Along with Alice Diop’s Saint Omer, which won Venice’s Silver Lion last year, and Justine Triet’s Anatomy of a Fall, premiering in Cannes’ main competition next week, Cédric Kahn’s The Goldman Case marks a recent trend of arthouse courtroom dramas that, beyond a few exceptions (such as Henri-George Clouzot’s seldom seen masterpiece, The Truth), have never been a major facet of French cinema.
This is because French trials, unlike American ones, tend to be less dramatic, with fewer rulings by jury (outside of murder cases) and with the judge playing a larger role in the proceedings, reviewing facts and statements in a dry manner. However, there have been a number of highly headline-grabbing trials in France these past years, including that of former President Nicolas Sarkozy for election fraud charges, and another concerning the November 13 terrorist attacks, which have brought the courtroom back into the public sphere.
This is because French trials, unlike American ones, tend to be less dramatic, with fewer rulings by jury (outside of murder cases) and with the judge playing a larger role in the proceedings, reviewing facts and statements in a dry manner. However, there have been a number of highly headline-grabbing trials in France these past years, including that of former President Nicolas Sarkozy for election fraud charges, and another concerning the November 13 terrorist attacks, which have brought the courtroom back into the public sphere.
- 5/17/2023
- by Jordan Mintzer
- The Hollywood Reporter - Movie News
Here are a bunch of little bites to satisfy your hunger for movie culture: Character Resurrection of the Day: Daniel Stern reprises his Rooke of the Year role of Coach Phil Brickma for a couple videos on YouTube. See more at /Film. Movie Takedown of the Day: In case you need more reason to dislike it, Honest Trailers goes biblical on X-Men: Apocalypse: Alternate Ending of the Day: Suicide Squad also takes more beatings with this animated parody and suggestion for how it should have ended: Vintage Image of the Day: Andrzej Wajda, who died Saturday, filming Jerzy Radziwilowicz and Krystyna Janda for Man of Iron, which was released in the U.S. on this day 35 years ago: Filmmaker...
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- 10/12/2016
- by Christopher Campbell
- Movies.com
Marie Dubois, actress in French New Wave films, dead at 77 (image: Marie Dubois in the mammoth blockbuster 'La Grande Vadrouille') Actress Marie Dubois, a popular French New Wave personality of the '60s and the leading lady in one of France's biggest box-office hits in history, died Wednesday, October 15, 2014, at a nursing home in Lescar, a suburb of the southwestern French town of Pau, not far from the Spanish border. Dubois, who had been living in the Pau area since 2010, was 77. For decades she had been battling multiple sclerosis, which later in life had her confined to a wheelchair. Born Claudine Huzé (Claudine Lucie Pauline Huzé according to some online sources) on January 12, 1937, in Paris, the blue-eyed, blonde Marie Dubois began her show business career on stage, being featured in plays such as Molière's The Misanthrope and Arthur Miller's The Crucible. François Truffaut discovery: 'Shoot the...
- 10/17/2014
- by Andre Soares
- Alt Film Guide
Aftermath (Poklosie) Movie Review Menemsha Films Reviewed for Shockya by Harvey Karten. Data-based on RottenTomatoes.com Grade: B+ Director: Wladyslaw Pasikowski Screenwriter: Wladyslaw Pasikowski Cast: Marcej Stuhr, Ireneusz Czop, Jerzy Radziwilowicz, Zuzana Fialová, Andrzej Mastalerz, Zbigniew Zamachowski Screened at: Critics’ screener, NYC, 11/3/13 Opens: November 1, 2013 One mystery that has remains resolved by historians, psychologists, philosophers, sociologists and thinking people everywhere is this: why is it that on the whole, some nations acts morally and some do not? World War II provides an excellent example. As the Nazis conquered one state after another, the people under German occupation resisted and collaborated to different degrees. The Danes acted well: when word [ Read More ]
The post Aftermath Movie Review appeared first on Shockya.com.
The post Aftermath Movie Review appeared first on Shockya.com.
- 11/4/2013
- by Harvey Karten
- ShockYa
For all his lucid dreams. They will be remembered with Godard, Varda, Lanzmann, Straub & Huillet, Rivette, Truffaut, Garrel, and the rest of cinema, which will not be the same.
Top: From Jacques Rivette's The Story of Marie and Julien (2003); featuring Jerzy Radziwilowicz and Emmanuelle Béart; cinematography by William Lubtchansky.
* * *
"I met him only once, in 2001, when he granted me an interview that turned into a long and amicable talk at his home in Paris (concluding with directions to the nearby Poîlane bakery)." The New Yorker's Richard Brody: "[A]rguably, no cinematographer in the history of cinema has photographed a more significant set of movies.... As a cinematographer, Lubtchansky may not have brought about as manifest a technical revolution as did Gregg Toland and Raoul Coutard, but he played a crucial role in the work of the most historically-informed and classical-minded of modernist filmmakers, by infusing traditional cinematic craftsmanship with a decisively modernist spirit.
Top: From Jacques Rivette's The Story of Marie and Julien (2003); featuring Jerzy Radziwilowicz and Emmanuelle Béart; cinematography by William Lubtchansky.
* * *
"I met him only once, in 2001, when he granted me an interview that turned into a long and amicable talk at his home in Paris (concluding with directions to the nearby Poîlane bakery)." The New Yorker's Richard Brody: "[A]rguably, no cinematographer in the history of cinema has photographed a more significant set of movies.... As a cinematographer, Lubtchansky may not have brought about as manifest a technical revolution as did Gregg Toland and Raoul Coutard, but he played a crucial role in the work of the most historically-informed and classical-minded of modernist filmmakers, by infusing traditional cinematic craftsmanship with a decisively modernist spirit.
- 5/11/2010
- MUBI
Story of Marie and Julien
Screened
Toronto International Film Festival
TORONTO -- Now in his fifth decade of filmmaking, French master Jacques Rivette shows no signs of his intellectual arteries hardening or cinematic vigor diminishing. In fact, by all rights, his new film "The Story of Marie and Julien" should belong to a young indie filmmaker wanting to turn the cinema of the fantastic on its head with an audacious metaphysical drama.
As is nearly always the case, Rivette's rhythms are leisurely. The 150-minute film, which premiered here at the festival, studies its characters in the most scrupulous details of their often strange and enigmatic behavior. This is certainly the cinema of the art house, and even there many habitues may be immune to such a somber "Story".
At this particular moment in his life, Julien (Jerzy Radziwilowicz) -- a man in his 40s who repairs antique clocks in his old, rambling Paris house -- is dominated by two women. Marie (beautiful Emmanuelle Beart), whom he met the year before, then loved and lost, haunts his dreams. Madame X (Anne Brochet), a woman whose secrets he is privy to, falls victim to his blackmail scheme.
Then he encounters Marie again. While she is at times remote and lethargic, he eagerly enters into an affair with her that grows more passionate with each passing day.
Marie moves in with Julien and even participates in his blackmail scheme. She spends part of her days in an upstairs room, acquiring and rearranging its furniture for some ominous purpose. Julien continues to tinker with his clocks or, metaphorically speaking, with time, which seems to be working against him and Marie. But it is Madame X who understands the dangerous secret that could unravel the couple's life together.
Even as the contours of the secret grow more apparent before its revelation, Rivette, working from a story he developed with Pascal Bonitzer and Christine Laurent, ushers us slyly toward an ending that surprises and provokes, yet offers the possibility of love reborn.
The style is austere, with no music and a soundtrack frequently booming with everyday noises -- a shoe dropping, the tick of a clock, the scrape of moving furniture on a wood floor. The actors move and behave as if in a dream. The mood is grave, and those elements one might call "otherworldly" are presented matter-of-factly.
The couple's longing gazes and frenzied couplings suggest the passion of desperation, where even as they make love they fantasize about other lovers and couplings to make up for the fleeting time they have together. As the minimalist masterwork concludes, both Marie and Julien find the means to cope with the problems of memory, love and loss.
THE STORY OF MARIE AND JULIEN
Pierre Grise Prods.
Credits:
Director: Jacques Rivette
Screenwriters: Pascal Bonitzer, Christine Laurent, Jacques Rivette
Producer: Martine Marignac
Director of photography: William Lubtchansky
Production designer: Manu de Chauvigny
Costume designer: Laurence Struz
Editor: Nicole Lubtchansky
Cast:
Marie: Emmanuelle Beart
Julien: Jerzy Radziwilowicz
Madame X: Anne Brochet
Adrienne: Bettina Kee
Publisher: Olivier Cruveiller
Concierge: Mathias Jung
Friend: Nicole Garcia
Running time -- 150 minutes
No MPAA rating...
Toronto International Film Festival
TORONTO -- Now in his fifth decade of filmmaking, French master Jacques Rivette shows no signs of his intellectual arteries hardening or cinematic vigor diminishing. In fact, by all rights, his new film "The Story of Marie and Julien" should belong to a young indie filmmaker wanting to turn the cinema of the fantastic on its head with an audacious metaphysical drama.
As is nearly always the case, Rivette's rhythms are leisurely. The 150-minute film, which premiered here at the festival, studies its characters in the most scrupulous details of their often strange and enigmatic behavior. This is certainly the cinema of the art house, and even there many habitues may be immune to such a somber "Story".
At this particular moment in his life, Julien (Jerzy Radziwilowicz) -- a man in his 40s who repairs antique clocks in his old, rambling Paris house -- is dominated by two women. Marie (beautiful Emmanuelle Beart), whom he met the year before, then loved and lost, haunts his dreams. Madame X (Anne Brochet), a woman whose secrets he is privy to, falls victim to his blackmail scheme.
Then he encounters Marie again. While she is at times remote and lethargic, he eagerly enters into an affair with her that grows more passionate with each passing day.
Marie moves in with Julien and even participates in his blackmail scheme. She spends part of her days in an upstairs room, acquiring and rearranging its furniture for some ominous purpose. Julien continues to tinker with his clocks or, metaphorically speaking, with time, which seems to be working against him and Marie. But it is Madame X who understands the dangerous secret that could unravel the couple's life together.
Even as the contours of the secret grow more apparent before its revelation, Rivette, working from a story he developed with Pascal Bonitzer and Christine Laurent, ushers us slyly toward an ending that surprises and provokes, yet offers the possibility of love reborn.
The style is austere, with no music and a soundtrack frequently booming with everyday noises -- a shoe dropping, the tick of a clock, the scrape of moving furniture on a wood floor. The actors move and behave as if in a dream. The mood is grave, and those elements one might call "otherworldly" are presented matter-of-factly.
The couple's longing gazes and frenzied couplings suggest the passion of desperation, where even as they make love they fantasize about other lovers and couplings to make up for the fleeting time they have together. As the minimalist masterwork concludes, both Marie and Julien find the means to cope with the problems of memory, love and loss.
THE STORY OF MARIE AND JULIEN
Pierre Grise Prods.
Credits:
Director: Jacques Rivette
Screenwriters: Pascal Bonitzer, Christine Laurent, Jacques Rivette
Producer: Martine Marignac
Director of photography: William Lubtchansky
Production designer: Manu de Chauvigny
Costume designer: Laurence Struz
Editor: Nicole Lubtchansky
Cast:
Marie: Emmanuelle Beart
Julien: Jerzy Radziwilowicz
Madame X: Anne Brochet
Adrienne: Bettina Kee
Publisher: Olivier Cruveiller
Concierge: Mathias Jung
Friend: Nicole Garcia
Running time -- 150 minutes
No MPAA rating...
- 7/9/2004
- The Hollywood Reporter - Movie News
Story of Marie and Julien
Screened
Toronto International Film Festival
TORONTO -- Now in his fifth decade of filmmaking, French master Jacques Rivette shows no signs of his intellectual arteries hardening or cinematic vigor diminishing. In fact, by all rights, his new film "The Story of Marie and Julien" should belong to a young indie filmmaker wanting to turn the cinema of the fantastic on its head with an audacious metaphysical drama.
As is nearly always the case, Rivette's rhythms are leisurely. The 150-minute film, which premiered here at the festival, studies its characters in the most scrupulous details of their often strange and enigmatic behavior. This is certainly the cinema of the art house, and even there many habitues may be immune to such a somber "Story".
At this particular moment in his life, Julien (Jerzy Radziwilowicz) -- a man in his 40s who repairs antique clocks in his old, rambling Paris house -- is dominated by two women. Marie (beautiful Emmanuelle Beart), whom he met the year before, then loved and lost, haunts his dreams. Madame X (Anne Brochet), a woman whose secrets he is privy to, falls victim to his blackmail scheme.
Then he encounters Marie again. While she is at times remote and lethargic, he eagerly enters into an affair with her that grows more passionate with each passing day.
Marie moves in with Julien and even participates in his blackmail scheme. She spends part of her days in an upstairs room, acquiring and rearranging its furniture for some ominous purpose. Julien continues to tinker with his clocks or, metaphorically speaking, with time, which seems to be working against him and Marie. But it is Madame X who understands the dangerous secret that could unravel the couple's life together.
Even as the contours of the secret grow more apparent before its revelation, Rivette, working from a story he developed with Pascal Bonitzer and Christine Laurent, ushers us slyly toward an ending that surprises and provokes, yet offers the possibility of love reborn.
The style is austere, with no music and a soundtrack frequently booming with everyday noises -- a shoe dropping, the tick of a clock, the scrape of moving furniture on a wood floor. The actors move and behave as if in a dream. The mood is grave, and those elements one might call "otherworldly" are presented matter-of-factly.
The couple's longing gazes and frenzied couplings suggest the passion of desperation, where even as they make love they fantasize about other lovers and couplings to make up for the fleeting time they have together. As the minimalist masterwork concludes, both Marie and Julien find the means to cope with the problems of memory, love and loss.
THE STORY OF MARIE AND JULIEN
Pierre Grise Prods.
Credits:
Director: Jacques Rivette
Screenwriters: Pascal Bonitzer, Christine Laurent, Jacques Rivette
Producer: Martine Marignac
Director of photography: William Lubtchansky
Production designer: Manu de Chauvigny
Costume designer: Laurence Struz
Editor: Nicole Lubtchansky
Cast:
Marie: Emmanuelle Beart
Julien: Jerzy Radziwilowicz
Madame X: Anne Brochet
Adrienne: Bettina Kee
Publisher: Olivier Cruveiller
Concierge: Mathias Jung
Friend: Nicole Garcia
Running time -- 150 minutes
No MPAA rating...
Toronto International Film Festival
TORONTO -- Now in his fifth decade of filmmaking, French master Jacques Rivette shows no signs of his intellectual arteries hardening or cinematic vigor diminishing. In fact, by all rights, his new film "The Story of Marie and Julien" should belong to a young indie filmmaker wanting to turn the cinema of the fantastic on its head with an audacious metaphysical drama.
As is nearly always the case, Rivette's rhythms are leisurely. The 150-minute film, which premiered here at the festival, studies its characters in the most scrupulous details of their often strange and enigmatic behavior. This is certainly the cinema of the art house, and even there many habitues may be immune to such a somber "Story".
At this particular moment in his life, Julien (Jerzy Radziwilowicz) -- a man in his 40s who repairs antique clocks in his old, rambling Paris house -- is dominated by two women. Marie (beautiful Emmanuelle Beart), whom he met the year before, then loved and lost, haunts his dreams. Madame X (Anne Brochet), a woman whose secrets he is privy to, falls victim to his blackmail scheme.
Then he encounters Marie again. While she is at times remote and lethargic, he eagerly enters into an affair with her that grows more passionate with each passing day.
Marie moves in with Julien and even participates in his blackmail scheme. She spends part of her days in an upstairs room, acquiring and rearranging its furniture for some ominous purpose. Julien continues to tinker with his clocks or, metaphorically speaking, with time, which seems to be working against him and Marie. But it is Madame X who understands the dangerous secret that could unravel the couple's life together.
Even as the contours of the secret grow more apparent before its revelation, Rivette, working from a story he developed with Pascal Bonitzer and Christine Laurent, ushers us slyly toward an ending that surprises and provokes, yet offers the possibility of love reborn.
The style is austere, with no music and a soundtrack frequently booming with everyday noises -- a shoe dropping, the tick of a clock, the scrape of moving furniture on a wood floor. The actors move and behave as if in a dream. The mood is grave, and those elements one might call "otherworldly" are presented matter-of-factly.
The couple's longing gazes and frenzied couplings suggest the passion of desperation, where even as they make love they fantasize about other lovers and couplings to make up for the fleeting time they have together. As the minimalist masterwork concludes, both Marie and Julien find the means to cope with the problems of memory, love and loss.
THE STORY OF MARIE AND JULIEN
Pierre Grise Prods.
Credits:
Director: Jacques Rivette
Screenwriters: Pascal Bonitzer, Christine Laurent, Jacques Rivette
Producer: Martine Marignac
Director of photography: William Lubtchansky
Production designer: Manu de Chauvigny
Costume designer: Laurence Struz
Editor: Nicole Lubtchansky
Cast:
Marie: Emmanuelle Beart
Julien: Jerzy Radziwilowicz
Madame X: Anne Brochet
Adrienne: Bettina Kee
Publisher: Olivier Cruveiller
Concierge: Mathias Jung
Friend: Nicole Garcia
Running time -- 150 minutes
No MPAA rating...
- 9/12/2003
- The Hollywood Reporter - Movie News
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