Announced from this year’s Cannes Film Festival, Projeto Paradiso – a Brazilian private foundation that supports local film and TV professionals – is teaming with the Centre des Écritures Cinématographiques (Ceci) – an artistic cultural center in Moulin d’Andé, France – on a new screenwriting residency for Brazilian filmmakers. The initiative, part of the Projeto Paradiso Residencies Program, has also received support from the French Embassy in Brazil.
Applications for this year’s first residency will be invite-only and distributed to screenwriter-directors working on their second or third feature. The program is looking for projects destined for a theatrical release, with no restrictions on genre or theme. Any selected project must plan to work with a French co-producer.
According to Josephine Bourgois, executive director of Projeto Paradiso, “This opportunity is intended for Brazilian filmmakers who need space, time, and structure to develop their creative freedom. In addition to flexible personal and pedagogical support,...
Applications for this year’s first residency will be invite-only and distributed to screenwriter-directors working on their second or third feature. The program is looking for projects destined for a theatrical release, with no restrictions on genre or theme. Any selected project must plan to work with a French co-producer.
According to Josephine Bourgois, executive director of Projeto Paradiso, “This opportunity is intended for Brazilian filmmakers who need space, time, and structure to develop their creative freedom. In addition to flexible personal and pedagogical support,...
- 5/21/2024
- by Jamie Lang
- Variety Film + TV
Martin Scorsese now has a Letterboxd profile, and he took the opportunity to list companion films for every movie he’s ever made on the social media platform for cinephiles.
“I love the idea of putting different films together into one program. I grew up seeing double features, programs in repertory houses, evenings of avant-garde films in storefront theatres,” he wrote on his Companion Films page. “You always learn something, see something in a new light, because every movie is in conversation with every other movie. The greater difference between the pictures, the better.”
For his latest film, “Killers of the Flower Moon” adapted from David Grann’s best-selling book, Scorses suggested it be paired with “The Heiress” (1949), “The Last of the Line” (1914), “The Lady of the Dugout” (1918), “Blood on the Moon” (1948), “Red River” (1948) and “Wild River” (1960).
For “Goodfellas” (1990), Scorsese listed “Ocean’s Eleven” (1960) and “Jules and Jim” (1962).
The full list contains almost 60 films.
“I love the idea of putting different films together into one program. I grew up seeing double features, programs in repertory houses, evenings of avant-garde films in storefront theatres,” he wrote on his Companion Films page. “You always learn something, see something in a new light, because every movie is in conversation with every other movie. The greater difference between the pictures, the better.”
For his latest film, “Killers of the Flower Moon” adapted from David Grann’s best-selling book, Scorses suggested it be paired with “The Heiress” (1949), “The Last of the Line” (1914), “The Lady of the Dugout” (1918), “Blood on the Moon” (1948), “Red River” (1948) and “Wild River” (1960).
For “Goodfellas” (1990), Scorsese listed “Ocean’s Eleven” (1960) and “Jules and Jim” (1962).
The full list contains almost 60 films.
- 10/26/2023
- by Dessi Gomez
- The Wrap
Chinese actress Zhou Dongyu, who is in Cannes with Anthony Chen’s Un Certain Regard title The Breaking Ice, has had a fairytale career trajectory.
Although she had no desire to act, she was plucked from obscurity by Zhang Yimou when still a high school student in 2010, and became one of China’s most respected young actresses, with a string of award-winning films.
She agreed to star in The Breaking Ice as soon as Chen called her and before he’d even written the script. She’d worked with him before on short film The Break Away, part of Neon-produced anthology The Year Of The Everlasting Storm, which Chen had directed remotely during the pandemic.
“He called and said he wanted to shoot a film in China, quite quickly over the winter, because he had a month free when another project was postponed,” Zhou tells Deadline. “I agreed immediately...
Although she had no desire to act, she was plucked from obscurity by Zhang Yimou when still a high school student in 2010, and became one of China’s most respected young actresses, with a string of award-winning films.
She agreed to star in The Breaking Ice as soon as Chen called her and before he’d even written the script. She’d worked with him before on short film The Break Away, part of Neon-produced anthology The Year Of The Everlasting Storm, which Chen had directed remotely during the pandemic.
“He called and said he wanted to shoot a film in China, quite quickly over the winter, because he had a month free when another project was postponed,” Zhou tells Deadline. “I agreed immediately...
- 5/26/2023
- by Liz Shackleton
- Deadline Film + TV
In June of 2021, Singaporean filmmaker Anthony Chen, acclaimed for his intimate, realist dramas Ilo Ilo (2013) and Wet Season (2019), was invited to serve on the jury of the Shanghai International Film Festival. As part of his participation in the event, he was asked to give a round of interviews to local Chinese journalists and critics. During one of these sessions, a Chinese writer began by praising the director’s family dramas by describing them as uncommonly “mature and precise” for a filmmaker of his age — Chen is 39 today, but was just 29 when he became the first Singaporean to win Cannes’ Camera d’Or prize with Ilo Ilo in 2013 — but he also challenged Chen by asking, “What do you think your films would be like if you let go of control and worked with a freer spirit?”
As the filmmaker wrapped up his time in Shanghai and flew back to London, where...
As the filmmaker wrapped up his time in Shanghai and flew back to London, where...
- 5/20/2023
- by Patrick Brzeski
- The Hollywood Reporter - Movie News
When discussing the masters of French cinema, one name consistently stands out among the rest: François Truffaut. A pioneering director, screenwriter, and film critic, Truffaut left an indelible mark on the world of cinema, both in France and internationally. With a career spanning over three decades and numerous accolades to his name, Truffaut’s influence can be felt in the works of contemporary filmmakers to this day.
In this article, we will explore the life and career of François Truffaut, delving into the birth of the French New Wave, his key films, and his signature style and themes. We will also examine the impact Truffaut has had on contemporary filmmakers and his lasting legacy in French cinema. Finally, we will provide a list of essential François Truffaut films for those looking to immerse themselves in his remarkable body of work.
The Birth of the French New Wave
The French New Wave,...
In this article, we will explore the life and career of François Truffaut, delving into the birth of the French New Wave, his key films, and his signature style and themes. We will also examine the impact Truffaut has had on contemporary filmmakers and his lasting legacy in French cinema. Finally, we will provide a list of essential François Truffaut films for those looking to immerse themselves in his remarkable body of work.
The Birth of the French New Wave
The French New Wave,...
- 4/26/2023
- by Movies Martin Cid Magazine
- Martin Cid Magazine - Movies
Titles comprise ’Lillian Gish’, ‘Lumiere’ and ’L’Adolescente’.
Three films directed by iconic French actress Jeanne Moreau have been sold to King Records for Japan by Paris-based Carlotta Films.
The titles, packaged under the banner Jeanne Moreau, Filmmaker, comprise Lumière, L’Adolescente and documentary Lillian Gish. The trio is also set to be screened in April’s Hong Kong International Film Festival.
The features’ restoration was initiated and supported by Fond Jeanne Moreau, and spotlights the lesser-known filmmaking talents of the late star of Jules And Jim, Seven Days… Seven Nights, Elevator To The Gallows and La Notte.
Lillian Gish is a...
Three films directed by iconic French actress Jeanne Moreau have been sold to King Records for Japan by Paris-based Carlotta Films.
The titles, packaged under the banner Jeanne Moreau, Filmmaker, comprise Lumière, L’Adolescente and documentary Lillian Gish. The trio is also set to be screened in April’s Hong Kong International Film Festival.
The features’ restoration was initiated and supported by Fond Jeanne Moreau, and spotlights the lesser-known filmmaking talents of the late star of Jules And Jim, Seven Days… Seven Nights, Elevator To The Gallows and La Notte.
Lillian Gish is a...
- 3/14/2023
- by Jean Noh
- ScreenDaily
What’s your favorite scary movie?
Well, “Scream VI” star Jenna Ortega already has a list of her go-to horror films.
The “X” and “Wednesday” actress made her debut in the “Scream” franchise with 2022’s fifth installment. A newly-minted scream queen (literally), Ortega’s lifelong love of horror and gore has framed her decade-spanning career.
“I love horror films. I don’t know what it is about having blood thrown on your face and running around screaming bloody murder,” Ortega said during “The Tonight Show with Jimmy Fallon” in January 2023. “It really is so therapeutic, so much fun.”
However, Ortega has never pigeonholed herself solely as a one-note horror actress.
“I never really considered it because a lot of what I do is horror, and they all have these moody and nasty qualities, but what I love is that they also have a sassy teenage nature,” Ortega told Who What Wear.
Well, “Scream VI” star Jenna Ortega already has a list of her go-to horror films.
The “X” and “Wednesday” actress made her debut in the “Scream” franchise with 2022’s fifth installment. A newly-minted scream queen (literally), Ortega’s lifelong love of horror and gore has framed her decade-spanning career.
“I love horror films. I don’t know what it is about having blood thrown on your face and running around screaming bloody murder,” Ortega said during “The Tonight Show with Jimmy Fallon” in January 2023. “It really is so therapeutic, so much fun.”
However, Ortega has never pigeonholed herself solely as a one-note horror actress.
“I never really considered it because a lot of what I do is horror, and they all have these moody and nasty qualities, but what I love is that they also have a sassy teenage nature,” Ortega told Who What Wear.
- 3/9/2023
- by Samantha Bergeson
- Indiewire
It may feel like throuples are a distinctly modern romantic arrangement – but this couldn’t be further from the case.
In fact, consensual non-monogamy, such as a ménage à trois, goes back centuries. It can even be found in the bible.
Recently, David Haye has been the subject of speculation surrounding his private life, with fans claiming that the ex-boxer is in a three-way relationship with model Sian Osborne and The Saturdays singer Una Healy.
On Valentine’s Day, Haye appeared to confirm the rumours, with Healy also sharing a coy message on Instagram alluding to the relationship.
When it comes to depictions of polyamorous relationships in film and TV, good examples have traditionally been few and far between.
But that’s not to say there haven’t been any – from pre-code classics to modern indie dramas, there are plenty of films and TV series which place the spotlight on...
In fact, consensual non-monogamy, such as a ménage à trois, goes back centuries. It can even be found in the bible.
Recently, David Haye has been the subject of speculation surrounding his private life, with fans claiming that the ex-boxer is in a three-way relationship with model Sian Osborne and The Saturdays singer Una Healy.
On Valentine’s Day, Haye appeared to confirm the rumours, with Healy also sharing a coy message on Instagram alluding to the relationship.
When it comes to depictions of polyamorous relationships in film and TV, good examples have traditionally been few and far between.
But that’s not to say there haven’t been any – from pre-code classics to modern indie dramas, there are plenty of films and TV series which place the spotlight on...
- 2/15/2023
- by Louis Chilton
- The Independent - Film
The burning and very current topic of radicalization of Indian youth is the core subject of Harshad Nalawade’s “Follower.”
The film has its world premiere at the International Film Festival Rotterdam’s Focus: The Shape of Things to Come? strand that asks if the institutional success of what used to be right-wing Hindu nationalist groups but are now mainstream, and the persecution of dissenting voices, is a sign of the shape of things to come.
The project was a work-in-progress lab selection at South Asia’s top film market, Film Bazaar, in 2021, and participated in the Film Bazaar Goes to Cannes initiative at the Marche du Film in 2022.
The film follows Raghavendra, a young man with a technical degree who unwillingly works in the family gift shop. A few incidents draw him toward a charismatic Hindu leader and he becomes a meagrely paid keyboard warrior for a radical online outlet.
The film has its world premiere at the International Film Festival Rotterdam’s Focus: The Shape of Things to Come? strand that asks if the institutional success of what used to be right-wing Hindu nationalist groups but are now mainstream, and the persecution of dissenting voices, is a sign of the shape of things to come.
The project was a work-in-progress lab selection at South Asia’s top film market, Film Bazaar, in 2021, and participated in the Film Bazaar Goes to Cannes initiative at the Marche du Film in 2022.
The film follows Raghavendra, a young man with a technical degree who unwillingly works in the family gift shop. A few incidents draw him toward a charismatic Hindu leader and he becomes a meagrely paid keyboard warrior for a radical online outlet.
- 1/28/2023
- by Naman Ramachandran
- Variety Film + TV
Filmmaker Sally Potter discusses a few of her favorite movies with hosts Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
Orlando (1992)
Look At Me (2022)
The Roads Not Taken (2020)
Singin’ In The Rain (1952) – John Landis’s trailer commentary
On The Town (1949)
Seven Brides For Seven Brothers (1954) – John Landis’s trailer commentary, Glenn Erickson’s Blu-ray review
Whisky Galore! (1949) – Charlie Largent’s Blu-ray review
Battleship Potemkin (1925)
8 ½ (1963) – Allan Arkush’s trailer commentary
Monsieur Hulot’s Holiday (1953)
Jules and Jim (1962) – Michael Peyser’s trailer commentary
Au Hasard Balthazar (1966) – Charlie Largent’s Criterion Blu-ray review
Persona (1966)
On The Waterfront (1954) – John Badham’s trailer commentary
Sweet Smell Of Success (1957)
Citizen Kane (1941) – John Landis’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
The Third Man (1949) – George Hickenlooper’s trailer commentary, Randy Fuller’s wine pairings
Come And See (1985) – Larry Karaszewski’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
The Cranes Are...
Show Notes: Movies Referenced In This Episode
Orlando (1992)
Look At Me (2022)
The Roads Not Taken (2020)
Singin’ In The Rain (1952) – John Landis’s trailer commentary
On The Town (1949)
Seven Brides For Seven Brothers (1954) – John Landis’s trailer commentary, Glenn Erickson’s Blu-ray review
Whisky Galore! (1949) – Charlie Largent’s Blu-ray review
Battleship Potemkin (1925)
8 ½ (1963) – Allan Arkush’s trailer commentary
Monsieur Hulot’s Holiday (1953)
Jules and Jim (1962) – Michael Peyser’s trailer commentary
Au Hasard Balthazar (1966) – Charlie Largent’s Criterion Blu-ray review
Persona (1966)
On The Waterfront (1954) – John Badham’s trailer commentary
Sweet Smell Of Success (1957)
Citizen Kane (1941) – John Landis’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
The Third Man (1949) – George Hickenlooper’s trailer commentary, Randy Fuller’s wine pairings
Come And See (1985) – Larry Karaszewski’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
The Cranes Are...
- 11/8/2022
- by Kris Millsap
- Trailers from Hell
Say what you will about Quentin Tarantino, but he never backs down from a controversial take. The filmmaker has made a career out of his ability to elevate the exploitation films he loves into high art, and has never shied away from defending the cinema that inspired him. And his tendency to appreciate the lowbrow is matched by a willingness to criticize some of cinema’s most revered figures when he thinks the praise they get is unwarranted.
The September issue of Sight & Sound features an interview with Tarantino and his “Video Archives Podcast” co-host Roger Avary and highlighted several notable clips from their podcast. Per usual, Tarantino didn’t mince words when discussing his film opinions. When discussing the films of Claude Chabrol on an episode of the show, he found time to criticize the work of François Truffaut, particularly the thrillers that the director made later in his career.
The September issue of Sight & Sound features an interview with Tarantino and his “Video Archives Podcast” co-host Roger Avary and highlighted several notable clips from their podcast. Per usual, Tarantino didn’t mince words when discussing his film opinions. When discussing the films of Claude Chabrol on an episode of the show, he found time to criticize the work of François Truffaut, particularly the thrillers that the director made later in his career.
- 8/27/2022
- by Christian Zilko
- Indiewire
The reign of Sony’s “Spider-Man: No Way Home” atop the U.K. and Ireland box office has finally ended with Universal’s animation sequel “Sing 2” claiming the throne.
“Sing 2,” directed by Garth Jennings and featuring a stellar voice cast of Matthew McConaughey, Reese Witherspoon, Scarlett Johansson and Taron Egerton among many others, debuted in pole position with £6.8 million ($9.2 million), according to numbers released by Comscore.
Another Universal release, Kenneth Branagh’s awards season favorite “Belfast,” retained its second position from last week with £1.8 million and now has £6 million after two weekends.
After six weeks as box office champion, “Spider-Man: No Way Home” placed third with £1.7 million. After seven weekends, the film has swung to a total of £90 million and is in sixth place on the all-time U.K. and Ireland charts. The film’s next target is “Avatar,” which currently occupies fifth place with £94 million.
Paramount’s...
“Sing 2,” directed by Garth Jennings and featuring a stellar voice cast of Matthew McConaughey, Reese Witherspoon, Scarlett Johansson and Taron Egerton among many others, debuted in pole position with £6.8 million ($9.2 million), according to numbers released by Comscore.
Another Universal release, Kenneth Branagh’s awards season favorite “Belfast,” retained its second position from last week with £1.8 million and now has £6 million after two weekends.
After six weeks as box office champion, “Spider-Man: No Way Home” placed third with £1.7 million. After seven weekends, the film has swung to a total of £90 million and is in sixth place on the all-time U.K. and Ireland charts. The film’s next target is “Avatar,” which currently occupies fifth place with £94 million.
Paramount’s...
- 2/1/2022
- by Naman Ramachandran
- Variety Film + TV
Entering the “likely a money-laundering scheme for Spanish businessmen” part of his European travelogue era, Woody Allen turns uniquely narrow-minded and bitter with Rifkin’s Festival, which takes aim at the film culture that’s both alienated and abandoned him this past decade. Exciting though it is to see the proverbial gloves come off, the hands, sadly, don’t get very dirty.
Beginning on the therapist couch, film critic, professor, and failed novelist Mort Rifkin recounts the story of how he accompanied his wife Sue (Gina Gershon) to the prestigious San Sebastián International Film Festival, where she was handling publicity for Philippe (Louis Garrel), a socially conscious, classic-American-cinema-loving filmmaker diametrically opposed to Mort’s own cinephilic principles. It’s hard to pinpoint what straw man Allen’s exactly going after here—perhaps Phillippe is just a stand-in for all the millennial A24 directors who’ve pissed him off in recent years—but regardless,...
Beginning on the therapist couch, film critic, professor, and failed novelist Mort Rifkin recounts the story of how he accompanied his wife Sue (Gina Gershon) to the prestigious San Sebastián International Film Festival, where she was handling publicity for Philippe (Louis Garrel), a socially conscious, classic-American-cinema-loving filmmaker diametrically opposed to Mort’s own cinephilic principles. It’s hard to pinpoint what straw man Allen’s exactly going after here—perhaps Phillippe is just a stand-in for all the millennial A24 directors who’ve pissed him off in recent years—but regardless,...
- 1/27/2022
- by Ethan Vestby
- The Film Stage
"As fresh, playful, and enigmatic as ever." BFI has released a brand new trailer for the 60th anniversary re-release of François Truffaut's iconic classic Jules et Jim. The film originally opened in France on January 23rd, 1962 - exactly 60 years ago this week. It's getting a full theatrical re-release in the UK in February. No US plan has been set yet. François Truffaut's hugely popular New Wave classic sees Jeanne Moreau at her most ebullient as Catherine, a Parisian beauty caught up in a complex ménage à trois with the two friends of the title – one Austrian, the other French – just before the First World War. "A romantic rollercoaster of a movie, it’s fast, funny, stylish and affecting all at once." From BFI: "This re-release of Jules et Jim is part of a major Truffaut retrospective which also includes a re-release of The 400 Blows, a two-month season at BFI Southbank,...
- 1/26/2022
- by Alex Billington
- firstshowing.net
Easing his way back into U.S. theaters after a two-year hiatus and an explosively accusatory four-part documentary, Allen v. Farrow, that aired on HBO in 2021, Woody Allen returns with Rifkin’s Festival, an airy, lazy, though rather likable overseas rom-com served with a dose of melancholia and several large portions of cinematic nostalgia.
Shot in picturesque San Sebastián and based around the city’s annual international film festival, Rifkin rehashes bits of earlier Allen efforts, including the artist character from Vicky Cristina Barcelona — does he think all Spanish men are strapping, sexed-up figurative painters? — while revisiting some of his favorite movies in a new light.
The result seems to be primarily aimed at the director’s own age group — a demographic that hasn’t exactly been leading the box office charge these days and that could render this release from MPI Media Group (who briefly put out A Rainy...
Shot in picturesque San Sebastián and based around the city’s annual international film festival, Rifkin rehashes bits of earlier Allen efforts, including the artist character from Vicky Cristina Barcelona — does he think all Spanish men are strapping, sexed-up figurative painters? — while revisiting some of his favorite movies in a new light.
The result seems to be primarily aimed at the director’s own age group — a demographic that hasn’t exactly been leading the box office charge these days and that could render this release from MPI Media Group (who briefly put out A Rainy...
- 1/25/2022
- by Jordan Mintzer
- The Hollywood Reporter - Movie News
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSHong Sang-soo's The Novelist's Film (2022)The competition slate has been announced for this year's Berlinale, featuring the latest by Hong Sang-soo, Claire Denis, Rithy Panh, Phyllis Nagy, Ulrich Seidl, and more. Find the rest of the lineup here. In an interview with Variety, executive Mariette Rissenbeek and artistic director Carlo Chatrian discuss their plans for the festival to be an in-person event. Actor Michel Subor has died at the age of 86. Subor captivated audiences with his performances in films like Jean-Luc Godard's Le petit soldat (1960)—he also was the narrator for François Truffaut's Jules and Jim (1962)—and a number of films by Claire Denis, from Beau travail (1999) and L'intrus (2004) to White Material (2009) and Bastards (2013). We recommend reading Yasmina Price's excellent essay on L'intrus and Subor's distinct historiography as an actor. Recommended VIEWINGThe...
- 1/19/2022
- MUBI
Michel Subor, a French actor who rose to international acclaim for his lead performance in Jean-Luc Godard’s 1963 feature “Le Petit Soldat” and his narration for François Truffaut’s 1962 romance “Jules et Jim,” died on Monday in a French hospital following a car accident. He was 86 years old.
News of Subor’s death was shared by director Claire Denis on her Instagram and reported by the daily French newspaper Libération. Subor and Denis had collaborated numerous times over the past decades, with their partnership beginning with Subor’s performance in Denis’ 1999 feature “Beau Travail.”
“Michel Subor, the big little soldier is dead,” Denis wrote. Her words have been translated from French. “Our Bruno, the commander.”
View this post on Instagram
A post shared by Claire Denis (@clairedenis6)
Born Mischa Subotzki in Paris, France on Feb. 2, 1935, Subor was raised by parents who had immigrated from the Soviet Union a few years earlier.
News of Subor’s death was shared by director Claire Denis on her Instagram and reported by the daily French newspaper Libération. Subor and Denis had collaborated numerous times over the past decades, with their partnership beginning with Subor’s performance in Denis’ 1999 feature “Beau Travail.”
“Michel Subor, the big little soldier is dead,” Denis wrote. Her words have been translated from French. “Our Bruno, the commander.”
View this post on Instagram
A post shared by Claire Denis (@clairedenis6)
Born Mischa Subotzki in Paris, France on Feb. 2, 1935, Subor was raised by parents who had immigrated from the Soviet Union a few years earlier.
- 1/18/2022
- by J. Kim Murphy
- Variety Film + TV
Each week we highlight the noteworthy titles that have recently hit streaming platforms in the United States. Check out this week’s selections below and past round-ups here.
The Fever (Maya Da-Rin)
The Fever, director-cum-visual artist Da-Rin’s first full-length feature project, puts a human face to a statistic that hardly captures the genocide Brazil is suffering. This is not just a wonderfully crafted, superb exercise in filmmaking, a multilayered tale that seesaws between social realism and magic. It is a call to action, an unassuming manifesto hashed in the present tense but reverberating as a plea from a world already past us, a memoir of sorts. – Leonardo G. (full review)
Where to Stream: The Criterion Channel
French New Wave
Dive into one of the most fertile eras of moving pictures with a new massive 45-film series on The Criterion Channel dedicated to the French New Wave. Highlights include Le...
The Fever (Maya Da-Rin)
The Fever, director-cum-visual artist Da-Rin’s first full-length feature project, puts a human face to a statistic that hardly captures the genocide Brazil is suffering. This is not just a wonderfully crafted, superb exercise in filmmaking, a multilayered tale that seesaws between social realism and magic. It is a call to action, an unassuming manifesto hashed in the present tense but reverberating as a plea from a world already past us, a memoir of sorts. – Leonardo G. (full review)
Where to Stream: The Criterion Channel
French New Wave
Dive into one of the most fertile eras of moving pictures with a new massive 45-film series on The Criterion Channel dedicated to the French New Wave. Highlights include Le...
- 1/7/2022
- by Jordan Raup
- The Film Stage
Sony’s “Spider-Man: No Way Home” continued its reign at the top of the U.K. and Ireland box office for the third weekend in a row with £6.05 million ($8.2 million). The film now has a total of £69.8 million ($94.5 million), according to numbers from Comscore.
Disney prequel “The King’s Man” bowed strongly in second position with £3.4 million. “Clifford the Big Red Dog,” released by eOne, collected £778,802 in third place and now has a total of £5.9 million after four weekends.
In its second weekend, “The Matrix Resurrections” took £760,427 in fourth position and now has a total of £5.2 million. Rounding off the top five was Disney release, Steven Spielberg’s “West Side Story,” with £397,792. The film has collected £5.08 million after four weekends.
After being snubbed at the Academy Awards’ international feature category, Julia Ducournau’s Cannes winner “Titane” was released by Altitude and collected £121,920 in ninth position in its debut weekend.
Reliance Entertainment’s Bollywood cricket epic “’83,...
Disney prequel “The King’s Man” bowed strongly in second position with £3.4 million. “Clifford the Big Red Dog,” released by eOne, collected £778,802 in third place and now has a total of £5.9 million after four weekends.
In its second weekend, “The Matrix Resurrections” took £760,427 in fourth position and now has a total of £5.2 million. Rounding off the top five was Disney release, Steven Spielberg’s “West Side Story,” with £397,792. The film has collected £5.08 million after four weekends.
After being snubbed at the Academy Awards’ international feature category, Julia Ducournau’s Cannes winner “Titane” was released by Altitude and collected £121,920 in ninth position in its debut weekend.
Reliance Entertainment’s Bollywood cricket epic “’83,...
- 1/4/2022
- by Naman Ramachandran
- Variety Film + TV
[Editor’s Note: The following article contains spoilers for “Emily in Paris” Season 2.]
Ringarde, much?
Just when Emily (Lily Collins) began worming her way into viewers’ guarded, cynical hearts — her anti-feminist naiveté could be considered charming in a screwball, ironically patriarchal kind of way — the second season of Netflix’s “Emily in Paris” all but assassinated its titular character. Season 2 feels like being flung into an alternate Darren Star-helmed universe where Emily is no longer merely an inexperienced expat; she’s an idiot abroad.
And in 2021, is there anything more unlovable than an American with no remorse?
For all those who haven’t yet schlepped their luggage aboard — yes, Emily throws a tantrum in a luxury train car — here’s a little refresher on where Season 1 left off: Emily is resistant to learning French and immersing herself in the local Parisian culture. She also had an affair with local chef Gabriel (Lucas Bravo), jeopardizing her friendship with Gabriel’s girlfriend,...
Ringarde, much?
Just when Emily (Lily Collins) began worming her way into viewers’ guarded, cynical hearts — her anti-feminist naiveté could be considered charming in a screwball, ironically patriarchal kind of way — the second season of Netflix’s “Emily in Paris” all but assassinated its titular character. Season 2 feels like being flung into an alternate Darren Star-helmed universe where Emily is no longer merely an inexperienced expat; she’s an idiot abroad.
And in 2021, is there anything more unlovable than an American with no remorse?
For all those who haven’t yet schlepped their luggage aboard — yes, Emily throws a tantrum in a luxury train car — here’s a little refresher on where Season 1 left off: Emily is resistant to learning French and immersing herself in the local Parisian culture. She also had an affair with local chef Gabriel (Lucas Bravo), jeopardizing her friendship with Gabriel’s girlfriend,...
- 12/24/2021
- by Samantha Bergeson
- Indiewire
Bones star Emily Deschanel discusses a few of her favorite films with hosts Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
The Shining (1980) – Adam Rifkin’s trailer commentary
Dumb And Dumber (1994)
Dude, Where’s My Car? (2000)
This Is Spinal Tap (1984) – John Landis’s trailer commentary
Crusoe (1988)
Watership Down (1978)
Gandhi (1982)
Small Soldiers (1998)
Waiting For Guffman (1996)
Best In Show (2000) – Allan Arkush’s trailer commentary
Vertigo (1958) – Dan Ireland’s trailer commentary, Glenn Erickson’s Blu-ray review,
Marnie (1964) – Dan Irleand’s trailer commentary, Larry Cohen’s trailer commentary, Randy Fuller’s wine pairing recommendation
La Femme Nikita (1991)
Psycho (1960) – John Landis’s trailer commentary, Glenn Erickson’s Blu-ray review, Randy Fuller’s wine pairing recommendation
Psycho (1998) – Ti West’s trailer commentary
Citizen Kane (1941) – John Landis’s trailer commentary
Rear Window (1954) – Glenn Erickson’s Blu-ray review
Topaz (1969)
Foreign Correspondent (1940) – Larry Cohen’s trailer commentary
North By Northwest (1959)
Notorious (1946) – John Landis’s trailer commentary,...
Show Notes: Movies Referenced In This Episode
The Shining (1980) – Adam Rifkin’s trailer commentary
Dumb And Dumber (1994)
Dude, Where’s My Car? (2000)
This Is Spinal Tap (1984) – John Landis’s trailer commentary
Crusoe (1988)
Watership Down (1978)
Gandhi (1982)
Small Soldiers (1998)
Waiting For Guffman (1996)
Best In Show (2000) – Allan Arkush’s trailer commentary
Vertigo (1958) – Dan Ireland’s trailer commentary, Glenn Erickson’s Blu-ray review,
Marnie (1964) – Dan Irleand’s trailer commentary, Larry Cohen’s trailer commentary, Randy Fuller’s wine pairing recommendation
La Femme Nikita (1991)
Psycho (1960) – John Landis’s trailer commentary, Glenn Erickson’s Blu-ray review, Randy Fuller’s wine pairing recommendation
Psycho (1998) – Ti West’s trailer commentary
Citizen Kane (1941) – John Landis’s trailer commentary
Rear Window (1954) – Glenn Erickson’s Blu-ray review
Topaz (1969)
Foreign Correspondent (1940) – Larry Cohen’s trailer commentary
North By Northwest (1959)
Notorious (1946) – John Landis’s trailer commentary,...
- 7/20/2021
- by Kris Millsap
- Trailers from Hell
“A love letter to cinema” was the tired-but-true trope that everyone trotted out when Quentin Tarantino’s “Once Upon a Time in Hollywood,” the movie, hit theaters two years ago. But it’s now clear just how insufficient a mere mash note to the movies was for Tarantino. This week saw the arrival of “Once Upon a Time in Hollywood,” the 400-page book, as his epic Penthouse Forum Letter to cinema. You’ll know this trade-paperback novelization is cineaste-populist porn when you see it.
The end result is not so much like reliving the movie on the page — although the book does have a few scenes in which the dialogue and descriptive beats are transcribed note-for-note from the screenplay — as much as a catalog of constant diversions that’s like being locked inside the New Beverly for a week with Pauline Kael, Harry Knowles and Leonard Maltin. Let that intrigue...
The end result is not so much like reliving the movie on the page — although the book does have a few scenes in which the dialogue and descriptive beats are transcribed note-for-note from the screenplay — as much as a catalog of constant diversions that’s like being locked inside the New Beverly for a week with Pauline Kael, Harry Knowles and Leonard Maltin. Let that intrigue...
- 7/3/2021
- by Chris Willman
- Variety Film + TV
Writer, director and actress Rebecca Miller discusses a few of her favorite films with hosts Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
Personal Velocity: Three Portraits (2002)
The Ballad Of Jack And Rose (2005)
The Private Lives Of Pippa Lee (2009)
Maggie’s Plan (2015)
Explorers (1985)
The Way We Were (1973)
Battleship Potemkin (1925)
Monsieur Hulot’s Holiday (1953)
Annie Hall (1977)
Repulsion (1965)
Rosemary’s Baby (1968)
Knife In The Water (1962)
The Tenant (1976)
Cries and Whispers (1972)
Persona (1966)
The Magician (1958)
Hour Of The Wolf (1968)
The Virgin Spring (1960)
The Seventh Seal (1957)
Abbott and Costello Meet Frankenstein (1948)
The Exorcist (1973)
The Shining (1980)
La Dolce Vita (1960)
Regarding Henry (1991)
Angela (1995)
Badlands (1973)
Casino (1995)
On The Waterfront (1954)
My Dinner with Andre (1981)
Jules and Jim (1962)
The Bitter Tears Of Petra von Kant (1972)
Wings Of Desire (1987)
The Killer Inside Me (1976)
The Killer Inside Me (2010)
Married To The Mob (1988)
Blue Velvet (1986)
Dune (1984)
Imitation Of Life (1934)
Imitation Of Life (1959)
Written On The Wind (1956)
Magnificent Obsession (1954)
All That Heaven Allows...
Show Notes: Movies Referenced In This Episode
Personal Velocity: Three Portraits (2002)
The Ballad Of Jack And Rose (2005)
The Private Lives Of Pippa Lee (2009)
Maggie’s Plan (2015)
Explorers (1985)
The Way We Were (1973)
Battleship Potemkin (1925)
Monsieur Hulot’s Holiday (1953)
Annie Hall (1977)
Repulsion (1965)
Rosemary’s Baby (1968)
Knife In The Water (1962)
The Tenant (1976)
Cries and Whispers (1972)
Persona (1966)
The Magician (1958)
Hour Of The Wolf (1968)
The Virgin Spring (1960)
The Seventh Seal (1957)
Abbott and Costello Meet Frankenstein (1948)
The Exorcist (1973)
The Shining (1980)
La Dolce Vita (1960)
Regarding Henry (1991)
Angela (1995)
Badlands (1973)
Casino (1995)
On The Waterfront (1954)
My Dinner with Andre (1981)
Jules and Jim (1962)
The Bitter Tears Of Petra von Kant (1972)
Wings Of Desire (1987)
The Killer Inside Me (1976)
The Killer Inside Me (2010)
Married To The Mob (1988)
Blue Velvet (1986)
Dune (1984)
Imitation Of Life (1934)
Imitation Of Life (1959)
Written On The Wind (1956)
Magnificent Obsession (1954)
All That Heaven Allows...
- 5/11/2021
- by Kris Millsap
- Trailers from Hell
All products and services featured by IndieWire are independently selected by IndieWire editors. However, IndieWire may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.
It’s hard to think of a cinematic movement more influential, and instantly recognizable, than the French New Wave. In the late 1950s, a group of young writers for the French publication “Cahiers du Cinéma” began to question the safe, compromising choices made by filmmakers and demand something more daring and honest. Many of these writers, including the likes of Jean-Luc Godard and François Truffaut, became filmmakers themselves. And the results were extraordinary.
Happy endings and sentimentality were replaced with stripped down, meandering plots with conclusions that were often unsatisfying. Many films used nonlinear storytelling, packing a stronger emotional punch by utilizing techniques that shocked the world. Slick production values were often abandoned,...
It’s hard to think of a cinematic movement more influential, and instantly recognizable, than the French New Wave. In the late 1950s, a group of young writers for the French publication “Cahiers du Cinéma” began to question the safe, compromising choices made by filmmakers and demand something more daring and honest. Many of these writers, including the likes of Jean-Luc Godard and François Truffaut, became filmmakers themselves. And the results were extraordinary.
Happy endings and sentimentality were replaced with stripped down, meandering plots with conclusions that were often unsatisfying. Many films used nonlinear storytelling, packing a stronger emotional punch by utilizing techniques that shocked the world. Slick production values were often abandoned,...
- 4/1/2021
- by Christian Zilko
- Indiewire
7 random things that happened on this day, January 23rd, in showbiz history
1962 François Truffaut's new wave classic Jules et Jim is released in France and Canada. It makes it to the US a couple of months later though it's not immediately embraced in the US. In the UK it's a different story and the film receives two BAFTA nominations: Best Film and Best Foreign Actress... ...
1962 François Truffaut's new wave classic Jules et Jim is released in France and Canada. It makes it to the US a couple of months later though it's not immediately embraced in the US. In the UK it's a different story and the film receives two BAFTA nominations: Best Film and Best Foreign Actress... ...
- 1/23/2021
- by NATHANIEL R
- FilmExperience
So, How Was Your 2020? is a series in which our favorite entertainers answer our questionnaire about the music, culture and memorable moments that shaped their year. We’ll be rolling these pieces out throughout December.
Jehnny Beth, the erstwhile frontwoman for noise-punks Savages, broke out with a solo album, To Love Is to Live, in 2020. Rather than rehash the pummeling guitars of her previous band, she crafted the record with keyboards and arrived at a uniquely dark sound that owes a debt both to Nine Inch Nails and Pj Harvey.
Jehnny Beth, the erstwhile frontwoman for noise-punks Savages, broke out with a solo album, To Love Is to Live, in 2020. Rather than rehash the pummeling guitars of her previous band, she crafted the record with keyboards and arrived at a uniquely dark sound that owes a debt both to Nine Inch Nails and Pj Harvey.
- 12/14/2020
- by Rolling Stone
- Rollingstone.com
The Pursuit Of Love executive producer Charles Collier has revealed that his production outfit Open Book and Moonage Pictures are planning to make three seasons of the buzzy Lily James period drama.
The adaptation of Nancy Mitford’s classic novel is a co-production between the BBC and Amazon, and Collier told a Mipcom Online+ event on Monday that his aim is also to bring the author’s two sequel books to the screen.
“It’s part of a trilogy of books. We hope to bring the books to life in future seasons, so The Pursuit Of Love Season 2 would be called Love In A Cold Climate based on a brilliant book by Nancy. The third book would become our third season, Don’t Tell Alfred,” he explained.
The Emily Mortimer-penned and -directed project follows James as free-spirited aristocrat Linda, who falls in love, first with a stuffy Tory politician,...
The adaptation of Nancy Mitford’s classic novel is a co-production between the BBC and Amazon, and Collier told a Mipcom Online+ event on Monday that his aim is also to bring the author’s two sequel books to the screen.
“It’s part of a trilogy of books. We hope to bring the books to life in future seasons, so The Pursuit Of Love Season 2 would be called Love In A Cold Climate based on a brilliant book by Nancy. The third book would become our third season, Don’t Tell Alfred,” he explained.
The Emily Mortimer-penned and -directed project follows James as free-spirited aristocrat Linda, who falls in love, first with a stuffy Tory politician,...
- 10/12/2020
- by Jake Kanter
- Deadline Film + TV
Exclusive: Nathanaël Karmitz, CEO at Paris-based Mk2, which operates the biggest art-house cinema network in France, is preaching patience for the re-opening of theaters.
Speaking to Deadline, Karmitz said that a mid-July opening, which has been bandied around Europe in the last two weeks, initially as a provisional timeline by the International Union of Cinemas (Unic), was unlikely.
More from DeadlineLysol Maker Warns Against Ingestion Of Disinfectants After Donald Trump Pitches Testing Their Use To Fight CoronavirusJoe Biden, At Showbiz-Centric Virtual Fundraiser, Says Donald Trump Will "Try To Kick Back The Election Somehow"Donald Trump Complains Joe Biden Is Getting A Media "Free Pass" -- As Pundits Say It's The President Who Is Getting A Nightly Gift Of Free Airtime
“Right now to have a projection in July, I think it’s not realistic,” the Mk2 boss commented. “We can say ‘we want to open’, ‘we want people to...
Speaking to Deadline, Karmitz said that a mid-July opening, which has been bandied around Europe in the last two weeks, initially as a provisional timeline by the International Union of Cinemas (Unic), was unlikely.
More from DeadlineLysol Maker Warns Against Ingestion Of Disinfectants After Donald Trump Pitches Testing Their Use To Fight CoronavirusJoe Biden, At Showbiz-Centric Virtual Fundraiser, Says Donald Trump Will "Try To Kick Back The Election Somehow"Donald Trump Complains Joe Biden Is Getting A Media "Free Pass" -- As Pundits Say It's The President Who Is Getting A Nightly Gift Of Free Airtime
“Right now to have a projection in July, I think it’s not realistic,” the Mk2 boss commented. “We can say ‘we want to open’, ‘we want people to...
- 4/24/2020
- by Tom Grater
- Deadline Film + TV
Appointment comes hot on heels of mk2’s Netflix deal in France.
Paris-based film company mk2 Films has hired Rosalie Varda to oversee the exploitation and promotion of its vast 800-title catalogue of classic films.
Varda is the daughter of late filmmaker Agnès Varda and actor and theatre director Antoine Bourseiller and the step-daughter of late film director Jacques Demy.
She forged a career in the cinema, theatre and opera worlds as a costume designer, working on films of Jean-Luc Godard and Demy.
From 2006 onwards, she collaborated closely with her mother on her projects, taking a producer credit on Faces,...
Paris-based film company mk2 Films has hired Rosalie Varda to oversee the exploitation and promotion of its vast 800-title catalogue of classic films.
Varda is the daughter of late filmmaker Agnès Varda and actor and theatre director Antoine Bourseiller and the step-daughter of late film director Jacques Demy.
She forged a career in the cinema, theatre and opera worlds as a costume designer, working on films of Jean-Luc Godard and Demy.
From 2006 onwards, she collaborated closely with her mother on her projects, taking a producer credit on Faces,...
- 4/21/2020
- by 1100388¦Melanie Goodfellow¦0¦
- ScreenDaily
Appointment comes hot on heels of mk2’s Netflix deal in France.
Paris-based film company mk2 Films has hired Rosalie Varda to oversee the exploitation and promotion of its vast 800-title catalogue of classic films.
Varda is the daughter of late filmmaker Agnès Varda and actor and theatre director Antoine Bourseiller and the step-daughter of late film director Jacques Demy.
She forged a career in the cinema, theatre and opera worlds as a costume designer, working on films of Jean-Luc Godard and Demy.
From 2006 onwards, she collaborated closely with her mother on her projects, taking a producer credit on Faces,...
Paris-based film company mk2 Films has hired Rosalie Varda to oversee the exploitation and promotion of its vast 800-title catalogue of classic films.
Varda is the daughter of late filmmaker Agnès Varda and actor and theatre director Antoine Bourseiller and the step-daughter of late film director Jacques Demy.
She forged a career in the cinema, theatre and opera worlds as a costume designer, working on films of Jean-Luc Godard and Demy.
From 2006 onwards, she collaborated closely with her mother on her projects, taking a producer credit on Faces,...
- 4/21/2020
- by 1100388¦Melanie Goodfellow¦0¦
- ScreenDaily
Collections of films by iconic directors such as François Truffaut and Charlie Chaplin are heading to Netflix as part of a wide-ranging deal struck with distributor MK2 Films.
The titles will be available only in France for now.
Twelve of Truffaut’s seminal films, including “Jules and Jim” and “The 400 Blows” (pictured), will launch on the streaming giant on April 24. The deal is particularly auspicious given France’s ongoing coronavirus lockdown, which is due to remain in place until May 11.
The pact between Netflix and the indie arthouse distributor covers a catalogue of 50 films directed by Truffaut, Chaplin, Demy, Alain Resnais, David Lynch, Emir Kusturica, Michael Haneke, Xavier Dolan, Steve McQueen and Krzysztof Kieslowski.
The agreement, however, is not exclusive, and select titles are still available on other platforms, such as Amazon Prime Video. However, the pact — which will see all 50 films rolled out throughout the year — does mark...
The titles will be available only in France for now.
Twelve of Truffaut’s seminal films, including “Jules and Jim” and “The 400 Blows” (pictured), will launch on the streaming giant on April 24. The deal is particularly auspicious given France’s ongoing coronavirus lockdown, which is due to remain in place until May 11.
The pact between Netflix and the indie arthouse distributor covers a catalogue of 50 films directed by Truffaut, Chaplin, Demy, Alain Resnais, David Lynch, Emir Kusturica, Michael Haneke, Xavier Dolan, Steve McQueen and Krzysztof Kieslowski.
The agreement, however, is not exclusive, and select titles are still available on other platforms, such as Amazon Prime Video. However, the pact — which will see all 50 films rolled out throughout the year — does mark...
- 4/20/2020
- by Manori Ravindran
- Variety Film + TV
50 classics films in catalogue will be available on Netflix in France in deal running for rest of 2020.
The works of French cinema legends François Truffaut and Jacques Demy will soon be available in France on streaming giant Netflix following a seven-month deal running to the end of 2020 with Paris-based film company mk2, which holds the catalogue rights to their filmographies.
The partnership will kick-off on April 24 with the release of 12 cult films by Truffaut, including Shoot The Piano Player, Jules And Jim, The 400 Blows, The Soft Skin and The Last Metro.
Over the coming months, some 50 classic films from...
The works of French cinema legends François Truffaut and Jacques Demy will soon be available in France on streaming giant Netflix following a seven-month deal running to the end of 2020 with Paris-based film company mk2, which holds the catalogue rights to their filmographies.
The partnership will kick-off on April 24 with the release of 12 cult films by Truffaut, including Shoot The Piano Player, Jules And Jim, The 400 Blows, The Soft Skin and The Last Metro.
Over the coming months, some 50 classic films from...
- 4/20/2020
- by 1100388¦Melanie Goodfellow¦0¦
- ScreenDaily
Netflix has announced a new partnership with M2K Films that will bring heavyweight auteurs such as Charlie Chaplin, François Truffaut, Jacques Demy, Alain Resnais, Krzysztof Kieślowski, and more to the streaming platform. The deal is set to bring 50 movies from the MK2 Films catalogue to Netflix throughout 2020, beginning April 24 with the launch of 12 Truffaut classics: “Bed and Board,” “Fahrenheit 451,” “Confidentially Yours,” “Jules and Jim,” “Love on the Run,” “Shoot the Piano Player,” “Stolen Kisses,” “The 400 Blows,” “The Last Metro,” “The Soft Skin,” “The Woman Next Door,” and “Two English Girls.”
Cinephile early adopters may remember that around 2007 and 2008, when Netflix first introduced streaming for some movies — via a blue “Instant Viewing” button that would appear next to certain titles in addition to the option to add the DVD to your queue — the service actually did include a sizable number of classic titles, including “Fahrenheit 451.” But as...
Cinephile early adopters may remember that around 2007 and 2008, when Netflix first introduced streaming for some movies — via a blue “Instant Viewing” button that would appear next to certain titles in addition to the option to add the DVD to your queue — the service actually did include a sizable number of classic titles, including “Fahrenheit 451.” But as...
- 4/20/2020
- by Zack Sharf
- Indiewire
Netflix has struck a deal with French company Mk2 to stream a selection of classic library titles, including Charlie Chaplin’s Modern Times and François Truffaut’s Jules et Jim, in French-speaking territories throughout 2020.
Netflix will host a total of 50 films from filmmakers such as Charlie Chaplin, Alain Resnais, David Lynch, Emir Kusturica, Jacques Demy, Michael Haneke, Xavier Dolan, Steve McQueen and Krzysztof Kieślowski.
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First up from April 24 will be a selection of 12 Francois Truffaut movies including The 400 Blows, Fahrenheit 451 and The Last Metro.
Mk2’s overall library features more than 800 titles, many of which have been restored into 2k and 4k.
Netflix will host a total of 50 films from filmmakers such as Charlie Chaplin, Alain Resnais, David Lynch, Emir Kusturica, Jacques Demy, Michael Haneke, Xavier Dolan, Steve McQueen and Krzysztof Kieślowski.
More from DeadlineNetflix Pays Near $20M To Win Auction For 'The Starling', Ted Melfi-Directed Melissa McCarthy-StarrerNetflix Sets Korean Thriller 'Time To Hunt' For April 23 After Court Injunction Lifts - Update'Tiger King' Snares More Than 5 Billion Streaming Minutes, Nielsen Says; Joel McHale Hosted New Episode Soars
First up from April 24 will be a selection of 12 Francois Truffaut movies including The 400 Blows, Fahrenheit 451 and The Last Metro.
Mk2’s overall library features more than 800 titles, many of which have been restored into 2k and 4k.
- 4/20/2020
- by Tom Grater
- Deadline Film + TV
This 80s gem throws up some strange messages for a family film, but its mind-bending meta-mania is a joy to watch under lockdown
See the other classic missed films in this seriesThe best arts and entertainment during self-isolation
It’s a classic case of being in the wrong place at the wrong time. Back to the Future was released in 1985, four years before I was born, and my early film education consisted of Disney, then Harry Potter, and then any and every romantic comedy. It wasn’t until my final years at school and my decision to study French at university that my cinematic horizons expanded. Following my teacher’s encouragement, I watched Truffaut’s Jules et Jim and The 400 Blows, the Three Colours trilogy, Amélie and Delicatessen. I even branched out into Spanish and a touch of German (The Lives of Others). Unless it was set in Hogwarts or Middle Earth,...
See the other classic missed films in this seriesThe best arts and entertainment during self-isolation
It’s a classic case of being in the wrong place at the wrong time. Back to the Future was released in 1985, four years before I was born, and my early film education consisted of Disney, then Harry Potter, and then any and every romantic comedy. It wasn’t until my final years at school and my decision to study French at university that my cinematic horizons expanded. Following my teacher’s encouragement, I watched Truffaut’s Jules et Jim and The 400 Blows, the Three Colours trilogy, Amélie and Delicatessen. I even branched out into Spanish and a touch of German (The Lives of Others). Unless it was set in Hogwarts or Middle Earth,...
- 4/20/2020
- by Katherine Purvis
- The Guardian - Film News
The pretty girl, the bad boy, the Champs-Élysées ... nope, never seen Jean-Luc Godard’s debut masterpiece. But I know what it’s about – don’t I?
See the other classic missed films in this series
I’ve never seen a Jean-Luc Godard movie. Or, I hadn’t, until this assignment. I know, embarrassing, especially for a so-called film critic. I’ve long blamed this gap in my knowledge on the fact that I didn’t take a first year university course in French New Wave cinema, but I know as well as anyone you don’t need to be a student to study. It’s not even that the Nouvelle Vague is a blind spot, necessarily – I’m an admirer of other films from the movement, such as Alain Resnais’s Hiroshima Mon Amour, Agnés Varda’s Cléo de 5 à 7, François Truffaut’s Jules et Jim and Jacques Demy...
See the other classic missed films in this series
I’ve never seen a Jean-Luc Godard movie. Or, I hadn’t, until this assignment. I know, embarrassing, especially for a so-called film critic. I’ve long blamed this gap in my knowledge on the fact that I didn’t take a first year university course in French New Wave cinema, but I know as well as anyone you don’t need to be a student to study. It’s not even that the Nouvelle Vague is a blind spot, necessarily – I’m an admirer of other films from the movement, such as Alain Resnais’s Hiroshima Mon Amour, Agnés Varda’s Cléo de 5 à 7, François Truffaut’s Jules et Jim and Jacques Demy...
- 4/1/2020
- by Simran Hans
- The Guardian - Film News
Looking for some good movies to keep you occupied while self-quarantining at home these days? How about watching some certified classics like Lawrence Of Arabia, To Kill A Mockingbird, The Miracle Worker, The Manchurian Candidate, Sweet Bird Of Youth, The Longest Day, Whatever Happened To Baby Jane? , The Music Man, Birdman Of Alcatraz, Dr. No (the first James Bond film), Days Of Wine And Roses, Jules And Jim, Divorce Italian Style, Lolita? I could go on and on with these films and several others which all have one thing in common. They were all released in 1962.
And now with so much time on your hands you can see for yourself why film critic Stephen Farber and veteran exhibition executive Michael McClellan are out to prove that 1962 is in hindsight – 58 years later – unquestionably the best year ever in the history of cinema. And with the publication of their new book “Cinema...
And now with so much time on your hands you can see for yourself why film critic Stephen Farber and veteran exhibition executive Michael McClellan are out to prove that 1962 is in hindsight – 58 years later – unquestionably the best year ever in the history of cinema. And with the publication of their new book “Cinema...
- 3/27/2020
- by Pete Hammond
- Deadline Film + TV
In 2018, Swiss actor-director Vincent Perez teamed up with the Cinémathèque Suisse, the country’s premiere film archive, to launch a heritage film festival in the actor’s hometown of Lausanne. For its first edition, the event ran under the title r7al – the Rencontres 7e Art Lausanne – and was rebranded Think Cinema Lausanne the following year.
“We wanted to put something forward for our English-speaking friends,” says Perez. “[Whereas] Re7 spoke more to Francophones, we wanted a name that really said everything. Something that would explain our mission, that would be simple and direct.”
Going into its third edition, which runs from March 4-8, Think Cinema continues to hone its voice and sharpen its brand. “We’re beginning to really understand what makes our festival unique,” Perez tells Variety. “Our identity is becoming more and more clear.”
As Perez explains it, that identity is linked to the festival’s English name.
“We wanted to put something forward for our English-speaking friends,” says Perez. “[Whereas] Re7 spoke more to Francophones, we wanted a name that really said everything. Something that would explain our mission, that would be simple and direct.”
Going into its third edition, which runs from March 4-8, Think Cinema continues to hone its voice and sharpen its brand. “We’re beginning to really understand what makes our festival unique,” Perez tells Variety. “Our identity is becoming more and more clear.”
As Perez explains it, that identity is linked to the festival’s English name.
- 2/28/2020
- by Ben Croll
- Variety Film + TV
There’s a sentimental Oscar race brewing for Best Original Score between cousins Randy Newman (“Marriage Story”) and Thomas Newman (“1917”), who are also going head to head for the Golden Globe. And neither has ever won the Academy Award in this category.
They belong, of course, to the legendary musical Newman family, with a record 92 nominations between them. Randy, who is also up this season for the “Toy Story 4” Original Song, “I Can’t Let You Throw Yourself Away,” has won two Oscars in the category, and boasts 20 nominations total (including the scores for “The Natural” and “Ragtime”). Thomas, meanwhile, has 14 nominations (including the scores for “American Beauty” and “The Shawshank Redemption”).
The Academy loves a good Hollywood story, and this current race between the dueling Newmans could finally pave the way for one of them to finally win. The question is: Which one? That’s hard to...
They belong, of course, to the legendary musical Newman family, with a record 92 nominations between them. Randy, who is also up this season for the “Toy Story 4” Original Song, “I Can’t Let You Throw Yourself Away,” has won two Oscars in the category, and boasts 20 nominations total (including the scores for “The Natural” and “Ragtime”). Thomas, meanwhile, has 14 nominations (including the scores for “American Beauty” and “The Shawshank Redemption”).
The Academy loves a good Hollywood story, and this current race between the dueling Newmans could finally pave the way for one of them to finally win. The question is: Which one? That’s hard to...
- 12/27/2019
- by Bill Desowitz
- Indiewire
Iconic actress Jeanne Moreau’s death this week at 89 received muted American coverage, with remembrances that hardly captured Moreau’s essential presence and influence in world cinema. Overshadowed by the passing of Sam Shepard the day before (more contemporary, American, prominent in multiple fields, and younger), she received back-page obituaries in major papers. Her lack of any Oscar nominations, or a deserved honorary award, didn’t help the cause.
Even more unfortunate is the treatment of her death reflects American audiences’ ever-increasing disinterest in French-language film. Jeanne Moreau is significant for her transcendent artistry and the directors with whom she worked, but she also represented the iconic qualities of her country’s cinema.
Though the boom in “art houses” (a term popularized in the late 1940s) came more from Italian films (“Rome, Open City,” “Shoe Shine,” and particularly “Bicycle Thief”), French film became a steady part of the subtitled market by the mid-1950s.
Even more unfortunate is the treatment of her death reflects American audiences’ ever-increasing disinterest in French-language film. Jeanne Moreau is significant for her transcendent artistry and the directors with whom she worked, but she also represented the iconic qualities of her country’s cinema.
Though the boom in “art houses” (a term popularized in the late 1940s) came more from Italian films (“Rome, Open City,” “Shoe Shine,” and particularly “Bicycle Thief”), French film became a steady part of the subtitled market by the mid-1950s.
- 8/4/2017
- by Tom Brueggemann
- Indiewire
by Nathaniel R
Jeanne Moreau in Bay Of Angels (1963)
The greatest French New Wave icon Jeanne Moreau has passed away at 89 years of age. I didn't immediately understand the fuss over her in my earliest years of cinephila. That's no reflection on the silver screen goddess herself but rather a byproduct of my uncommon disinterest in François Truffaut's classic Jules et Jim (1962) in which Moreau is the object of both titular men's affections. That movie reliably excites almost everyone who shares the affliction of cinephilia so I can't say why it did so little for me!
But one day, nine years ago, my dear friend Vern who had been experiencing back pain and whose wife was off travelling somewhere brought over Bay of Angels (1963) for me to watch...
Jeanne Moreau in Bay Of Angels (1963)
The greatest French New Wave icon Jeanne Moreau has passed away at 89 years of age. I didn't immediately understand the fuss over her in my earliest years of cinephila. That's no reflection on the silver screen goddess herself but rather a byproduct of my uncommon disinterest in François Truffaut's classic Jules et Jim (1962) in which Moreau is the object of both titular men's affections. That movie reliably excites almost everyone who shares the affliction of cinephilia so I can't say why it did so little for me!
But one day, nine years ago, my dear friend Vern who had been experiencing back pain and whose wife was off travelling somewhere brought over Bay of Angels (1963) for me to watch...
- 8/1/2017
- by NATHANIEL R
- FilmExperience
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
French actor and filmmaker Jeanne Moreau, known for films such as Jules and Jim, The Trial, The Bride Wore Black, La Femme Nikita, died today at her home in Paris, at the age of 89, according to her agents. While French actors might have a reputation for perfecting the art of 'cool', it could be said that it was Moreau's work that began this. Daughter of a French restauranteur and an English dancer, she got into acting in the 1950s. Her first big break came when she appeared in Louis Malle's films Lift to the Scaffolding where she took a precarious walk to the sublime music of Miles Davis, and The Lovers (both 1958). But it was in Jules and Jim, about a woman caught...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 7/31/2017
- Screen Anarchy
The Jules et Jim star had a world-weary presence that created a space for a new type of female actor in French film. Above all she was a great screen star
Related: Jeanne Moreau, star of Jules et Jim, dies aged 89
Jeanne Moreau is probably best known for a movie in which she was perhaps most atypically cast – as Catherine, the entrancing free spirit who has ensnared two men in François Truffaut’s sensational hit Jules et Jim (1962). But in that movie she was no mere ingenue. Moreau was 35 years old, an established star of the French stage and hardly a newcomer to movies. She had a worldly intelligence and sensuality in Jules et Jim that outranked her suitors. It was a clue to the potency and poignancy of her part in that love triangle.
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Related: Jeanne Moreau, star of Jules et Jim, dies aged 89
Jeanne Moreau is probably best known for a movie in which she was perhaps most atypically cast – as Catherine, the entrancing free spirit who has ensnared two men in François Truffaut’s sensational hit Jules et Jim (1962). But in that movie she was no mere ingenue. Moreau was 35 years old, an established star of the French stage and hardly a newcomer to movies. She had a worldly intelligence and sensuality in Jules et Jim that outranked her suitors. It was a clue to the potency and poignancy of her part in that love triangle.
Continue reading...
- 7/31/2017
- by Peter Bradshaw
- The Guardian - Film News
Actress Jeanne Moreau, an icon of French New Wave cinema who went on to become an international film star, has died in Paris, according to Afp. She was 89.
While cause of death has not been disclosed, reports in French media indicate she was found Monday morning in her apartment on Faubourgh-St.-Honoré by a maid.
French president Emmanuel Macron paid tribute to the late star on his twitter early Monday morning, calling her a “movie and theater legend” who was “engaged in the whirlwind of life with absolute freedom.”
The star of François Truffaut’s classic 1962 film Jules et Jim,...
While cause of death has not been disclosed, reports in French media indicate she was found Monday morning in her apartment on Faubourgh-St.-Honoré by a maid.
French president Emmanuel Macron paid tribute to the late star on his twitter early Monday morning, calling her a “movie and theater legend” who was “engaged in the whirlwind of life with absolute freedom.”
The star of François Truffaut’s classic 1962 film Jules et Jim,...
- 7/31/2017
- by Peter Mikelbank
- PEOPLE.com
French actress Jeanne Moreau, a smoky-voiced femme fatale who starred in Francois Truffaut’s love triangle film “Jules and Jim” and whose award-winning, seven-decade career included work with some of the world’s most acclaimed directors, has died. She was 89. The French president’s office announced her death in a statement Monday without providing a cause. An assistant […]...
- 7/31/2017
- by Chelsea Williams
- ET Canada
Jeanne Moreau, the French actress perhaps best known for her role in “Jules And Jim” and for playing a huge part in the French New Wave, died Monday in Paris. She was 89. According to the New York Times, President Emmanuel Macron confirmed the news. On Twitter, he referred to her as a “legend of cinema and theater.” Moreau got her start in 1947 on the stage, eventually making her way to the Comédie-Française, a famous theater in Paris. She became one of the theater troupe’s leading actresses. Also Read: Hollywood Celebrates Emmanuel Macron's Win of French Presidency: 'Merci France' She made her.
- 7/31/2017
- by Beatrice Verhoeven and Carli Velocci
- The Wrap
Jeanne Moreau, the French actress who starred in such films as Jules And Jim and Diary Of A Chambermaid and whose independence, sensuality, and vitality embodied the spirit of the French New Wave, has died. Her death was confirmed by the mayor of Moreau’s home district in Paris, Variety reports. She was 89.
Moreau was an established stage actress plugging away in a series of low-budget B-movies when director Louis Malle cast her in his feature-film debut, Elevator To The Gallows, in 1958. The pair immediately followed that film with another project, The Lovers (1958), the film that made Moreau an international star. She followed that role with starring turns in films like Roger Vadim’s Les Liaisons Dangereuses (1959), Michelangelo Antonioni’s La Notte (1961), and François Truffaut’s Jules And Jim (1962), the first of several collaborations between Truffaut and Moreau and one of the great classics ...
Moreau was an established stage actress plugging away in a series of low-budget B-movies when director Louis Malle cast her in his feature-film debut, Elevator To The Gallows, in 1958. The pair immediately followed that film with another project, The Lovers (1958), the film that made Moreau an international star. She followed that role with starring turns in films like Roger Vadim’s Les Liaisons Dangereuses (1959), Michelangelo Antonioni’s La Notte (1961), and François Truffaut’s Jules And Jim (1962), the first of several collaborations between Truffaut and Moreau and one of the great classics ...
- 7/31/2017
- by Katie Rife
- avclub.com
Queen of the French New Wave who combined sharp intelligence and smouldering sexuality
With her sensual, pouting mouth, her Gauloises-saturated voice, and her combination of sharp intelligence and smouldering sexuality, Jeanne Moreau, who has died aged 89, seemed to many the embodiment of French womanhood. Although by the early 1950s she was established on stage, Moreau achieved screen stardom only with her 20th film, Louis Malle’s first solo feature, Lift to the Scaffold (1958), as an actor who represented the spirit of emerging feminism. Her status was consolidated in Malle’s The Lovers, released later the same year, and reached a peak as Moreau, queen of the French New Wave, took the role of Catherine, object of the affections of the best friends of the title in François Truffaut’s Jules et Jim (1961).
According to the critic Derek Malcolm: “Moreau was the perfect choice for Catherine: she gives a performance...
With her sensual, pouting mouth, her Gauloises-saturated voice, and her combination of sharp intelligence and smouldering sexuality, Jeanne Moreau, who has died aged 89, seemed to many the embodiment of French womanhood. Although by the early 1950s she was established on stage, Moreau achieved screen stardom only with her 20th film, Louis Malle’s first solo feature, Lift to the Scaffold (1958), as an actor who represented the spirit of emerging feminism. Her status was consolidated in Malle’s The Lovers, released later the same year, and reached a peak as Moreau, queen of the French New Wave, took the role of Catherine, object of the affections of the best friends of the title in François Truffaut’s Jules et Jim (1961).
According to the critic Derek Malcolm: “Moreau was the perfect choice for Catherine: she gives a performance...
- 7/31/2017
- by Ronald Bergan
- The Guardian - Film News
French actor Jeanne Moreau has died at the age of 89. Best known for her role in François Truffaut’s New Wave classic Jules et Jim, she worked with many of the leading art house directors of the time including Louis Malle, Roger Vadim, Michelangelo Antonioni and Luis Buñuel
Read more: Jeanne Moreau, star of Jules et Jim, dies aged 89
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Read more: Jeanne Moreau, star of Jules et Jim, dies aged 89
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- 7/31/2017
- by Guardian Staff
- The Guardian - Film News
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