Oscar-winning French actress Juliette Binoche is the new president of the European Film Academy.
The Efa board on Thursday said they voted unanimously to name The English Patient and The Taste of Things star to succeed Polish director Agnieszka Holland (The Green Border) as president.
Binoche’s appointment will be put to a vote by Efa members and, assuming she receives majority support, she will take over as president on May 1, 2024.
The French star will be only the second female head of the Efa, after Holland, who took over the role in 2021, succeeding German director Wim Wenders.
“I am not a person to easily step aside, but I have come to the conclusion that I am a filmmaker first and foremost. And this is what I want to focus on in the years to come,” said Holland. “For me, it is time to step aside now. Knowing that Juliette Binoche...
The Efa board on Thursday said they voted unanimously to name The English Patient and The Taste of Things star to succeed Polish director Agnieszka Holland (The Green Border) as president.
Binoche’s appointment will be put to a vote by Efa members and, assuming she receives majority support, she will take over as president on May 1, 2024.
The French star will be only the second female head of the Efa, after Holland, who took over the role in 2021, succeeding German director Wim Wenders.
“I am not a person to easily step aside, but I have come to the conclusion that I am a filmmaker first and foremost. And this is what I want to focus on in the years to come,” said Holland. “For me, it is time to step aside now. Knowing that Juliette Binoche...
- 3/14/2024
- by Scott Roxborough
- The Hollywood Reporter - Movie News
Tár writer/director Todd Field discusses a few of his favorite movies with Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
You Only Live Twice (1967) – Dana Gould’s trailer commentary
Tár (2022)
Man With A Movie Camera (1929)
Battleship Potemkin (1925)
Koyaanisqatsi (1982)
The Big Parade (1925)
Lawrence Of Arabia (1962)
The Crowd (1928)
Star Wars (1977)
The Servant (1963)
Parasite (2019) – Glenn Erickson’s Blu-ray review, Dennis Cozzalio’s review
The Three Musketeers (1973) – Josh Olson’s trailer commentary
Figures In A Landscape (1970)
M (1931)
M (1951)
I Am Cuba (1964)
The Cranes Are Flying (1957) – Glenn Erickson’s Criterion Blu-ray review
Letter Never Sent (1960)
Shadows of Forgotten Ancestors (1965)
Butch Cassidy And The Sundance Kid (1969)
The Towering Inferno (1974) – George Hickenlooper’s trailer commentary
The Great Waldo Pepper (1975)
The Sting (1973)
The World of Henry Orient (1964) – Larry Karaszewski’s trailer commentary
Thelma And Louise (1991)
Murmur Of The Heart (1971)
The Silent World (1956)
Opening Night (1977)
The Killing Of A Chinese Bookie (1976) – Larry Karaszewski’s...
Show Notes: Movies Referenced In This Episode
You Only Live Twice (1967) – Dana Gould’s trailer commentary
Tár (2022)
Man With A Movie Camera (1929)
Battleship Potemkin (1925)
Koyaanisqatsi (1982)
The Big Parade (1925)
Lawrence Of Arabia (1962)
The Crowd (1928)
Star Wars (1977)
The Servant (1963)
Parasite (2019) – Glenn Erickson’s Blu-ray review, Dennis Cozzalio’s review
The Three Musketeers (1973) – Josh Olson’s trailer commentary
Figures In A Landscape (1970)
M (1931)
M (1951)
I Am Cuba (1964)
The Cranes Are Flying (1957) – Glenn Erickson’s Criterion Blu-ray review
Letter Never Sent (1960)
Shadows of Forgotten Ancestors (1965)
Butch Cassidy And The Sundance Kid (1969)
The Towering Inferno (1974) – George Hickenlooper’s trailer commentary
The Great Waldo Pepper (1975)
The Sting (1973)
The World of Henry Orient (1964) – Larry Karaszewski’s trailer commentary
Thelma And Louise (1991)
Murmur Of The Heart (1971)
The Silent World (1956)
Opening Night (1977)
The Killing Of A Chinese Bookie (1976) – Larry Karaszewski’s...
- 1/10/2023
- by Kris Millsap
- Trailers from Hell
In a 1995 documentary interview shot 10 months before his death in the middle of heart surgery at the age of 54, the great Polish filmmaker Krzysztof Kieślowski gave himself the kind of backhanded compliment that captured both his wry sense of humor and his cancerous frustration with the limitations of his cinema (or was it the cinema itself?). “I have one good characteristic,” he blankly confessed to the camera. “I’m a pessimist, so I always imagine the worst. To me, the future is a black hole. It frightens me.”
Then semi-retired at the height of his powers despite continuing to scribble away at a pile of scripts inspired by the afterlife, Kieślowski may have already suspected that he wouldn’t be around to experience much of the future for himself. Nevertheless, each new reissue or restoration of the fin-de-siècle film series that capped off his career makes it all the more...
Then semi-retired at the height of his powers despite continuing to scribble away at a pile of scripts inspired by the afterlife, Kieślowski may have already suspected that he wouldn’t be around to experience much of the future for himself. Nevertheless, each new reissue or restoration of the fin-de-siècle film series that capped off his career makes it all the more...
- 7/12/2022
- by David Ehrlich
- Indiewire
Mubi's Krzysztof Kieslowski Retrospective runs August 10 – October 28, 2019 in most countries around the world.Camera Buff“It comes from a deep-rooted conviction that if there is anything worthwhile doing for the sake of culture, then it is touching on subject matters and situations which link people, and not those that divide people. There are too many things in the world that divide people, such as religion, politics, history, and nationalism. If culture is capable of anything, then it is finding that which unites us all. And there are so many things that unite people. It doesn't matter who you are or who I am, if your tooth aches or mine; it's still the same pain. Feelings are what link people together, because the word 'love' has the same meaning for everybody. Or 'fear', or 'suffering'. We all fear the same way and the same things. And we all love in the same way.
- 9/3/2019
- MUBI
While its execution feels as sophisticated as a bumper sticker slogan, director Lucas Belvaux’s This is Our Land, based on Jérôme Leroy’s book Le Bloc, functions nicely as a contemporary political thriller, respecting its audience’s intelligence enough to avoid an overly sensationalized narrative. It’s a timely story of Pauline (Émilie Dequenne), a nurse used as a pawn in a mayoral election by a controversial politician, played by Catherine Jacob, puppeteering the young woman’s rise to power. Famously, the president of France’s National Front Marine La Pen inspired Jacob’s character. As Pauline transitions into the limelight, even dying her hair blonde to better fit with the party’s brand, she finds her friends, family and patients deeply divided on her newfound political aspirations. While the script could use some touching up, Belvaux’s reserved visual style and strict commitment to tone renders This is...
- 4/17/2018
- by Tony Hinds
- The Film Stage
Krzysztof Kieślowski's magnum opus for Polish Television is a transcendent 'cycle' of moral tales, each based on one of the Ten Commandments. But sometimes it's difficult to get the connection -- these brilliant mini-movies are pretty tricky. Dekalog Blu-ray The Criterion Collection 837 1988 / Color / 1:33 flat full frame; 1:70 widescreen / 583 min. / available through The Criterion Collection / Street Date September 27, 2016 / 99.95 Starring Aleksander Bardini, Janusz Gajos, Krystyna Janda, Bugoslaw Linda, Daniel Olbrychski many others. Cinematography Witold Adamek, Jacek Blawut, Slavomir Idziak, Andrzej Jaroszewicz, Edward Klosinski, Dariusz Kuc, Krzysztof Pakulski, Piotr Sobocinski, Wieslaw Zdort Film Editor Ewa Smal Original Music Zbigniew Preisner Written by Krzysztof Kieślowski, Krzysztof Plesiewicz Produced by Ryszard Chutkowski Directed by Krzysztof Kieślowski
Reviewed by Glenn Erickson
Back in the early 1990s I believe my first access to Polish director Krzystof Kieślowski was a laserdisc of his film The Double Life of Veronique. I also remember a big reaction in 1996 when...
Reviewed by Glenn Erickson
Back in the early 1990s I believe my first access to Polish director Krzystof Kieślowski was a laserdisc of his film The Double Life of Veronique. I also remember a big reaction in 1996 when...
- 10/17/2016
- by Glenn Erickson
- Trailers from Hell
“Some Short Films About Commandments”
By Raymond Benson
Much has been written and said about director Krzysztof Kieślowski’s ten-hour mini-series originally broadcast on Polish television in 1988. The late Stanley Kubrick, who rarely commented on other filmmakers’ works, wrote in a foreword to the published screenplays of Dekalog that Kieślowski and his co-writer Krzysztof Piesiewicz had dramatized their ideas with “dazzling skill.” Many critics have called Dekalog one of the greatest television mini-series ever made.
Although Dekalog has been previously released on home video, The Criterion Collection has seen fit to present on DVD and Blu-ray a new, restored 4K digital transfer that has also been recently playing in select art house cinemas around the U.S. Even though all but two episodes are in an analog television aspect ratio (4:3), there is no question that this is cinematic material. Kieślowski’s mise-en-scene is subtle and beckons to be seen...
By Raymond Benson
Much has been written and said about director Krzysztof Kieślowski’s ten-hour mini-series originally broadcast on Polish television in 1988. The late Stanley Kubrick, who rarely commented on other filmmakers’ works, wrote in a foreword to the published screenplays of Dekalog that Kieślowski and his co-writer Krzysztof Piesiewicz had dramatized their ideas with “dazzling skill.” Many critics have called Dekalog one of the greatest television mini-series ever made.
Although Dekalog has been previously released on home video, The Criterion Collection has seen fit to present on DVD and Blu-ray a new, restored 4K digital transfer that has also been recently playing in select art house cinemas around the U.S. Even though all but two episodes are in an analog television aspect ratio (4:3), there is no question that this is cinematic material. Kieślowski’s mise-en-scene is subtle and beckons to be seen...
- 10/11/2016
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Ten commandments. 10 episodes. 10 hours. When it first aired on Polish television in 1989, decades before long-form filmmaking would come to be regarded as the last bastion of auteurism, Krzysztof Kieślowski’s “Dekalog” was one of the most immense undertakings the cinema had ever seen. There had been longer works, and more lavishly financed ones — even when accounting for inflation, “Dekalog” would qualify as a micro-budget project — but the existential girth of Kieślowski’s magnum opus immediately made it feel like a monolith among molehills.
Even in the age of Netflix and “The Knick,” when directors are often responsible for delivering 600 minutes of footage at a time, Kieślowski’s epic still towers above the rest, and still seems somehow fuller than any of the similarly ambitious projects that have sprung up in its wake. It may not be the tallest building on the block, but — crammed with sex, death, love, murder, regret,...
Even in the age of Netflix and “The Knick,” when directors are often responsible for delivering 600 minutes of footage at a time, Kieślowski’s epic still towers above the rest, and still seems somehow fuller than any of the similarly ambitious projects that have sprung up in its wake. It may not be the tallest building on the block, but — crammed with sex, death, love, murder, regret,...
- 8/31/2016
- by David Ehrlich
- Indiewire
Twenty years after it originally played U.S. theaters, Krzysztof Kieslowski’s insanely ambitious Dekalog is back to toss a gasoline-soaked rag onto the constantly raging film versus TV debate. Kieslowski (who died in 1996) was primarily a movie director, best known here for The Double Life Of Véronique and his cosmopolitan Three Colors trilogy (Blue, White, and Red). Back in the late ’80s, however, he and his regular screenwriting partner, Krzysztof Piesiewicz, created a miniseries consisting of 10 hour-long films, each of which riffs on one of the Ten Commandments. The result ranks among the greatest achievements in television history—but it also produced two feature films, expanded from two of the episodes. One of them, A Short Film About Killing, won the Jury Prize at Cannes in 1988, over 18 months before the miniseries first aired. And the whole damn thing has since been released theatrically in various ...
- 8/31/2016
- by Mike D'Angelo
- avclub.com
Dailies is a round-up of essential film writing, news bits, videos, and other highlights from across the Internet. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.
It doesn’t quite measure up to the incredible set photos, but above, see the first official look at Tilda Swinton (Nancy Mirando) and Giancarlo Esposito (Frank Dawson) in Bong Joon-ho‘s Okja, arriving on Netflix in 2017.
Park Chan-wook‘s The Handmaiden will hit theaters on October 14. See our Cannes review.
Ahead of a Criterion release, Krzysztof Kieślowski‘s Decalogue will hit theaters nationwide thanks to Janus Films:
The complete 10-part epic, newly-restored on the occasion of the 20th anniversary of Kieślowski’s death, will begin its Us theatrical run at the IFC Center in New York on September 2nd, Los Angeles on September 17th at Cinefamily,...
It doesn’t quite measure up to the incredible set photos, but above, see the first official look at Tilda Swinton (Nancy Mirando) and Giancarlo Esposito (Frank Dawson) in Bong Joon-ho‘s Okja, arriving on Netflix in 2017.
Park Chan-wook‘s The Handmaiden will hit theaters on October 14. See our Cannes review.
Ahead of a Criterion release, Krzysztof Kieślowski‘s Decalogue will hit theaters nationwide thanks to Janus Films:
The complete 10-part epic, newly-restored on the occasion of the 20th anniversary of Kieślowski’s death, will begin its Us theatrical run at the IFC Center in New York on September 2nd, Los Angeles on September 17th at Cinefamily,...
- 7/19/2016
- by The Film Stage
- The Film Stage
Polish director Krzysztof Kieslowski is undoubtedly one of the most influential modernist filmmakers of all time. His prolific career, which spanned barely 20 years, produced some of the most lush, moving, and important films of his era — especially in Poland. After continuously battling with Polish authorities over the content of his documentaries and feature films, Kieslowski exploded into the international spotlight with “The Double Life Of Veronique,” only to follow that film up with his magnum opus, ‘The Three Colors’ trilogy. Read More: The Essentials: Krzysztof Kieslowski Two years after Kieslowski’s self-imposed retirement, following the biggest film of his career, “Three Colors: White,” the revolutionary auteur sadly passed away. At the time of his death, and despite his retirement, Kieslowski was chugging away on the script for another trilogy with his longtime writing partner Krzysztof Piesiewicz, which only hammers home the talent that we lost far too soon, and...
- 3/17/2016
- by Gary Garrison
- The Playlist
With the release of The Dark Knight Rises and the completion of the Dark Knight Trilogy it had me thinking of where it falls when compared to other classic trilogies. Trilogies used to be reserved for a select few, but now everything has a trilogy. I mean Step Up had a trilogy…until they made another movie and now it’s a quadrilogy. To be fair there is a lot of plot in that series so four movies were absolutely necessary. In fact I’m quite surprised Step Up Revolutions wasn’t split up into two parts. That’s not to say that there aren’t any great ones out there, because there are quite a few and I hope to point out some of those today. I created a list of what I think are the best trilogies ever made. I considered a few things when making this list.
- 12/30/2013
- by Dan Clark
- Nerdly
★★★★★ Forget Coppola's The Godfather, Disney Pixar's Toy Story and Christopher Nolan's Dark Knight films. Forget even the original Star Wars series. Krzysztof Kieślowski's Three Colours trilogy is the cinematic triptych par excellence. Released for the first time on separate Blu-rays here in the UK, each individual film offers distinct pleasures and changes of mood whilst at the same time maintaining a quality that never dips below masterpiece grade. As in his groundbreaking TV series The Decalogue (1989), Kieślowski and co-screenwriter Krzysztof Piesiewicz adopt a formal structure within which to tell their stories.
- 12/16/2013
- by CineVue UK
- CineVue
Article by Dan Clark
With the release of The Dark Knight Rises and the completion of the Dark Knight Trilogy it had me thinking of where it falls when compared to other classic trilogies. Trilogies used to be reserved for a select few, but now everything has a trilogy. I mean Step Up had a trilogy…until they made another movie and now it’s a quadrilogy. To be fair there is a lot of plot in that series so four movies were absolutely necessary. In fact I’m quite surprised Step Up Revolutions wasn’t split up into two parts. That’s not to say that there aren’t any great ones out there, because there are quite a few and I hope to point out some of those today. I created a list of what I think are the best trilogies ever made. I considered a few things when making this list.
With the release of The Dark Knight Rises and the completion of the Dark Knight Trilogy it had me thinking of where it falls when compared to other classic trilogies. Trilogies used to be reserved for a select few, but now everything has a trilogy. I mean Step Up had a trilogy…until they made another movie and now it’s a quadrilogy. To be fair there is a lot of plot in that series so four movies were absolutely necessary. In fact I’m quite surprised Step Up Revolutions wasn’t split up into two parts. That’s not to say that there aren’t any great ones out there, because there are quite a few and I hope to point out some of those today. I created a list of what I think are the best trilogies ever made. I considered a few things when making this list.
- 8/1/2012
- by Guest
- Nerdly
Andrew Pulver reveals the sixth of seven films to be offered for free to Guardian Extra members through Curzon on Demand
Krzysztof Kieślowski's dream-fable of women's parallel lives recalls a time of unapologetically highbrow film-making
• Click here for details of the Curzon on Demand streaming scheme
• Sign in to Guardian Extra to get the promotional code and watch The Double Life of Veronique on Curzon on Demand
Not so long ago, in the early 1990s in fact, art cinema actually mattered – far more than thrillers with TV-show-quoting hitmen or superheroes in tight trousers. Polish director Krzysztof Kieślowski was then the leading figure in what we now realise was the last gasp of a certain kind of high-minded, unapologetically intellectual film-making; its cut-off point, in retrospect, was the defeat of Kieślowski's Three Colours Red by Pulp Fiction at the 1994 Cannes film festival.
Perhaps, if we analyse the period more closely, this...
Krzysztof Kieślowski's dream-fable of women's parallel lives recalls a time of unapologetically highbrow film-making
• Click here for details of the Curzon on Demand streaming scheme
• Sign in to Guardian Extra to get the promotional code and watch The Double Life of Veronique on Curzon on Demand
Not so long ago, in the early 1990s in fact, art cinema actually mattered – far more than thrillers with TV-show-quoting hitmen or superheroes in tight trousers. Polish director Krzysztof Kieślowski was then the leading figure in what we now realise was the last gasp of a certain kind of high-minded, unapologetically intellectual film-making; its cut-off point, in retrospect, was the defeat of Kieślowski's Three Colours Red by Pulp Fiction at the 1994 Cannes film festival.
Perhaps, if we analyse the period more closely, this...
- 4/18/2012
- by Andrew Pulver
- The Guardian - Film News
By Raymond Benson
Normal 0 false false false En-us X-none X-none MicrosoftInternetExplorer4
It’s one of the best trilogies ever put on celluloid. Period.
This trio of films by the late Polish director Krzysztof Kieslowski can be ambiguously described by these adjectives: insightful, enigmatic, mysterious, melancholic, personal, beautiful, ironic, allegorical, and colorful.
Art house cinema movie-goers are most likely well familiar with these works, initially released in 1993 and 1994. Kieslowski was a preeminent filmmaker working since the 1970s behind the Iron Curtain and was relatively unknown to the West until the fall of the Soviet Union in 1989. Then, a flood of previous entries in his oeuvre amazed and challenged a new worldwide audience. His ten-part Polish television series from 1988, The Decalogue, became one of the most celebrated events in media. Now free to work where he wished and make what he wanted, Kieslowski moved to France and received funding for more ambitious...
Normal 0 false false false En-us X-none X-none MicrosoftInternetExplorer4
It’s one of the best trilogies ever put on celluloid. Period.
This trio of films by the late Polish director Krzysztof Kieslowski can be ambiguously described by these adjectives: insightful, enigmatic, mysterious, melancholic, personal, beautiful, ironic, allegorical, and colorful.
Art house cinema movie-goers are most likely well familiar with these works, initially released in 1993 and 1994. Kieslowski was a preeminent filmmaker working since the 1970s behind the Iron Curtain and was relatively unknown to the West until the fall of the Soviet Union in 1989. Then, a flood of previous entries in his oeuvre amazed and challenged a new worldwide audience. His ten-part Polish television series from 1988, The Decalogue, became one of the most celebrated events in media. Now free to work where he wished and make what he wanted, Kieslowski moved to France and received funding for more ambitious...
- 11/29/2011
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Chicago – Movies don’t get much more personally influential than Krzysztof Kieslowski’s “Blue,” “White,” and “Red,” collectively known as the “Three Colors” trilogy, and recently released in one gorgeous box set from The Criterion Collection. As we all do, I was a bit concerned that perhaps my memory of these films had been enhanced with time, but I found the opposite — they’re even better with age and stand as one of the best film achievements of not just their era but of all time. I can’t say enough about Kieslowski’s talent as a director and, while some may point to the “Decalogue” films or “The Double Life of Veronique,” I’ve always considered “Three Colors” to be the greatest accomplishment of one of history’s greatest directors. And Criterion has done one of their most notable acquisitions justice with one of their best releases of the year.
- 11/28/2011
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Terrence Malick has made only five feature films to date, all made in the Us. None of those five films has won an Oscar although many of his films have made the grade of garnering numerous unsuccessful Oscar nominations. On the other hand, Malick’s The Thin Red Line won the Golden Bear at Berlin Film Festival, Days of Heaven won the Best Director award at Cannes, and now The Tree of Life has won the coveted Golden Palm at Cannes, awards that have eluded many Oscar winners. These facts themselves speak loudly about the quality of Malick’s cinema, appreciated more in Europe than in the Us.
For this critic, too, only three of the five Malick feature films, the same three that won acclaim in Europe, bear the stamp of truly outstanding cinema. In contrast, many American viewers to this day find his debut film Badlands, which has...
For this critic, too, only three of the five Malick feature films, the same three that won acclaim in Europe, bear the stamp of truly outstanding cinema. In contrast, many American viewers to this day find his debut film Badlands, which has...
- 11/21/2011
- by Jugu Abraham
- DearCinema.com
This was the week that Eddie Murphy baled out of the Oscars, leaving the way clear for the some fabric puppets
The big story
Once upon a time the Oscar ceremony was a comforting drone punctuated only by the odd song-and-dance routine and the banshee wailing of overwhelmed best actress award winners. Not any more. Someone, somewhere, decided it had to get "edgy". Last time, they had cool young persons in the shape of James Franco and Anne Hathaway introducing it - and look how that worked out.
The big idea for 2012 was to hire a bona fide Hollywood hotshot, so naturally the word went out for Brett Ratner. Yes, well... he made Rush Hour 2, you know. No sooner had Ratner persuaded his mucker Eddie Murphy to act as the show's host (an inspired choice, we give him that) then he was promptly ejected from his co-producer role after...
The big story
Once upon a time the Oscar ceremony was a comforting drone punctuated only by the odd song-and-dance routine and the banshee wailing of overwhelmed best actress award winners. Not any more. Someone, somewhere, decided it had to get "edgy". Last time, they had cool young persons in the shape of James Franco and Anne Hathaway introducing it - and look how that worked out.
The big idea for 2012 was to hire a bona fide Hollywood hotshot, so naturally the word went out for Brett Ratner. Yes, well... he made Rush Hour 2, you know. No sooner had Ratner persuaded his mucker Eddie Murphy to act as the show's host (an inspired choice, we give him that) then he was promptly ejected from his co-producer role after...
- 11/11/2011
- The Guardian - Film News
Krzysztof Kieslowski's 1990s trilogy had a touch of dinner party trendiness on release, but the colours stay fast today
For some cinephiles, reconsidering Krzysztof Kieslowski's Three Colours trilogy is like finding an old photo of yourself in 90s clothes and a 90s haircut. This series of three conceptually interlocking movies – his last work, in fact, before he died of cancer in 1995 – was by far Kieslowski's biggest international hit, helped in this country by poster campaigns featuring the luminous stars of each: Juliette Binoche, Julie Delpy and Irène Jacob, a gorgeous young aristocracy of French cinema. The films were co-written by Krzysztof Piesiewicz, a lawyer by training; now a parliamentarian and somewhat conservative figure in Poland.
And, yes, there is a definite touch of dinner-party trendiness that clings to the memory of these movies now, together with a touch of critical doubt, a suspicion that the Three Colours were contrived,...
For some cinephiles, reconsidering Krzysztof Kieslowski's Three Colours trilogy is like finding an old photo of yourself in 90s clothes and a 90s haircut. This series of three conceptually interlocking movies – his last work, in fact, before he died of cancer in 1995 – was by far Kieslowski's biggest international hit, helped in this country by poster campaigns featuring the luminous stars of each: Juliette Binoche, Julie Delpy and Irène Jacob, a gorgeous young aristocracy of French cinema. The films were co-written by Krzysztof Piesiewicz, a lawyer by training; now a parliamentarian and somewhat conservative figure in Poland.
And, yes, there is a definite touch of dinner-party trendiness that clings to the memory of these movies now, together with a touch of critical doubt, a suspicion that the Three Colours were contrived,...
- 11/10/2011
- by Peter Bradshaw
- The Guardian - Film News
We're streaming Krzysztof Kieslowski's brilliant trilogy live on the site. And we'd like you to join our discussion about the films
"When Krzysztof Kieslowski died on March 13, 1996," wrote Richard Williams a decade later in the Guardian, "it was as though a certain kind of cinema had come to an end along with him." A retrospective look at our archive content on the Polish director hammers home his point: this was a man of rare vision and brilliance. And his central achievement, the Three Colours trilogy – which takes its titles from the colours of the French flag, and inspiration from the political ideals at the heart of the Republic (liberty, equality, fraternity) – is an uncontested landmark in European cinema.
It was also, sadly, his final achievement: Kieslowski took early retirement at 52 after making the last in the trilogy, Red, then had a fatal heart attack two years later. It makes...
"When Krzysztof Kieslowski died on March 13, 1996," wrote Richard Williams a decade later in the Guardian, "it was as though a certain kind of cinema had come to an end along with him." A retrospective look at our archive content on the Polish director hammers home his point: this was a man of rare vision and brilliance. And his central achievement, the Three Colours trilogy – which takes its titles from the colours of the French flag, and inspiration from the political ideals at the heart of the Republic (liberty, equality, fraternity) – is an uncontested landmark in European cinema.
It was also, sadly, his final achievement: Kieslowski took early retirement at 52 after making the last in the trilogy, Red, then had a fatal heart attack two years later. It makes...
- 11/10/2011
- The Guardian - Film News
One of the most acclaimed achievements in modern cinema, The Three Colours Trilogy comes to Blu-ray on 21st November, and to mark the release we have a box set to give away to one lucky winner!
Available for the first time in the UK on Blu-ray, Krzysztof Kieslowski’s multi award-winning trilogy is a landmark of world cinema. Three Colours: Blue, White and Red have been acclaimed as masterpieces by critics and audiences the world over.
The films, co-written by Kieslowski and Krzysztof Piesiewicz, with whom he wrote the epic Dekalog cycle, explore the French Revolutionary ideals of freedom, equality and brotherhood and their relevance to the contemporary world. Blue examines liberation through the eyes of a woman (Juliette Binoche) who loses her husband and son in an auto accident, and solemnly starts anew. White is an ironic comedy about a befuddled Polish husband (Zbigniew Zamachowski) who takes an odd...
Available for the first time in the UK on Blu-ray, Krzysztof Kieslowski’s multi award-winning trilogy is a landmark of world cinema. Three Colours: Blue, White and Red have been acclaimed as masterpieces by critics and audiences the world over.
The films, co-written by Kieslowski and Krzysztof Piesiewicz, with whom he wrote the epic Dekalog cycle, explore the French Revolutionary ideals of freedom, equality and brotherhood and their relevance to the contemporary world. Blue examines liberation through the eyes of a woman (Juliette Binoche) who loses her husband and son in an auto accident, and solemnly starts anew. White is an ironic comedy about a befuddled Polish husband (Zbigniew Zamachowski) who takes an odd...
- 11/4/2011
- by Competitons
- HeyUGuys.co.uk
Release Date: Nov. 15, 2011
Price: DVD $59.95, Blu-ray $79.95
Studio: Criterion
Krzysztof Kieślowski’s Blue, White and Red receive the Criterion treatment this November.
Legendary Polish filmmaker Krzysztof Kieślowski’s Three Colors trilogy, a boldly cinematic trio of stories about love and loss, was a defining event of the art house boom of the 1990s. The films — Blue (1993), White (1993) and Red (1994) — were named for the colors of the French flag and stand for the tenets of the French Revolution: liberty, equality and fraternity. But that only hints at the film’s beauty, richness and humanity.
Set in Paris, Warsaw and Geneva, Blue, White, and Red (Kieślowski’s final film) range from tragedy to drama to comedy. They follow a group of ambiguously interconnected people experiencing profound personal disruptions.
Marked by intoxicatingly lush cinematography and memorable performances by such actors as Juliette Binoche (Chocolat), Julie Delpy (Guilty Hearts), Irène Jacob (Beyond the Clouds) and...
Price: DVD $59.95, Blu-ray $79.95
Studio: Criterion
Krzysztof Kieślowski’s Blue, White and Red receive the Criterion treatment this November.
Legendary Polish filmmaker Krzysztof Kieślowski’s Three Colors trilogy, a boldly cinematic trio of stories about love and loss, was a defining event of the art house boom of the 1990s. The films — Blue (1993), White (1993) and Red (1994) — were named for the colors of the French flag and stand for the tenets of the French Revolution: liberty, equality and fraternity. But that only hints at the film’s beauty, richness and humanity.
Set in Paris, Warsaw and Geneva, Blue, White, and Red (Kieślowski’s final film) range from tragedy to drama to comedy. They follow a group of ambiguously interconnected people experiencing profound personal disruptions.
Marked by intoxicatingly lush cinematography and memorable performances by such actors as Juliette Binoche (Chocolat), Julie Delpy (Guilty Hearts), Irène Jacob (Beyond the Clouds) and...
- 8/15/2011
- by Laurence
- Disc Dish
Trois Couleurs: Rouge / Three Colors: Red (1994) Direction: Krzysztof Kieslowski Cast: Jean-Louis Trintignant, Irène Jacob, Jean-Pierre Lorit, Frédérique Feder, Samuel Le Bihan Screenplay: Krzysztof Kieslowski and Krzysztof Piesiewicz Oscar Movies, European Film Award Movies Jean-Louis Trintignant, Irène Jacob, Three Colors: Red By Dan Schneider of Cosmoetica The final film of Krzysztof Kieslowski's "Three Colors" trilogy, the 1994 release Rouge/ Red, is almost universally acclaimed as the best of the three. For once, the general consensus is correct; but then again, if one is to believe some of the online reviews of both Red and the trilogy itself, there are plenty of people who seriously question whether or not "Three Colors" is a better trilogy than those of Star Wars, The Matrix, or The Lord of the Rings. Let me end that debate once and for all: The "Three Colors" trilogy is far better than those comic-book-type films. And real comparisons would...
- 3/13/2011
- by Dan Schneider
- Alt Film Guide
Screened at the Toronto International Film Festival
TORONTO - Danis Tanovic's Oscar-winning "No Man's Land" demonstrated a fondness for allegory and his second feature, "L'Enfer" ("Hell"), draws upon Greek mythology, Euripides' "Medea" and the interplay of destiny and coincidence. But for all its literary references, the thing certainly looks like a shallow though slick French melodrama. Make no mistake though, it is slick: It has a cast that sparkles, razor-sharp editing, romantic Parisian locales and lively, provocative dialogue.
So the film will probably divide audiences. Some will see an elaborate jigsaw puzzle that when put together doesn't add up to much of a picture. Others will find intellectual vitality in its musings on fate vs. coincidence, tragedy vs. drama. Tanovic's Oscar no doubt guarantees a North American release, but boxoffice in specialty venues will be modest.
The film is based on a script Polish filmmaker Krysztof Kieslowski and his longtime screenwriter Krzysztof Piesiewicz designed before Kieslowski's death. It was intended as the second film of a "Heaven-Hell-Purgatory" trilogy based loosely on Dante's "Inferno". The first, "Heaven", was shot by Tom Tykwer.
The movie opens with an enigmatic flashback that forewarns us of a traumatic event that took place in the distant past. In the present, all the characters we meet in the early sequences are certainly in hell. The question is what shaped these individual hells - tragedy or something more modern, more existential, something that we might call coincidence or accident?
Three estranged sisters barely cope with their individual predicaments. Only one, Celine (Karin Viard), pays regular visits to their severely handicapped mother (Carole Bouquet, looking lost under a bad wig and neck brace) in a country hospital. Celine is ambivalent about her particular problem. She seems to have attracted a shy though handsome stalker (Guillaume Canet). A shy person herself, she nevertheless tries to encourage him.
Meanwhile, circumstances have turned the other two sisters into full-fledged stalkers. Sophie (Emmanuelle Beart) tails her photographer-husband (Jacques Gamblin) until she has determined he is having an affair. She both hates and revels in her humiliation as she literally seeks to increase her anguish.
Anne (Marie Gillain) shadows and continually disrupts the life of the lover who dumped her. He's an older professor (Jacques Perrin) of Greek classical literature, thus all the talk of "Medea" and destiny arises naturally in the story.
Each melodrama plays out amid an overenthusiastic musical soundtrack (by Tanovic and Dusko Segvic), many tears, recriminations and quarrels, then finally a shattering revelation by Celine's "stalker," whose intentions she completely misjudged.
The man wants to unburden himself of a long held guilt that relates to the sisters' mother and father. Ah-hah, so that guy we saw getting out of prison at the beginning of the movie was their father. And that past tragedy, we are asked to believe, informs and directs the action in each subplot involving the sisters. They were, in other words, pre-conditioned to those roles by the conflict between mom and dad.
Beart, one of the great beauties of French cinema, manages to be both sensual and miserable at the same time. Viard makes Celine the most poignant and compelling of the three women, as she seems genuinely afraid of the world around her. Gillain's character is too willful and spoiled to evoke much sympathy but she makes the woman's deep despair palpable.
Cinematography, editing and decor all are superb in depicting a bourgeois Paris where everyone can live a wretched existence in comfort.
L'ENFER
A.S.A.P. Films/S.A.R.L./Sintra s.r.l./Man's Films Productions/Bitters End
Credits:
Director: Danis Tanovic
Writer: Krysztof Piesiewicz
Producers: Cedomir Kolar, Marc Baschet
Director of photography: Laurent Dailland
Production designer: Aline Bonetto
Costumes: Caroline di Vivaire
Music: Dusko Segvic, Danis Tavovic
Editor: Francesca Calvelli.
Cast:
Sophie: Emmanuelle Beart
Celine: Karin Viard, Anne: Marie Gillain, Mother: Carole Bouquet
Pierre: Jacques Gamblin
Sebastien: Guillaume Canet
Frederic: Jacques Perrin
Louis: Jean Rochefort
No MPAA rating
Running time -- 101 minutes...
TORONTO - Danis Tanovic's Oscar-winning "No Man's Land" demonstrated a fondness for allegory and his second feature, "L'Enfer" ("Hell"), draws upon Greek mythology, Euripides' "Medea" and the interplay of destiny and coincidence. But for all its literary references, the thing certainly looks like a shallow though slick French melodrama. Make no mistake though, it is slick: It has a cast that sparkles, razor-sharp editing, romantic Parisian locales and lively, provocative dialogue.
So the film will probably divide audiences. Some will see an elaborate jigsaw puzzle that when put together doesn't add up to much of a picture. Others will find intellectual vitality in its musings on fate vs. coincidence, tragedy vs. drama. Tanovic's Oscar no doubt guarantees a North American release, but boxoffice in specialty venues will be modest.
The film is based on a script Polish filmmaker Krysztof Kieslowski and his longtime screenwriter Krzysztof Piesiewicz designed before Kieslowski's death. It was intended as the second film of a "Heaven-Hell-Purgatory" trilogy based loosely on Dante's "Inferno". The first, "Heaven", was shot by Tom Tykwer.
The movie opens with an enigmatic flashback that forewarns us of a traumatic event that took place in the distant past. In the present, all the characters we meet in the early sequences are certainly in hell. The question is what shaped these individual hells - tragedy or something more modern, more existential, something that we might call coincidence or accident?
Three estranged sisters barely cope with their individual predicaments. Only one, Celine (Karin Viard), pays regular visits to their severely handicapped mother (Carole Bouquet, looking lost under a bad wig and neck brace) in a country hospital. Celine is ambivalent about her particular problem. She seems to have attracted a shy though handsome stalker (Guillaume Canet). A shy person herself, she nevertheless tries to encourage him.
Meanwhile, circumstances have turned the other two sisters into full-fledged stalkers. Sophie (Emmanuelle Beart) tails her photographer-husband (Jacques Gamblin) until she has determined he is having an affair. She both hates and revels in her humiliation as she literally seeks to increase her anguish.
Anne (Marie Gillain) shadows and continually disrupts the life of the lover who dumped her. He's an older professor (Jacques Perrin) of Greek classical literature, thus all the talk of "Medea" and destiny arises naturally in the story.
Each melodrama plays out amid an overenthusiastic musical soundtrack (by Tanovic and Dusko Segvic), many tears, recriminations and quarrels, then finally a shattering revelation by Celine's "stalker," whose intentions she completely misjudged.
The man wants to unburden himself of a long held guilt that relates to the sisters' mother and father. Ah-hah, so that guy we saw getting out of prison at the beginning of the movie was their father. And that past tragedy, we are asked to believe, informs and directs the action in each subplot involving the sisters. They were, in other words, pre-conditioned to those roles by the conflict between mom and dad.
Beart, one of the great beauties of French cinema, manages to be both sensual and miserable at the same time. Viard makes Celine the most poignant and compelling of the three women, as she seems genuinely afraid of the world around her. Gillain's character is too willful and spoiled to evoke much sympathy but she makes the woman's deep despair palpable.
Cinematography, editing and decor all are superb in depicting a bourgeois Paris where everyone can live a wretched existence in comfort.
L'ENFER
A.S.A.P. Films/S.A.R.L./Sintra s.r.l./Man's Films Productions/Bitters End
Credits:
Director: Danis Tanovic
Writer: Krysztof Piesiewicz
Producers: Cedomir Kolar, Marc Baschet
Director of photography: Laurent Dailland
Production designer: Aline Bonetto
Costumes: Caroline di Vivaire
Music: Dusko Segvic, Danis Tavovic
Editor: Francesca Calvelli.
Cast:
Sophie: Emmanuelle Beart
Celine: Karin Viard, Anne: Marie Gillain, Mother: Carole Bouquet
Pierre: Jacques Gamblin
Sebastien: Guillaume Canet
Frederic: Jacques Perrin
Louis: Jean Rochefort
No MPAA rating
Running time -- 101 minutes...
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