Tag Archives: Aurore Clément

Chantal Akerman – Demain On Demenage aka Tomorrow We Move (2004)

FilmLinc wrote:
The late Belgian filmmaker Chantal Akerman brings us an intellectual comedy about a mother and daughter who find themselves living together for the first time in decades. Charlotte, a freelance writer, invites her recently widowed mother, Catherine, to live in her apartment, and the ensuing clutter becomes a source of irritation and strife. When Catherine decides to revitalize her career as a piano teacher, the claustrophobia reaches new and absurd levels. Charlotte continues to pursue her desperate quest for peace as Tomorrow We Move develops into a slyly Jewish tale of rootlessness and familial burdens. Read More »

Elio Petri – Buone notizie AKA Good News (1979)

“Only for those abnormal” (an IMDB review by RodrigAndrisani)

The music for this film is composed by the greatest composer of film music of all time, Ennio Morricone. But it’s almost nonexistent and as little as it is, it’s not great. Deliberately maybe, because the subject itself, with capital M, is Madness, The Madness of Humanity. Place of the action: the crazy world we live in, a world where those who do not kill, do not use drugs, etc., are abnormal. Here’s what the director Elio Petri himself says, in his book “The adventurous history of Italian cinema”: “It’s a film about the société du spectacle. In the society of the spectacle it’s not the spectacle of life, there is only the show that gives you the impression that you live, while you don’t live from long time ago. Read More »

Serge Gainsbourg – Stan the Flasher (1990)

Quote:
The story of Stan, a misunderstood poet, who makes a living teaching English to schoolchildren while writing a screenplay on the side. Read More »

Anne-Marie Miéville – Nous sommes tous encore ici aka We’re All Still Here (1997)

“In some ways more obscure and difficult than Jean-Luc Godard, with whom she has collaborated in various capacities since 1972, Anne-Marie Mieville continues to puzzle even as she sharpens her mise en scene. This 80-minute feature from 1997 is the most interesting solo effort of hers I’ve seen, though I’m not entirely sure what to make of it, especially during the third and final sequence. In the first and most impressive sequence, an extract from Plato’s Gorgias is dramatized inside a bourgeois household, with Callicles (Bernadette Lafont) performing various household chores as she quarrels with Socrates (Aurore Clement). In the second, Godard turns up on a theater stage to rehearse a monologue condensed from a passage in Hannah Arendt’s The Origins of Totalitarianism below a huge photograph of Arendt as a young woman, an image that recalls the opening of Bergman’s Persona. Read More »

Mario Monicelli – Caro Michele (1976)

Michael is the younger son of a middle-class family, a strong-willed and free-thinking fellow, who is off in some distant country fighting for a revolutionary cause. Everyone in the family writes to him, describing the events of their lives, as they drift into a kind of conventionality which would perhaps have horrified them earlier. Only Michael’s girlfriend Mara (Mariangela Melato), the mother of his child, retains her independence, even though it is through the help of Michael’s increasingly conventional friends and family that she survives. (allmovie) Read More »

Chantal Akerman – Toute une nuit AKA A whole night (1982)


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Toute une nuit presents a series of brief, disconnected, near silent vignettes that capture the inherently intimate episodes that transpire throughout the course of human relationships. A woman (Aurore Clement) deliberates on placing a telephone call to an absent lover before deciding to hail a taxicab to his apartment. A man and a woman sitting at adjacent tables of an anonymous bar exchange reluctant, fleeting glances as they wait in vain for their respective lovers to arrive, and eventually succumb to an impulsive, awkward embrace. An unconcerned young woman smokes a cigarette as she sits in a diner with two young men before being confronted to choose between them. A hurried man misses an opportunity to meet his lover outside her home. A middle-aged couple awaken to the noise of an off-the-air television set and decide to go out for the evening. A woman hurriedly packs her belongings into a suitcase and sneaks out of the apartment only to return home at dawn to her oblivious, sleeping husband. Lovers consummate their relationship or part to their separate ways at entrances and stairwells of impersonal apartment buildings. Read More »