Stirred about by a seedy jazz score and Oliver Reed’s glowering performance as Moise, The Party’s Over is a witches’ brew of depravity. It’s satisfying on just about every level: from its grasping, murderous schemers (played by Jeanne Moreau and Maurice Ronet) to its plot that twists and turns in all sorts of deliriously tricksy ways.
Spanish director Luis Buñuel once claimed he never missed his daily martini, and you wonder whether such rigour can explain his extraordinary creative longevity.
GA, The result of a long collaboration (and tortured production history) between animator Grimault and the respected screenwriter Jacques Prévert, this animated cartoon tells of the downfall of the king and kingdom of Tachycardia.
Even as early as the opening credits, a poster of her face with bland expression is pasted over a billboard campaign for humanitarian aid. This stunningly photographed and skilfully acted film uses an accretion of naturalistic detail to present an emotionally restrained but utterly compelling account of the last three months of van Gogh’s life. He delivers the same coolly detached performance, too, though it works better in this context. Haneke crafts the fabric and routine of the couple’s life with cold precision, only to upset their habits violently at regular intervals. Released the same year as Godard’s ‘Breathless’ (1959) and filmed on the same sun-dappled Parisian streets, Bresson’s mid-career tale of the mysterious operation of grace and redemption on the fate of a young thief is considered by many to be his masterpiece. Back in his studio, making blow-ups of photographs of the incident, he tries to build a temporal narrative from sequential images – but the bigger picture won’t come. After the film's success, she collaborated with Godard again on the short Le Grand Escroc, which revived her Breathless character.
There’s a comic-strip aspect, a roundelay of disguises, kidnappings, secret codes and acrobatic getaways.
In Philippe Garrel’s delightfully meta film, a successful director (played by Garrel) offers the lead role in his next project – an autobiographical film – to the celebrated actress Minouchette (Anémone), but his wife Jeanne, also an actress (played by Brigitte Sy, Garrel’s actual partner), feels the role should have been hers. Darling subverts the iconography of ‘The Face’ and the It Girl particular this era. As his onetime colleagues François Truffaut, Claude Chabrol and Eric Rohmer settled into more expected grooves, it began to look as if Chabrol had been right all along when he said: “There are no waves, new or old. The film is, finally, affecting, thanks to a seemingly intuitive understanding of colour, movement and composition, and to an ability to draw from earlier films without ever seeming plagiaristic. All rights reserved. Godard's first feature, adapted from an existing scenario written by François Truffaut, spins a pastiche with pathos as joyrider Belmondo shoots a cop, chases friends and debts across a night-time Paris, and falls in love with a literary lady. Séverine makes fervent protestations of love but cannot, alas, consummate; instead she succumbs to theatrically erotic reveries — of being whipped by two burly coachmen, pelted with shit while wearing a diaphanous white gown, elaborately bound to a tree. He’s experimental in some ways; in others, he has the refinement of Michael Bay. TCH, Amateur illusionist Céline (Juliet Berto) and studious librarian Julie (Dominique Labourier) meet in a park and become practically inseparable — so much so that they can try on each other’s identities like best friends swapping favourite apparel. The film gives us Jean-Louis (Jean-Louis Trintignant), a dapper 34-year-old engineer with a good line in wry, toothy smiles who works for Michelin in Clermont-Ferrand.
SJO, Le mépris. Malik is now César’s vassal, working for him on the inside and, later, using a series of day-release excursions to represent his criminal interests on the outside. When an all-singin’, all-dancin’ motorcycle roadshow rolls into town, the girls decide to give one last big performance before upping sticks and moving on. With this film Chabrol came full circle back to his first, echoing not only the minutely detailed provincial landscape of ‘Le Beau Serge’ but its theme of redemption.
Hand-picked. Born into poverty, she was discovered on the streets of ’30s Paris, singing for her supper, precipitating a remarkable rise to fame and fortune. The Beat That My Heart Skipped (2005), 62. The editing gave it a very different tone than the films we were used to seeing.
He follows her in his car, but she soon disappears and he bumps into Vidal (Antoine Vitez), an old friend and teacher at the local university.
This is a deliciously languid, slinkily unsettling affair. He gives us Malik (Tahar Rahim), a French-Arab convict who enters a concrete-and-steel hell to serve a six-year sentence.
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