During this getaway, their touching intergenerational bond deepens in this family-friendly French film. Henri-Georges Clouzot directs his real-life wife in this icy, black-and-white masterwork of homicide and Grand Guignol suspense, which ranked No.
A woman delves into the inner depths of her soul and resurfaces transformed in this film by French director Agnes Varda. Young singer Cleo Corrine Marchand strolls along the bustling Paris streets, pondering the meaning of life and her own existence as she awaits the results of her cancer biopsy. These pieces further address the sensory concerns she began to explore in the earlier stages of her career.
Artists interested in participating must submit by Saturday, Oct. Chosen works will be announced Tuesday, Nov. Although submission is open to all countries, only twenty-five percent of the selected works will be accepted from the US artists.
CIP is not accepting any installations or performance pieces. However, video documentation of performances or installations will be considered. Please inquire about specific audio options.
For more information about submissions, email video cinemathequeip. When American critics assess the French New Wave of the early sixties, it is more often than not in relation to their influence on Hollywood some ten years later. That makes such a comparison very difficult, so one is obliged to critic the film in a national context. Les Bonnes Femmes was a financial disappointment for Claude Charbol, though he considers it his best work of the era.
The narrative centers on four shop girls who believe themselves to be determined to find good men for husbands, despite the fact that as the film carries on their motives and aspirations evolve despite themselves. Le Samourai is a visually bleak film. Instead, the city appears worn, tattered and desolately gray.
As a result, this backdrop becomes more real in the minds of the audience. Within the context of the film alone, that is never made explicit.
In this case, much of the film prefers ambiguity to specificity. In that regard, the audience has no singular sympathy for one character; all characters are as sympathetic as they are despicable. Only scene by scene do the allegiances of the audience change. For instance, a scene in the beginning of the film has Costello shoot a club owner in a dressing room, only to be witnessed by Valerie Cathy Rosier ; one wonders for a moment if he will kill her as well.
By the films conclusion, Valerie stands guilty of betrayal. Our sympathies have changed all together, turning against her and for Jef Costello. Thus, Melville has achieved a reality in this picture where the innocents are guilty and the guilty have innocence — a reality within the confines of post-war existentialism. Sirk was always careful to give his characters layers of motive, and complicated relationships that transcend the judgment and occasional sympathy of the audience as Melville has.
The credit of authenticity this realism affords the film is immeasurable, and equally as essential to the success of Le Samourai both as a human and an existential drama. Godard was as fixated on the unrealism of the cinema as Melville was determined to bring realism to his cinema of the existential.
So what we have is a film unlike any other in its moment that has become as important to cinema as it was different upon its release. Filmmaker Jean Epstein began his career in the s, working in the genre of the avant-garde.
His works were heavily influenced by Abel Gance, and would in turn influence the next generation of filmmakers including Luis Bunuel. However, it is in this film, Le Tempestaire that Epstein branches out into narrative film with a minimalism inclined toward naturalism. It was films of this genre that would heavily inform the films of Eric Rohmer and Louis Malle. That can be said about some of the greatest films of all time, including Casablanca and The Third Man.
But Pepe Le Moko came first, and was the inspiration for all who came after it.
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