Nocturama Grasshopper Films Director: Bertrand Bonello Written by: Bertrand Bonello Cast: Finnegan Oldfield, Vincent Rottiers, Hamza Meziani, Manal Issa, Martin Guyot, Jamil McCraven, Rabah Nait Oufella, Laure Valentinelli, Ilias Le Doré, Robin Goldronn, Luis Rego, Hermine Karagheuz, Adèle Haenel. Screened with Critics’ link, NYC, 8/7/17 Opens: August 11, 2017 In his movie two years ago, […]
The post Nocturama Movie Review appeared first on Shockya.com.
The post Nocturama Movie Review appeared first on Shockya.com.
- 8/7/2017
- by Harvey Karten
- ShockYa
Although François Truffaut has written that the New Wave began “thanks to Jacquette Rivette,” the films of this masterful French director are not well known. Rivette, like his “Cahiers du Cinéma” colleagues Truffaut, Jean-Luc Godard, Claude Chabrol and Éric Rohmer, did graduate to filmmaking but, like Rohmer, was something of a late bloomer as a director.
In 1969, he directed the 4-hour L’amour fou (1969), the now legendary 13-hour Out 1 (1971) (made for French TV in 1970 but never broadcast; edited to a 4-hour feature and retitled Out 1: Spectre (1972)), and the 3-hour Celine and Julie Go Boating (1974), his most entertaining and widely seen picture. In these three films, Rivette began to construct what has come to be called his “House of Fiction”–an enigmatic filmmaking style involving improvisation, ellipsis and considerable narrative experimentation.
Celine and Julie Go Boating
In 1975, Jacques Rivette reunited with Out 1 producer Stéphane Tchal Gadjieff with the idea of a four-film cycle.
In 1969, he directed the 4-hour L’amour fou (1969), the now legendary 13-hour Out 1 (1971) (made for French TV in 1970 but never broadcast; edited to a 4-hour feature and retitled Out 1: Spectre (1972)), and the 3-hour Celine and Julie Go Boating (1974), his most entertaining and widely seen picture. In these three films, Rivette began to construct what has come to be called his “House of Fiction”–an enigmatic filmmaking style involving improvisation, ellipsis and considerable narrative experimentation.
Celine and Julie Go Boating
In 1975, Jacques Rivette reunited with Out 1 producer Stéphane Tchal Gadjieff with the idea of a four-film cycle.
- 5/1/2017
- by Tom Stockman
- WeAreMovieGeeks.com
At the bar with Nocturama director Bertrand Bonello Photo: Anne-Katrin Titze
After being seated next to Django director Étienne Comar and Reda Kateb (who portrays Django Reinhardt) at the uniFrance Locanda Verde lunch, I had a conversation with Bertrand Bonello on his latest film. Nocturama, shot by cinematographer Léo Hinstin, edited by Fabrice Rouaud, costumes by Sonia Philouze with music by Bonello. It has an ensemble cast that includes Finnegan Oldfield, Vincent Rottiers, Hamza Meziani, Manal Issa, Martin Petit-Guyot, Jamil McCraven, Rabah Nait Oufella, Laure Valentinelli, Ilias Le Doré, Robin Goldbronn, Luis Rego, Hermine Karagheuz, and Adèle Haenel.
Finnegan Oldfield as David in Nocturama Photo: Carole Bethuel
When I spoke last year with Thomas Bidegain on Les Cowboys about actor Finnegan Oldfield, who stars in both his and Bertrand's film, he told me that Nocturama was being edited the day of the Bataclan attack in Paris.
Nocturama, a highlight of...
After being seated next to Django director Étienne Comar and Reda Kateb (who portrays Django Reinhardt) at the uniFrance Locanda Verde lunch, I had a conversation with Bertrand Bonello on his latest film. Nocturama, shot by cinematographer Léo Hinstin, edited by Fabrice Rouaud, costumes by Sonia Philouze with music by Bonello. It has an ensemble cast that includes Finnegan Oldfield, Vincent Rottiers, Hamza Meziani, Manal Issa, Martin Petit-Guyot, Jamil McCraven, Rabah Nait Oufella, Laure Valentinelli, Ilias Le Doré, Robin Goldbronn, Luis Rego, Hermine Karagheuz, and Adèle Haenel.
Finnegan Oldfield as David in Nocturama Photo: Carole Bethuel
When I spoke last year with Thomas Bidegain on Les Cowboys about actor Finnegan Oldfield, who stars in both his and Bertrand's film, he told me that Nocturama was being edited the day of the Bataclan attack in Paris.
Nocturama, a highlight of...
- 3/8/2017
- 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 the interwebs. 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 Instant Video, and more (note: U.S. only). Check out our rundown for this week’s selections below.
American Ultra (Nima Nourizadeh)
From its first few shots, it’s clear that American Ultra is removed from the relatively grounded drama of Greg Mottola’s underrated Adventureland, the last film that paired Jesse Eisenberg and Kristen Stewart. We first meet Eisenberg’s bloodied and beaten Mike Howell detained and chained to a table in a septic interrogation room. As an agent throws photographic evidence of...
American Ultra (Nima Nourizadeh)
From its first few shots, it’s clear that American Ultra is removed from the relatively grounded drama of Greg Mottola’s underrated Adventureland, the last film that paired Jesse Eisenberg and Kristen Stewart. We first meet Eisenberg’s bloodied and beaten Mike Howell detained and chained to a table in a septic interrogation room. As an agent throws photographic evidence of...
- 8/12/2016
- by The Film Stage
- The Film Stage
Toronto International Film Festival continues to add to its already eclectic slate by announcing their Platform line-up today. Beginning last year as a special program to highlight auteur-driven features from around the world, this year’s line-up looks remarkably strong, opening with Bertrand Bonello‘s Paris-set terrorism drama Nocturama.
Also featuring new films from Fien Troch, Zacharias Kunuk, Kiyoshi Kurosawa, Ivan Sen, Katell Quillévéré, Khyentse Norbu, Pablo Larraín, William Oldroyd, Mijke de Jong, Barry Jenkins, Mathieu Denis, and Simon Lavoie, check out the line-up below.
Daguerrotype (Le Secret de la chambre noire) Kiyoshi Kurosawa, France/Japan/Belgium
World Premiere
Kiyoshi Kurosawa makes his first film outside Japan with this French-language ghost romance fantasy, about an aging photographer whose obsession with an archaic technique draws his young assistant and beautiful daughter into a dark and mysterious world. Starring Tahar Rahim, Constance Rousseau, Olivier Gourmet, and Mathieu Amalric. ***
Goldstone Ivan Sen, Australia...
Also featuring new films from Fien Troch, Zacharias Kunuk, Kiyoshi Kurosawa, Ivan Sen, Katell Quillévéré, Khyentse Norbu, Pablo Larraín, William Oldroyd, Mijke de Jong, Barry Jenkins, Mathieu Denis, and Simon Lavoie, check out the line-up below.
Daguerrotype (Le Secret de la chambre noire) Kiyoshi Kurosawa, France/Japan/Belgium
World Premiere
Kiyoshi Kurosawa makes his first film outside Japan with this French-language ghost romance fantasy, about an aging photographer whose obsession with an archaic technique draws his young assistant and beautiful daughter into a dark and mysterious world. Starring Tahar Rahim, Constance Rousseau, Olivier Gourmet, and Mathieu Amalric. ***
Goldstone Ivan Sen, Australia...
- 8/11/2016
- by Jordan Raup
- The Film Stage
As a supplement to our Recommended Discs weekly feature, Peter Labuza regularly highlights notable recent home-video releases with expanded reviews. See this week’s selections below.
Two playful journeys into women’s lives — one a mystery forged in darkness, one an adventure-turned-ritualistic-requiem. Jacques Rivette’s Duelle and Noroît originally set up a four-part circle of films that were never finished. But these never-released-in-America masterpieces comprise his most wondrous ode to classical Hollywood, each based on a forgotten text. In Rivette’s own obsessive mise-en-scéne, their fantasies are grounded through realism, constructed worlds where the camera simply documents performance.
The streets of Paris remain conspicuously quiet through Duelle, a noir-fantasy modeled off Rko’s The Seventh Victim. The frizzle-haired ingénue Hermine Karagheuz balances on a ball before coming crashing back down, and suddenly a woman gives her the task of finding a missing man (encouraged by the booming sounds of the...
Two playful journeys into women’s lives — one a mystery forged in darkness, one an adventure-turned-ritualistic-requiem. Jacques Rivette’s Duelle and Noroît originally set up a four-part circle of films that were never finished. But these never-released-in-America masterpieces comprise his most wondrous ode to classical Hollywood, each based on a forgotten text. In Rivette’s own obsessive mise-en-scéne, their fantasies are grounded through realism, constructed worlds where the camera simply documents performance.
The streets of Paris remain conspicuously quiet through Duelle, a noir-fantasy modeled off Rko’s The Seventh Victim. The frizzle-haired ingénue Hermine Karagheuz balances on a ball before coming crashing back down, and suddenly a woman gives her the task of finding a missing man (encouraged by the booming sounds of the...
- 2/17/2016
- by Peter Labuza
- The Film Stage
As an supplement to our Recommended Discs weekly feature, Peter Labuza regularly highlights notable recent home video releases with expanded reviews. See this week’s selections below.
The American Friend (Criterion)
“What’s wrong with a cowboy in Hamburg?” Wim Wenders’ ode to American crime films of the ’50s remains his most idiosyncratic work, teetering between absurdist comedy and strained psycho-drama. Bruno Ganz stars as an art framer — a metaphor for the impossible boundaries he can no longer contain — tempted by the opportunity of earning money for murder, a profession he has no experience in. It’s hard to know when to take Wenders seriously — Ganz’s trip to Paris begins with a conspiracy-ridden doctor’s visit that sets up the film for more absurdist laughs than a “state of the continent” manifesto (the target is noted as an “American Jew”). But the film’s murder in a Paris metro...
The American Friend (Criterion)
“What’s wrong with a cowboy in Hamburg?” Wim Wenders’ ode to American crime films of the ’50s remains his most idiosyncratic work, teetering between absurdist comedy and strained psycho-drama. Bruno Ganz stars as an art framer — a metaphor for the impossible boundaries he can no longer contain — tempted by the opportunity of earning money for murder, a profession he has no experience in. It’s hard to know when to take Wenders seriously — Ganz’s trip to Paris begins with a conspiracy-ridden doctor’s visit that sets up the film for more absurdist laughs than a “state of the continent” manifesto (the target is noted as an “American Jew”). But the film’s murder in a Paris metro...
- 2/8/2016
- by Peter Labuza
- The Film Stage
This article accompanies the Film Society of Lincoln Center’s dual retrospective of the films of Jacques Rivette and David Lynch and is part of an ongoing review of Rivette’s films for the Notebook, in light of several major re-releases of his work.Lost Highway and Duelle: two post-surrealist reformulations of noir potboilers and '40s programmers. In both, a nymph-like blond battles a raven-haired cipher for spiritual, epistemological, and moral dominance, leading side-characters to their deaths in the progress. A protagonist, impossibly in over his/her head, is caught in some ur-reality in which the whole world seems given over to high artifice. Parallel worlds, one by Jacques Rivette in 1976 and the other David Lynch twenty years later, where one might look on strange things unstrangely: prosaic twilight duels, as in Val Lewton films, are realised in impossibly mysterious, banal, expressionistic urban vistas. Duelle begins with a very...
- 12/21/2015
- by Christopher Small
- MUBI
The following article accompanies the audiovisual essay Paratheatre - Plays Without Stages (From I to IV) by Adrian Martin and Cristina Álvarez López and commissioned by Chris Luscri for the 2014 Melbourne International Film Festival premiere of Jacques Rivette's 1971 magnum opus Out 1 - Noli me tangere.
In Jacques Rivette’s monumental Out 1 (1971), we see two theatrical works perpetually in progress — until, due to the force of many factors both internal and external, both projects collapse. Yet what we witness are not, in any conventional or normative sense, rehearsals. They are more like what Jerzy Grotwoski called paratheatre: playing without a stage, without an audience ever in mind or in attendance, playing for the sake of playing itself, for the process of working it out and working it through.
Every critical commentary on Out 1 (and its double, Out 1: Spectre from 1974) refers to the prominent place in it of theatre — a prominent place it enjoys,...
In Jacques Rivette’s monumental Out 1 (1971), we see two theatrical works perpetually in progress — until, due to the force of many factors both internal and external, both projects collapse. Yet what we witness are not, in any conventional or normative sense, rehearsals. They are more like what Jerzy Grotwoski called paratheatre: playing without a stage, without an audience ever in mind or in attendance, playing for the sake of playing itself, for the process of working it out and working it through.
Every critical commentary on Out 1 (and its double, Out 1: Spectre from 1974) refers to the prominent place in it of theatre — a prominent place it enjoys,...
- 8/7/2014
- by Cristina Álvarez López & Adrian Martin
- MUBI
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.