The series Sex, Truth, and Videotape: French Feminist Activism is playing on Mubi in many countries. Maso and Miso Go BoatingTo commemorate the United Nations decreeing 1975 as the International Year of the Woman, French television host Bernard Pivot invited the State Secretary for Women Françoise Giroud to chat with a series of men who all proudly identified as misogynists. Throughout “The Year of the Woman: Thank God! It’s Over,” representatives from various corners of the arts came together to discuss why women will never be great artists, cooks, or human beings. Giroud happily agrees with them, the group having a chatty back and forth about why women marry their abusers. There’s no dissent from anyone, and these experts in their field and representatives of the state reveal the shallowness of hegemony, which is in turn transmitted directly into the homes of the French. These are the people in...
- 7/1/2021
- MUBI
The Very Eye of Night is a series of columns on non-binary and female avant-garde film and video artists. The title refers to Maya Deren’s last completed film. Anthology Film Archives in New York presents a five-program retrospective of Carole Roussopoulos’s videos from November 7–9, 2017. The screenings will be introduced by Nicole Fernández Ferrer, director of the Simone de Beauvoir Audiovisual Center.Carole Roussopoulos, 1970. Photo by Guy Le Querrec.Jean-Luc Godard wrote a letter to Carole Roussopoulos in 1979 for Cahiers du cinéma in which he reflected on the motivations behind making films, and inquired: “Sometimes I wonder what has happened to all you have filmed in the four corners of France and the world… And I wonder why people in cinema want to film others with so much frenzy.” As Nicole Brenez recalls, the Swiss filmmaker responded to him: “to privilege the approach of those without a voice.” Carole Roussopoulos...
- 11/7/2017
- MUBI
Marc Allégret: From André Gide lover to Simone Simon mentor (photo: Marc Allégret) (See previous post: "Simone Simon Remembered: Sex Kitten and Femme Fatale.") Simone Simon became a film star following the international critical and financial success of the 1934 romantic drama Lac aux Dames, directed by her self-appointed mentor – and alleged lover – Marc Allégret.[1] The son of an evangelical missionary, Marc Allégret (born on December 22, 1900, in Basel, Switzerland) was to have become a lawyer. At age 16, his life took a different path as a result of his romantic involvement – and elopement to London – with his mentor and later "adoptive uncle" André Gide (1947 Nobel Prize winner in Literature), more than 30 years his senior and married to Madeleine Rondeaux for more than two decades. In various forms – including a threesome with painter Théo Van Rysselberghe's daughter Elisabeth – the Allégret-Gide relationship remained steady until the late '20s and their trip to...
- 2/28/2015
- by Andre Soares
- Alt Film Guide
During the First World War two French air force members, played by Jean Gabin and Pierre Fresnay, are shot down by German aristocrat Rittmeister von Rauffenstein (Eric von Stroheim). Despite the animosity between France and Germany, the three men break bread together and find that they have a lot in common, particularly Rittmeister von Rauffenstein and Captain de Boeldieu (Fresnay). Marechal (Gabin) and Boeldieu are then taken to a Pow camp where they get ensconced in a plot with the other prisoners to escape through a tunnel. Fate conspires against them though and they end up transferred to another camp, one run by Rittmeister von Rauffenstein.
Renoir’s prison masterpiece’s greatest scenes are perhaps those that focus on the differences between men, notably those of class and race. The duality in sequences involving von Rauffenstein and Boeldieu, for instance, is central to the depth that makes La Grande Illusion...
Renoir’s prison masterpiece’s greatest scenes are perhaps those that focus on the differences between men, notably those of class and race. The duality in sequences involving von Rauffenstein and Boeldieu, for instance, is central to the depth that makes La Grande Illusion...
- 4/26/2012
- by Craig Skinner
- HeyUGuys.co.uk
Jean‑Luc Godard's masterpiece remains a startling example of the French new wave and marked the arrival of one of cinema's most influential directors
Two trailers bookend my half-a-century of writing professionally about the cinema and bracket the career of the man who is arguably the most influential moviemaker of my lifetime. Fifty years ago this month I dropped into an Oslo cinema while waiting for a midnight train and saw an unforgettable trailer for a French picture. It cut abruptly between a handsome, broken-nosed actor I'd never come across before, giant posters of Humphrey Bogart, and the familiar features of Jean Seberg, whom I knew to be an idol of French cinéastes as the protegee of Otto Preminger. Shot in high contrast monochrome, rapidly edited, interspersed with puzzling statements in white-on-black and black-on-white lettering, it was like no other trailer I'd seen, and I was captivated. Not until my...
Two trailers bookend my half-a-century of writing professionally about the cinema and bracket the career of the man who is arguably the most influential moviemaker of my lifetime. Fifty years ago this month I dropped into an Oslo cinema while waiting for a midnight train and saw an unforgettable trailer for a French picture. It cut abruptly between a handsome, broken-nosed actor I'd never come across before, giant posters of Humphrey Bogart, and the familiar features of Jean Seberg, whom I knew to be an idol of French cinéastes as the protegee of Otto Preminger. Shot in high contrast monochrome, rapidly edited, interspersed with puzzling statements in white-on-black and black-on-white lettering, it was like no other trailer I'd seen, and I was captivated. Not until my...
- 6/9/2010
- by Philip French
- The Guardian - Film News
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