🎭 Cast: Pierre Baillot, Gilette Barbier, Jean Pierre Bastid, Juliet Berto, Michel Berto, René Biaggi, Ode Bitton, Jean Bouise, Marcel Bozonnet, Michel Delahaye, Jacques Doniol Valcroze, Françoise Fabian, Hermine Karagheuz, Bernadette Lafont, Michael Lonsdale, Jean Pierre Léaud, Michèle Moretti, Bulle Ogier...
#Out1Spectre #sousTitres #cinemaFrançais #film #rivette #experimental #avantgarde #drama #cinema
🎭 Cast: Michèle Moretti, Hermine Karagheuz, Jean-Pierre Léaud, Michael Lonsdale, Juliet Berto, Bulle Ogier, Jean-François Stévenin, Bernadette Lafont, Michel Berto, Pierre Baillot, Marcel Bozonnet, Edwine Moatti, Monique Clément, Gérard Martin, Gilette Barbier...
#Out1NoliMeTangere #sousTitres #cinemaFrançais #film #experimental #avantgarde #rivette #cinema #frenchfilm
La Stampa - News, inchieste e approfondimenti La Stampa: Sul set di "Fino all'ultimo respiro", per riscoprire il mito di un cinema libero e rivoluzionario
Questa è la storia di Godard nel momento in cui gira “Fino all’ultimo respiro”, raccontata nello stile e nello spirito con cui Godard ha realizzato “Fino all’ultimo respiro”. Siamo a Parigi, tra il 1959 e il 1960. Truffaut e Chabrol (Adrien Rouyard e Antoine Besson) hanno già mosso i primi passi dietro la macchina da presa. Godard (Guillaume Marbeck) è pronto a girare il suo primo lungometraggio. Rivette e Rohmer (Jonas Marmy e Côme Thieulin) sono agli esordi. Intorno a loro, un fermento culturale unico, nutrito dalle opere di Jean Cocteau (Jean-Jacques Le Vessier), Robert Bresson, Roberto Rossellini (Laurent Mothe) e Jean-Pierre Melville. Girato con lo stesso spirito libero, audace e sperimentale che animava quei giorni, il film non si limita a ricostruire la genesi di “À bout de souffle”, ma la vive e la reinventa.
Il secondo film di questa settimana è “Moulin Rouge” di Buz Luhrmnann. Nella Parigi nel 1899, Christian (Ewan McGregor) è un giovane scrittore inglese in cerca di ispirazione che ha appena trovato casa nel quartiere bohémien di Pigalle.Grazie a un incontro imprevisto, il ragazzo è introdotto nell’ambiente teatrale del Moulin Rouge, celebre locale notturno del quartiere. Sperando di persuadere l’impresario Zidler (Jim Broadbent) a mettere in scena un nuovo show, gli attori decidono di presentare il talentuoso nuovo arrivato all’étoile del locale, Satine, meravigliosa, desiderata da tutti e purtroppo malata. Christian e Satine si innamorano, ma la loro strada è segnata.
On the set of “Until the Last Breath,” to rediscover the myth of a free and revolutionary cinema.
This is the story of Godard at the moment he’s shooting “Breathless,” told in the style and spirit with which Godard made “Breathless.” We’re in Paris, between 1959 and 1960. Truffaut and Chabrol (Adrien Rouyard and Antoine Besson) have already taken their first steps behind the camera. Godard (Guillaume Marbeck) is ready to shoot his first feature film. Rivette and Rohmer (Jonas Marmy and Côme Thieulin) are just starting out. Around them, a unique cultural ferment, nourished by the works of Jean Cocteau (Jean-Jacques Le Vessier), Robert Bresson, Roberto Rossellini (Laurent Mothe) and Jean-Pierre Melville. Shot with the same free, audacious and experimental spirit that animated those days, the film doesn’t just reconstruct the genesis of “Breathless,” but lives it and reinvents it.
The second film of this week is “Moulin Rouge” by Buz Luhrmnann. In Paris in 1899, Christian (Ewan McGregor) is a young English writer searching for inspiration who has just found a home in the bohemian Pigalle neighborhood. Thanks to an unexpected encounter, the boy is introduced to the theatrical environment of the Moulin Rouge, a famous nightspot in the neighborhood. Hoping to persuade the impresario Zidler (Jim Broadbent) to stage a new show, the actors decide to present the talented new arrival to the star of the venue, Satine, a marvelous, desired woman, and unfortunately ill. Christian and Satine fall in love, but their path is marked.
#Godard #Paris #Truffaut #Chabrol #AdrienRouyard #AntoineBesson #first #GuillaumeMarbeck #Rivette #Rohmer #JonasMarmy #CômeThieulin #JeanCocteau #RobertBresson #RobertoRossellini #LaurentMothe #Jean-PierreMelville #second #MoulinRouge #BuzLuhrmnann #Christian #EwanMcGregor #English #Pigalle #theMoulinRouge #Zidler #JimBroadbent #Satine
"Moralists always turn me on." Rivette sure loves theatre rehearsals. At first, this felt like more of the same, albeit with an all-female cast. Sure, there are subtle pockets of meaning (all those suburban metro rides), but I felt this was going nowhere, other than a possible remake of Paris nous appartient. But Rivette's films are so long that eventually, strange things are bound to happen, and the last hour is super entertaining, even funny in a very dry manner. Naturally, the real film starts afterwards because this could mean so many things. Which is a good thing. So, nice
Peak 1970s French cinema. Artificial, more akin to avant-garde theatre, mystical and weirdly erotic. Partly a surrealist revenge tale, partly a feminist pirate film, but never settling into a definite thing, although for me it seemed like a film about the cannibalism of revolutionary groups. Never becomes a conventionally enjoyable film, though the cinematography is beautiful and the way the music is presented works well. It's just too distant (the wooden acting doesn't help) where Duelle and Le Pont du Nord pull you into the mystery. An unthinkable film these days.
Pfouuuh dans Haut bas fragile :
– les tenues des trois meufs 😍
– les danses de Nathalie Richard 😍
French Cinema & Subtitles
Italian News by RSS
Bateman
Johanne Sylvestre
jacquie
Jorn Straten