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French Challenge - Official - March 2019

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peeptoad
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Re: French Challenge - Official - March 2019

#161

Post by peeptoad » March 16th, 2019, 12:03 pm

sol wrote:
March 4th, 2019, 2:49 am
Please excuse me while I shamelessly plug a French film that has also just been nominated by yours truly for the Doubling the Canon exercise:

Death Watch / La mort en direct (1980, Bertrand Tavernier) / iCM link / IMDb link / Trailer

Image
Noted (and also because it's on another list I'm working from) and watched. 8/10 I loved the photography, camerawork etc. plus the characters were all engaging, the story was interesting, and oddly prophetic. Personally I would have enjoyed it even more had there been somehow a bit more tension and if the aspect of her being a celebrity (and all the strife and stress that goes with that esp under the circumstances) had been amplified more. Just think it would have been bit more effective, but it's one of my better views so far in 2019. :thumbsup:

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#162

Post by psychotronicbeatnik » March 16th, 2019, 5:23 pm

A late start for me but here goes:

1. L'année dernière à Marienbad (1961 / Alain Resnais) 8+/10

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#163

Post by psychotronicbeatnik » March 16th, 2019, 7:59 pm

And one more to help get the ball rolling. I've seen various times listed for this but the version I watched ran 40 minutes, 20 seconds.

2. L'invitation au voyage (1927 / Germaine Dulac) FTV 9/10 {40 min. Double}

Cinémathèque FrançaiseShow
1.L'année dernière à Marienbad (1961 / Alain Resnais) 8+/10
2. L'invitation au voyage (1927 / Germaine Dulac) FTV 9/10 {40 min. Double}



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#164

Post by morrison-dylan-fan » March 16th, 2019, 9:44 pm

“I never take cheques,I don’t trust banks and cheques can make enemies.”

Image

FTV:14:The Dance of Death (1960) 8

Slapped with the name “Stewart Thompson”, (despite Leslie Charteris getting credited on screen) Felix Marten still captures the class of The Saint/ Simon Templar,with not a drop of sweat on the man as he karate-chops thugs, and Marten having Templar act in a polite manner towards the baddie, even telling the person to stay in and wait for the police to turn up. Introduced with a close-up on her chest (so classy) Nicole Mirel gives a sweet, flirting turn as Gina, whose welcoming manner has Templar and Pellmann both taking a fancy to her. Looking very sexy draped in jackets, Michele Mercier gives a terrific performance as Dany, with Mercier pressing on Dany’s frostiness to bring out an ambiguity over if Templar can trust her.

Adapting the Leslie Charteris story “Palm Springs”, the screenplay by co-writer/(with Albert Simonin and Yvan Audouard) director Jacques Nahum neatly carries the spirit of The Saint in their Krimi- inspired take, thanks to firmly drawing up doubts in the murder-room mystery mansion set-up by scattering clues between the inhabitants, which are finely pieced together by Templar, in between chatting up the ladies. Filling every corner of the screen with mysterious dames, Nahum & cinematographer Roger Hubert brew a rich Gothic atmosphere in stylishly panning shots slighting along to each of the ladies hiding in the shadows, as The Saint performs the dance of death.

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#165

Post by psychotronicbeatnik » March 16th, 2019, 11:17 pm

3. La coquille et le clergyman (1928 / Germaine Dulac) FTV 8+/10 {40 min. Double}

Cinémathèque FrançaiseShow
1.L'année dernière à Marienbad (1961 / Alain Resnais) 9/10
2. L'invitation au voyage (1927 / Germaine Dulac) FTV 9/10 {40 min. Double}

3. La coquille et le clergyman (1928 / Germaine Dulac) FTV 8+/10 {40 min. Double}


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#166

Post by morrison-dylan-fan » March 17th, 2019, 12:16 am

Image

“One has to choose. Die…or lie?”

FTV:15:Le Doulos.10

Shuffling round quietly as his hands become covered in blood,Jean-Paul Belmondo gives a spectacular performance as Noir loner Silien. Holding to his heart a samurai loyalty to Maurice, Belmondo pulls Silien’s clipped dialogue towards his sunken eyes, with Belmondo keeping his face hollow and eyes low as he crawls at the dirt of the underworld to get his friend freed. Locked away unaware of Silien’s moves, Serge Reggiani gives a a great, brittle turn as Faugel, whose time spent behind bars and backstabbing has Reggiani feed into this Noir loner a mistrusting abrasiveness, which creates cracks when rubbed against Silien’s sincere belief to get Faugel free.

Later calling this “My first real policier”, writer/directing auteur Jean-Pierre Melville’s adaptation of Pierre Lesou’s novel brilliantly continues an expansion on Melville’s recurring themes of an impossibility to remove doubts over mistrust and deceit from the bonds between friends and lovers. Sending Silien out on the streets as a lone Film Noir samurai,Melville brilliantly has Faugel’s opening diamond heist reverberate to the bitter end, as a paranoia over who informed of the theft pulls Faugel, Silien and the rest of the underworld into an unwavering mindset of retribution for the sparkling diamonds.

Reuniting with Two Men in Manhattan (1959) cinematographer Nicolas Hayer, Melville picks up a doulos (a type of hat) and pulls out a mesmerising Film Noir atmosphere of ultra-stylised shadows running across every murky side street Melville tracks down, and in startlingly bare close-ups looks into the soulless gaze Silien commits each killing with. Clouding trust in deep black and white, Melville splinters the violence with expertly handled lone drips of blood running down the coats of loners across the screen and covering the doulos.

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#167

Post by jdidaco » March 17th, 2019, 2:24 am

(Screenshots from 'L'horizon', 'Jamais plus toujours' & 'Impromptu'),

ImageImage

51. Un acte d'amour/Act of Love (Anatole Litvak, 1953) 7.5/10
52. L'horizon (Horizon, Jacques Rouffio, 1967) 9/10
53. Les ebranlées (Dolls for Sale, Jesús Franco, 1972) 7/10
54. Je suis frigide... pourquoi? (I Am Frigid... Why?, Max Pécas, 1972) 6/10
55. Jamais plus toujours (Never Again Always, Yannick Bellon, 1976) 9/10
56. La puce (Sweetie, Emmanuelle Bercot, 1999) 8/10
57. Demi-tarif (Half-Price, Isild Le Besco, 2003) 8/10
58. Charly (Isild Le Besco, 2007) 7.5/10
59. Amour et Sexe sous l'Occupation (Love and Sex under Nazi Occupation, Isabelle Clarke, 2011) 7.5/10
60. Frantz (François Ozon, 2016) 8/10
61. L'amant double (Double Lover, François Ozon, 2017) 7/10
62. Nos années folles (Golden Years, André Téchiné, 2017) 7.5/10

Image


63-64. Colette (Yannick Bellon, 1951) 8/10 (29 min), Varsovie, quand même... (Yannick Bellon, 1954) 7/10 (17 min), Bons baisers... à bientôt (Yannick Bellon & Nicolas Bataille, 1965) 9/10 (25 min), Roulement, rouerie, aubage (Rose Lowder, 1978) 8/10 (14 min), Retour d'un repère (Rose Lowder, 1979) 9/10 (19 min), Champ provençal (Rose Lowder, 1979) 7/10 (9 min), Impromptu (Rose Lowder, 1989) 8/10 (8 min) (Total: 121 min)

Image

SpoilerShow
1. La cigarette (The Cigarette, Germaine Dulac, 1919) 8/10
2. Le diable dans la ville (The Devil in the City, Germaine Dulac, 1925) 7/10
3. La coquille et le clergyman (The Seashell and the Clergyman, Germaine Dulac, 1928) 10/10 (RV) (41-minute restoration seen for the first time)
4. Je t'attendrai (Three Hours, Léonide Moguy, 1939) 9/10
5. Patrouille sans espoir/Patrouille de choc (Shock Patrol, Claude Bernard-Aubert, 1957) 9/10
6. L'ironie du sort (The Irony of Chance, Édouard Molinaro, 1974) 9/10
7. Charlie Bravo (Claude Bernard-Aubert, 1980) 8/10
8. Chassé-croisé (Arielle Dombasle, 1982) 7.5/10
9. Liberté, la nuit (Liberty at Night, Philippe Garrel, 1984) 9/10
10. Opium (Arielle Dombasle, 2013) 6/10
11-12. La défense du drapeau (Alexandre Promio, 1897) 6/10 (1 min), Les enfants de France et de la guerre (Children of France During the War, Henri Desfontaines, 1918) 8/10 (33 min), Disque 957 (Germaine Dulac, 1928) 7/10 (5 min), Danses espagnoles (Germaine Dulac, 1928) 7/10 (7 min), Thèmes et variations (Themes and Variations, Germaine Dulac, 1928) 8.5/10 (10 min) (RV), Étude cinégraphique sur une arabesque (Arabesque, Germaine Dulac, 1929) 9/10 (8 min), Le retour à la vie (The Return to Life, Germaine Dulac & Jean Brérault & François Mauch, 1936) 6/10 (11 min), Le bijou indiscret (The Indiscreet Jewel, Arielle Dombasle, 2008) 4/10 (19 min), Le discours d'acceptation glorieux de Nicolas Chauvin (The Glorious Acceptance of Nicolas Chauvin, Benjamin Crotty, 2018) 8.5/10 (26 min) (Total: 120 min)
13. Peau de pêche (Peach Skin, Marie Epstein & Jean Benoît-Lévy, 1929) 8.5/10
14. Mélo (The Dreamy Mouth, Paul Czinner, 1932) 10/10 (l)
15. La banque Nemo (Nemo's Bank, Marguerite Viel, 1934) 7.5/10
16. Gibraltar (It Happened in Gibraltar, Fyodor Otsep, 1938) 8/10
17. La verte moisson (Green Harvest, François Villiers, 1959) 8.5/10
18. Martin Soldat (Soldier Martin, Michel Deville, 1966) 9/10
19. Le voleur de crimes (Crime Thief, Nadine Trintignant, 1969) 7.5/10
20. L'hiver (Winter, Marcel Hanoun, 1969) 9/10
21. Le soldat Laforêt (Laforet the Soldier, Guy Cavagnac, 1972) 9/10
22. Au long de rivière Fango (Along the Fango River, Sotha (Catherine Signaux), 1975) 7.5/10
23-24. Frivolités (René Le Hénaff, 1929) 8/10 (11 min), Holy Smoke! (Walerian Borowczyk, 1963) 7/10 (10 min), Le dictionnaire de Joachim (Joachim's Dictionary, Walerian Borowczyk, 1966) 8.5/10 (9 min), Le phonographe (The Phonograph, Walerian Borowczyk, 1969) 8/10 (6 min), U.S.S. (Alain Montesse, 1970) 10/10 (30 min) (l) , Le revoeil (The Dreaming Eye, Jean-Christophe Villard, 1980) 7/10 (2 min), Le château du parking (Vincent Monluc & Cabu, 1987) 7/10 (8 min), Étude pour Déserts (Alain Montesse, 1987) 8.5/10 (24 min), Aurore (Marc Hurtado & Éric Hurtado, 1989) 9/10 (20 min) (Total: 120 min)
25. Port-Arthur (I Give My Life, Nicolas Farkas, 1936) 7.5/10
26. Le mensonge de Nina Petrovna (The Lie of Nina Petrovna, Viktor Tourjansky, 1937) 10/10 (l)
27. Le repas des fauves (Champagne for Savages, Christian-Jaque, 1964) 8.5/10
28. Des journées entières dans les arbres (Entire Days in the Trees, Marguerite Duras, 1977) 9/10
29. Jeux d'artifices (Wayward Games, Virginie Thévenet, 1987) 8.5/10
30. Parfait amour! (Perfect Love, Catherine Breillat, 1996) 8/10
31-35. Voyage à travers le cinéma français (Bertrand Tavernier, 2017–2018) 9.5/10
36. Les malheurs de Sophie (The Misfortunes of Sophie, Jacqueline Audry, 1946) 8.5/10
37. Mitsou ou Comment l'esprit vient aux filles... (Mitsou, Jacqueline Audry, 1956) 7.5/10
38. Les petits matins (Hitch-Hike, Jacqueline Audry, 1962) 7.5/10
39. Les fêtes galantes (The Lace Wars, René Clair, 1965) 7.5/10
40. 1 homme de trop (Shock Troops, Costa-Gavras, 1967) 7.5/10
41. Les camisards (The French Calvinists, René Allio, 1972) 9.5/10
42. L'Italien des Roses (The Italian of the Roses, Charles Matton, 1972) 9/10
43. Jericho (Henri Calef, 1946) 10/10 (l)
44. Les évadés (The Fugitives, Jean-Paul Le Chanois,1955) 7.5/10
45. Moranbong, une aventure coréenne (Moranbong, a Korean Adventure, Claude-Jean Bonnardot, 1960) 9/10
46. Tu ne tueras point (Thou Shalt Not Kill, Claude Autant-Lara, 1961) 9/10
47. Les coeurs verts (Naked Hearts, Édouard Luntz, 1966) 9/10
48. Le grand départ (The Big Departure, Martial Raysse, 1972) 7/10
49. Faustine et le bel été (Faustine and the Beautiful Summer, Nina Companeez, 1972) 7/10
50. Néa (Nea: A New Woman, Nelly Kaplan, 1976) 7.5/10

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#168

Post by allisoncm » March 17th, 2019, 6:21 am

SpoilerShow
1. Vénus aveugle (1941) 7.5/10
2. 2 automnes 3 hivers/2 Autumns 3 Winters (2013) 6/10

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#169

Post by sol » March 17th, 2019, 8:04 am

peeptoad wrote:
March 16th, 2019, 12:03 pm
sol wrote:
March 4th, 2019, 2:49 am
Please excuse me while I shamelessly plug a French film that has also just been nominated by yours truly for the Doubling the Canon exercise:

Death Watch / La mort en direct (1980, Bertrand Tavernier) / iCM link / IMDb link / Trailer

Image
Noted (and also because it's on another list I'm working from) and watched. 8/10 I loved the photography, camerawork etc. plus the characters were all engaging, the story was interesting, and oddly prophetic. Personally I would have enjoyed it even more had there been somehow a bit more tension and if the aspect of her being a celebrity (and all the strife and stress that goes with that esp under the circumstances) had been amplified more. Just think it would have been bit more effective, but it's one of my better views so far in 2019. :thumbsup:
:woot: Glad you liked it, peeps.

I probably wouldn't argue with your criticisms, but yep a great film nonetheless with top work from Harvey Keitel, Romy Schneider and Max von Sydow.

I'm not sure if you participate in the 500<400 exercise, but the film could definitely do with your help if you were prepared to add it to your ballot. B)
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#170

Post by peeptoad » March 17th, 2019, 4:02 pm

sol wrote:
March 17th, 2019, 8:04 am

I'm not sure if you participate in the 500<400 exercise, but the film could definitely do with your help if you were prepared to add it to your ballot. B)
I'll try to remember and keep and eye out for the poll...

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#171

Post by St. Gloede » March 17th, 2019, 4:44 pm

Exploring France with sets of 3 films per director continues.


---------Jacques Doillon----------

20. L'an 01 / The Year 01 (1973 - with support from Alain Resnais & Jean Rouch) 8.5/10
21. La drôlesse / The Hussy (1979) 7.5/10
22. La fille prodigue / The Prodigal Daughter (1981) 6/10

What a phenomanal and unexpected debut. Year 01 is essentially a semi-experimental comedy that takes us into a world where what can be best described as a peaceful anarcho-primitivist revolution takes place in France, and all of the world. With short, typically absurdist vignettes, we follow the events as they unfold (with many known faces peaking in). What happens when everyone simply stops working, rejects technology and abolishes property? Tune in and see! :lol:

Coming of such a strong note, and being from the same year Doillon did his fantastic The Crying Woman, I had big expectations for The Hussy. They were not quite met, but it certainly started strong. Covering the relationship between a young girl and her kidnapper, as they bond and almost become romantic is interesting, but played in a way that it neither doesn't really pack a punch or gets under your skin. Now I think that was rather the point, and it ties in well with La fille prodigue (about a daughter wanting her father), but this one just feeling a little empty and tired.


------Jacques Doniol-Valcroze-----

23. L'eau à la bouche / A Game for Six Lovers (1960) 5.5/10
24. Le Denonciation (1962) 5.5/10
25. La maison des Bories / The House of the Bories (1970) 7/10

It is easy to understand why Cahier du Cinema co-founder Jacques Doniol-Valcroze is completely forgotten and only mentioned as a neccesary subnote on the French New Wave. His films barely fit into the movement, and his two first films in particular feel more like lesser Claude Avant-Lara pieces. Playful? Perhaps. At least his debut. But not really in form. There are some solid shots in his work, but as a whole there is simply nothing of note here. As for his colleaugues he would be closest to Chabrol. It is strange that the man, who along with Bazin can be said to have kickstarted the new wave revolution just has nothing to say or explore cinematically.

The House of the Bories proved that he could aim a little higher, creating a more contemplative, slow brooding and potentially spiritual film - though it feels more like a late, tired film by Carné than an actual youthful or creative exercise. The content would have been more intruiging for the 40s and 50s, and feels old - that is not to say it couldn't have been pulled off better by a stronger director, but at least he finally proved he could make something both good and interesting.

These 3 are as of now the only available films of his (with subtitles). He made an unknown amount of full length films. According to IMDb his first feature may have been from '57, but aside from the fact that it was edited by Resnais nothing is known about it. More films may come forward, but as you may have guessed, I will not be first in line (and given his reputation, very, very few would even want to que).

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#172

Post by peeptoad » March 17th, 2019, 6:49 pm

9. L'arbre de Guernica (1975) Tree of Guernica 6
French twists...Show
*rewatch

1. J'irai comme un cheval fou (1973) I Will Walk Like a Crazy Horse 8
2. Malevil (1981) 5
3. Frustration (1971) The Chambermaid's Dream 7
4. Les raisins de la mort (1978) The Grapes of Death 7*
5. Lèvres de sang (1975) Lips of Blood 8
6. La nuit des traquées (1980) Night of the Hunted 6
7. La traque (1975) The Track 7
8. La mort en direct (1980) Death Watch 8

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#173

Post by morrison-dylan-fan » March 17th, 2019, 6:50 pm

“A spring of peace and happiness, through you becalms my ardor.”

Thanks to JD for rec.


Image

FTV:16:Mélo (1932) 6

Filling his heart with a love of performing music and a love for Gaby, Pierre Blanchar gives a very theatrical performance as Pierre, whose over flamboyance for his loves Blanchar makes grating,and when despair hits,avoiding any subtle touch for loud agonising screams and moans. Joined by a fittingly world-weary Victor Francen as Marcel,Gaby Morlay carries the film with her wonderful performance as Gaby, thanks to Morlay initial keeping Gaby in a light-hearted, playful state, which Morlay turns to down-cast melodrama as the tune fades.

Based upon Henri Bernstein’s play, co-writer/(with Carl Mayer) director Paul Czinner disappointingly never fully breaks away from the foundation, as brush strokes of style in overhead shots of Gaby embracing her lover and side angles of the music performances, which are wiped by dead-end pans into black, and stilted wide-shots as the romantic entanglements are twisted. Composing the Gaby/ Pierre’s relationship, the writers give the first half a merry line in light comedy, via the interplay in the couple trying to balance romance with Pierre’s music. Falling into Melodrama for the final, the writers attempt to use various passages of time to give this the impression of a tragic, epic romance, but miss the mark due to having failed to develop the bond between the couple beyond the lightly comedic, as the melody plays out.

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#174

Post by allisoncm » March 17th, 2019, 7:35 pm

SpoilerShow

1. Vénus aveugle (1941) 7.5/10
2. 2 automnes 3 hivers/2 Autumns 3 Winters (2013) 6/10
3. Nadia Boulanger: Mademoiselle (1977) 7/10

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#175

Post by allisoncm » March 18th, 2019, 3:57 am

SpoilerShow
1. Vénus aveugle (1941) 7.5/10
2. 2 automnes 3 hivers/2 Autumns 3 Winters (2013) 6/10
3. Nadia Boulanger: Mademoiselle (1977) 7/10
4. Bon voyage (2003) 10/10 (rewatch)

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#176

Post by shugs » March 18th, 2019, 11:10 am

6. Le doulos (Jean-Pierre Melville, 1963) - 9/10
7. L'Atalante (Jean Vigo, 1934) - 7/10
SpoilerShow
1. Mauvais Sang aka Bad Blood (Leos Carax, 1986) - 5/10
2. Tomboy (Céline Sciamma, 2011) - 9/10
3. Bob le flambeur (Jean-Pierre Melville, 1956) - 5/10
4. No Man's Land (Danis Tanovic, 2001) - 8/10
5. Joyeux Noël (Christian Carion, 2005) - 7.5/10

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#177

Post by cinephage » March 18th, 2019, 11:25 am

08. Grace à Dieu, de François Ozon (2018) 8/10

A good Ozon film on a very dark subject. It's rare when such recent events are handled by french cinema, and even rarer when the result is a really good film...

09. Convoi exceptionnel, by Bertrand Blier (2019) 7/10

Not really a great film, but it's such an enjoyment to hear to Blier's style, and his old actors are giving such a nice performance too...
Démons et merveilles (07)Show
01. Conte d'été, by Eric Rohmer (1996) 5/10
02. La Pointe-Courte, by Agnes Varda (1955) 6,5/10
03. Qu'est-ce qu'on a encore fait au Bon Dieu ? by Philippe de Chauveron (2019) 7/10
04. Le mystère Henri Pick, by Rémi Bezançon (2019) 7,5/10
05. La ville des pirates, de Raoul Ruiz (1983) 7,5/10
06. la douche du colonel, by George Melies (1902) 8/10
07. Nous les gosses, by Louis Daquin (1941) 8,5/10

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#178

Post by zzzorf » March 18th, 2019, 12:22 pm

Would love to have been more involved in this challenge as France is one of my favourite countries to watch movies from but since I am doing March Around the World (30 movies from 30 countries in March) on Letterboxd most of my foreign watching is tied up with that so my possible only movie for this challenge is my French movie I watched for that challenge. :angry: :(

1. Rififi (1955) 7/10

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#179

Post by sol » March 18th, 2019, 2:50 pm

The French ConnectionShow
1. Coeur fidèle (1923)
2. King of Hearts (1966)
3. In My Skin / Dans ma peau (2002)
4. Le fantôme du Moulin-Rouge (1925)
5. Is Paris Burning? / Paris brûle-t-il? (1966)

6. Fanny's Journey / Le voyage de Fanny (2016)

Image

With no real scary Nazis and most brutal war horrors kept off screen, the kids here never feel in real peril; digesting the wrong berries is the closest that they come to mortal danger. Instead, we get joyful scenes of the children running through hills, chasing after money blown in the wind and splashing river water. In short, fleeing the Nazis has never seemed like so much fun. Juliane Lepoureau is excellent here as a young girl who heartbreakingly questions why they cannot just stop being Jewish if it is such a bad thing, but the overall film didn't do much for me.
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#180

Post by shugs » March 18th, 2019, 5:28 pm

8. L'âge d'or aka Age of Gold (Luis Buñuel, 1930) - 6.5/10
Not the biggest fan of random nonsense, but this was pretty entertaining.
SpoilerShow
1. Mauvais Sang aka Bad Blood (Leos Carax, 1986) - 5/10
2. Tomboy (Céline Sciamma, 2011) - 9/10
3. Bob le flambeur (Jean-Pierre Melville, 1956) - 5/10
4. No Man's Land (Danis Tanovic, 2001) - 8/10
5. Joyeux Noël (Christian Carion, 2005) - 7.5/10
6. Le doulos (Jean-Pierre Melville, 1963) - 9/10
7. L'Atalante (Jean Vigo, 1934) - 7/10

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#181

Post by Coryn » March 18th, 2019, 7:40 pm

5. À bout de souffle (1960)
I saved Latin, what did you ever do ?

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#182

Post by hurluberlu » March 18th, 2019, 8:41 pm

33. Ni vu, ni connu (Yves Robert, 1958) 7
34. Peshmerga (Bernard-Henri Lévy, 2016) [War] 7+
35. Lancelot of the Lake / Lancelot du Lac (Robert Bresson, 1974) [War] 7-
36. Let's rob the bank / Faites Sauter la Banque (Jean Girault, 1962) 7-
37. Close Encounters with Vilmos Zsigmond (Pierre Filmon, 2016) 8-
38. Bay of Angels / La Baie des Anges (Jacques Demy, 1963) 6


Le Jour se lèveShow
1. La Pointe-Courte (Agnès Varda, 1955) [Directed by Women] 8-
2. The Proud and the Beautiful / Les Orgueilleux (Yves Allégret, Rafael E. Portas, 1953) 6
3. Life and Nothing But / La Vie et Rien d'autre (Bertrand Tavernier, 1982) [War] 7
4. Read My Lips / Sur mes lèvres (Jacques Audiard, 2001) 6+
5. 35 Shots of Rum / 35 rhums (Claire Denis, 2008) [Directed by Women] 7
6. Le Boucher (Claude Chabrol, 1970) 8-
7. The Thief of Paris / Le Voleur (Louis Malle, 1967) 7
8. The Cigarette / La Cigarette (Germaine Dulac, 1919) [Directed by Women] 7-
9. Jacquot de Nantes (Agnès Varda, 1991) [Directed by Women] 7-
10. Look at Me / Comme Une Image (Agnès Jaoui, 2004) [Directed by Women] 6
11. Coco Before Chanel / Coco avant Chanel (Anne Fontaine, 2009) [Directed by Women] 6+
12. Climax (Gaspard Noé, 2018) 5-
13. Keep an Eye Out / Au poste! (Quentin Dupieux, 2018) 7-
14. Thieves / Les Voleurs (André Téchiné, 1996) 7+
15. Mektoub, My Love: Canto Uno (Abdellatif Kechiche, 2017) 5+
16. Clérambard (Yves Robert, 1969) 6
17. Moka (Frédéric Mermoud, 2016) 7-
18. Les Tourmentes (Pierre-Yves Vandeweerd, 2014) 6+
19. Comme un Avion (Bruno Podalydès, 2015) 7
20. The Blood of a Poet / Le sang d'un poète (Jean Cocteau, 1932) 7+
21. BPM (Beats Per Minute) / 120 battements par minute (Robin Campillo, 2017) 8
22. Just Before Nightfall / Juste avant la Nuit (Claude Chabrol, 1971) 6+
23. A Song of Love / Un chant d'amour (Jean Genet, 1950) 7+
24. L'affaire SK1 (Frédéric Tellier, 2014) 7+
Captivating police hunt of a serial killer/rapist active in Paris in the 90s, based on real, harrowing events.
25. Les Cowboys (Thomas Bidegain, 2015) 7
26. Hatred / Mollenard (Robert Siodmak, 1938) 7+
27. Profit & Nothing But! Or Impolite Thoughts on the Class Struggle / Le Profit et rien d'autre (Raoul Peck, 2001) 5+
28. Beating Heart / Battement de Coeur (Henri Decoin, 1940) 6+
29. The Trouble with You / En liberté! (Pierre Salvadori, 2018) 7-
30. Paul Sanchez est revenu! (Patricia Mazuy, 2018) 6
31. [61min] shorts
[16min] Diary of a Pregnant Woman / L'opéra-mouffe (Agnès Varda, 1958) 7-
[30min] Salut les Cubains (Agnès Varda, 1961) 7
[2min] La hiérarchie dans l'amour (Alice Guy, 1906) 6
[6min] La vérité sur l'homme-singe (Alice Guy, 1906) 5
[7min] Les résultats du féminisme (Alice Guy, 1906) 7
32. At War / En guerre (Stéphane Brizé, 2018) 6+
#JeSuisCharlie Liberté, Liberté chérie !

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flavo5000
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#183

Post by flavo5000 » March 19th, 2019, 2:21 am

11. Anatomie d'un rapport (1976)
12. Vendredi soir (2002)
13. Le 17e parallèle: La guerre du peuple (1968)
SpoilerShow
1. Les rendez-vous d'Anna (1978)
2. Le bonheur (1965)
3. L'intrus (2004)
4. Gigi (1949)
5. Agatha et les lectures illimitées (1981)
6. Le camion (1977)
7. Je, tu, il, elle (1974)
8. White Material (2009)
9. Loin du Vietnam (1967)
10a. Black Panthers (1968)
10b. Saute ma ville (1968)
10c. En rachâchant (1982)
10d. Machorka-Muff (1963)
11. Anatomie d'un rapport (1976)
12. Vendredi soir (2002)
13. Le 17e parallèle: La guerre du peuple (1968)

morrison-dylan-fan
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#184

Post by morrison-dylan-fan » March 19th, 2019, 2:24 am

Repeat viewing:17: The Wretches (1960) 10.

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FTV:18: Marked Eyes (1964) 7

“Even policemen can be courteous.”

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Reuniting after the New Wave-styled The Wretches (1960),co-writer/(with Claude Desailly/Andre Tabet and Georges Tabet) director/actor Robert Hossein and Michele Morgan give eye-catching turns as Florence and Franz,with Morgan cleverly using Florence’s estranged state in the town to make her a detached Femme Fatale, who even when rolling down hills with a lover keeps her guard up over suspicions of mind-games being played. Fitting into the woodland backdrop with a fresh face appearance, Robert Hossein gives a performance with real warmth as Franz,who Hossein has keep striking the ambiguity note, as Franz’s sincerity comes off as just a bit off to Florence.

Along with reuniting with Morgan, Robert is joined by his composing dad Andre, who types up an excellent rumbling blues score which heighten the cracks of paranoia in Florence’s mind.Appearing to have been filmed in the real Austrian woodlands, Hossien & cinematographer Jean Boffety craft a chilly mysterious atmosphere in circling wide-shots across the isolated location. Cutting open the movie with an obscured eyeful of a murder, Hossien sharply pins the Noir visuals to a carefully designed sound mix, where the tapping of a mysterious type writer stylishly matches up to the splintered sightings of the writer/killer,and the looming panning shots down corridors following Florence sinking into doubt. Building up suspense superbly in a silent set-piece of Florence attempting to locate the typing noise, the writers spill ink on the anticipation,by going for the easy option of “borrowing” from Henri-Georges Clouzot, which dents the light Film Noir unease that the title had been building up over Florence’s increasing mistrust of the locals over marked eyes.

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#185

Post by maxwelldeux » March 19th, 2019, 4:27 pm

I see London, I see...Show
1. Three Colors: Blue (1993)
2. Le Grand Homme (2014)
3. Under the Roofs of Paris (1930)
4. Le Code a Change (2009)
5. Three Colors: White (1994)
6. Code Unknown (2000)
7. Lolo (2015)
8. Rififi (1955)
This is a very cool stylish thriller and was a lot of fun.

9. Léon: The Profesional (1994)
This is the first rewatch for me where I've ended up removing the movie from a favorites list. It didn't age well.

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#186

Post by psychotronicbeatnik » March 19th, 2019, 10:55 pm

4. Les Glaneurs et la Glaneuse (2000 / Agnes Varda) 9/10 {Double}
5. Les Glaneurs et la Glaneuse… deux ans apres (2002 / Agnes Varda) FTV 8+/10 {Double}
6. Visages Villages (2017 / Agnes Varda, JR) FTV 9/10 {Double}

7. a-g. Shorts by French Women Directors {61 min. / Double}
a. Black Panthers (1968 / Agnes Varda) FTV 8/10 {31 min. / Double}
b. Homage a Zgougou (2002 / Agnes Varda) FTV 8+/10 {2 min. / Double}
c. Les 3 boutons (2015 / Agnes Varda) FTV 8+/10 {11 min. / Double}
d. Letters (2017 / Agnes Varda, JR) FTV 8/10 {3 min. / Double}
e. The Cabin on the Beach (2017 / Agnes Varda, JR) FTV 7+/10 {4 min. / Double}
f. Music (2017 / Agnes Varda, JR) FTV 7/10 {4 min. / Double}
g. Disque 957 (1928 / Germaine Dulac) FTV 8/10 {6 min. / Double}

Cinémathèque FrançaiseShow
1.L'année dernière à Marienbad (1961 / Alain Resnais) 9/10
2. L'invitation au voyage (1927 / Germaine Dulac) FTV 9/10 {40 min. Double}
3. La coquille et le clergyman (1928 / Germaine Dulac) FTV 8+/10 {40 min. Double}
4. Les Glaneurs et la Glaneuse (2000 / Agnes Varda) 9/10 {Double}
5. Les Glaneurs et la Glaneuse… deux ans apres (2002 / Agnes Varda) FTV 8+/10 {Double}
6. Visages Villages (2017 / Agnes Varda, JR) FTV 9/10 {Double}

7. a-g. Shorts by French Women Directors {61 min. / Double}
a. Black Panthers (1968 / Agnes Varda) FTV 8/10 {31 min. / Double}
b. Homage a Zgougou (2002 / Agnes Varda) FTV 8+/10 {2 min. / Double}
c. Les 3 boutons (2015 / Agnes Varda) FTV 8+/10 {11 min. / Double}
d. Letters (2017 / Agnes Varda, JR) FTV 8/10 {3 min. / Double}
e. The Cabin on the Beach (2017 / Agnes Varda, JR) FTV 7+/10 {4 min. / Double}
f. Music (2017 / Agnes Varda, JR) FTV 7/10 {4 min. / Double}
g. Disque 957 (1928 / Germaine Dulac) FTV 8/10 {6 min. / Double}




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#187

Post by morrison-dylan-fan » March 20th, 2019, 3:08 am

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FTV:19:Stupéfiants (1932) 6

“It sure is nice to see Europe again, when you’ve spent 20 years planting coffee in the tropics.”

Filmed simultaneously with the German film Der Weisse Daemon and joined by co-director Roger Le Bon, director Kurt Gerron, (who turned down offers from Peter Lorre and Josef von Sternberg’s agent for Hollywood projects, and was murdered with his wife Olga by the Nazis in Auschwitz in 1944) does very well in bringing out stylishly flourishes under the tight production schedule, with the excellent extended opening tracking shots on a cruise ship establishing the heroic hero status of Henri,and over saturated lights making Liliane look like she is wasting herself away.

Joined by writer Georges Neveux in adapting their German script, the screenplay by Neveux/ Philipp Lothar Mayring & Fritz Zeckendorf (who IMDb do not list as having been killed by the Nazis in 1943 in Auschwitz-Birkenau) is a fine mix of Melodrama and Thriller, as Liliane’s descent into drug addition brings the drama as Henri tries to free her from it, whilst the hands of “bossu” (and his ingenious use of blanc vinyl to record faked messages) push Liliane deeper into the abyss. Caught between bossu and Henri, sweet Daniele Parola gives a very good performance as Liliane,whose singing ambitions Parola has get chipped away by the drugs. Sliding Parola deeper into her addiction, Peter Lorre gives a wonderfully slippery turn as bossu, whose calm, matter of fact manner is used by Lorre as a veil for ruthlessness that leaves Liliane dying for a hit.

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#188

Post by AB537 » March 20th, 2019, 3:36 am

8. Le mura di Malapaga/Au-dela des grilles - The Walls of Malapaga (Rene Clement, 1949)

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#189

Post by jdidaco » March 20th, 2019, 4:49 am

(Screenshots from 'Les otages' & 'Sauvage'),

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65. Les otages (The Mayor's Dilemma, Raymond Bernard, 1939) 9/10
66. ...Un ami viendra ce soir... (A Friend Will Come Tonight, Raymond Bernard, 1946) 7.5/10
67. Coup pour coup (Blow for Blow, Marin Karmitz, 1972) 8/10
68. Allons z'enfants (The Boy Soldier, Yves Boisset, 1981) 9/10
69. Resisting Paradise (Barbara Hammer, 2003) 7.5/10
70. Sauvage (Camille Vidal-Naquet, 2018) 7.5/10

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SpoilerShow
1. La cigarette (The Cigarette, Germaine Dulac, 1919) 8/10
2. Le diable dans la ville (The Devil in the City, Germaine Dulac, 1925) 7/10
3. La coquille et le clergyman (The Seashell and the Clergyman, Germaine Dulac, 1928) 10/10 (RV) (41-minute restoration seen for the first time)
4. Je t'attendrai (Three Hours, Léonide Moguy, 1939) 9/10
5. Patrouille sans espoir/Patrouille de choc (Shock Patrol, Claude Bernard-Aubert, 1957) 9/10
6. L'ironie du sort (The Irony of Chance, Édouard Molinaro, 1974) 9/10
7. Charlie Bravo (Claude Bernard-Aubert, 1980) 8/10
8. Chassé-croisé (Arielle Dombasle, 1982) 7.5/10
9. Liberté, la nuit (Liberty at Night, Philippe Garrel, 1984) 9/10
10. Opium (Arielle Dombasle, 2013) 6/10
11-12. La défense du drapeau (Alexandre Promio, 1897) 6/10 (1 min), Les enfants de France et de la guerre (Children of France During the War, Henri Desfontaines, 1918) 8/10 (33 min), Disque 957 (Germaine Dulac, 1928) 7/10 (5 min), Danses espagnoles (Germaine Dulac, 1928) 7/10 (7 min), Thèmes et variations (Themes and Variations, Germaine Dulac, 1928) 8.5/10 (10 min) (RV), Étude cinégraphique sur une arabesque (Arabesque, Germaine Dulac, 1929) 9/10 (8 min), Le retour à la vie (The Return to Life, Germaine Dulac & Jean Brérault & François Mauch, 1936) 6/10 (11 min), Le bijou indiscret (The Indiscreet Jewel, Arielle Dombasle, 2008) 4/10 (19 min), Le discours d'acceptation glorieux de Nicolas Chauvin (The Glorious Acceptance of Nicolas Chauvin, Benjamin Crotty, 2018) 8.5/10 (26 min) (Total: 120 min)
13. Peau de pêche (Peach Skin, Marie Epstein & Jean Benoît-Lévy, 1929) 8.5/10
14. Mélo (The Dreamy Mouth, Paul Czinner, 1932) 10/10 (l)
15. La banque Nemo (Nemo's Bank, Marguerite Viel, 1934) 7.5/10
16. Gibraltar (It Happened in Gibraltar, Fyodor Otsep, 1938) 8/10
17. La verte moisson (Green Harvest, François Villiers, 1959) 8.5/10
18. Martin Soldat (Soldier Martin, Michel Deville, 1966) 9/10
19. Le voleur de crimes (Crime Thief, Nadine Trintignant, 1969) 7.5/10
20. L'hiver (Winter, Marcel Hanoun, 1969) 9/10
21. Le soldat Laforêt (Laforet the Soldier, Guy Cavagnac, 1972) 9/10
22. Au long de rivière Fango (Along the Fango River, Sotha (Catherine Signaux), 1975) 7.5/10
23-24. Frivolités (René Le Hénaff, 1929) 8/10 (11 min), Holy Smoke! (Walerian Borowczyk, 1963) 7/10 (10 min), Le dictionnaire de Joachim (Joachim's Dictionary, Walerian Borowczyk, 1966) 8.5/10 (9 min), Le phonographe (The Phonograph, Walerian Borowczyk, 1969) 8/10 (6 min), U.S.S. (Alain Montesse, 1970) 10/10 (30 min) (l) , Le revoeil (The Dreaming Eye, Jean-Christophe Villard, 1980) 7/10 (2 min), Le château du parking (Vincent Monluc & Cabu, 1987) 7/10 (8 min), Étude pour Déserts (Alain Montesse, 1987) 8.5/10 (24 min), Aurore (Marc Hurtado & Éric Hurtado, 1989) 9/10 (20 min) (Total: 120 min)
25. Port-Arthur (I Give My Life, Nicolas Farkas, 1936) 7.5/10
26. Le mensonge de Nina Petrovna (The Lie of Nina Petrovna, Viktor Tourjansky, 1937) 10/10 (l)
27. Le repas des fauves (Champagne for Savages, Christian-Jaque, 1964) 8.5/10
28. Des journées entières dans les arbres (Entire Days in the Trees, Marguerite Duras, 1977) 9/10
29. Jeux d'artifices (Wayward Games, Virginie Thévenet, 1987) 8.5/10
30. Parfait amour! (Perfect Love, Catherine Breillat, 1996) 8/10
31-35. Voyage à travers le cinéma français (Bertrand Tavernier, 2017–2018) 9.5/10
36. Les malheurs de Sophie (The Misfortunes of Sophie, Jacqueline Audry, 1946) 8.5/10
37. Mitsou ou Comment l'esprit vient aux filles... (Mitsou, Jacqueline Audry, 1956) 7.5/10
38. Les petits matins (Hitch-Hike, Jacqueline Audry, 1962) 7.5/10
39. Les fêtes galantes (The Lace Wars, René Clair, 1965) 7.5/10
40. 1 homme de trop (Shock Troops, Costa-Gavras, 1967) 7.5/10
41. Les camisards (The French Calvinists, René Allio, 1972) 9.5/10
42. L'Italien des Roses (The Italian of the Roses, Charles Matton, 1972) 9/10
43. Jericho (Henri Calef, 1946) 10/10 (l)
44. Les évadés (The Fugitives, Jean-Paul Le Chanois,1955) 7.5/10
45. Moranbong, une aventure coréenne (Moranbong, a Korean Adventure, Claude-Jean Bonnardot, 1960) 9/10
46. Tu ne tueras point (Thou Shalt Not Kill, Claude Autant-Lara, 1961) 9/10
47. Les coeurs verts (Naked Hearts, Édouard Luntz, 1966) 9/10
48. Le grand départ (The Big Departure, Martial Raysse, 1972) 7/10
49. Faustine et le bel été (Faustine and the Beautiful Summer, Nina Companeez, 1972) 7/10
50. Néa (Nea: A New Woman, Nelly Kaplan, 1976) 7.5/10
51. Un acte d'amour/Act of Love (Anatole Litvak, 1953) 7.5/10
52. L'horizon (Horizon, Jacques Rouffio, 1967) 9/10
53. Les ebranlées (Dolls for Sale, Jesús Franco, 1972) 7/10
54. Je suis frigide... pourquoi? (I Am Frigid... Why?, Max Pécas, 1972) 6/10
55. Jamais plus toujours (Never Again Always, Yannick Bellon, 1976) 9/10
56. La puce (Sweetie, Emmanuelle Bercot, 1999) 8/10
57. Demi-tarif (Half-Price, Isild Le Besco, 2003) 8/10
58. Charly (Isild Le Besco, 2007) 7.5/10
59. Amour et Sexe sous l'Occupation (Love and Sex under Nazi Occupation, Isabelle Clarke, 2011) 7.5/10
60. Frantz (François Ozon, 2016) 8/10
61. L'amant double (Double Lover, François Ozon, 2017) 7/10
62. Nos années folles (Golden Years, André Téchiné, 2017) 7.5/10
63-64. Colette (Yannick Bellon, 1951) 8/10 (29 min), Varsovie, quand même... (Yannick Bellon, 1954) 7/10 (17 min), Bons baisers... à bientôt (Yannick Bellon & Nicolas Bataille, 1965) 9/10 (25 min), Roulement, rouerie, aubage (Rose Lowder, 1978) 8/10 (14 min), Retour d'un repère (Rose Lowder, 1979) 9/10 (19 min), Champ provençal (Rose Lowder, 1979) 7/10 (9 min), Impromptu (Rose Lowder, 1989) 8/10 (8 min) (Total: 121 min)

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#190

Post by jeroeno » March 20th, 2019, 6:48 am

40. Anatomie d'un rapport (1976)

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#191

Post by 72allinncallme » March 20th, 2019, 3:13 pm

6. La guerre est finie (1966)
7. L’enclos (1961)
SpoilerShow
1. Flandres (2006)
2. Elle (2016)
3. Les petites guerres (1982)
4. Sobibór, 14 octobre 1943, 16 heures (2001) (l)
5. Liberté, la nuit (1984)
6. La guerre est finie (1966)
7. L’enclos (1961)

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shugs
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#192

Post by shugs » March 20th, 2019, 4:30 pm

9. Love (Gaspar Noé, 2015) - 6/10
SpoilerShow
1. Mauvais Sang aka Bad Blood (Leos Carax, 1986) - 5/10
2. Tomboy (Céline Sciamma, 2011) - 9/10
3. Bob le flambeur (Jean-Pierre Melville, 1956) - 5/10
4. No Man's Land (Danis Tanovic, 2001) - 8/10
5. Joyeux Noël (Christian Carion, 2005) - 7.5/10
6. Le doulos (Jean-Pierre Melville, 1963) - 9/10
7. L'Atalante (Jean Vigo, 1934) - 7/10
8. L'âge d'or aka Age of Gold (Luis Buñuel, 1930) - 6.5/10

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OldAle1
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#193

Post by OldAle1 » March 20th, 2019, 5:25 pm

Here we go

1. Loin du Vietnam / Far From Vietnam (Jean-Luc Godard/Joris Ivens/William Klein/Claude Lelouch/Chis Marker/Alain Resnais/Agnès Varda, 1967)

A film I really needed to watch when more awake - and certainly will want to see again, this is a many-part documentary on America''s war in Vietnam with a quite explicitly anti-war agenda that seems remarkably modern and up-do-date in it's depictions of protests, the clear antipathy between the anti-war and pro-war agitators on the streets of New York, and even in the astonishing scene where a young man lecturing a young woman (mansplaining, not a word or maybe even concept then) about how we care about the people of Vietnam, but why not the Kurds, the Yemenis, the Sudanese - keep in mind, this is 1967! All in the midst of a speech declaiming among other things that war never ends...

2. La musica / The Music (Marguerite Duras/Paul Seban, 1967)

Duras' first feature as (co-)director seems to get less attention and to be less regarded than some of her other work - though to be sure she remains a pretty marginal/cult figure overall with India Song her only real "hit" - but I was pretty wrapped up in this relatively simple on its surface work about a divorcing husband and wife, meeting again, picking apart old wounds,mostly in one long scene that occupies about half the film. To be sure the photography by one of the great masters of monochrome, Sacha Vierny, is a big part of this, the music from Schubert, and Delphine Seyrig as "Elle" (unnamed characters, already a given in Duras), but there is a certain intensity, brought on by the various shorter sequences, of missed connections and reveries, before the intense confrontation that is the bulk of the work. Ultimately it's the passion of love expressed with only some passion, long after real passion has passed. Passionate about regaining, or reliving passion? Another film where close attention - and close feeling - is required.

3. Au revoir les enfants / Goodbye Children (Louis Malle, 1987)

Surprised it took me so long to see this; I wonder why I didn't catch it on it's original release - I have dim memories of thinking it was going to play for a while, but then missing it because it didn't. Maybe this was a little before the "boom" in Holocaust-related films? In any case, it's a famous enough film and I have little original to say about it so I don't feel like going on too much - it's very good certainly and the ending is quite powerful, even if I am a little uneasy about the concept of film-as-penance which this seems to be. I think if I have a favorite moment it's the game in the forest, where though never mentioned out loud there is a powerful sense of the possibility of escape of a world outside of both the school and the atrocities going on around it.

4. Détruire dit-elle / Destroy, She Said (Marguerite Duras, 1969)

Much more challenging than La musica which I watched a few days earlier, this certainly has a lot of similarities to the early parts of that film, the sort of mysterious elements when the nature of the relationships of the man and woman were unknown, unpredictable, changing. Here we have a group of men and women in a hotel - or maybe it's not a hotel? - talking about relationships, about illness, playing cards; a woman is blind apparently, but she's not; another woman has a husband, and there's another man who might also be her husband or at least seems possessive - the older woman and the younger have similar names, and there are suggestions that they are the same person; it's all quite abstract. It's not as beautiful or as formally precise in it's sets and editing as the earlier film, instead seeming almost on the verge of blowing apart - hence the title - of admitting that the characters, and perhaps we the viewers, are insane and institutionalized, and living out or more properly dreaming about and talking through fantasies. And then there's the ending and in particular the use of sound, where Duras really seems coming into her own and looking forward to later works... I'm not quite sure how I feel about this, even more than most of Duras' tough films this left me rather at loose ends. But I think that's a good thing all in all and I hope to get to more this month.

5. L'adolescente / An Adolescent Girl (Jeanne Moreau, 1979)

Cinema, 35mm. Very cool to get to see this quite rare film - less than 10 votes on ICM as I write this - and see plenty of others coming out on a cold late-winter night to sit in excruciatingly uncomfortable seats to see it as well. And it was worth the effort though I can't say it knocked me out or anything like that. It's essentially a very well mounted coming-of-age story that might well be autobiographical - our young girl, Marie, is 11 or 12 in 1939, is Parisian and spending a summer in the country, not far from Moreau's own story. Laetitia Chauveau is pretty terrific as Marie, just discovering sexuality and the possibilities of first love; unfortunately it was her only film, she must have been Moreau's discovery - most of the other actors, most notably Simone Signoret as the fountain-of-wisdom grandmother, range from famous to at least career actors. It's beautifully shot with lots of natural light on location, and there are moments that really spoke to me in a way that typically French films set in rural areas - the first segment in Rohmer's 4 aventures de Reinette et Mirabelle is another prime example - do better than films from anywhere else; I can almost smell the fresh hay, the honey, the apples. It doesn't quite add up in the end to greatness, but it''s a lovely period portrait of a "lost time" as the director's narration informs us in bittersweet reverie at the end.

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#194

Post by allisoncm » March 20th, 2019, 9:09 pm

SpoilerShow
1. Vénus aveugle (1941) 7.5/10
2. 2 automnes 3 hivers/2 Autumns 3 Winters (2013) 6/10
3. Nadia Boulanger: Mademoiselle (1977) 7/10
4. Bon voyage (2003) 10/10 (rewatch)
5. Le Monde vivant (2003) 6/10

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#195

Post by psychotronicbeatnik » March 20th, 2019, 11:28 pm

8. White Material (2009 / Claire Denis) FTV 8/10 {Double (Triple if I was doing the War challenge too!)}

Cinémathèque FrançaiseShow
1.L'année dernière à Marienbad (1961 / Alain Resnais) 9/10
2. L'invitation au voyage (1927 / Germaine Dulac) FTV 9/10 {40 min. Double}
3. La coquille et le clergyman (1928 / Germaine Dulac) FTV 8+/10 {40 min. Double}
4. Les Glaneurs et la Glaneuse (2000 / Agnes Varda) 9/10 {Double}
5. Les Glaneurs et la Glaneuse… deux ans apres (2002 / Agnes Varda) FTV 8+/10 {Double}
6. Visages Villages (2017 / Agnes Varda, JR) FTV 9/10 {Double}
7. a-g. Shorts by French Women Directors {61 min. / Double}
a. Black Panthers (1968 / Agnes Varda) FTV 8/10 {31 min. / Double}
b. Hommage a Zgougou (2002 / Agnes Varda) FTV 8+/10 {2 min. / Double}
c. Les 3 boutons (2015 / Agnes Varda) FTV 8+/10 {11 min. / Double}
d. Letters (2017 / Agnes Varda, JR) FTV 8/10 {3 min. / Double}
e. The Cabin on the Beach (2017 / Agnes Varda, JR) FTV 7+/10 {4 min. / Double}
f. Music (2017 / Agnes Varda, JR) FTV 7/10 {4 min. / Double}
g. Disque 957 (1928 / Germaine Dulac) FTV 8/10 {6 min. / Double}


8. White Material (2009 / Claire Denis) FTV 8/10 {Double (Triple if I was doing the War challenge too!)}



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#196

Post by morrison-dylan-fan » March 21st, 2019, 4:03 am

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FTV:20:Night at the Crossroads (1932) 8

“I tried to give the feeling of mud sticking to your feet,and of fog obscuring your sight.”

Blamed on either a missing reel or (as the author claims) the breakdown of the directors first marriage and heavy drinking causing the film maker to skip shooting scenes,the visible gaps remarkably work to the advantage of writer/directing auteur Jean Renoir goal with the production,which Renoir said was that: “I tried to give the feeling of mud sticking to your feet,and of fog obscuring your sight.” Riding in to puncture the activities of a gang of thieves, Renoir,his soon to be ex-wife/editor Marguerite Renoir and future director Jacques Becker working as a assistant director and production manager,draw up an eerie misty atmosphere from the town being covered in layers of deep fog,which in stylish panning shots following Maigret reveal an inability to gain a clear sight at the inner workings of the gang.

Sticking mud on the feet of the viewer, Renoir also displays a sharp artistic eye in using objects on the set, (such as wheels and ropes) to obscure the full faces of the suspects,and make their lies stick to Maigret. Getting the first ever adaptation rights to a Georges Simenon novel after driving to Simenon’s boathouse and making him a offer on the spot,Renoir signals a continuation of his Film Noir theme,of Maigret being unable to fit into the town of foggy morals he is surrounded by. Left with rough odds and ends sticking out, the missing scenes give Maigret’s investigation to arrest the thieves an intriguing missing puzzle mood,where each attempt Maigret to put a gang profile together never quite fits. Offered the role by his brother,Pierre Renoir gives an excellent performance as Maigret, thanks to Renoir giving Maigret a subtle inquisitiveness over digging into secrets of the gang during a night at the crossroads.

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#197

Post by jeroeno » March 21st, 2019, 6:22 am

41. Parfait amour! (1996)

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sol
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#198

Post by sol » March 21st, 2019, 11:20 am

The French ConnectionShow
1. Coeur fidèle (1923)
2. King of Hearts (1966)
3. In My Skin / Dans ma peau (2002)
4. Le fantôme du Moulin-Rouge (1925)
5. Is Paris Burning? / Paris brûle-t-il? (1966)
6. Fanny's Journey / Le voyage de Fanny (2016)

7. Swann in Love / Un amour de Swann (1984)

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At its best, this Proust adaptation is evocative of Eyes Wide Shut with Jeremy Irons hanging on his wife's every word as she describes her past affairs, and as he conducts his own investigations into her past. The opening few shots are great here too with fetishising closeups of the woman as Irons explains his feelings. There are, however, lots of dialogue-heavy talk scenes in between the highs and the film is never once as atmospheric as Eyes Wide Shut. The horror style music score is a nice touch though for a tale about the dangers of obsession.
Former IMDb message boards user /// iCM | IMDb | My Top 500+ Favourite Films /// Long live the new flesh!
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peeptoad
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#199

Post by peeptoad » March 21st, 2019, 2:43 pm

10. Je t'aime, je t'aime (1968) 7
French twists...Show
*rewatch

1. J'irai comme un cheval fou (1973) I Will Walk Like a Crazy Horse 8
2. Malevil (1981) 5
3. Frustration (1971) The Chambermaid's Dream 7
4. Les raisins de la mort (1978) The Grapes of Death 7*
5. Lèvres de sang (1975) Lips of Blood 8
6. La nuit des traquées (1980) Night of the Hunted 6
7. La traque (1975) The Track 7
8. La mort en direct (1980) Death Watch 8
9. L'arbre de Guernica (1975) Tree of Guernica 6

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#200

Post by maxwelldeux » March 21st, 2019, 4:33 pm

I see London, I see...Show
1. Three Colors: Blue (1993)
2. Le Grand Homme (2014)
3. Under the Roofs of Paris (1930)
4. Le Code a Change (2009)
5. Three Colors: White (1994)
6. Code Unknown (2000)
7. Lolo (2015)
8. Rififi (1955)
9. Léon: The Profesional (1994)
10. Le Bonheur (1965)
I think this is only my second Agnes Varda film, and this took an interesting turn.
SpoilerShow
The entire end went full-on CREEPY for me. I certainly didn't expect the death of the wife, but when the mistress says "I don't want to be a replacement" and then she literally becomes the replacement, it had a weird ick factor that made me totally reevaluate the husband.

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