The cinematic legend died the way he lived – in a blaze of inscrutable, impossible film-making. We meet the team who helped shoot the final scene of his swansong just before his death by assisted suicide
On Friday 9 September 2022, Jean-Luc Godard had one last wish. He needed a quote from Jean-Paul Sartre to complete his film, Scénarios, but the book was missing from the shelf in his Swiss home. Time was pressing: he was up against a hard deadline. The film’s final scene was to be shot on Monday. On Tuesday, the director would die by assisted suicide.
Fabrice Aragno takes up the story. As Godard’s longtime collaborator, Aragno was his eyes and his ears, his trusted technical advisor. Surely he would be able to find the book from somewhere. “So on Friday 5.30pm, I drive very fast to Lausanne, 20 miles away,” he recalls. “I park the car and I’m sweating.
On Friday 9 September 2022, Jean-Luc Godard had one last wish. He needed a quote from Jean-Paul Sartre to complete his film, Scénarios, but the book was missing from the shelf in his Swiss home. Time was pressing: he was up against a hard deadline. The film’s final scene was to be shot on Monday. On Tuesday, the director would die by assisted suicide.
Fabrice Aragno takes up the story. As Godard’s longtime collaborator, Aragno was his eyes and his ears, his trusted technical advisor. Surely he would be able to find the book from somewhere. “So on Friday 5.30pm, I drive very fast to Lausanne, 20 miles away,” he recalls. “I park the car and I’m sweating.
- 5/20/2024
- by Xan Brooks
- The Guardian - Film News
Richard Linklater just had his hometown premiere for “Hit Man” in Austin May 15, at which his star and co-writer Glen Powell was inducted into the Texas Film Hall of Fame. But he’s already wrapped his next movie, “Nouvelle Vague.”
Shot in Paris, “Nouvelle Vague” tells the story of Jean-Luc Godard making his jump from Cahiers du Cinema film critic (Cahiers is also fittingly where the first look images from “Nouvelle Vague” made their debut) to filmmaker with the making of his first movie, “Breathless.” Guillaume Marbeck is Godard, and Zoe Deutsch plays his star Jean Seberg.
On the red carpet of the “Hit Man” premiere, Linklater talked to IndieWire about what he hopes viewers take away from “Nouvelle Vague” and, especially, what we can learn from the French New Wave filmmakers at this moment when there’s such doom and gloom about the future of cinema.
“Just absolute love and dedication to cinema,...
Shot in Paris, “Nouvelle Vague” tells the story of Jean-Luc Godard making his jump from Cahiers du Cinema film critic (Cahiers is also fittingly where the first look images from “Nouvelle Vague” made their debut) to filmmaker with the making of his first movie, “Breathless.” Guillaume Marbeck is Godard, and Zoe Deutsch plays his star Jean Seberg.
On the red carpet of the “Hit Man” premiere, Linklater talked to IndieWire about what he hopes viewers take away from “Nouvelle Vague” and, especially, what we can learn from the French New Wave filmmakers at this moment when there’s such doom and gloom about the future of cinema.
“Just absolute love and dedication to cinema,...
- 5/19/2024
- by Christian Blauvelt
- Indiewire
A self-portrait and cinematic essay, Leos Carax’s “It’s Not Me” is perhaps the most accurate impression of a late-era Jean-Luc Godard experiment anyone has ever attempted. From Carax’s raspy voiceover to his jaggedly assembled combination of archival footage and absurd original snippets, the 41-minute short probes a variety of personal and political subjects, but it never quite beats with the furious heart and provocative spirit of Godard’s twilight era.
The project was conceived as part of a museum exhibition on Carax for Paris’ Centre Pompidou, but the prompt posed to him in the form of a question — “Where are you at, Leos Carax?” — appears to have led the enigmatic filmmaker on a confounding quest of self-discovery. The exhibit would never come to fruition, but Carax’s inquiry into his work, his lifelong influences and cinema at-large has yielded an occasionally fascinating collage. The film not only ponders Carax’s past,...
The project was conceived as part of a museum exhibition on Carax for Paris’ Centre Pompidou, but the prompt posed to him in the form of a question — “Where are you at, Leos Carax?” — appears to have led the enigmatic filmmaker on a confounding quest of self-discovery. The exhibit would never come to fruition, but Carax’s inquiry into his work, his lifelong influences and cinema at-large has yielded an occasionally fascinating collage. The film not only ponders Carax’s past,...
- 5/19/2024
- by Siddhant Adlakha
- Variety Film + TV
After Jean-Luc Godard, Leos Carax is probably the French filmmaker most associated with the term enfant terrible. In some ways, he’s been even more terrible than Godard ever was, adopting a pseudonym (he was born Alex Dupont) as a teenager and bursting onto the scene at age 24 with Boy Meets Girl — Godard made Breathless when he was 30 — which immediately turned him into a major young auteur to be reckoned with.
He followed that up with the powerful, AIDS-inspired Mauvais Sang, and then made The Lovers on the Bridge, a film infamous for being a French Heaven’s Gate that went way over budget and flopped (it’s still a fantastic movie). After that Carax disappeared for a while, then reemerged to make a few shorts, compose pop songs and shoot a new feature every decade, the last one being the Adam Driver-Marion Cotillard starrer, Annette.
His latest work, the medium-length,...
He followed that up with the powerful, AIDS-inspired Mauvais Sang, and then made The Lovers on the Bridge, a film infamous for being a French Heaven’s Gate that went way over budget and flopped (it’s still a fantastic movie). After that Carax disappeared for a while, then reemerged to make a few shorts, compose pop songs and shoot a new feature every decade, the last one being the Adam Driver-Marion Cotillard starrer, Annette.
His latest work, the medium-length,...
- 5/18/2024
- by Jordan Mintzer
- The Hollywood Reporter - Movie News
Cannes film festival
Completed just before his assisted death, the French New Wave master director talks through his ideas as illustrated in his hand-drawn scrapbook
Here is an intriguing footnote to Jean-Luc Godard’s extraordinary career - a docu-textual movie collage lasting just under an hour in two parts, or maybe two layers, completed just before his assisted death two years ago in Switzerland at the age of 91. His collaborator and cinematographer Fabrice Aragno calls it not the “last Godard” but a “new Godard”. In its way, this little double film shows us a very great deal about Godard’s working habits, and it’s a late example of Godard speaking intimately in his own person about his own creative process.
Scénarios appears to have grown out of thoughts generated by his last film, The Image Book, which emerged in 2018. Godard sketched out his storyboarded or scrapbooked ideas for a short piece,...
Completed just before his assisted death, the French New Wave master director talks through his ideas as illustrated in his hand-drawn scrapbook
Here is an intriguing footnote to Jean-Luc Godard’s extraordinary career - a docu-textual movie collage lasting just under an hour in two parts, or maybe two layers, completed just before his assisted death two years ago in Switzerland at the age of 91. His collaborator and cinematographer Fabrice Aragno calls it not the “last Godard” but a “new Godard”. In its way, this little double film shows us a very great deal about Godard’s working habits, and it’s a late example of Godard speaking intimately in his own person about his own creative process.
Scénarios appears to have grown out of thoughts generated by his last film, The Image Book, which emerged in 2018. Godard sketched out his storyboarded or scrapbooked ideas for a short piece,...
- 5/18/2024
- by Peter Bradshaw
- The Guardian - Film News
A year ago, the Cannes Film Festival presented the world premiere of what was widely taken to be Jean-Luc Godard’s final film. He had died by assisted suicide eight months before, and the 20-minute-long “Trailer of the Film That Will Never Exist: ‘Phony Wars'” felt, by nature, like the aestheticized version of a last will and testament. It was a collage film, and it was (surprise!) oblique, yet it offered tea leaves to read about Godard’s state of mind as he prepared to leave the world.
As it turns out, “Trailer of the Film…” was not Godard’s final work. The 18-minute-long “Scénarios,” also made in a collage style, but simpler and more direct, was unveiled today at Cannes, along with a 34-minute documentary about the making of the short. “Scénarios” has the feel of a minor but purefied late-period work, like a Matisse paper cutout. What’s...
As it turns out, “Trailer of the Film…” was not Godard’s final work. The 18-minute-long “Scénarios,” also made in a collage style, but simpler and more direct, was unveiled today at Cannes, along with a 34-minute documentary about the making of the short. “Scénarios” has the feel of a minor but purefied late-period work, like a Matisse paper cutout. What’s...
- 5/17/2024
- by Owen Gleiberman
- Variety Film + TV
As personal and egoless as you could ever hope to expect from an $120 million self-portrait that doubles as a fable about the fall of Ancient Rome, Francis Ford Coppola’s “Megalopolis” is the story of an ingenious eccentric who dares to stake his fortune on a more optimistic vision for the future — not because he thinks he can single-handedly bring that vision to bear, but rather because history has taught him that questioning a civilization’s present condition is the only reliable hope for preventing its ruin. Needless to say, the movie isn’t arriving a minute too soon.
After more than 40 years of idly fantasizing about the project (and more than 20 years of actively trying to finance it), Coppola is bringing “Megalopolis” to screens at a moment when his chosen medium is struggling to find a way forward, and the world around it seems teetering on the brink of collapse.
After more than 40 years of idly fantasizing about the project (and more than 20 years of actively trying to finance it), Coppola is bringing “Megalopolis” to screens at a moment when his chosen medium is struggling to find a way forward, and the world around it seems teetering on the brink of collapse.
- 5/16/2024
- by David Ehrlich
- Indiewire
My screening series Amnesiascope will have its next event on Tuesday, May 28 at the Brooklyn Center for Theatre Research. It was only a matter of time until I showed a film by Jean-Luc Godard, and if it’s so early into the programming cycle we can consider the work itself––to my mind his greatest feature (whatever its status as a rare object) and one that well embodies the creative spirit of the theater space that’s given Amnesiascope a home. This will mark its first New York screening since 2017.
Without revealing the film’s title I’ll say it’s a summit of Godard’s ’80s corpus, yet another self-reflecting vision of a director’s rise and fall, and makes for an essential study of Jean-Pierre Léaud as auteurism embodied. Were that, somehow, not enough, playwright (and Center co-founder) Matthew Gasda will once again mix cocktails that come far...
Without revealing the film’s title I’ll say it’s a summit of Godard’s ’80s corpus, yet another self-reflecting vision of a director’s rise and fall, and makes for an essential study of Jean-Pierre Léaud as auteurism embodied. Were that, somehow, not enough, playwright (and Center co-founder) Matthew Gasda will once again mix cocktails that come far...
- 5/14/2024
- by Nick Newman
- The Film Stage
First look notwithstanding, details have been few and far between on Richard Linklater’s Nouvelle Vague, largely understood to concern the production of Jean-Luc Godard’s Breathless, making notable a new set report from Les Inrockuptibles. It should’ve been obvious from the jump that America’s premier hangout filmmaker would resurrect cinema’s most-influential group as, well, a group, with Linklater describing his film as (in a somewhat contradictory manner) “the story of a personal revolution in cinema led by one man, and all the people around him,” with the implication of actors playing Jacques Rivette, Éric Rohmer, Jacques Demy, Agnès Varda, Alain Resnais, and Jean Cocteau.
Fittingly, Nouvelle Vague will not start with Zoey Deutch’s Jean Seberg (admittedly odd combination of words) filming on the Champs-Élysées, but at least stretches back to the 1959 Cannes Film Festival, where, upon The 400 Blows‘ triumphant debut, Godard “succeeded in convincing producer...
Fittingly, Nouvelle Vague will not start with Zoey Deutch’s Jean Seberg (admittedly odd combination of words) filming on the Champs-Élysées, but at least stretches back to the 1959 Cannes Film Festival, where, upon The 400 Blows‘ triumphant debut, Godard “succeeded in convincing producer...
- 5/14/2024
- by Leonard Pearce
- The Film Stage
Luis Ospina, interviewed shortly before his death, recalls a fierce career that applied the lessons of the French New Wave to his work
Jorge Carvalho’s brief documentary is a study of the Colombian documentarist and film-maker Luis Ospina, the founder of the Grupo de Cali; named after his home town of Cali in Colombia, it was an artists’ collective including director Carlos Mayolo and the writer Andrés Caicedo, whose early death at 25 helped make him a legendary figure of Colombian literature. They were formed in radical opposition to what Ospina and others saw as the dullness and complacency of Colombian cinema, and in sympathy with leftist currents in moviemaking after Godard. The Californian-educated Ospina himself displays a classic New Wave reverence for the American masters such as Hawks and Ford, in whose company he includes Jerry Lewis without any hesitation. Ospina and the Grupo de Cali were the subject...
Jorge Carvalho’s brief documentary is a study of the Colombian documentarist and film-maker Luis Ospina, the founder of the Grupo de Cali; named after his home town of Cali in Colombia, it was an artists’ collective including director Carlos Mayolo and the writer Andrés Caicedo, whose early death at 25 helped make him a legendary figure of Colombian literature. They were formed in radical opposition to what Ospina and others saw as the dullness and complacency of Colombian cinema, and in sympathy with leftist currents in moviemaking after Godard. The Californian-educated Ospina himself displays a classic New Wave reverence for the American masters such as Hawks and Ford, in whose company he includes Jerry Lewis without any hesitation. Ospina and the Grupo de Cali were the subject...
- 5/13/2024
- by Peter Bradshaw
- The Guardian - Film News
Among the most-anticipated films premiering at this year’s Cannes Film Festival is the final posthumous work from Jean-Luc Godard, who left this world back in September 2022. Last year, the Cannes Film Festival held the premiere of his short Trailer of the Film That Will Never Exist: ‘Phony Wars,’ and this year the festival will screen the final work from Godard and today brings the first trailer.
Scénarios, running 18 minutes, has the following synopsis: “In French, ‘scénario’ is cinema’s name for how it tells stories. This is the title Jean-Luc Godard chose for his final film, which was literally completed the day before his self-death. This did not mean that it would remain unfinished, but that its very unfinishedness would make it complete. Yet Scénario, which then became Scénarios is twofold: DNA, fundamental elements, and Mri, Odyssey. DNA is a biological signature, which gives a human subject its uniqueness...
Scénarios, running 18 minutes, has the following synopsis: “In French, ‘scénario’ is cinema’s name for how it tells stories. This is the title Jean-Luc Godard chose for his final film, which was literally completed the day before his self-death. This did not mean that it would remain unfinished, but that its very unfinishedness would make it complete. Yet Scénario, which then became Scénarios is twofold: DNA, fundamental elements, and Mri, Odyssey. DNA is a biological signature, which gives a human subject its uniqueness...
- 5/11/2024
- by Jordan Raup
- The Film Stage
Though Richard Linklater’s Hit Man is about to debut in theaters and on Netflix––just after his under-the-radar documentary God Save Texas: Hometown Prison came to Max––the ever-prolific American was recently in Paris for Nouvelle Vague, his chronicle of the making of Godard’s Breathless. (If not more: casting notices for Jean-Pierre Léaud around the time of François Truffaut’s The 400 Blows and Martin Lassale around the time of Robert Bresson’s Pickpocket popped up.) With filming recently wrapped, one might expect a fall premiere––expectations bolstered by today’s unveiling of our first real look, courtesy (who else!) Cahiers du cinéma.
Therein one can find Guillaume Marbeck as Jean-Luc Godard (previously unveiled in a cast-and-crew portrait) and filming of a scene on the Champs-Elysees. Meanwhile, Jean-Louis Fernandez shared a set photo suggesting the production design team should be paid handsomely.
Find them below:
View this post...
Therein one can find Guillaume Marbeck as Jean-Luc Godard (previously unveiled in a cast-and-crew portrait) and filming of a scene on the Champs-Elysees. Meanwhile, Jean-Louis Fernandez shared a set photo suggesting the production design team should be paid handsomely.
Find them below:
View this post...
- 5/9/2024
- by Leonard Pearce
- The Film Stage
It’s now been over 600 days since the world’s most forward-thinking filmmaker, Jean-Luc Godard, left this world, but the icon of the French New Wave and beyond graciously left us with a few works. Last year, the Cannes Film Festival held the premiere of his short Trailer of the Film That Will Never Exist: ‘Phony Wars,’ and this year the festival will screen two final films from Godard and today brings the first images.
First up, running 18 minutes, is Scénarios, for which we have now have an expanded synopsis: “In French, ‘scénario’ is cinema’s name for how it tells stories. This is the title Jean-Luc Godard chose for his final film, which was literally completed the day before his self-death. This did not mean that it would remain unfinished, but that its very unfinishedness would make it complete. Yet Scénario, which then became Scénarios is twofold: DNA, fundamental elements,...
First up, running 18 minutes, is Scénarios, for which we have now have an expanded synopsis: “In French, ‘scénario’ is cinema’s name for how it tells stories. This is the title Jean-Luc Godard chose for his final film, which was literally completed the day before his self-death. This did not mean that it would remain unfinished, but that its very unfinishedness would make it complete. Yet Scénario, which then became Scénarios is twofold: DNA, fundamental elements,...
- 5/6/2024
- by Jordan Raup
- The Film Stage
[Editor’s Note: The following article contains spoilers for “Challengers”]
Despite the implications of this story’s headline, these two films are not alike. Well, they are. Kind of. In some regards. Mainly in the sense that the focal point of each is centered around the clashes that come as a result of non-monogamy and specifically the challenges of maintaining civility within a ménage-à-trois relationship. There’s also a connection between the two leads of each film, Zendaya and Jean-Pierre Léaud, in that both began their careers as children and used these roles to expand audiences’ perceptions of them as adults. Perhaps most tangentially, the two films cover time periods of great social ignorance — Post-’60s France and Pre-2020 America (as well as Pre-Housing and Financial Crisis America) — and are aimed at sparking the public’s curiosities, albeit in completely different ways. Thankfully, this piece does not aim to strictly draw comparisons between the two films, but rather convince readers...
Despite the implications of this story’s headline, these two films are not alike. Well, they are. Kind of. In some regards. Mainly in the sense that the focal point of each is centered around the clashes that come as a result of non-monogamy and specifically the challenges of maintaining civility within a ménage-à-trois relationship. There’s also a connection between the two leads of each film, Zendaya and Jean-Pierre Léaud, in that both began their careers as children and used these roles to expand audiences’ perceptions of them as adults. Perhaps most tangentially, the two films cover time periods of great social ignorance — Post-’60s France and Pre-2020 America (as well as Pre-Housing and Financial Crisis America) — and are aimed at sparking the public’s curiosities, albeit in completely different ways. Thankfully, this piece does not aim to strictly draw comparisons between the two films, but rather convince readers...
- 4/28/2024
- by Harrison Richlin
- Indiewire
The director’s 18-minute film Scénarios will premiere at this year’s Cannes film festival accompanied by his 34-minute introduction
The final film from the French-Swiss director Jean-Luc Godard is set to premiere at this year’s Cannes film festival.
Scénarios is an 18-minute short that the film-maker finished in 2022 the day before he died via an assisted suicide procedure in Switzerland. Godard also made an accompanying 34-minute introduction which is a combination of “still and moving images, halfway between reading and seeing” that will be screened alongside it.
The final film from the French-Swiss director Jean-Luc Godard is set to premiere at this year’s Cannes film festival.
Scénarios is an 18-minute short that the film-maker finished in 2022 the day before he died via an assisted suicide procedure in Switzerland. Godard also made an accompanying 34-minute introduction which is a combination of “still and moving images, halfway between reading and seeing” that will be screened alongside it.
- 4/25/2024
- by Benjamin Lee
- The Guardian - Film News
Though festivals and distributors were very excited to sell you a “final” film by Jean-Luc Godard, Fabrice Aragno made clear Phony Wars would not be the last transmission. Continuing Tupac-like beyond-the-grave releases, it’s been announced this year’s Cannes Film Festival will include in their “Events” sidebar the “ultimate film by Jean-Luc Godard,” Scenarios, which I cannot possibly summarize better than their official description and thus:
Scenarios is the title that Jean-Luc Godard chose to give to a final 18-minute gesture, made, literally, the day before his voluntary death. Furthermore, Jean-Luc Godard recorded a 34-minute film in which, mixing still images and moving images, halfway between reading and vision, he presented the Scenarios project .
Worth noting that Scenario was, with Phony Wars, one of two films with which Godard planned to end his career. A project made with single-digit hours left on Earth… well, one’s mind reels at the potential.
Scenarios is the title that Jean-Luc Godard chose to give to a final 18-minute gesture, made, literally, the day before his voluntary death. Furthermore, Jean-Luc Godard recorded a 34-minute film in which, mixing still images and moving images, halfway between reading and vision, he presented the Scenarios project .
Worth noting that Scenario was, with Phony Wars, one of two films with which Godard planned to end his career. A project made with single-digit hours left on Earth… well, one’s mind reels at the potential.
- 4/25/2024
- by Nick Newman
- The Film Stage
The Cannes Film Festival’s Classics sidebar celebrates 20 years this year with a lineup of films including a 4K restoration of Wim Wenders’s Palme d’Or winning Paris, Texas, and a debut screening of Ron Howard’s 2024 doc Jim Henson Idea Man.
Wenders and Howard will be on the ground in Cannes, where they will present the films alongside Faye Dunaway, who will present the feature-long doc Faye about her life and career.
Other Cannes Classics screenings will include a 4k restoration of Akira Kurosawa’s Seven Samurai to mark the late Japanese filmmaker’s 70th birthday while Frederick Wiseman will present his 1969 documentary Law And Order. Sony Pictures Entertainment Chairman and CEO Tom Rothman will also attend to screen Charles Vidor’s 1946 film Gilda as part of a 100-year celebration of Columbia Pictures.
The sidebar will also screen Scénario, an 18-minute film by Jean-Luc Godard. The project was...
Wenders and Howard will be on the ground in Cannes, where they will present the films alongside Faye Dunaway, who will present the feature-long doc Faye about her life and career.
Other Cannes Classics screenings will include a 4k restoration of Akira Kurosawa’s Seven Samurai to mark the late Japanese filmmaker’s 70th birthday while Frederick Wiseman will present his 1969 documentary Law And Order. Sony Pictures Entertainment Chairman and CEO Tom Rothman will also attend to screen Charles Vidor’s 1946 film Gilda as part of a 100-year celebration of Columbia Pictures.
The sidebar will also screen Scénario, an 18-minute film by Jean-Luc Godard. The project was...
- 4/25/2024
- by Zac Ntim
- Deadline Film + TV
Between last week’s release of his under-the-radar documentary God Save Texas: Hometown Prison and the June release of his wildly entertaining crowdpleaser Hit Man Trailer: Glen Powell Shapeshifts for Richard Linklater’s Comedy, Arriving in June”>Hit Man, Richard Linklater is embarking on his next film. Set to shoot this month and April in Paris, his new feature will capture the beginnings of the French New Wave, centered on the making of Jean-Luc Godard’s 1960 debut masterpiece Breathless.
We now have our first piece of casting as our new Jean Seberg has been unveiled. Zoey Deutch has revealed her Seberg look on Instagram, with hair colorist Tracey Cunningham confirming it’s for the role of the French New Wave Icon, who made her breakout in Godard’s debut. The film will mark a reunion following Everybody Wants Some!! for Linklater and Deutch, who will deliver the latest portrayal of...
We now have our first piece of casting as our new Jean Seberg has been unveiled. Zoey Deutch has revealed her Seberg look on Instagram, with hair colorist Tracey Cunningham confirming it’s for the role of the French New Wave Icon, who made her breakout in Godard’s debut. The film will mark a reunion following Everybody Wants Some!! for Linklater and Deutch, who will deliver the latest portrayal of...
- 3/5/2024
- by Jordan Raup
- The Film Stage
Vesoul continued in its usual style of programming this year, adding, however, three very interesting sections for 2024, one focusing on Malayalam cinema, one on Taiwanese cinema and one on Netpac winners, which allowed the programmers to include a number of movies of quality without being restricted by the prerequisites of the films included in the competition section. The inclusion of films from countries from the former Ussr, as in the case of Uzbek “Sunday” and Kazakh “Scream” was once more the cherry on the top, in one of the best years in terms of film selection for the festival, which celebrated its 30th edition this year. Lastly, the screening of “Snow Leopard” the last film of the recently deceased Pema Tseden was the most touching moment of the whole festival, with the presence of the protagonist, Tetsen Tashi, definitely adding to the overall impact.
Without further ado, here is our...
Without further ado, here is our...
- 2/27/2024
- by AMP Group
- AsianMoviePulse
The Mother and the Whore.Jean Eustache orbited the world of criticism without ever fully falling into it. His intellectual biographer, Alain Philippon, describes him as a marginal figure at Cahiers du Cinéma in the 1960s and yet actively involved in the debates unfolding in its offices.1 Though Eustache was close with future Cahiers editor-in-chief Jean-Louis Comolli and the magazine championed his films from the start, his critical output was minuscule. He started contributing to Cahiers only after completing his first short, Bad Company (1963). Even then, he wrote little, publishing a few brief pieces on some early films by Paul Vecchiali, Jean-Daniel Pollet, and Costa-Gavras. Luc Moullet would later admit that prior to Bad Company, he thought him the only person at Cahiers “that had absolutely nothing to do with the movies.”2 Indeed, Eustache was often at the offices to pick up his wife, who was employed as a secretary at the magazine.
- 2/26/2024
- MUBI
Martin Scorsese was at the Berlinale this week for the first time in a decade. His presence to collect an honorary Golden Bear was a reminder of the festival’s glories of yesteryear.
In decades past, Scorsese touched down in Berlin with major works such as Raging Bull (1981), Cape Fear (1992); Gangs of New York (2003 ), Shine a Light (2008) and Shutter Island (2010). It feels a long time since the event — traditionally one of the world’s great cinema showcases — has attracted such movies. In recent years the studio splashes have dried up.
So have memorable movies from A-list arthouse filmmakers. Scorsese this week sang the praises of the event for the encouragement it had given him as an emerging filmmaker. Citing Brian de Palma’s Silver Bear win for his second film Greetings in 1969, Scorsese said the prize had marked a turning point for unknown, independent American directors such as himself, de Palma,...
In decades past, Scorsese touched down in Berlin with major works such as Raging Bull (1981), Cape Fear (1992); Gangs of New York (2003 ), Shine a Light (2008) and Shutter Island (2010). It feels a long time since the event — traditionally one of the world’s great cinema showcases — has attracted such movies. In recent years the studio splashes have dried up.
So have memorable movies from A-list arthouse filmmakers. Scorsese this week sang the praises of the event for the encouragement it had given him as an emerging filmmaker. Citing Brian de Palma’s Silver Bear win for his second film Greetings in 1969, Scorsese said the prize had marked a turning point for unknown, independent American directors such as himself, de Palma,...
- 2/23/2024
- by Melanie Goodfellow and Andreas Wiseman
- Deadline Film + TV
In this year’s Berlinale Shorts, cinema is distilled to its most essential features. Conventional narratives are very much eschewed in favour of complex ideas, bold left turns and bravura filmmaking gestures. This is my fifth time covering the programme for Directors Notes, and once again I am pleased by the aesthetic unity of the offerings as well as their unorthodox filmmaking techniques. You’d be hard-pressed to find another section at the festival with so much diversity. As usual, there may be some films that I found confounding, odd or interminable, but I can’t accuse them of peddling cliché or well-worn narratives. Most notably, while the feature competition at Berlinale contains no animated movies this year, the Shorts has plenty, putting them on an equal footing with their live-action and documentary counterparts. From the unclassifiable to classical filmmaking, strange 3D models to lo-fi romance, here are ten excellent...
- 2/23/2024
- by Redmond Bacon
- Directors Notes
NYC Weekend Watch is our weekly round-up of repertory offerings.
Film at Lincoln Center
A retrospective of Denis Villeneuve’s work also brings the director’s programming choices, among them films by Godard, Resnais, Cassavetes, and Wong Kar-wai.
Roxy Cinema
Bob Fosse’s Star 80, The Piano Teacher, The Pillow Book, Looking for Mr. Goodbar, and End of Night all play on 35mm.
Anthology Film Archives
As retrospective of Haitian cinema continues, films by Hollis Frampton and Ernie Gehr play Saturday and Sunday, respectively.
Film Forum
“Sapph-o-rama” continues with films by Nicholas Ray, Jonathan Demme, Lizzie Borden, and more; a 4K restoration of Pandora’s Box has begun a run; a print of The Third Man continues, while the Harold Lloyd film Hot Water shows on 35mm this Sunday.
Museum of the Moving Image
A retrospective of snubbed performances brings films by Scorsese, Elaine May, Jonathan Demme, and Gus Van Sant...
Film at Lincoln Center
A retrospective of Denis Villeneuve’s work also brings the director’s programming choices, among them films by Godard, Resnais, Cassavetes, and Wong Kar-wai.
Roxy Cinema
Bob Fosse’s Star 80, The Piano Teacher, The Pillow Book, Looking for Mr. Goodbar, and End of Night all play on 35mm.
Anthology Film Archives
As retrospective of Haitian cinema continues, films by Hollis Frampton and Ernie Gehr play Saturday and Sunday, respectively.
Film Forum
“Sapph-o-rama” continues with films by Nicholas Ray, Jonathan Demme, Lizzie Borden, and more; a 4K restoration of Pandora’s Box has begun a run; a print of The Third Man continues, while the Harold Lloyd film Hot Water shows on 35mm this Sunday.
Museum of the Moving Image
A retrospective of snubbed performances brings films by Scorsese, Elaine May, Jonathan Demme, and Gus Van Sant...
- 2/16/2024
- by Nick Newman
- The Film Stage
“The last thing I hate is that life always forces us to keep moving forwards.”
In the aftermath of the New York Film Festival, reporter Vincent Canby wrote an article about the films of the festival he aptly named “Why Some Films Don't Travel Well”. Works such as Zhang Yimou's “Red Sorghum”, Andrei Konchalovsky's “Asya's Happiness” and Hou Hsiao-Hsien's “Daughter of the Nile” are mostly relevant thanks to their “sociology factor” Canby begins his article, an aspect that these works are and have been applauded for around the world while as films themselves they are not that interesting. Hou Hsiao-Hien, one of the most popular directors of Taiwanese New Cinema along with Edward Yang, was still trying to find a cinematic language for his films, one which strongly resembled the works of Yasujiro Ozu in terms of style and content, the sense of resignation, as he writes...
In the aftermath of the New York Film Festival, reporter Vincent Canby wrote an article about the films of the festival he aptly named “Why Some Films Don't Travel Well”. Works such as Zhang Yimou's “Red Sorghum”, Andrei Konchalovsky's “Asya's Happiness” and Hou Hsiao-Hsien's “Daughter of the Nile” are mostly relevant thanks to their “sociology factor” Canby begins his article, an aspect that these works are and have been applauded for around the world while as films themselves they are not that interesting. Hou Hsiao-Hien, one of the most popular directors of Taiwanese New Cinema along with Edward Yang, was still trying to find a cinematic language for his films, one which strongly resembled the works of Yasujiro Ozu in terms of style and content, the sense of resignation, as he writes...
- 2/13/2024
- by Rouven Linnarz
- AsianMoviePulse
NYC Weekend Watch is our weekly round-up of repertory offerings.
Museum of Modern Art
A massive run of Luis Buñuel’s Mexican films begins; “To Save and Project,” continues.
Film at Lincoln Center
“Never Look Away: Serge Daney’s Radical 1970s” brings films by Tati, Samuel Fuller, Nicholas Ray (x2), Godard, Straub-Huillet, Pasolini, and more.
Film Forum
“Sapph-o-rama” highlights lesbian cinema with films by Chantal Akerman, Lizzie Borden, Ulrike Ottinger, Yvonne Rainer, Celine Sciamma, and more; a 4K restoration of The Pianist, I Heard It Through the Grapevine, and The Third Man continue; a print of Calamity Jane plays on Sunday.
IFC Center
As Francis Ford Coppola’s latest recut, One from the Heart: Reprise, continues, Bertrand Bonello’s masterpiece Coma gets a New York premiere and a Dario Argento series begins; Barb and Star Go to Vista Del Mar plays late.
Roxy Cinema
Cronenberg’s Crash and Keith McNally...
Museum of Modern Art
A massive run of Luis Buñuel’s Mexican films begins; “To Save and Project,” continues.
Film at Lincoln Center
“Never Look Away: Serge Daney’s Radical 1970s” brings films by Tati, Samuel Fuller, Nicholas Ray (x2), Godard, Straub-Huillet, Pasolini, and more.
Film Forum
“Sapph-o-rama” highlights lesbian cinema with films by Chantal Akerman, Lizzie Borden, Ulrike Ottinger, Yvonne Rainer, Celine Sciamma, and more; a 4K restoration of The Pianist, I Heard It Through the Grapevine, and The Third Man continue; a print of Calamity Jane plays on Sunday.
IFC Center
As Francis Ford Coppola’s latest recut, One from the Heart: Reprise, continues, Bertrand Bonello’s masterpiece Coma gets a New York premiere and a Dario Argento series begins; Barb and Star Go to Vista Del Mar plays late.
Roxy Cinema
Cronenberg’s Crash and Keith McNally...
- 2/2/2024
- by Nick Newman
- The Film Stage
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
Once upon a time, there was the Swedish queen of crime Camilla Läckberg, steadily delivering international best-selling adult/children’s books, cook books and song lyrics.
Some of her books have turned into series –“The Fjällbacka Murders” – or soon will be – “The Golden Age,’ optioned by Legendary Entertainment.
One day she met Swedish star actor Alexander Karim while shooting the Swedish show “Stars in the Castle” (“Stjärnorna på slotet”).
“We started talking TV, movies, creative ideas and immediately hit it off!” Läckberg tells Variety, in a zoom interview ahead of Göteborg’s Nordic Film Market. There, her executive produced thriller “The Dog,” starring Alexander Karim and helmed by his brother Baker Karim (“Malcolm”), is having its market world premiere.
The Karim brothers and Läckberg are, moreover, now ‘partners in crime’ in Bad Flamingo Studios (Bfs), a Stockholm-based film and TV production outfit founded to “break the film industry’s norms and barriers.
Some of her books have turned into series –“The Fjällbacka Murders” – or soon will be – “The Golden Age,’ optioned by Legendary Entertainment.
One day she met Swedish star actor Alexander Karim while shooting the Swedish show “Stars in the Castle” (“Stjärnorna på slotet”).
“We started talking TV, movies, creative ideas and immediately hit it off!” Läckberg tells Variety, in a zoom interview ahead of Göteborg’s Nordic Film Market. There, her executive produced thriller “The Dog,” starring Alexander Karim and helmed by his brother Baker Karim (“Malcolm”), is having its market world premiere.
The Karim brothers and Läckberg are, moreover, now ‘partners in crime’ in Bad Flamingo Studios (Bfs), a Stockholm-based film and TV production outfit founded to “break the film industry’s norms and barriers.
- 1/29/2024
- by Annika Pham
- Variety Film + TV
On its face, Criterion’s Chantal Akerman Masterpieces, 1968–1978 is an essential set for offering key early works, some more obscure than others, from the career of one of the great film artists. But the pleasures here run deeper. Akerman used each of her initial films as a springboard to the next, and watching them in chronological order sees her consolidating and complicating her aesthetic and thematic preoccupations with each successive project.
Consider Akerman’s first film, 1968’s Saute ma ville. Akerman made this 13-minute short at the age of 18, and its debt to the antic energy and seriocomic political inclinations of the French New Wave makes it an outlier in a body of work fixated on structuralism and more meditative atmospheres. Yet in the film’s depiction of a young woman (Akerman herself) trashing her apartment emerges an outlandish expression of what will become a more somberly explored theme in upcoming shorts,...
Consider Akerman’s first film, 1968’s Saute ma ville. Akerman made this 13-minute short at the age of 18, and its debt to the antic energy and seriocomic political inclinations of the French New Wave makes it an outlier in a body of work fixated on structuralism and more meditative atmospheres. Yet in the film’s depiction of a young woman (Akerman herself) trashing her apartment emerges an outlandish expression of what will become a more somberly explored theme in upcoming shorts,...
- 1/26/2024
- by Jake Cole
- Slant Magazine
NYC Weekend Watch is our weekly round-up of repertory offerings.
Film at Lincoln Center
“Never Look Away: Serge Daney’s Radical 1970s” brings films by Kurosawa, Bresson, Tati, Godard and more.
IFC Center
As Francis Ford Coppola’s latest recut, One from the Heart: Reprise, continues, Bertrand Bonello’s masterpiece Coma gets a New York premiere; Ken Russell’s Whore, Saw III, and Mad Max: Beyond Thunderdome also have late showings.
Roxy Cinema
A Ryan O’Neal retrospective brings The Driver on 35mm and Partners, while Cronenberg’s Crash shows on a print; City Dudes returns on Saturday and Sunday brings a puppet program and the Iranian feature Downpour plays on Sunday.
Film Forum
A 4K restoration of The Pianist begins a run while I Heard It Through the Grapevine and The Third Man continue; The Sunshine Boys plays on Sunday.
Museum of the Moving Image
A retrospective of snubbed performances brings films by Howard Hawks,...
Film at Lincoln Center
“Never Look Away: Serge Daney’s Radical 1970s” brings films by Kurosawa, Bresson, Tati, Godard and more.
IFC Center
As Francis Ford Coppola’s latest recut, One from the Heart: Reprise, continues, Bertrand Bonello’s masterpiece Coma gets a New York premiere; Ken Russell’s Whore, Saw III, and Mad Max: Beyond Thunderdome also have late showings.
Roxy Cinema
A Ryan O’Neal retrospective brings The Driver on 35mm and Partners, while Cronenberg’s Crash shows on a print; City Dudes returns on Saturday and Sunday brings a puppet program and the Iranian feature Downpour plays on Sunday.
Film Forum
A 4K restoration of The Pianist begins a run while I Heard It Through the Grapevine and The Third Man continue; The Sunshine Boys plays on Sunday.
Museum of the Moving Image
A retrospective of snubbed performances brings films by Howard Hawks,...
- 1/26/2024
- by Nick Newman
- The Film Stage
Presented by Adobe, Presenting Sponsor and official editing solution of the 2024 Sundance Film Festival. For more information, click here.
“Risk…can be the catalyst that propels you forward” is a quote from Robert Redford that lives on the Sundance Institute website, a fitting message from the festival founder that has a forty-plus year history cultivating the careers of many first time filmmakers. Quentin Tarantino, Robert Rodriguez, David O. Russell, Paul Thomas Anderson, Ryan Coogler, Ava DuVernay, Chloé Zhao, Cathy Yan, and Wes Anderson all made a name during the Park City event.
For the 2024 installation the tradition of directors premiering their debut project continues with over 90 films and episodic titles being showcased for the 40th edition of the Sundance Film Festival. Among them are eight titles whose editing teams looked to Adobe Creative Cloud apps to craft their stories. From an uncertain teen trying to fit in, a grandma on an action-packed revenge quest,...
“Risk…can be the catalyst that propels you forward” is a quote from Robert Redford that lives on the Sundance Institute website, a fitting message from the festival founder that has a forty-plus year history cultivating the careers of many first time filmmakers. Quentin Tarantino, Robert Rodriguez, David O. Russell, Paul Thomas Anderson, Ryan Coogler, Ava DuVernay, Chloé Zhao, Cathy Yan, and Wes Anderson all made a name during the Park City event.
For the 2024 installation the tradition of directors premiering their debut project continues with over 90 films and episodic titles being showcased for the 40th edition of the Sundance Film Festival. Among them are eight titles whose editing teams looked to Adobe Creative Cloud apps to craft their stories. From an uncertain teen trying to fit in, a grandma on an action-packed revenge quest,...
- 1/21/2024
- by IndieWire Staff
- Indiewire
The film is about two brothers who discover each other later in life and bond over a love of music.
Playtime has scooped international sales to Emmanuel Courcol’s social comedyThe Marching Band starring Benjamin Lavernhe, whose credits include L’Abbé-Pierre: A Century Of Devotion and Jeanne Du Barry.
Produced by Agat Films and now in post, the €6.5m film follows a successful orchestra conductor with discovers he was adopted and has a younger brother. Pierre Lottin co-stars.
The film is produced by Marc Bordure and Robert Guédiguian’s prolific Agat Films of Godard by Godard, Amore Mio and Holly,...
Playtime has scooped international sales to Emmanuel Courcol’s social comedyThe Marching Band starring Benjamin Lavernhe, whose credits include L’Abbé-Pierre: A Century Of Devotion and Jeanne Du Barry.
Produced by Agat Films and now in post, the €6.5m film follows a successful orchestra conductor with discovers he was adopted and has a younger brother. Pierre Lottin co-stars.
The film is produced by Marc Bordure and Robert Guédiguian’s prolific Agat Films of Godard by Godard, Amore Mio and Holly,...
- 1/12/2024
- by Rebecca Leffler
- ScreenDaily
The film is about two brothers who discover each other later in life and bond over a love of music.
Playtime has scooped international sales to Emmanuel Courcol’s social comedyThe Marching Band starring Benjamin Lavernhe, whose credits include L’Abbé-Pierre: A Century Of Devotion and Jeanne Du Barry.
Produced by Agat Films and now in post, the €6.5m film follows a successful orchestra conductor with discovers he was adopted and has a younger brother. Pierre Lottin co-stars.
The film is produced by Marc Bordure and Robert Guédiguian’s prolific Agat Films of Godard by Godard, Amore Mio and Holly,...
Playtime has scooped international sales to Emmanuel Courcol’s social comedyThe Marching Band starring Benjamin Lavernhe, whose credits include L’Abbé-Pierre: A Century Of Devotion and Jeanne Du Barry.
Produced by Agat Films and now in post, the €6.5m film follows a successful orchestra conductor with discovers he was adopted and has a younger brother. Pierre Lottin co-stars.
The film is produced by Marc Bordure and Robert Guédiguian’s prolific Agat Films of Godard by Godard, Amore Mio and Holly,...
- 1/12/2024
- by Rebecca Leffler
- ScreenDaily
As an end-of-year gift to our writers and readers, we've compiled a user-friendly overview of our publishing highlights from 2023. The collection is broken down by category: essays, interviews, festival coverage, and recurring columns.Browse at your leisure, and raise a glass to our brilliant contributors!Meanwhile, you can catch up with all of our end-of-year coverage here.{{notebook_form}}ESSAYSContemporary Cinema:Cinema as Sacrament: The Limitations of Killers of the Flower Moon by Adam PironA Change of Season: Trần Anh Hùng and Frederick Wiseman's Culinary Cinema by Phuong LeWalking, Talking, & Hurting Feelings: Nicole Holofcener's Everyday Dramas by Rafaela BassiliThe Limits of Control: Lines of Power in Todd Field's Tár by Helen CharmanThe Art of Losing: Joanna Hogg's Haunted Houses by Laura StaabTreading Water: Avatar: The Way of Water by Evan Calder WilliamsThe African Accent and the Colonial Ear by Maxine SibihwanaTen Minutes, but a Few Meters Longer:...
- 1/3/2024
- MUBI
Following The Film Stage’s collective top 50 films of 2023, as part of our year-end coverage, our contributors are sharing their personal top 10 lists.
In all honesty, the films of 2023 should take a backseat to the images we are seeing every day in Gaza, where journalists and average citizens have been recording and documenting a daily assault on their homes and livelihoods by the Idf. Whatever fakery we watched and enjoyed in the cinema this year should always be kept in perspective in importance with images that are real and actually happening right now. The Palestinians who have documented these important images have been targeted and killed with intent and purpose to silence what their photos and videos are showing and saying.
List of journalists who have been killed.
The below is of lesser note:
Best First Watches:
Angel’s Egg La belle noiseuse Centipede Horror Charley Varrick Coffy Crimson Gold...
In all honesty, the films of 2023 should take a backseat to the images we are seeing every day in Gaza, where journalists and average citizens have been recording and documenting a daily assault on their homes and livelihoods by the Idf. Whatever fakery we watched and enjoyed in the cinema this year should always be kept in perspective in importance with images that are real and actually happening right now. The Palestinians who have documented these important images have been targeted and killed with intent and purpose to silence what their photos and videos are showing and saying.
List of journalists who have been killed.
The below is of lesser note:
Best First Watches:
Angel’s Egg La belle noiseuse Centipede Horror Charley Varrick Coffy Crimson Gold...
- 1/3/2024
- by Soham Gadre
- The Film Stage
Every 10 years, the British Film Institute pulls together critics from around the world to vote on its “Sight and Sound” poll to determine the best films ever made. In the most recent poll, traditional heavy-hitters like “Vertigo” and “Citizen Kane” were pushed aside as a new film was crowned the greatest.
According to the critics, the best film ever made is “Jeanne Dielman, 23, quai du Commerce, 1080 Brussels” from 1975. You can catch this classic with a 7-day free trial of Max. In fact, a whopping 41 films from this list can be found on Max.
7-Day Free Trial $9.99+ / month Max via amazon.com
The list contains masterworks from geniuses like Kubrick, Chaplin, Scorsese, Wilder, Godard, Miyazaki, and Hitchcock. The most recent films on the list both come from 2019: “Parasite” and “Portrait of a Lady on Fire.”
So pop the popcorn and fire up your favorite streaming device. Here’s the list of movies that surpass all others.
According to the critics, the best film ever made is “Jeanne Dielman, 23, quai du Commerce, 1080 Brussels” from 1975. You can catch this classic with a 7-day free trial of Max. In fact, a whopping 41 films from this list can be found on Max.
7-Day Free Trial $9.99+ / month Max via amazon.com
The list contains masterworks from geniuses like Kubrick, Chaplin, Scorsese, Wilder, Godard, Miyazaki, and Hitchcock. The most recent films on the list both come from 2019: “Parasite” and “Portrait of a Lady on Fire.”
So pop the popcorn and fire up your favorite streaming device. Here’s the list of movies that surpass all others.
- 12/29/2023
- by Ben Bowman
- The Streamable
With a title that invokes both the specific (cinema of Godard) and the universal (cinema is Godard), Cyril Leuthy’s Godard Cinema finds itself in conversation with another formulation: Everything is Cinema. Richard Brody’s 2008 study of the filmmaker, is beautifully sentenced, dare-ing criticism; one wonders, sometimes, if his honest contrarianism is the result of a theoretical attempt to widen the possibilities for transmission and reception of image and narrative. Such an attempt finds a natural bedfellow in the mercurial cinema of Jean-Luc Godard. Leuthy’s hagiographic documentary, on the other hand, is an awkward fit for Godard’s polyrhythmic image collisions.
That Brody will be on hand to introduce Leuthy’s film to kick off its New York run at Film Forum speaks, perhaps, to the heart and head-felt intentions of Leuthy, a documentary filmmaker who’s worked as a director and editor of several film histories, including a...
That Brody will be on hand to introduce Leuthy’s film to kick off its New York run at Film Forum speaks, perhaps, to the heart and head-felt intentions of Leuthy, a documentary filmmaker who’s worked as a director and editor of several film histories, including a...
- 12/15/2023
- by Frank Falisi
- The Film Stage
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
Godard had once said that to make a good movie, all one needs is a woman and a gun. All Souls takes this a little too much to heart. Indeed, there is a woman here named River who gets a gun to save her daughter from the clutches of the monstrous drug lord who happens to be the child’s father, and that is all there is to it. In its runtime of about 70 minutes, All Souls, directed by Emmanuelle Pickett, tries to create a throttling and gritty atmosphere, but the film suffers because neither there is a freshness to the narrative nor is there a deeper take on violence, femininity, motherhood, or confidential informanthood, for that matter. We have seen monsters before on celluloid who you know will harm children if they have to, and if the movie’s aim was to put us in the shoes of a...
- 12/12/2023
- by Ayush Awasthi
- Film Fugitives
The Archies Movie Review Rating:
Star Cast: Agastya Nanda, Khushi Kapoor, Suhana Khan, Vedang Raina, Mihir Ahuja, Yuvraj Menda, Dot.
Director: Zoya Akhtar
The Archies Movie Review Out ( Photo Credit – Instagram )
What’s Good: Aesthetics, looks, feel!
What’s Bad: Story, narration, screenplay, dialogues, performances, existence!
Loo Break: There are 16 songs; choose any of them!
Watch or Not?: Only if you haven’t read Archie’s comics, because if you have, you’ll hate it even more
Available On: Netflix
Runtime: 2 hours 23 minutes
User Rating:
It’s 1964, we are in Riverdale, a fictional hilltown set in North India dominated by an Anglo-Indian community; and we’re introduced to ‘Green Park’ by Archie Andrews (Agastya Nanda), who explains the history attached to it. Apart from loving Green Park, Archie also likes the Brunnete Veronica Lodge (Suhana Khan) and Blonde Betty Cooper (Khushi Kapoor) at the same time.
The confusing love...
Star Cast: Agastya Nanda, Khushi Kapoor, Suhana Khan, Vedang Raina, Mihir Ahuja, Yuvraj Menda, Dot.
Director: Zoya Akhtar
The Archies Movie Review Out ( Photo Credit – Instagram )
What’s Good: Aesthetics, looks, feel!
What’s Bad: Story, narration, screenplay, dialogues, performances, existence!
Loo Break: There are 16 songs; choose any of them!
Watch or Not?: Only if you haven’t read Archie’s comics, because if you have, you’ll hate it even more
Available On: Netflix
Runtime: 2 hours 23 minutes
User Rating:
It’s 1964, we are in Riverdale, a fictional hilltown set in North India dominated by an Anglo-Indian community; and we’re introduced to ‘Green Park’ by Archie Andrews (Agastya Nanda), who explains the history attached to it. Apart from loving Green Park, Archie also likes the Brunnete Veronica Lodge (Suhana Khan) and Blonde Betty Cooper (Khushi Kapoor) at the same time.
The confusing love...
- 12/7/2023
- by Umesh Punwani
- KoiMoi
If you purchase an independently reviewed product or service through a link on our website, Variety may receive an affiliate commission.
It’s (almost) the most wonderful time of the year! As Christmas fast approaches, and the holiday craze begins to set in, you still have a few weeks to square away gifts for everyone on your list this year — no stress necessary.
Plus, companies are making it easier than ever to make your way through your shopping list this year, thanks to bountiful Black Friday deals (which are already kicking online), and fun new gadgets across a wide array of categories that will excite everyone on your list.
From this Breville Espresso Machine to this Mandalorian Razor Crest Lego set to these unrivaled Bowers and Wilkins over-ear headphones, here are the absolute best gifts for every person on your list.
For the Criterion Collector Pierrot le Fou (The Criterion...
It’s (almost) the most wonderful time of the year! As Christmas fast approaches, and the holiday craze begins to set in, you still have a few weeks to square away gifts for everyone on your list this year — no stress necessary.
Plus, companies are making it easier than ever to make your way through your shopping list this year, thanks to bountiful Black Friday deals (which are already kicking online), and fun new gadgets across a wide array of categories that will excite everyone on your list.
From this Breville Espresso Machine to this Mandalorian Razor Crest Lego set to these unrivaled Bowers and Wilkins over-ear headphones, here are the absolute best gifts for every person on your list.
For the Criterion Collector Pierrot le Fou (The Criterion...
- 12/1/2023
- by Anna Tingley
- Variety Film + TV
There was a time when Japanese filmmaker Kijū Yoshida was a cinephile’s mark of exquisite taste. While not entirely obscure, his work has been less-discussed than those of contemporaries Ōshima, Imamura, and Suzuki, even if he’s always been grouped among them as a key author of the Japanese New Wave.
In the early years of online cinephilia, mentioning Yoshida was a sort of a code, a way to signal that your knowledge about Japanese cinema from that era was a bit more nuanced. It is, in many ways, thanks to this interest that these films are more widely talked-about and now the subject of Film at Lincoln Center’s retrospective running from December 1-8.
My introduction to Yoshida’s cinema came courtesy Allan Fish, a self-taught critic who watched films (and TV) from all over the world and wrote vivaciously about the moving image on his blog Wonders in the Dark.
In the early years of online cinephilia, mentioning Yoshida was a sort of a code, a way to signal that your knowledge about Japanese cinema from that era was a bit more nuanced. It is, in many ways, thanks to this interest that these films are more widely talked-about and now the subject of Film at Lincoln Center’s retrospective running from December 1-8.
My introduction to Yoshida’s cinema came courtesy Allan Fish, a self-taught critic who watched films (and TV) from all over the world and wrote vivaciously about the moving image on his blog Wonders in the Dark.
- 11/30/2023
- by Jaime Grijalba
- The Film Stage
“Do Not Expect Too Much From the End of the World,” from Romania’s Radu Jude, added to its ever larger silverware collection, winning the top Albar Award at Spain’s Gijón Festival.
Gijón’s big win join not only a Special Jury Prize at August’s Locarno Film Festival, where the film was the most talked about – one of Jude’s aims– and lauded of competition titles among reviewers, plus a Chicago Silver Hugo best performance nod (Ilinca Manolache) in October and a Lisbon Fest Jury Prize late last month.
Over 61 editions, and most especially when José Luis Cienfuegos, now Valladolid chief, took over its reins in 1995, the Gijón-Xijón Film Festival (Ficx) has carved out an identity as highlighting edgier international auteurs and indie fare, moving into promoting often more singular movies from a burgeoning new generation of Spanish filmmakers, greeted with enthusiasm by discerning and predominantly YA audiences...
Gijón’s big win join not only a Special Jury Prize at August’s Locarno Film Festival, where the film was the most talked about – one of Jude’s aims– and lauded of competition titles among reviewers, plus a Chicago Silver Hugo best performance nod (Ilinca Manolache) in October and a Lisbon Fest Jury Prize late last month.
Over 61 editions, and most especially when José Luis Cienfuegos, now Valladolid chief, took over its reins in 1995, the Gijón-Xijón Film Festival (Ficx) has carved out an identity as highlighting edgier international auteurs and indie fare, moving into promoting often more singular movies from a burgeoning new generation of Spanish filmmakers, greeted with enthusiasm by discerning and predominantly YA audiences...
- 11/27/2023
- by Pablo Sandoval
- Variety Film + TV
The struggle to keep movie theaters alive gets very personal in “Showdown at the Grand,” an enjoyable tribute to retro exploitation pictures with Terrance Howard as a movie palace proprietor besieged by diminishing receipts and violent goons. Dolph Lundgren plays the former action star who shows up for a personal appearance, then stays to help save the joint from those agents of unscrupulous developers. More low-key homage than campy cartoon, writer-director Orson Oblowitz’s fourth feature does manage to deliver some tongue-in-cheek mayhem in an extended climax.
The setting is an actual vintage art deco temple for cinema, San Pedro’s Warner Grand, though rather than being managed by the City of Los Angeles (as it is off-screen), it’s kept alive here as a none-too-successful for-profit labor of love by George Fuller (Howard). Decked out in cowboy duds as if he were an actor himself, George is also projectionist,...
The setting is an actual vintage art deco temple for cinema, San Pedro’s Warner Grand, though rather than being managed by the City of Los Angeles (as it is off-screen), it’s kept alive here as a none-too-successful for-profit labor of love by George Fuller (Howard). Decked out in cowboy duds as if he were an actor himself, George is also projectionist,...
- 11/7/2023
- by Dennis Harvey
- Variety Film + TV
“Black God, White Devil” is so not what you’d expect from a director who’d write a manifesto titled “The Aesthetics of Hunger.” That treatise, published shortly after this film was released in 1964, was the 25-year-old Brazilian Glauber Rocha’s plea for a new type of filmmaking that the “Third World” should adopt to expose the exploitation of their countries by the global north. It’s a staple of film studies classes to this day.
“Black God, White Devil,” however, is far from homework. The Brazilian film is a pulsing, anarchic vision that makes it feel like a progenitor to the then-just-nascent Spaghetti Western movement in Italy. This is a different kind of manifesto, one that feels written in bullets, a shoot-’em-up that marries a propulsive plot and extremely memorable characters to its revolutionary politics.
Janus Films has given a 4K restoration to this masterwork, that’ll premiere...
“Black God, White Devil,” however, is far from homework. The Brazilian film is a pulsing, anarchic vision that makes it feel like a progenitor to the then-just-nascent Spaghetti Western movement in Italy. This is a different kind of manifesto, one that feels written in bullets, a shoot-’em-up that marries a propulsive plot and extremely memorable characters to its revolutionary politics.
Janus Films has given a 4K restoration to this masterwork, that’ll premiere...
- 10/30/2023
- by Christian Blauvelt
- Indiewire
Wim Wenders has had a very good year, earning strong reviews out of Cannes for “Perfect Days” before the film was selected as Japan’s official Oscar submission. But despite his recent success, the “Paris, Texas” and “Wings of Desire” director is deeply concerned about cinema’s future.
In a press conference at the Lumiere Film Festival (via Variety), Wenders expressed his support for the recently concluded Writers Guild of America strike and the ongoing SAG-AFTRA strike. He explained that artificial intelligence poses an existential threat to art that can only be avoided by keeping humans involved in the creative process.
“Actors and screenwriters are afraid of becoming obsolete,” Wenders said. “With AI everything gets done very fast. You give three ideas and a few ideas and the next day you have a new script that many studio executives will want to use because that’s what they wanted. For...
In a press conference at the Lumiere Film Festival (via Variety), Wenders expressed his support for the recently concluded Writers Guild of America strike and the ongoing SAG-AFTRA strike. He explained that artificial intelligence poses an existential threat to art that can only be avoided by keeping humans involved in the creative process.
“Actors and screenwriters are afraid of becoming obsolete,” Wenders said. “With AI everything gets done very fast. You give three ideas and a few ideas and the next day you have a new script that many studio executives will want to use because that’s what they wanted. For...
- 10/21/2023
- by Christian Zilko
- Indiewire
While at the Lumiere Film Festival in Lyon, German film master Wim Wenders said he shares Martin Scorsese’s deep concern over Hollywood’s obsession with sequels, and worries about AI in line with U.S. actors who are still on strike.
“Actors and screenwriters are afraid of becoming obsolete,” said Wenders when addressing the ongoing SAG-AFTRA strike during a press conference on Saturday. The veteran writer-director, who had two films playing at the Cannes Film Festival, “Perfect Days” in competition and “Anselm” in Special Screenings, received the Lumière Award on Friday night during a star-studded ceremony hosted by the festival’s boss Thierry Fremaux, who is also Cannes’ chief.
“With AI everything gets done very fast,” said Wenders. “You give three ideas and a few ideas and the next day you have a new script that many studio executives will want to use because that’s what they wanted.
“Actors and screenwriters are afraid of becoming obsolete,” said Wenders when addressing the ongoing SAG-AFTRA strike during a press conference on Saturday. The veteran writer-director, who had two films playing at the Cannes Film Festival, “Perfect Days” in competition and “Anselm” in Special Screenings, received the Lumière Award on Friday night during a star-studded ceremony hosted by the festival’s boss Thierry Fremaux, who is also Cannes’ chief.
“With AI everything gets done very fast,” said Wenders. “You give three ideas and a few ideas and the next day you have a new script that many studio executives will want to use because that’s what they wanted.
- 10/21/2023
- by Elsa Keslassy
- Variety Film + TV
Rodrigo Moreno’s heist thriller The Delinquents has many tricks up its sleeve, from outsized musical motifs to droll office comedy. Yet one of the most potent tools at Moreno’s disposal is one that was unplanned. Like the events chronicled in the film, the production spread out across over five years, a duration that created a space for the Argentine writer-director to contemplate deep existential questions as if in parallel with his characters. It’s but one pane in a full house of mirrors that creates some fascinating cinematic refractions.
Though the robbery of a Buenos Aires bank marks the inciting incident of The Delinquents, this sui generis crime caper quickly moves beyond tactical considerations and enters a philosophical realm for Morán (Daniel Elías) and Román (Esteban Bigliardi). The former of the two bank employees smuggles out enough money for both men to retire, wagering that a few years...
Though the robbery of a Buenos Aires bank marks the inciting incident of The Delinquents, this sui generis crime caper quickly moves beyond tactical considerations and enters a philosophical realm for Morán (Daniel Elías) and Román (Esteban Bigliardi). The former of the two bank employees smuggles out enough money for both men to retire, wagering that a few years...
- 10/19/2023
- by Marshall Shaffer
- Slant Magazine
Jean-Pierre Melville in Breathless.The artist’s interview at its best—at its most entertaining and challenging—is a space for self-mythologization. Interviews can give the illusion of intimacy and deepen our understanding of the subject’s work and perspectives, but the exaggerations, contradictions, and omissions that a complex public image affords can frustrate that understanding, add mystique, and set in motion a perhaps knowingly futile pursuit of the artist's "real self." A good interview provides us with more questions than answers. All interviews involve the subject’s negotiation between what to reveal and what to conceal; the result could be called their persona. And if they so desire, everything is costume: the way the artist moves, talks, dresses, holds a cigarette, reacts to the interviewer or audience. Consider Andy Warhol’s masterful inarticulacy from behind his matte, pale mask, dodging the press’s intrusive questions; the way Prince sets...
- 10/19/2023
- MUBI
When ITV switched on its new streaming service Itvx in December 2022, the initial promise was to deliver 10,000 hours of free content, including originals such as Damian Lewis drama A Spy Among Friends, which the commercial broadcaster hope would establish the platform as “the UK’s freshest streaming service.”
It certainly marked a big step up from its previous streaming incarnation, ITV Hub, which mainly served as a catch-up TV service rather than a content destination. But still, industry onlookers were sceptical.
In Europe, the wider narrative has been that the continent’s big commercial beasts have focused far too many resources on retaining their aging linear audiences and, as a result, had left it too late to catch up with the global streamers in their local market. They even trailed public broadcaster services such as Britain’s BBC iPlayer and Italy’s RaiPlay by a distance, according to many analysts and market watchers.
It certainly marked a big step up from its previous streaming incarnation, ITV Hub, which mainly served as a catch-up TV service rather than a content destination. But still, industry onlookers were sceptical.
In Europe, the wider narrative has been that the continent’s big commercial beasts have focused far too many resources on retaining their aging linear audiences and, as a result, had left it too late to catch up with the global streamers in their local market. They even trailed public broadcaster services such as Britain’s BBC iPlayer and Italy’s RaiPlay by a distance, according to many analysts and market watchers.
- 10/16/2023
- by Jesse Whittock
- Deadline Film + TV
There is gunplay aplenty in this Spanish thriller about a young renegade who can create illusions with his mind – with some neat touches amid the mayhem
Directed by Daniel Benmayor, this Spanish mashup of Inception, Scanners, The Fury and The Matrix follows 18-year-old Ian (Carlos Scholz), whose parents were Perceivers: a species of cold war spy chemically engineered to be able to project illusions with their minds. Most were killed off in a cull known as the Disinfection, which makes Ian, who has inherited his parents’ powers, especially valuable. Strolling into a bank brandishing a scrap of paper, he can wordlessly persuade the teller that it is a cheque ready to be cashed. Pointing his finger, he makes an adversary fall to the ground from a nonexistent bullet wound.
No wonder sinister forces are out to exploit the lad. Swooping to his rescue is Adriana (Lela Loren), an operative from...
Directed by Daniel Benmayor, this Spanish mashup of Inception, Scanners, The Fury and The Matrix follows 18-year-old Ian (Carlos Scholz), whose parents were Perceivers: a species of cold war spy chemically engineered to be able to project illusions with their minds. Most were killed off in a cull known as the Disinfection, which makes Ian, who has inherited his parents’ powers, especially valuable. Strolling into a bank brandishing a scrap of paper, he can wordlessly persuade the teller that it is a cheque ready to be cashed. Pointing his finger, he makes an adversary fall to the ground from a nonexistent bullet wound.
No wonder sinister forces are out to exploit the lad. Swooping to his rescue is Adriana (Lela Loren), an operative from...
- 10/10/2023
- by Ryan Gilbey
- The Guardian - Film News
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