Jean-Pierre Léaud

  • Jerzy Skolimowski – Le départ AKA The Departure [+Extras] (1967)

    Arthouse1961-1970BelgiumComedyJerzy Skolimowski

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    Synopsis:
    A fast-paced comedy about a young Belgian car nut and hairdresser’s apprentice, his girlfriend, and their legal and illegal attempts to get a Porsche under him for his nearing debut race. — IMDb.Read More »

  • Diourka Medveczky – Paul (1969)

    Arthouse1961-1970Diourka MedveczkyFrance

    Quote:
    Paul, a middle-class young man, in a break with his sphere, meets a group of wandering vegetarians who live begging; he decides to join them.Read More »

  • Olivier Assayas – Irma Vep (1996)

    1991-2000DramaFranceOlivier Assayas

    Quote:
    As much as Olivier Assayas resists having his themes and styles pinned down, one is tempted to put Irma Vep at the center of the French filmmaker’s shape-shifting oeuvre. A virtually ad-libbed project—written, shot, and edited, like Wong’s Chungking Express, in a creative rush between larger productions—it uses a gallery of frazzled characters to crystallize many of Assayas’s obsessions and, casually and boldly, makes the medium itself the most frazzled character of all. Appropriately, the setting is a hectic Parisian movie shoot in which director René Vidal (Jean-Pierre Léaud), once respected but now shaky and befuddled, plans to remake Louis Feuillades’s 1915 serial Les Vampires. Read More »

  • Jean-Luc Godard – Made in U.S.A. (1966)

    1961-1970ArthouseDramaFranceJean-Luc Godard

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    With its giddily complex noir plot and color-drenched widescreen images, Made in U.S.A was a final burst of exuberance from Jean-Luc Godard’s early sixties barrage of delirious movie-movies. Yet this chaotic crime thriller and acidly funny critique of consumerism—starring Anna Karina as the most brightly dressed private investigator in film history, searching for a former lover who might have been assassinated—also points toward the more political cinema that would come to define Godard. Featuring characters with names such as Richard Nixon, Robert McNamara, David Goodis, and Doris Mizoguchi, and appearances by a slapstick Jean-Pierre Léaud and a sweetly singing Marianne Faithfull, this piece of pop art is like a Looney Tunes rendition of The Big Sleep gone New Wave. (Criterion)Read More »

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