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La Pointe Courte: How Agnès Varda “Invented” the New Wave

In September 1997, I saw Agnès Varda introduce a brand-new 35 mm print of her first feature film, La Pointe Courte (made in 1954), to an admiring audience at Yale University. More astonishing than the luminous black-and-white images was Varda’s claim that she had seen virtually no other films before making it (after racking her brain, she could come up with only Citizen Kane). Whether Varda’s assertion was true or the whim of an artist who does not wish to acknowledge any influence, La Pointe Courte is a stunningly beautiful and accomplished first film. It has also, deservedly, achieved a cult status in film history as, in the words of historian Georges Sadoul, “truly the first film of the nouvelle vague.”Read More »

A black American soldier is demoted for fraternizing with a white girl in France.Read More »

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The Falls (1980) is divided into 92 biographies of people who have all been affected by the VUE, the Violent Unknown Event, a phenomenon in some way connected with birds and flying.Read More »

One of the most controversial figures in current French cinema, Bruno Dumont made a dazzling debut with his 1997 film The Life of Jesus (which won the Sutherland Trophy at that year’s Festival) and divided audiences with his metaphysically charged Humanity. Following his American road nightmare Twentynine Palms, Flanders goes back to his roots: it’s at once a return to the introspective register of Jesus… and, like it, a contemplation of his home territory. The characters are a group of young men and women from the Northern French countryside, including farmer Demester (Boidin) and his none-too-exclusive girlfriend Barbe (Leroux). Read More »

Summer 1984, Paris and Liza, a new love. The town turns slowly into Guayaquil, where the director had his “jewish and tropical” childhood.Read More »

“Down In The Valley is the ideal project for Jacobson, who has already shown his affinity for marginalized, outlaw figures in Criminal (1994) and Dahmer (2002). His Harlan – part rootless romantic, part self-reliant individualist, part gun-toting fantasist, part self-appointed hero, part deluded psychotic – is the embodiment of the American Dream in all its schizophrenic contradictions; and by serving all at once as critique of, homage to, and requiem for, the nostalgic values that Harlan tries to uphold, Jacobson’s film dramatises the powerful hold that the cowboy myth continues to exercise, both as a genre and as a wider ideology, over the modern American psyche.Read More »

This philosophical drama offers a psychological reflection of the post-war period. Caesar, a former Nazi concentration camp prisoner, sifts through his traumatic experiences. His memories materialize against the background of the new modern buildings of Vilnius, the capital of Lithuania, and become even stronger when Caesar learns of the death of a friend and fellow traveler. Caesar’s daughter Veronica is a fervent young playwright seeking to immortalize her father’s experience on film. However, her attitude towards her father’s past is quite different from his own. Adopting a boldly non-linear narrative, AVE, VITA! takes the audience on a hallucinatory journey from the war years to the then-contemporary realities of the Soviet era.Read More »

When Mr. Esalat is looking for a topic for his TV show, he notices an advertisement in the newspaper about a missing girl. The picture of the missing girl is very familiar to him and he tries to remember where he saw it before. His wife Asieh is a teacher and at home she writes his mother’s diary. When he searches for the address in that advertisement, he finds that it belongs to 30 years ago. Asieh is becoming interested in the missing girl too.Read More »

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A well-bred, lovely, spiritual, sad young woman marries an attentive physician who loves her. She feels affection but no love. Soon after, without design, she falls in love with Pedro Abrunhosa, a poet and performance artist. He also loves her. She keeps her distance from him, confessing her love to a friend who is a nun and, later, to her husband. Hunger for her love and jealousy consume him; she attends him as he wastes away. With his death, she can marry and express her passion, but what she does and how she explains herself, particularly to her cloistered friend, is at the heart of the film. Glimpses of convent life and of Abrunhosa on stage give contrast and mute comment.Read More »