Jean Seberg in Les hautes solitudes. Courtesy of The Film Desk.It is a raw experience. No title, no credits of any sort. No soundtrack—although I defy anyone to watch it in absolute silence and not “hear” something, at some point, in their head. Just a series of “moving images” (for once the currently fashionable artworld term is correct), portraits in black-and-white, mostly trained on faces, or the upper parts of several bodies. There is no make-up, only minimal lighting and staging, and no post-production effects or clean-up whatsoever. The on-screen participants include Nico, Tina Aumont, Laurent Terzieff. And, most extensively, Jean Seberg—which may come as a shock to viewers not entirely au fait with the biography of the film’s director, Philippe Garrel. “Garrel’s camera sees Seberg honestly,” wrote David Ehrenstein in his book Film: The Front Line 1984, “as if discovering her for the first time,...
- 2/22/2017
- MUBI
She’s only been making feature films for less than a decade — and truly only gained international recognition this decade — but it seems as if the talents of Mia Hansen-Løve as a writer-director are already fully formed. This isn’t to discount room for certain growth in her relatively young career, but with Goodbye First Love, Eden, and now Things to Come, her ruminations on life are expressed as if conveyed by an elder master director. Looking at her eclectic list of all-time favorite films — provided for the latest Sight & Sound poll — one can get a glimpse at her impeccable taste and where her formative influences come from.
“All of my films are my versions of Heat,” she recently told us, speaking about one of her picks. “Because Heat is actually a film about melancholy, about action, and it’s action vs. melancholy and self-destruction — action becoming self-destruction. It’s a couple.
“All of my films are my versions of Heat,” she recently told us, speaking about one of her picks. “Because Heat is actually a film about melancholy, about action, and it’s action vs. melancholy and self-destruction — action becoming self-destruction. It’s a couple.
- 12/2/2016
- by Jordan Raup
- The Film Stage
Philippe Garrel. Photo by Darren Hughes.There’s no exact equivalent in film history for Philippe Garrel’s “family cinema,” as he calls it here. To immerse oneself in his work is to watch Garrel and those he loves (parents, partners, children) be transformed by age and experience, while their passions and preoccupations—that particular Garrelian amour fou—persist.After several decades during which Garrel’s films saw limited distribution and exhibition in North America, he's now experiencing something of a revival. Over the span of three days at the Toronto International Film Festival I enjoyed an impromptu Garrel family retrospective. In the Cinematheque program, Tiff debuted its recently-commissioned 35mm print of Jacques Rozier’s first film, Adieu Philippine (1962), which features a middle-aged Maurice Garrel in a supporting role. Actua 1 (1968), Philippe Garrel’s long-lost short documentary of the May ’68 protests, screened in the Wavelengths section, also in a new print.
- 1/13/2016
- by Darren Hughes
- MUBI
As usual, the Masters programme is cholk-full of carryover items from world renowned auteurs who’ve already premiered last February (Berlin), this past May (Cannes) or as part of the upcoming action on the Lido (Venice). Of the thirteen titles and personalities that need no introduction, it’s the likes of Hong Sang-soo (Locarno) and the Venice preemed, and not yet picked up items from Skolimowski, Bellocchio & Sokurov (all potential Golden Lion winners) that are still sight unseen for several North American based cinephiles. Here are the baker’s dozen of items:
11 Minutes (11 Minut) – Jerzy Skolimowski, Poland/Ireland
North American Premiere
A jealous husband out of control, his sexy actress wife, a sleazy Hollywood director, a reckless drug messenger, a disoriented young woman, an ex-con hot dog vendor, a troubled student on a mysterious mission, a high-rise window cleaner on an illicit break, an elderly sketch artist, a hectic paramedics...
11 Minutes (11 Minut) – Jerzy Skolimowski, Poland/Ireland
North American Premiere
A jealous husband out of control, his sexy actress wife, a sleazy Hollywood director, a reckless drug messenger, a disoriented young woman, an ex-con hot dog vendor, a troubled student on a mysterious mission, a high-rise window cleaner on an illicit break, an elderly sketch artist, a hectic paramedics...
- 8/12/2015
- by Eric Lavallee
- IONCINEMA.com
The status on at least one Cannes tipped title has been determined. There’ll be a sense of déjà vu for Philippe Garrel as he’ll be showcasing his silver anniversary 25th feature as the opening film for the Directors’ Fortnight — a section that he essentially help launch back in 1969. Between 1969′s The Virgin’s Bed and his latest, In the Shadow of Women (L’ombre des femmes), Garrel has been on the Croisette on several occasions with his last being for the Main Comp selected Frontier of the Dawn. Our #86 pick in our Most Anticipated Foreign Films for 2015, In the Shadow of Women (a rare title that does not star his son) revolves around a documentary-maker who drops his mistress, a trainee he met on a shoot, after he discovers his long-term partner has a lover too. Edouard Waintrop will unveil the make-up of the section on April 21st.
- 4/15/2015
- by Eric Lavallee
- IONCINEMA.com
L’ombre des femmes
Director: Philippe Garrel // Writers: Jean-Claude Carriere, Caroline Deruas-Garrel, Arlette Langman, Philippe Garrel
The 66 year old filmmaker makes his 25th feature this year, and the past decade has been one of his most active yet, perhaps due to the rising international of his son, actor Louis Garrel, who has starred in several of his father’s features. 2013’s Jealousy took a while to come to the Us, but he’s a name that’s been able to garner international distribution successfully. With The Shadow Women (L’ombre des femmes), this will be the first feature that won’t include his son in the cast since 2001’s Wild Innocence, and one should note that Jean-Claude Carriere, favored screenwriter of Luis Bunuel (including a filmography that includes many other auteurs), is part of the mix. The story revolves around Pierre and Manon, a couple of poverty-stricken documentary filmmakers (see...
Director: Philippe Garrel // Writers: Jean-Claude Carriere, Caroline Deruas-Garrel, Arlette Langman, Philippe Garrel
The 66 year old filmmaker makes his 25th feature this year, and the past decade has been one of his most active yet, perhaps due to the rising international of his son, actor Louis Garrel, who has starred in several of his father’s features. 2013’s Jealousy took a while to come to the Us, but he’s a name that’s been able to garner international distribution successfully. With The Shadow Women (L’ombre des femmes), this will be the first feature that won’t include his son in the cast since 2001’s Wild Innocence, and one should note that Jean-Claude Carriere, favored screenwriter of Luis Bunuel (including a filmography that includes many other auteurs), is part of the mix. The story revolves around Pierre and Manon, a couple of poverty-stricken documentary filmmakers (see...
- 1/5/2015
- by Nicholas Bell
- IONCINEMA.com
In this weekend’s specialty box-office debuts, IFC Films hopes to replicate the critical and commercial success of Michael Winterbottom’s first amusing little travelogue/talker of a feature, The Trip, with a semi-sequel, The Trip To Italy. The second Trip again stars Steve Coogan and Rob Brydon; the entertainingly garrulous pair on yet another jaunt across restaurants, countryside and philosophy. The latest Trip will bow in NYC and La this weekend after a successful Australian run earlier this summer (or their winter).
Frank, a British-Irish-American drama from Magnolia Pictures featuring Michael Fassbender that had runs at Sundance and SXSW, bows in only one U.S. theater this weekend. Frank centers on an eccentric band, giving Fassy fans a chance to hear the Oscar-nominated actor sing, albeit from behind a mask (he’s not bad, actually).
Other notable new films include Philippe Garrel‘s Jealousy, which Distrib Films will expand...
Frank, a British-Irish-American drama from Magnolia Pictures featuring Michael Fassbender that had runs at Sundance and SXSW, bows in only one U.S. theater this weekend. Frank centers on an eccentric band, giving Fassy fans a chance to hear the Oscar-nominated actor sing, albeit from behind a mask (he’s not bad, actually).
Other notable new films include Philippe Garrel‘s Jealousy, which Distrib Films will expand...
- 8/15/2014
- by Brian Brooks
- Deadline
Established as a platform for the fringe successes and overlooked treasures of the European festival scene, the Museum of the Moving Image’s new First Look festival in New York acts as a much-needed bright spot amid the winter doldrums. It’s also the perfect antidote to an awards season hangover, offering resolutely small movies colored with a strong avant-garde streak. From the mind-bending, color-coded world of Raya Martin’s Buenos noches, España to the abundant familial milieu of Papirosen, the inaugural edition of this new event proves consistently engrossing. Below is a concise guide to some of films showing, all but one of which are NYC premieres.
Papirosen (Gastón Solnicki, Argentina)
Like a bustling inter-generational novel without a beginning or end, Gastón Solnicki’s Papirosen is a scrambled collection of anecdotes, floating about in search of a story arc. It’s a presentation that seems frazzled at first, until...
Papirosen (Gastón Solnicki, Argentina)
Like a bustling inter-generational novel without a beginning or end, Gastón Solnicki’s Papirosen is a scrambled collection of anecdotes, floating about in search of a story arc. It’s a presentation that seems frazzled at first, until...
- 1/6/2012
- MUBI
#21. That Summer Director: Philippe Garrel Cast: Monica Bellucci, Louis Garrel, Céline Sallette, Jérôme Robart Distributor: Rights Available Buzz: First showing in competition in Venice, this newest work from the provocative French filmmaker has already divided riled up audiences on the Lido. Prompting boos and catcalls at the Cannes press screening of his most recent feature Frontier of Dawn, he never the less as a sturdy following of cinephiles who consider him just about the best thing since cherry cheesecake. His collaborations with his son are cute, if not more than a little bit creepy at times. The Gist: A French romantic rectangle of the most sophisticated order. Truly divisive in his uncynical portrayal of young love and lust, Garrel has been stupefying and mesmerizing art-house audiences for decades, ever-threatening to cross over into the flat-out avant-garde. Starring his son, heartthrob Louis Garrel, the challenging filmmaker tackles, once again, his classic...
- 9/3/2011
- IONCINEMA.com
After two back to back splashes in Cannes, the French from France have taken a particular interest in French Canada's export Xavier Dolan. The young filmmaker is in the financing stages of his next project, a Canada-France co-production that would only allow the filmmaker to make a cameo appearance as the lead has been locked up by Louis Garrel, and now helping out with the funding, the name of Nathalie Baye has been added to the cast. Baye will take on the role of the mother in Laurence Anways. The film will serve as a re-introduction of the Baye and Garrel families: Garrel starred with Baye's actress daughter, Laura Smet in Philippe Garrel's La Frontière de l'aube. Now Garrel and Smet will have the chance to discuss Baye's mothering skills. This tells the story of a man (Garrel) who loves a woman and what happens to the relationship when...
- 10/12/2010
- IONCINEMA.com
Often I get the sense that serious movies are the rarest kind of them all. I don’t mean the easily self-serious and pretentious films, films closed to mockery through riskless gravity. The most serious leave room—dangerous room—for failure. They need that room to necessitate a leap of faith—if the film isn’t willing to risk something, how can we truly take it seriously? As such, love stories can be the most serious of them all, and the hardest to beautifully pull off. We sing high praises for Hollywood’s sincere sentimentalist—and sentimental sincerest—Frank Borzage, and with The Strange Case of Angelica it is a delight to see Manoel de Oliveira apply a cerebral, shaded touch to a Borzagian, risk-taking, haunted love story.
As in all recent Oliveira, everything is deceptively simple: Isaac (Oliveira’s perennial youth, Ricardo Trêpa), a young photographer, falls in love...
As in all recent Oliveira, everything is deceptively simple: Isaac (Oliveira’s perennial youth, Ricardo Trêpa), a young photographer, falls in love...
- 5/16/2010
- MUBI
Avant-garde French cinematographer at the heart of the new wave
For 45 years, the French cinematographer William Lubtchansky, who has died of heart disease aged 72, put his talents at the disposal of the most challenging, intellectually inquiring, uncompromisingly brilliant film directors who emerged with the French new wave. Lubtchansky worked with Jean-Luc Godard (six times), although they fell out, made up and fell out again; the husband and wife team of Jean-Marie Straub and Danièle Huillet (11 times); and Jacques Rivette (14 times).
Although these directors differed in their approaches and sensibilities, they were united in their irreverent, generally unsentimental treatment of character, their existential attitude to society and to human behaviour, and their experiments with filmic space and time. They questioned cinema itself by drawing attention to the conventions used in film-making and quoting from the other arts. They presented an alternative to Hollywood by consciously breaking its conventions while at the...
For 45 years, the French cinematographer William Lubtchansky, who has died of heart disease aged 72, put his talents at the disposal of the most challenging, intellectually inquiring, uncompromisingly brilliant film directors who emerged with the French new wave. Lubtchansky worked with Jean-Luc Godard (six times), although they fell out, made up and fell out again; the husband and wife team of Jean-Marie Straub and Danièle Huillet (11 times); and Jacques Rivette (14 times).
Although these directors differed in their approaches and sensibilities, they were united in their irreverent, generally unsentimental treatment of character, their existential attitude to society and to human behaviour, and their experiments with filmic space and time. They questioned cinema itself by drawing attention to the conventions used in film-making and quoting from the other arts. They presented an alternative to Hollywood by consciously breaking its conventions while at the...
- 5/12/2010
- by Ronald Bergan
- The Guardian - Film News
Just recently New York Times critic Manohla Dargis made some waves with an interview she gave using some salty language and calling out a few people here and there. Today she delivers a list of her favorite films of 2009.
While beating the dead horse that is the hatred for such films as G.I. Joe: The Rise of Cobra and Transformers: Revenge of the Fallen she also has a few kind words for some films that didn't make her ultimate list such as Star Trek, Julie and#038; Julia (agree keep the Julie), Duplicity, A Perfect Getaway, Up and A Single Man.
I have listed her top 13 directly below as she listed them, "in order of their domestic release" with links to my reviews where available. Following that is a list of her "other favorites." Like I said when I linked to her interview, "I have mixed feelings when it comes to...
While beating the dead horse that is the hatred for such films as G.I. Joe: The Rise of Cobra and Transformers: Revenge of the Fallen she also has a few kind words for some films that didn't make her ultimate list such as Star Trek, Julie and#038; Julia (agree keep the Julie), Duplicity, A Perfect Getaway, Up and A Single Man.
I have listed her top 13 directly below as she listed them, "in order of their domestic release" with links to my reviews where available. Following that is a list of her "other favorites." Like I said when I linked to her interview, "I have mixed feelings when it comes to...
- 12/18/2009
- by Brad Brevet
- Rope of Silicon
Holiday festivities are about to kick into full gear, but you wouldn't know it looking at this angst-ridden release slate, since the closest we come to Christmas is Nicolas Cage's "Bad Lieutenant" doing a lot of "snow." Instead, planets are discovered, new moons rise and suns set.
Download this in audio form (MP3: 18:21 minutes, 16.8 Mb)
Subscribe to the In Theaters podcast: [Xml] [iTunes]
"Bad Lieutenant: Port of Call New Orleans"
Ever since Nicolas Cage was shown clinging to his "lucky crackpipe," cinephiles have been jonesing for Werner Herzog's re-imagining of Abel Ferrara's arthouse cop thriller. After months of backbiting between Ferrara, who suggested that the film's producers "burn in hell," and Herzog's admission that he had never seen the original film, audiences will finally see Cage in the shoes of Terence McDonagh, the hopped-up, hopelessly bent detective who shakes down suspects and random pedestrians on the trail...
Download this in audio form (MP3: 18:21 minutes, 16.8 Mb)
Subscribe to the In Theaters podcast: [Xml] [iTunes]
"Bad Lieutenant: Port of Call New Orleans"
Ever since Nicolas Cage was shown clinging to his "lucky crackpipe," cinephiles have been jonesing for Werner Herzog's re-imagining of Abel Ferrara's arthouse cop thriller. After months of backbiting between Ferrara, who suggested that the film's producers "burn in hell," and Herzog's admission that he had never seen the original film, audiences will finally see Cage in the shoes of Terence McDonagh, the hopped-up, hopelessly bent detective who shakes down suspects and random pedestrians on the trail...
- 11/16/2009
- by Neil Pedley
- ifc.com
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.