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
From Serge Daney's Footlights: Critical Notebooks 1970–1982, translated by Nicholas Elliott and published by Semiotext(e). The series Never Look Away: Serge Daney's Radical 1970s screens January 26 through February 4 at Film at Lincoln Center in New York.Salò, or the 120 Days of Sodom.The fact that Salò is Pasolini’s last film doesn’t mean that it must at all costs be seen as his “will”.1 It’s simpler to see it as the reconstruction of what masters on the road to perdition would do in a final attempt to enjoy [jouir de] their power, in a comparable context (Italian fascism) and a similar setting (Salò).It has too often been forgotten that, in the history of Italian fascism, the republic of Salò (September 1943–January 1944) is only the grotesque final act, the repetition as grand guignol of what had already failed as farce, the setting for “some last cowardly turpitudes.”2 Salò is not fascism triumphant,...
- 1/23/2024
- MUBI
As December begins, you might be looking forward to spending time with friends and family over the holidays—and in need of some gift-giving inspiration. Look no further than Notebook's Cinephile Gift Guide, the proverbial online Shop Around the Corner (1940).Below is our third annual, lovingly curated guide to the holiday season. It's sure to spread film-themed cheer, and we hope it's thorough enough to surprise all of the film fans in your life.Jump to a category:Books about cinemaBooks by filmmakers and artistsHome videoMusicHome goods, posters, and gamesApparel Books About CINEMAFirst up is UK culture and music critic Ian Penman’s kaleidoscopic, genre-bending offering to Rainer Werner Fassbinder, Fassbinder Thousands of Mirrors. The book has drawn comparisons to Charles Baudelaire and Roland Barthes, but is undoubtedly a sui generis response to a singular legacy.On offer this year from Another Gaze Editions is My Cinema by Marguerite Duras, a...
- 12/12/2023
- MUBI
Christine and the Queens’ frontperson, Chris, has spent most of his life yearning for simplicity — to understand his own sexuality and gender but longing mostly for the simplest emotion: love. Unfortunately for Chris, yearning is what he does best. That anxious feeling is what makes his music so invigorating.
Two years ago, Chris captured the quintessence of lockdown loneliness with “People, I’ve Been Sad,” a prayer for human contact with a moving chorus. Two years before that, he rejected gender roles (and maybe gender as a whole) by responding...
Two years ago, Chris captured the quintessence of lockdown loneliness with “People, I’ve Been Sad,” a prayer for human contact with a moving chorus. Two years before that, he rejected gender roles (and maybe gender as a whole) by responding...
- 11/9/2022
- by Kory Grow
- Rollingstone.com
To paraphrase 20th Century French theorist Roland Barthes, the moment we take a picture of something, it is already dead. Similarly, early cinema writer (and fellow Frenchman) Andre Bazin, thought that new technology evoked what he called the “mummy complex” — humankind’s urge to look to its past, to preserve these memories in amber, and to review them from a future moment. Fast-forwarding to the 21st century, with the proliferation of all manner of video and streaming technologies, it should come as no surprise to us that we’re perpetually nostalgic for these old, obsolete technologies, even if we didn’t experience them ourselves.
Continue reading ‘Archive 81’ Review: Netflix’s Creepy Series Finds Its Scares By Restoring Memories Of The Past at The Playlist.
Continue reading ‘Archive 81’ Review: Netflix’s Creepy Series Finds Its Scares By Restoring Memories Of The Past at The Playlist.
- 1/14/2022
- by R. Colin Tait
- The Playlist
“Call My Agent” star Nicolas Maury hadn’t quite grasped the international success of the Paris-set show until he traveled to Los Angeles last week to present his feature directorial debut “Garcon Chiffon” (“My Best Part”) at Colcoa, the French film and series festival.
In L.A., everyone from industry festival guests and locals to waiters came up to him to talk about Hervé, his colorful and endearing character in “Call My Agent,” streaming on Netflix and available on French public broadcaster France Televisions. In real life, Maury is as exuberant as Hervé and can be both spiritual and feisty, observant and outgoing. He has also worked as a model, and dresses to the nines in Chanel, Prada and Lanvin outfits.
Maury says that playing one of the rare gay protagonists on a major French TV show has allowed him to make an impact on a younger generation. “I want...
In L.A., everyone from industry festival guests and locals to waiters came up to him to talk about Hervé, his colorful and endearing character in “Call My Agent,” streaming on Netflix and available on French public broadcaster France Televisions. In real life, Maury is as exuberant as Hervé and can be both spiritual and feisty, observant and outgoing. He has also worked as a model, and dresses to the nines in Chanel, Prada and Lanvin outfits.
Maury says that playing one of the rare gay protagonists on a major French TV show has allowed him to make an impact on a younger generation. “I want...
- 11/10/2021
- by Elsa Keslassy
- Variety Film + TV
Films and references to cultural traditions may flicker past your inner eye in Iva Radivojevic’s Aleph, a luminous take on Jorge Luis Borges, narrated by Anne Waldman, which is a highlight of the 50th anniversary edition of New Directors/New Films. The Thai ghost may be Uncle Boonmee’s brother from Apichatpong Weerasethakul’s picture. An ad for Jim Jarmusch’s Paterson graces the back pages of a newspaper in Buenos Aires and Oscar Wilde’s Happy Prince is not the only one who is able to see without eyes.
The woman who disappears into the painting in Aleph feels strangely related to the old couple who befriend and haunt Naomi Watts in David Lynch’s Mulholland Drive, only to appear downsized out of a paper bag later on.
During my conversation with the filmmaker, I learned that Roland Barthes is responsible for the like/dislike structure in...
The woman who disappears into the painting in Aleph feels strangely related to the old couple who befriend and haunt Naomi Watts in David Lynch’s Mulholland Drive, only to appear downsized out of a paper bag later on.
During my conversation with the filmmaker, I learned that Roland Barthes is responsible for the like/dislike structure in...
- 4/29/2021
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Aleph director Iva Radivojević: “The idea is that each character leaves us off with a clue as to where we’re going next.”
On the afternoon of the 93rd Academy Awards, a reference to David Lynch and a scene in Mulholland Drive, Luis Buñuel’s The Phantom Of Liberty, Apichatpong Weerasethakul’s Uncle Boonmee Who Can Recall His Past Lives and Luminous People (segment in State of the World), Likes And Dislikes by Roland Barthes, Andy Warhol, Alain Resnais, Aleph’s narrator Anne Waldman, and a short story by Jorge Luis Borges all came up in my conversation with Iva Radivojevic, the director/writer/editor/ of Aleph, a highlight of the 50th anniversary edition of New Directors/New Films.
Iva Radivojević on Jorge Luis Borges’ Aleph: “I used the story, the myth of this portal of Aleph as a starting point, the search for this portal. The whole film starts...
On the afternoon of the 93rd Academy Awards, a reference to David Lynch and a scene in Mulholland Drive, Luis Buñuel’s The Phantom Of Liberty, Apichatpong Weerasethakul’s Uncle Boonmee Who Can Recall His Past Lives and Luminous People (segment in State of the World), Likes And Dislikes by Roland Barthes, Andy Warhol, Alain Resnais, Aleph’s narrator Anne Waldman, and a short story by Jorge Luis Borges all came up in my conversation with Iva Radivojevic, the director/writer/editor/ of Aleph, a highlight of the 50th anniversary edition of New Directors/New Films.
Iva Radivojević on Jorge Luis Borges’ Aleph: “I used the story, the myth of this portal of Aleph as a starting point, the search for this portal. The whole film starts...
- 4/29/2021
- by Anne-Katrin Titze
- eyeforfilm.co.uk
The opening shot is of Katia Golubeva, playing the unnamed Angel of Death, lighting her cigarette as a disembodied voiceover, which still seems to belong to her, says “Your worst enemies are hiding inside, in the shadow, hiding in your heart.” Claire Denis’s 2004 L’intrus is a film of internal threats. It places the inconsolability of self-alienation and the impossibility of ever escaping yourself into fraught relation with the porous borders of the body and refusals of sociality. One of the signatures of Denis’s cinema is her sensualist fixation on bodies, isolated but also integrated into space, offering them as moving surfaces that themselves tell stories and resist the stories imposed on them. Possibly both intruder and intruded upon, Michel Subor as Louis Trebor is the absent heart of L’intrus, his failing body catalyzing the narrative crisis surrounding his travels for a heart transplant. A crisis that is...
- 3/26/2021
- MUBI
“The Seventh Function of Language,” a novel by French author Laurent Binet, is getting the feature film treatment. Uri Singer, the CEO of TaleFlick, a production company that specializes in adapting books into movies and TV shows, has obtained screen rights to the popular work of fiction.
Singer will produce “The Seventh Function of Language” with Midnight Road Entertainment’s Vincent Sieber, who previously produced “The Chronicles of Narnia.”
The New York Times described Binet’s novel as being “at once a buddy-cop plot, a fish-out-of-water comedy and a spy thriller.” A whodunit set against the backdrop of 1980s France, “The Seventh Function of Language” centers on a literary critic Roland Barthes, who gets hit by a laundry van and dies after having lunch with the presidential candidate François Mitterand. But as the world mourns his death, one question arises: What if it wasn’t an accident at all?
Binet’s first novel,...
Singer will produce “The Seventh Function of Language” with Midnight Road Entertainment’s Vincent Sieber, who previously produced “The Chronicles of Narnia.”
The New York Times described Binet’s novel as being “at once a buddy-cop plot, a fish-out-of-water comedy and a spy thriller.” A whodunit set against the backdrop of 1980s France, “The Seventh Function of Language” centers on a literary critic Roland Barthes, who gets hit by a laundry van and dies after having lunch with the presidential candidate François Mitterand. But as the world mourns his death, one question arises: What if it wasn’t an accident at all?
Binet’s first novel,...
- 2/11/2021
- by Rebecca Rubin
- Variety Film + TV
“Dukun”, the directorial debut of Dain Said, finally reached mass audience after an online leak in 2018. Responding to the release, Dain Said took a subtle but witty approach by saying the film was like an ex-girlfriend he already moved on. After all, no one knows why Astro Shaw (the production company) shelved it for 12 years.
“Dukun” is streaming on Mubi Malaysia
Initially written in English by Huzir Sulaiman, it became the screenplay we know today with help from Dain Said and Fariza Azlina Isahak. The writing credits are rounded-up by Al Jafree Md Yusof who translated it into Malay. “Dukun” won four awards out of eleven nominations in the 30th Malaysian Film Festival in 2019.
This particular review will employ a literary theory introduced by Roland Barthes in “S/Z”. It is a network of codes that Barthes developed as a method of reading Honoré de Balzac’s “Sarrasine”. There are...
“Dukun” is streaming on Mubi Malaysia
Initially written in English by Huzir Sulaiman, it became the screenplay we know today with help from Dain Said and Fariza Azlina Isahak. The writing credits are rounded-up by Al Jafree Md Yusof who translated it into Malay. “Dukun” won four awards out of eleven nominations in the 30th Malaysian Film Festival in 2019.
This particular review will employ a literary theory introduced by Roland Barthes in “S/Z”. It is a network of codes that Barthes developed as a method of reading Honoré de Balzac’s “Sarrasine”. There are...
- 12/11/2020
- by Abdul Rahman Shah
- AsianMoviePulse
David Fincher, the beloved and mercurial filmmaker behind Fight Club and Zodiac, released a seeming torrent of criticism over multiple interviews for everything from fanboy darlings like last year’s Joker to the long worshipped ghost of Orson Welles.
In the case of the former, Fincher was speaking with The Daily Telegraph (via Deadline) when he said, “Nobody would have thought they had a shot at a giant hit with Joker had The Dark Knight not been as massive as it was. I don’t think anyone would have looked at that material and thought, ‘Yeah, let’s take [Taxi Driver’s] Travis Bickle and [The King of Comedy’s] Rupert Pupkin and conflate them, then trap him in a betrayal of the mentally ill, and trot it out for a billion dollars.”
The swipe about Joker being a betrayal of the “mentally ill” is certain to stir the pot with comic book fans, but...
In the case of the former, Fincher was speaking with The Daily Telegraph (via Deadline) when he said, “Nobody would have thought they had a shot at a giant hit with Joker had The Dark Knight not been as massive as it was. I don’t think anyone would have looked at that material and thought, ‘Yeah, let’s take [Taxi Driver’s] Travis Bickle and [The King of Comedy’s] Rupert Pupkin and conflate them, then trap him in a betrayal of the mentally ill, and trot it out for a billion dollars.”
The swipe about Joker being a betrayal of the “mentally ill” is certain to stir the pot with comic book fans, but...
- 11/16/2020
- by David Crow
- Den of Geek
The German festival is taking place as a hybrid event from October 26-November 1.
Running as a hybrid festival, Germany’s 63rd Dok Leipzig (October 26-November 1) is the first under new artistic director Christoph Terhechte, an ex-critic who was head of the Berlinale’s Forum section from 2001-2018 and artistic director of Marrakech International Film Festival for its 2018 and 2019 editions.
Terhechte took up the post at the start of the year, just before coronavirus took hold. This is one of the oldest documentary festivals in the world but none of his predecessors have had to put together a programme in the face of a pandemic.
Running as a hybrid festival, Germany’s 63rd Dok Leipzig (October 26-November 1) is the first under new artistic director Christoph Terhechte, an ex-critic who was head of the Berlinale’s Forum section from 2001-2018 and artistic director of Marrakech International Film Festival for its 2018 and 2019 editions.
Terhechte took up the post at the start of the year, just before coronavirus took hold. This is one of the oldest documentary festivals in the world but none of his predecessors have had to put together a programme in the face of a pandemic.
- 10/23/2020
- by Geoffrey Macnab
- ScreenDaily
Formerly beloved Harry Potter author J.K. Rowling has done a decent job of demolishing her once sterling reputation over the last few years. Now, after a series of transphobic tweets over the weekend, many have written her off altogether. Her bizarre and unprovoked pronouncements sounded more like the kind of stuff you’d read on Breitbart rather than something a cuddly British liberal would say. As such, her massive millennial and zoomer fanbase has dropped her like a hot rock.
But it’s not all doom and gloom for the Wizarding World. The Boy Who Lived has stood up to raise the flag for trans rights. Daniel Radcliffe has made a lengthy statement on The Trevor Project’s website, an organization providing advice and suicide prevention services to young LGBTQ people. Radcliffe has supported them for a decade and spoke up for its cause and the people they seek to help,...
But it’s not all doom and gloom for the Wizarding World. The Boy Who Lived has stood up to raise the flag for trans rights. Daniel Radcliffe has made a lengthy statement on The Trevor Project’s website, an organization providing advice and suicide prevention services to young LGBTQ people. Radcliffe has supported them for a decade and spoke up for its cause and the people they seek to help,...
- 6/9/2020
- by David James
- We Got This Covered
Hollywood Vampires: The Birth of Midnight Movies on L.A.'s Sunset Strip is a three-part series of essays by Tim Concannon.Praising Arizona: Louis K. Sher Vs. The Censor, The Case Of Les Amants"Whenever I hear the word cinema, I can't help thinking hall rather than film."—Roland Barthes.1kiva. noun. An underground or partly underground chamber in a Pueblo village, used for ceremonies or councils. Origin: Hopi. Old Town Boutique Shops, Scottsdale Main Street in 2011. Site of the former Kiva Theatre, which closed in 1993.Arguably, before El Topo played at the Elgin in New York's West Village in 1971, and before trans performance troupe the Cockettes performed their Nocturnal Dream Shows for film director, impresario, and protégé of Salvador Dalí, Stephen F. Arnold, at the Pagoda Palace Theatre on San Francisco's Russian Hill, midnight movies began at a theatre adjoining Santa Monica Boulevard, where the Underground Cinema 12 film...
- 8/2/2019
- MUBI
During the late 1970s and early 1980s, Le Palace nightclub in central Paris was very much the city’s equivalent of Studio 54. Anyone from Karl Lagerfeld to Mick Jagger to Andy Warhol to Roland Barthes — who sang its praises in one of his essays — could be found on the dance floor, while concerts by the likes of Grace Jones, Devo or Iggy Pop marked a venue that became infamous for its extravagance and cutting-edge style.
In Eva Ionesco’s semi-autobiographical second feature, Golden Youth (Une jeunesse doree), Le Palace becomes the major stomping ground of Rose (Galatea Bellugi),...
In Eva Ionesco’s semi-autobiographical second feature, Golden Youth (Une jeunesse doree), Le Palace becomes the major stomping ground of Rose (Galatea Bellugi),...
- 1/18/2019
- The Hollywood Reporter - Movie News
During the late 1970s and early 1980s, Le Palace nightclub in central Paris was very much the city’s equivalent of Studio 54. Anyone from Karl Lagerfeld to Mick Jagger to Andy Warhol to Roland Barthes — who sang its praises in one of his essays — could be found on the dance floor, while concerts by the likes of Grace Jones, Devo or Iggy Pop marked a venue that became infamous for its extravagance and cutting-edge style.
In Eva Ionesco’s semi-autobiographical second feature, Golden Youth (Une jeunesse doree), Le Palace becomes the major stomping ground of Rose (Galatea Bellugi),...
In Eva Ionesco’s semi-autobiographical second feature, Golden Youth (Une jeunesse doree), Le Palace becomes the major stomping ground of Rose (Galatea Bellugi),...
- 1/18/2019
- The Hollywood Reporter - Film + TV
The series Claude Chabrol, maître de suspense is showing on Mubi from October 6 – November 13, 2018 in the United States.The career of Claude Chabrol is as slippery as it is prolific. He started as a writer for Cahiers du cinéma alongside Jean-Luc Godard, Éric Rohmer, Jacques Rivette, and François Truffaut, which catalyzed his legacy as a director of over fifty films. Throughout those decades, his works frequently received lukewarm reception with unpredictable highs and lows: one recurring adjective that appears in appraisals of his filmography is “uneven”1. Because he seemingly “lacked the formal experimentation of Godard, and his chilly, precise style was easily overshadowed by Truffaut’s delirious romanticism,”2 Chabrol became, in the words of Jonathan Rosenbaum, the “most neglected filmmaker of the French New Wave.”3 Here, there are three domains of overlooking: There is the critical “neglect” of Claude Chabrol, shadowing his supply of rocky genre fare. Then, the thematic...
- 10/18/2018
- MUBI
The Waldheim Waltz director Ruth Beckermann: "Roland Barthes wrote that it's strange that some people when they speak about culture, they go back to nature." Photo: Anne-Katrin Titze
Ruth Beckermann's documentary on Kurt Waldheim, The Waldheim Waltz, is Austria's Oscar submission for Best Foreign Language Film and was a Spotlight on Documentary selection of the 56th New York Film Festival. The director, cinematographer, writer, narrator and producer of The Waldheim Waltz, edited by Dieter Pichler (Constantin Wulff's Ulrich Seidl: A Director At Work) joined me for a conversation at the Hudson hotel the afternoon following her New York festival première at the Walter Reade Theater of the Film Society of Lincoln Center.
Roland Barthes and nature, Claude Lanzmann and Shoah, Us Congressman Tom Lantos and Kurt Waldheim's son, Austrian folklore and an American-style election campaign came up in the first instalment.
Ruth Beckermann on Kurt Waldheim's presidential...
Ruth Beckermann's documentary on Kurt Waldheim, The Waldheim Waltz, is Austria's Oscar submission for Best Foreign Language Film and was a Spotlight on Documentary selection of the 56th New York Film Festival. The director, cinematographer, writer, narrator and producer of The Waldheim Waltz, edited by Dieter Pichler (Constantin Wulff's Ulrich Seidl: A Director At Work) joined me for a conversation at the Hudson hotel the afternoon following her New York festival première at the Walter Reade Theater of the Film Society of Lincoln Center.
Roland Barthes and nature, Claude Lanzmann and Shoah, Us Congressman Tom Lantos and Kurt Waldheim's son, Austrian folklore and an American-style election campaign came up in the first instalment.
Ruth Beckermann on Kurt Waldheim's presidential...
- 10/17/2018
- by Anne-Katrin Titze
- eyeforfilm.co.uk
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.
Certain Women (Kelly Reichardt)
The cinema of Kelly Reichardt lives in quiet, tender observations with deeply rooted characters and location. Even when adding a thriller element as with her last feature, the overlooked Night Moves, her style is never compromised. Her latest feature, Certain Women, is a loosely connected three-part drama adapted from the short stories of Maile Meloy. It’s perhaps the purest distillation of her sensibilities yet...
Certain Women (Kelly Reichardt)
The cinema of Kelly Reichardt lives in quiet, tender observations with deeply rooted characters and location. Even when adding a thriller element as with her last feature, the overlooked Night Moves, her style is never compromised. Her latest feature, Certain Women, is a loosely connected three-part drama adapted from the short stories of Maile Meloy. It’s perhaps the purest distillation of her sensibilities yet...
- 7/6/2018
- by Jordan Raup
- The Film Stage
Full disclosure: this is not really an interview about Let the Sunshine In. Claire Denis and I met on the day of her new film’s U.S. release, which was, like many cinephiles, on my mind. All the more so because Sunshine has been swimming through parts of the subsoncious since I first saw it nearly seven months back at the New York Film Festival — where I mean to speak with Denis, and finally didn’t on account of her shooting, to our immense fortune, another film: the much-anticipated Robert Pattinson-starrer High Life.
So there many questions about this wondrous, mysterious film had percolated for a long time, and I didn’t get to them — to this interview’s benefit, as I think will soon become clear. Denis is, in her films and both times we’ve spoken, a searching mind, and it’s clear that, a year out from its premiere,...
So there many questions about this wondrous, mysterious film had percolated for a long time, and I didn’t get to them — to this interview’s benefit, as I think will soon become clear. Denis is, in her films and both times we’ve spoken, a searching mind, and it’s clear that, a year out from its premiere,...
- 4/28/2018
- by Nick Newman
- The Film Stage
A Tall Dark Stranger: Denis and Binoche are Remarkable Bedfellows in Light Comedy
Claire Denis comes as close as she ever will to romantic comedy territory with the wryly staged Let the Sunshine In starring an effervescent Juliette Binoche as a woman who becomes increasingly obsessed with finding love but chronically searching in all the wrong places. Denis was inspired by Roland Barthes’ A Lover’s Discourse as a vehicle for Binoche. Retooling it with novelist Christine Angot, they morph it into a slender thread of revolving sexual and romantic vignettes a middle aged artist experiences. Although there’s certainly never been…...
Claire Denis comes as close as she ever will to romantic comedy territory with the wryly staged Let the Sunshine In starring an effervescent Juliette Binoche as a woman who becomes increasingly obsessed with finding love but chronically searching in all the wrong places. Denis was inspired by Roland Barthes’ A Lover’s Discourse as a vehicle for Binoche. Retooling it with novelist Christine Angot, they morph it into a slender thread of revolving sexual and romantic vignettes a middle aged artist experiences. Although there’s certainly never been…...
- 4/26/2018
- by Nicholas Bell
- IONCINEMA.com
MaryAnn’s quick take… Juliette Binoche’s search for midlife love is drenched in ennui and punctuated by weary philosophizing. There’s not a lot of satisfaction in it, nor much by way of resolution. Very French. I’m “biast” (pro): I’m desperate for movies about women
I’m “biast” (con): nothing
I have not read the source material
(what is this about? see my critic’s minifesto) women’s participation in this film
(learn more about this)
Is this my life? I want to find love.” So laments Juliette Binoche (Ghost in the Shell) as Isabelle, a 50something artist in Paris, echoing many a woman of every age. Which is in fact something of a comfort: if a woman of such luminousness, grace, and intelligence can’t find a man, then maybe it’s not us, but them. (Just kidding: We all already know it’s them.
I’m “biast” (con): nothing
I have not read the source material
(what is this about? see my critic’s minifesto) women’s participation in this film
(learn more about this)
Is this my life? I want to find love.” So laments Juliette Binoche (Ghost in the Shell) as Isabelle, a 50something artist in Paris, echoing many a woman of every age. Which is in fact something of a comfort: if a woman of such luminousness, grace, and intelligence can’t find a man, then maybe it’s not us, but them. (Just kidding: We all already know it’s them.
- 4/20/2018
- by MaryAnn Johanson
- www.flickfilosopher.com
The retrospective Godard and the Dziga Vertov Group is showing from February 27 - March 26, 2018 on Mubi in the United Kingdom and United States.British SoundsThe execrable new film Redoubtable by Michel Hazanavicius reduces all aspects of Jean-Luc Godard and his career to the level of a cartoon. And not even a great, cinematically advanced cartoon—the Fleischer brothers, Chuck Jones, or Tex Avery, something that might actually capture some semblance of Jlg’s anarchic humor. No, Redoubtable is strictly Hanna-Barbara, two-dimensional animals lumbering about on an unchanging, depthless landscape. (Oh look! Silly Jean-Luc has broken his glasses again!) As if to drive home the childishness of the film, it is being retitled in the U.S. Now called Godard Mon Amour, it not only makes a mockery of an actually great film by Alain Resnais and Marguerite Duras. It emphasizes Godard as little more than a brand name, a selling point.
- 2/28/2018
- MUBI
There has, of course, been significant investment in High Life, the Claire Denis-Robert Pattinson sci-fi movie that’s expected to finally make landfall this year. (We named it our most-anticipated of 2018, for God’s sake.) Thrilled though I am to see one of our very greatest filmmakers get her biggest-ever spotlight, I hope it doesn’t have some effect of obscuring another forthcoming picture — and one whose quality I can actually attest for, if that helps. (Please.)
Following its run at Cannes and Nyff, Denis’ Juliette Binoche-starrer, Let the Sunshine In, will come to theaters and VOD on April 27. Thus brings a domestic trailer that, like most, I’d recommend skipping — here in particular because this is a picture whose pleasures and oddities unfold delicately, which would account for my allergic reaction to this preview’s emotional strong-arming that ignores proper representation to pull in a bigger crowd.
Following its run at Cannes and Nyff, Denis’ Juliette Binoche-starrer, Let the Sunshine In, will come to theaters and VOD on April 27. Thus brings a domestic trailer that, like most, I’d recommend skipping — here in particular because this is a picture whose pleasures and oddities unfold delicately, which would account for my allergic reaction to this preview’s emotional strong-arming that ignores proper representation to pull in a bigger crowd.
- 2/23/2018
- by Nick Newman
- The Film Stage
Juliet Binoche in Let the Sunshine InClaire Denis's Let the Sunshine In charts the delightfully erratic dalliances and social sparring of a romantically wayward painter, Isabelle (Juliette Binoche), with the many men she encounters in her life (played by, among others, Xavier Beauvois, Alex Descas, and Gérard Depardieu). The film will receive its North American premiere at the New York Film Festival. After premiering in the Directors' Fortnight section of the 70th Cannes Film Festival, we had a chance to sit down and discuss the new film with its director. The "Christine" that Denis speaks of is Christine Angot, her co-screenwriter and a notable French novelist and playwright.Notebook: So Bright Sunshine In is your first comedy—it’s a sex comedy and it’s often a very funny film. But what struck me about it was how closely linked the humor and the sadness are. Could you talk about...
- 10/7/2017
- MUBI
The 2017 Locarno Film Festival recently wrapped its 70th edition, where several aspiring film critics participated in the latest edition of the Locarno Critics Academy, an international workshop to educate promising writers in the craft and discipline of contemporary film criticism. This year’s participants will contribute essays on highlights from the festival. Here’s an overview of their backgrounds and interests.
Name: Jaime Grijalba Gómez
Age: 27
Twitter handle: @jaimegrijalba
Home: Santiago de Chile, Chile.
Cinematic area of expertise: Chilean cinema, film festivals, horror cinema
Best movie you’ve seen in 2017: El mar la mar
Favorite book (or piece of writing) about film: Bresson’s “Notes on the Cinematographer”
I’m taking part in the Locarno Critics Academy because… I want to think that criticism today still has a role that goes beyond those interested in film or in making them. It has a role in society, and I want to find it.
Name: Jaime Grijalba Gómez
Age: 27
Twitter handle: @jaimegrijalba
Home: Santiago de Chile, Chile.
Cinematic area of expertise: Chilean cinema, film festivals, horror cinema
Best movie you’ve seen in 2017: El mar la mar
Favorite book (or piece of writing) about film: Bresson’s “Notes on the Cinematographer”
I’m taking part in the Locarno Critics Academy because… I want to think that criticism today still has a role that goes beyond those interested in film or in making them. It has a role in society, and I want to find it.
- 8/15/2017
- by Eric Kohn
- Indiewire
It’s beginning to look a lot like fall festival season. On the heels of announcements from Tiff and Venice, the 55th edition of the New York Film Festival has unveiled its Main Slate, including a number of returning faces, emerging talents, and some of the most anticipated films from the festival circuit this year.
This year’s Main Slate showcases a number of films honored at Cannes including Ruben Östlund’s Palme d’Or–winner “The Square,” Robin Campillo’s “Bpm,” and Agnès Varda & Jr’s “Faces Places.” Other Cannes standouts, including “The Rider” and “The Florida Project,” will also screen at Nyff.
Read MoreTIFF Reveals First Slate of 2017 Titles, Including ‘The Shape of Water,’ ‘Downsizing,’ and ‘Call Me By Your Name’
Elsewhere, Aki Kaurismäki’s Silver Bear–winner “The Other Side of Hope” and Agnieszka Holland’s Alfred Bauer Prize–winner “Spoor” come to Nyff after Berlin bows.
This year’s Main Slate showcases a number of films honored at Cannes including Ruben Östlund’s Palme d’Or–winner “The Square,” Robin Campillo’s “Bpm,” and Agnès Varda & Jr’s “Faces Places.” Other Cannes standouts, including “The Rider” and “The Florida Project,” will also screen at Nyff.
Read MoreTIFF Reveals First Slate of 2017 Titles, Including ‘The Shape of Water,’ ‘Downsizing,’ and ‘Call Me By Your Name’
Elsewhere, Aki Kaurismäki’s Silver Bear–winner “The Other Side of Hope” and Agnieszka Holland’s Alfred Bauer Prize–winner “Spoor” come to Nyff after Berlin bows.
- 8/8/2017
- by Kate Erbland
- Indiewire
After nearly two weeks of viewing some of the best that cinema will have to offer this year, the 70th Cannes Film Festival has concluded. With Ruben Östlund‘s Force Majeure follow-up The Square taking the top jury prize of Palme d’Or (full list of winners here), we’ve set out to wrap up our experience with our favorite films from the festival, which extends to the Un Certain Regard and Directors’ Fortnight side bars. Check out our favorites below, followed by the rest of the reviews. One can also return in the coming months as we learn of distribution news.
120 Beats Per Minute (Robin Campillo)
Sometimes a movie doesn’t need much character development to make an impact. The ensemble cast that comprise Robin Campillo’s AIDS activists in 120 Beats Per Minute all work together to be the same voice. Through this group, the director captures a force...
120 Beats Per Minute (Robin Campillo)
Sometimes a movie doesn’t need much character development to make an impact. The ensemble cast that comprise Robin Campillo’s AIDS activists in 120 Beats Per Minute all work together to be the same voice. Through this group, the director captures a force...
- 5/29/2017
- by The Film Stage
- The Film Stage
Sponsor prizes also go to Claire Denis comedy and Philippe Garrel drama.
Chloé Zhao’s The Rider, Jonas Carpignano’s A Ciambra and Claire Denis’ Let The Sunshine In were among Directors’ Fortnight films to pick up awards tonight.
Although the strand is a non-competitive, some sponsors hand out prizes.
The Art Cinema Award for a feature film went to Chloé Zhao’s The Rider, which was recently snapped up by Sony Classics for North America, Latin America, Asia, Australia, New Zealand and Eastern Europe.
The film tells the story of a cowboy (played by Brady Jandreau) who embarks on a road trip through America after a near death accident.
The Sacd Award for a French-speaking feature was given jointly to Philippe Garrel’s Lover For A Day and Claire Denis’ Let The Sunshine In.
The latter, an unusual change of gear for Denis, is an eccentric relationship comedy of ideas, starring [link=nm...
Chloé Zhao’s The Rider, Jonas Carpignano’s A Ciambra and Claire Denis’ Let The Sunshine In were among Directors’ Fortnight films to pick up awards tonight.
Although the strand is a non-competitive, some sponsors hand out prizes.
The Art Cinema Award for a feature film went to Chloé Zhao’s The Rider, which was recently snapped up by Sony Classics for North America, Latin America, Asia, Australia, New Zealand and Eastern Europe.
The film tells the story of a cowboy (played by Brady Jandreau) who embarks on a road trip through America after a near death accident.
The Sacd Award for a French-speaking feature was given jointly to Philippe Garrel’s Lover For A Day and Claire Denis’ Let The Sunshine In.
The latter, an unusual change of gear for Denis, is an eccentric relationship comedy of ideas, starring [link=nm...
- 5/26/2017
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Claire Denis may not be the first Francophone auteur expected to turn in a romantic comedy, and her latest will disappoint those expecting Nancy Meyers a Paris. However, Let the Sunshine In (Un Beau Soleil Interieur) is a sophisticated, idiosyncratic, thoroughly modern interpretation of a French romantic farce, perceptive if not laugh-out-loud funny, featuring a top-form Juliette Binoche as a middle-aged divorcée wading through a series of exasperatingly self-centered men in search not just for love, but a partner with whom she can be herself.
Inspired by French critic and philosopher Roland Barthes’ A Lovers Discourse: Fragments, a work of agonizing self-reflexion on the nature of romantic relationships, Denis and novelist co-writer Christine Angot concoct a deadpan, occasionally very funny affair with touches of the self-examination of Woody Allen. Binoche plays Isabelle, an artist who lives in hope that she’ll find love again but continues, in her words, “running into a wall.
Inspired by French critic and philosopher Roland Barthes’ A Lovers Discourse: Fragments, a work of agonizing self-reflexion on the nature of romantic relationships, Denis and novelist co-writer Christine Angot concoct a deadpan, occasionally very funny affair with touches of the self-examination of Woody Allen. Binoche plays Isabelle, an artist who lives in hope that she’ll find love again but continues, in her words, “running into a wall.
- 5/20/2017
- by Ed Frankl
- The Film Stage
Inspired by, but not adapted from, Roland Barthes, Claire Denis’ new film about a single woman living alone in Paris is a sophisticated delight
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Claire Denis has confected one of the festival’s most unexpectedly delightful movies, showing in the Directors Fortnight sidebar. It’s an elegant, eccentric relationship comedy of ideas, highly rarefied and possessed of an almost inscrutable sophistication: the film has been co-written by Denis and novelist Christine Angot, reportedly inspired, in the loosest sense, by Roland Barthes’s prose meditation A Lovers Discourse: Fragments. The director has however warned audiences off the idea of seeing it as any sort of adaptation.
Related: Sign up to our Film Today email
Claire Denis has confected one of the festival’s most unexpectedly delightful movies, showing in the Directors Fortnight sidebar. It’s an elegant, eccentric relationship comedy of ideas, highly rarefied and possessed of an almost inscrutable sophistication: the film has been co-written by Denis and novelist Christine Angot, reportedly inspired, in the loosest sense, by Roland Barthes’s prose meditation A Lovers Discourse: Fragments. The director has however warned audiences off the idea of seeing it as any sort of adaptation.
- 5/19/2017
- by Peter Bradshaw
- The Guardian - Film News
Claire Denis has never shied away from stories of love and desire, but her films tend to render such romantic ideals as atmospheric abstractions, or corrupt them with militaristic repression and fits of extreme violence. For example, the most erotically charged movie she’s ever made is about a caged bride who escapes from her Paris dungeon and bites strange men to death during sex (oh, yeah, and it stars Vincent Gallo).
Prior to Cannes, her most recent feature starred Lola Créton as a teenage girl who was raped with an ear of corn. “35 Shots of Rum” and “Friday Night” are both supremely tender works of art, but they’re also both haunted stories of loss and isolation, holes that can never be filled, let alone played for laughs.
Needless to say, it comes as something of a (pleasant) surprise that “Let the Sunshine In” plays like Claire Denis’ idea of a Nancy Meyers movie,...
Prior to Cannes, her most recent feature starred Lola Créton as a teenage girl who was raped with an ear of corn. “35 Shots of Rum” and “Friday Night” are both supremely tender works of art, but they’re also both haunted stories of loss and isolation, holes that can never be filled, let alone played for laughs.
Needless to say, it comes as something of a (pleasant) surprise that “Let the Sunshine In” plays like Claire Denis’ idea of a Nancy Meyers movie,...
- 5/18/2017
- by David Ehrlich
- Indiewire
A rare film that we didn’t even know was going to exist at the start of the year, Claire Denis is back with a new drama starring Juliette Binoche, Gérard Depardieu, and Xavier Beauvois. Set to open Directors’ Fortnight today, Let the Sunshine In is adapted from Roland Barthes‘ A Lover’s Discourse: Fragments, which deconstructs the language of love.
Directors’ Fortnight Artistic director Edouard Waintrop says of the film, “What touched us is that it marks a radical change in tone for Claire Denis. We like it when filmmakers try something new.” With that mighty curious statement, the first clips have now arrived, which certainly sell a more formally relaxed tone for Denis, particularly when compared with her last film Bastards.
Check out both clips below and return for our review.
Let the Sunshine In premieres today at Cannes Film Festival.
Directors’ Fortnight Artistic director Edouard Waintrop says of the film, “What touched us is that it marks a radical change in tone for Claire Denis. We like it when filmmakers try something new.” With that mighty curious statement, the first clips have now arrived, which certainly sell a more formally relaxed tone for Denis, particularly when compared with her last film Bastards.
Check out both clips below and return for our review.
Let the Sunshine In premieres today at Cannes Film Festival.
- 5/18/2017
- by Jordan Raup
- The Film Stage
Pasolini included an “essential bibliography” in the opening credits of Salò, or the 120 Days of Sodom, proffering five philosophical titles by the likes of Roland Barthes and Maurice Blanchot to help viewers navigate his rich and daunting Sadean masterpiece. The closing credits of Arnaud Desplechin’s Ismael’s Ghosts also feature a reading list that could be called essential. Of the four authors listed therein, one in particular might hold the key to interpreting Desplechin’s exhilarating, overflowing mindfuck of a movie: Jacques Lacan.
Desplechin has frequently acknowledged his debt to psychoanalysis in general and Lacan specifically, but never had he dared plunge as deeply into the mysteries of the psyche as he does here. The hyper-dense complexity of Ismael’s Ghosts may be his attempt at a cinematic representation of a nervous breakdown, namely that of the protagonist Ismael (Mathieu Amalric), a director who gets stuck at a creative...
Desplechin has frequently acknowledged his debt to psychoanalysis in general and Lacan specifically, but never had he dared plunge as deeply into the mysteries of the psyche as he does here. The hyper-dense complexity of Ismael’s Ghosts may be his attempt at a cinematic representation of a nervous breakdown, namely that of the protagonist Ismael (Mathieu Amalric), a director who gets stuck at a creative...
- 5/17/2017
- by Giovanni Marchini Camia
- The Film Stage
Los perros, premiering in Critics' Week this year, is the second feature film by Marcela Said.When this year’s Cannes slate was announced, an absence that many immediately noted in the competition slate was that of Claire Denis’ latest project: Un beau soleil intérieur, an adaptation of Roland Barthes's 1977 text A Lover's Discourse: Fragments. Leaving aside why her last feature, Bastards, was shunted to the Un Certain Regard section in 2013, the fact that one of the world’s greatest living filmmakers was again denied a competition slot was baffling, to say the least. Except that the film will be at Cannes, premiering alongside new films by Philippe Garrel, Bruno Dumont, and Abel Ferrara no less; it just won’t be in what’s known as the Official Selection. Specifically, Denis will be opening the Director’s Fortnight (Quinzaine des Réalisateurs), a separate, parallel festival completely independent from what...
- 5/17/2017
- MUBI
A heightened sense of anticipation pervades the days leading up to the 70th anniversary of Cannes Film Festival as we arrange screenings and parties and meetings for an adrenaline filled ten days. May 17 to 28 will be full of surprises as this unique high energy mix of glamour, work, fun and stress unfolds. A broad range of distinctive films in Competition, Un Certain Regard, Directors Fortnight (Quainzaine des realisateurs) and Critics Week (La Semaine de la critique), L’Acid compete with parties from cocktails sponsored by all the countries that are here (60+ including Armenia, Nigeria, Kazakhstan and Singapore) and with late night extravanzas on yachts and at villas in the hills.Claudia Dances! Claudia Laughs! Claudia Lives!
This year’s poster portrays Claudia Cardinale dancing on a fiery red background. The Italian actress moved to Paris a long time ago. As the Cannes Muse this year, her musings illuminate the terrific...
This year’s poster portrays Claudia Cardinale dancing on a fiery red background. The Italian actress moved to Paris a long time ago. As the Cannes Muse this year, her musings illuminate the terrific...
- 5/12/2017
- by Sydney Levine
- Sydney's Buzz
Cannes 2017 is already a notable edition thanks to the festival’s inclusion of auteur helmed television entries, and (to the chagrin of some traditional minds) the appearance of Netflix properties in the main competition. But beyond these unavoidable progressions, the same kinds of regular maneuvering continues. While some auteurs locked out of the comp in 2015 have been invited back to the fold (Desplechin, Kawase) of Fremaux’s loving arms, the usual trend of displacement has crafted an unusually exciting crop of titles in the Directors’ Fortnight sidebar, as well as miscellaneous groupings of designated Special Screenings and Out of Competition slots specifically designed for auteurs who will remain part of the official program but away from the glaring inspection of competition pressures.
Edouard Waintrop scored a formidable coup with his opening film this year, Claire Denis‘ Let the Sunshine In (previously known as “Dark Sunglasses”). Denis, one of France’s finest auteurs, has been consistently overlooked by Fremaux and usually appears in competition at Venice. Alongside Denis, Waintrop snagged some Sundance titles (Bushwick, Patti Cake$) and a number of new projects from noted auteurs, like Abel Ferrara, Philippe Garrel, Sharunas Bartas, and Amos Gitai. The lineup also features a number of anticipated titles from new directors, including the sophomore film from Jonas Carpignano (A Ciambra), and some eclectic art-house genre titles (like the delicious sounding Marlina the Murderer in Four Acts from Indonesia’s Mouly Surya). Here’s our top three most anticipated from the Quinzaine:
Top 3 Quinzaine:
3. Jeannette – Dir. Bruno Dumont
Bruno Dumont, who was in the main comp last year with cannibal slapstick comedy Slack Bay, returns with an electro-pop musical on Joan of Arc set during the young girl’s developmental years, as based in part on a work by Charles Peguy.
2. The Florida Project – Sean Baker
Sean Baker returns to 35mm after 2015’s phenomenal Tangerine (famously shot on an iPhone). The American auteur’s latest stars Willem Dafoe alongside a group of newcomers in a film focusing on a six-year-old girl and her group of friends one Floridian summer as they embark on adventures while the adults contend with hard times.
1. Let the Sunshine In – Claire Denis
Inexplicably, Denis unites Juliette Binoche and Gerard Depardieu in this adaptation of Roland Barthes’ A Lover’s Discourse. And this is a comedy. Sacré bleu!
Bonus:
For this year’s select out-of-competition titles, Fremaux amassed some glittery new titles from renowned auteurs.
Top 3 Ooc:
3. Ismael’s Ghosts – Dir. Arnaud Desplechin
Desplechin is back, this time opening up the festival with Ismael’s Ghosts, starring his regular muse Mathieu Amalric as a man caught between his current wife (Charlotte Gainsbourg) and the ghost of his former lover (Marion Cotillard, who previously had a small role in 1996’s My Sex Life…).
2. Based on a True Story – Dir. Roman Polanski
Polanski returns with this intriguing sounding film written by Olivier Assayas and starring Eva Green and Emmanuelle Seigner, which details a writer who gets all wrapped up with an obsessive fan.
1. How to Talk to Girls at Parties – Dir. John Cameron Mitchell
The long awaited sci-fi film from John Cameron Mitchell stars Elle Fanning and Nicole Kidman (in one of four new projects at the festival) as aliens infiltrating London, based on a story by Neil Gaiman.
Special Events and Special Screenings:
Some of the auteurs standing out in the Special Events and Special Screenings are Abbas Kiarostami, Jane Campion, and a Virtual Reality project from Alejandro Gonzalez Inarritu (Flesh and Sand), making these mini-sidebars some of the most formidable programming of the fest in years.
3. Golden Years – Andre Techine
Techine was last in Cannes with an out-of-competition screening with 2014’s In the Name of My Daughter. This year he gets a Special Screening with Golden Years, scripted alongside Cedric Anger and starring Pierre Deladonchamps (Stranger by the Lake) as a Wwi deserter who goes into hiding by posing as a woman…but after the war ends, he can’t bring himself to revert to his former identity.
2. Claire’s Camera – Dir. Hong Sangsoo
Cannes 2017 will deliver a double dose of Hong Sangsoo, who returns to the competition with The Day After, who then gets to debut Claire’s Camera as a Special Screening, which reunites him with Isabelle Huppert (who headlined his 2012 In Another Country). Sangsoo filmed this project at Cannes while the festival transpired in 2016.
1. Twin Peaks – David Lynch
And then, there’s the return of the master. David Lynch will be premiering the first two episodes of Twin Peaks, the hotly anticipated reunion of the iconic television show twenty-five years after the end of Season 2. Along with Campion’s unveiling of her second season of Top of the Lake, this will be a rare opportunity to see (at least partially) these new works in the cinema.
The post The Conversation: Top 3 Most Anticipated Directors’ Fortnight Picks: Denis, Baker & Dumont appeared first on Ioncinema.com.
Edouard Waintrop scored a formidable coup with his opening film this year, Claire Denis‘ Let the Sunshine In (previously known as “Dark Sunglasses”). Denis, one of France’s finest auteurs, has been consistently overlooked by Fremaux and usually appears in competition at Venice. Alongside Denis, Waintrop snagged some Sundance titles (Bushwick, Patti Cake$) and a number of new projects from noted auteurs, like Abel Ferrara, Philippe Garrel, Sharunas Bartas, and Amos Gitai. The lineup also features a number of anticipated titles from new directors, including the sophomore film from Jonas Carpignano (A Ciambra), and some eclectic art-house genre titles (like the delicious sounding Marlina the Murderer in Four Acts from Indonesia’s Mouly Surya). Here’s our top three most anticipated from the Quinzaine:
Top 3 Quinzaine:
3. Jeannette – Dir. Bruno Dumont
Bruno Dumont, who was in the main comp last year with cannibal slapstick comedy Slack Bay, returns with an electro-pop musical on Joan of Arc set during the young girl’s developmental years, as based in part on a work by Charles Peguy.
2. The Florida Project – Sean Baker
Sean Baker returns to 35mm after 2015’s phenomenal Tangerine (famously shot on an iPhone). The American auteur’s latest stars Willem Dafoe alongside a group of newcomers in a film focusing on a six-year-old girl and her group of friends one Floridian summer as they embark on adventures while the adults contend with hard times.
1. Let the Sunshine In – Claire Denis
Inexplicably, Denis unites Juliette Binoche and Gerard Depardieu in this adaptation of Roland Barthes’ A Lover’s Discourse. And this is a comedy. Sacré bleu!
Bonus:
For this year’s select out-of-competition titles, Fremaux amassed some glittery new titles from renowned auteurs.
Top 3 Ooc:
3. Ismael’s Ghosts – Dir. Arnaud Desplechin
Desplechin is back, this time opening up the festival with Ismael’s Ghosts, starring his regular muse Mathieu Amalric as a man caught between his current wife (Charlotte Gainsbourg) and the ghost of his former lover (Marion Cotillard, who previously had a small role in 1996’s My Sex Life…).
2. Based on a True Story – Dir. Roman Polanski
Polanski returns with this intriguing sounding film written by Olivier Assayas and starring Eva Green and Emmanuelle Seigner, which details a writer who gets all wrapped up with an obsessive fan.
1. How to Talk to Girls at Parties – Dir. John Cameron Mitchell
The long awaited sci-fi film from John Cameron Mitchell stars Elle Fanning and Nicole Kidman (in one of four new projects at the festival) as aliens infiltrating London, based on a story by Neil Gaiman.
Special Events and Special Screenings:
Some of the auteurs standing out in the Special Events and Special Screenings are Abbas Kiarostami, Jane Campion, and a Virtual Reality project from Alejandro Gonzalez Inarritu (Flesh and Sand), making these mini-sidebars some of the most formidable programming of the fest in years.
3. Golden Years – Andre Techine
Techine was last in Cannes with an out-of-competition screening with 2014’s In the Name of My Daughter. This year he gets a Special Screening with Golden Years, scripted alongside Cedric Anger and starring Pierre Deladonchamps (Stranger by the Lake) as a Wwi deserter who goes into hiding by posing as a woman…but after the war ends, he can’t bring himself to revert to his former identity.
2. Claire’s Camera – Dir. Hong Sangsoo
Cannes 2017 will deliver a double dose of Hong Sangsoo, who returns to the competition with The Day After, who then gets to debut Claire’s Camera as a Special Screening, which reunites him with Isabelle Huppert (who headlined his 2012 In Another Country). Sangsoo filmed this project at Cannes while the festival transpired in 2016.
1. Twin Peaks – David Lynch
And then, there’s the return of the master. David Lynch will be premiering the first two episodes of Twin Peaks, the hotly anticipated reunion of the iconic television show twenty-five years after the end of Season 2. Along with Campion’s unveiling of her second season of Top of the Lake, this will be a rare opportunity to see (at least partially) these new works in the cinema.
The post The Conversation: Top 3 Most Anticipated Directors’ Fortnight Picks: Denis, Baker & Dumont appeared first on Ioncinema.com.
- 5/2/2017
- by Nicholas Bell
- IONCINEMA.com
English title for Un Beau Soleil Intérieur, set to open Directors’ Fortnight, also announced.
The first image and the English-language title for the new Claire Denis film have been unveiled.
Let The Sunshine In (Un Beau Soleil Intérieur) will open Directors’ Fortnight at Cannes. Formerly known as Dark Glasses, it is adapted from Roland Barthes’ A Lover’s Discourse: Fragments and also stars Gérard Depardieu, Bruno Podalydès and Josiane Balasko.
The 1977 novel is seen from a lover’s point of view and explores the language of love, drawing upon a number of different philosophers.
Paris-based Films Distribution is handling international sales on the title, which was produced by Olivier Delbosc’s Curiosa Films.
Directors’ Fortnight artistic director Edouard Waintrop said of the film: “What touched us is that it marks a radical change in tone for Claire Denis. We like it when film-makers try something new.”
Denis was previously nominated for the Palme d’Or in 1988 for...
The first image and the English-language title for the new Claire Denis film have been unveiled.
Let The Sunshine In (Un Beau Soleil Intérieur) will open Directors’ Fortnight at Cannes. Formerly known as Dark Glasses, it is adapted from Roland Barthes’ A Lover’s Discourse: Fragments and also stars Gérard Depardieu, Bruno Podalydès and Josiane Balasko.
The 1977 novel is seen from a lover’s point of view and explores the language of love, drawing upon a number of different philosophers.
Paris-based Films Distribution is handling international sales on the title, which was produced by Olivier Delbosc’s Curiosa Films.
Directors’ Fortnight artistic director Edouard Waintrop said of the film: “What touched us is that it marks a radical change in tone for Claire Denis. We like it when film-makers try something new.”
Denis was previously nominated for the Palme d’Or in 1988 for...
- 4/26/2017
- ScreenDaily
English title for Un Beau Soleil Intérieur, set to open directors’ fortnight, also announced.
The first image and the English-language title for the new Claire Denis film have been unveiled.
The still from Let The Sunshine In (Un Beau Soleil Intérieur), which will open Directors’ Fortnight at Cannes, depicts star Juliette Binoche lying down on a bed.
The movie - formerly known as Dark Glasses - is adapted from Roland Barthes’ A Lover’s Discourse: Fragments and also stars Gérard Depardieu, Bruno Podalydès and Josiane Balasko.
The 1977 novel is seen from a lover’s point-of-view and explores the language of love, drawing upon a number of different philosophers.
Paris-based Films Distribution is handling international sales on the title which was produced by Olivier Delbosc’s Curiosa Films.
Directors’ Fortnight Artistic director Edouard Waintrop said of the film: “What touched us is that it marks a radical change in tone for Claire Denis. We like it...
The first image and the English-language title for the new Claire Denis film have been unveiled.
The still from Let The Sunshine In (Un Beau Soleil Intérieur), which will open Directors’ Fortnight at Cannes, depicts star Juliette Binoche lying down on a bed.
The movie - formerly known as Dark Glasses - is adapted from Roland Barthes’ A Lover’s Discourse: Fragments and also stars Gérard Depardieu, Bruno Podalydès and Josiane Balasko.
The 1977 novel is seen from a lover’s point-of-view and explores the language of love, drawing upon a number of different philosophers.
Paris-based Films Distribution is handling international sales on the title which was produced by Olivier Delbosc’s Curiosa Films.
Directors’ Fortnight Artistic director Edouard Waintrop said of the film: “What touched us is that it marks a radical change in tone for Claire Denis. We like it...
- 4/26/2017
- ScreenDaily
After the best surprise possible to kick off the new year — the announcement that Claire Denis would be imminently beginning production on a new drama, one starring Juliette Binoche, Gérard Depardieu, and Xavier Beauvois — the Beau travail director was also able to finish it in in times for Cannes. Now set to open Directors’ Fortnight, the first look has arrived.
Adapted from Roland Barthes‘ A Lover’s Discourse: Fragments, which deconstructs the language of love, the film also has a new title after initially going by Dark Glasses. Screen Daily reports the English title is Let the Sunshine In (aka Un Beau Soleil Intérieur). Also starring Bruno Podalydès and Josiane Balasko, Directors’ Fortnight Artistic director Edouard Waintrop, says of the film. “What touched us is that it marks a radical change in tone for Claire Denis. We like it when film-makers try something new.”
See the Amazon synopsis for Barthes...
Adapted from Roland Barthes‘ A Lover’s Discourse: Fragments, which deconstructs the language of love, the film also has a new title after initially going by Dark Glasses. Screen Daily reports the English title is Let the Sunshine In (aka Un Beau Soleil Intérieur). Also starring Bruno Podalydès and Josiane Balasko, Directors’ Fortnight Artistic director Edouard Waintrop, says of the film. “What touched us is that it marks a radical change in tone for Claire Denis. We like it when film-makers try something new.”
See the Amazon synopsis for Barthes...
- 4/26/2017
- by Jordan Raup
- The Film Stage
Organized since 1969 by the French Directors’ Guild, Directors’ Fortnight (officially The Directors’ Fortnight, but rarely referred to as such) is the most storied of the independent parallel festivals at Cannes and something of a refuge for art films, genre movies, and debut features, away from the notoriously Byzantine internal politics that go into programming the main festival’s glitzy Official Competition and its Un Certain Regard sidebar. This year’s selection, which was announced yesterday, is unusually heavy with big names, with new films by Claire Denis, Bruno Dumont, Abel Ferrara, Philippe Garrel, and Sean Baker (among many others), along with the usual slate of unknowns.
Described as an adaptation of Roland Barthes’ A Lover’s Discourse: Fragments, Denis’ Dark Glasses was only announced a few months ago, and the fact that it stars Juliette Binoche and Gerard Depardieu makes it one of the starriest Directors’ Fortnight openers in ...
Described as an adaptation of Roland Barthes’ A Lover’s Discourse: Fragments, Denis’ Dark Glasses was only announced a few months ago, and the fact that it stars Juliette Binoche and Gerard Depardieu makes it one of the starriest Directors’ Fortnight openers in ...
- 4/21/2017
- by Ignatiy Vishnevetsky
- avclub.com
The Cannes updates are coming fast and furious now and hot on the heels of last week's press conference and the release of the official competition line-up, the Director's Fortnight titles have also been announced and this year, the sidebar offers up quite a diverse group of films and filmmakers.
Kicking off the program will be French director Claire Denis' Un Beau Soleil Interieur, an adaptation of Roland Barthes' novel starring Juliette Binoche and Gerard Depardieu. Other titles in this year's line-up include director Abel Ferrara's music documentary Alive in France and Jea [Continued ...]...
Kicking off the program will be French director Claire Denis' Un Beau Soleil Interieur, an adaptation of Roland Barthes' novel starring Juliette Binoche and Gerard Depardieu. Other titles in this year's line-up include director Abel Ferrara's music documentary Alive in France and Jea [Continued ...]...
- 4/20/2017
- QuietEarth.us
Danielle Macdonald in Patti Cake$ - straight out of Jersey comes Patricia Dombrowski, aka Killa P, aka Patti Cake$, an aspiring rapper fighting through a world of strip malls and strip clubs on an unlikely quest for glory. Photo: Courtesy of Sundance Film Festival Directors' Fortnight artistic director Eduoard Waintrop Photo: Quinzaine The Cannes Directors’ Fortnight selection will open with a starry comedy Un Beau Soleil Intérieur with Juliette Binoche and Gérard Depardieu, which marks a change of tone for director Claire Denis, known for hard hitting dramas such as Beau Travail and Chocolat.
The section’s artistic director Edouard Waintrop made no apology for the choice, noting that he applauded directors who dared to change direction and that laughter in these dark times would provide a tonic. The film has been adapted from Roland Barthes' A Lover’s Discourse: Fragments, which is said to deconstruct the language of love.
The section’s artistic director Edouard Waintrop made no apology for the choice, noting that he applauded directors who dared to change direction and that laughter in these dark times would provide a tonic. The film has been adapted from Roland Barthes' A Lover’s Discourse: Fragments, which is said to deconstruct the language of love.
- 4/20/2017
- by Richard Mowe
- eyeforfilm.co.uk
The 49th annual edition of the Cannes Film Festival’s lauded Directors’ Fortnight section announced its picks this morning. The section is a non-competitive sidebar, but members of the Société des Réalisateurs Français, which organizes the event, do dole out honors.
Directors’ Fortnight artistic director Edouard Waintrop announced the titles in a roughly 40 minute presentation Thursday. The section opens with the latest film from Claire Denis, “Un Beau Soleil Interieur,” an adaptation of Roland Barthes’ “A Lover’s Discourse: Fragments,” which stars Juliette Binoche and Gerard Depardieu. Major auteurs in the lineup include Bruno Dumont, with his musical “Jeannette: The Childhood of Joan of Arc,” and Bael Ferrara, who will return to Cannes after several years with “Alive In France,” a documentary that follows Ferrara and his band as they tour France.
Other notable titles include “The Florida Project,” Sean Baker’s follow-up to “Tangerine,” and “A Ciambra,” from “Mediterranea” director Jonas Carpignano.
Directors’ Fortnight artistic director Edouard Waintrop announced the titles in a roughly 40 minute presentation Thursday. The section opens with the latest film from Claire Denis, “Un Beau Soleil Interieur,” an adaptation of Roland Barthes’ “A Lover’s Discourse: Fragments,” which stars Juliette Binoche and Gerard Depardieu. Major auteurs in the lineup include Bruno Dumont, with his musical “Jeannette: The Childhood of Joan of Arc,” and Bael Ferrara, who will return to Cannes after several years with “Alive In France,” a documentary that follows Ferrara and his band as they tour France.
Other notable titles include “The Florida Project,” Sean Baker’s follow-up to “Tangerine,” and “A Ciambra,” from “Mediterranea” director Jonas Carpignano.
- 4/20/2017
- by Graham Winfrey
- Indiewire
Folks in the Brooklyn area are in for a treat. Nitehawk Cinema is hosting a screening of the highly anticipated horror anthology, Xx. Also in today’s Horror Highlights: the Twenty Twenty-Four screening details, Shriekfest 2017 call for submissions, Tyler Perry’s Boo! A Madea Halloween home media info, a new trailer for Diane, and Child Eater release details.
Nitehawk Cinema’s Brooklyn Xx Screening Details: “Nitehawk presents a preview and midnite screenings of the new all female-helmed horror anthology, Xx. We also ask the Xx directors to select a couple of their influential films for midnite screenings and they chose: Michael Haneke’s The White Ribbon and Mary Lambert’s Pet Sematary.”
To learn more, visit Nitehawk Cinema’s official website.
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Twenty Twenty-Four North American Premiere Details: “We have two screenings in San Francisco, hosted by San Francisco Independent Film Festival. Twenty Twenty-Four is making its North American premiere at...
Nitehawk Cinema’s Brooklyn Xx Screening Details: “Nitehawk presents a preview and midnite screenings of the new all female-helmed horror anthology, Xx. We also ask the Xx directors to select a couple of their influential films for midnite screenings and they chose: Michael Haneke’s The White Ribbon and Mary Lambert’s Pet Sematary.”
To learn more, visit Nitehawk Cinema’s official website.
———
Twenty Twenty-Four North American Premiere Details: “We have two screenings in San Francisco, hosted by San Francisco Independent Film Festival. Twenty Twenty-Four is making its North American premiere at...
- 2/1/2017
- by Tamika Jones
- DailyDead
Black Glasses (Les Lunettes Noir)
Director: Claire Denis
Writer: Claire Denis
Actress Juliette Binoche unveiled to the Hungarian press last October she was working on a new project with Claire Denis which the director had adapted from Roland Barthes’ A Lover’s Discourse.
Continue reading...
Director: Claire Denis
Writer: Claire Denis
Actress Juliette Binoche unveiled to the Hungarian press last October she was working on a new project with Claire Denis which the director had adapted from Roland Barthes’ A Lover’s Discourse.
Continue reading...
- 1/12/2017
- by Nicholas Bell
- IONCINEMA.com
Fans of celebrated, genre-spanning director Claire Denis will have to wait a bit to see her tackle the far reaches of space. According to The Playlist, Denis has put her previously announced science fiction feature High Life—which she was working on with English author Zadie Smith and installation artist Oliafur Eliasson—on hold, in favor of a new romance film with French cinema mainstays Juliette Binoche and Gerard Depardieu.
Dark Glasses is based on (and takes its name from) Roland Barthes’ classic A Lover’s Discourse, a collection of musings and sketches of romantic entanglement. Denis’ film will actually be the second time in recent years that Barthes’ book has been given the cinematic treatment; an adaptation of the book, developed as a romantic anthology, came out inHong Kong in 2010. Glasses is expected to film some time this year, at which point Denis—whose other films include modern ...
Dark Glasses is based on (and takes its name from) Roland Barthes’ classic A Lover’s Discourse, a collection of musings and sketches of romantic entanglement. Denis’ film will actually be the second time in recent years that Barthes’ book has been given the cinematic treatment; an adaptation of the book, developed as a romantic anthology, came out inHong Kong in 2010. Glasses is expected to film some time this year, at which point Denis—whose other films include modern ...
- 1/4/2017
- by William Hughes
- avclub.com
Given the tight knit French film community, and the fact that both Gerard Depardieu and Juliette Binoche are bonafide legends, it’s a bit shocking that the pair have never starred in a film together. But that’s about to change with “Dark Glasses,” the next film from the great Claire Denis.
While we have been pining for the director’s brewing sci-fi movie “High Life” starring Robert Pattinson, Patricia Arquette, and Mia Goth, which was supposed to start shooting this spring, it looks like Denis has put it on the back-burner as she pivots to “Dark Glasses.” France 3 reports that Depardieu and Binoche will be joined by Xavier Beauvois in the film which will start shooting this month, with The Film Stage adding production will last seven weeks, and that the film is based on the book by Roland Barthes.
Continue reading Juliette Binoche & Gérard Depardieu Team For Claire Denis...
While we have been pining for the director’s brewing sci-fi movie “High Life” starring Robert Pattinson, Patricia Arquette, and Mia Goth, which was supposed to start shooting this spring, it looks like Denis has put it on the back-burner as she pivots to “Dark Glasses.” France 3 reports that Depardieu and Binoche will be joined by Xavier Beauvois in the film which will start shooting this month, with The Film Stage adding production will last seven weeks, and that the film is based on the book by Roland Barthes.
Continue reading Juliette Binoche & Gérard Depardieu Team For Claire Denis...
- 1/3/2017
- by Kevin Jagernauth
- The Playlist
2017 just got a whole lot better. The last few years we’ve heard a handful of updates on what was thought to be Claire Denis‘ next film, High Life, an ambitious sci-fi drama starring Robert Pattinson. With shooting expecting to begin sometime this year, it looks like the project has been pushed back to make room for a smaller-scale feature from the White Material director, and one that’s just as enticing.
Juliette Binoche, Gérard Depardieu, and Xavier Beauvois will be leading the cast of Denis’ Les lunettes noir (translated to Dark Glasses), which kicks off a seven-week shoot in Paris and Guéret this month. Adapted from Roland Barthes‘ A Lover’s Discourse: Fragments, which deconstructs the language of love, the drama is expected to be completed in time for a fall premiere. [France 3/JulietteBinoche.net]
It’s still unclear in what form exactly Denis will adapt the material, which has already been...
Juliette Binoche, Gérard Depardieu, and Xavier Beauvois will be leading the cast of Denis’ Les lunettes noir (translated to Dark Glasses), which kicks off a seven-week shoot in Paris and Guéret this month. Adapted from Roland Barthes‘ A Lover’s Discourse: Fragments, which deconstructs the language of love, the drama is expected to be completed in time for a fall premiere. [France 3/JulietteBinoche.net]
It’s still unclear in what form exactly Denis will adapt the material, which has already been...
- 1/3/2017
- by Jordan Raup
- The Film Stage
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