Clockwise from left: The Departed (Warner Bros.), True Lies (20th Century Studios), Some Like It Hot (United Artists), 12 Monkeys (Universal)Graphic: The A.V. Club
Of all the challenges in the moviemaking universe, redoing a beloved foreign film for an American audience would seem pretty low on the list. You already...
Of all the challenges in the moviemaking universe, redoing a beloved foreign film for an American audience would seem pretty low on the list. You already...
- 11/2/2023
- by Ian Spelling
- avclub.com
Click here to read the full article.
The Emily Brontë movie Emily, with Sex Education breakout Emma Mackey playing the author in the movie from writer-director Frances O’Connor and U.S. distributor Bleecker Street, will open the Platform competition sidebar at the upcoming Toronto Film Festival.
TIFF unveiled 10 features with world premieres for the festival section where international films outside the Hollywood studio orbit compete. This year’s selection includes Brazilian director Carolina Markowicz’s Charcoal, Daniel Goldhaber’s environmental activists thriller How to Blow Up a Pipeline and two Canadian titles: Anthony Shim’s Riceboys Sleeps and Stephane Lafleur’s Viking.
“We launched Platform to shine a brighter light on some of the most original films and distinct voices at our festival. Now in year seven, it’s become a true home for international auteurs on the rise,” TIFF CEO Cameron Bailey said in a statement.
An international jury...
The Emily Brontë movie Emily, with Sex Education breakout Emma Mackey playing the author in the movie from writer-director Frances O’Connor and U.S. distributor Bleecker Street, will open the Platform competition sidebar at the upcoming Toronto Film Festival.
TIFF unveiled 10 features with world premieres for the festival section where international films outside the Hollywood studio orbit compete. This year’s selection includes Brazilian director Carolina Markowicz’s Charcoal, Daniel Goldhaber’s environmental activists thriller How to Blow Up a Pipeline and two Canadian titles: Anthony Shim’s Riceboys Sleeps and Stephane Lafleur’s Viking.
“We launched Platform to shine a brighter light on some of the most original films and distinct voices at our festival. Now in year seven, it’s become a true home for international auteurs on the rise,” TIFF CEO Cameron Bailey said in a statement.
An international jury...
- 8/3/2022
- by Etan Vlessing
- The Hollywood Reporter - Movie News
Legendary French stage and screen actor Michel Bouquet has died. He was 96. The César Award winner passed away today at a Paris hospital, his spokesperson confirmed to Afp. A tribute on the official website of the Elysée Palace did not cite a cause of death.
Hollywood & Media Deaths In 2022: Photo Gallery
Born in 1925, Bouquet began his film career in 1947 and went on to appear in more than 100 movies. In the 1960s and ’70s, he collaborated with New Wave directors François Truffaut and Claude Chabrol in such films as Truffaut’s The Bride Wore Black and Mississippi Mermaid and Chabrol’s The Unfaithful Wife and Just Before Nightfall, among others.
Later in his career, Bouquet won a European Film Award for Jaco Van Dormael’s Toto Le Héros (1991) and took two Best Actor Césars for Anne Fontaine’s How I Killed My Father (2001) and Robert Guédiguian’s The Last Mitterand...
Hollywood & Media Deaths In 2022: Photo Gallery
Born in 1925, Bouquet began his film career in 1947 and went on to appear in more than 100 movies. In the 1960s and ’70s, he collaborated with New Wave directors François Truffaut and Claude Chabrol in such films as Truffaut’s The Bride Wore Black and Mississippi Mermaid and Chabrol’s The Unfaithful Wife and Just Before Nightfall, among others.
Later in his career, Bouquet won a European Film Award for Jaco Van Dormael’s Toto Le Héros (1991) and took two Best Actor Césars for Anne Fontaine’s How I Killed My Father (2001) and Robert Guédiguian’s The Last Mitterand...
- 4/13/2022
- by Nancy Tartaglione
- Deadline Film + TV
Though the cinematic landscape has changed over the past five decades, one thing has remained the same: the Academy Awards, Golden Globes, National Board of Review of Motion Pictures, New York Film Critics Circle and National Society Film Critics have agreed to disagree on many of their choices of the best of the year. So, let’s travel back to awards season 50 years ago and see what these groups selected as the finest in filmmaker in 1969.
Best Picture
Academy Awards: The year of 1969 was truly a watershed for cinema and the Oscars reflected the numerous changes taking place in Hollywood and internationally. The Academy had one foot in tradition and one foot in contemporary cinema. But in terms of best film, “X” marked the spot as “Midnight Cowboy,” the then-x-rated gritty and poignant drama took home the best picture honor. It was the only time in Oscar history, the Academy...
Best Picture
Academy Awards: The year of 1969 was truly a watershed for cinema and the Oscars reflected the numerous changes taking place in Hollywood and internationally. The Academy had one foot in tradition and one foot in contemporary cinema. But in terms of best film, “X” marked the spot as “Midnight Cowboy,” the then-x-rated gritty and poignant drama took home the best picture honor. It was the only time in Oscar history, the Academy...
- 1/16/2020
- by Susan King
- Gold Derby
Star of Babette’s Feast who shone in the films of her husband Claude Chabrol
Of all the director-and-star couples in the history of cinema, there was none more prolific than Claude Chabrol and Stéphane Audran, who made 23 films together. Chabrol also directed Audran as Lady Macbeth at a theatre in Versailles, near Paris, in 1964, the year of their marriage. In her husband’s films, Audran, who has died aged 85, perfected her portrayal of the bourgeois Frenchwoman – graceful, aloof, intelligent, reserved and yet passionate. She dominated Chabrol’s films for more than two decades from 1960, often playing adulterous and/or betrayed wives called Hélène.
The “Hélène cycle” – variations on the theme of marital infidelity leading to murder – in which Audran played a wife caught between two characters, usually called Charles and Paul, began with La Femme Infidèle (The Unfaithful Wife, 1969). Chabrol seemed to draw mischievous pleasure from directing his wife in such roles.
Of all the director-and-star couples in the history of cinema, there was none more prolific than Claude Chabrol and Stéphane Audran, who made 23 films together. Chabrol also directed Audran as Lady Macbeth at a theatre in Versailles, near Paris, in 1964, the year of their marriage. In her husband’s films, Audran, who has died aged 85, perfected her portrayal of the bourgeois Frenchwoman – graceful, aloof, intelligent, reserved and yet passionate. She dominated Chabrol’s films for more than two decades from 1960, often playing adulterous and/or betrayed wives called Hélène.
The “Hélène cycle” – variations on the theme of marital infidelity leading to murder – in which Audran played a wife caught between two characters, usually called Charles and Paul, began with La Femme Infidèle (The Unfaithful Wife, 1969). Chabrol seemed to draw mischievous pleasure from directing his wife in such roles.
- 3/27/2018
- by Ronald Bergan
- The Guardian - Film News
La Femme infidèle
Directed by Claude Chabrol
Written by Claude Chabrol
France, 1968
Imagine the perfect life. If you were Charles Desvallees (Michel Bouquet), you’d imagine that you had a placid, undemanding office job. You’d also imagine that your secretary was a young, bubbly ingénue in a mini skirt.
After work, you’d imagine to drive home to a lavish, spacious mansion, filled with beautiful furniture and a dutiful housemaid to clean both. Waiting for you inside is your wife Hélène (Stéphane Audran), graceful and meek. Alongside Hélène is your son, a precocious young boy that likes to read and gets top marks.
Imagine if, that night, you take your wife out to dinner with friends. Joking, laughing and jovial, you take her dancing afterwards, and when you come home, you two make love. Imagine if you lived that life, but imagine if that life is not as perfect as described.
Directed by Claude Chabrol
Written by Claude Chabrol
France, 1968
Imagine the perfect life. If you were Charles Desvallees (Michel Bouquet), you’d imagine that you had a placid, undemanding office job. You’d also imagine that your secretary was a young, bubbly ingénue in a mini skirt.
After work, you’d imagine to drive home to a lavish, spacious mansion, filled with beautiful furniture and a dutiful housemaid to clean both. Waiting for you inside is your wife Hélène (Stéphane Audran), graceful and meek. Alongside Hélène is your son, a precocious young boy that likes to read and gets top marks.
Imagine if, that night, you take your wife out to dinner with friends. Joking, laughing and jovial, you take her dancing afterwards, and when you come home, you two make love. Imagine if you lived that life, but imagine if that life is not as perfect as described.
- 8/3/2012
- by Justin Li
- SoundOnSight
Starting July 13th and running through September 2nd, prepare yourself to be transported to a summer vacation in France. All you have to do is check in at Tiff Cinematheque (350 King Street West, Toronto).
The 41-film sabbatical will make take you to popular and renowned destinations that include Jean-Luc Godard’s Pierrot le Fou (1965), Luis Buñuel’s Belle de Jour (1967), François Truffaut’s The 400 Blows (1959), and Jean Renoir’s La Grande Illusion (1937).
We’ll even be making stops at more remote, recherché locations, such as Jean Eustache’s The Mother and the Whore (1973) and Jean-Pierre Melville’s Army of Shadows (1969).
Remember to pack lightly, re-schedule accordingly, and prepare for the ultimate staycation. Bon voyage!
Screenings include:
La Grand Illusion (1937)
Friday July 13 at 6:00 Pm
Sunday July 22 at 7:30 Pm
117 minutes
Heralded as “one of the fifty best films in the history of cinema” by Time Out Film Guide, Jean Renoir...
The 41-film sabbatical will make take you to popular and renowned destinations that include Jean-Luc Godard’s Pierrot le Fou (1965), Luis Buñuel’s Belle de Jour (1967), François Truffaut’s The 400 Blows (1959), and Jean Renoir’s La Grande Illusion (1937).
We’ll even be making stops at more remote, recherché locations, such as Jean Eustache’s The Mother and the Whore (1973) and Jean-Pierre Melville’s Army of Shadows (1969).
Remember to pack lightly, re-schedule accordingly, and prepare for the ultimate staycation. Bon voyage!
Screenings include:
La Grand Illusion (1937)
Friday July 13 at 6:00 Pm
Sunday July 22 at 7:30 Pm
117 minutes
Heralded as “one of the fifty best films in the history of cinema” by Time Out Film Guide, Jean Renoir...
- 7/2/2012
- by Justin Li
- SoundOnSight
French actor who played several classic roles on stage and dubbed the voice of Marlon Brando in The Godfather
In order to fully appreciate the wide-ranging acting talents of Michel Duchaussoy, who has died from a heart attack aged 73, one would have to be both French-speaking and resident in France. To those less fortunate, the knowledge of Duchaussoy is restricted to his striking appearances in several Claude Chabrol movies, and others by Alain Jessua, Louis Malle and Patrice Leconte, which were among the relatively few of his many films to be released in Britain and the Us.
In France, Duchaussoy was equally known as a television actor, whose voice was also recognisable from his dubbing of cartoon characters and stars such as Marlon Brando, in The Godfather. Prolific as he was in films and television, Duchaussoy was celebrated mainly for his 20-year tenure with the Comédie-Française theatre in Paris. There,...
In order to fully appreciate the wide-ranging acting talents of Michel Duchaussoy, who has died from a heart attack aged 73, one would have to be both French-speaking and resident in France. To those less fortunate, the knowledge of Duchaussoy is restricted to his striking appearances in several Claude Chabrol movies, and others by Alain Jessua, Louis Malle and Patrice Leconte, which were among the relatively few of his many films to be released in Britain and the Us.
In France, Duchaussoy was equally known as a television actor, whose voice was also recognisable from his dubbing of cartoon characters and stars such as Marlon Brando, in The Godfather. Prolific as he was in films and television, Duchaussoy was celebrated mainly for his 20-year tenure with the Comédie-Française theatre in Paris. There,...
- 3/20/2012
- by Ronald Bergan
- The Guardian - Film News
Diane Lane, Josh Brolin Cinema Verite Best Actress in a Television Movie or Mini-Series nominee Diane Lane and Josh Brolin arrive at the 18th Annual Screen Actors Guild Awards broadcast on TNT/TBS from the Shrine Auditorium on January 29, 2012, in Los Angeles, California. Lane lost to Kate Winslet in Todd Haynes' Mildred Pierce. The other nominees in that category were Emily Watson for Appropriate Adult, Betty White for The Lost Valentine (that evening, White won a SAG Award for Best Actress in a Comedy Series for her participation in Hot in Cleveland), and Maggie Smith for Downton Abbey. Winslet, who has already won a Golden Globe and an Emmy for the old Joan Crawford role (in Michael Curtiz's 1945 movie), was absent from the SAG Awards ceremony. (Photo by Jordan Strauss/WireImage.) Diane Lane has a previous SAG Award nomination: Best Actress in a Motion Picture for her performance...
- 2/1/2012
- by D. Zhea
- Alt Film Guide
Prolific French director of films with murder at their heart
The film director Claude Chabrol, who has died aged 80, created the first ripple of the French new wave with his first feature, Le Beau Serge (1958). Unlike some of his other critic colleagues on the influential journal Cahiers du Cinéma, who also became film-makers, Chabrol was perfectly happy in the mainstream. Along with Jean-Luc Godard, François Truffaut, Eric Rohmer and Jacques Rivette, he paid serious attention to Hollywood studio contract directors who retained their artistic personalities through good and bad films, thus formulating what came to be known as the "auteur theory".
In 1957, he and Rohmer wrote a short book on Alfred Hitchcock, whom they saw as a Catholic moralist. Hitchcock's black humour and fascination with guilt pervades the majority of Chabrol's films, most of which have murder at their heart. However, although Chabrol's thematic allegiance to Hitchcock remained intact, his...
The film director Claude Chabrol, who has died aged 80, created the first ripple of the French new wave with his first feature, Le Beau Serge (1958). Unlike some of his other critic colleagues on the influential journal Cahiers du Cinéma, who also became film-makers, Chabrol was perfectly happy in the mainstream. Along with Jean-Luc Godard, François Truffaut, Eric Rohmer and Jacques Rivette, he paid serious attention to Hollywood studio contract directors who retained their artistic personalities through good and bad films, thus formulating what came to be known as the "auteur theory".
In 1957, he and Rohmer wrote a short book on Alfred Hitchcock, whom they saw as a Catholic moralist. Hitchcock's black humour and fascination with guilt pervades the majority of Chabrol's films, most of which have murder at their heart. However, although Chabrol's thematic allegiance to Hitchcock remained intact, his...
- 9/14/2010
- by Ronald Bergan
- The Guardian - Film News
Claude Chabrol, prolific grand master filmmaker, Cahiers du Cinéma critic and member of the French New Wave, passed away this morning at age 80. Ronald Bergan writes an obituary at the Guardian:
Marriage, in Chabrol's films, must be defended by betrayed bourgeois spouses at any cost. But whatever is seething beneath the surface - guilt, jealousy or crime - the niceties of life must continue. In his ironic black comedies, large meals at home or in a restaurant are orchestrated into the action. For example, the two meals in La Femme Infidèle (The Unfaithful Wife, 1968), pointedly show the shift in the couple's relationship and the child's awareness of it. "The only love that can really exist in the bourgeois family is the love of parents for their children," Chabrol said. "I'm not against marriage or the family, only the bourgeois family." Here he resembled Luis Buñuel, although Buñuel attacked the bourgeoisie...
Marriage, in Chabrol's films, must be defended by betrayed bourgeois spouses at any cost. But whatever is seething beneath the surface - guilt, jealousy or crime - the niceties of life must continue. In his ironic black comedies, large meals at home or in a restaurant are orchestrated into the action. For example, the two meals in La Femme Infidèle (The Unfaithful Wife, 1968), pointedly show the shift in the couple's relationship and the child's awareness of it. "The only love that can really exist in the bourgeois family is the love of parents for their children," Chabrol said. "I'm not against marriage or the family, only the bourgeois family." Here he resembled Luis Buñuel, although Buñuel attacked the bourgeoisie...
- 9/13/2010
- by Alison Willmore
- ifc.com
Chabrol went behind the beautiful landscapes and homes of the bourgeoisie to lay bare the travails and turpitudes of the French
Exit Antonioni, exit Rohmer and now exit Chabrol. With Louis Malle and François Truffaut's untimely deaths in 1995 and 1984, there are now only three left: Jacques Rivette, Alain Resnais and Jean-Luc Godard. Who am I talking about? The New Wave's young Turks turned masters; in other words, some of cinema's most important authors.
Claude Chabrol's death took everyone by surprise. Fit as a fiddle, he was as active at 80 as he was 50 years ago, making a film almost every year. In 2007, the Turin film festival programmed a retrospective of his films, there were so many of them, they had to stage their homage over two years. I religiously went to Turin, as in pilgrimage, and got hooked on Chabrol. There, I also met him and asked about his...
Exit Antonioni, exit Rohmer and now exit Chabrol. With Louis Malle and François Truffaut's untimely deaths in 1995 and 1984, there are now only three left: Jacques Rivette, Alain Resnais and Jean-Luc Godard. Who am I talking about? The New Wave's young Turks turned masters; in other words, some of cinema's most important authors.
Claude Chabrol's death took everyone by surprise. Fit as a fiddle, he was as active at 80 as he was 50 years ago, making a film almost every year. In 2007, the Turin film festival programmed a retrospective of his films, there were so many of them, they had to stage their homage over two years. I religiously went to Turin, as in pilgrimage, and got hooked on Chabrol. There, I also met him and asked about his...
- 9/13/2010
- by Agnès Poirier
- The Guardian - Film News
Peter Bradshaw on the French New Wave figure who out-Hitchcocked Hitchcock with his hypocrisy-exposing suspense thrillers
For 30 years after the death of Alfred Hitchcock, the French film-maker Claude Chabrol near single-handedly kept alive a genre that without him might have become a museum piece, like the musical or the western: the icily elegant suspense thriller. The existence of these tense dramas depended largely on a strict set of social codes, a strong sense of order and a buttoned-up bourgeois society within which the idea of crime is unthinkable.
Yet the genre's dramatic charge depends not merely on the chill of transgression, but on the realisation that with sufficient ruthlessness, or ingenuity, or social privilege, some crime or psychopathic outrage might be concealed and fester, unseen, for ever.
Perhaps it is telling that Hitchcock was an Englishman; Chabrol found something in French society that was highly congenial to the suspense genre,...
For 30 years after the death of Alfred Hitchcock, the French film-maker Claude Chabrol near single-handedly kept alive a genre that without him might have become a museum piece, like the musical or the western: the icily elegant suspense thriller. The existence of these tense dramas depended largely on a strict set of social codes, a strong sense of order and a buttoned-up bourgeois society within which the idea of crime is unthinkable.
Yet the genre's dramatic charge depends not merely on the chill of transgression, but on the realisation that with sufficient ruthlessness, or ingenuity, or social privilege, some crime or psychopathic outrage might be concealed and fester, unseen, for ever.
Perhaps it is telling that Hitchcock was an Englishman; Chabrol found something in French society that was highly congenial to the suspense genre,...
- 9/13/2010
- by Peter Bradshaw
- The Guardian - Film News
This is a sad day indeed. French New Wave pioneer, Claude Chabrol, has died today aged 80. Always my personal favourite of the Cahiers du Cinema gang Chabrol’s 1958 movie Le Beau Serge and Les Cousins (1959) helped kick-start the movement.
Mayor of Paris Bertrand Delanoe described the film-maker as:
“Claude Chabrol produced an immense and particularly inspired body or work that stands today as a monument of French cinema.”
Before venturing into the film-making world, he worked alongside Jean-Luc Godard, Francois Truffaut, Jacques Rivette and Eric Rohmer at the famous Cahiers du Cinema magazine in the 1950s.
In the late ’60s he produced a string of classic thriller pictures including the masterpiece Le Boucher and Les Biches (1968), La Femme infidèle (1969), Que la bête meure (1969), Le Boucher (1970)
and La Rupture (1970).
In the 1980s and ’90s he returned to acclaim with Isabelle Huppert at his side in a string of classy films such as Madame Bovary,...
Mayor of Paris Bertrand Delanoe described the film-maker as:
“Claude Chabrol produced an immense and particularly inspired body or work that stands today as a monument of French cinema.”
Before venturing into the film-making world, he worked alongside Jean-Luc Godard, Francois Truffaut, Jacques Rivette and Eric Rohmer at the famous Cahiers du Cinema magazine in the 1950s.
In the late ’60s he produced a string of classic thriller pictures including the masterpiece Le Boucher and Les Biches (1968), La Femme infidèle (1969), Que la bête meure (1969), Le Boucher (1970)
and La Rupture (1970).
In the 1980s and ’90s he returned to acclaim with Isabelle Huppert at his side in a string of classy films such as Madame Bovary,...
- 9/12/2010
- by Martyn Conterio
- FilmShaft.com
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