Alexis Loret

A love story between two emotionally damaged outsiders, played by Alexis Loret and Juliette Binoche, which marked Techine’s return to the haunting and intense territory of Les Roseaux Savages. Highly praised for its effective use of an unorthodox narrative structure, it tells the story of Martin, who runs away from his rural French home under mysterious circumstances and ends up at his half-brother’s flat in Paris, where he meets and falls in love with the his roommate Alice. When Alice informs him that she is pregnant, he has a sudden flashback of what happened to make him flee his father’s house…Read More »

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Young fotographer Sophie exchanges her flat with a student from Marseille. It’s February, Marseille seems rough and inaccessible. Sophie is by herself and takes photographs. In a car repair shop she asks the young mechanic Pierre, if he can get her a car. The more she turns herself over to the city, the more impossible her previous life seems to her …Read More »

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Rare is a film like Eugène Green’s Le Monde Vivant (The Living World), one of such humor, wit, whimsy, and spirit told in a mode so strict, formal, and minimal. It is a fable, or a fairy tale, or a certain way of looking at reality if you like, but it is impossible not to suggest a child-friendly and cheerful homage to Robert Bresson’s Lancelot du Lac. The Bresson comparison is inevitable, what with Green’s frank simplicity in framing, his deliberating speaking and minimally performing actors (resembling Bresson’s “models”), and most importantly his respect not just for each individual shot, movement, and line of dialog, but in the accumulation of these things.Read More »

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At age 50, Eugene Green — who left the U.S. in 1969 to settle in France — proves himself to be the mutant offspring of Robert Bresson and Manoel De Oliveira. First-time scripter-helmer’s exquisite oddity, “Every Night,” shows complete mastery of the austere, formal tradition perfected by his elders, but he makes it his own with bursts of satire and an insistence on crispy anachronistic diction that solemnly honors every last consonant. Pic has been holding its own at the oldest functioning arthouse in Paris since its publicity-free March 28 release, which was announced only via give-away postcards.Read More »

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In the rarefied stratosphere of Eugene Green’s film “Le Pont des Arts,” music, literature, philosophy and aesthetics, and the characters’ engagement with them, are literally matters of life and death. Here and in his other films, Mr. Green, the American-born French filmmaker who founded the Theatre de la Sapience, a group dedicated to revitalizing 17th-century Baroque theater in modern productions, has invented a cinematic vocabulary that radically juxtaposes classical and contemporary themes and characters. … In “Le Pont des Arts,” Mr. Green’s propensity for throwing in academically heavyweight references and concepts may seem intimidating, but it is more than an exercise in name-dropping. The movie is an audacious, mythically slanted inquiry into the place of high art in today’s chaotic culture and an assertion of its primacy. … — NYTimesRead More »