The Conversation is a feature at Sound on Sight bringing together Drew Morton and Landon Palmer in a passionate debate about cinema new and old. For their eighth piece, they discuss Agnès Varda’s stunning and essential character study Cléo from 5 to 7 (1962).
Drew’S Take
This month brings the Criterion/Eclipse release of the five film box set “Agnès Varda in California,” making August the perfect time to revisit her seminal 1962 film Cléo from 5 to 7. The close to real-time film covers 90 minutes (the title is a slight fib) in the life of a beautiful French pop singer (Corinne Marchand). She has two hours to wait until her Doctor contacts her to confirm if she has cancer and what her prognosis is. In the first scene of the film, Cléo visits a fortune teller whose tarot cards reveal that she will experience a transformative experience that may involve her death. She...
Drew’S Take
This month brings the Criterion/Eclipse release of the five film box set “Agnès Varda in California,” making August the perfect time to revisit her seminal 1962 film Cléo from 5 to 7. The close to real-time film covers 90 minutes (the title is a slight fib) in the life of a beautiful French pop singer (Corinne Marchand). She has two hours to wait until her Doctor contacts her to confirm if she has cancer and what her prognosis is. In the first scene of the film, Cléo visits a fortune teller whose tarot cards reveal that she will experience a transformative experience that may involve her death. She...
- 8/30/2015
- by Landon Palmer
- SoundOnSight
How would you program this year's newest, most interesting films into double features with movies of the past you saw in 2014?
Looking back over the year at what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, 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 2014—in theatres or at a festival—and creatively pair it with an old film they also saw in 2014 to create a unique double feature.
All the contributors were given the option to write some text explaining their 2014 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch...
Looking back over the year at what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, 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 2014—in theatres or at a festival—and creatively pair it with an old film they also saw in 2014 to create a unique double feature.
All the contributors were given the option to write some text explaining their 2014 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch...
- 1/5/2015
- by Notebook
- MUBI
Translators introduction: This article by Mireille Latil Le Dantec, the second of two parts, was originally published in issue 40 of Cinématographe, September 1978. The previous issue of the magazine had included a dossier on "La qualité française" and a book of a never-shot script by Jean Grémillon (Le Printemps de la Liberté or The Spring of Freedom) had recently been published. The time was ripe for a re-evaluation of Grémillon's films and a resuscitation of his undervalued career. As this re-evaluation appears to still be happening nearly 40 years later—Grémillon's films have only recently seen DVD releases and a 35mm retrospective begins this week at Museum of the Moving Image in Queens—this article and its follow-up gives us an important view of a French perspective on Grémillon's work by a very perceptive critic doing the initial heavy-lifting in bringing the proper attention to the filmmaker's work.
Passion...
Passion...
- 12/11/2014
- by Ted Fendt
- MUBI
Complex and avant-garde French film director best known for Night and Fog and Last Year in Marienbad
Alain Resnais, who has died aged 91, was a director of elegance and distinction who, despite generally working from the screenplays of other writers, established an auteurist reputation. His films were singular, instantly recognisable by their style as well as through recurring themes and preoccupations. Primary concerns were war, sexual relationships and the more abstract notions of memory and time. His characters were invariably adult (children were excluded as having no detailed past) middle-class professionals. His style was complex, notably in the editing and often – though not always – dominated by tracking shots and multilayered sound.
He surrounded himself with actors, musicians and writers of enormous talent and the result was a somewhat elitist body of work with little concern for realism or the socially or intellectually deprived. Even overtly political works, Night and Fog,...
Alain Resnais, who has died aged 91, was a director of elegance and distinction who, despite generally working from the screenplays of other writers, established an auteurist reputation. His films were singular, instantly recognisable by their style as well as through recurring themes and preoccupations. Primary concerns were war, sexual relationships and the more abstract notions of memory and time. His characters were invariably adult (children were excluded as having no detailed past) middle-class professionals. His style was complex, notably in the editing and often – though not always – dominated by tracking shots and multilayered sound.
He surrounded himself with actors, musicians and writers of enormous talent and the result was a somewhat elitist body of work with little concern for realism or the socially or intellectually deprived. Even overtly political works, Night and Fog,...
- 3/3/2014
- by Brian Baxter
- The Guardian - Film News
The 17th edition of the International Film Festival of Kerala (Iffk) has announced its lineup. The festival will run from 7th to 14th December, 2012 in Thiruvananthapuram, Kerala.
Some of the highlights of the lineup are festival favourites of the year Amour, Chitrangada, Samhita, The Sapphires, Drapchi, Miss Lovely, Me and You, Celluloid Man, and Baandhon.
Fourteen films will screen in the Competition section while seven contemporary films will be screened in “Indian Cinema Now” section.
Complete list of films:
Competition Films
Fourteen feature films from Asia, Africa and Latin America will compete for the coveted “Suvarna Chakoram” (Golden Crow Pheasant) and other awards.
Always Brando by Ridha Behi (Tunisia)
Inheritors of the Earth by T V Chandran (India)
A Terminal Trust by by Masayuki Suo (Japan)
Shutter by Joy Mathew (India)
Today by Alain Gomis (Senegal-France)
The Repentant by Merzak Allouache (Algeria)
Sta. Niña by Manny Palo (Philippines)
Present Tense...
Some of the highlights of the lineup are festival favourites of the year Amour, Chitrangada, Samhita, The Sapphires, Drapchi, Miss Lovely, Me and You, Celluloid Man, and Baandhon.
Fourteen films will screen in the Competition section while seven contemporary films will be screened in “Indian Cinema Now” section.
Complete list of films:
Competition Films
Fourteen feature films from Asia, Africa and Latin America will compete for the coveted “Suvarna Chakoram” (Golden Crow Pheasant) and other awards.
Always Brando by Ridha Behi (Tunisia)
Inheritors of the Earth by T V Chandran (India)
A Terminal Trust by by Masayuki Suo (Japan)
Shutter by Joy Mathew (India)
Today by Alain Gomis (Senegal-France)
The Repentant by Merzak Allouache (Algeria)
Sta. Niña by Manny Palo (Philippines)
Present Tense...
- 11/2/2012
- by NewsDesk
- DearCinema.com
Jean‑Luc Godard's masterpiece remains a startling example of the French new wave and marked the arrival of one of cinema's most influential directors
Two trailers bookend my half-a-century of writing professionally about the cinema and bracket the career of the man who is arguably the most influential moviemaker of my lifetime. Fifty years ago this month I dropped into an Oslo cinema while waiting for a midnight train and saw an unforgettable trailer for a French picture. It cut abruptly between a handsome, broken-nosed actor I'd never come across before, giant posters of Humphrey Bogart, and the familiar features of Jean Seberg, whom I knew to be an idol of French cinéastes as the protegee of Otto Preminger. Shot in high contrast monochrome, rapidly edited, interspersed with puzzling statements in white-on-black and black-on-white lettering, it was like no other trailer I'd seen, and I was captivated. Not until my...
Two trailers bookend my half-a-century of writing professionally about the cinema and bracket the career of the man who is arguably the most influential moviemaker of my lifetime. Fifty years ago this month I dropped into an Oslo cinema while waiting for a midnight train and saw an unforgettable trailer for a French picture. It cut abruptly between a handsome, broken-nosed actor I'd never come across before, giant posters of Humphrey Bogart, and the familiar features of Jean Seberg, whom I knew to be an idol of French cinéastes as the protegee of Otto Preminger. Shot in high contrast monochrome, rapidly edited, interspersed with puzzling statements in white-on-black and black-on-white lettering, it was like no other trailer I'd seen, and I was captivated. Not until my...
- 6/9/2010
- by Philip French
- The Guardian - Film News
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