Pascale Ogier - News Poster


[Locarno Review] Hermia & Helena

For beginning with a dedication to Setsuko Hara, recently departed muse of Ozu and Naruse, Hermia & Helena — the new film by Viola and The Princess of France director Matías Piñeiro — perhaps aligns us to be especially attuned to the Argentinian auteur’s use of female collaborators. One to already emphasize the charisma and big-screen friendly faces of frequent stars Agustina Munoz and Maria Villar, he still seems to have an ability to make them points of representation, not fetish.

Having, in real life, recently relocated to New York from his home Buenos Aires, Piñeiro can obviously be interpreted as having made some form of autobiography. His avatar in this case, Camilla (Munoz), is in New York on an artistic residency after her friend, Carmen (Villar), did the same, only to slightly disappointing results due to the loneliness and lack of personal change she saw in the city.

The film is
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Weekly Rushes. 9 September 2015

  • MUBI
Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.Above: The stellar trailer for Yorgos Lanthimos' English-language debut, The Lobster. Daniel Kasman loved it at Cannes, where it picked up a prize.New issues of Film Comment and Cinema Scope are out, which many articles available online. Additionally, Cinema Scope has been publishing extensive pre-coverage of the Toronto International Film Festival's program online.Via Apichatpong Weerasethakul's Twitter: "Midnight talk with Tsai Ming-Liang. Dream, Buddhism, Piracy, an aspiration to do nothing."As the world seems to go into paroxysms of desire for new Star Wars toys, we give in a bit, charmed by this photo of Leia and Han in a deleted sandstorm scene from Return of the Jedi. Above: Another trailer, far more cryptic, this time for Jerzy Skolimowski's 11 Minutes, the long-awaited follow up to his severe and impressive Essential Killing.
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Eric Rohmer's "A Winter's Tale"

  • MUBI
Are film directors like cupids? Are they armed with a bow and arrow, shooting their particular and peculiar vision of life at the audience so some spell can begin? If so, Eric Rohmer's arrows are philosophically tinged, though aimed more at the heart and the many-tiered prejudices surrounding it than the head. Sometimes mistakenly branded intellectual, his cinema is the personification of the Shakespearian invocation at the beginning of Twelfth Night, “If music be the food of love, play on...” His music is talk and the talk is of love, and though it can stray into discussions of Plato, Pascal, and Kant, its end is the heart because the fleshy fist ultimately decides who we stay with and who we leave, who's in and who's out—the fist answers Rohmer's main question, Who, out of all the people I attract or I'm attracted to, is my type?

Rohmer's least seen,
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Phantom Ladies in Paris: Jacques Rivette's "Paris s'en va"

  • MUBI
"Le vieux Paris s’en va!"1

—Rallying cry, late 1800s

"Old Paris is no more (the form of a city

Changes more quickly, alas! than the human heart)"

Charles Baudelaire, “Le Cygne,” Fleurs du mal

Paris s’en va. Paris goes away. Paris disappears.

Two women lying next to each other on a bench, wake up. A hard cut to a shot of one of the women approaching a newspaper stand on a Parisian street. She scans the rack of postcards and chooses five with a picture of the Arc de Triomphe. The characters played by Bulle and Pascale Ogier in Jacques Rivette’s Le Pont du Nord (1981) could be described as that classic French type, the flâneur, “masking under multiple impressions the void” felt within and around themselves.2 In Paris s’en va (1981), these unnamed characters appear more like spirits, ghosts awoken from a centuries-long slumber by the expansive
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Blu-ray Review: 'Le Pont du Nord' (MoC)

  • CineVue
★★★★☆ The English translation of French maestro Jacques Rivette's debut feature Paris nous appartient (1962) is "Paris belongs to us". It could also have easily been the title of his 1981 oddball offering Le Pont du Nord. Coveted by cinephiles for years, this Masters of Cinema rerelease is most welcome. It's a magical work of blazing intelligence and imagination which sees Paris as a labyrinth full of hidden narratives and emotional fault lines. At just over two hours, it's a relatively short film for Rivette, but its rambling structure lets him pack a lot in; from the post-68 French mindset to generations in transition.

Le Pont du Nord follows an enigmatic treasure hunt undertaken by Marie and Baptiste, played by real-life mother and daughter duo Bulle and Pascale Ogier respectively (the latter would go on to win the Best Actress award at the 1984 Venice Film Festival). After being released from prison for involvement in a bank robbery,
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French New Wave Film Director Eric Rohmer Dies

Paris - Eric Rohmer, a pioneer of the French "New Wave" which transformed cinema in the 1960s, has died, his production house said on Monday. He was 89.Les Films du Losange, a company that produced his movies, said Rohmer died in Paris on Monday. The cause of death was not known.Rohmer directed such films as "My Night at Maud's" (Ma Nuit Chez Maud), "Claire's Knee" ("Le Genou de Claire") and "Chloe in the Afternoon" (L'Amour l'apres-midi")."My Night at Maud's" garnered an Oscar nomination for best foreign-language film and best screenplay.His "Die Marquie von O" won the Special Jury Prize at the 1976 Festival de Cannes.Rohmer also directed "Pauline at the Beach" and "Full Moon in Paris," whose lead actress Pascale Ogier won the best actress prize at the Venice Film Festival. It won a Silver Bear at the Berlin International Film Festival.With a background in journalism,
See full article at Backstage »

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