Jeanne Moreau was to French cinema as Manet’s “Olympia” was to French painting — the personification of the gait, glance, and gesture of modern life. Her darting brown eyes and enigmatic moue were the face of the French New Wave. Her candid sensuality and self-assurance, not to mention the suggestion that she was always in control, made her the epitome of the New Woman. From Orson Welles and Luis Bunuel to Joseph Losey and Rainer Werner Fassbinder, Moreau was the muse to the greatest directors of world cinema.
“She has all the qualities one expects in a woman,” quipped Francois Truffaut, director of her most beloved film, “Jules and Jim” (1962), “plus all those one expects in a man — without the inconveniences of either.”
Surprisingly, this quintessence of French femininity had an English mother, a dancer at the Folies Bergere. Her French father, a hotelier and restaurateur, upon learning that his daughter likewise had theatrical ambitions,...
“She has all the qualities one expects in a woman,” quipped Francois Truffaut, director of her most beloved film, “Jules and Jim” (1962), “plus all those one expects in a man — without the inconveniences of either.”
Surprisingly, this quintessence of French femininity had an English mother, a dancer at the Folies Bergere. Her French father, a hotelier and restaurateur, upon learning that his daughter likewise had theatrical ambitions,...
- 7/31/2017
- by Carrie Rickey
- Indiewire
With 4K digital restoration and re-release of Alain Resnais' 1959 classic, Hiroshima Mon Amour, Film Society of Lincoln Center announces a series devoted to the film works of a Nouveau Roman giant Marguerite Duras who provided the screenplay for the film. Duras, along with Alain Robbe-Grillet, was part of the Left Bank film movement and hugely influential for coming of French New Wave.Putting a big emphasis on mood and dialogue, Duras' elliptical stories have long been well regarded and respected by the film giants like Resnais and Godard. The film series presents 10 features and 3 shorts, 9 of which she directed - notables include, India Song, Le Camion, Natalie Granger, Madmoiselle (dir. Tony Richardson), Moderato Cantabile (dir. Peter Brook) and Every Man for Himself...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 10/14/2014
- Screen Anarchy
Above: 1960 poster by Jerzy Flisak for Wild Strawberries (Ingmar Bergman, Sweden, 1957)
One of my favorite Polish poster designers, or indeed favorite poster designer from any country, is Jerzy Flisak (1930-2008). Incredibly prolific—I’ve seen maybe 200 Flisak movie posters and he made many more during his 30 year career—Flisak started out as a satirical cartoonist. A cheerful, simple, almost childlike style is evident in much of his work, which tends towards the bright, bold and colorful, often peopled with rosy cheeked buxom ladies. Much of that work is terrific and quite well known—like his posters for The Fireman’s Ball and Paper Moon—but what draws me to Flisak is his work that pulls in the opposite direction: towards the more serious, abstract and monochrome. Before Flisak was a cartoonist he had studied architecture and there is a very strong sense of structure, space and form in his work.
One of my favorite Polish poster designers, or indeed favorite poster designer from any country, is Jerzy Flisak (1930-2008). Incredibly prolific—I’ve seen maybe 200 Flisak movie posters and he made many more during his 30 year career—Flisak started out as a satirical cartoonist. A cheerful, simple, almost childlike style is evident in much of his work, which tends towards the bright, bold and colorful, often peopled with rosy cheeked buxom ladies. Much of that work is terrific and quite well known—like his posters for The Fireman’s Ball and Paper Moon—but what draws me to Flisak is his work that pulls in the opposite direction: towards the more serious, abstract and monochrome. Before Flisak was a cartoonist he had studied architecture and there is a very strong sense of structure, space and form in his work.
- 1/12/2014
- by Adrian Curry
- MUBI
Born in Barcelona on April 16, 1893 to a Catalan lawyer and his French wife, Frederic (a.k.a. Federico) Mompou was educated in Paris. Shyness kept him from a career as a pianist, though while at the Paris Conservatory, he studied piano with Isidor Philipp, among whose teachers were Saint-Saëns and Chopin's best student, George Mathias. Though he was initially influenced by Fauré's music, by the time Mompou arrived in Paris, the Impressionists reigned supreme, and that style profoundly shaped his own compositional evolution. (For that matter, Philipp was a friend of Debussy's and often played his piano music.) After a long dry spell as a composer, and the Nazi invasion in 1941, Mompou returned to his native Catalonia (the northeastern-most region of Spain), where he lived for the rest of his long life.
He continued to concentrate on solo piano miniatures, though he also published six song cycles, a couple of choral works,...
He continued to concentrate on solo piano miniatures, though he also published six song cycles, a couple of choral works,...
- 6/30/2012
- by SteveHoltje
- www.culturecatch.com
Chicago – At age 50, Michael Winterbottom is still one of the freshest talents on the block. His ability to reinvent himself is almost unparalleled at a time when many of the world’s most respected filmmakers go to the same well once too often. Granted, some of Winterbottom’s experiments pay off more than others, but when they succeed, they do so on a grand scale.
“A Summer in Genoa” is one of the best films Winterbottom has ever made. Americans audiences already seem to have forgotten the picture, which debuted to little fanfare in 2008 (a year after the director’s Angelina Jolie vehicle, “A Mighty Heart”). Since Winterbottom’s prolific work ethic parallels that of filmmakers half his age, he approached “Genoa” as yet another shoestring experiment, baring several stylistic similarities to the documentary realism in his 2004 effort, “9 Songs.”
DVD Rating: 5.0/5.0
Yet “Genoa” proves to be a riveting example of...
“A Summer in Genoa” is one of the best films Winterbottom has ever made. Americans audiences already seem to have forgotten the picture, which debuted to little fanfare in 2008 (a year after the director’s Angelina Jolie vehicle, “A Mighty Heart”). Since Winterbottom’s prolific work ethic parallels that of filmmakers half his age, he approached “Genoa” as yet another shoestring experiment, baring several stylistic similarities to the documentary realism in his 2004 effort, “9 Songs.”
DVD Rating: 5.0/5.0
Yet “Genoa” proves to be a riveting example of...
- 4/11/2011
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
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