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Get in touch to send in cinephile news and discoveries. To keep up with our latest features, sign up for the Weekly Edit newsletter and follow us @mubinotebook on Twitter and Instagram.NEWSNo Other Land.The Berlin-Brandenburg Broadcasting Corporation (rbb), a state institution, has withdrawn funding for the €40,000 Berlinale Documentary Film Prize. The prize was most recently awarded to No Other Land (2024), which depicts the displacement of Palestinians in the West Bank by the Israeli military. While accepting the award, co-directors Basel Adra and Yuval Abraham called for a ceasefire in Gaza and an end to the occupation of Palestine, statements which were met with opprobrium by German state officials.After more than three months of contract negotiations, IATSE has reached a tentative agreement with AMPTP, including structured wage increases matching those won by SAG-AFTRA last year and new streaming residuals to address the union’s pension and health plan shortfall.

In the 16th century, Lady Jane Grey was briefly queen of England but met a tragic fate when, just nine days after taking the throne, she was overthrown and later executed at the age of 16. But what if the story didn’t have to end that way? The new Prime Video series My Lady Jane explores what could have been if Jane’s reign continued and she lived to rule another day, with more than a few unexpected twists.

In this reimagining, England is divided not only politically but also between regular humans and a people called the Ethians, who have the remarkable ability to shapeshift into animals. Jane herself comes from a noble family but dreams of a life outside the strict rules of her time. That seems impossible when her ambitious mother betrothes her to a man against her will. But fate has more in store when Jane...

The festival, held in the French Alps, will have a timely ecological angle for the first time.

The Les Arcs Film Festival has unveiled the line-up for its 11th edition, which will unfold in the French Alps Dec 14-21, with a timely ecological angle for the first time.

Artistic director Frédéric Boyer has selected 120 films, which will play across six sections, including the Competition, Playtime, Hauteur and Avant-Premieres sidebars. Some 22,000 public and professional attendees are expected to attend in line with 2018.

Dutch actor-turned-director Halina Reijn’s psychological thriller Instinct, Fyzal Boulifa’s UK tragic female friendship tale Lynn + Lucy and...

The annual German Currents Film Festival is a fixture on the cultural calendar in Los Angeles. Screening groundbreaking new movies from Germany, ranging from art-house films to blockbusters, and from children’s matinees to late-night movies, German Currents attracts a diverse group of Angelenos of all ages.

The opening night red carpet gala will take place on Friday, Oct 11th at the Egyptian Theatre in Hollywood, followed by festival screenings from Oct 12th through Oct 14th.

This year’s festival will open with the award-winning film, Gundermann, by acclaimed director Andreas Dresen, who will also be present at the opening night. Focusing on the extraordinary and contradictory life of East German singer/songwriter Gerhard Gundermann, Dresen’s film was an audience favorite and box office success in Germany. The film received six German Film Awards (Lola) including Best Film: Gold, Best Directing, Best Screenplay, Best Leading Actor (Alexander Scheer), Best Production Design,...

Munich-based sales agent Arri Media has closed distribution deals for three territories on “Double Trouble & the Magical Mirror,” which world premieres Monday in the Lola section of Berlinale, and is shortlisted for the German Film Award.

The family entertainment film has been picked up by Wing Sight Media in China, Cloud Movie in Italy and Selim Ramia in the Middle East. The film will be released in Germany by Square One Entertainment on April 4.

In the film, fun-loving but lazy Frido, 10, finds a magical mirror that creates a doppelganger of himself who can do everything better than him. He tells his friends and they do the same but soon their doubles begin to take over.

Marcus H. Rosenmüller’s pic stars Luis Vorbach, Jona Gaensslen, and Margarita Broich; it is produced by Benedikt Böllhoff and Max Frauenknecht at Viafilm.

Every so often, usually while walking around Toronto on a busy day, I'll be struck by the vividness and accuracy of Agnès Varda's singular portrayal of a day in the life (barely two hours, really, making it even more remarkable) spent in the various layers and spaces of the urban environment. I speak, of course, of Cléo from 5 to 7, Varda's 1962 classic and the first film of hers I fell in love with. In those instances, I'll find myself returning to the moments I've cherry-picked as my favorites over the years, skipping across the linear sequence of events that follow the titular singer (Corinne Marchand) across Paris as she waits for the results from a medical examination within the film's designated timeframe (minus half an hour, as the film famously ends at the ninety minute mark). More than for any other film, engaging in these mental replays feels very much like replaying the events of a day I had once experienced myself long ago—albeit one that I’ve been able to revisit and come to know nearly by heart, complete with all of my favorite moments and details waiting in their proper places, so often have I gone back to that June 21st in Paris, 1961.Varda has even made it relatively easy for anyone who wishes to explore and investigate to their heart's content the events of that fateful first day of summer from so long ago now, not only by making such a crisp cinematic itinerary of the various locations visited in the film itself, but also by helpfully providing a map in her book Varda par Agnès complete with a color-coded legend indicating the locations of key scenes from the film, practically inviting the reader to recreate Cléo’s journey for themselves on the streets of present-day Paris. At once attentive and relaxed in its tour of the city (mainly focused in the Left Bank), Cléo is ably conducted in a number of different registers: as an uncommonly lovely essay-poem on the ebb and flow of urban life, an at-times somber meditation on the precarious balance between life and death, and a revealing and honest study of female identity and the ways it is scrutinized and distorted in the public’s relentless gaze. In a feat of remarkable economy and resourcefulness, the film was shot in chronological order across a five-week period, beginning on the date of the story’s events, synchronized as closely as possible to the times in the day Cléo experiences them, in keeping with narrative fidelity and proper quality of light for each scene. Neatly arranged into thirteen chapters, each with its duration clearly stated so we can easily keep track in real time, Cléo’s lucid odyssey through the various public and private spaces that make up her day is observational cinema at its most fertile, free, and magically attuned to its subjects, partly the result of Varda and her team’s carefully planned and executed shoot, partly that of simply being in the right places at the right times.Together, the films of the French New Wave make up one of the most valuable and immersive audiovisual documents of a specific time and place in history—namely France in the late 1950s and early 1960s—that we have. This is especially true of the Paris-situated films, which create the alluring image of an interconnected network of overlapping stories concentrated in a single city. The sharing of certain actors, cinematographers, writers, composers, and other key artists and technicians across different films by different directors especially helped make the impression of one Paris holding an eclectic anthology of New Wave tales. This perception was further reinforced by the cheeky self-referential winks and nods that so many of the New Wave directors—Jean-Luc Godard in particular—lovingly included in their films as gestures of solidarity and support with their nouvelle vague comrades. This is why the eponymous hero of Jean-Pierre Melville’s Bob le flambeur, noted by many as a crucial New Wave precursor, gets name-checked by Jean-Paul Belmondo in Godard’s Breathless, why Truffaut muses Marie Dubois and Jeanne Moreau both pop up in A Woman Is a Woman, with Moreau getting asked by Belmondo how Jules and Jim is coming along, and why Anna Karina’s Nana glimpses a giant poster for the same Truffaut film as she is being driven to her fate in the final moments of Vivre sa vie.Varda got in on the fun herself in Cléo from 5 to 7 not only by casting Michel Legrand, who provided the film with its robust score, as Cléo’s musical partner Bob (a part that gives the legendary composer a substantial amount of screen time and amply shows off his incandescent charm), but also by extending the invitation to Godard, Karina, Sami Frey, Eddie Constantine, Jean-Claude Brialy, producer Georges de Beauregard, and Alan Scott, who had appeared in Jacques Demy’s Lola. They all show up in Les fiancés du pont Macdonald, the silent comedy short-within-the-film that serves triple duty as a welcome diversion for our stressed heroine, a loving cinephilic tribute to the legacy of Chaplin, Keaton, and Lloyd, and an irresistible, bite-sized New Wave party. And yet I find Cléo to be perhaps the most enchanting of all the New Wave films not for the aesthetic commonalities and cleverly devised linkages that bind it to The 400 Blows, Breathless, Paris Belongs to Us, and its other cinematic brethren, but rather for the tapestry of curious details that root it in its specific time and place and entice on the power of their inherent uniqueness and beauty. “Here,” Varda seems to say as she follows Cléo across the city, “let’s have a look at these interesting people and places on this first day of summer here in Paris, and see what we can see after watching them for a while.” The film’s opening scene continues to extend this invitation as it draws us in closer. It shows us, through the sepia-hued Eastmancolor that deviates from the rest of the film’s silvery monochrome and the “God’s eye” overhead shots (long before Martin Scorsese and Wes Anderson adopted the technique as their own), the cryptic spectacle of Tarot cards being shuffled, placed down, and turned over to reveal the story of Cléo’s potential fate before we’ve even gotten a chance to properly meet Cléo herself. The slightly macabre illustrations to which Varda and cinematographer Jean Rabier dedicate their tight close-ups and the elderly card reader’s accompanying explanations of their meanings lend an air of prophecy to the events to come while also fueling Cléo’s anxiety surrounding her fate (when pressed for a clearer forecast of the future through a palm reading, the reader’s evasive response is less than inspiring). This introduction effectively locks us into Cléo’s perspective, preparing us for the next hour and a half that we will spend quietly observing as, following her distraught exit from the reader’s apartment, she grapples with her fears and insecurities, contemplates and revises her appearance and the identity behind it (tellingly, we discover late in the film that Cléo's real name is Florence), and comes to terms with the ultimately fragile nature of her own mortality. In our allotted chunk of time with her, we see the pouty girl-child subtly shift and adjust her attitude, inching a little closer towards a place of earned maturity, grace, and acceptance regarding her fate, wherever it may take her.Along the way, the film seems to expand to take in as much of the people and places around Cléo as it can. Scene by scene, her Paris makes itself felt and known through key peripheral details: a pair of lovers having an argument in a café near where Cléo sits, listening in; the procession of uniformed officers on horseback heard clip-clopping through the street on the soundtrack and seen reflected in the array of mirrors placed throughout a hat shop; a spider web of shattered mirror and a cloth pressed against a bloody wound, indicating some incident that occurred just before Cléo happened along the scene of the confused aftermath. Other stimuli fill a dazzling program of serendipitous entertainments for us to take in one by one: whirlwind rides in two taxis and a bus, an intimate musical rehearsal in Cléo’s chic, kitten-filled apartment (with Legrand, no less, clearly having a great time, his nimble fingers releasing ecstatic bursts of notes and melodies from Cléo’s piano as if they were exotic birds), the aforementioned silent short, a sculpting studio (the space alive with the indescribably pleasant sound of chisels being tapped at different tempos through soft stone), a frog swallower, a burly street performer who wiggles an iron spike through his arm, and the soothing sights and sounds of the Parc de Montsouris, among a hundred other subtle and overt pleasures scattered throughout this gently orchestrated city symphony, a heap of specificities found and sorted into a chorus of universal experience.Very much in her own way, across a body of work informed by a boundless spirit of generosity, Agnès Varda has gone about carefully collecting and preserving a marvelously varied assortment of subjects throughout her busy life, shedding fresh light on some of the most unlikely (and overlooked) people and places in the world. She refers to her self-made approach to filmmaking as ciné-criture (her own version of Alexandre Astruc's caméra-stylo), which, as we’ve come to know it through Varda’s intensely personal works, is a little like cinema, a little like writing, and uses aspects of both media to make a compassionate, genuine, and wholly original film language. Just as Antoine (Antoine Bourseiller), the dreamy young man whom Cléo encounters in the Parc de Montsouris, translates the world around them into a stream of fanciful observations and flowery speech, so too does Varda, in allegiance with poetry, ditch any semblance of objectivity, going instead for presenting the world simply as she sees it, investing it with her own unmistakable blend of charm, warmth, eloquence, and empathy, all somehow executed with nary a shred of ego or preachiness.“All these stories we simply can’t understand!” randomly exclaims a café patron to her young companion at one point late in Cléo’s journey, perhaps suddenly becoming aware, as we gradually have, of the unfathomable multitude of trajectories that trace themselves across every city every day in a dense tangle of narrative strands. In picking up Cléo’s and diligently following it with her camera for an hour and a half, Varda draws our attention to all those other strands that make up the lives of other people, leading off into their own directions, fated to become entangled with others still. Wisely, deftly, one discovered strand at a time, she helps us better appreciate, again and again, the humble miracle of so many lives coursing and thriving alongside each other, each one special and strange, each rooted in its own distinct flavor of being-ness. Cléo from 5 to 7 in turn roots us in another person’s life for its short time span and ends up giving us a whole universe, casually overflowing with meaning, life, lives, and the myriad details that shape and define them. No, we can’t understand all the stories we come across in a day. But then again, sometimes we don’t really need to understand so much as simply see. See, and accept, and appreciate what is...and then move along to whatever’s next.

The most prestigious award at the Cannes Film Festival every year is the Palme d’Or, which this year went to Ruben Östlund’s “The Square,” but no Cannes is complete without the presentation of the highly coveted Palme de Whiskers, awarded annually in recognition of the Best Feline Performance. This year’s prize went to Mimi, from Agnès Varda’s “Faces Places,” RogerEbert.com reports. The documentary also won the Golden Eye prize, which recognizes a documentary from across all of the festival’s sidebars.

Read More: The 2017 IndieWire Cannes Bible: Every Review, Interview and News Item Posted During the Festival

The other award given by the Fffa (Feline Film Festivals Authority), the Kittycat Peace Prize, went to Baby, the kitten from “The Square.” The award was presented by Mrow, the Tehran street cat who won last year’s award for his performance in Asghar Farhadi’s “The Salesman.

Aaron and Mark Hurne get together to talk about August 2017 Announcements, Andrei Tarkovsky, Ozu’s Good Morning, Michael Haneke, Jean Luc Godard, Jacques Demy, and plenty of other topics.

Episode Notes

7:00 – August 2017 Announcements

33:30 – Good Morning & I Was Born, But

40:25 – Michael Haneke

43:30 – Alex Ross Perry

47:40 – Criterion Daily

51:30 – Short Takes (Lola, Vivre sa Vie)

1:00:00 – FilmStruck

Episode Links Making a Cover: Criterion’s Breaking Point Criterion Close-Up 19: A Conversation with Alex Cox Criterion – The Breaking Point Criterion – Meantime Criterion – Hopscotch Criterion – La Poison Criterion – Sid & Nancy FilmStruck – Coming Soon Movies Leaving FilmStruck Episode Credits Aaron West: Twitter | Website | Letterboxd Mark Hurne: Twitter | Letterboxd Criterion Now: Twitter | Facebook Group Criterion Cast: Facebook | Twitter

Music for the show is from Fatboy Roberts’ Geek Remixed project.

A forgotten oddity from the early 1970s is Jacques Demy’s English language mounting of The Pied Piper, a rather bleak but mostly unequivocal version of the famed Grimm Bros. fairy tale about a titular piper who infamously lured the children of Hamelin to their assumed deaths after being rebuffed by the townsfolk when he similarly rid the town of plague carrying rats.

Set in the 1300s of northern Germany, this UK production blends bits of Robert Browning’s famed poem of the legend into the film, but the end result is unusually straightforward and unfussy, considering Demy’s predilection for inventive, colorful musicals, such as the classic confections The Umbrellas of Cherbourg and The Young Girls of Rochefort. The stunt casting of Donovan as the piper generates a certain amount of interest, although he’s whittled down to a supporting character amongst a cast of master character actors like Donald Pleasence, John Hurt, Peter Vaughan, and child star Jack Wild.

Notably, The Pied Piper is one of the few Demy films not to be built around a strong, beautiful female lead, which may also explain why there’s no center point in the film. Cathryn Harrison (daughter of Rex, who starred in Louis Malle’s Black Moon) and a gone-to-seed Diana Dors (though not featured as memorably as her swarthy turn in Skolimowski’s Deep End) are the tiny flecks of feminine representation. It was also not Demy’s first English language production, as he’d made a sequel to his New Wave entry Lola (1961) with 1969’s Los Angeles set Model Shop. So what compelled him to make this departure, which premiered in-between two of his most whimsical Catherine Deneuve titles (Donkey Skin; A Slightly Pregnant Man) is perhaps the film’s greatest mystery.

Cultural familiarity with the material tends to work against our expectations. At best, Donovan is a mere supporting accent, popping up to supply mellow, anachronistic music at odd moments before the dramatic catalyst involving his ability to conjure rats with music arrives. Prior to his demeaning, Demy’s focus is mostly on the omnipotent and aggressive power of the corrupting church (Peter Vaughan’s Bishop) and Donald Pleasence’s greedy town leader, whose son (a sniveling John Hurt) is more intent on starting wars and making counterfeit gold to pay his gullible minions than stopping the encroaching plague. Taking the brunt of their violence is the Jewish alchemist, Melius (Michael Hordern), who is wise enough to know the rats have something to do with the spread of the disease. Demy uses his tragic demise to juxtapose the piper’s designs on the children.

While Hurt and Pleasance are entertaining as a toxic father and son, Demy seems estranged from anyone resembling a protagonist. Donovan is instantly forgettable, and the H.R. Pufnstuf and Oliver! child star Jack Wild gets upstaged by a wild mop of hair and a pronounced limp (which explains why he isn’t entranced along with the other children), and the film plays as if Donovan’s role might have been edited down in post. The script was the debut of screenwriters Andrew Birkin (Perfume: The Story of a Murderer, 2006) and Mark Peploe (The Passenger, 1975; The Last Emperor, 1987) who would both go on to write a number of offbeat auteur entries.

Disc Review:

Kino Lorber releases this obscurity as part of their Studio Classics label, presented in 1.66:1. Picture and sound quality are serviceable, however, the title would have greatly benefitted from a restoration. Dp Peter Suschitzky’s frames rightly capture the period, including some awesomely creepy frescoes housing Pleasence and son, but the color sometimes seems faded or stripped from some sequences. Kino doesn’t include any extra features.

Final Thoughts:

More of a curio piece for fans of Demy, The Pied Piper mostly seems a missed opportunity of the creepy legend.

Film Review: ★★½/☆☆☆☆☆

Disc Review: ★★★/☆☆☆☆☆

The post The Pied Piper | Blu-ray Review appeared first on Ioncinema.com.

Perhaps motivated by the success of La La Land, Criterion has reissued two impressive Jacques Demy musicals as separate releases. This all-singing, all-dancing homage to candy-colored vintage Hollywood musicals is a captivating Franco-American hybrid that allows free rein to Demy’s marvelously positive romantic philosophy.

The Young Girls of Rochefort

Blu-ray

The Criterion Collection 717

1967 / Color / 2:35 widescreen / 125 min. / Les Demoiselles de Rochefort / available through The Criterion Collection / Street Date April 11, 2017 / 39.95

Starring: Catherine Deneuve, Françoise Dorléac, Danielle Darrieux, George Chakiris, Gene Kelly, Michel Piccoli, Jacques Perrin

Cinematography: Ghislain Cloquet

Production Designer: Bernard Evein

Film Editor: Jean Hamon

Original Music: Michel Legrand

Produced by Mag Bodard, Gilbert de Goldschmidt

Written and Directed by Jacques Demy

I was going to squeak by reviewing only Jacques Demy’s The Umbrellas of Cherbourg, but the interest in the new La La Land prompted some emails and messages that tell me a revisit of the charming...

Editor’s Note: This article is presented in partnership with FilmStruck. Developed and managed by Turner Classic Movies (TCM) in collaboration with the Criterion Collection, FilmStruck features the largest streaming library of contemporary and classic arthouse, indie, foreign and cult films as well as extensive bonus content, filmmaker interviews and rare footage. Learn more here.

Wes Anderson has one of the most original voices of any filmmaker working today, but his movies are full of clues as to which directors have influenced him the most. From Orson Welles to François Truffaut to Federico Fellini, some of the most iconic filmmakers in the history of cinema have had a hand in inspiring Anderson’s distinctive style. Here are 10 films that had a lasting impact on the indie auteur.

“The Magnificent Ambersons” (1942)

Orson Welles’ period drama about a wealthy family that loses its entire fortune at the turn of the 20th century...

Jacques Demy’s international breakthrough musical gives us Catherine Deneuve and wall-to-wall Michel Legrand pop-jazz — it’s a different animal than La La Land but they’re being compared anyway. The story of a romance without a happily-ever-after is doggedly naturalistic, despite visuals as bright and buoyant as an old MGM show.

The Umbrellas of Cherbourg

Blu-ray

The Criterion Collection 716

1964 / Color / 1:85 widescreen / 92 min. / available through The Criterion Collection / Les parapluies de Cherbourg / Street Date April 11, 2017 / 39.95

Starring: Catherine Deneuve, Nino Castelnuovo, Anne Vernon, Marc Michel, Ellen Farner, Mireille Perrey, Jean Champion.

Cinematography: Jean Rabier

Production design:Bernard Evein

Film Editors: Anne-Marie Cotret, Monique Teisseire

Original Music: Michel Legrand

Produced by Mag Bodard

Written and Directed by Jacques Demy

What with all the hubbub about last year’s Oscar favorite La La Land, I wonder if Hollywood will be trotting out more retro-nostalgia, ‘let’s put on a show’ musical fantasy fare.

Taking a look at the French director’s fascinating filmography.

One of the biggest films of 2016, La La Land, owes a thing or two to French director Jacques Demy. The bright, colorful musical visually mirrors Demy’s The Umbrellas of Cherbourg (1964) and The Young Girls of Rochefort (1967), and director Damien Chazelle was able to capture something of the melancholic sweetness of Demy’s musicals. Demy is not one of the most famous French directors, however his films have a specific charm and intelligence that no other filmmaker could match. The way he blended Hollywood style with French culture was unlike any other filmmaker at the time.

Demy began his career in 1960s France, during the time of the “Nouvelle Vague” or French New Wave. This was the time of films such as Breathless, Jules and Jim, The 400 Blows, and Le Beau Serge. However, Demy lies a little bit outside of this group of filmmakers, and...

For the twenty-second year in a row, The Film Society of Lincoln Center and UniFrance have lined up a sparkling slate for their Rendez-Vous with French Cinema screening series, which aims to showcase “the variety and vitality of contemporary French filmmaking.” This year’s programming, including the selected films, panels, and events, includes a special focus on the myriad of ways that French culture influences the arts in America, and vice-versa.

The lineup features 23 diverse films, comprised of highlights from international festivals and works by both established favorites and talented newcomers. The series runs from March 1 – 12.

Read More: Rendez-Vous with French Cinema Exclusive Trailer: Annual Series Celebrates the Very Best in Contemporary French Cinema

Ahead, check out the 6 titles and events we are most excited to check out at this year’s screening series.

“Frantz”

Screwball comedy master Ernst Lubitsch took a rare stab at straight drama with 1932’s “Broken Lullaby,...

The Yakuza

Blu-ray

Warner Archive Collection

1975 / Color / 2:40 widescreen / 112 & 123 min. / Street Date February 14, 2017 / available through the WBshop / 21.99

Starring Robert Mitchum, Takakura Ken, Brian Keith, Eiji Okada, Richard Jordan, Keiko Kishi, James Shigeta, Herb Edelman.

Cinematography: Kozo Okazaki, Duke Callaghan

Production Design: Stephen Grimes

Art Direction: Yoshiyuki Ishida

Film Editor: Don Guidice, Thomas Stanford

Original Music: Dave Grusin

Written by: Leonard Schrader, Paul Schrader, Robert Towne

Produced by: Michael Hamilburg, Sydney Pollack, Koji Shundo

Directed by Sydney Pollack

The Warner Archive Collection is on a roll with a 2017 schedule that has so far released one much-desired library Blu-ray per week. Coming shortly are Vincente Minnelli’s Bells are Ringing, Billy Wilder’s Love in the Afternoon Ken Russell’s The Boy Friend and Val Guest’s When Dinosaurs Ruled the Earth, and that only takes us through February. First up is a piercing action drama from 1975.

There are favorite movies around Savant central,...

Agnés Varda’s second feature film (Cléo from 5 to 7 (1961) opens starkly, sans any musical overture, with an overhead shot of a tarot reading taking place. Two women are heard discussing the cards. A young woman, the eponymous Cléo (Corinne Marchand), chooses nine tarot cards—three to indicate the past, three for the present, three for the future. The reading does not bode well, and Cléo is told by the fortune teller that she has no hope of marriage, a grim fate indeed for a young woman in this time and place. A second tarot reading comes with a confession from Cléo that she is very ill. Cléo then gives her palm to the fortune teller to read and the fortune teller appears deeply concerned by what she divines and suddenly withdraws from the reading, announcing fearfully that she cannot read palms. As a sobbing Cléo leaves the fortune teller’s...

Me and You and Everyone We Know. Pariah. Obvious Child. Lingua Franca. The first three titles? Music to my ears. That last one? Sounds like Beethoven’s Symphony No. 5 to me, mostly because it’s my third feature screenplay (and English-language debut). It’s also been selected for No Borders at Ifp Film Week, where those amazing films got their start. As a NYC-based Filipina filmmaker, I can’t be in better company this week. My debut feature, Senorita, a pulpy political noir that’s a love child of Fassbinder’s Lola and late-’90s Almodovar, had its world premiere in competition at Locarno. It has […]...

Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.NEWSThai director Apichatpong Weerasethakul, whose brilliant Cemetery of Splendor will be released in the Us this spring, has revealed a new installation work, Home Movie, made for Sydney's 2016 Biennale. According to his website, "an exhibition space hosts a cave-like ritual where people gather to simply take in the light": "In this home-cave, the heat is both comfortable and threatening. A fireball is an organic-like machine with phantom fans to blow away the heat and, at the same time, rouse the fire, which is impossible to put out even in dreams."This season seems to be one of cinema masters passing. In addition to the directors who've died over the last month, we've lost two great cinematographers this week. First, Douglas Slocombe, who shot the first three Indian Jones films,...

Eric Lavallee: Name me three of your favorite “2015 discoveries”.

Bernardo Britto: Jacques Demy’s Lola, Mexican singer Daniela Romo, Cool Cat Saves The Kids.

Lavallee: What was the first gist of an idea that you thought of before crystallizing this into what would become your first feature?

Britto: The very first germ of an idea was “what if Sans Soleil was actually kind of like a thriller?” And then it sort of snowballed from there.

Lavallee: Could you briefly talk about the visual style of the film – what were you and Eric aiming for?

Britto: We wanted something that was digital and real and fun. We wanted it to look authentic and feel dynamic.

Danièle Delorme and Jean Gabin in 'Deadlier Than the Male.' Danièle Delorme movies (See previous post: “Danièle Delorme: 'Gigi' 1949 Actress Became Rare Woman Director's Muse.”) “Every actor would like to make a movie with Charles Chaplin or René Clair,” Danièle Delorme explains in the filmed interview (ca. 1960) embedded further below, adding that oftentimes it wasn't up to them to decide with whom they would get to work. Yet, although frequently beyond her control, Delorme managed to collaborate with a number of major (mostly French) filmmakers throughout her six-decade movie career. Aside from her Jacqueline Audry films discussed in the previous Danièle Delorme article, below are a few of her most notable efforts – usually playing naive-looking young women of modest means and deceptively inconspicuous sexuality, whose inner character may or may not match their external appearance. Ouvert pour cause d'inventaire (“Open for Inventory Causes,” 1946), an unreleased, no-budget comedy notable...

Based on the critically acclaimed memoir by Blair Tindall,Mozart in the Jungleis ahalf-hour comedic drama that looks at finding yourself and finding love while conquering the music world of New York City.Returning to the series are starsGael Garcia BernalRosewater as maestro Rodrigo,Lola KirkeMistress America as young oboist Hailey,Saffron BurrowsAgents of S.H.I.E.L.D. as worldly cellist Cynthia,Malcolm McDowellThe Mentalist as former conductor Thomas andBernadette PetersSmash as board chairwoman Gloria. The second season ofMozartin the Jungleis executive produced byRoman CoppolaMoonrise Kingdom,Jason SchwartzmanThe Darjeeling Limited, andPaul WeitzAbout a Boy.

After premiering in the Directors’ Fortnight sidebar at the 2014 Cannes Film Festival, Belgian auteur Fabrice du Welz’s excellent fourth feature Alleluia went on to play in the esteemed Vanguard lineup in the Toronto International Film Festival before nabbing Best Actor and Actress awards at Fantastic Fest for superb performances from Laurent Lucas and Lola Duenas. Although this didn’t translate into notable box office profit for Us distributor Music Box Films (released in mid-July for a limited theatrical run, the title didn’t crack ten grand in its paltry five week run), du Welz’s beautiful cult-classic in the making will eventually secure a greater following. A recent Blu-ray re-release of Criterion Collection’s presentation of the 1969 Leonard Kastle film, The Honeymoon Killers, based on the same romantic killing spree, should funnel some attention to it, as well as du Welz’s break into English language in 2016 with his next title.

In the Mood For Love: Du Welz Returns With Gloriously Dark Rendering of Insatiable Passion

His first film since 2008’s underappreciated Vinyan, Belgian director Fabrice Du Welz debuts the second installment in his proposed Ardennes trilogy, Alleluia. His 2004 directorial debut, Calvaire (aka The Ordeal) depicted a rather hellacious account of a singer whose car breaks down in the middle of the woods, stranding him in the midst of a very strange and terrifying rural community. Here, Du Welz bases his latest madness on the true account of serial killing couple Martha Beck and Raymond Fernandez, a case that famously inspired the 1969 film The Honeymoon Killers and 1996’s Deep Crimson, amongst others. But Du Welz hardly unveils a simple account of unhinged, obsessive love. His is a demonic hymnal of passion, a darkly droll exercise in the delusory notion of love as an unhealthy obsession told with aggressive flourish. But...

Jean-Luc Godard's earth-shaking masterpiece debut "Breathless" turns 55 this year. In spirit, an essential new collection of photographs titled "Raymond Cauchetier's New Wave" comes out this month.  Cauchetier catches candid moments of New Wave stars and filmmakers at their most intimate, from Anouk Aimée titillating in Jacques Demy's first film "Lola" to Jean Seberg and Jean-Paul Belmondo (the coolest screen couple ever) sharing electric chemistry on the "Breathless" set. These photos will appear in a new exhibit of the 95-year-old photographer's work at London's James Hyman gallery from June 17 to August 18, 2015. See highlights below, and head to Vanity Fair for more. Read More: "Alphaville" Turns 50 -- Why It's Must-See Godard...

Duris left holding the baby in The New Girlfriend by François Ozon

That most hunky and hirsute of French actors, Romain Duris (40), gets in touch with his feminine side (and then some) in François Ozon’s The New Girlfriend (Une Nouvelle Amie). Adapted from a short story by British writer Ruth Rendell, it's turned in to a heady concoction of transformation, desire, sexuality and identity. Duris plays a bereaved husband, David, who on occasion turns in to cross-dressing Virginie. Shocked at first by David’s open admission of a long-standing cross-dressing habit, his late wife’s close childhood friend Claire (Anais Demoustier) is intrigued to be in on his secret. Duris had already demonstrated his feminine wiles in Christophe Honoré’s Seventeen Times Cecile Cassard, in a campy rendition of the eponymous cabaret dancer’s song from Jacques Demy’s Lola. But at Ozon’s behest the actor takes it to another level.

1. This is a great idea. Everyone knew that Marvel would figure out some way to keep making movies where Robert Downey Jr. wears some kind of cool metal suit. But Iron Man 4 was always a skeptical proposition. "Fun, Shambling Mess" is basically the best you can hope for when it comes to fourquels. (See: The fish-out-of-time-water shenanigans in Star Trek IV; Stallone solving the Cold War with his fists in Rocky IV; Harry and Ron having a really wacky wizard prom in Goblet of Fire.) Marvel could've positioned a fourth Iron Man movie as a complete in-franchise reboot by...

“French director Jacques Demy didn’t just make movies—he created an entire cinematic world.” So say the good folks at Criterion over at the page for the recently released box set of perhaps the most undervalued member of the French New Wave. Demy stood out compared to the rest of the movement, insofar as he embraced a lot of Hollywood cliches—storybook romances, melodrama, musicals (quelle horreur!). But at his best, Demy did all that while subverting audience expectations. It’s nearly impossible to describe a Demy film without going gaga over the color schemes in his films. Brilliant, bright and bold (to say the least), his color films can sometimes blind the viewer with their sheer candy-colored exuberance. But this set proves that he wasn’t only interested in musicals and technicolor spectacle. Two of the six feature films herein (“Lola” and “Bay of Angels”) are black and white; on the surface,...

Moviefone's Top DVD of the Week

"Dom Hemingway"

What's It About? Jude Law dons impressive chops and gold teeth to play a sleazy

safecracker fresh out of jail. Dom took the fall without ratting out his boss (Demián Bichir), and now it's time to pay the piper. Richard E. Grant co-stars as his best friend, whom Dom enlists on his quest to get paid. Emilia Clarke (the mother of dragons!) plays Dom's estranged daughter, Evelyn.

Why We're In: We love darkly funny crime thrillers, and it's cool to see Jude Law back in action.

Moviefone's Top Blu-ray of the Week

The Essential Jacques Demy (Criterion)

What's It About? This box set comes with the most beloved movies by the French auteur: "Lola," "Bay of Angels," "The Umbrellas of Cherbourg," "The Young Girls of Rochefort," "Donkey Skin," and "Une Chambre en Ville."

Why We're In: In addition to the digital restorations of these delightful classics,...

French filmmaker Jacques Demy hit it big with his 1964 musical, The Umbrellas of Cherbourg, garnering a Palme’ d’Or, a handful of Oscar noms, and even a name-drop on Mad Men a few years back. And because Hollywood was poaching foreign talent even back in the ’60s, Demy was brought stateside to make his first (and only) American film: Model Shop. It did not do well. Demy’s mainstream success came from French people breaking out into sudden song and dance, and Model Shop contained precisely none of those things. Instead, it was about a young man named George (Gary Lockwood) on the brink of physical and existential disaster. He soon loses his car to a couple of repo men, and he loses his freedom to a Vietnam draft notice that’s just arrived in the mail. And so George floats around La when he stumbles upon Lola (Anouk Aimée), a French model and the protagonist of...

Blu-ray & DVD Release Date: July 22, 2014

Price: Blu-ray/DVD Combo $124.95

Studio: Criterion

French director Jacques Demy launched his glorious feature filmmaking career in the Sixties, a decade of astonishing invention in his national cinema. He stood out from the crowd of his fellow New Wavers, however, by filtering his self-conscious formalism through deeply emotional storytelling. Fate and coincidence, doomed love, and storybook romance surface throughout his films, many of which are further united by the intersecting lives of characters who either appear or are referenced across titles.

Six of Demy’s films are collected in The Essential Jacques Demy. Ranging from musical to melodrama to fantasia, all are triumphs of visual and sound design, camera work, and music, and they are galvanized by the great stars of French cinema at their centers, including Anouk Aimée (8 1/2), Catherine Deneuve (Belle de Jour), and Jeanne Moreau (Jules and Jim).

The six works here, made...

Criterion has announced their July 2014 titles and among them is one fans have been waiting a long time to see introduced, David Cronenberg's head-exploding sci-fi Scanners, set for a July 15 release. The set will include a newly restored 2K digital film transfer, supervised by Cronenberg, "The Scanners Way" visual effects documentary, a new interview with Michael Ironside, a 2012 interview with actor and artist Stephen Lack, an excerpt from a 1981 interview with Cronenberg on the CBC's "The Bob McLean Show" and Cronenberg's first feature film, Stereo (1969). Also on July 15 comes Robert Bresson's 1959 classic Pickpocket, telling the story of Michel (Martin Lasalle), a young pickpocket who spends his days working the streets, subway cars, and train stations of Paris. Features include: New, 2K digital film restoration, with uncompressed monaural soundtrack on the Blu-ray Audio commentary by film scholar James Quandt Introduction by writer-director Paul Schrader The Models of "Pickpocket," a...

Summer is coming, and we know you want to be outside, but should the rains come or if you're stuck on a long car ride, Criterion has got you covered in July, announcing a new slate of titles. First up, David Cronenberg's "Scanners" gets the Criterion treatment, and it's coming packed with features. Not only does the film have a brand new transfer, the set comes with Cronenberg's first film "Stereo," a new documentary about the film's special effects, vintage interviews and more. It's enough to make your head explode. Next, Lawrence Kasdan's seminal, baby boomer drama "The Big Chill" joins the collection. With the film celebrating its 25th anniversary at Tiff last year, Criterion has wisely grabbed footage from that event and put it on the upcoming release that also includes a documentary about the making of the movie, and a whole new transfer for your eyes and ears.

The Criterion Collection has announced two new titles, two Blu-ray upgrades and a seven-film box set for release this July. Check out the new cover art along with a full list of extra features for each in the gallery viewer below! Debuting in the collection are David Cronenberg's Scanners and Lawrence Kasdan's The Big Chill as well as a set of Jacques Demy films that includes Lola , Bay of Angels , The Umbrellas of Cherbourg , The Young Girls of Rochefort , Un Chambre en Ville and Donkey Skin . Erik Skjoldbjærg's Insomnia and Robert Bresson's Pickpocket , meanwhile, are receiving HD upgrades. Special features for the new releases are listed as follows: Scanners - New, restored 2K digital film transfer, supervised by director David Cronenberg, with...

(Jacques Demy, 1964, StudioCanal)

One of the enduring attractions of the French New Wave is what is now thought of as Jacques Demy's seaside trilogy – three bittersweet musical films on the themes of love, loss and life not turning out the way you expect it to, all with recurring characters and taking place in ports on the Atlantic coast. All three are designed by Demy's school friend Bernard Evein with music by Michel Legrand.

The first, Lola (1961), Demy's directorial debut, is a cleverly patterned fairytale set in his native Nantes and stars Anouk Aimée as a golden-hearted nightclub prostitute reunited with her former love and is stunningly shot in black and white by key nouvelle vague cameraman Raoul Coutard.

The other two, The Umbrellas of Cherbourg and Les Demoiselles de Rochefort (1967), are both in imaginatively used colour and pay homage to the Hollywood musical, most especially the films of Vincente Minnelli and Stanley Donen,...

To Live and Shake and Die in La! kicks off this week at Trailers from Hell, with screenwriter Larry Karaszewski introducing Jacques Demy's first American production, "Model Shop."Shot a year after his homage to Hollywood musicals, "The Young Girls of Rochefort," "Model Shop" stars Gary Lockwood, just coming off of 2001: A Space Odyssey. But the real star of Model Shop is La itself; the film is a veritable time capsule of the city in the late sixties (Demy had wanted to title the film “Los Angeles-1968″). As Lockwood’s star-crossed lover, Anouk Aimée reprises her title role from Demy’s bittersweet romance, 1961′s Lola.

UK Jewish film festival | Aesthetica short film festival | French film festival UK | Leeds international film festival

UK Jewish film festival, nationwide

There's really no telling what a Jewish film could or should look like, or even where it could come from. It might be an eastern European thriller (In The Shadow); a New York comedy such as Blumenthal, starring Brian Cox; an Almodóvar-esque musical (Eytan Fox's Cupcakes); an Argentinian Nazi drama (Wakolda); or even a psychedelic semi-animated head trip such as Ari "Waltz With Bashir" Folman's latest, The Congress. The result is one of the most varied festivals out there, and an ever-expanding event (80 films this year, across 19 venues). More recognisably Jewish themes are also abundant, such as in self-explanatory opener The Jewish Cardinal, based on a true story, or new doc Broadway Musicals: A Jewish Legacy, with Michael Grade in conversation after.

Various venues, to 17 Nov

Aesthetica short film festival,...

News.

Two festivals that will be underway in just over a week have unveiled their programs: Doclisboa and the Viennale, both of which are highlighted by retrospectives: Alain Cavalier in Lisbon and Jerry Lewis in Vienna. Lola 4 is now available in its entirety and Girish Shambu has a guide to the issue for your convenience.

Finds.

Above: the poster for Wes Anderson's forthcoming film, The Grand Budapest Hotel. Speaking of Anderson, Matt Zoller Seitz has kicked off a new video essay series on the director inspired by his new book, The Wes Anderson Collection. Head over to Gina Telaroli's brilliant Tumblr to see her image piece that combines a newscast about a drone crash in New York with Godard and Claire Denis. An absolute must read via The Festivalists: "A brief history of Chinese independent film with Tony Rayns". Above: from Tom Sutpen's "Hitch: Scenes from a Life" series.

During this year’s Festival du nouveau cinéma, held in Montréal from October 9th until the 20th, the Special Presentation section is once again packed with an exceptional line-up of films, 26 new works in all, curated from some of the world’s most respected festivals.

Here is a list of the films being presented in this section of the festival:

A Touch of Sin (Tian Zhu Ding), Jia Zhang Ke (China/Japan), winner of the Best Screenplay Award at Cannes

All is Lost, J.C. Chandor (United States)

L’Amour est un crime parfait (Love is the Perfect Crime), Arnaud Larrieu and Jean-Marie Larrieu (France/Switzerland)

La Chute de la maison Usher (The Fall of the the House of Usher), Jean Epstein (France/United States/1928), set to the music of Montréal’s own Rock Forest

Closed Curtain, Jafar Panahi and Kamboziya Partovi (Iran)

Le Démantelement, Sébastien Pilote (Québec/Canada)

Le Dernier...

Jacques Demy

October 4–17

Starry-eyed dreamer of the French New Wave, Demy's frothy, seductive fairy tales may not have been as political or naturalistic as the work of his peers, but their exuberant sense of mise-en-scène still offers timeless appeal. Leading up to a revival of Demy's newly restored, all-sung Catherine Deneuve rhapsody The Umbrellas of Cherbourg (October 18–24), Film Forum's unmissable two-week series includes many more restorations, from his 1961 debut, Lola (starring Anouk Aimée as a yearning cabaret singer), through his final 1988 feature, Three Seats for the 26th, an Yves Montand vehicle by way of MGM song-and-dance homage. Los Angeles plays itself in Demy's only American stint, Model Shop...

The French film industry has always been among the worlds most important……at least to film studies professors. Most French movies are either funded by the French government or made with the support of government-linked media companies. Filmmakers face little market pressure in the creative process. That helps explain why they’re so boring!

Starbuck opens this weekend so we here at We Are Movie Geeks have decided to post this article about our favorite French films. Okay, so Starbuck is technically a Canadian film shot in Quebec, but its French language so, in our eyes that makes it French! The Hollywood remake is already in the can. It stars Vince Vaughn. The remake was originally tilted Dickie Donor but they’ve changed it to Delivery Man, so you just know they’ve screwed it up bad. This list may not line up with that of your typical French Cinema scholar.

Blu-ray & DVD Release Date: Oct. 30, 2012

Price: DVD $24.98, Blu-ray $29.98

Studio: Mpi

Her name was Lola, she was a stripper: Salma Hayek stars in Americano.

Salma Hayek (Savages) stars as a stripper who helps a man uncover secrets about his late mother in the 2011 drama film Americano, directed and written by and starring Mathieu Demy (The Girl on the Train).

After receiving news of his mother’s death, Martin (Demy) leaves his girlfriend (Chiara Mastroianni, Park Benches) and home in Paris and sets off for his childhood home in Los Angeles to tie up the loose ends of his rocky maternal relationship. Arriving in the U.S., Martin digs into his mother’s past and discovers she had a hidden relationship with a beautiful woman named Lola (Hayek), who he finds at a seedy strip club in Tijuana called “The Americano.” While Lola recounts her affair with his mother, Martin realizes there...

Eye For Film caught up with French film director Christophe Honoré as his latest film, Beloved was due to open at New York's IFC Center and Lincoln Plaza Cinema.

AKTMy first question was about Jacques Demy looming large in his work, via small asides, such as a family that only has daughters (a quote from Demy’s Umbrellas Of Cherbourg) or cheerful incest songs (as in Demy’s Once Upon A Time) are reminiscent of the late master of the French musical.

Ch: My relation with Jacques Demy starts at the beginning. I come from Brittany, from a very small village. I dreamt of the cinema at 14. My grandmother lived in Nantes and I discovered Lola, Jacques Demy’s movie there. Of course, my family and everybody said, how can you dream of making movies – of course I knew nobody in cinema. And for me, when I discovered Jacques Demy and learned.

As the son of legendary French filmmakers Jacques Demy and Agnes Varda, it was almost a mortal lock that Mathieu Demy, after many years as an actor, would end up behind the camera. His intriguing feature directorial debut, “Americano,” interweaves footage from “Documenteur,” a nonfiction film of Varda’s in which Demy appeared as a child, and centers around the story of a young Frenchman drawn back to Los Angeles to wrap up his recently deceased mother’s estate, only to learn of a mysterious woman, Lola (Salma Hayek), in her will. For ShockYa, Brent Simon had a chance to speak to Demy one-on-one, about Hayek, getting his film’s title tattooed on his arm, and [ Read More ]...

The problem with writing daily updates for a film festival such as Il Cinema Ritrovato is that you never find time to do it! The screenings start from 9 in the morning and continue ceaselessly till the evening, and then you can go for the outdoor projection which starts at 10 pm, and if it is something like the restored version of Roman Polanski's Tess, then the end of screening would be on the following day.

To begin, let’s start with a cinephile, rather than the films: Olaf Möller is a hard-to-miss cinephile who dresses in black (but his beard distinguished him from Johnny Cash), and when he talks about Mosfilm director, Ivan Pyr’ev whose retrospective Möller curated, it looks as if he discovered Solomon's mines. Olaf’s aim is to go beyond the officially acknowledged names in the Soviet Union cinema. In the technical mastery of Pyr’ev,...

The last time we reported about Mathieu Demy's debut feature "Americano," it was about to premiere at Tiff last September in hopes of finding American distribution. It looks like it found it with Mpi Media Group, who is releasing the film in limited release this weekend. With days left before its release, a new trailer has arrived.

"Americano" tells the story of Martin (Demy), a Frenchman who travels to his childhood home in Los Angeles after the death of his estranged mother. There, he finds his mother has left her apartment to the mysterious Lola (Salma Hayek), whom he knew from childhood. Martin travels to Tijuana to find Lola, and eventually discovers her at a strip club called the Americano. In case you missed it, yes, Hayek will play a stripper for the first time since 1996's "From Dusk 'Til Dawn." And while she may not be a vampire in disguise this time (spoiler!

We fell in love, but not in court: Demy References Parent’s Filmography

Americano, the directorial debut of actor Mathieu Demy, (son of two legendary cinematic directors from the French New Wave, Jacques Demy and Agnes Varda), is a fruit rife with cinematic incest and nepotistic subtexts. On it’s own, this is a film about coming to grips with the past, familial relationships, and being a stranger in a strange land, but Demy has really created a cinematic wormhole, an intertwining device that unites themes from some of his parents’ own obscure works, as well as autobiographical details, and a rich subtext heavily informed by the spectrum of cinema past.

Demy stars as Martin, a real estate broker in Paris, seemingly at the end of a relationship with his live-in girlfriend, Claire (Matroianni), who wants a baby. Suddenly, Martin learns that his estranged mother has died in Los Angeles,...

HollywoodNews.com: The Academy of Motion Picture Arts and Sciences will present a recently restored 35mm print of “Breathless” (“À bout de souffle”) on Friday, March 23, at 7:30 p.m. at the Samuel Goldwyn Theater in Beverly Hills. The screening is presented in conjunction with the opening of the Academy’s new exhibition “Photos de Cinéma: Images of the French New Wave by Raymond Cauchetier.” Cauchetier was the set photographer for this and many other key titles of the French New Wave movement. There will be special evening gallery hours from 6:30 to 7:30 p.m. and immediately following the screening.

“Breathless” (1960) launched a global passion for “La Nouvelle Vague” (“The New Wave”) and made actors Jean Seberg and Jean-Paul Belmondo international stars. The film also became an inspiration for a generation of legendary French filmmaking talent.

Writer-director Jean-Luc Godard made his feature film debut with this now classic work.

Americano

Written by Mathieu Demy

Directed by Mathieu Demy

France, 2011

As a first-time director, the last thing you want to be is forgettable. One way to avoid that is to emulate Orson Welles by taking on the additional roles of writer and star. A slice of Tarantino-style auricular torture always gets an audience’s attention, too. In his feature debut, the partly autobiographical drama Americano, Mathieu Demy does both. He also throws in Salma Hayek in a fishnet bodystocking for good measure. This isn’t Citizen Kane or Reservoir Dogs – but it does have its moments.

Demy, the son of directors Jacques Demy and Agnès Varda, uses clips here from his appearance in his mother’s 1981 film Documenteur. Fortunately this is less pretentious than it sounds. The 9-year-old boy he played then, is now grown up and living in Paris with girlfriend Claire (Chiara Mastroianni). But Martin and Claire have...

San Sebastian Film Festival 2011: A Preview

On the eve of my third San Sebastian Film Festival, with a week of films stretching ahead of me, it promises to be another excellent festival of cinema, celebrating the best of the new and the old. The retrospectives, which are always strong, this year focus on The Last Generation of Chinese Film, modern American noir and a Jacques Demy retrospective, at which I'm finally hoping to get to see his 1961 feature debut Lola.

I've been lucky enough to have already seen a handful of the new...

The 15th City of Lights, City of Angels, a festival with both a handy acronym, Col•Coa, and a winning subtitle, "A Week of French Film Premieres in Hollywood," has opened with Philippe Le Guay's Service Entrance and closes on Sunday with Dany Boon's Nothing to Declare. In all, 34 features and 26 shorts will be screened, and we're teaming up with the festival to present five of those shorts for free. All five have been made by students of La fémis in Paris (whose alumni, by the way, include Laurent Cantet, Costa-Gavras, Claire Denis, Louis Malle, Arnaud Desplechin, Claude Miller, François Ozon and Alain Resnais). You can view our offering here.

In Brice Pancot's À cor et à cir (image above), a woman who's just turned her car over is discovered by a man and his son; see the teaser here. In Marion Desseigne-Ravel's Uniform (Les Murs...