Volker Schlöndorff – Homo Faber AKA Voyager (1991)

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Synopsis:
A man who has spent his life running away from his past. He is forced to finally deal things that he has left unresolved. When fate puts him on a collision course with the life that he reluctantly walked away from.
Voyager was directed by Volker Schlondorff, who’s other notable films include The Tin Drum and Death of a salesman. The screenplay for Voyager was written by Rudy Wurlitzer (Two-Lane Blacktop, Pat Garrett and Billy the Kid). The screenplay was adapted from Swiss author Max Frisch’s novel ‘Homo Faber’. Continue reading

Moumen Smihi – Si Moh, pas de chance AKA Simoh, the Unlucky Man (1971)

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Shot in Paris after Smihi completed film school, Si Moh is an investigation of the life of migrant workers in France. Connected back to the Maghreb by postcards and to his fellow migrants by shared experiences of alienation, the character Simoh negotiates the industrialized suburbs of Paris as the subject of Smihi’s intimate camera. Continue reading

Peter Brook – Moderato cantabile AKA Seven Days… Seven Nights (1960)

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Synopsis:
A wealthy and bored woman is witness of a murder in affection and meets another witness. She asks him about the history of the victim and falls in love with him.

— IMDb.

Review:

One of those movies that mesmerizes through its restraint, this is set in a dreary coastal small town—familiar territory for French cinema—where Anne Desbarèdes (Moreau) is the beautiful, bored wife of the principal local employer (Deschamps); “No,” she says at one point, summarizing not just the starkness of the place but her own life there, “summer never comes in this region. It’s always windy.” Continue reading

Jacques Rivette – Duelle (une quarantaine) AKA Twilight (A Quarantine) (1976)

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Quote:
Duelle seems to have been instantly cursed just by being the follow-up to Celine and Julie Go Boating, to this day the only Rivette film that the average buff concerns himself with ( and oh, how wrongly. ) Having finally gotten a chance to watch the film, I can see why. Where Celine and Julie could furnish a thousand college students with thesis papers on feminine play vs. masculine order, and the construction of meaning through the assumption of various roles associated with gender, and so forth, Duelle drops the intellectual ballast completely. Rivette outs himself as a mystic with this film, closer to charlatan-geniuses like Stockhausen or Rasputin than to Godard. This movie is almost like a Rosetta Stone, more dense and concentrated than anything else he’s done, that the future expert will be able to use to decode his work. Continue reading

Louis Delluc – La femme de nulle part [full version 68 min] (1922)

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Synopsis:
“Like his fiery study of a popular milieu in Fièvre, Louis Delluc’s early masterpiece of impressionist cinema, La Femme de Nulle Part, is almost impossible to see outside of rare archival projections in Paris. Shot in natural settings, and stripped of all that is not cinema, Delluc’s psychological drama featuring symbolist muse Eve Francis is an experiment in ‘direct style.’ A fascinating study in the relationship between past and present, memory, dream and reality, this revolutionary film would be a source of inspiration for successive filmmakers, from Francois Truffaut to Alain Resnais.” (NeilMac1971) Continue reading

René Coiffard & Louis Delluc – Le chemin d’Ernoa (1921)

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French informations :

Etchégor, un riche paysan basque est épris de la belle américaine Majesty Parnell. L’époux de celle-ci, sur le point d’être arrêté pour vol, cherche à se forger un alibi.

Mobilisé, Louis Delluc est contraint de renoncer à la mise en scène de son premier scénario, La Fête espagnole (1919), qu’il confie à Germaine Dulac. Impatient de réaliser ses propres films, il fonde sa société de production Parisia- Films au printemps 1920, et livre, en l’espace de quelques mois trois films : Fumée noire, Le Silence et L’Américain, qui deviendra Le Chemin d’Ernoa. Continue reading