French

Synopsis
Extraordinary things always happen when unexpected. During the 18 months Justice spent touring, “extraordinary” didn’t necessarily mean “amazing”, or “great”, (though it sometimes did) but “surreal”, “weird”, “horrendous”, “fascinating”, “paranormal”, etc. To cut a long story short, it means that without anyone to film you twenty-four/seven, no one will believe or get the essence of every moment you’d like to tell them about. So as Justice were about to tour the USA for the second time, multi-awarded directors and intimate friends of the band Romain Gavras and So-Me taped every second of that 3 week tour that looks like it lasted 3 years. This documentary isn’t a report of a Justice live show (the audio CD is here for that), but is all about the extraordinary things that can happen when a bunch of frogs get dropped in dreamy America.Read More »

Synopsis:
‘Léandre Brassac is an ageing veterinary who lives in a large house near to Nantes with his wife Marie, whom he openly despises and frequently abuses. Léandre resents the fact that his wife has failed to bear him any children, and as a result he has become a violent and moody old man, contemptuous of others and all too willing to drown his sorrows in alcohol. Whilst he may loathe people, Brassac shows a remarkable tenderness for animals, especially the dogs who have become his closest companions in his declining years. During one of his night-time excursions to Nantes, Brassac runs into a prostitute named Simone. Concerned by the young woman’s plight, he invites her to live with him and his wife.’
– James TraversRead More »

Anna Masecchia wrote:
With her 16mm camera in hand, the optical prosthesis of a 20th-century flâneuse, Agnès Varda filmed 42nd Street in 1967, shooting a crowdof passersby to the beat of The Doors. Pier Paolo Pasolini is with her, getting lost in the lights, bodies, faces and chaos of a crowded and multicultural New York. Opening in soft focus and closing on Pasolini’s blurred face, the images shot in a direct style and without audio are merged with a dense dialogue between the two artists and intellectuals, which was recorded later. Prompted by Varda, Pasolini reflects on the relationship between reality and fiction, the Christian figurative tradition and the function of audiovisual language in contemporary society. All of which is enhanced by the audio-visual décalage that simultaneously reveals the camera as a device while emphasising the real and political information of the images, which emerges from the background and comes into the foreground. In a matter of minutes,Varda’s art captures Pasolini talking about himself and the essence of cinema as a whole, which for both is an expression of reality itself.Read More »

Michele, a divorced aerobics instructor with a gambling addiction, loses her job and seeks refuge with a childhood friend, Janine, who lives in a seemingly comfortable middle-class suburban neighborhood. Michele’s rebellious teenage daughter, Marguerite, and Janine’s shy and reserved daughter, Gabrielle, become friends, leading to unforeseen tensions that force both generations to reassess their values. Familia explores the question of how value systems are passed on from mother to daughter and asks: Is it possible to avoid passing on to our children those traits that we despise in our parents?Read More »

Judy Bloch, Pacific Film Archive wrote:
Aubignac, a village situated high upon a crag in Provence, suffers the common fate of such enclaves, reduced and abandoned over time. Only three people remain: an old blacksmith, a withered crone, and a middle-aged poacher, Panturle (Gabriel Gabrio). And finally, it is Panturle, alone. Enter Arsule (Orane Demazis), a down-at-the-heels cabaret singer, and Gédémus (Fernandel), an itinerant knife-grinder who has picked her up; now she pulls his cart, like something out of La Strada. Arsule and Panturle team up to revitalize her existence and his land, the welcoming soil of Aubignac. Harvest, based on Jean Giono’s novel, is at once Pagnol’s crudest and clearest statement about humans and the earth: both will decay if left alone. But there is darkness, too—like the grinder whose comic ruses are edged with threat—against which the simple humanity of Arsule and Panturle becomes rather more complex.Read More »

In this comedy-drama from Claude Chabrol, Magistrate Jeanne Charmant-Killman (Isabelle Huppert) doggedly investigates CEO Michel Humeau (François Berléand), who is accused of participating in massive corporate malfeasance. As her investigation leads her into the upper echelons of government, Jeanne becomes intoxicated by the power she is amassing. Though she faces threats by those whom she would see brought low and by the dissolution of her personal life and marriage, she will not relent.Read More »

Un film poème en 18 vagues, comme autant de scènes pour décrire Paris et ses paysages urbains traversés par un “jeune mineur étranger isolé”, les attentats, les roses blanches, l’état d’urgence, le bleu-blanc-rouge, l’océan atlantique et ses traversées, les volcans, la beat-box, la révolte, la colère, la violence d’Etat, un chant révolutionnaire, le silence, et la joie…, rien que la joie.Read More »

Sur le pont d’Avignon, Franju shortest film apart from the prewar Le Metro, was shot as something of an afterthought to Le Theatre national populaire, during the fortnight in July 1956 when Franju and his crew had to wait between the two Avignon theatrical performances that were to feature in the longer film.Read More »

Quote:
An old castle in Sweden inhabited by a family of 18th-century-costumed eccentrics holds secrets, deception, and rumors of murder.Read More »