Veteran French director Bertrand Tavernier (“Round Midnight”) – president and director of the Institut Lumière and Lumière Festival, which he co-manages with Cannes’ Thierry Frémaux – has played a pivotal role in restoring classic French films and defending the importance of French directors, such as Claude Autant Lara, Henri Decoin and André Cayatte, who were attacked by the film critics of the Nouvelle Vague.
He says his aim is to strike a new view of this period of French film history, citing the example of Francis Ford Coppola who praised and rehabilitated British filmmakers such as Michael Powell, similarly written off by some critics.
In 2016 Tavernier released his feature documentary “My Journey Through French Cinema,” and follow-up 8-episode TV series released in 2018, both of which are inspired by Martin Scorsese’s personal documentaries on American and Italian cinema.
Guests of this year’s 10th Lumiere Festival include Coppola, who receives a retrospective,...
He says his aim is to strike a new view of this period of French film history, citing the example of Francis Ford Coppola who praised and rehabilitated British filmmakers such as Michael Powell, similarly written off by some critics.
In 2016 Tavernier released his feature documentary “My Journey Through French Cinema,” and follow-up 8-episode TV series released in 2018, both of which are inspired by Martin Scorsese’s personal documentaries on American and Italian cinema.
Guests of this year’s 10th Lumiere Festival include Coppola, who receives a retrospective,...
- 10/13/2019
- by Martin Dale
- Variety Film + TV
Save for the below three texts, written daily and without distance, my thoughts on Mariano Llinás’s La flor are now mostly lost and long gone. Premiered in three parts across three days at the tail-end of the 2018 Locarno Film Festival, this 14-hour film full of endless dead ends remains more memorable for the unique conditions of its viewing than for its many plots. In spite of instructive interludes scattered throughout—Llinás does announce each episode’s excluded beginning, middle, or end, an admonition that promises no unity other than the reliable reappearance and reinvention of its four star performers—any spectator would have every reason to doubt Llinas’s reliability as narrator, inclined instead to approach with caution and see for themselves. And so, with a unique opportunity to embrace uncertainty and be suspended in self-doubt, blindly writing on La flor became as pleasurable as watching La flor. Free...
- 8/26/2019
- MUBI
Where to begin? Described by the 71st edition’s artistic director Carlo Chatrian as “a new way to watch films,” Argentine director Mariano Llinás’s latest has been touted as the longest film in the history of the great Locarno Festival. Running an exceptional 14 hours, the first 206 minutes of Llinás’s episodic epic—to be more specific, six stories told in three parts—proved a promising pulp anomaly. So far, so good. La Flor, a celebratory showcase that, in spite of its daunting duration, is not yet ever uneventful, is in no sense slow or contemplative cinema: a form that, by design, might produce the kind of fatigue necessary to find whatever epiphany lies beyond our boredom.Though its many plots seem to extend into perpetuity, La Flor, variously abbreviated and abridged, instead flourishes with an abandon, following no rules other than its own. Llinás’s prologue begins with two images,...
- 8/10/2018
- MUBI
Sarah Leonor Discovers a Great Man
By Terry Keefe
Writer/director Sarah Leonor is one of France's most exciting new cinematic exports. Her latest film, The Great Man (Le Grand Homme), is an extraordinary drama depicting the traumas of war and immigration, and how they ricochet, opens on Friday, August 14 in New York at the Film Society of Lincoln Center’s Elinor Bunin Theater, then platforms wider on September 4. Starring Jérémie Rénier (The Dardenne Brothers' Palme D’or Winner L’Enfant), The Great Man is a powerful story about friendship and solidarity and takes a closer look at how men try to piece their lives back together when they’ve been shattered by war.
Hamilton (Jérémie Rénier) and Markov (Surho Sugaipov) are about to finish five years of service in the Foreign Legion. During their six-month posting in Afghanistan, they wind up amidst a crossfire while out on an impromptu and unauthorized leopard hunt.
By Terry Keefe
Writer/director Sarah Leonor is one of France's most exciting new cinematic exports. Her latest film, The Great Man (Le Grand Homme), is an extraordinary drama depicting the traumas of war and immigration, and how they ricochet, opens on Friday, August 14 in New York at the Film Society of Lincoln Center’s Elinor Bunin Theater, then platforms wider on September 4. Starring Jérémie Rénier (The Dardenne Brothers' Palme D’or Winner L’Enfant), The Great Man is a powerful story about friendship and solidarity and takes a closer look at how men try to piece their lives back together when they’ve been shattered by war.
Hamilton (Jérémie Rénier) and Markov (Surho Sugaipov) are about to finish five years of service in the Foreign Legion. During their six-month posting in Afghanistan, they wind up amidst a crossfire while out on an impromptu and unauthorized leopard hunt.
- 8/14/2015
- by The Hollywood Interview.com
- The Hollywood Interview
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