The French mini series The Island Of 30 Coffins (L'île Aux 30 Cercueils) is mystery thriller with apparent supernatural elements. A surgeon, Christine Vorski (Virginie Ledoyen), receives a video on her phone. It indicates that her stillborn child was in fact murdered. She heads for her former home to investigate the matter: the island of Sarek, a place she has not set foot on in well over a decade. While she's on the ferry to the island, an attempt is made on her life.
The Island Of 30 Coffins is based on the novel L'Île Aux Trente Cercueils by Maurice Leblanc. The English translation is known as The Secret Of Sarek and is readily available as an ebook. This is the second TV adaptation of the book. The first was in 1979, starring Claude Jade as Véronqiue d'Hergemont, the character whom Christine Vorski is an updated version of. It was a...
The Island Of 30 Coffins is based on the novel L'Île Aux Trente Cercueils by Maurice Leblanc. The English translation is known as The Secret Of Sarek and is readily available as an ebook. This is the second TV adaptation of the book. The first was in 1979, starring Claude Jade as Véronqiue d'Hergemont, the character whom Christine Vorski is an updated version of. It was a...
- 11/6/2023
- by Donald Munro
- eyeforfilm.co.uk
I recently worked with one of my favorite movie poster artists, Akiko Stehrenberger, on a poster for Louis Garrel’s A Faithful Man which, with its lipstick imprints on Garrel’s face, paid accidental homage to the original poster for François Truffaut’s Stolen Kisses. It was Garrel himself who pointed this out—Akiko had never seen the Truffaut poster before and I’d forgotten it—which sent me down a rabbit hole searching for Stolen Kisses posters, of which, it turns out, there is a remarkable variety.Stolen Kisses premiered at the Avignon Film Festival on August 14, 1968 and opened in New York on March 3, 1969, almost ten years after Truffaut’s debut, The 400 Blows, had premiered at Cannes. Stolen Kisses continued the story of 400 Blows’ charming reprobate Antoine Doinel, now all grown up and working as a private detective.The original French poster, featuring an illustration of Jean-Pierre Léaud as Doinel,...
- 7/5/2019
- MUBI
David’s Quick Take for the tl;dr Media Consumer:
Stolen Kisses was Francois Truffaut’s third exploration of the character Antoine Doinel, to whom we were introduced when he was a child in The 400 Blows and was glimpsed a few years later in a short segment Antoine and Colette that was part of an omnibus film titled Love at 20. Here we see Antoine as a young man, as he stumbles into adulthood working a variety of unskilled entry-level jobs, impulsively falling in love and gliding from one scrape with authority into another as he seeks to find his way through the world. The tone of this film is lighter, more overtly a romantic comedy, and seemingly inconsequential in terms of enduring substance and social commentary when compared to The 400 Blows. It could have been easily plausible to make this same movie with a lead character of a different name,...
Stolen Kisses was Francois Truffaut’s third exploration of the character Antoine Doinel, to whom we were introduced when he was a child in The 400 Blows and was glimpsed a few years later in a short segment Antoine and Colette that was part of an omnibus film titled Love at 20. Here we see Antoine as a young man, as he stumbles into adulthood working a variety of unskilled entry-level jobs, impulsively falling in love and gliding from one scrape with authority into another as he seeks to find his way through the world. The tone of this film is lighter, more overtly a romantic comedy, and seemingly inconsequential in terms of enduring substance and social commentary when compared to The 400 Blows. It could have been easily plausible to make this same movie with a lead character of a different name,...
- 8/7/2016
- by David Blakeslee
- CriterionCast
In 1962, two filmmakers met in a room at Universal Studios to discuss (what else?) cinema. Those directors were François Truffaut and Alfred Hitchcock. (Providing assistance was French-language translator Helen Scott.) Together, they talked for over 50 hours, poring over every film the old master ever made. In 1967, Truffaut published what has universally come to be known as an essential text, titled Hitchcock/Truffaut, which contains rich and detailed transcripts of the extraordinary conversation.
Filmmaker Kent Jones‘ documentary about this historic meeting of the minds is now out, which inspired The Film Stage to look back at some of the forgotten, overlooked, and underrated films from these two beloved directors. The following ten titles contain all of the nuance, mystery and joy that we’ve come to expect from Hitchcock and Truffaut, with many overlapping themes and stylistic sensibilities.
Please enjoy the list, and don’t forget to suggest your own favorites in the comments.
Filmmaker Kent Jones‘ documentary about this historic meeting of the minds is now out, which inspired The Film Stage to look back at some of the forgotten, overlooked, and underrated films from these two beloved directors. The following ten titles contain all of the nuance, mystery and joy that we’ve come to expect from Hitchcock and Truffaut, with many overlapping themes and stylistic sensibilities.
Please enjoy the list, and don’t forget to suggest your own favorites in the comments.
- 12/7/2015
- by Tony Hinds
- The Film Stage
Richard Linklater's "Boyhood" is a masterpiece. Full stop. It's an effortless piece of humanist filmmaking we don't often see, particularly on these shores where the Hollywood machine has forever altered the concept of what a movie should be, where independent cinema is pushed to the fringes while soaring budget gambles dominate the status quo and the middle ground of American cinema is consistently eroded. "Boyhood" is, at last, I think, the film Linklater has been striving toward his whole career. It is his Truffaut film. When the director was making the press rounds last year for "Before Midnight," I sat down with him and star/co-writer Julie Delpy to discuss their journey with that story and those characters over the course of three films and 13 years. The expectation for more adventures in the life of Celine and Jesse had already set in, and Linklater joked that he would like...
- 7/9/2014
- by Kristopher Tapley
- Hitfix
For its doodle marking what would have been François Truffaut's 80th birthday today, Google needed an iconic image. Not Catherine Deneuve or Gérard Depardieu in The Last Metro (1980) or Isabelle Adjani in The Story of Adele H. (1975) or even Jeanne Moreau in Jules and Jim (1962), but rather, and most obviously, the young Antoine Doinel on the beach. The doodle's not exactly the famous final freeze frame but nevertheless very recognizably the young Jean-Pierre Léaud in what would be both the director's and the actor's debut feature, The 400 Blows (1959).
"It's fascinating to consider the similarities and the differences between François and Antoine," wrote Kent Jones in a 2003 essay for Criterion on Antoine and Colette (1962), the short film in which Antoine, all of 17, falls in love for the first time. Kent Jones notes that Truffaut has shifted the "cultural meeting ground" of the young lovers "from the cinematheque," where Truffaut,...
"It's fascinating to consider the similarities and the differences between François and Antoine," wrote Kent Jones in a 2003 essay for Criterion on Antoine and Colette (1962), the short film in which Antoine, all of 17, falls in love for the first time. Kent Jones notes that Truffaut has shifted the "cultural meeting ground" of the young lovers "from the cinematheque," where Truffaut,...
- 2/6/2012
- MUBI
Well we all knew this would happen. Back in February, when Criterion announced their epic digital streaming partnership with Hulu, they also quietly revealed that their streaming options on Netflix would be coming to an end over the course of the next year. While I haven’t been paying close attention to the Criterion Collection films that have been expiring since that announcement was made, I thought it would be helpful to all of you loyal Netflix subscribers to know that in about twelve days, 26 titles will be expiring on the 26th of May, 2011.
I’ve gone and linked to all of the titles below, so you can click on the cover art or the text, and be taken to their corresponding Netflix pages. While this isn’t everything that Criterion has to offer on Netflix, it is a nice chunk of really important films. If you don’t currently have a Netflix subscription,...
I’ve gone and linked to all of the titles below, so you can click on the cover art or the text, and be taken to their corresponding Netflix pages. While this isn’t everything that Criterion has to offer on Netflix, it is a nice chunk of really important films. If you don’t currently have a Netflix subscription,...
- 5/15/2011
- by Ryan Gallagher
- CriterionCast
勝手にしやがれ (Katte Ni Shiyagare)
In François Truffaut’s fourth episode of the Antoine Doinel saga, Bed and Board (1970), Antoine (Jean-Pierre Léaud) embarks on an affair with a Japanese woman, Kyoko (Hiroko Berghauer), culminating in a restaurant sequence in which Antoine keeps excusing himself to call his wife Christine (Claude Jade). Kyoko exits the restaurant, leaving a small piece of paper on which she’s written, in kanji, ‘katte ni shiyagare,’ a declaration of frustration and independence, of having had enough, which can be translated politely, as above, as well as in a far more casual manner. Antoine is unable to read this of course, it suffices that she’s gone. In Truffaut’s film, this subtitle appears on the shot of the brief note, ‘va te faire foutre’/'go to hell'. What French audiences at the time did not know at the time was that this Japanese expression was also...
In François Truffaut’s fourth episode of the Antoine Doinel saga, Bed and Board (1970), Antoine (Jean-Pierre Léaud) embarks on an affair with a Japanese woman, Kyoko (Hiroko Berghauer), culminating in a restaurant sequence in which Antoine keeps excusing himself to call his wife Christine (Claude Jade). Kyoko exits the restaurant, leaving a small piece of paper on which she’s written, in kanji, ‘katte ni shiyagare,’ a declaration of frustration and independence, of having had enough, which can be translated politely, as above, as well as in a far more casual manner. Antoine is unable to read this of course, it suffices that she’s gone. In Truffaut’s film, this subtitle appears on the shot of the brief note, ‘va te faire foutre’/'go to hell'. What French audiences at the time did not know at the time was that this Japanese expression was also...
- 12/28/2009
- MUBI
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