Louis Delluc – L’inondation (1924)

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Synopsis :
Dans un village paisible en bord du Rhône, Alban, jeune et honnête fermier, s’apprête à épouser la coquette et frivole Margot. Monsieur Broc, employé de mairie solitaire, retrouve sa fille adorée Germaine, devenue une charmante jeune femme. Germaine s’est éprise d’Alban. Lorsque celui-ci l’éconduit gentiment, elle s’effondre, fiévreuse, au grand désarroi de son père. La crue du fleuve inonde subitement le village et les alentours. Margot déclenche la colère d’Alban en fricotant avec son cousin Jean. Un soir elle disparaît. On la retrouve mystérieusement noyée. Continue reading

Sepideh Farsi – Le voyage de Maryam AKA The Journey of Maryam (2003)

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A poignant and poetic piece exploring the nature of memory, longing, loss, and the people and places that make us who we are. Shot entirely from the vantage point of Maryam, the invisible heroine in search of her father, the film recalls the visual sophistication of Vertov or Farsi’s compatriot Kiarostami. However, in the end, a unique voice rises to the top befitting this intimate and personal journey through the neighborhoods, alleyways, and people of Tehran. Continue reading

Maurice Pialat – La gueule ouverte AKA The Mouth Agape (1974) (HD)

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Monique Mélinand portrays a woman in the late stages of terminal illness. Her son Philippe (Philippe Léotard), Philippe’s wife Nathalie (Nathalie Baye), and her husband Roger (Hubert Deschamps) attempt to comfort her as she navigates through her ordeal. However, those two closest men in her personal life begin to get more involved in their relationships with multiple mistresses. Her husband flirts with customers in their clothing and haberdashery store while her son flirts with her nurses. The film incorporates elements of Mozart’s opera Così fan tutte to poetic effect, relating to these scenes. In the end scenes, she goes through several final, deeply emotional moments as the disease claims her life. (Wikipedia) Continue reading

Philippe Garrel – La cicatrice intérieure AKA The Inner Scar (1972)

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Synopsis:

This is a highly experimental French film consisting of no more than 23 camera shots, total. It resembles nothing so much as one of Warhol’s earlier films, except that it is more episodic. Nico of the Velvet Underground portrays a different woman in each of the episodes. The first three concern her “rescues” from Death Valley, Egypt and Iceland by a young man to whom she eventually says “stay away from me.” Following that, she recites from various texts in German, French and English, makes various gnomic observations and encounters various men in various guises. All the men are played either by director Philippe Garrel or Pierre Clementi.

~ Clarke Fountain, Rovi Continue reading

Kent Jones – Hitchcock/Truffaut (2015)

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From theguardian.com
In 1962, director François Truffaut conducted a series of in-depth interviews with Alfred Hitchcock, published in a lavishly illustrated book, which became something of a film-makers’ bible. Truffaut’s aim was to reclaim Hitchcock as an artist – an “auteur” rather than just an entertainer. Kent Jones’s documentary, which draws on audio tapes of those conversations along with new interviews with Martin Scorsese, David Fincher, Wes Anderson et al, is no less evangelising, arguing that Truffaut’s book should be viewed and valued on a par with his movies. The documentary certainly makes for fascinating viewing; although most cineastes will already know the source text inside out, it’s great to hear audio of these exchanges, and the new interviews that make up the bulk of the film are entertaining, erudite, and (most importantly) refreshingly enthusiastic. Continue reading

Andrzej Zulawski – Cosmos (2015)

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By Carlo Chatrian, pardolive.ch

For his return to directing 15 years after La Fidélité, Andrzej Zulawski has chosen one of the most difficult authors to adapt and a text that poses significant challenges, given its constant verbal invention and narrative deviations. Cosmos, written 50 years ago by Witold Gombrowicz, four years before his death, is one of those works that creates a kind of precipitous vertigo.

Zulawski is clear from the start: it only takes a few minutes for the viewer to realize this is no classic adaption of a bourgeois novel. Instead, young Witold’s arrival at the house where he will stay is the entrance to an out-of-the-ordinary universe. A world where sparrows are hanged, where strange arrows take shape on the ceiling, where the television that’s always on for every meal broadcasts incessant images of war, where seduction and repulsion go hand in hand. The thin thread of an investigation – discovering who is responsible for these signs – becomes a metaphor for talking about language. See, for example, the brilliant tirade from the “paterfamilias”. Continue reading