French

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Colin has a very pleasant life: he is rich, he loves the food his cook makes (Nicolas), he loves his pianocktail (contraction of piano and cocktail, a word invented by Vian) and his friend Chick. One day while having lunch with Chick, Chick tells him that he met a girl named Alise with whom he has a common passion: the writer Jean-Sol Partre (an spoonerism of Jean-Paul Sartre who was Boris Vian´s friend). Colin meets Chloe at a party Chick invited him to. They fall in love, marry, but Chloe becomes ill during their honeymoon. As time passes, Chloe’s condition deteriorates while the relationship between Chick and Alise turns sour …Read More »

In WW2, a Romanian Gentile peasant is denounced by the village gendarme and sent to a concentration camp for Jews where, due to an error, he’s drafted into the SS.Read More »

NYT wrote:
Cinematic visionary and provocateur Jean-Luc Godard offers a typically challenging look at his favorite creative medium in the wake of the 20th Century in this ambitious blend of film, video, and collage. Moments Choisis des Histoire(s) du Cinema serves as both a history and critical examination of the cinema in the form of a collection of “chosen moments” from films that may or may not exist. It also offers a self-reflexive analysis of the filmmaker’s own life and work. Moments Choisis des Histoire(s) du Cinema received its American premier in a special screening at New York City’s Museum of Modern Art. ~ Mark Deming, RoviRead More »

An extremely rare episode of Cinéastes de notre temps directed by Eric Rohmer based of a series of articles written in Cahiers du cinema in the 1950s.Read More »

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A distillation not of Jacques Tati per se, but of communal spectacle and creation — cinema. The circus is the setting, abstracted into blank spotlights but with the audience always present, always as much a part of the show as the jugglers, acrobats, contortionists, drummers, and assorted pratfall artisans. At the center is Tati, silver-haired in a turtleneck, miming taking punches in the ring, riding a horse, directing traffic, swinging a tennis racket in slow-mo. Playtime and Traffic exhausted the French producers, so the auteur staged his swansong as a Swedish TV-special, a casual affair, a slender recording of dance-hall whimsy and a profound summarization of a man’s life and art.Read More »

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Memoire des Apparences is a highly unconventional, metafictional adaptation of Calderon de la Barca’s play Life is a Dream. Director Raul Ruiz combines the 17th-century Spanish drama, about a man raised in a prison who discovers he is his country’s rightful prince, with a modern-day story of Chilean political intrigue. During the violent, anti-Allende coup of the early 1970s, literature professor Ignaccio Vega is entrusted with memorizing a list of 15,000 resistance members. Read More »

Variety.com wrote:
Set in ’69, “A No-Hit, No-Run Summer” gets to first base, at least, with its modest tale of B-team squirts who play in old hockey jerseys but eventually hold their own against the well-named Aristocrats. Third feature by Quebecois helmer Francis Leclerc (“Girl at the Window”) is formulaic and insubstantial, but pleasant and occasionally more as it asserts the sandlot’s rejuvenating power for pint-sizers like 12-year-old Martin (Pier-Luc Funk), whose dad (Patrice Robitaille) takes up coaching duties for the summer. Movie is far milder than either version of “The Bad News Bears,” for better and worse; grosses will follow suit.Read More »

By chance, fifty-year old Thomas finds himself back in the little town of his childhood. While visiting his mother’s grave he faints and wakes up to find himself in the past. Thomas is 14 again, an adolescent who has kept all his adult experience and character. He meets up with his classmates, the girl with whom he was secretly in love, and above all his parents – his mother, so young and full of life; his father, who had disappeared back then, never to return. Thomas tries to find out the real reasons for his father’s departure. But can he relive his past without changing it?Read More »

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It was Rivette’s second feature, after the puzzling ‘Paris Nous Appartient,’ and eschewed the nouvelle vague in favour of something altogether more structured, indeed rigorously so. “This film is a work of imagination,” the opening caption informs us, “not a portrait of religious institutions, 18th century or other. It should be viewed from a double perspective; history and romance.”Read More »