Sentences with phrase «french film critics»

This is the movie that is routinely ranked number one of all time, in surveys of French film critics of French movies.

Yet they all somehow bore his stamp, making him one of the first directors given auteur status by the French film critics who coined the term.

The documentary on Eros + Massacre provides plenty of context from French film critics Mathieu Capel and Jean Douchet, and, even better, lets Yoshida lay out his own philosophical and political intentions for the film, as do Yoshida's separate introductions to Heroic Purgatory and Coup d'Etat.

Similar shifts characterize most of Fuller's late films as well as his 1980 novel, which veers from quaint in - jokes — such as naming all the French officers after French film critics who championed his earlier movies, including (Luc) Moullet, (Bertrand) Tavernier, and (Henri) Chapier — to terse epigraphs that suggest the dark poetry of someone like Lautreamont:» «Why are you crying?»

It was an evasive one to begin with, first applied by the French film critic Nino Frank in 1946 to four recent Hollywood films: The Maltese Falcon, Double Indemnity, Laura, and Murder, My Sweet.

Not exact matches

Rebecca Leffler is an author, journalist and consultant who, after a long career in entertainment as France Correspondent for The Hollywood Reporter and film critic on French TV network...

That's right, Ryan Gosling fans, with this film, Refn first got his Danish derrière (Oh, wait, that's French) over here to America, and you know what, that was the time critics decided to question some of his storytelling methods, either because foreign films are much easier to forgive for their pretentiousness - I mean, «experimental artistic vision», or simply because Refn had so little of an idea on how to bring his visions to America that he decided to get John Turturro, of all people, as his lead.

Following the exploits of the Paris police department's «child protection unit,» Polisse (which screened early on) helped to establish this year's Croisette - spanning theme of children in peril, which could be found to varying extents in fellow Competition entries Michael (kidnapping and pedophilia), Lynne Ramsay's We Need to Talk About Kevin (teenage sociopathy), Aki Kaurismäki's universally admired Le Havre (illegal immigration), and the Dardenne Brothers» Grand Jury Prize co-winner The Kid with a Bike (child abandonment); in the Directors» Fortnight entry Play (bullying); and in just about every film at the 50th - anniversary edition of the Critics» Week, from French actress - director Valérie Donzelli's opening - night Declaration of War (pediatric cancer) to Israeli actress - director Hagar Ben Asher's The Slut (pedophilia again), the fact - based 17 Girls (teen pregnancy), and the profoundly disturbing Snowtown, which recalled Henry: Portrait of a Serial Killer in its verité sketch of Australian serial killer John Bunting, who lured local youths into aiding and abetting his violent crimes throughout the Nineties.

Whereas Bazin never mentions Caravaggio in his essay on «The Ontology of the Photographic Image» (1945), the French critic refers to the baroque style as a proto - cinematic and pictorial term of reference: «The film delivers baroque art from its convulsive catalepsy.»

The French animated film «Ernest & Celestine» was named the year's best animation over Hayao Miyazaki's «The Wind Rises,» which had taken most of the previous critics awards.

It was a night of surprises at the 68th Cannes film festival, with many critics» favourites thwarted and the jury — who are only allowed to award one prize per film — exhibiting eclectic taste and a pronounced accent on the celebration of French acting talent.

After making his mark in the early thirties with two very different films, the anarchic send - up of the bourgeoisie Boudu Saved from Drowning and the popular - front Gorky adaptation The Lower Depths, Renoir closed out the decade with two critical humanistic studies of French society that routinely turn up on lists of the greatest films ever made: Grand Illusion and The Rules of the Game (the former was celebrated in its time, but the latter was trashed by critics and audiences — until history provided vindication).

Special Features New 2K digital restoration, with uncompressed monaural soundtrack New interview with Richard Neupert, author of A History of the French New Wave Cinema Jacques Rivette's 1956 short film Le coup du berger, featuring cameos by fellow French New Wave directors Claude Chabrol, Jean - Luc Godard, and Francois Truffaut New English subtitle translation Plus: An essay by critic Luc Sante

I know both French and American critics who consider Olivier Assayas to be among the richest and deepest young talents in film today.

Plus: a 16 - page booklet featuring a new essay by film critic Adrian Martin and a reprint of a report from the set by French journalist Phillippe Labro

After growing up in the political tumult of France in the sixties and seventies, Assayas followed a path similar to the one traveled by several titans of the French New Wave, first working as a critic for Cahiers du cinéma, then moving on to film projects, including collaborations with André Téchiné and his own feature directorial debut, the 1986 Disorder.

But while Screen's critics love Mr. Turner, ranking it on top, the French critics give Leigh's film a collective shrug, ranking it sixth.

Extras: Hour - long French television broadcast of World War I veterans reacting to the film in 1969; 2016 interview with film scholar Jan - Christopher Horak; new restoration demonstration featuring Martin Koerber and Julia Wallmüller of the Deutsche Kinemathek; an essay by author and critic Luc Sante.

(With the actress having also hit UK cinema screens this year in «White Material» and «Villa Amalia,» local critics are likely wondering when she sleeps: «Do the French have some kind of loyalty card system where Huppert gets a free meal every tenth film she does?»

Part of the Critics Week, Our Heroes Died Tonight is a French film noir following the rise and fall of two wrestlers in the 60's.

The Los Angeles critics arrived at a tie for foreign - language film, splitting the award between the French «BPM» and the Russian «Loveless.»

Jump cuts, whip - pans and extremely mobile cameras were deemed by many critics to be signs of sloppy filmmaking, but the French New Wave filmmakers used these techniques to reinvigorate the national cinema, disorient the viewer and add a sense of realism to their films.

The Bergman films flopped both critically and commercially, though for the young critics of Cahiers du Cinema they were models of personal independent filmmaking that would help spark the French New Wave.

It was a great comeback for her after 2006 Cannes In Competition film Marie Antoinette was met with boos from the French critics.

Special Features New 4K digital restoration New interview with cinematographer John Bailey about director of photography Conrad Hall's work in the film New interview with film historian Bobbi O'Steen on the film's editing New interview with film critic and jazz historian Gary Giddins about Quincy Jones's music for the film New interview with writer Douglass K. Daniel on director Richard Brooks Interview with Brooks from a 1998 episode of the French television series «Cinema Cinemas» «With Love From Truman,» a short 1966 documentary featuring novelist Truman Capote, directed by Albert and David Maysles Two archival NBC interviews with Capote: one following the author on a 1966 visit to Holcomb, Kansas, and the other conducted by Barbara Walters in 1967 Trailer Plus: An essay by critic Chris Fujiwara

Here is one of the great, underrated film noirs — a movie whose reputation and stature was recognized early on by French critics and has continued to grow over the past half century.

The film marked the director's passage from leading critic to trailblazing auteur of the French New Wave.

According to New York Times film critic A.O. Scott, fans of Jean - Luc Godard will hate - watch the new movie Godard Mon Amour by French director...

Film critics and Seattle film mavens Robert Horton, Richard T. Jameson, Kathleen Murphy and Bruce Reid discuss Raw, the first offering by French director Julia Docournau, and offer a master class on veteran filmmaker Walter Hill and his new thriller, The Assignment.

Bertrand Tavernier, who began as a film critic before making his 1974 directing debut with «The Clockmaker,» assembled this wide - ranging, three - hours - plus history of French filmmaking, from «Children of Paradise» to «Forbidden Games.»

- New, restored 4K digital transfer of the English - language version of the film, with uncompressed monaural soundtrack on the Blu - ray - Alternate French - language version of the film - Audio commentary from 2005 featuring film scholar Adrian Martin - Portrait: Orson Welles, a 1968 documentary directed by François Reichenbach and Frédéric Rossif - New interview with actor Norman Eshley - Interview from 2004 with cinematographer Willy Kurant - New interview with Welles scholar François Thomas - An essay by film critic Jonathan Rosenbaum

Here is one of the great, underrated film noirs — a movie whose stature was recognized early on by French critics and has continued to grow over the past half century.

It features commentary (in French, with English subtitled) by Truffaut's co-screenwriter Jean - Louis Richard and Truffaut scholar Serge Toubiana (originally recorded in 2000), the half - hour 1999 documentary Monsieur Truffaut Meets Mr. Hitchcock (about the famous interview book), a new video essay by film critic Kent Jones, and an archival interview with Truffaut from 1965 about the film, plus a leaflet with an essay by Molly Haskell.

VF.com's film critic Richard Lawson is with Rebecca at Cannes this year, hopefully also indulging in an Orangina and a fine French petit déjeuner.

Don't miss: Extras include an interview with cinematographer John Bailey about Conrad Hall, the movie's cinematographer, an interview with film historian Bobbie O'Steen about the film's editing, an interview with film critic and jazz historian Gary Giddens about Quincy Jones» score for the movie, a 1988 French TV interview with Brooks, a short 1966 documentary about Capote, interviews with Capote from 1966 and 1967, an interview with writer Douglas K. Daniel about Brooks and an essay about the movie.

, Rediscovering French Film, New York, Museum of Modem Art, 1983 (an anthology of important articles by film historians, critics and filmmakers; has a substantial bibliography)

The Cannes Film Festival in May saw the premiere of the French film Rust and Bone, and critics were quick to praise previous Best Actress winner Marion Cotillard for her work as a double - amputee whale trainer (if that doesn't qualify as «Oscar bait,» I'm not sure what does).

That's, to me, a disappointing read of not only the French New Wave but film critics as well — these ones, especially, and others (the good ones) in general.

2 X 50 Years ends with a moving tribute to French film criticism — using that term broadly enough to include precursors as well as poets, art critics, and filmmaker - theorists — by furnishing us with a honor roll of 15 individuals, from Denis Diderot to Serge Daney, each of whom is accorded a portrait, a page of text, and an offscreen recitation of a brief passage read by Mieville or Godard.

South Korean auteur Lee Chang - dong made a huge splash at the French film festival this week with what critics are hailing as the best film to screen at Cannes.

I'm sure most of you are very skeptical about all of these critics talking so highly about a French black and white silent film.

A candid and human drama, The 400 Blows not only launched the feature career of Truffaut, a 27 - year - old who had gained notice as a film critic, but also the French New Wave, an era of cinema that is revered by many and often channeled by Wes Anderson, one of today's most acclaimed filmmakers and the active one by far most recognized by Criterion.

In her latest column, critic Imogen Sara Smith explains how cinematographer Henri Decaë brought a risk - taking spirit and seductive allure to some of the most iconic French crime films.

French critics coined the term «film noir» («black film») for these movies in 1946, although the phrase wasn't used in the United States until 1968, with the publication of Hollywood in the Forties, by Charles Higham and Joel Greenberg.