot amid the winter doldrums. It’s also the perfect antidote to an awards season hangover, offering resolutely small movies colored with a strong avant-garde streak. From the mind-bending, color-coded world of Raya Martin’s Buenos noches, España to the abundant familial milieu of Papirosen, the inaugural edition of this new event proves consistently engrossing. Below is a concise guide to some of films showing, all but one of which are NYC premieres.
Papirosen (Gastón Solnicki, Argentina)
Like a bustling inter-generational novel without a beginning or end, Gastón Solnicki’s Papirosen is a scrambled collection of anecdotes, floating about in search of a story arc. It’s a presentation that seems frazzled at first, until...
Papirosen (Gastón Solnicki, Argentina)
Like a bustling inter-generational novel without a beginning or end, Gastón Solnicki’s Papirosen is a scrambled collection of anecdotes, floating about in search of a story arc. It’s a presentation that seems frazzled at first, until...
- 1/6/2012
- MUBI
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