The film follows the rise and fall of Paul, a DJ who pioneered the French touch – a type of electronic dance music that became widely popular in the 1990s.
At a time where raves dominate the era, Paul is drawn to the sounds of Chicago’s garage house. It’s not long before he forms a DJ duo called Cheers and his friends form the group Daft Punk. Together they fall headfirst into the world of drugs, sex, and music. Continue reading
Review from The cinema of Raul Ruiz – Martin, Adrian – Australian Film Institute – 1993 – 10 pages – – bookle
Ruiz harboured for many years the dream of filming one of the novels of Robert Louis Stevenson – one of the ‘low culture’ writers he cites as having an important, formative influence on him. Treasure Island was set up as a four-hour adventure epic for Cannon Films, and shot in 1985. The film eventually surfaced six years later in a much reduced form.
Ruiz’s approach to the adaptation of Stevenson is far from conventional. ‘The way Stevenson tells the story is so remarkable that it could be about anything – pirates, kidnappers, whatever. We are surrounded by stories that are like houses that we can enter. We play amidst these stories, sometimes being involved in two or three of them at once.’ The film thus transforms Stevenson’s novel into a gigantic conspiracy, a ‘house of fiction’ that pre-exists those who enter into it. its stories constitute ‘the society in which we live,’ and they are observed by a boy still at the threshold of his socialized identity. Ruiz describes the film as being about the ‘games of simulacra’ and the ‘playing of roles.’ Continue reading
Their grown-up son has left home, the draw in her office desk is full of ants, and her husband runs off after the bus leaving her standing on the street. Pomme’s life has become a series of disappointments. Over the years, Pomme and Pierre have drifted apart and their relationship, though not yet dead, is no longer really alive. Even their attempt to drink champagne together fails when the bottle explodes in the freezer. They are out hiking together one day when Pomme suddenly decides to stay behind in the forest, alone … Continue reading
Documentary filmmaker Frederick Wiseman goes behind the scenes at the National Gallery in a journey to the heart of a museum inhabited by masterpieces of Western art from the Middle Ages to the 19th century.
This three-hour epic has no voiceover, no score and no added sound effects. The nearest thing to music is the drone of the polishing machines at dawn. In a richly detailed, beautifully nuanced portrait of the gallery’s working life, we are guided gently from board meeting to retouching workshop, from gallery floor, to seminar room, from the difficult financial decisions facing the charity’s executives to visitors’ awed appreciation of the exhibitions.
Combining a vivid sense of how vast the gallery’s many activities are with an eye for droll observational detail, the film reveals how the gallery works and its relations with its staff, public and paintings. Continue reading
Synopsis: Bob agrees to finance Jason’s horror film, and asks him to find the best groan in the history of cinema. Continue reading
La suite jubilatoire du film Le Sexe qui Parle. La contagion est rapide et atteint toutes les couches de la societe… Interprete par la ravissante et fascinante JENNY FEELING ce film hors normes delirant, excitant, lubrique, et genial de FREDERIC LANSAC a rencontre l’immense succes qu’il meritait. Continue reading
The fair-haired Paul (Edouard Dermithe) engages in a snowball fight with several other boys outside his school, and is knocked out by a snowball tossed by the bully Dargelos (Renée Cosima). Far from being upset, Paul obsesses over Dargelos.
Bedridden, Paul is cared for by his domineering sister Elisabeth (Nicole Stéphane). Elisabeth acts angry and put-upon as nursemaid to the petulant, whiny Paul, but her attitude changes with the arrival of Agathe (Cosima), a boarder who comes to live with Paul and Elisabeth and threatens to break the siblings apart because of her attraction to Paul. The jealous Elisabeth begins manipulating both Paul and Agathe, along with Paul’s chum Gérard (Jacques Bernard), to make sure the status quo is maintained. But even the supremely confident Elisabeth can’t predict what her machinations will drive the others to do. Continue reading