France’s Les Films du Losange, the iconic distribution company owned by producer Charles Gillibert (“Annette”), has acquired Palmeraie et Desert,” the production company founded by celebrated filmmaker Raymond Depardon.
Les Films du Losange, which was bought by Gillibert from longtime manager Margaret Menegoz in 2021, has been dedicated to preserving and promoting cinematic heritage since its inception. It will now be responsible for the editorial management and global promotion of Depardon’s films.
This year’s Cannes Film Festival is unveiling the 4K restoration of “The Declic Years” as part of Cannes Classics which marks the beginning of the company’s work on their entire body of work. This will be articulated through four cycles covering all the feature films: Reporter, Africa, Citizen, and Peasant.
“Raymond Depardon is one of the greatest contemporary directors and photographers,” said Charles Gillibert, CEO of Les Films du Losange.
“Depardon always followed his intimate...
Les Films du Losange, which was bought by Gillibert from longtime manager Margaret Menegoz in 2021, has been dedicated to preserving and promoting cinematic heritage since its inception. It will now be responsible for the editorial management and global promotion of Depardon’s films.
This year’s Cannes Film Festival is unveiling the 4K restoration of “The Declic Years” as part of Cannes Classics which marks the beginning of the company’s work on their entire body of work. This will be articulated through four cycles covering all the feature films: Reporter, Africa, Citizen, and Peasant.
“Raymond Depardon is one of the greatest contemporary directors and photographers,” said Charles Gillibert, CEO of Les Films du Losange.
“Depardon always followed his intimate...
- 5/15/2024
- by Elsa Keslassy
- Variety Film + TV
NYC Weekend Watch is our weekly round-up of repertory offerings.
Roxy Cinema
Our House of Tolerance 35mm presentation returns Friday; prints of Night Tide and Eddie Murphy: Raw show Saturday; The Last of the Mohicans and Thief play on 35mm this Sunday.
Museum of Modern Art
A massive overview of Bulle Ogier has begun, this weekend bringing Fassbinder, Rivette, Buñuel, Duras, and more.
Museum of the Moving Image
America’s largest-ever Hiroshi Shimizu retrospective begins (watch our exclusive trailer debut); The Abyss screens on Sunday.
Anthology Film Archives
A new Marguerite Duras retrospective begins, while “Cinema of Palestinian Return” continues.
Bam
“Uncharted Territories” highlights Black British cinema from 1963 to 1986.
Film at Lincoln Center
“Seeing the City” presents an avant-garde vision of New York.
Metrograph
“’90s Noir” brings Bound and Deep Cover, while Euro-Heists, a Jane Schoenbrun curation, Dream with Your Eyes Open, Ethics of Care, and Animal Farm all start; meanwhile,...
Roxy Cinema
Our House of Tolerance 35mm presentation returns Friday; prints of Night Tide and Eddie Murphy: Raw show Saturday; The Last of the Mohicans and Thief play on 35mm this Sunday.
Museum of Modern Art
A massive overview of Bulle Ogier has begun, this weekend bringing Fassbinder, Rivette, Buñuel, Duras, and more.
Museum of the Moving Image
America’s largest-ever Hiroshi Shimizu retrospective begins (watch our exclusive trailer debut); The Abyss screens on Sunday.
Anthology Film Archives
A new Marguerite Duras retrospective begins, while “Cinema of Palestinian Return” continues.
Bam
“Uncharted Territories” highlights Black British cinema from 1963 to 1986.
Film at Lincoln Center
“Seeing the City” presents an avant-garde vision of New York.
Metrograph
“’90s Noir” brings Bound and Deep Cover, while Euro-Heists, a Jane Schoenbrun curation, Dream with Your Eyes Open, Ethics of Care, and Animal Farm all start; meanwhile,...
- 5/3/2024
- by Nick Newman
- The Film Stage
The Visions du Réel film festival’s greatest singularity is two-fold: its lack of pretense and judicious curatorial eye. The first is, of course, directly related to the other. In centering the festival on the quality, even radicalness, of film praxes, instead of a locus for glamour and business, VdR makes room for cinematic pearls to emerge. Those pearls may not be programmed at any other film festival, and in the quiet Swiss town of Nyon, a 15-minute train ride from Geneva, they amounted to a stunningly consistent lineup.
One of the most sparkling pearls in that lineup was the unclassifiable The Documentary Journey of Madame Anita Conti. Director Louise Hémon’s medium-length film relies on narration from a text by French explorer and photographer Anita Conti’s travel diary from her time on a fishing boat in open sea in 1952—along with an audio interview with Conti, 16mm footage from the expedition,...
One of the most sparkling pearls in that lineup was the unclassifiable The Documentary Journey of Madame Anita Conti. Director Louise Hémon’s medium-length film relies on narration from a text by French explorer and photographer Anita Conti’s travel diary from her time on a fishing boat in open sea in 1952—along with an audio interview with Conti, 16mm footage from the expedition,...
- 4/19/2024
- by Diego Semerene
- Slant Magazine
Alice Diop’s Saint Omer brings the French filmmaker into the realm of fiction for the first time, but preserves her documentary respect for the evidence of the audience’s eyes. A sober, pared-down courtroom drama, Saint Omer initially makes little effort to comment on its action, at times feeling more like presentation than representation. The unadorned quality of the film can be laborious, particularly in the early stretches of the trial that’s at the center of the story, but Diop earns the effort she asks of her audience, methodically allowing a strange, intangible, but nevertheless palpable mix of emotions to emerge from the situation itself.
It’s certainly a choice, and the expression of an ethos, that Diop keeps the viewer locked in to repeating pairs of alternating camera angles for significant portions of the trial. We see the defendant, Laurence Coly (Guslagie Malanda), a Senegalese immigrant and...
It’s certainly a choice, and the expression of an ethos, that Diop keeps the viewer locked in to repeating pairs of alternating camera angles for significant portions of the trial. We see the defendant, Laurence Coly (Guslagie Malanda), a Senegalese immigrant and...
- 3/25/2024
- by Pat Brown
- Slant Magazine
Get in touch to send in cinephile news and discoveries. For regular updates, sign up for our weekly email newsletter and follow us @NotebookMUBI.NEWSHard Truths.Mike Leigh’s forthcoming Hard Truths will reunite him with Marianne Jean-Baptiste, star of Secrets and Lies (1996). It will be the British director’s first film set in the present day since Another Year (2010).Jia Zhangke has divulged some details of We Shall Be All, now in the early stages of post-production. In production off and on since 2001, the film will be his first feature since Ash Is Purest White (2018). “I travelled with actors and a cameraman to shoot, without a script, without any obvious story,” the director told Variety. “This is a work of fiction, but I have applied many documentary methods.”Robert Bresson’s rarely seen Four Nights of a Dreamer is being restored by MK2 Films, set for a spring release.
- 2/28/2024
- MUBI
L'homme atlantique.In 1981, coinciding with the release of Marguerite Duras’s seventeenth film, L’homme atlantique, Le Monde published a short text—“a warning”—by the writer and filmmaker: It has become customary for the majority of cinemagoers in France to act as though cinema is something that is owed to them, to protest and scream bloody murder at the appearance of films that weren’t made for them alone. Therefore, I would like to tell these viewers not to step foot in the cinema that is screening "L’homme atlantique," that there is no use in doing so because the film was made in total ignorance of their existence.Later that year, in an interview conducted by Anne de Gasperi, Duras doubled down on her exclusionary rhetoric. “My cinema is not made for people who love cinema. I didn’t think about those people for a second,” she said.
- 2/26/2024
- MUBI
Le chinoise.Most serious writing about Jean-Luc Godard tends to be both high-flown and forbidding, rather like the films it’s discussing. Translations from French to English or vice versa can make things even dicier. But according to the literary scholar Fredric Jameson, who contributes an enthusiastic preface and afterword, Reading with Jean-Luc Godard—a compendium of 109 three-page essays by 50 writers from a dozen countries, announced as the first in a series—launches “a new form” and “a new genre.”The brevity of each entry tends to confirm Jameson’s claim. The book can be described as an audience-friendly volume designed to occupy the same space between academia and journalism staked out by Notebook while proposing routes into Godard’s work provided by his eclectic reading—a batch of writers ranged alphabetically and intellectually from Louis Aragon, Robert Ardrey, Hannah Arendt, and Honoré de Balzac to François Truffaut, Paul Valéry,...
- 1/30/2024
- MUBI
As December begins, you might be looking forward to spending time with friends and family over the holidays—and in need of some gift-giving inspiration. Look no further than Notebook's Cinephile Gift Guide, the proverbial online Shop Around the Corner (1940).Below is our third annual, lovingly curated guide to the holiday season. It's sure to spread film-themed cheer, and we hope it's thorough enough to surprise all of the film fans in your life.Jump to a category:Books about cinemaBooks by filmmakers and artistsHome videoMusicHome goods, posters, and gamesApparel Books About CINEMAFirst up is UK culture and music critic Ian Penman’s kaleidoscopic, genre-bending offering to Rainer Werner Fassbinder, Fassbinder Thousands of Mirrors. The book has drawn comparisons to Charles Baudelaire and Roland Barthes, but is undoubtedly a sui generis response to a singular legacy.On offer this year from Another Gaze Editions is My Cinema by Marguerite Duras, a...
- 12/12/2023
- MUBI
The holidays are upon us, so whether you looking for film-related gifts or simply want to pick up some of the finest the year had to offer in the category for yourself, we have a gift guide for you. Including must-have books on filmmaking, the best from the Criterion Collection and more home-video picks, subscriptions, magazines, music, and more, dive in below.
Giveaways
In celebration of our holiday gift guide, we’ll be doing a number of giveaways! First up, we’re giving away My First Movie Vol. 2, a three-part ‘lil cinephile series by Cory Everett and illustrator Julie Olivi, featuring My First Spaghetti Western, My First Yakuza Movie, and My First Hollywood Musical.
Enter on Instagram (for My First Yakuza Movie), Twitter (for My First Hollywood Musical), and/or Facebook (for My First Spaghetti Western) by Sunday, November 26 at 11:59pm Et. Those that enter on all three platforms...
Giveaways
In celebration of our holiday gift guide, we’ll be doing a number of giveaways! First up, we’re giving away My First Movie Vol. 2, a three-part ‘lil cinephile series by Cory Everett and illustrator Julie Olivi, featuring My First Spaghetti Western, My First Yakuza Movie, and My First Hollywood Musical.
Enter on Instagram (for My First Yakuza Movie), Twitter (for My First Hollywood Musical), and/or Facebook (for My First Spaghetti Western) by Sunday, November 26 at 11:59pm Et. Those that enter on all three platforms...
- 11/20/2023
- by The Film Stage
- The Film Stage
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
Launching an ambitious program of compelling global and Czech work, the 27th edition of the Ji.hlava International Documentary Film Festival opened on Tuesday, kicking off six days of more than 350 film screenings by veteran and new filmmakers.
Fest head and founder Marek Hovorka, who launched the event in his hometown in 1997, introduced what is now Central and Eastern Europe’s main event for docs, defining the fest mission as “a celebration of films, image, sound, gestures and diversity.”
The films selected this year are “all very original,” he told the opening gala audience, and show filmmakers “perceive the world very differently.”
The fest, raising its curtain in the location that remains its home, the communist-era Dko “house of culture,” as the pre-1989 regime dubbed such multi-purpose spaces, attracts for its launch hundreds of guests seated at white-decked tables, sipping local wine.
Opening night moderators embraced an ironic take on AI,...
Fest head and founder Marek Hovorka, who launched the event in his hometown in 1997, introduced what is now Central and Eastern Europe’s main event for docs, defining the fest mission as “a celebration of films, image, sound, gestures and diversity.”
The films selected this year are “all very original,” he told the opening gala audience, and show filmmakers “perceive the world very differently.”
The fest, raising its curtain in the location that remains its home, the communist-era Dko “house of culture,” as the pre-1989 regime dubbed such multi-purpose spaces, attracts for its launch hundreds of guests seated at white-decked tables, sipping local wine.
Opening night moderators embraced an ironic take on AI,...
- 10/25/2023
- by Will Tizard
- Variety Film + TV
Our Body.Few filmmakers capture the world with as passionate a sense of exploration and generosity as the French director Claire Simon. I first encountered Simon’s work at the True/False Film Festival, in 2015, where she was given a retrospective. In her documentary feature Mimi (2002), a middle-aged Franco-Jewish woman, Simon’s friend, tells the story of her parents and her own life, including crucial tales of amorous infatuation and enduring love. Love marked by the cruelties and devastation of war, such as the capturing of Mimi’s father by the Gestapo, because he was so hungry during the war that he slayed a donkey to eat its flesh; or another story, the most tragic one, of how a tiny piece of white bread—a luxury in wartime—for which Mimi’s father begged so ardently, led to his demise. Through her bodily gestures, her delicate features ignited with the bright flame of passionate recollection,...
- 8/3/2023
- MUBI
After recent films on Marguerite Duras, a filmmaking academy, high school, and more, Claire Simon has turned her eye toward the female body. Premiering earlier this year at Berlinale to much acclaim, Our Body finds the London-born French director observing the everyday operations of the gynecological ward in a public hospital in Paris. “In the process, she questions what it means to live in a woman’s body, filming the diversity, singularity and beauty of patients in all stages of life. Through these many encounters, the specific fears, desires and struggles of these individuals become the health challenges we all face, even the filmmaker herself,” read the official synopsis. Ahead of an August 4 theatrical debut beginning at NYC’s Film Forum, we’re pleased to premiere the first U.S. trailer and poster courtesy Cinema Guild.
Darren Hughes said in our summer preview, “Claire Simon cites Frederick Wiseman’s Hospital...
Darren Hughes said in our summer preview, “Claire Simon cites Frederick Wiseman’s Hospital...
- 7/13/2023
- by Jordan Raup
- The Film Stage
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
Ficunam has been revealing the program of its upcoming 13th edition, set to take place in Mexico City from June 1 to 11. Highlights so far include a couple of retrospectives, one dedicated to Spanish auteur and showman Albert Serra, the other to French writer and filmmaker Marguerite Duras. Serra, whose latest, Pacifiction, topped Cahiers du Cinéma’s best of 2022 list, recently visited Mexico City to record a performance at the Tamayo museum, about the agony and eventual death of French King Louis Xiv. The finished work, a video titled Roi Soleil, can be seen at said museum until June 4. Serra will certainly return for more activities, although which of his films will be in the Ficunam retrospective is yet to be announced. The same...
[Read the whole post on screenanarchy.com...]...
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- 4/26/2023
- Screen Anarchy
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI, and sign up for our weekly email newsletter by clicking here.NEWSOn the Adamant.The Berlinale wrapped up over the weekend. The Golden Bear was awarded to Nicolas Philibert’s On the Adamant, while other major prizes went to Christian Petzold, Philippe Garrel, Angela Schanelec, and Dp Hélène Louvart. You can browse the full list of winners on Notebook, and keep your eyes peeled for our reports.In other festival news: Ruben Östlund will preside over this year’s Cannes jury, and the full lineup has been unveiled for Film at Lincoln Center and MoMA’s New Directors/New Films.The pioneering Senegalese filmmaker Safi Faye—the first African woman to make a commercially distributed feature film—died last week at the age of 80. Writer and programmer Yasmina Price recently surfaced a thread of archival material,...
- 2/28/2023
- MUBI
Marguerite Duras was a renaissance woman. An author, playwright, screenwriter, and filmmaker, her life and work spanned the 20th century and yet she is often forgotten by cinephiles, or at least remains something of a footnote, mainly known for her screenplay for Hiroshima, Mon Amour and her novel The Lover, which was made into a film in 1992. But she also made almost 20 films, two of which are finally getting a well-deserved Criterion release, India Song (1975) and Baxter, Vera Baxter (1977) While separated by a few years, the films could be considered companion pieces. Both look at the lives of women trapped in loveless marriages, who look to the outside for intellectual and physical stimulation. Both could be considered about female jouissance, or...
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[Read the whole post on screenanarchy.com...]...
- 2/20/2023
- Screen Anarchy
Alice Diop wasn’t feeling well. “Excuse me,” she said, in the midst of an interview in a Soho hotel last week, and promptly left the room before returning a few minutes later. “I’m sorry,” she said, sitting back down and rubbing her temples. “Talking about this film all the time is heavy.”
Diop was at the tail end of the promotional tour for “Saint Omer,” the 43-year-old filmmaker’s searing and insightful look at race and class tensions in modern-day France. For months, she has been under constant pressure to explain herself. As the director of France’s official Oscar submission, she’s the first Black woman to represent her country in its quest for that award, with a movie that forces big, thorny discussions that have worn her down.
“I’m so exhausted,” she said, speaking through a translator, who fought to keep up with her detailed responses.
Diop was at the tail end of the promotional tour for “Saint Omer,” the 43-year-old filmmaker’s searing and insightful look at race and class tensions in modern-day France. For months, she has been under constant pressure to explain herself. As the director of France’s official Oscar submission, she’s the first Black woman to represent her country in its quest for that award, with a movie that forces big, thorny discussions that have worn her down.
“I’m so exhausted,” she said, speaking through a translator, who fought to keep up with her detailed responses.
- 12/7/2022
- by Eric Kohn
- Indiewire
As the leaves crunch underfoot and the wintry chill intensifies, you may realize: it’s time to think of a good gift for that friend of yours who’s already packed their shelves to the gills with Blu-rays and back issues of Cahiers du Cinéma. Have no fear. Covering books, home video, music, posters, and apparel, here are some gift ideas for the dearest cinephiles in your life.Books And MAGAZINESFireflies Press recently published Pier Paolo Pasolini: Writing on Burning Paper: a beautiful set of two complementary volumes to honor the filmmaker’s centenary. The smaller book includes a revised translation of his poem “Poet of the Ashes,” while the larger volume includes tributes from 20 contemporary artists and critics, including Catherine Breillat, Jia Zhangke, Luc Moullet, Angela Schanelec, and Mike Leigh.Written by Karen Han, Bong Joon Ho: Dissident Cinema is a mid-career monograph covering the Korean auteur’s features,...
- 11/29/2022
- MUBI
Ivana Miloš, Agatha and the Limitless (2022), monotype, gouache, and collage on paper.Summer in WinterWhat would we do without air, without light?—Marguerite Duras, Agatha and the Limitless ReadingsThe hotel Les Roches Noires was located in Trouville-sur-Mer, France, and, as with so many hotels, its fame came from its visitors, in this case Marcel Proust, Gustave Flaubert, Claude Monet, and Marguerite Duras. In 1981, the foyer of the hotel was decorated with several intriguing, almost otherworldly plants whose type it is difficult for an amateur to classify. I know of these plants because Duras used the abandoned off-season, Second Empire-style hotel, which served as her temporary home, as a location to film Agatha and the Limitless Readings in March of that year. With different texts and films set in Les Roches Noires, this should not remain the last time Duras looked through its huge windows towards the English Channel but the...
- 10/24/2022
- MUBI
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSSacheen Littlefeather: Breaking the Silence.Sacheen Littlefeather, Native American actress and activist, has died at 75. At the 1973 Academy Awards, she declined Marlon Brando’s Oscar for The Godfather on his behalf to condemn the treatment of Native Americans by the film industry and bring attention to the Wounded Knee protests.After five years in charge of BFI Flare and the London Film Festival, Tricia Tuttle has stepped down from her role as Festivals Director at the British Film Institute.Feminist film journal Another Gaze has announced a publishing imprint. Another Gaze Editions launches in late 2022 with My Cinema, a collection of writings by and interviews with Marguerite Duras, and a new translation of The Sky Is Falling, Lorenza Mazzetti's first novel.Recommended VIEWINGHunt, the directorial debut from popular South Korean actor Lee Jung-jae (Squid Game), has a trailer.
- 10/4/2022
- MUBI
Above: French grande for Love in the Afternoon (aka Chloé in the Afternoon) which was the opening night film of the 10th New York Film Festival. Designer tbd.In the catalogue for the 10th New York Film Festival in 1972, festival director Richard Roud looked back on the first decade of the NYFF, musing on the changes in cinema of the previous 10 years: “a greater freedom of subject matter,” “an accompanying new freedom of form,” the obsolescence of “the tightly plotted film,” the rise of personal filmmaking and the inroads of political cinema and documentary techniques into narrative film. He also muses on international movements: the snuffing out of the Czech Renaissance (there were no Czech films in the 1972 festival), the rise of New Hollywood and American independent cinema, and the ebbing of the movement that had in many ways defined the festival to that point, the French New Wave:Some of...
- 9/29/2022
- MUBI
Helena Wittmann on Ida (Angeliki Papoulia) in Human Flowers of Flesh: “She’s not looking for fulfilment of any sort, but only following her curiosity.”
Marguerite Duras’s The Sailor From Gibraltar, and, more obscurely, Swiss legionnaire and writer Friedrich Glauser’s Gourrama are washed ashore as literary flotsam, cultural remnants of boredom, dust, and heat and ultimately the longing for connection with another being in this world. And there will be Galoup, as played already a quarter of a century ago by Denis Lavant in Claire Denis’s Beau Travail, based on Herman Melville’s Billy Budd.
Helena Wittmann with Anne-Katrin Titze on Denis Lavant as Galoup: “I mean, you met him, so you know. He’s really a rich personality.”
Ida (Angeliki Papoulia) and her crew from different countries cross the Mediterranean on a sailboat to explore the original headquarters of the French Foreign Legion in Sidi-Bel-Abbès in...
Marguerite Duras’s The Sailor From Gibraltar, and, more obscurely, Swiss legionnaire and writer Friedrich Glauser’s Gourrama are washed ashore as literary flotsam, cultural remnants of boredom, dust, and heat and ultimately the longing for connection with another being in this world. And there will be Galoup, as played already a quarter of a century ago by Denis Lavant in Claire Denis’s Beau Travail, based on Herman Melville’s Billy Budd.
Helena Wittmann with Anne-Katrin Titze on Denis Lavant as Galoup: “I mean, you met him, so you know. He’s really a rich personality.”
Ida (Angeliki Papoulia) and her crew from different countries cross the Mediterranean on a sailboat to explore the original headquarters of the French Foreign Legion in Sidi-Bel-Abbès in...
- 9/28/2022
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Ida (Angeliki Papoulia) and her crew, from different countries, cross the Mediterranean on a sailboat to explore the original headquarters of the French Foreign Legion in Sidi-Bel-Abbès in Helena Wittmann’s quietly disturbing Human Flowers Of Flesh (a highlight in the Currents programme of the 60th New York Film Festival).
Marguerite Duras’s The Sailor From Gibraltar, and, more obscurely, Swiss legionnaire and writer Friedrich Glauser’s Gourrama are washed ashore as literary flotsam, cultural remnants of boredom, dust, and heat and ultimately the longing for connection with another being in this world. And there will be Galoup, as played already a quarter of a century ago by Denis Lavant in Claire Denis’s Beau Travail, based on Herman Melville’s Billy Budd.
Lavant, wonderfully unpredictable and agile as ever sashays along the...
Marguerite Duras’s The Sailor From Gibraltar, and, more obscurely, Swiss legionnaire and writer Friedrich Glauser’s Gourrama are washed ashore as literary flotsam, cultural remnants of boredom, dust, and heat and ultimately the longing for connection with another being in this world. And there will be Galoup, as played already a quarter of a century ago by Denis Lavant in Claire Denis’s Beau Travail, based on Herman Melville’s Billy Budd.
Lavant, wonderfully unpredictable and agile as ever sashays along the...
- 9/26/2022
- by Anne-Katrin Titze
- eyeforfilm.co.uk
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
Click here to read the full article.
The details of the case are grim. On a chilly November day in 2013, Fabienne Kanou surrendered her 15-month-old daughter, Adélaïde, to the sea. She chose the shores of Berck-sur-Mer because of its linguistic proximity to impurity: “Berck” sounded like “Beurk,” the French word for “yuck.”
Later, when asked by police for her motive, Kanou replied cryptically, “It was simpler that way.” During her trial in 2016, she attributed her actions to malevolent forces. Nothing in her story made sense, she said. “Even a stupid person would not do what I did.”
Kanou’s case enraptured France for its peculiarity and harshness. The woman was a graduate student with a genius level Iq. White media outlets chronicling the trial liked to note her eloquence; they could not, it seems, reconcile Kanou’s race and rhetorical prowess, her calm presentation and horrifying action. Alice Diop’s...
The details of the case are grim. On a chilly November day in 2013, Fabienne Kanou surrendered her 15-month-old daughter, Adélaïde, to the sea. She chose the shores of Berck-sur-Mer because of its linguistic proximity to impurity: “Berck” sounded like “Beurk,” the French word for “yuck.”
Later, when asked by police for her motive, Kanou replied cryptically, “It was simpler that way.” During her trial in 2016, she attributed her actions to malevolent forces. Nothing in her story made sense, she said. “Even a stupid person would not do what I did.”
Kanou’s case enraptured France for its peculiarity and harshness. The woman was a graduate student with a genius level Iq. White media outlets chronicling the trial liked to note her eloquence; they could not, it seems, reconcile Kanou’s race and rhetorical prowess, her calm presentation and horrifying action. Alice Diop’s...
- 9/7/2022
- by Lovia Gyarkye
- The Hollywood Reporter - Movie News
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSWill-o'-the-Wisp.The New York Film Festival has revealed the lineup for their Currents section, dedicated to films "testing and stretching the possibilities of the medium." The program includes new films from João Pedro Rodrígues, Ashley McKenzie, Bertrand Bonello, Helena Wittmann, and more. This year's crop of Revivals was also unveiled, featuring the highly anticipated restoration of Jean Eustache's The Mother and the Whore.61 films will be preserved through funding from The National Film Preservation Foundation. Grant recipients include the 1921 mystery-western Trailin’—starring Tom Mix, considered the first on-screen cowboy—and The Cruz Brothers and Miss Malloy (1980), one of two feature films Kathleen Collins completed before her premature death.Cinema company Cineworld, owner of the Picturehouse chain in the UK and Regal Cinemas in the US, could be facing imminent bankruptcy, per recent reports.
- 8/23/2022
- MUBI
Mathieu Amalric on the coat worn by Shirley Knight in Francis Ford Coppola’s The Rain People and the one on Vicky Krieps: “That’s the reference. I told that to Caroline Spieth, the costume person.”
Mathieu Amalric’s terrific Hold Me Tight (Serre Moi Fort), based on the play Je Reviens De Loin by Claudine Galéa, shot by Christophe Beaucarne and starring Vicky Krieps and Arieh Worthalter was a highlight of the 74th Cannes Film Festival and New York’s 27th edition of Rendez-Vous with French Cinema. In the first instalment with Mathieu we discussed his films on John Zorn, thoughts on Robert Musil, Thomas Bernhard, Jerry Lewis, and going to Rome to film with Nanni Moretti Il Sol Dell'avvenire.
Mathieu Amalric (Je Reviens De Loin by Claudine Galéa) with Anne-Katrin Titze on Vicky Krieps as Clarisse: “As you said, she does the film. Her character is the projectionist,...
Mathieu Amalric’s terrific Hold Me Tight (Serre Moi Fort), based on the play Je Reviens De Loin by Claudine Galéa, shot by Christophe Beaucarne and starring Vicky Krieps and Arieh Worthalter was a highlight of the 74th Cannes Film Festival and New York’s 27th edition of Rendez-Vous with French Cinema. In the first instalment with Mathieu we discussed his films on John Zorn, thoughts on Robert Musil, Thomas Bernhard, Jerry Lewis, and going to Rome to film with Nanni Moretti Il Sol Dell'avvenire.
Mathieu Amalric (Je Reviens De Loin by Claudine Galéa) with Anne-Katrin Titze on Vicky Krieps as Clarisse: “As you said, she does the film. Her character is the projectionist,...
- 8/14/2022
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Early into Helena Wittmann’s 2017 feature debut, Drift, a character recounts a Papua New Guinean tale of the world’s creation. Back when the planet was all water, a giant crocodile kept paddling around preventing the sand to settle; only after a warrior slaughtered the beast did the land jut into being. A few minutes into Human Flowers of the Flesh a sailor shares another legend, this one from Ancient Greece. As he chopped Medusa’s head, Perseus dropped it on the shore; the seaweed absorbed the Gorgon’s petrifying powers, and that’s how coral was born. Wittmann has a knack for myths, and her cinema radiates a certain mythical grandeur, a pleasure as primeval and untimely as the stories her projects orbit around. Flowers, in that, feels both ancient and novel. It’s a film whose visual experiments invite one to see the world anew, even as the...
- 8/8/2022
- by Leonardo Goi
- The Film Stage
Look into the series Criterion Channel have programmed for August and this lineup is revealed as (in scientific terms) quite something. “Hollywood Chinese” proves an especially deep bench, spanning “cinema’s first hundred years to explore the ways in which the Chinese people have been imagined in American feature films” and bringing with it the likes of Cronenberg’s M. Butterfly, Cimino’s Year of the Dragon, Griffith’s Broken Blossoms, and Ang Lee’s The Wedding Banquet—among 20-or-so others. A three-film Marguerite Duras series brings one of the greatest films ever (India Song) and two lesser-screened experiments; films featuring Yaphet Kotto include Blue Collar, Across 110th Street, and Midnight Run; and lest we ignore a Myrna Loy retro that goes no later than 1949.
Criterion editions include The Asphalt Jungle, Husbands, Rouge, and Sweet Smell of Success; streaming premieres for Loznitsa’s Donbass, Béla Tarr’s watershed Damnation, and...
Criterion editions include The Asphalt Jungle, Husbands, Rouge, and Sweet Smell of Success; streaming premieres for Loznitsa’s Donbass, Béla Tarr’s watershed Damnation, and...
- 7/25/2022
- by Leonard Pearce
- The Film Stage
Notebook is covering the Cannes Film Festival with an ongoing correspondence between critics Leonardo Goi and Lawrence Garcia, and editor Daniel Kasman.Pacifiction.Dear Leo and Danny,In my first correspondence, I wrote that the Competition got off to a slow start, and, well, maybe it never really did find its footing. Most critics, myself included, seemed to agree that the festival was on the whole an unmemorable one, especially in comparison to the strong 2021 edition, which no doubt benefited from a spate of pre-pandemic holdovers. There are of course exceptions. Jerzy Skolimowski’s Eo was a genuine UFO, delivering images and sensations that I’d never quite seen or experienced, while Véréna Paravel and Lucien Castiang-Taylor’s De Humani Corporis Fabrica (The Fabric of the Human Body) played something like a journey to inner space to match the Discovery’s journey to outer space in 2001: Space Odyssey, even...
- 6/1/2022
- MUBI
Volodymyr Zelensky meets with Bernard-Henri Lévy just days before he is elected President of Ukraine Photo: Yann Revol, courtesy Cohen Media Group
Bernard-Henri Lévy on Wednesday, April 20 moved up our scheduled time to meet from 3:00pm (New York time) to 2:30pm so he could watch from the start the final French presidential debate between Emmanuel Macron and Marine Le Pen. The election is today, Sunday April 24.
In The Will To See (Une Autre Idée Du Monde), co-directed with Marc Roussel, produced by Kristina Larsen, and executive produced by Emily Hamilton, Bernard-Henri Lévy takes us up close to many of the never-ending crises around the world.
Bernard-Henri Lévy: “I was in Ukraine a few days ago. Before that I was in the area of Odessa, Mykolaiv, I continue to go.” Photo: Cohen Media Group
This must-see documentary, shot by Olivier Jacquin and Roussel is dedicated to Paris Match Managing...
Bernard-Henri Lévy on Wednesday, April 20 moved up our scheduled time to meet from 3:00pm (New York time) to 2:30pm so he could watch from the start the final French presidential debate between Emmanuel Macron and Marine Le Pen. The election is today, Sunday April 24.
In The Will To See (Une Autre Idée Du Monde), co-directed with Marc Roussel, produced by Kristina Larsen, and executive produced by Emily Hamilton, Bernard-Henri Lévy takes us up close to many of the never-ending crises around the world.
Bernard-Henri Lévy: “I was in Ukraine a few days ago. Before that I was in the area of Odessa, Mykolaiv, I continue to go.” Photo: Cohen Media Group
This must-see documentary, shot by Olivier Jacquin and Roussel is dedicated to Paris Match Managing...
- 4/24/2022
- by Anne-Katrin Titze
- eyeforfilm.co.uk
May on the Criterion Channel will be good to the auteurs. In fact they’re giving Richard Linklater better treatment than the distributor of his last film, with a 13-title retrospective mixing usual suspects—the Before trilogy, Boyhood, Slacker—with some truly off the beaten track. There’s a few shorts I haven’t seen but most intriguing is Heads I Win/Tails You Lose, the only available description of which calls it a four-hour (!) piece “edited together by Richard Linklater in 1991 from film countdowns and tail leaders from films submitted to the Austin Film Society in Austin, Texas from 1987 to 1990. It is Linklater’s tribute to the film countdown, used by many projectionists over the years to cue one reel of film after another when switching to another reel on another projector during projection.” Pair that with 2008’s Inning by Inning: A Portrait of a Coach and your completionism will be on-track.
- 4/21/2022
- by Leonard Pearce
- The Film Stage
No two ways about it: April’s a great month for the Criterion Channel, which (among other things; more in a second) adds two recent favorites. We’re thrilled at the SVOD premiere of Hamaguchi’s entrancing Wheel of Fortune and Fantasy, our #3 of 2021, and Bruno Dumont’s lacerating France, featuring Léa Seydoux’s finest performance yet.
Ethan Hawke’s Adventures in Moviegoing runs the gamut from Eagle Pennell’s Last Night at the Alamo to 4 Months, 3 Weeks and 2 Days, while a 14-film John Ford retro (mostly) skips westerns altogether. And no notes on the Delphine Seyrig retro—multiple by Akerman, Ulrike Ottinger, Duras, a smattering of Buñuel, and Seyrig’s own film Be Pretty and Shut Up! That of all things might be the crown jewl.
See the full list of April titles below and more on the Criterion Channel.
—
3 Bad Men, John Ford, 1926
Aar paar, Guru Dutt,...
Ethan Hawke’s Adventures in Moviegoing runs the gamut from Eagle Pennell’s Last Night at the Alamo to 4 Months, 3 Weeks and 2 Days, while a 14-film John Ford retro (mostly) skips westerns altogether. And no notes on the Delphine Seyrig retro—multiple by Akerman, Ulrike Ottinger, Duras, a smattering of Buñuel, and Seyrig’s own film Be Pretty and Shut Up! That of all things might be the crown jewl.
See the full list of April titles below and more on the Criterion Channel.
—
3 Bad Men, John Ford, 1926
Aar paar, Guru Dutt,...
- 3/25/2022
- by Leonard Pearce
- The Film Stage
Emilie (Valeria Bruni Tedeschi) with Anaïs (Anaïs Demoustier) in Charline Bourgeois-Tacquet’s lively Anaïs In Love (Les Amours d'Anaïs)
My first interaction with Anaïs In Love (Les Amours d'Anaïs) director Charline Bourgeois-Tacquet was when I sent in a question during Unifrance’s 10 Talents To Watch in 2022 panel in Paris: “Which film you saw did you particularly like in 2021?” Her response included Leos Carax’s Annette (seen at Cannes), Bruno Dumont's France, starring Léa Seydoux, Joachim Trier’s The Worst Person In The World, and Mathieu Amalric’s Hold Me Tight (another highlight of New York’s Rendez-Vous with French Cinema).
Charline Bourgeois-Tacquet with Anne-Katrin Titze on Marguerite Duras and Alain Robbe-Grillet: “It mattered to me that the film was situated in this universe, this world of literature.”
Anaïs (Anaïs Demoustier) is always late, wears red lipstick to go with floral dresses, and carries her bike up many flights...
My first interaction with Anaïs In Love (Les Amours d'Anaïs) director Charline Bourgeois-Tacquet was when I sent in a question during Unifrance’s 10 Talents To Watch in 2022 panel in Paris: “Which film you saw did you particularly like in 2021?” Her response included Leos Carax’s Annette (seen at Cannes), Bruno Dumont's France, starring Léa Seydoux, Joachim Trier’s The Worst Person In The World, and Mathieu Amalric’s Hold Me Tight (another highlight of New York’s Rendez-Vous with French Cinema).
Charline Bourgeois-Tacquet with Anne-Katrin Titze on Marguerite Duras and Alain Robbe-Grillet: “It mattered to me that the film was situated in this universe, this world of literature.”
Anaïs (Anaïs Demoustier) is always late, wears red lipstick to go with floral dresses, and carries her bike up many flights...
- 3/9/2022
- by Anne-Katrin Titze
- eyeforfilm.co.uk
New Release Wall
“House of Gucci” (Universal Pictures Home Entertainment) The legendary and legendarily vicious Gucci fashion empire gets the old-fashioned big movie treatment with Adam Driver, Jared Leto, Jeremy Irons, and Lady Gaga. Is it kind of ridiculous? Yes, but it’s also the reboot of “Dynasty” you never knew you wanted, one that’s best watched with a living room full of your rowdiest and most opinionated friends. Everyone in the movie is doing a variation on Italian-accented English, the settings are opulent, and Gaga is giving look after look after hat after hat and you will respect the wild, criminal duh-raaamaaa of it all.
Also Available:
“American Underdog” (Lionsgate) Zachary Levi stars as NFL champ Kurt Warner, who overcame multiple challenges and setbacks on the road to football glory.
“Apex” (Rlje Films) Bruce Willis must kill or be killed in order to escape prison.
“Clifford the Big Red Dog...
“House of Gucci” (Universal Pictures Home Entertainment) The legendary and legendarily vicious Gucci fashion empire gets the old-fashioned big movie treatment with Adam Driver, Jared Leto, Jeremy Irons, and Lady Gaga. Is it kind of ridiculous? Yes, but it’s also the reboot of “Dynasty” you never knew you wanted, one that’s best watched with a living room full of your rowdiest and most opinionated friends. Everyone in the movie is doing a variation on Italian-accented English, the settings are opulent, and Gaga is giving look after look after hat after hat and you will respect the wild, criminal duh-raaamaaa of it all.
Also Available:
“American Underdog” (Lionsgate) Zachary Levi stars as NFL champ Kurt Warner, who overcame multiple challenges and setbacks on the road to football glory.
“Apex” (Rlje Films) Bruce Willis must kill or be killed in order to escape prison.
“Clifford the Big Red Dog...
- 2/7/2022
- by Alonso Duralde
- The Wrap
The International Film Festival Mannheim-Heidelberg (Iffmh) has very much captured the social, cultural and political zeitgeist with this year’s film selections, exploring such themes as female empowerment, HIV/AIDS and the post-Soviet collapse of Ukraine.
“The festival doesn’t work in topics, we are trying to show the best films, but the interesting thing is that the topics come to us through the films,” says Iffmh director Sascha Keilholz. “Obviously we are sensitive to the whole range and diversity that can be had in cinema.”
Indeed, this year’s films in the On the Rise competition section and supplemental Pushing the Boundaries sidebar, which showcases cutting-edge works by young and established filmmakers, ended up sharing unmistakable themes. Many new female voices are putting their mark in Eastern European film with stories of women rebelling against patriarchy and male structures, for example, Keilholz points out. “That was quite striking for us.
“The festival doesn’t work in topics, we are trying to show the best films, but the interesting thing is that the topics come to us through the films,” says Iffmh director Sascha Keilholz. “Obviously we are sensitive to the whole range and diversity that can be had in cinema.”
Indeed, this year’s films in the On the Rise competition section and supplemental Pushing the Boundaries sidebar, which showcases cutting-edge works by young and established filmmakers, ended up sharing unmistakable themes. Many new female voices are putting their mark in Eastern European film with stories of women rebelling against patriarchy and male structures, for example, Keilholz points out. “That was quite striking for us.
- 11/9/2021
- by Ed Meza
- Variety Film + TV
The international premiere of animated musical comedy “Sing 2” will open the upcoming Torino Film Festival, Italy’s preeminent event for young directors and indie fare, which will be honoring Monica Bellucci with a lifetime achievement award.
Director Garth Jennings will be on hand in Torino for the overseas festival bow of his sequel to 2016’s “Sing,” which follows a koala named Buster Moon, voiced by Matthew McConaughey, as he and his cast of performing animals prepare for their biggest concert yet in Redshore City, and must convince a reclusive rockstar (Bono) to join them.
Bellucci, besides coming to be celebrated and to hold a masterclass, will also be attending the fest to launch her latest film “The Girl in the Fountain,” directed by Italy’s Antongiulio Panizzi, in which she plays the iconic Anita Ekberg, a role for which she died her hair blonde.
Charlotte Gainsbourg will also be...
Director Garth Jennings will be on hand in Torino for the overseas festival bow of his sequel to 2016’s “Sing,” which follows a koala named Buster Moon, voiced by Matthew McConaughey, as he and his cast of performing animals prepare for their biggest concert yet in Redshore City, and must convince a reclusive rockstar (Bono) to join them.
Bellucci, besides coming to be celebrated and to hold a masterclass, will also be attending the fest to launch her latest film “The Girl in the Fountain,” directed by Italy’s Antongiulio Panizzi, in which she plays the iconic Anita Ekberg, a role for which she died her hair blonde.
Charlotte Gainsbourg will also be...
- 11/9/2021
- by Nick Vivarelli
- Variety Film + TV
Emmanuelle Devos as Marie Claire journalist Michèle Manceaux interviewing Yann Andréa (Swann Arlaud) on his relationship with Marguerite Duras in Claire Simon’s beautifully staged I Want To Talk About Duras
Swann Arlaud as Yann Andréa and Emmanuelle Devos as Michèle Manceaux give tremendous performances that circle around discoveries of deep personal truths in Claire Simon’s beautifully staged I Want To Talk About Duras (a highlight of the 59th New York Film Festival in the Currents programme). When they meet for the two audiotaped sessions one day apart, Marguerite Duras, as an invisible presence, can be felt through the floorboards below, and, because she interrupts with instinctively strategically placed phone calls, offering coffee and impatience.
Claire Simon with Anne-Katrin Titze on Marguerite Duras and Yann Andréa: “When she died he wrote a book which was adapted for the movies by Josée Dayan [Cet amour-là].”
In early December 1982, Yann Andréa, longtime lover of Marguerite Duras,...
Swann Arlaud as Yann Andréa and Emmanuelle Devos as Michèle Manceaux give tremendous performances that circle around discoveries of deep personal truths in Claire Simon’s beautifully staged I Want To Talk About Duras (a highlight of the 59th New York Film Festival in the Currents programme). When they meet for the two audiotaped sessions one day apart, Marguerite Duras, as an invisible presence, can be felt through the floorboards below, and, because she interrupts with instinctively strategically placed phone calls, offering coffee and impatience.
Claire Simon with Anne-Katrin Titze on Marguerite Duras and Yann Andréa: “When she died he wrote a book which was adapted for the movies by Josée Dayan [Cet amour-là].”
In early December 1982, Yann Andréa, longtime lover of Marguerite Duras,...
- 11/4/2021
- by Anne-Katrin Titze
- eyeforfilm.co.uk
In early December 1982, Yann Andréa, longtime lover of Marguerite Duras, decided to speak to Marie Claire journalist Michèle Manceaux about his relationship to the famous novelist and filmmaker who was 38 years his senior, mainly to gain more understanding about himself. He, a gay man, fell completely under her spell, at first for her writing, then for the person he wrote to for a year before she responded. He had met Duras at a post-screening Q&a of India Song and shyly approached her.
Swann Arlaud as Yann Andréa and Emmanuelle Devos as Michèle Manceaux give tremendous performances that circle around discoveries of deep personal truths in Claire Simon’s beautifully staged I Want to Talk About Duras (a highlight of the 59th New York Film Festival in the Currents programme). When they meet for the two audiotaped sessions one day apart, Duras, as an invisible presence,...
Swann Arlaud as Yann Andréa and Emmanuelle Devos as Michèle Manceaux give tremendous performances that circle around discoveries of deep personal truths in Claire Simon’s beautifully staged I Want to Talk About Duras (a highlight of the 59th New York Film Festival in the Currents programme). When they meet for the two audiotaped sessions one day apart, Duras, as an invisible presence,...
- 10/30/2021
- by Anne-Katrin Titze
- eyeforfilm.co.uk
France has been a supreme force in the Oscars’ international feature race for decades. This year, three acclaimed films from women directors — Céline Sciamma, Audrey Diwan and Julia Ducournau — are believed to be at the top of the list to represent the country for the upcoming 94th ceremony, set to take place on March 27. Though France is the most-nominated country in the history of the category, it hasn’t walked away with the prize in nearly 30 years. Can that change this year?
The French submission is decided annually by the National Cinema Center. The committee will hold its first meeting on Thursday to pre-select a shortlist of films, with the producers being “auditioned” by the committee on Oct. 12, before the final choice is made. Sciamma’s “Petite Maman,” Ducournau’s “Titane” and Diwan’s “Happening” are believed to be the favorites for consideration. “Happening” was just acquired by IFC Films...
The French submission is decided annually by the National Cinema Center. The committee will hold its first meeting on Thursday to pre-select a shortlist of films, with the producers being “auditioned” by the committee on Oct. 12, before the final choice is made. Sciamma’s “Petite Maman,” Ducournau’s “Titane” and Diwan’s “Happening” are believed to be the favorites for consideration. “Happening” was just acquired by IFC Films...
- 10/7/2021
- by Clayton Davis
- Variety Film + TV
French director Claire Simon is putting the spotlight for her next documentary on the steps of life from birth to death for the bodies of women.
Simon, who was at the San Sebastian Film Festival with her latest film “I Want to Talk About Duras,” starts shooting this week at the Paris public hospital, Hopital Tenon, in the city’s 20th Arrondissement.
With “This Body of Women” (the literal English translation of the title) she plans to trace all of the female health cycles from birth to death.
“I’m doing a documentary about women’s bodies in a hospital in Paris. It’s all the [medical issues] around gynecology, like giving birth, abortion, endometriosis, IVF, cancer. It’s about all the stops of life but only for women,” she says.
Simon did some preliminary filming in July and hopes to be finished by November.
“It’s an incredible institution with top scientists.
Simon, who was at the San Sebastian Film Festival with her latest film “I Want to Talk About Duras,” starts shooting this week at the Paris public hospital, Hopital Tenon, in the city’s 20th Arrondissement.
With “This Body of Women” (the literal English translation of the title) she plans to trace all of the female health cycles from birth to death.
“I’m doing a documentary about women’s bodies in a hospital in Paris. It’s all the [medical issues] around gynecology, like giving birth, abortion, endometriosis, IVF, cancer. It’s about all the stops of life but only for women,” she says.
Simon did some preliminary filming in July and hopes to be finished by November.
“It’s an incredible institution with top scientists.
- 9/23/2021
- by Liza Foreman
- Variety Film + TV
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
"For the first time, a woman gave herself to me... It was total love." A festival promo trailer has debuted for the French romantic drama titled I Want To Talk About Duras, which is premiering at the 2021 San Sebastian Film Festival in Spain this week. Originally known as Vous ne désirez que moi in French, which translates to You Only Want Me (this title is more alluring for sure), this is the latest fictional film from filmmaker Claire Simon, known for many of her docs as well as her narrative films. I Want To Talk About Duras explores the relationship between French writer Marguerite Duras and her last partner Yann Andréa, who was 38 years her junior. César-winning actors Emmanuelle Devos and Swann Arlaud co-star as Manceaux and Andréa in the film, which is "based on an unedited transcript of a 1982 interview between Andréa and writer and journalist Michèle Manceaux." Worth...
- 9/20/2021
- by Alex Billington
- firstshowing.net
The film explores the relationship between French writer Marguerite Duras and her last partner Yann Andréa, who was 38 years her junior.
Screen can reveal the first trailer for Claire Simon’s I Want To Talk About Duras, which has been selected in competition at this year’s San Sebastian film festival (September 17-25).
The film explores the relationship between French writer Marguerite Duras and her last partner Yann Andréa, who was 38 years her junior.
César-winning actors Emmanuelle Devos and Swann Arlaud co-star as Manceaux and Andréa in the film, which is based on an unedited transcript of a 1982 interview between...
Screen can reveal the first trailer for Claire Simon’s I Want To Talk About Duras, which has been selected in competition at this year’s San Sebastian film festival (September 17-25).
The film explores the relationship between French writer Marguerite Duras and her last partner Yann Andréa, who was 38 years her junior.
César-winning actors Emmanuelle Devos and Swann Arlaud co-star as Manceaux and Andréa in the film, which is based on an unedited transcript of a 1982 interview between...
- 9/17/2021
- by Orlando Parfitt
- ScreenDaily
Jean-Paul Belmondo, whose bad-boy presence in Jean-Luc Godard’s new wave masterpiece “Breathless” established him as the French idol of his generation, has died, Variety has confirmed. He was 88.
For more than a decade following the release of “Breathless,” Belmondo reigned as one of France’s top box office stars. The actor was likened alternately to James Dean, Humphrey Bogart and Marlon Brando for his brooding, charismatic persona, and he proved able to work in virtually any genre. After “Breathless,” the cult that formed around him was dubbed le belmondisme by the French media. Unlike Dean, who was a rebel without a cause, Belmondo’s antihero persona was more existential, detached and irredeemable. With such magnetism, an American career could have been his for the asking, but he largely resisted studio-made productions and later in life openly criticized Hollywood for overly dominating film screens in France.
Though most closely associated with Godard,...
For more than a decade following the release of “Breathless,” Belmondo reigned as one of France’s top box office stars. The actor was likened alternately to James Dean, Humphrey Bogart and Marlon Brando for his brooding, charismatic persona, and he proved able to work in virtually any genre. After “Breathless,” the cult that formed around him was dubbed le belmondisme by the French media. Unlike Dean, who was a rebel without a cause, Belmondo’s antihero persona was more existential, detached and irredeemable. With such magnetism, an American career could have been his for the asking, but he largely resisted studio-made productions and later in life openly criticized Hollywood for overly dominating film screens in France.
Though most closely associated with Godard,...
- 9/6/2021
- by Richard Natale
- Variety Film + TV
Juliette Binoche has a field day and then some in Who You Think I Am, an insidiously smart, multi-layered yarn that shrewdly plays with the possibilities that modern media offers for presenting alternate versions of oneself publicly and especially privately.
Author Camille Laurens got her finger firmly on the pulse of the times with her best-selling 2016 novel and director Safy Nebbou has followed up with a sharp adaptation which, despite being delayed by two years since its French opening pre-Covid, will still speak very clearly to American audiences due to its wicked, smarty-pants take on modern communication and relationships. Cohen Media Group will release theatrically in New York and LA, along with a few other markets, on September 3 before adding more on September 10.
Miraculously resisting what Marguerite Duras called “the thrust of time,” Binoche plays Claire, a woman who looks to be perhaps 40 rather than the actress’ real age of 57. In the event,...
Author Camille Laurens got her finger firmly on the pulse of the times with her best-selling 2016 novel and director Safy Nebbou has followed up with a sharp adaptation which, despite being delayed by two years since its French opening pre-Covid, will still speak very clearly to American audiences due to its wicked, smarty-pants take on modern communication and relationships. Cohen Media Group will release theatrically in New York and LA, along with a few other markets, on September 3 before adding more on September 10.
Miraculously resisting what Marguerite Duras called “the thrust of time,” Binoche plays Claire, a woman who looks to be perhaps 40 rather than the actress’ real age of 57. In the event,...
- 8/31/2021
- by Todd McCarthy
- Deadline Film + TV
Distributor also snaps up Marguerite Duras’s 1979 romance The Ship Night.
Icarus Films has acquired US rights from Les Films du Losange to Benoît Jacquot’s period drama Suzanna Andler starring Charlotte Gainsbourg.
Jacquot directed the adaptation of Marguerite Duras’s celebrated play about a woman in the 1960s married to a wealthy, unfaithful man who goes on a break to the French Riviera with her young lover and is forced to decide the course of her life. Nathan Willcocks and Niels Schneider round out the main cast.
Prior to her death in 1996 Duras, who earned a screenplay Oscar nomination in 1961 for Hiroshima Mon Amor,...
Icarus Films has acquired US rights from Les Films du Losange to Benoît Jacquot’s period drama Suzanna Andler starring Charlotte Gainsbourg.
Jacquot directed the adaptation of Marguerite Duras’s celebrated play about a woman in the 1960s married to a wealthy, unfaithful man who goes on a break to the French Riviera with her young lover and is forced to decide the course of her life. Nathan Willcocks and Niels Schneider round out the main cast.
Prior to her death in 1996 Duras, who earned a screenplay Oscar nomination in 1961 for Hiroshima Mon Amor,...
- 7/27/2021
- by Jeremy Kay
- ScreenDaily
Distributor also snaps up Marguerite Duras’s 1979 romance The Ship Night.
Icarus Films has acquired US rights from Les Films du Losange to Benoît Jacquot’s period drama Suzanna Andler starring Charlotte Gainsbourg.
Jacquot directed the adaptation of Marguerite Duras’s celebrated play about a woman in the 1960s married to a wealthy, unfaithful man who goes on a break to the French Riviera with her young lover and is forced to decide the course of her life. Nathan Willcocks and Niels Schneider round out the main cast.
Prior to her death in 1996 Duras, who earned a screenplay Oscar nomination in 1961 for Hiroshima Mon Amor,...
Icarus Films has acquired US rights from Les Films du Losange to Benoît Jacquot’s period drama Suzanna Andler starring Charlotte Gainsbourg.
Jacquot directed the adaptation of Marguerite Duras’s celebrated play about a woman in the 1960s married to a wealthy, unfaithful man who goes on a break to the French Riviera with her young lover and is forced to decide the course of her life. Nathan Willcocks and Niels Schneider round out the main cast.
Prior to her death in 1996 Duras, who earned a screenplay Oscar nomination in 1961 for Hiroshima Mon Amor,...
- 7/27/2021
- by Jeremy Kay
- ScreenDaily
The 69th San Sebastian Film Festival has confirmed its first crop of Competition titles, including Terence Davies’ Benediction starring Jack Lowden and Peter Capaldi.
The movie chronicles different moments in the life of Siegfried Sassoon, a soldier and anti-war poet who survived the First World War. This will be British director Davies’ third time competing for the Golden Shell – San Seb’s top award – following The Deep Blue Sea in 2011 and Sunset Song in 2015.
Also on the early list is the latest film from Lucile Hadzihalilovic, who previously bagged the San Seb New Directors Award with her debut, Innocence, in 2004, while her second feature, Evolution, landed the Special Jury Prize in the Official Selection in 2015. She returns this year with Earwig. Based on the novel by Brian Catling, it tells the story of Albert, a man employed to look after Mia, a girl with teeth of ice.
Claudia Llosa, winner...
The movie chronicles different moments in the life of Siegfried Sassoon, a soldier and anti-war poet who survived the First World War. This will be British director Davies’ third time competing for the Golden Shell – San Seb’s top award – following The Deep Blue Sea in 2011 and Sunset Song in 2015.
Also on the early list is the latest film from Lucile Hadzihalilovic, who previously bagged the San Seb New Directors Award with her debut, Innocence, in 2004, while her second feature, Evolution, landed the Special Jury Prize in the Official Selection in 2015. She returns this year with Earwig. Based on the novel by Brian Catling, it tells the story of Albert, a man employed to look after Mia, a girl with teeth of ice.
Claudia Llosa, winner...
- 7/19/2021
- by Tom Grater
- Deadline Film + TV
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