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The tumultuous events of May 1968 have never seemed more upbeat and sentimental than they do in The Safe House (La Cache), a retro family dramedy set in one labyrinthine Parisian apartment while the surrounding streets abound with social unrest.

Based on Christophe Boltanski’s prizewinning 2015 novel, the latest feature from Swiss writer-director Lionel Baier (Continental Drift (South)) is drenched in period nostalgia and wink-wink vibes, even if there’s a darker undercurrent running through the plot. With a few glaring homages to Jean-Luc Godard, among other nods to the epoch, the film plays more like historical pastiche than original material. It scores some soft emotional blows toward the end, but otherwise feels like a minor trip back to a major time.

Author Boltanski is the nephew of renowned artist Christian Boltanski, famous for his brooding installations composed of metal boxes, archive photos and documents meant to recall the traumas of WWII and the Holocaust.

“The Dreamers,” “Y Tu Mamá También,” “Casablanca,” “Notorious,” hell, even “Titanic” — cinema loves a love triangle, and Justin Kuritzkes wrote the definitive one of 2024 with his script for Luca Guadagnino’s “Challengers.”

That film put Zendaya, Mike Faist, and Josh O’Connor in a psychosexual frenzy and turned tennis into a sweaty, propulsive metaphor for the games people play to get each other into and out of bed. Kuritzkes is back in Guadagnino land with his script for “Queer,” an adaptation of William S. Burroughs’ 1985 novella about an expat’s heartache in Mexico City.

While that film, out November 27 from A24, isn’t explicitly a love triangle, you could argue that drugs and alcohol form one point in a triad between Lee (Daniel Craig) and elusive army vet twink Eugene Allerton (Drew Starkey) as they keep trying to make a romantic connection work. Including a trip to the South American jungle looking for ayahuasca,...

A year ago, the Cannes Film Festival presented the world premiere of what was widely taken to be Jean-Luc Godard’s final film. He had died by assisted suicide eight months before, and the 20-minute-long “Trailer of the Film That Will Never Exist: ‘Phony Wars'” felt, by nature, like the aestheticized version of a last will and testament. It was a collage film, and it was (surprise!) oblique, yet it offered tea leaves to read about Godard’s state of mind as he prepared to leave the world.

As it turns out, “Trailer of the Film…” was not Godard’s final work. The 18-minute-long “Scénarios,” also made in a collage style, but simpler and more direct, was unveiled today at Cannes, along with a 34-minute documentary about the making of the short. “Scénarios” has the feel of a minor but purefied late-period work, like a Matisse paper cutout. What’s...

The title of Fruit Chan’s Made in Hong Kong cheekily references a phrase you might have seen printed on the packaging for an action figure way back in 1997, the year of the film’s original release. But it also refers to the young, wannabe triad member with the unlikely name of Autumn Moon (Sam Lee), as well as to the production circumstances of the film itself. Its declarative label is somewhat excessive, though, as there’s no mistaking where and when Moon’s misadventures take place: Chan’s quirky, gangster-adjacent flick, so infused with washed-out and blue-filtered imagery, presents a portrait of Hong Kong that bears more than a passing resemblance to Wong Kar-wai and Christopher Doyle’s early collaborations.

From its handheld shots racing through open-air markets, to its use of expressionistic step-printed slow motion, to the way its perspectives on the city take inspiration from the cramped...

Humor, it seems, has returned to the Main Competition at the 2023 Cannes Film Festival. After a few days of mostly serious dramas about Nazis and terrorists and sweatshops, a lighter touch has emerged from a couple of expected sources: first Todd Haynes, a filmmaker with a great range but also a real touch for pulpy material that he shows in “May December,” and now Aki Kaurismäki, the Finnish master of comedy so deadpan that it can take an audience half the movie to figure out that it’s Ok to laugh.

They figured it out when Kaurismaki’s “Fallen Leaves” premiered in Cannes on Monday. With a brisk one-hour-and-21-minute running time, the film is a wry delight whose very restraint is part of the joke. Jonathan Glazer’s Cannes standout “The Zone of Interest” might be a movie without a single closeup, but “Fallen Leaves” is pretty much a...

One of the grand paradoxes of Jean-Luc Godard is that he was a radical, an outlier, a filmmaker who guarded his purity and always looked askance at “the system,” yet because the nature of filmmaking is that it requires a lot of money, and is connected to fame, and produces images that can spread with iconic power, Godard was an outsider who was also an insider; a poet of cinema who made himself a celebrity; an artist who bridged the larger-than-life, old-school ethos of movies with the forbidding imperatives of the avant-garde.

All of that contradiction is on full display, with a luscious kind of resonance, in “Godard par Godard,” an hour-long documentary, written by Frédéric Bonnaud and directed by Florence Platarets, that was presented at the Cannes Film Festival today as a tribute to Godard, eight months after his death on September 13, 2022. The documentary was shown along with Godard’s final film,...

Prodded on by Jean Seberg’s Patricia, halfway through Breathless, a director played by Jean-Pierre Melville says his greatest ambition is “to become immortal, and then die.” It’s a line that might as well sum up the extraordinary career of Breathless’s own helmer and French New Wave doyen, Jean-Luc Godard, who died of assisted suicide at his home in Rolle, Switzerland, on September 13. He was 91. His longtime lawyer told The New York Times the director suffered from “multiple disabling pathologies,” while a relative told the press he “was not sick—he was simply exhausted.” The tributes that have since poured in from all corners of the world are as gargantuan and scholarly as his output. But though “the practice of honoring our artistic giants is one that thrives on analysis,” Justin Chang notes at the L.A. Times, “what feels more fitting to offer at this still-early moment...

To credit Jean-Luc Godard with revolutionizing cinema may feel, at this point, redundant, but that’s because it’s a credit that’s entirely due. Praising Godard’s invention is akin to lauding Orson Welles for his innovation, or noting Alfred Hitchcock wrote the playbook on crafting thrillers and Steven Spielberg essentially birthed the summer blockbuster. The fact is that Godard did revolutionize the art form—rebirthed it, even—and invented a new language that largely remains engrained in contemporary cinema. His impossibly prolific output throughout the 1960s is untouchable, with movies like Breathless (1960), Vivre Sa Vie (1962), Band of Outsiders (1964), and Weekend (1967) being crucial works that are essentially synonymous with the French New Wave. It’s certainly (and understandably) this ‘60s period for which Godard is most widely known, with the pop-art sensibility, effortless coolness, and suave combination of stylish entertainment and intellectualism making for a truly singular viewing experience.

French New Wave auteur Jean-Luc Godard’s lasting legacy on cinema was embodied by the thousands of tributes to the late “Breathless” director.

Godard died at age 91 of assisted suicide in Switzerland, where the elective injection is legal. “He was not sick, he was simply exhausted,” a Godard family member told press outlets. The director’s longtime legal advisor Patrick Jeannere confirmed to The New York Times that Godard suffered from “multiple disabling pathologies.”

“He could not live like you and me, so he decided with a great lucidity, as he had all his life, to say, ‘Now, it’s enough,’” Jeanneret said.

Fellow directors, film critics, and actors paid tribute to the late “Band of Outsiders” icon.

French President Emmanuel Macron honored Godard in a social media statement, writing, “It was like an appearance in French cinema. Then he became a master. Jean-Luc Godard, the most iconoclastic of New Wave filmmakers,...

Jean-Luc Godard, a leading figure of the French New Wave, has died. He was 91.

Best known for his radical and politically driven work, Godard was among the most acclaimed directors of his generation with classic films such as Breathless (À bout de souffle), which catapulted him onto the world scene in 1960.

Jean-Luc Godard Dies: Pioneering French Director Was 91

President Emmanuel Macron of France paid tribute to the director with a statement on Twitter, calling him the “iconoclastic of New Wave filmmakers.”

Jean-Luc Godard Tributes Pour In From The World Of Cinema And Beyond: “National Treasure”

Born in Paris in 1930, Godard grew up and attended school in Nyon, Switzerland. After moving back to Paris after finishing school in 1949, Godard found a home amongst the burgeoning group of young film critics in the city’s ciné clubs.

Godard is best known for his seminal work of the 1960s, including Le mépris (Contempt), starring Brigitte Bardot,...

Stubborn and iconoclastic as always, Jean-Luc Godard has passed to another realm–and by his own choice– at age 91. Ever-iconoclastic, impudent and exasperating, forever pushing boundaries but remaining elusive, and an artist in every fiber of his being, Godard always did exactly what he wanted to do; for a few years many followed him ardently, and for lots of us in the 1960s he led the way into a vastly exciting and personal form of cinema. Thereafter he went entirely his own way, losing most of his audience but remaining at the forefront of exploring what cinema is, could be, and, sometimes, what it absolutely shouldn’t be.

The official obituaries and tributes will certainly convey Godard’s importance and influence through the 1960s, the way he helped liberate cinema from its literary and orderly appearance to something far more energized, unexpected, jarring and often exhilarating. Although Godard consumed and...

Jean-Luc Godard, who died Tuesday at 91, was the filmmaker who changed everything. He directed “Breathless,” the 1960 landmark that helped to launch the French New Wave, employing a new, fast, leaping-ahead technique and style — the jump cut — that altered the DNA of how movies were made. In the ’60s, he took his camera out into the streets and into cafés, stores, offices, and apartments, so that a Godard film often seemed like a documentary about fictional characters. He drew many of those characters from Old Hollywood, a world he’d grown up on and remained obsessed with, but one that he always made seem a million miles away, like some black-and-white Garden of Eden the world had fallen from. So even as you were watching Jean-Paul Belmondo play a glamorous hoodlum or Anna Karina play a femme fatale, you knew that you were also seeing an actor toy with the very...

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Hollywood and other movie industry representatives are paying tribute to Jean-Luc Godard on social media following the news on Tuesday that the Franco-Swiss legend had died.

A former film critic who wrote for the legendary Cahiers du Cinéma during its heyday of the 1950s, Godard burst onto the scene in 1960 with his debut Breathless, which won the Silver Bear at the Berlin Film Festival. The Paris-set crime caper, starring Jean Seberg and Jean-Paul Belmondo, heralded the arrival of cinematic modernism. Using jump cuts, nods to the camera and other meta-fictional devices, it commented on the story as it was unfolding.

Goddard’s career would go on to span half a century, with the filmmaker directing upwards of 70 projects including features, documentaries, shorts and TV. His work was known at various times throughout his long career for everything from its pop-art homages and historical...

Pioneering French movie director Jean-Luc Godard and prolific television and film actor Jack Ging have died. Godard passed away at age 91. The French newspaper Liberation first reported the news of his death. Born on December 3, 1930, in Paris, France, Godard became a leading figure of the French New Wave movement, directing classic films such as Breathless (À bout de souffle), Le Petit Soldat, Vivre sa vie, Bande à part, Pierrot le Fou, Alphaville, and First Name: Carmen. His radical and politically motivated work is regarded as some of the most influential cinema in history. His final film was 2018’s The Image Book, which was selected to compete for the Palme d’Or at the 2018 Cannes Film Festival. As reported by Deadline, Ging, who was best known for playing General Harlan “Bull” Fulbright on NBC’s adventure series The A-Team, passed away on September 9 at his home in La Quinta, California. He...

Jean-Luc Godard, whose dynamic style and innovative techniques changed cinema forever, has died at the age of 91.

Jean-Luc Godard was consistently ranked among the greatest and most influential directors to ever live. Beginning as a film critic before making a literal wave in French cinema, Godard and the likes of François Truffaut and Jacques Rivette launched the French New Wave. The movement pushed nearly all boundaries of expected filmmaking techniques.

Godard’s nearly 60-year career was prolific and ever-evolving, churning out over 40 films in that time period, including Breathless, Band of Outsiders, Week-end, Tout va bien, and The Image Book, his final film. Jean-Luc Godard constantly showcased his rebellious style and command, from his 1960 debut through his final years, where he even made a 3D movie. He, too, molded the careers of so many French icons, including the great Jean Seberg, who was later played by Kristen Stewart.

Some of...

Jean-Luc Godard, the legendary filmmaker who revolutionized the medium as a leader of the French New Wave of the 1960s, died Tuesday at age 91.

Godard’s partner, Anne-Marie Mieville, confirmed to the Swiss news agency Ats that he died peacefully at his home in the Swiss town of Rolle near Lake Geneva.

French President Emmanuel Macron also confirmed his death on Twitter, calling him a “national treasure” who “invented a resolutely modern, intensely free art.”

Godard burst on the international scene with his debut feature, 1960’s “À bout de souffle” (“Breathless”), which revolutionized cinematic storytelling with its fractured nonlinear narrative about a petty criminal and his girlfriend, improvisational choreography and rapid editing. The film became an international sensation, making a star of its lead actor, Jean-Paul Belmondo, and earning Godard the best director prize at the Berlin Film Festival.

Also Read:

Marsha Hunt, Blacklisted Hollywood Actress, Dies at 104

He became...

A pioneering, revolutionary titan of the cinematic form, Jean-Luc Godard has passed away at the age of 91, as reported by French newspaper Liberation. The paper also reported he died by assisted suicide in Switzerland, where it is authorized and supervised. “He was not sick, he was simply exhausted,” noted a relative of the family. “So he had made the decision to end it. It was his decision and it was important for him that it be known.”

Born on December 3, 1930, Godard would go on to become a film critic for Cahiers du Cinéma before changing the very language of the cinematic medium with his French New Wave contributions, including Breathless, Vivre Sa Vie, Contempt, Band of Outsiders, Alphaville, Pierrot le Fou, and many more. Going through an evolution virtually every decade, the director recently delivered the most radical usage of 3D in a film yet with Goodbye to Language in 2014 and his last feature,...

Jean-Luc Godard, the revered filmmaker regarded as a giant of the French New Wave movement, has died at the age of 91.

He was known for directing a run of radical, medium-changing films throughout the 1960s, including Breathless and Alphaville.

News of Godard’s death was reported by the French newspaper Liberation.

Along with contemporaries such as Éric Rohmer, Jacques Rivette, and François Truffaut, the Paris-born Godard was a central figure in the Nouvelle Vague, an experimental film movement that emerged in France in the late 1950s.

Several of his films are frequently cited among the best movies ever made.

Godard’s first feature was Breathless, released in 1960, an experimental tribute to American film noir. Starring Jean-Paul Belmondo as a hoodlum named Michel, and Jean Seberg as his American girlfriend, the film caused a stir with its unusual visual style and editing techniques, immediately announcing Godard as one of cinema’s great innovators.

Jean-Luc Godard, the father of modern cinema whose impish, combative provocations threw down a gauntlet with which all those who came in his wake must contend, died Tuesday. He was 91.

The director died at his home by assisted suicide in Rolle, Switzerland, where that practice is legal, Godard’s longtime legal adviser Patrick Jeanneret told The New York Times.

Jeanneret added that the filmmaker had “multiple disabling pathologies” and “decided with a great lucidity, as he had all his life, to say, ‘Now, it’s enough.’ “

In a career that began with 1960’s groundbreaking Breathless,...

Jean-Luc Godard, a leading figure of the French New Wave, has died. He was 91. The French newspaper Liberation first reported the news which was confirmed to Deadline by a source close to the filmmaker.

Best known for his radical and politically driven work, Godard was among the most acclaimed directors of his generation with classic films such as Breathless (À bout de souffle), which catapulted him onto the world scene in 1960. The film was from a treatment by his contemporary and former friend François Truffaut and followed the story of a young American woman in Paris, played by Hollywood star Jean Seberg, and her doomed affair with a young rebel on the run, played by Jean-Paul Belmondo.

Hollywood & Media Deaths 2022: A Photo Gallery

President Emmanuel Macron of France paid tribute to the director with a statement on Twitter, calling him the “iconoclastic of New Wave filmmakers.”

Born in Paris...

The French New Wave classic chronicles the lives of two men and the dangerous object of their affections

François Truffaut’s Jules et Jim from 1962 is the love triangle that feels like it’s happening in the swinging 60s present moment, like Godard’s triple-header Bande à Part. Actually, it’s set before and after the first world war, and the three principals finally reunite by bumping into each other at a Paris cinema showing a newsreel about the Nazis’ book-burning.

Appropriately for this film’s internationalist ethos, neither male hero has a homeland-appropriate name. Oskar Werner is Jules, a diffident young Austrian living in 1912 Paris: scholar, translator and Francophile. He befriends the rather more worldly Frenchman Jim, the journalist and would-be author played by Henri Serre. They are instantly as thick as thieves, a couple of jaunty swells and elegant flâneurs, devoted to art and avowedly uninterested in money – though each,...

Each week we highlight the noteworthy titles that have recently hit streaming platforms in the United States. Check out this week’s selections below and past round-ups here.

The Fever (Maya Da-Rin)

The Fever, director-cum-visual artist Da-Rin’s first full-length feature project, puts a human face to a statistic that hardly captures the genocide Brazil is suffering. This is not just a wonderfully crafted, superb exercise in filmmaking, a multilayered tale that seesaws between social realism and magic. It is a call to action, an unassuming manifesto hashed in the present tense but reverberating as a plea from a world already past us, a memoir of sorts. – Leonardo G. (full review)

Where to Stream: The Criterion Channel

French New Wave

Dive into one of the most fertile eras of moving pictures with a new massive 45-film series on The Criterion Channel dedicated to the French New Wave. Highlights include Le...

With fears our winter travel will need a, let’s say, reconsideration, the Criterion Channel’s monthly programming could hardly come at a better moment. High on list of highlights is Louis Feuillade’s delightful Les Vampires, which I suggest soundtracking to Coil, instrumental Nine Inch Nails, and Jóhann Jóhannson’s Mandy score. Notable too is a Sundance ’92 retrospective running the gamut from Paul Schrader to Derek Jarman to Jean-Pierre Gorin, and I’m especially excited for their look at one of America’s greatest actors, Sterling Hayden.

Special notice to Criterion editions of The Killing, The Last Days of Disco, All About Eve, and The Asphalt Jungle, and programming of Ognjen Glavonić’s The Load, among the better debuts in recent years.

See the full list of January titles below and more on the Criterion Channel.

-Ship: A Visual Poem, Terrance Day, 2020

5 Fingers, Joseph L. Mankiewicz, 1952

After Migration: Calabria,...

It will be in cinemas and available to stream on May 13 2022.

UK production and distribution company Bohemia Media has picked up Venice 2020 title Listen for UK and Ireland distribution in cinemas and on Bohemia Media’s new streaming platform, Bohemia Euphoria.

The first feature from actress-turned-director Ana Rocha de Sousa, Listen is a UK-Portugal co-production drama that premiered in Venice’s Orizzonti section in 2020, winning five awards at the festival. It tells the story of a Portuguese family living in the outskirts of London, grappling to keep the family together after the social services try to separate them. Love Actually’s Lucia Moniz stars.

Noel Gallagher’s High Flying Birds have dropped their new video for “Flying on the Ground.” The song is one of two new tracks that will appear on the band’s best-of album, Back the Way We Came: Vol 1 (2011-2021), which arrives on Friday via Sour Mash Records.

The clip expands on the plot from the French New Wave-inspired “We’re On Our Way Now” video, the first of the two new songs released from the set. Both star The Crown actor Matt Smith and Gala Gordon. “Flying on the...

After unveiling the discs that will be arriving in April, including Bong Joon Ho’s Memories of Murder, Olivier Assayas’ Irma Vep, and more, Criterion has now announced what will be coming to their streaming channel next month.

Highlights include retrospectives dedicated to Guy Maddin, Ruby Dee, Lana Turner, and Gordon Parks, plus selections from Marlene Dietrich & Josef von Sternberg’s stellar box set. They will also present the exclusive streaming premieres of Bill Duke’s The Killing Floor, William Greaves’s Nationtime, Kevin Jerome Everson’s Park Lanes, and more.

Jim Jarmusch’s Ghost Dog: The Way of the Samurai, which recently arrived on the collection, will be landing on the channel as well, along with a special “Lovers on the Run” series including film noir (They Live by Night) to New Hollywood (Badlands) to the French New Wave (Pierrot le fou) to Blaxploitation (Thomasine & Bushrod) and beyond. Also...

The late Claude Brasseur as an elderly curmudgeon in The Student And Mr Henri (L'étudiante Et Monsieur Henri) who lets out a room in his large apartment rent-free to a young student, under one condition: she must do everything she can to ruin his son’s impending marriage Photo: Unifrance

Claude Brasseur, the French actor who came from a long family tradition in the profession, has died in Paris at the age of 84.

Brasseur was the son of actor Pierre Brasseur and the actress and scriptwriter Odette Joyeux. His great-grandfather Jules Brasseur was the founder of the Théâtre des Nouveautés in Paris.

Claude Brasseur was the son of an acting family Photo: Unifrance Despite his background, Brasseur did not immediately think of going on the stage, preferring instead the idea of becoming a journalist. Once he had taken to the stage in 1954 and made his first film, Rue De Paris...

Writer-producer reveals further details of upcoming features and drama series.

Paula Vaccaro, producer of Venice award-winner On The Milky Road and documentary Uncle Howard, has revealed further details of her upcoming projects.

The founder of production outfit Pinball London, who will curate several of this year’s Sarajevo CineLink Talks for Documentary Campus, will be in Venice next month to unveil drama feature Listen.

The film, which will play in the Orizzonti strand, marks the debut of Portuguese director Ana Rocha and was also scripted by Vaccaro with partner Aaron Brookner and Rocha.

Sold by Magnolia Pictures International, Vaccaro and...

In our 100th episode, Edgar Wright takes us on a musical journey through some of his favorite cinematic needle drops.

Show Notes: Movies Referenced In This Episode

Beyond The Valley Of The Dolls (1970)

Baby Driver (2017)

Reservoir Dogs (1992)

Vanishing Point (1971)

2001: A Space Odyssey (1968)

Deja Vu (2006)

Man On Fire (2004)

The Bourne Supremacy (2004)

The Bourne Ultimatum (2007)

Alien (1979)

The Mexican (2001)

Gremlins (1984)

American Graffiti (1973)

Star Wars (1977)

Jaws (1975)

The Exorcist (1973)

Halloween (1978)

The Amityville Horror (1979)

Dawn of the Dead (1978)

Deep Red (1976)

Suspiria (1977)

Shaun of the Dead (2004)

Monty Python And The Holy Grail (1975)

An American Werewolf In London (1981)

The Long Goodbye (1973)

The Evil Dead (1983)

Face/Off (1997)

The Wizard Of Oz (1939)

Mandy (2018)

The Hallow (2015)

The Nun (2018)

Mulholland Drive (2001)

Christine (1983)

Blue Collar (1978)

Ferris Bueller’s Day Off (1986)

Mauvais Sang (1986)

Frances Ha (2012)

The Lovers On The Bridge (1991)

Holy Motors (2012)

Annette (Tbd)

Goodfellas (1990)

Mean Streets (1973)

Alice Doesn’t Live Here Anymore (1974)

Raging Bull (1980)

Mad Max: Fury Road (2015)

Mad Max (1979)

Babe (1995)

Happy Feet (2006)

Dr. Strangelove...

Newcomers join Sundance docs Assassins, The Fight on sales slate.

Magnolia Pictures International has added two titles to its Cannes Marché du Film Online slate, boarding worldwide rights to London-set immigrant drama Listen, and Istanbul-set love story When I’m Done Dying.

Listen chronicles the struggles of a Portuguese immigrant couple in London whose children are taken away by social services.

Ruben Garcia, Portuguese actress and singer Lucia Moniz (Love Actually), Sophia Myles, and Maisie Sly, star of British Oscar-winning short The Silent Child, star in Ana Rocha De Sousa’s first feature, currently in post.

The film is produced...

One Shot is a series that seeks to find an essence of cinema history in one single image of a movie. Jim Jarmusch's Stranger Than Paradise (1984) is showing May 15 - June 14, 2020 in many countries in the series "Outlaws and Misfits: Jim Jarmusch's Cinema of Outsiders."“We can bet that this film will be a flop,” blurbed Jean Eustache about his fellow post-New-Wave underachiever and pal Luc Moullet’s Anatomy of a Relationship (1975), an early exercise in self-scrutiny coauthored by Moullet’s partner Antoinetta Pizzorno. “That’s the best for me: I’ll plunder it more easily.” In comparable fashion, a 1964 commercial flop made by one of the masters of both Eustache and Moullet, Jean-Luc Godard—who incidentally had helped to launch the careers of both of these disciples—was successfully plundered by Jim Jarmusch twenty years later in Stranger Than Paradise. More specifically, Jarmusch appropriated a black-on-white principle exploited...

With a seemingly endless amount of streaming options—not only the titles at our disposal, but services themselves–each week we highlight the noteworthy titles that have recently hit platforms. Check out this week’s selections below and an archive of past round-ups here.

Anna Karina and Jean-Luc Godard

The Criterion Channel has recently put the spotlight on a pair of French New Wave icons: Anna Karina and Jean-Luc Godard–and it’s not just their iconic collaborations, but also films they made separately. The two separate series include A Woman Is a Woman, Vivre sa vie, Le petit soldat, Band of Outsiders, Alphaville, Pierrot le fou, Made in U.S.A, The Nun, Breatheless, Contempt, Film socialisme, Goodbye to Language, The Image Book, and more.

Where to Stream: The Criterion Channel

Bombshell (Jay Roach)

Although Bombshell is rather straightforward, it accomplishes its goal of telling this story with sufficient nuance,...

With the passing of Anna Karina, a curtain has fallen on the French New Wave, that fabled cinematic movement that brought fame to the man who made her name, Jean-Luc Godard. Yes, Godard is still with us, as is “Breathless” star Jean-Paul Belmondo (practically the last of the living New Wave legends), but his moviemaking compatriots François Truffaut, Eric Rohmer, Jacques Rivette, Jacques Demy, and, most recently, Agnès Varda are gone, and with them the spirit of playful abandon that Karina perfectly embodied.

In such Godard classics as “A Woman is a Woman,” “Pierrot le Fou,” “Alphaville,” and “Made in USA,” Karina appeared as a gamine and a femme fatale at the same time. Not since Josef von Sternberg and Marlene Dietrich had there been a director-and-star tandem so potent. The closest to it would be Philippe Garrel’s partnership with Nico — although the avant-garde blue plate specials made by...

Anna Karina, the model-turned-actress who became a French New Wave icon thanks to her collaborations with the director Jean-Luc Godard, has died at the age of 79.

France’s cultural minister Franck Riester announced Karina’s death on Twitter, with the actress’ agent later confirming that Karina died Saturday in Paris following a battle with cancer.

“Her gaze was the gaze of the Nouvelle Vague (New Wave). It will remain so forever,” Riester wrote of Karina. “Today, French cinema has been orphaned. It has lost one of its legends.”

Born Hanne...

French New Wave star Anna Karina, who served as a muse for Jean-Luc Godard and appeared in eight of his films, has died. She was 79.

France’s culture minister, Franck Reister, announced her death in a tweet, as did her agent, Laurent Balandras, who attributed the cause as cancer.

“Her gaze was the gaze of the New Wave. It will remain so forever,” wrote Reister. “She magnetized the entire world. Today, French cinema is an orphan. It loses one of its legends.”

Karina’s best known roles include “The Little Soldier,” “Vivre sa vie,” “Band of Outsiders,” “Pierrot le Fou,” and “Alphaville,” all throughout the 1960s. She starred in “A Woman Is a Woman,” as well, in a performance that earned her the silver bear award for best actress at the Berlin Film Festival in 1961.

Karina also worked with other directors of the New Wave, including Agnes Varda, Jacques Rivette,...

Anna Karina, the French New Wave icon, has died at age 79, leaving behind an indelible body of cinema’s most charming and even radical work — including director Jean-Luc Godard’s “A Woman Is a Woman,” “Pierrot Le Fou,” “Alphaville,” “Vivre Sa Vie,” “Band of Outsiders,” “Le Petit Soldat,” and more.

Karina, who was born in Denmark and became a symbol of cinematic counterculture, died on Saturday in Paris. Reportedly, she died of cancer, according to her agent, Laurent Balandras. Karina’s last film was 2008’s “Victoria,” which she also wrote and directed. This was her second and final feature behind the camera following 1973’s “Living Together.”

Karina’s loss leaves a huge hole in the filmgoing community, and many have taken to Twitter to make tribute to the actress; see below. IndieWire spoke with Anna Karina in 2016 about her many storied collaborations with Jean-Luc Godard.

Rest In Peace, the truly iconic Anna Karina,...

Anna Karina, the Danish-born star of classic French New Wave films of the 1960s such as “A Woman Is a Woman” and “Alphaville,” died on Saturday at age 79.

Her agent, Laurent Balandras, tweeted that she died of cancer.

“Today, French cinema has been orphaned,” Franck Riester, France’s culture minister, wrote in his own tweet. “It has lost one of its legends.”

Also Read: Hollywood's Notable Deaths of 2019 (Photos)

Karina landed her first film role as a teenager in Jean-Luc Godard’s “The Little Soldier,” a drama about the French-Algerian War that was shot in 1960 but not released until three years later due to censorship issues.

In 1961, she won the best actress award at the Berlin Film Festival for her work playing a French striptease artist in Godard’s 1961 film “A Woman Is a Woman.”

By that time, she had also married Godard — with whom she continued to work on...

Anna Karina, the French New Wave starlet who rose to international acclaim in films directed by her then-husband Jean-Luc Godard, has died. She was 79.

Karina died Saturday at 2:38 p.m. in Paris of cancer, her agent, Laurent Balandras, told The Hollywood Reporter. Her husband, Dennis Berry, was by her side.

She and Godard were married from 1961 to 1964, and she served as his muse in such memorable works as A Woman Is a Woman (1961) — for which she received a Silver Bear at the Berlin Film Festival — Vivre sa vie (1962), Band of Outsiders (1964),...

Anna Karina, the French New Wave starlet who rose to international acclaim in films directed by her then-husband Jean-Luc Godard, has died. She was 79.

Karina died Saturday at 2:38 p.m. in Paris of cancer, her agent, Laurent Balandras, told The Hollywood Reporter. Her husband, Dennis Berry, was by her side.

She and Godard were married from 1961 to 1964, and she served as his muse in such memorable works as A Woman Is a Woman (1961) — for which she received a Silver Bear at the Berlin Film Festival — Vivre sa vie (1962), Band of Outsiders (1964),...

Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.

Film at Lincoln Center

“Another Country: Outsider Visions of America” offers films by Raúl Ruiz, Straub-Huillet, Wenders, Verhoeven and more.

Eternal Sunshine plays for free Friday night on Governor’s Island.

IFC Center

The rather staggering Abbas Kiarostami retrospective continues, with screenings of the Koker trilogy, Ten, Taste of Cherry, Certified Copy and more.



Metrograph...

The Night Is Short, Walk on GirlNew York City’s remarkable summer of Asian film programming continues this week, when, just as the New York Asian Film Festival comes to a close, the Japan Society begins its annual series highlighting the best of contemporary Japanese cinema. This twelfth edition of Japan Cuts features 28 films over ten days, most of which are premiering for the first time in the United States. It’s an eclectic mix of arthouse and genre films from world famous directors as well as young unknowns. I was able to sample a handful of this year’s program, for the most part steering away from the biggest names1 in favor of less heralded filmmakers. In all I saw six films: three romantic comedies; a road movie; a 1980s pink film (Masayuki Suo’s Abnormal Family); and Nobuhiko Obayashi’s Hanagatami, which is some kind of a historical drama.

Exclusive: Red Arrow Studios International is to bolster is non-scripted activities in the U.S. after relocating rising UK exec Harry Gamsu to Los Angeles.

The German firm already owns a number of non-scripted businesses in the U.S. including Band of Outsiders, Wahlburgers producer 44 Blue Productions, Chris Coelen’ Kinetic Content, Half Yard Productions and Left/Right, which produces Hulu and FX’s New York Times series The Weekly.

However, the company now wants to bring more of its international formats to the U.S. and also eye opportunities to acquire global rights to non-Red Arrow produced factual and entertainment content out of North America.

I hear Gamsu, who is vice-president of non-scripted at Red Arrow Studios International, is relocating this week and will be based in the company’s Hollywood offices. He will continue to report to Red Arrow Studios International’s President, Henrik Pabst and Svp Acquisitions Alex Fraser.

Jean-Luc Godard is one of the founders of the French New Wave – and, at 87, he's still kicking at the limits lesser intellects erect around cinema. (His new film, a video essay called Le Livre d'Image, will compete at Cannes in May). Now Michel Hazanavicius, director of 2011's Oscar-winning salute to the silent film era The Artist, has rustled up the nerve to put the Godard story onscreen. Well, not the whole story – just the period from 1967 to 1968, when the moviemaker met and married actress Anne Wiazemsky, then 19, and became radicalized...

The retrospective Godard and the Dziga Vertov Group is showing from February 27 - March 26, 2018 on Mubi in the United Kingdom and United States.British SoundsThe execrable new film Redoubtable by Michel Hazanavicius reduces all aspects of Jean-Luc Godard and his career to the level of a cartoon. And not even a great, cinematically advanced cartoon—the Fleischer brothers, Chuck Jones, or Tex Avery, something that might actually capture some semblance of Jlg’s anarchic humor. No, Redoubtable is strictly Hanna-Barbara, two-dimensional animals lumbering about on an unchanging, depthless landscape. (Oh look! Silly Jean-Luc has broken his glasses again!) As if to drive home the childishness of the film, it is being retitled in the U.S. Now called Godard Mon Amour, it not only makes a mockery of an actually great film by Alain Resnais and Marguerite Duras. It emphasizes Godard as little more than a brand name, a selling point.

Foreplays is a column that explores under-known short films by renowned directors. Jean-Luc Godard & Anne-Marie Miéville's Liberté et Patrie (2002) is free to watch below. Mubi's retrospective For Ever Godard is showing from November 12, 2017 - January 16, 2018 in the United States.I. One of the most beautiful essay films ever made, Liberté et Patrie (2002) turns out to also be one of the most accessible collaborations of Jean-Luc Godard and Anne-Marie Miéville. The deeply moving lyricism of this short may astonish even those spectators who arrive to it casually, without any prior knowledge of the filmmakers’s oeuvre. Contrary to other works by the couple, Liberté et Patrie is built on a recognizable narrative strong enough to easily accommodate all the unconventionalities of the piece: a digressive structure full of bursts of undefined emotion; an unpredictable rhythm punctuated by sudden pauses, swift accelerations, intermittent blackouts and staccatos; a mélange of materials where...

A couple of weeks ago, I interviewed Nathan Gelgud, an artist who has brought a wry comic book charm to the world of cinephilia. It seemed only natural that I should find out more about the art that has influenced him and so I asked him to select his personal top ten favorite movie posters. He was more than up for the challenge and decided to narrow the field to illustrated posters, which makes perfect sense. Here are his ten favorites, in no special order.1. (Above) Us one sheet for Five on the Black Hand Side (Oscar Williams, USA, 1973). Artist: Jack Davis.I love all the accouterments on the main figure—the hat, the cigar, the umbrella, suitcase, those things that go over the shoes. But even better is the way Davis has arranged all the characters around him, the way the jumping guy’s arm joins with the guy...

The festival circuit is overwhelmed with miserabilist arthouse cinema, and Agnès Varda and Jr are the unlikely agitators. She, the venerable jokester of the French New Wave shares directorial credit for the first time, finding a kindred spirit in the first-time director and longtime mural artist. Though an age gap of over fifty years separates them, both exude a complementary youth, bouncing off of each other with witty retorts and, in remarkable chemistry, imbuing their film, Faces Places, with such a playful spirit.

The pair travel along rural France in a photobooth van dressed to resemble a camera. Stopping in small villages, they are met with a working class whose pictures are taken, inflated to larger-than-life sizes, then plastered onto local buildings. It is a fairly simple premise for an art project — succinctly able to be summed up in a title such as Faces Places — that goes a long way: subjects,...

The following essay was produced as part of the 2017 Locarno Critics Academy, a workshop for aspiring film critics that took place during the 70th edition of the Locarno Film Festival.

Swiss cinema isn’t exactly stuck in a rut. Its artistically-challenging documentaries are thriving: Markus Imhoofs meditation on bees in the climate-change era “More Than Honey” from 2012 was released in 29 countries around the globe, and last year, the animated “My Life as Zucchini” was nominated for an Oscar. Historically, however, Switzerland has given rise to an outstanding list of worldly auteurs such as Claude Goretta, Alain Tanner and Jean-Luc Godard. Why haven’t we heard much about young Swiss talent making the leap out of the small alpine state?

There is one major exception here: Ursula Meier is a Geneva-based cinematographer and filmmaker who has found a string of international successes. With “Sister” in 2012, she received the Silver Bear at the Berlinale.

Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles is a thriller. It’s as claustrophobic, psychologically penetrating, and exactingly-directed an apartment film as anything Roman Polanski has made. That it takes 200 minutes to watch is almost besides the point. The more you give yourself over to it – shutting out distractions, not breaking it into sections – the tighter its hold. I’ve seen the film three times now, twice at home with all the intrusions that comes with that, and once in a theater with all the peace it suggests. Except, peace for this film means an acute focus on its inner torment.

Jeanne (Delphine Seyrig) is a widow raising her teenage son in a single-bedroom apartment (he sleeps in the pull-out couch in the living room). Over the course of three non-consecutive days, we see Jeanne cook, clean, run errands, knit, read letters, and cook some more (there’s a lot of...

Exclusive: Doc tells the story of controversial Buddhist monk the Venerable Wirathu.

The first English language trailer for Barbet Schroeder’s documentary The Venerable W., which premieres at the Cannes Film Festival (18-27 May), has been released.

Watch it below or on mobile Here.

The subject of the film is the Venerable Wirathu, a highly respected and influential Buddhist monk who has been accused of inspiring persecution of Muslims in his native Burma.

Wirathu was on the cover of Time magazine in 2013 as “The Face of Buddhist Terror”.

The Venerable W. is the third chapter in director Barbet Schroeder’s ‘trilogy of evil’ (alongside General Amin and Terror’s Advocate).

The film will have a special screening at Cannes. Les Films du Losange are handling international sales.

The producers are Margaret Menegoz (Les Films du Losange) and Lionel Baier (Bande à Part).

Read more:

Cannes 2017: Directors’ Fortnight line-up

Cannes 2017: Official Selection in full

Cannes 2017: Critics...