The Lumière Festival’s International Classic Film Market (Mifc) in Lyon, France, is highlighting heritage documentaries, examining Cuban and Swedish cinema and showcasing the work of the Wim Wenders Foundation as part of a newly revamped program.
In overhauling the Mifc, organizers are seeking to position the event closer to industry needs, offer improved services and offer a clearer picture of the ever evolving heritage content market.
The change will “modify the market to be less institutional and more business oriented,” says Gérald Duchaussoy, who oversees programming and coordination for the Mifc.
The market, which runs Oct. 17-20, kicks off with a keynote by Claire Brunel and Hella Wenders, the managing director of the Wim Wenders Foundation.
The Düsseldorf-based organization, created for the purpose of preserving, maintaining and disseminating Wenders’ works, is very unique and its presentation will be a very interesting opportunity for Mifc participants to learn how it...
In overhauling the Mifc, organizers are seeking to position the event closer to industry needs, offer improved services and offer a clearer picture of the ever evolving heritage content market.
The change will “modify the market to be less institutional and more business oriented,” says Gérald Duchaussoy, who oversees programming and coordination for the Mifc.
The market, which runs Oct. 17-20, kicks off with a keynote by Claire Brunel and Hella Wenders, the managing director of the Wim Wenders Foundation.
The Düsseldorf-based organization, created for the purpose of preserving, maintaining and disseminating Wenders’ works, is very unique and its presentation will be a very interesting opportunity for Mifc participants to learn how it...
- 10/15/2023
- by Ed Meza
- Variety Film + TV
One of the most interesting sections of Cannes Film Festival each year is their Classics section, which is made up of new restorations and filmmaking-related documentaries. The lineup often gives a look ahead at what classic and overlooked films may be getting new Blu-ray editions, as well as digital debuts, and theatrical re-releases. Following the reveal of Cannes-selected premieres this year, they’ve now unveiled their Classics lineup.
This year’s slate, made up of 25 features and 7 documentaries, will screen at the Lumière festival in Lyon and by the Rencontres Cinématographiques de Cannes. Leading the pack, and announced a few months ago, is the new 20th anniversary restoration of In the Mood for Love by Wong Kar-wai. Also in the lineup is 60th anniversary restorations of Jean-Luc Godard’s Breathless and Michelangelo Antonioni’s L’Avventura, while a selection of Federico Fellini classics have been restored for this 100th birthday.
Peter Wollen’s Friendship’s Death,...
This year’s slate, made up of 25 features and 7 documentaries, will screen at the Lumière festival in Lyon and by the Rencontres Cinématographiques de Cannes. Leading the pack, and announced a few months ago, is the new 20th anniversary restoration of In the Mood for Love by Wong Kar-wai. Also in the lineup is 60th anniversary restorations of Jean-Luc Godard’s Breathless and Michelangelo Antonioni’s L’Avventura, while a selection of Federico Fellini classics have been restored for this 100th birthday.
Peter Wollen’s Friendship’s Death,...
- 7/15/2020
- by Jordan Raup
- The Film Stage
The Cannes Film Festival has unveiled the lineup for the 17th edition of Cannes Classics, a popular sidebar dedicated to restored heritage movies and documentaries that forms part of the Official Selection.
This year’s roster comprises 25 feature films and seven documentaries. The highlights are Wong Kar-wai’s “In the Mood for Love,” which celebrates its 25th anniversary, as well as Jean-Luc Godard’s “Breathless” and Michelangelo Antonioni’s “L’Aventura,” which are both turning 60. Cannes Classics will also turn the spotlight on Federico Fellini, the Italian master who would have turned 100 in 2020. Two films by Fellini are part of the selection, “La strada” and “Luci del varietà,” along with the documentary “Fellini of the Spirits” directed by Anselma dell’Olio.
Cannes Classics will also spotlight rare films such as Peter Wollen’s “Friendship’s Death” in which Tilda Swinton delivered a breakthrough performance in 1987, and “The Story of a Three-Day Pass,...
This year’s roster comprises 25 feature films and seven documentaries. The highlights are Wong Kar-wai’s “In the Mood for Love,” which celebrates its 25th anniversary, as well as Jean-Luc Godard’s “Breathless” and Michelangelo Antonioni’s “L’Aventura,” which are both turning 60. Cannes Classics will also turn the spotlight on Federico Fellini, the Italian master who would have turned 100 in 2020. Two films by Fellini are part of the selection, “La strada” and “Luci del varietà,” along with the documentary “Fellini of the Spirits” directed by Anselma dell’Olio.
Cannes Classics will also spotlight rare films such as Peter Wollen’s “Friendship’s Death” in which Tilda Swinton delivered a breakthrough performance in 1987, and “The Story of a Three-Day Pass,...
- 7/15/2020
- by Elsa Keslassy
- Variety Film + TV
Unlike the Vietnam War, which spawned Apocalypse Now, The Deer Hunter, Full Metal Jacket and several other modern classics, the Algerian War, which was very much France’s Vietnam, did no such thing. In fact, beyond a few outliers like The Battle of Algiers (an Italian-Algerian production with a partial French cast) or the work of director René Vautier, many of whose movies were banned upon release, French cinema generally steered clear of a major 20th century conflict that would mark the end of its colonial empire. Or else, in films as diverse as Godard’s Le Petit soldat, Demy’s The Umbrellas of Cherbourg or ...
- 1/29/2020
- The Hollywood Reporter - Movie News
Unlike the Vietnam War, which spawned Apocalypse Now, The Deer Hunter, Full Metal Jacket and several other modern classics, the Algerian War, which was very much France’s Vietnam, did no such thing. In fact, beyond a few outliers like The Battle of Algiers (an Italian-Algerian production with a partial French cast) or the work of director René Vautier, many of whose movies were banned upon release, French cinema generally steered clear of a major 20th century conflict that would mark the end of its colonial empire. Or else, in films as diverse as Godard’s Le Petit soldat, Demy’s The Umbrellas of Cherbourg or ...
- 1/29/2020
- The Hollywood Reporter - Film + TV
Peter Cowie recalls that time in 1992 when Samuel Fuller was introduced to Hans-Jürgen Syberberg. Also in today's roundup of news and views: Giancarlo T. Roma talks money with James Schamus, an assessment of Errol Morris's work, a profile of Adam Curtis, Matías Piñeiro on a scene from The Princess of France—and it's Steve Buscemi Day at DC's. Plus a David Lynch exhibition, a Frank Capra retrospective and notes on forthcoming work from Kenneth Lonergan, Pedro Almodóvar and Scarlett Johansson. And remembering René Vautier. » - David Hudson...
- 1/5/2015
- Fandor: Keyframe
Peter Cowie recalls that time in 1992 when Samuel Fuller was introduced to Hans-Jürgen Syberberg. Also in today's roundup of news and views: Giancarlo T. Roma talks money with James Schamus, an assessment of Errol Morris's work, a profile of Adam Curtis, Matías Piñeiro on a scene from The Princess of France—and it's Steve Buscemi Day at DC's. Plus a David Lynch exhibition, a Frank Capra retrospective and notes on forthcoming work from Kenneth Lonergan, Pedro Almodóvar and Scarlett Johansson. And remembering René Vautier. » - David Hudson...
- 1/5/2015
- Keyframe
Film friends, pay attention: if you're in the New York City area, the Film Society of Lincoln Center is hosting a week-long series that is an absolute must. The Cinema of Resistance will focus on radical titles throughout the ages — "in both content and form, ever mindful of the relationship between politics and aesthetics." Fandor writer Kevin B. Lee is supporting the series with a thought-provoking video essay (below) about "real film radicals." His five-minute piece opens with a look at René Vautier's Afrique 50, which was banned for more than 40 years. The young filmmaker was commissioned by the French government to capture a travelogue of sorts. The violent and exploitive conditions he witnessed led Vautier to create the first...
Read More...
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- 8/22/2013
- by Alison Nastasi
- Movies.com
'I make films—that's what I can do for Vietnam," says Jean-Luc Godard in the omnibus anti-war project Far From Vietnam (1967). If you replace "Vietnam" in that statement with, for starters, Afghanistan, Algeria, Argentina, Northern Ireland, the French West Indies, various factions of the New Left, and the Occupy movement, you'll have a sense of the bracing scope of the Film Society of Lincoln Center's weeklong "Cinema of Resistance" series. The 15 feature-length works and various shorts programs here—whether fact, fiction, or, more often, an explosive hybrid of the two—are all acts of bearing witness, made to provoke outrage over abuses, conflicts, and wars.
Made a decade after Algeria won its independence from France, René Vautier's To Be T...
Made a decade after Algeria won its independence from France, René Vautier's To Be T...
- 8/21/2013
- Village Voice
For the rest of the Notebook's Fantasy Double Features of 2012, see the poll's main index.
***
New: Far from Afghanistan (John Gianvito, Jon Jost, Minda Martin, Soon-Mi Yoo, Travis Wilkerson)
Old: Allons enfants... pour L'Algerie (Karl Gass, 1961)
Two works of international(ist) solidarity made exactly half a century apart (Far from Afghanistan was already shown on the net last year in the so-called October Version), both dealing with a colonial war and its ramifications for the victim—as well the aggressor and collaborator state. Two works, also, of fragmentation, multitudes of voices, dialectic pluralism; Gass sub-divided his film into three parts (actually, it's more like two halves and a coda), while the Gianvito-masterminded project consists of five quasi-independent segments (working also quite well as stand-alone shorts) plus half a dozen interludes. Yet, in one—maybe the most—crucial way they're light years apart: Gass lays it down smack from the center...
***
New: Far from Afghanistan (John Gianvito, Jon Jost, Minda Martin, Soon-Mi Yoo, Travis Wilkerson)
Old: Allons enfants... pour L'Algerie (Karl Gass, 1961)
Two works of international(ist) solidarity made exactly half a century apart (Far from Afghanistan was already shown on the net last year in the so-called October Version), both dealing with a colonial war and its ramifications for the victim—as well the aggressor and collaborator state. Two works, also, of fragmentation, multitudes of voices, dialectic pluralism; Gass sub-divided his film into three parts (actually, it's more like two halves and a coda), while the Gianvito-masterminded project consists of five quasi-independent segments (working also quite well as stand-alone shorts) plus half a dozen interludes. Yet, in one—maybe the most—crucial way they're light years apart: Gass lays it down smack from the center...
- 1/7/2013
- by The Ferroni Brigade
- MUBI
News.
A new issue of one the most essential film publications, La Furia Umana, is now available online. As always, alongside a rich collection of disparate texts, the issue has separate dossiers devoted to specific filmmakers, including ones on René Vautier (edited by Nicole Brenez) and Ida Lupino with Claire Denis. The amount of must-read coverage is daunting: included, too, are homages to Chris Marker and Stephen Dwoskin, a new video by David Phelps, and much more to explore.
In this issue, our pride and joy is to be found in the monograph-length dossier on Hollywood auteur William A. Wellman, a dossier edited by Gina Telaroli and Phelps. Our editor Daniel Kasman has contributed anoverview to Wellman's filmography; Telaroli has an incredible image-based piece on Good-bye, My Lady (alongside "scraps" and "findings" pointing the way for even more coverage of this filmmaker's wide oeuvre), filmmaker Bertrand Tavernier has a new piece,...
A new issue of one the most essential film publications, La Furia Umana, is now available online. As always, alongside a rich collection of disparate texts, the issue has separate dossiers devoted to specific filmmakers, including ones on René Vautier (edited by Nicole Brenez) and Ida Lupino with Claire Denis. The amount of must-read coverage is daunting: included, too, are homages to Chris Marker and Stephen Dwoskin, a new video by David Phelps, and much more to explore.
In this issue, our pride and joy is to be found in the monograph-length dossier on Hollywood auteur William A. Wellman, a dossier edited by Gina Telaroli and Phelps. Our editor Daniel Kasman has contributed anoverview to Wellman's filmography; Telaroli has an incredible image-based piece on Good-bye, My Lady (alongside "scraps" and "findings" pointing the way for even more coverage of this filmmaker's wide oeuvre), filmmaker Bertrand Tavernier has a new piece,...
- 10/8/2012
- by Notebook
- MUBI
Nicole Brenez by Alexia Villard
Nicole Brenez is in New York and she's very, very busy. This evening, she's delivering a talk at Columbia University on Recent Developments in Political Cinema (with a response by Kent Jones), followed by another tomorrow afternoon, "An Incandescent Atmosphere": Internationalist Cinema for Today. Then it's off to Anthology Film Archives to launch the series Internationalist Cinema for Today, running through March 11. Off again to Microscope Gallery to introduce a screening of selected works by filmmaker, poet, musician Marc Hurtado (from the group Etant Donnés). And then on Saturday, she'll introduce two more programs in the Anthology series.
Cinespect's Ryan Wells has asked Nicole Brenez to explain the concept of Internationalist cinema and the ensuing interview's an engaging read, but for brevity's sake, I'm turning to her introduction to the Anthology series:
it is a way to move beyond the ego and think of others,...
Nicole Brenez is in New York and she's very, very busy. This evening, she's delivering a talk at Columbia University on Recent Developments in Political Cinema (with a response by Kent Jones), followed by another tomorrow afternoon, "An Incandescent Atmosphere": Internationalist Cinema for Today. Then it's off to Anthology Film Archives to launch the series Internationalist Cinema for Today, running through March 11. Off again to Microscope Gallery to introduce a screening of selected works by filmmaker, poet, musician Marc Hurtado (from the group Etant Donnés). And then on Saturday, she'll introduce two more programs in the Anthology series.
Cinespect's Ryan Wells has asked Nicole Brenez to explain the concept of Internationalist cinema and the ensuing interview's an engaging read, but for brevity's sake, I'm turning to her introduction to the Anthology series:
it is a way to move beyond the ego and think of others,...
- 3/1/2012
- MUBI
Looking back at 2011 on what films moved and impressed us it becomes more and more clear—to me at least—that watching old films is a crucial part of making new films meaningful. Thus, our end of year poll, now an annual tradition, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2011—in theaters or at a festival—and creatively pair it with an old film they also saw in 2011 to create a unique double feature. Many contributors chose their favorites of 2011, some picked out-of-the-way gems, others made some pretty strange connections—and some frankly just want to create a kerfuffle. All the contributors were asked to write a paragraph explaining their 2011 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative...
- 1/5/2012
- MUBI
Above: Zoulikha Bouabdellah's Al Attlal (Ruines), left, and Pierre Léon's À la barbe d'Ivan, right.
Nicole Brenez has curated two programs of new work from the French avant-garde for this year’s Rendezvous with French Cinema 2011 in New York; below she has offered her program notes in French. Program one (on Saturday) concentrates on filmmakers reappropriating images; program two (Sunday) is the new feature by Ange Leccia, Nuit bleue. Below, I’ve translated Brenez’s extended appreciation of Leccia and Nuit bleue; as usual, I’ve tried to stay faithful to the sound and rhythm of the original where possible. Beneath the translated extract you'll find the full article by Ms. Brenez in its original French. —David Phelps
***
…Although Ange Leccia has also practiced re-appropriating images (especially Jean Luc-Godard’s) in his installations and his films, Nuit bleuetakes up a different aesthetic vein, one rich with a long tradition of the French avant-garde.
Nicole Brenez has curated two programs of new work from the French avant-garde for this year’s Rendezvous with French Cinema 2011 in New York; below she has offered her program notes in French. Program one (on Saturday) concentrates on filmmakers reappropriating images; program two (Sunday) is the new feature by Ange Leccia, Nuit bleue. Below, I’ve translated Brenez’s extended appreciation of Leccia and Nuit bleue; as usual, I’ve tried to stay faithful to the sound and rhythm of the original where possible. Beneath the translated extract you'll find the full article by Ms. Brenez in its original French. —David Phelps
***
…Although Ange Leccia has also practiced re-appropriating images (especially Jean Luc-Godard’s) in his installations and his films, Nuit bleuetakes up a different aesthetic vein, one rich with a long tradition of the French avant-garde.
- 3/19/2011
- MUBI
With 2010 only a week over, it already feels like best-of and top-ten lists have been pouring in for months, and we’re already tired of them: the ranking, the exclusions (and inclusions), the rules and the qualifiers. Some people got to see films at festivals, others only catch movies on video; and the ability for us, or any publication, to come up with a system to fairly determine who saw what when and what they thought was the best seems an impossible feat. That doesn’t stop most people from doing it, but we liked the fantasy double features we did last year and for our 3rd Writers Poll we thought we'd do it again.
I asked our contributors to pick a single new film they saw in 2010—in theaters or at a festival—and creatively pair it with an old film they saw in 2010 to create a unique double feature.
I asked our contributors to pick a single new film they saw in 2010—in theaters or at a festival—and creatively pair it with an old film they saw in 2010 to create a unique double feature.
- 1/10/2011
- MUBI
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