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The Cutting Edge of French Cinema
BACKWASH: THE CUTTING EDGE OF FRENCH CINEMA J’IRAI AU PARADIS CAR L’ENFER EST ICI , Xavier Durringer ( France, 1997 ) MA 6T VA CRACK-ER , Jean-Francois Richet ( France, 1997 ) LE PETIT VOLEUR , Érick Zonca ( France, 1998 ) L’HUMANITÉ , Bruno Dumont ( France, 1999 ) POLA X , Leos Carax ( France, 1999 ) RESSOURCES HUMAINES (Human Resources), Laurent Cantet ( France, 1999 ) À MA SOEUR! , Catherine Breillat ( France-Italy, 2000 ) PARIA , Nicolas Klotz ( France, 2000 ) SAINT-CYR , Patricia Mazuy ( France-Belgium, 2000 ) SELON MATTHIEU , Xavier Beauvois ( France, 2000 ) SOUS LE SABLE , François Ozon ( France-Belgium-Italy-Japan, 2000 ) ÊTRE ET AVOIR , Nicolas Philibert ( France, 2001 ) IRRÉVERSIBLE (Irreversible), Gaspar Noé ( France, 2001 ) LA CHATTE À DEUX TÊTES , Jacques Nolot ( France, 2001 ) LA VIE NOUVELLE , Philippe Grandrieux ( France, 2001 ) LE PACTE DES LOUPS , Christophe Gans ( France, 2001 ) LE STADE DE WIMBLEDON , Mathieu Amalric ( France, 2001 ) ROBERTO SUCCO , Cédric Kahn ( France-Switzerland, 2001 ) TROUBLE EVERY DAY , Claire Denis ( France-Japan, 2001 ) DANS MA PEAU , Marina De Van ( France, 2002 ) UN HOMME, UN VRAI , Jean-Marie Larrieu, Arnaud Larrieu ( France, 2002 ) CLEAN , Olivier Assayas ( France-UK-Canada, 2003 ) INNOCENCE , Lucile Hadzihalilovic ( France-UK-Belgium, 2003 ) L’ESQUIVE , Abdellatif Kechiche ( France, 2003 ) LE CONVOYEUR , Nicolas Boukhrief ( France, 2003 ) LES CORPS IMPATIENTS , Xavier Giannoli ( France, 2003 ) ROIS ET REINE , Arnaud Desplechin ( France-Belgium, 2003 ) TIRESIA , Bertrand Bonello ( France, 2003 ) DE BATTRE MON COEUR S’EST ARRÊTÉ (The Beat That My Heart Skipped), Jacques Audiard ( France, 2004 ) LES REVENANTS , Robin Campillo ( France, 2004 ) LES ANGES EXTERMINATEURS , Jean-Claude Brisseau ( France, 2005 ) VOICI VENU LE TEMPS , Alain Guiraudie ( France, 2005 ) À L’INTERIEUR , Alexandre Bustillo, Julien Maury ( France, 2006 ) AVIDA , Benoît Delépine, Gustave Kervern ( France, 2006 ) LES CHANSONS D’AMOUR , Christophe Honoré ( France, 2006 ) 24 MESURES , Jalil Lespert ( France-Canada, 2007 ) L’HISTOIRE DE RICHARD O. -
The-Original-Sin-Of-Claire-Denis [PDF]
‘NOT TO HAVE LOVE OR PAIN IN YOUR HEART MEANS THAT YOU ARE NOT A VERY WELL FINISHED HUMAN BEING’ CLAIRE DENIS Claire Denis seems to find pleasure and grief in our status as ‘fallen’ beings, writes season curator Sophie Monks Kaufman ‘I guess my films are made out of tenderness and love for human beings even when they can be very brutal,’ Denis said in 2018. She knows herself well; contrasting emotional landscapes colour everything she’s made. The balance sometimes tilts towards brutality (the blood-soaked ears of corn in Bastards) and sometimes towards tenderness (the camera tracing body parts in Vendredi Soir): this season of 10 films moves from one pole to the other. Mysterious atmospheres electrified by sensuality are a motif of her films, as are the primal sounds of Tindersticks, the visions of cinematographer Agnès Godard and the faces of actors she loves to work with, faces which – with the exception of Alex Descas – run more towards dramatic features than classical beauty: Grégoire Colin’s sharp nose, Béatrice Dalle’s gap teeth and Michel Subor’s cold eyes. WANT MORE? See pxx for details on our Woman with a Movie Camera Summit, and pxx for a special event on early women filmmakers TALK Image: Wild Bunch Wild Image: The Cinema of Claire Denis Bastards Les Salauds TRT 80min France-Germany 2013. Dir Claire Denis. The highly distinctive work of Claire With Vincent Lindon, Chiara Mastroianni, Julie Bataille, Michel Subor. 100min. Digital. Denis has defied expectations and EST. 18 pushed the boundary of narrative This harrowing and hypnotic account cinema. -
35 Shots of Rum (35 Rhums) 2008 12A Runtime: 100 Mins Director: Claire Denis
keswick film 35 shots of rum Autumn club Season 2009 a world of cinema (35 rhums) Review by Peter Bradshaw, the Guardian: This outstanding new film from Claire Denis, the director of Beau Travail and Vendredi Soir, demonstrates her fluency and mastery in the kind of movie-language that is rich, quietly complex and subtle - and very un-Hollywood in its refusal to cross the "t"s and dot the "i"s. Its theme is the bond between father and daughter, whose intensity speaks poignantly and paradoxically of loss and absence. (There is a similarity here with Abdel Kechiche's 2007 movie Couscous.) Alex Descas is Lionel, a calm and dignified widower who is a train driver in Paris. His daughter, Jo, played by Mati Diop, is a student who lives with him in affectionate, if rather emotionally fraught domestic intimacy. Both Lionel and Jo have a friendship, which is something more than friendship, with their neighbour Gabrielle, played by Nicole Dogué. She was once Lionel's lover when Jo was a child and appears to yearn, still, for a place in his heart, and to be a mother to Jo. Grégoire Colin plays their moody upstairs neighbour, called Noé, who appears also to have feelings for Lionel's daughter, but seems reluctant to change his chaotic home life and is temperamentally unable to commit himself. And in any case, Jo is being wooed by a charming fellow student. Lionel's own life is brought to a submerged crisis when one of his colleagues retires, and Lionel, a shrewd observer of his fellow males, instantly sees that not having a job is a catastrophe for this man, like the most appalling bereavement. -
The Music of Relationality in the Cinema of Claire Denis
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Concert and disconcertion: the music of relationality in the cinema of Claire Denis https://eprints.bbk.ac.uk/id/eprint/40453/ Version: Full Version Citation: Brown, Geoffrey (2019) Concert and disconcertion: the music of relationality in the cinema of Claire Denis. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email 1 Concert and Disconcertion : the music of relationality in the cinema of Claire Denis Geoffrey Brown Thesis submitted for the degree of PhD in French 2019 Department of European Cultures and Languages Birkbeck, University of London 2 Declaration I declare that the work presented in this thesis is my own, and that this thesis is the one on which I expect to be examined. Geoffrey Brown 3 This thesis is dedicated to Agnès Calatayud, an inspirational teacher, who reconnected me to French cinema after a long carence, and who, crucially, first introduced me to the films of Claire Denis. 4 Abstract This thesis argues that the interest which the films of Claire Denis display in the ever-shifting modes of relations between people is illustrated through analysis of how music is used throughout her corpus of feature films. Denis draws on an extremely eclectic palette of musical styles, and the thesis proposes that these varying musical modalities are central to her treatment of relational issues, as are the ways in which she deploys her chosen musical selections. -
Forty Shades of Blue
Sundance Film Festival – 2005 Grand Jury Prize Berlin Film Festival/Panorama 2005 FORTY SHADES OF BLUE By Ira Sachs “Atmospheric and haunting… Forty Shades of Blue is a movie that seeps under your skin” David Ansen, Newsweek SALES CONTACT FORTY SHADES OF BLUE Cast Alan ............................................................................................Rip Torn Laura .................................................................................... Dina Korzun Michael ........................................................................... Darren Burrows Lonni.................................................................................. Paprika Steen Duigan ...................................................................................... Red West Celia ...................................................................................Jenny O’Hara Shel .................................................................................. Jerry Chipman Sam ........................................................................... Andrew Henderson April...........................................................................Emily McKenna Cox Cindy .......................................................................................Liz Morton Betty................................................................................Joanne Pankow Filmmakers Director .................................................................................... Ira Sachs Screenwriters ................................................ Michael -
Uk / 2018 / 1.66 / 5.1
HIGH LIFE 110 min / Germany – France – USA – Poland – UK / 2018 / 1.66 / 5.1 EVA DIEDERIX [email protected] SILVIA SIMONUTTI [email protected] FANNY BEAUVILLE [email protected] OLPHA BEN SALAH [email protected] PHOTOS AND PRESS KIT CAN BE DOWNLOADED FROM https://www.wildbunch.biz/movie/high-life/ Deep space. Monte and his daughter Willow live together aboard a spacecraft, in complete isolation. A man whose strict self-discipline is a shield against desire, Monte fathered her against his will. His sperm was used to inseminate the young woman who gave birth to her. They were members of a crew of prisoners – death row inmates. Guinea pigs sent on a mission. Now only Monte and Willow remain. Through his daughter, he experiences the birth of an all-powerful love. Together, father and daughter approach their destination – the black hole in which time and space cease to exist. How did High Life come about? A while back, an English producer asked me if I wanted to participate in a collection of films called Femmes Fatales. At first, I wasn’t that interested, but after thinking it over, I agreed. The project took ages to get off the ground. There was no money. It took 6 or 7 years to hammer out a coproduction: France, Germany, Poland and eventually America. During that time, I went to England and the States to meet with actors. The actor I dreamed of for the lead role of Monte was Philip Seymour Hoffman, because of his age, his weariness – but he died mid- route. -
BAM Presents Strange Desire: the Films of Claire Denis, Mar 29—Apr 9, the Largest-Ever US Retrospective Dedicated to the Celebrated French Filmmaker
BAM presents Strange Desire: The Films of Claire Denis, Mar 29—Apr 9, the largest-ever US retrospective dedicated to the celebrated French filmmaker February 20, 2019/Brooklyn, NY—From Friday, March 29 through Tuesday, April 9, BAM presents Strange Desire: The Films of Claire Denis, the most extensive retrospective ever presented in the US dedicated to Denis, a filmmaker consistently counted among the greatest living directors by filmmakers and critics alike. Denis’ work is a delicate balance of contradictions: her films are beloved, yet elusive; influential, yet singular; grounded in corporeality, but with a shifting relationship with time. Born in France, raised in colonial Africa where her father was a civil servant, and eventually returning to France as a teenager, Denis subtly explores race and colonial relationships, love and eroticism, the texture of bodies and environments, and the elasticity of time. Following the retrospective, BAM will screen Denis’ critically acclaimed new feature, the poetic science fiction film High Life (2019), starring Robert Pattinson, Juliette Binoche, Mia Goth, and André Benjamin. Denis will appear in person at BAM for a sneak preview show on April 3. The film opens in New York and Los Angeles on April 5. The series begins with Beau Travail (1999), Denis’ masterful update of Herman Melville’s Billy Budd, starring Denis Lavant and regular collaborator Grégoire Colin. A study of jealousy and obsession set among the existential ennui and empty rituals of the French Foreign Legion in Djibouti, Beau Travail captures Denis’ signature elliptical style and hypnotic rhythms. A balletic study of bodies in motion with an unforgettable final scene, Beau Travail is Denis’ most iconic and influential work. -
Foreign Bodies, Community and Trauma in the Films of Claire Denis
Foreign Bodies, Community and Trauma in the Films of Claire Denis:... http://www.screeningthepast.com/2013/09/foreign-bodies-community-... Kath Dooley … if my films have a common link, maybe it’s being a foreigner – it’s common for people who are born abroad – they don’t know so well where they belong. It’s not the kind of thing you find in literature, music or photography – being from abroad makes you look different. – Claire Denis [1] Having grown up in Africa as the daughter of a French civil servant, French writer/director Claire Denis was positioned as an outsider. Whereas this status was clearly marked by her skin colour in early life, returning to France as a teenager also presented challenges in terms of foreignness and identification – despite it being the country where she was born, and of which she is a citizen. Douglas Morrey posits that ‘in the filmmaking of Claire Denis, the body is the limit between sense and world. The body is always other – the means by which the other appears to me but also by which I am revealed to myself, as other’. [2] This statement has resonance not just for the director’s choice of themes, but also for her stylistic choices: the use of cinematography, sound and editing to explore the intersections of foreign bodies. Martine Beugnet makes the point that Denis’ ‘perception of the Other is always complex and ambiguous’, and is ‘that which spurs curiosity and creates desire’. [3] As such, rather than reinforcing binary oppositions that seek to stigmatise, the director is subtle in her questioning of the effects of dominant cultures in multicultural contexts. -
Claire Denis Capitalist Bastards
King’s Research Portal DOI: 10.1080/14715880.2015.1077036 Link to publication record in King's Research Portal Citation for published version (APA): Galt, R. (2015). Claire Denis's Capitalist Bastards. STUDIES IN FRENCH CINEMA, 15(3), 275-293. https://doi.org/10.1080/14715880.2015.1077036 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. -
Claire Denis
Curiosa Films présente UN BEAU SOLEIL INTÉRIEUR Un film de Claire Denis Un scénario de Claire Denis et Christine Angot avec Juliette Binoche, Xavier Beauvois, Philippe Katerine, Josiane Balasko, Sandrine Dumas, Nicolas Duvauchelle, Alex Descas, Laurent Grevill, Bruno Podalydès, Paul Blain, Valeria Bruni-Tedeschi et Gérard Depardieu 2017 / France / Durée : 1h34 LE 27 SEPTEMBRE DISTRIBUTION AD VITAM RELATIONS PRESSE 71, rue de la Fontaine au Roi Matériel presse téléchargeable sur : Matilde Incerti www.advitamdistribution.com 75011 Paris assistée de Julien Cuvillier Tél. : 01 55 28 97 00 Tél. : 01 48 05 20 80 [email protected] [email protected] Synopsis Isabelle, divorcée, un enfant, cherche un amour. Enfin un vrai amour. 5 Entretien avec Claire Denis Je me suis retrouvée dans cet entre-deux assez classique : d’Avignon, c’est Agnès Godard qui a fait l’image et tout le travail, replacée en face de mon rapport avec le travail. de dire que l’on a dépassé les misères de l’amour : l’attente entre mon précédent film, si violent, et le prochain, une Fresnoy a participé. En trois jours, plus une semaine de Christine et moi avons eu envie de prolonger ce moment insoluble, l’idéal déçu. On peut commencer à s’approprier coproduction étrangère, forcément plus compliquée à montage, on a fait, avec les seuls moyens du Fresnoy, un heureux. J’ai donc parlé de Christine à Olivier Delbosc d’une ce mot à partir du moment où l’on est devenu plus mettre sur pieds. Je me sentais placée dans une situation film de 45 minutes qui s’appelle Voilà l’enchaînement, part et du projet d’Olivier à Christine de l’autre. -
BASED DISTRIBUTOR, ZEITGEIST FILMS Guy Maddin, Todd
MOMA PRESENTS MONTHLONG SERIES IN HONOR OF TWO DECADES OF NEW YORK– BASED DISTRIBUTOR, ZEITGEIST FILMS Guy Maddin, Todd Haynes, Bruce Weber, and Yvonne Rainer to Introduce Their Films during Opening Weekend Zeitgeist: The Films of Our Time June 26–July 23, 2008 The Roy and Niuta Titus Theatres NEW YORK, June 4, 2008—The Museum of Modern Art celebrates two decades of films distributed by New York–based Zeitgeist Films with the 20-title exhibition Zeitgeist: The Films of Our Time, June 26–July 23, 2008, in the Roy and Niuta Titus Theaters. Offering a fascinating snapshot of independent American and international film from the past 20 years, Zeitgeist: The Films of Our Time is a selection of works by critical figures in the company’s history and catalog. These range from artists the distributors embraced at early stages of their film careers, including Bruce Weber, Todd Haynes, Deepa Mehta, François Ozon, Olivier Assayas, and Guy Maddin, to established masters like Agnes Varda, Yvonne Rainer, Derek Jarman, and Jacques Demy. This monthlong exhibition includes several introductions and post-screening Q&A sessions with some of the filmmakers, along with appearances by Zeitgeist cofounders Nancy Gerstman and Emily Russo. Many of the directors whose early work Zeitgeist championed will be present to introduce their films: Careful (1992), introduced June 26 by Guy Maddin, who will also introduce Jacques Demy’s Les Parapluies de Cherbourg (The Umbrellas of Cherbourg, 1964) the same night; Let’s Get Lost (1988), introduced June 27 by Bruce Weber; Poison (1991), introduced June 27 by Todd Haynes; Privilege (1990), introduced June 28 by Yvonne Rainer; Calendar (1993), introduced July 12 by Atom Egoyan; and Ballets Russes (2005), introduced July 19 by co-directors Dan Geller and Dayna Goldfine with dancer Freddie Franklin. -
Le Traitement Précédé De Messager De L’Amour
Le Traitement précédé de Messager de l’Amour de Martin Crimp Mise en scène Rémy Barché Avec Baptiste Amann, Suzanne Aubert, Marion Barché, Thierry Bosc, Alex Descas, Catherine Mouchet, Laurent Poitrenaux Le Traitement,traduit de l’anglais par Elisabeth Angel-Perez Le Messager de l’amour, traduit de l’anglais par Christophe et Michelle Pellet ©Tierney Gearon Production Compagnie Moon Palace Co-production La Comédie de Reims – CDN, Théâtre de la Ville – Paris, Théâtre National de Strasbourg, Théâtre Dijon-Bourgogne – CDN (en cours) Création en janvier 2018 à la Comédie de Reims - Vos amis ne trouvent pas ça un peu malsain ? Est-ce que vos amis la connaissent ? - J’ai commencé un… scénario sur elle. - Mmm. C’est de la recherche. - Tout est recherche, à un certain niveau. - Et moi, vous seriez prêt à me baiser pour « la recherche » ? Maps to the stars, David Cronenberg, 2014 « Au début des années 90, on m’a demandé d’écrire des courts métrages. La scène était la même que la scène d’ouverture de la pièce Le Traitement : une personne pose des questions à une autre personne, et une troisième personne observe sans rien dire. Après avoir écrit les scripts, je suis allé à un entretien avec la personne qui avait passé la commande, et il y avait une autre personne dans la pièce. Qui étaient-ils ? Je ne l’ai jamais vraiment su. Personne ne me les a jamais présentés. Rien à voir avec mon expérience d’auteur de théâtre. Tout ce travail n’a jamais mené à rien. Et j’ai pris conscience que je me faisais complètement avoir.