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BORSALINO » 1970, De Jacques Deray, Avec Alain Delon, Jean-Paul 1 Belmondo
« BORSALINO » 1970, de Jacques Deray, avec Alain Delon, Jean-paul 1 Belmondo. Affiche de Ferracci. 60/90 « LA VACHE ET LE PRISONNIER » 1962, de Henri Verneuil, avec Fernandel 2 Affichette de M.Gourdon. 40/70 « DEMAIN EST UN AUTRE JOUR » 1951, de Leonide Moguy, avec Pier Angeli 3 Affichette de A.Ciriello. 40/70 « L’ARDENTE GITANE» 1956, de Nicholas Ray, avec Cornel Wilde, Jane Russel 4 Affiche de Bertrand -Columbia Films- 80/120 «UNE ESPECE DE GARCE » 1960, de Sidney Lumet, avec Sophia Loren, Tab Hunter. Affiche 5 de Roger Soubie 60/90 « DEUX OU TROIS CHOSES QUE JE SAIS D’ELLE» 1967, de Jean Luc Godard, avec Marina Vlady. Affichette de 6 Ferracci 120/160 «SANS PITIE» 1948, de Alberto Lattuada, avec Carla Del Poggio, John Kitzmille 7 Affiche de A.Ciriello - Lux Films- 80/120 « FERNANDEL » 1947, film de A.Toe Dessin de G.Eric 8 Les Films Roger Richebé 80/120 «LE RETOUR DE MONTE-CRISTO» 1946, de Henry Levin, avec Louis Hayward, Barbara Britton 9 Affiche de H.F. -Columbia Films- 140/180 «BOAT PEOPLE » (Passeport pour l’Enfer) 1982, de Ann Hui 10 Affichette de Roland Topor 60/90 «UN HOMME ET UNE FEMME» 1966, de Claude Lelouch, avec Anouk Aimée, Jean-Louis Trintignant 11 Affichette les Films13 80/120 «LE BOSSU DE ROME » 1960, de Carlo Lizzani, avec Gérard Blain, Pier Paolo Pasolini, Anna Maria Ferrero 12 Affiche de Grinsson 60/90 «LES CHEVALIERS TEUTONIQUES » 1961, de Alexandre Ford 13 Affiche de Jean Mascii -Athos Films- 40/70 «A TOUT CASSER» 1968, de John Berry, avec Eddie Constantine, Johnny Halliday, 14 Catherine Allegret. -
A Film by Catherine BREILLAT Jean-François Lepetit Présents
a film by Catherine BREILLAT Jean-François Lepetit présents WORLD SALES: PYRAMIDE INTERNATIONAL FOR FLASH FILMS Asia Argento IN PARIS: PRESSE: AS COMMUNICATION 5, rue du Chevalier de Saint George Alexandra Schamis, Sandra Cornevaux 75008 Paris France www.pyramidefilms.com/pyramideinternational/ IN PARIS: Phone: +33 1 42 96 02 20 11 bis rue Magellan 75008 Paris Fax: +33 1 40 20 05 51 Phone: +33 (1) 47 23 00 02 [email protected] Fax: +33 (1) 47 23 00 01 a film by Catherine BREILLAT IN CANNES: IN CANNES: with Cannes Market Riviera - Booth : N10 Alexandra Schamis: +33 (0)6 07 37 10 30 Fu’ad Aït Aattou Phone: 04.92.99.33.25 Sandra Cornevaux: +33 (0)6 20 41 49 55 Roxane Mesquida Contacts : Valentina Merli - Yoann Ubermulhin [email protected] Claude Sarraute Yolande Moreau Michael Lonsdale 114 minutes French release date: 30th May 2007 Screenplay: Catherine Breillat Adapted from the eponymous novel by Jules Barbey d’Aurevilly Download photos & press kit on www.studiocanal-distribution.com Produced by Jean-François Lepetit The storyline This future wedding is on everyone’s lips. The young and dissolute Ryno de Marigny is betrothed to marry Hermangarde, an extremely virtuous gem of the French aristocracy. But some, who wish to prevent the union, despite the young couples’ mutual love, whisper that the young man will never break off his passionate love affair with Vellini, which has been going on for years. In a whirlpool of confidences, betrayals and secrets, facing conventions and destiny, feelings will prove their strength is invincible... Interview with Catherine Breillat Film Director Photo: Guillaume LAVIT d’HAUTEFORT © Flach Film d’HAUTEFORT Guillaume LAVIT Photo: The idea “When I first met producer Jean-François Lepetit, the idea the Marquise de Flers, I am absolutely “18th century”. -
CLASSICAL MUSIC in CINEMA the Purpose of the Course Will Be To
CLASSICAL MUSIC IN CINEMA The purpose of the course will be to explore and understand the use of classical music in art movies starting with The Birth of a Nation in 1915 up until today. Films will be screened partially, and musical extracts will discussed. The 12 week lectures start with a historical introduction into the utilisation of classical music in the early era of cinema. Diegetic and non-diegetic music and their particular use will then be discussed. A discussion on the effect of leitmotivs and classical music as a device supporting the narrative will follow. After this three-week introduction, we will explore classical music used as leitmotiv and supporting narrative, then films on opera and opera in films, and the use of classical music in period movies. We will then examine the way how specific pieces of music have added to some of the greatest dramas and films of the past. Finally, the course will conclude with a discussion of auteur cinema and cover how seven essential directors have used music in their films; Bunuel, Bresson, Bergman, Pasolini, Kubrick, Godard, Tarkovsky and Fassbinder. Extracts from almost 100 films are intended to be shown and discussed. There will be no requirement for pre-lecture reading, screening or preparation. However, attendance will be obligatory, since grades will only be based on attendance, performance in class and homework in the form of essays. Screenings of assignments will be made in class. Week 1 (9 February 2015): General introduction Features D.W. Griffith’s The Birth of a Nation [1915] Sergei Eisenstein’s Battleship Potemkin [1925] Fritz Lang’s Metropolis [1927] David Lean’s Brief Encounter [1945] Giuseppe Tornatore’s Cinema Paradiso [1988] Luc Besson’s Leon [1994] Readings [None. -
Press Information September | October 2016 Choice of Arms The
Press Information September | October 2016 Half a century of modern French crime thrillers and Samuel Beckett and Buster Keaton 's collaboration of the century in the year of 1965; the politically aware work of documentary filmmaker Helga Reidemeister and the seemingly apolitical "hipster" cinema of the Munich Group between 1965 and 1970: these four topics will launch the 2016/17 season at the Austrian Film Museum. Furthermore, the Film Museum will once again take part in the Long Night of the Museums (October 1); a new semester of our education program School at the Cinema begins on October 13, and the upcoming publications ( Alain Bergala's book The Cinema Hypothesis and the DVD edition of Josef von Sternberg's The Salvation Hunters ) are nearing completion. Latest Film Museum restorations are presented at significant film festivals – most recently, Karpo Godina's wonderful "film-poems" (1970-72) were shown at the Cinema Ritrovato festival in Bologna – the result of a joint restoration project conducted with Slovenska kinoteka. As the past, present and future of cinema have always been intertwined in our work, we are particularly glad to announce that Michael Palm's new film Cinema Futures will have its world premiere at the Venice Film Festival on September 2 – the last of the 21 projects the Film Museum initiated on the occasion of its 50th anniversary in 2014. Choice of Arms The French Crime Thriller 1958–2009 To start off the season, the Film Museum presents Part 2 of its retrospective dedicated to French crime cinema. Around 1960, propelled by the growth spurt of the New Wave, the crime film was catapulted from its "classical" period into modernity. -
Classic French Film Festival 2013
FIFTH ANNUAL CLASSIC FRENCH FILM FESTIVAL PRESENTED BY Co-presented by Cinema St. Louis and Webster University Film Series Webster University’s Winifred Moore Auditorium, 470 E. Lockwood Avenue June 13-16, 20-23, and 27-30, 2013 www.cinemastlouis.org Less a glass, more a display cabinet. Always Enjoy Responsibly. ©2013 Anheuser-Busch InBev S.A., Stella Artois® Beer, Imported by Import Brands Alliance, St. Louis, MO Brand: Stella Artois Chalice 2.0 Closing Date: 5/15/13 Trim: 7.75" x 10.25" Item #:PSA201310421 QC: CS Bleed: none Job/Order #: 251048 Publication: 2013 Cinema St. Louis Live: 7.25" x 9.75" FIFTH ANNUAL CLASSIC FRENCH FILM FESTIVAL PRESENTED BY Co-presented by Cinema St. Louis and Webster University Film Series The Earrings of Madame de... When: June 13-16, 20-23, and 27-30 Where: Winifred Moore Auditorium, Webster University’s Webster Hall, 470 E. Lockwood Ave. How much: $12 general admission; $10 for students, Cinema St. Louis members, and Alliance Française members; free for Webster U. students with valid and current photo ID; advance tickets for all shows are available through Brown Paper Tickets at www.brownpapertickets.com (search for Classic French) More info: www.cinemastlouis.org, 314-289-4150 The Fifth Annual Classic French Film Festival celebrates St. Four programs feature newly struck 35mm prints: the restora- Louis’ Gallic heritage and France’s cinematic legacy. The fea- tions of “A Man and a Woman” and “Max and the Junkmen,” tured films span the decades from the 1920s through the Jacques Rivette’s “Le Pont du Nord” (available in the U.S. -
Of Gods and Men
A Sony Pictures Classics Release Armada Films and Why Not Productions present OF GODS AND MEN A film by Xavier Beauvois Starring Lambert Wilson and Michael Lonsdale France's official selection for the 83rd Academy Award for Best Foreign Language Film 2010 Official Selections: Toronto International Film Festival | Telluride Film Festival | New York Film Festival Nominee: 2010 European Film Award for Best Film Nominee: 2010 Carlo di Palma European Cinematographer, European Film Award Winner: Grand Prix; Ecumenical Jury Prize - 2010Cannes Film Festival Winner: Best Foreign Language Film, 2010 National Board of Review Winner: FIPRESCI Award for Best Foreign Language Film of the Year, 2011 Palm Springs International Film Festival www.ofgodsandmenmovie.com Release Date (NY/LA): 02/25/2011 | TRT: 120 min MPAA: Rated PG-13 | Language: French East Coast Publicist West Coast Publicist Distributor Sophie Gluck & Associates Block-Korenbrot Sony Pictures Classics Sophie Gluck Ziggy Kozlowski Carmelo Pirrone 124 West 79th St. Melody Korenbrot Lindsay Macik New York, NY 10024 110 S. Fairfax Ave., Ste 310 550 Madison Avenue Phone (212) 595-2432 Los Angeles, CA 90036 New York, NY 10022 [email protected] Phone (323) 634-7001 Phone (212) 833-8833 Fax (323) 634-7030 Fax (212) 833-8844 SYNOPSIS Eight French Christian monks live in harmony with their Muslim brothers in a monastery perched in the mountains of North Africa in the 1990s. When a crew of foreign workers is massacred by an Islamic fundamentalist group, fear sweeps though the region. The army offers them protection, but the monks refuse. Should they leave? Despite the growing menace in their midst, they slowly realize that they have no choice but to stay… come what may. -
Bilan Germany - 2002
Bilan Germany - 2002 9/28/21 1:47:02 PM Tel: +33 (0)1 47 53 95 80 / Fax +33 (0)1 47 05 96 55 / www.unifrance.org SIRET 784359069 00043 / NAF 8421Z / TVA FR 03784359069 French films represented 7.3% of movie programming on German TV channels this year, outscored by British films, which obtained a 7.8% share. The U.S. remained the number 1 source of films (57%), ahead of Germany, whose market share nevertheless picked up by 0.7%. The number of French films programmed on the public broadcasters ceased to decline this year, and even increased on several regional channels. ZDF remained the leading broadcaster of French films. This channel ramped up its share of movie programming devoted to French fare, running at 15%, against 13% in 1997. It successfully reran l’Ange noir, and presented le Garçu and Toxic affaire, as well as a number of classics such as les Seins de glace, Don Camillo Monseigneur and la Guerre des polices. Since 1995, the number of films shown on ARD had dwindled. It stabilized in 1998 at 67 titles, with a host of recent titles including Élisa, la Fleur de mon secret, L. 627 and les Apprentis. Regional public channels saw an uptrend: up 6 titles on Bayern 3, up 10 on West 3 and up 19 on B1 in Berlin. Among the commercial channels, TM 3 outstripped Vox in the number of French titles scheduled: it programmed 78, 13 more than in 1997. This channel (owned by the TeleMûnchen Group) broadcast essentially catalogue films, and devoted 28% of film slots to French fare, an all-time high in Germany. -
Gérard DEPARDIEU Benoît POELVOORDE Vincent LACOSTE
JPG FILMS, NO MONEY PRODUCTIONS and NEXUS FACTORY present Gérard Benoît Vincent Céline DEPARDIEU POELVOORDE LACOSTE SALLETTE written and directed by Benoît DELÉPINE & Gustave KERVERN JPG Films, No Money Productions and Nexus Factory present Gérard Benoît Vincent Céline DEPARDIEU POELVOORDE LACOSTE SALLETTE written and directed by Benoît DELÉPINE & Gustave KERVERN 101 min - France/Belgium - 1.85 - 5.1 - 2015 Press materials available for download on www.le-pacte.com INTERNATIONAL PRESS INTERNATIONAL SALES PREMIER - Liz Miller/Sanam Jehanfard LE PACTE [email protected] 5, rue Darcet [email protected] 75017 Paris Berlin: Potsdamer Platz 11, Room 301 Tel: +331 44 69 59 59 Tel: +49 30 2589 4501/02 (10-20 Feb) Synopsis Every year, Bruno, a disheartened cattle breeder, attends the Paris Agricultural Show. This year, his father Jean joins him: he wants to finally win the competition with their bull Nebuchadnezzar and convince Bruno to take over the family farm. Every year, Bruno makes a tour of all the wine stands, without setting foot outside the Show’s premises and without ever finishing his wine trail. This year, his father suggests they finish it together, but a real wine trail, across the French countryside. Accompanied by Mike, a young, quirky taxi driver, they set off in the direction of France’s major wine regions. Together, they are going to discover not only the wine trails, but also the road that leads back to Love. 5 DOES THAT MEAN THAT YOU BRING SOME SUBJECTS TO THE TABLE, BENOÎT? AND GUSTAVE BRINGS OTHERS? GUSTAVE KERVERN: I was born in Mauritius, but we haven’t shot a movie about water-skiing yet. -
The Reinvention of José Giovanni
o be a fan of film noir is to be a connoisseur of moral ambiguity. The movies may be black and white, but the stories are a swirl of gray: among the shadows, we find ourselves empathizing with criminals, even murderers, and grappling with the irreducible complex- ity of human character and behavior. Or so we like to tell ourselves. In truth, this is easier when the crooks are fictional, and their crimes can be finessed in ways that soothe or Tdistract our consciences. When the facts are real, it is trickier to navigate the boundaries of the forgivable, SECOND the murky no-man’s-land between admiration and moral revulsion, judgment and agnostic tolerance. What prompts this particular reflection is the life of the writer and director José Giovanni, one of the most fas- cinating figures in French cinema. A prolific novelist, screenwriter, and director, he earned his place in the noir pantheon chiefly as the source for three indisputable masterpieces, Le Trou (The Hole, 1960), Classe tous ris- ques (The Big Risk, 1960), and Le deuxième souffle (Second Wind, 1966). His familiarity with the underworld and his status as an ex-con who had done time on death row were well known in his heyday, and lent cred- ibility—not to say glamour—to his chronicles of gangsters and life “inside.” For almost fifty years, Giovanni suc- ceeded in keeping certain facts about his background hidden even as he mined his biography to great acclaim. But, as noir teaches, the past never stays buried. In 1993 two Swiss newspapers, La Tribune de Genève and 24 Heures, published their findings that the crimes for which Giovanni—born Joseph Damiani—had been convicted ranged from collaborationism during the Occupation of France to involvement in kidnapping, extor- tion, and murder. -
Zkg2.Pdf (1.377Mb)
DARK YEARS, DARK FILMS, LONG SHADOWS: THE OCCUPATION, NOIR, AND NATIONAL IDENTITY IN FRENCH FILM AND CRITICISM A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Zachary Kendell Gooch January 2014 © 2014 Zachary Kendell Gooch DARK YEARS, DARK FILMS, LONG SHADOWS: THE OCCUPATION, NOIR, AND NATIONAL IDENTITY IN FRENCH FILM AND CRITICISM Zachary Kendell Gooch, Ph.D. Cornell University 2014 Although the term arises in French film criticism, “noir” has long been associated with American cinema and a certain, recognizable type of visual and thematic style. Through a return to the French critics of the late 1930s, 1940s, and 1950s this dissertation defamiliarizes and redefines noir’s value to film and French studies by demonstrating its negatively constitutive role in the negotiation of French national identity and the central place of the Occupation in any discussion of French noir. By locating noir within criticism and performing close readings of the critical archive, which includes figures as diverse as Georges Sadoul and André Bazin, Lucien Rebatet and François Truffaut, I argue that noir critical discourse is defined by a tension between the category’s ever-changing value and the efforts of those who deploy it to fix the meaning of the nation before, during, and after the Occupation through careful omissions of the historical, collective memory. Because noir is central to debates on how the nation should and, more precisely, should not be represented, I also resist conventional, generic approaches to advance that individual films noirs are secondary to noir critical discourse. -
˙Ţ1 0 4 4 2 5 . P D
French Cinema: A Student's Guide This page intentionally left blank French Cinema: A Student's Guide Phil Powrie and Keith Reader The authors and publishers would like to thank the following for permission to reproduce copyright illustrative material: bfi Collections 15, 25, 34, 43, 47, 50, 100, 111; bfi Stills, Posters and Designs 52; Ronald Grant Archive 32, 42, 94. Orders: please contact Bookpoint Ltd, 130 Milton Park, Abingdon, Oxon OX 14 4SB. Telephone: (44) 01235 827720. Fax: (44) 01235 400454. Lines are open from 9.00 - 6.00, Monday to Saturday, with a 24 hour message answering service. Email address: orders®bookpoint.co.uk British Library Cataloguing in Publication Data A catalogue record for this title is available from the British Library ISBN 0 340 760044 (PB) ISBN 0 340 760036 (HB) First Published 2002 Impression number 1098765432 1 Year 2007 2006 2005 2004 2003 2002 Copyright © Phil Powrie and Keith Reader 2002 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publisher or under licence from the Copyright Licensing Agency Limited. Further details of such licences (for reprographic reproduction) may be obtained from the Copyright Licensing Agency Limited, of 90 Tottenham Court Road, London W1P 9HE. Typeset by Phoenix Photosetting Printed in Great Britain for Hodder & Stoughton Educational, a division of Hodder Headline Plc, 338 Euston Road, London NW1 3BH by MPG Books Ltd Contents Introduction 1 1. -
Claude Sautet Ou La Vie Filmée
Claude Sautet ou la vie filmée • Guillemette Odicino • . On célébrera en juillet le vingtième anniversaire de sa disparition. L’occasion de dissiper les derniers malentendus sur la carrière de Claude Sautet, cinéaste moins préoccupé par les “bourgeois” que par l’angoisse de vivre et la confusion des sentiments. Premier volet d’une story avec Piccoli, Montand et, bien sûr, Romy Schneider en guest stars. Claude Sautet est mort il y a presque vingt ans, en juillet 2000. Juillet, ce mois de l’« après », où nous renouerons avec la vie d’avant, dans les bars, restaurants et files d’attente des cinémas. Si une filmographie contredit toutes les mesures de confinement, c’est bien celle de ce réalisateur qui raffolait des bistrots bondés, des brasseries généreuses et des embrassades et mains serrées quand on se retrouve entre copains à la campagne. Le climat de la plupart de ses films se caractérise par la bande, le groupe. Et en plus, tout le monde fume – lui, c’était des Gitanes brunes sans filtre – comme un pompier ! Vraiment une autre époque. Pourtant, ses histoires restent follement intemporelles, comme en témoigne leur succès auprès des nouvelles générations, qui y trouvent des préoccupations et sentiments éternels. Un peu tard, mais mieux vaut tard que jamais, advinrent ainsi la réhabilitation et l’admiration sans réserve pour ce grand bâtisseur de fictions dont le seul « défaut », pour certains cinéphiles, était d’avoir plongé dans l’âme humaine sans épouser la Nouvelle Vague. Sautet n’est pas seulement ce cinéaste sociologique qui filma les années Pompidou, puis Giscard, et les petits-bourgeois qui se posent des questions.