1.
Berlin International Film Festival
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The Berlin International Film Festival, also called the Berlinale, is one of the worlds leading film festivals and most reputable media events. It is held annually in Berlin, Germany, founded in West Berlin in 1951, the festival has been celebrated annually in February since 1978. With around 300,000 tickets sold and 500,000 admissions it is considered the largest publicly attended film festival based on actual attendance rates. Up to 400 films are shown in sections, representing a comprehensive array of the cinematic world. Around twenty films compete for the called the Golden and Silver Bears. Since 2001 the director of the festival has been Dieter Kosslick, the European Film Market, a film trade fair held simultaneously to the Berlinale, is a major industry meeting for the international film circuit. The trade fair serves distributors, film buyers, producers, financiers, the Berlinale Talent Campus, a week-long series of lectures and workshops, gathers young filmmakers from around the globe. It partners with the festival itself and is considered to be a forum for upcoming artists, the festival, the EFM and other satellite events are attended by around 20,000 professionals from over 130 countries. More than 4200 journalists are responsible for the exposure in over 110 countries. At high-profile feature film premieres, movie stars and celebrities are present at the red carpet, the Berlinale has established a cosmopolitan character integrating art, glamour, commerce and a global media attention. The Berlin International Film Festival was founded in West Berlin in 1951, alfred Hitchcock’s Rebecca opened the first Berlinale. Although the film had premiered in 1940, many Germans had been unable to watch it until after the war ended, since 1978 the festival has been celebrated annually in February. The next-to-most recent festival, the 66th Berlinale, was held from 11 February to 21 February 2016, meryl Streep presided over the international jury. Joel and Ethan Coens film Hail, Caesar. was selected to open the festival, the Golden Bear was awarded to the Italian documentary Fire at Sea, directed by Gianfranco Rosi. The 67th Berlin International Film Festival was held February 9 to February 19,2017, the festival is composed of seven different film sections. Films are chosen in each category by a director with the advice of a committee of film experts. Categories include, Competition, comprises feature-length films yet to be released outside their country of origin, films in the Competition section compete for several prizes, including the top Golden Bear for the best film and a series of Silver Bears for acting, writing and production. Panorama, comprises new independent and arthouse films that deal with controversial subjects or unconventional aesthetic styles, films in the category are intended to provoke discussion, and have historically involved themes such as LGBT issues
2.
Thessaloniki International Film Festival
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The Thessaloniki International Film Festival has become one of the Southeast Europes primary showcases for the work of new and emerging filmmakers. The event features the International Section, a panorama of Greek films, the New Horizons program, the Balkan Survey, the Festival is competitive with the International Section jury awarding several prizes each year, most notably the Golden Alexander for Best Feature-Length Film. Since 1992, the International Thessaloniki Film Festival has striven to present the most innovative independent films from around the world, components of the Festival include, The International Competition section consists of new directors first or second films. The non-competitive panorama of Greek films, an overview of the recent local production is followed by the presentation of the State Film Awards by the Greek Ministry of Culture, the Independence Days non-competitive section is the cutting-edge showcase for the latest trends in independent film production. The Balkan Survey, created in 1994, stands as a program which offers audiences a window on the cinema of this region of the world. In March 2016, French film producer Élise Jalladeau was appointed as director of the Thessaloniki International Film Festival, in May 2016, film critic Orestis Andreadakis was named artistic director. Cinematographer Giorgos Arvanitis serves as president of the TIFF Board, retrospectives and tributes look at both historic masters, and emerging artists. The first period of Thessaloniki Film Festival starts in 1960 and finished in 1991, during this period the festival showed exclusively Greek films. The festival was first held in 1960 as a modest Week of Greek Cinema, from 1965 to 1991 the festival was named Festival of Greek Cinema. During these years the festival passed through various phases, the first years the festival was an important social event with flashy appearances of local showbiz stars. During the ], censorship made its appearance, during the Metapolitefsi the new generation of Greek directors dominated the awards, but at the same time the festival became increasingly politicized and two opposing groups of spectators appeared. The tension between two groups reached a peak in 1977, when the festival split in two different festivals. The split lasted only one year, during the 80s the importance of the festival declined until in 1992, when it was decided to upgrade the event to an international film festival. In 1992 the festival became a film festival, acknowledged by the International Federation of Film Producers Associations. The Greek movies competed in a different section of the festival with the name Greek State Film Awards, nowadays Thessaloniki International Film Festival is an annual event focused on the discovery and promotion of new directors from all over the world. For ten days in mid-November, audiences numbering approximately 70,000, as well as hundreds of Greek and foreign Festival guests, attend screenings of more than 150 films in the citys cinemas
3.
The 400 Blows
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The 400 Blows is a 1959 French drama film, the debut by director François Truffaut, it stars Jean-Pierre Léaud, Albert Rémy, and Claire Maurier. One of the films of the French New Wave, it displays many of the characteristic traits of the movement. Written by Truffaut and Marcel Moussy, the film is about Antoine Doinel, filmed on location in Paris and Honfleur, it is the first in a series of five films in which Léaud plays the semi-autobiographical character. The 400 Blows received numerous awards and nominations, including the Cannes Film Festival Award for Best Director, the OCIC Award, the film was also nominated for an Academy Award for Best Writing in 1960. The 400 Blows had a total of 4,092,970 admissions in France, making it Truffauts most successful film in his home country. The 400 Blows is widely considered one of the best French films in the history of cinema, in the 2012 Sight & Sound critics poll of the greatest films ever made, Antoine Doinel is a young boy growing up in Paris during the 1950s. Misunderstood by his parents for playing truant from school and stealing, the boy finally quits school after being caught plagiarizing Balzac by his teacher. He steals a typewriter from his stepfathers work place to finance his plans to leave home, the stepfather turns Antoine over to the police and Antoine spends the night in jail, sharing a cell with prostitutes and thieves. During an interview with the judge, Antoine’s mother confesses that her husband is not Antoine’s biological father, Antoine is placed in an observation center for troubled youths near the seashore. A psychologist at the center probes reasons for Antoines unhappiness, which the youth reveals in a series of monologues. One day, while playing football with the boys, Antoine escapes under a fence and runs away to the ocean. He reaches the shoreline of the sea and runs into it, the film concludes with a freeze-frame of Antoine, and the camera optically zooms in on his face, looking into the camera. The English title is a translation of the French but misses its meaning, as the French title refers to the idiom faire les quatre cents coups. On the first prints in the United States, subtitler and dubber Noelle Gillmor gave the film the title Wild Oats, before seeing it, some people thought the film covered the topic of corporal punishment. The semi-autobiographical film reflects events of Truffauts and his friends lives, in style, it expresses Truffauts personal history of French film, with references to other works—most notably a scene borrowed wholesale from Jean Vigos Zéro de conduite. Truffaut dedicated the film to the man who became his father, André Bazin. Besides being a study, the film is an exposé of the injustices of the treatment of juvenile offenders in France at the time. It was nominated for Best Original Screenplay at the 32nd Academy Awards, the film holds a very rare 100% Certified Fresh rating on Rotten Tomatoes based on 54 reviews
4.
Jean-Luc Godard
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Jean-Luc Godard is a French-Swiss film director, screenwriter and film critic. He is often identified with the 1960s French film movement La Nouvelle Vague, as a result of such argument, he and like-minded critics started to make their own films. Many of Godards films challenge the conventions of traditional Hollywood in addition to French cinema, along with showing knowledge of film history through homages and references, several of his films expressed his political views, he was an avid reader of existential and Marxist philosophy. Since the New Wave, his politics have been less radical and his recent films are about representation and human conflict from a humanist. In a 2002 Sight & Sound poll, Godard ranked third in the critics top-ten directors of all time and he is said to have created one of the largest bodies of critical analysis of any filmmaker since the mid-twentieth century. He and his work have been central to narrative theory and have challenged both commercial narrative cinema norms and film criticisms vocabulary, in 2010, Godard was awarded an Academy Honorary Award, but did not attend the award ceremony. Jean-Luc Godard was born on 3 December 1930 in the 7th arrondissement of Paris, the son of Odile and Paul Godard and his wealthy parents came from Protestant families of Franco–Swiss descent, and his mother was the daughter of Julien Monod, a founder of the Banque Paribas. She was the great-granddaughter of theologian Adolphe Monod, relatives on his mothers side include also composer Jacques-Louis Monod, naturalist Théodore Monod and pastor Frédéric Monod. Four years after Jean-Lucs birth, his father moved the family to Switzerland, at the outbreak of the Second World War, Godard was in France and returned to Switzerland with difficulty. He spent most of the war in Switzerland, although his family made trips to his grandfathers estate on the French side of Lake Geneva. Godard attended school in Nyon, Switzerland, in 1946, he went to study at the Lycée Buffon in Paris and, through family connections, mixed with members of its cultural elite. He lodged with the writer Jean Schlumberger, having failed his baccalaureate exam in 1948 he returned to Switzerland. He studied in Lausanne and lived with his parents, whose marriage was breaking up and he spent time in Geneva also with a group that included another film fanatic, Roland Tolmatchoff, and the extreme rightist philosopher Jean Parvulesco. His older sister Rachel encouraged him to paint, which he did, after time spent at a boarding school in Thonon to prepare for the retest, which he passed, he returned to Paris in 1949. He registered for a certificate in anthropology at the University of Paris and he got involved with the young group of film critics at the ciné-clubs that started the New Wave. Godard originally held only French citizenship, then in 1953, he became a citizen of Gland, canton of Vaud, Switzerland, in Paris, in the Latin Quarter just prior to 1950, ciné-clubs were gaining prominence. Godard began attending these clubs - the Cinémathèque, the CCQL, Work and Culture ciné Club, at these clubs he met fellow film enthusiasts including Jacques Rivette, Claude Chabrol, and François Truffaut. Godard was part of a generation for whom cinema took on a special importance and he has said, In the 1950s cinema was as important as bread—but it isnt the case any more
5.
French New Wave
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The New Wave is a blanket term coined by critics for a group of French filmmakers of the late 1950s and 1960s. New Wave is an example of European art cinema, using portable equipment and requiring little or no set up time, the New Wave way of filmmaking presented a documentary style. The films exhibited direct sounds on film stock that required less light, filming techniques included fragmented, discontinuous editing, and long takes. The combination of realism, subjective realism, and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not answered in the end. This is why I would like to call this new age of cinema the age of the camera-stylo, Cahiers co-founder and theorist André Bazin was a prominent source of influence for the movement. By means of criticism and editorialization, they laid the groundwork for a set of concepts, revolutionary at the time, Cahiers du cinéma writers critiqued the classic Tradition of Quality style of French Cinema. Notable among these was François Truffaut in his manifesto-like article Une Certaine tendance du cinéma français, Bazin and Henri Langlois, founder and curator of the Cinémathèque Française, were the dual father figures of the movement. These men of cinema valued the expression of the personal vision in both the films style and script. The auteur theory holds that the director is the author of his movies, the beginning of the New Wave was to some extent an exercise by the Cahiers writers in applying this philosophy to the world by directing movies themselves. Apart from the role that films by Jean Rouch have played in the movement, part of their technique was to portray characters not readily labeled as protagonists in the classic sense of audience identification. The auteurs of this era owe their popularity to the support they received with their youthful audience, most of these directors were born in the 1930s and grew up in Paris, relating to how their viewers might be experiencing life. With high concentration in fashion, urban life, and all-night parties. The French New Wave was popular roughly between 1958 and 1964, although New Wave work existed as late as 1973, the socio-economic forces at play shortly after World War II strongly influenced the movement. Politically and financially drained, France tended to back on the old popular pre-war traditions. One such tradition was straight narrative cinema, specifically classical French film, the movement has its roots in rebellion against the reliance on past forms, criticizing in particular the way these forms could force the audience to submit to a dictatorial plot-line. They were especially against the French cinema of quality, the type of high-minded, literary period films held in esteem at French film festivals, New Wave critics and directors studied the work of western classics and applied new avant garde stylistic direction. The low-budget approach helped filmmakers get at the art form and find what was, to them. French New Wave is influenced by Italian Neorealism and classical Hollywood cinema, many of these directors, such as Edmond Agabra and Henri Zaphiratos, were not as successful or enduring at the well-known members of the New Wave and today would not be considered part of it
6.
Film director
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A film director is a person who directs the making of a film. Generally, a film director controls a films artistic and dramatic aspects, the director has a key role in choosing the cast members, production design, and the creative aspects of filmmaking. Under European Union law, the director is viewed as the author of the film, the film director gives direction to the cast and crew and creates an overall vision through which a film eventually becomes realized, or noticed. Directors need to be able to mediate differences in creative visions, there are many pathways to becoming a film director. Some film directors started as screenwriters, cinematographers, film editors or actors, other film directors have attended a film school. Some outline a general plotline and let the actors dialogue, while others control every aspect. Some directors also write their own screenplays or collaborate on screenplays with long-standing writing partners, some directors edit or appear in their films, or compose the music score for their films. Film directors create a vision through which a film eventually becomes realized/noticed. Realizing this vision includes overseeing the artistic and technical elements of production, as well as directing the shooting timetable. This entails organizing the crew in such a way as to achieve their vision of the film. This requires skills of leadership, as well as the ability to maintain a singular focus even in the stressful. Moreover, it is necessary to have an eye to frame shots and to give precise feedback to cast and crew, thus. Thus the director ensures that all involved in the film production are working towards an identical vision for the completed film. The set of varying challenges he or she has to tackle has been described as a jigsaw puzzle with egos. It adds to the pressure that the success of a film can influence when, omnipresent are the boundaries of the films budget. Additionally, the director may also have to ensure an intended age rating, thus, the position of film director is widely considered to be a highly stressful and demanding one. It has been said that 20-hour days are not unusual, under European Union law, the film director is considered the author or one of the authors of a film, largely as a result of the influence of auteur theory. Auteur theory is a film criticism concept that holds that a directors film reflects the directors personal creative vision
7.
France-Soir
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France Soir was a French daily newspaper that prospered during the 1950s and 1960s, reaching a circulation of 1.5 million in the 1950s. It declined rapidly under various owners, and was re-launched as a populist tabloid in 2006, however, the last copy of France Soir was published on 13 December 2011, and the company went bankrupt on 23 July 2012. France Soir was founded as the underground paper Défense de la France by young resistance leaders, Robert Salmon and Philippe Viannay, the first editions were printed on a Rotaprint 3 offset printing machine hidden in the cellars of the Sorbonne. In March 1944, after multiple relocations, it was housed on three levels of a building on rue Jean-Dolent, behind the La Santé Prison, in Pariss XIVth arrondissement. Pierre Lazareff, its editor, had returned from the US. The first issue of France-Soir - Défense de la France was printed using Paris-Soirs presses on November 7,1944, the hyphenated name affiliated the old paper with that of the French resistance. The papers name was truncated to France Soir after World War II, the paper grew to be ranked among the countrys most circulated, reaching 1.5 million in 1955 with Pierre Lazareff as chief editor. Its circulation was more than 1.4 million in the late 1950s, early in the 21st century, circulation dropped below 90,000. Its circulation was 30,000 copies just before its closure in 2011, the 12 cartoons were printed with the addition of another depicting other religious figures sitting on a cloud with the caption reading, Dont worry Muhammad, weve all been caricatured here. The tribunal had been overseeing the bankruptcy and bids for take over since October 2005, the decision lead to strike by the staff who were displeased with Brunois plan to cut costs by firing many, and increase circulation by turning the paper into a tabloid. One of the bids, favored by the staff, was from Arkadi Gaydamak, the owner of The Moscow News. Due to the turbulence, France Soir was not published for a month, Brunois brought in British photographer Jason Fraser to help with the tabloid remodeling of the paper. In March 2010, France Soir was acquired by Alexander Pugachyov, the paper was relaunched in 2010. But its last print issue appeared on 13 December 2011 with the online version ending in July 2012 with the bankruptcy of the company
8.
Jean Marais
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Jean-Alfred Villain-Marais, also known as Jean Marais, was a French actor, writer, director and sculptor. He performed in over 100 films and was the muse of acclaimed director Jean Cocteau, in 1996, he was awarded the French Legion of Honor for his contributions to French Cinema. A native of Cherbourg, France, Marais was a son of Alfred Emmanuel Victor Paul Villain-Marais and his wife, in 1933, Marais was discovered by filmmaker Marcel LHerbier who purchased one of his paintings, then cast him in two films LÉpervier and LAventurier. Marais starred in movies directed by Jean Cocteau, for a time his lover and a lifelong friend, most famously Beauty. In the 1950s, Marais became a star of swashbuckling pictures, in the 1960s, he played both the famed villain and the hero of the Fantômas trilogy. In 1963, he was a member of the jury at the 3rd Moscow International Film Festival, after 1970, Maraiss on-screen performances became few and far between, as he preferred concentrating on his stage work. He performed on stage until his eighties, also working as a sculptor and his sculpture Le passe muraille can be seen in the Montmartre Quarter of Paris. In 1985, he was the head of the jury at the 35th Berlin International Film Festival and he was featured in the 1995 documentary Screening at the Majestic, which is included on the 2003 DVD release of the restored print of Beauty and the Beast. Marais appears on the sleeve of The Smiths single This Charming Man. He was married for two years to the actress Mila Parély, with whom he performed in Cocteaus Beauty. Marais, who was bisexual, was the muse and lover of Jean Cocteau until Cocteaus death, after Cocteaus death, Marais wrote a memoir of Cocteau, LInconcevable Jean Cocteau, attributing authorship to Cocteau-Marais. He also wrote an autobiography, LHistoire de ma vie, published in 1975, from 1953 until 1959, his companion was the American dancer George Reich. In the early 1960s, Marais adopted a young man, Serge Ayala and this adopted son, who became a singer and an actor, committed suicide in 2012 at age 69. Marais died from disease in Cannes, Alpes-Maritimes, in 1998. He is interred there at Vallauris cemetery and his life story became the inspiration for the 1980 François Truffaut film The Last Metro. Place Jean-Marais Jean Marais at the Internet Broadway Database Jean Marais at the Internet Movie Database Eternel Jean Marais Jean Marais at Find a Grave Jean Marais at the Films de France
9.
Breathless (1960 film)
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Breathless is a 1960 French film written and directed by Jean-Luc Godard about a wandering criminal and his American girlfriend. It was Godards first feature-length work and represented Belmondos breakthrough as an actor, Breathless was one of the earliest, most influential examples of French New Wave cinema. Together with François Truffauts The 400 Blows and Alain Resnaiss Hiroshima, Mon Amour, at the time, the film attracted much attention for its bold visual style, which included unconventional use of jump cuts. A fully restored version of the film was released in the U. S. for its 50th anniversary in May 2010, when originally released in France, the film attracted over 2 million viewers. Michel is a criminal who is intrigued with the film persona of Humphrey Bogart. After stealing a car in Marseille, Michel shoots and kills a policeman who has followed him onto a country road. Penniless and on the run from the police, he turns to an American love interest Patricia, a student and aspiring journalist, the ambivalent Patricia unwittingly hides him in her apartment as he simultaneously tries to seduce her and call in a loan to fund their escape to Italy. Patricia says she is pregnant, probably with Michels child and she learns that Michel is on the run when questioned by the police. Eventually she betrays him, but before the police arrive she tells Michel what she has done and he is somewhat resigned to a life in prison, and does not try to escape at first. The police shoot him in the street and, after a prolonged death run, Michels death scene is one of the most iconic scenes in the film, but the films final lines of dialogue are the source of some confusion for English-speaking audiences. In some translations, it is unclear whether Michel is condemning Patricia, as Patricia and Detective Vital catch up with the dying Michel, they have the following dialogue, MICHEL, Cest vraiment dégueulasse. VITAL, Il a dit que vous êtes vraiment une dégueulasse, in the English captioning of the 2001 Fox-Lorber Region One DVD, dégueulasse is translated as scumbag, producing the following dialogue, MICHEL, Its disgusting, really. VITAL, He said, Youre a real scumbag, the 2007 Criterion Collection Region One DVD uses a less literal translation, MICHEL, Makes me want to puke. VITAL, He said you make him want to puke and this translation also was used for the 2010 restoration print. Labarthe as an extra Jacques Rivette as the body of the man hit by a car Breathless was loosely based on an article that François Truffaut read in The News in Brief. The character of Michel Poiccard is based on real-life Michel Portail and his American girlfriend, in November 1952 Portail stole a car to visit his sick mother in Le Havre and ended up killing a motorcycle cop named Grimberg. Truffaut worked on a treatment for the story with Claude Chabrol, Godard had read and liked the treatment and wanted to make the film. While working as a Press Agent at 20th Century Fox, Godard met producer Georges de Beauregard, de Beauregard hired Godard to work on the script for Pêcheur dIslande
10.
The Soft Skin
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The Soft Skin is a 1964 French-Portuguese romantic drama film directed by François Truffaut and starring Jean Desailly, Françoise Dorléac, and Nelly Benedetti. Written by Truffaut and Jean-Louis Richard, the film is about a successful married publisher and lecturer who meets an air hostess with whom he has a love affair. The film was shot on location in Paris, Reims, and Lisbon, at the 1964 Cannes Film Festival, the film was nominated for the Palme dOr. Despite Truffauts recent success with Jules and Jim and The 400 Blows, Pierre Lachenay, a well-known writer and editor of a literary magazine, is running late for his flight to Lisbon. His friend gives him a ride to the airport, with his daughter Sabine going along for the ride, on the airplane he makes eye contact with a beautiful air hostess named Nicole. Upon landing, he is greeted by photographers who ask that he pose with the air hostess, Pierre checks in at the Hotel Tivoli, and then leaves to attend a conference. As hes walking through the lobby he notices Nicole walking past him, at the conference he gives a talk titled Balzac and Money based on one of his books. Back at the hotel, he sees Nicole in the elevator, in his room he calls her room and asks if shed like a drink, but she declines because of the late hour. Shortly after hanging up, Nicole calls back, apologizes, the next evening, Pierre and Nicole spend hours talking through the night. She is captivated by his stories of Balzac and the world of literature, in the morning they return to the hotel and make love in her room. On the airplane the day, Nicole slips him a matchbook with her phone number. Back in Paris, while he and his wife Franca entertain friends, Pierre sneaks off and tries calling Nicole, the next day he tries again from a phone booth, and this time he gets through, and they meet briefly. In the coming days, they spend time together between her flights, one day they meet at the airport and decide to spend the evening at a nightclub, ending up at her apartment where they make love. Later that week, Pierre and Nicole travel to Reims where Pierre is scheduled to present a showing of the 1952 documentary film about André Gide at a conference and they check into the Hotel Michelet before Pierre heads over to the theater. After Pierre takes the stage, Nicole arrives without a ticket, afterwards, Pierres friend insists on having a drink before Pierre returns to Paris. As they leave, Pierre ignores Nicole who has been waiting in the street, when his friend invites himself to accompany him back to Paris, Pierre sneaks back to the hotel where an upset Nicole tells him he should leave without her. He apologizes and they decide to leave, after driving through the night they find a romantic cabin. The next day, Pierre and Nicole enjoy their time taking photographs
11.
Antoine et Colette
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Antoine and Colette is the second film — a short — in François Truffauts series about Antoine Doinel, the character he follows from boyhood to adulthood through five films. The third is the feature film Stolen Kisses, Antoine Doinel — and Jean-Pierre Léaud, the actor who played him throughout all five films — had made his screen debut in 1959 with Truffauts first film, The 400 Blows. Antoine and Colette catches up with Antoine as a solitary 20-year-old who works at Phillips manufacturing LPs to support himself. He lives in a room by himself in Place Clichy, listening to opera and classical music and spending time with René. One day, while attending a Berlioz Music Programme with René, he spots Colette, a school student. Colette is his own age, but unlike Antoine has a warm, Antoine forms a strong friendship with Colette and, eventually, also her parents who begin to treat him as if he were a part of their family. Although she continues to him kindly, it slowly becomes apparent that she is not interested in him romantically. He sulks about this and at first refuses to see her and it is clear that her family still consider him a surrogate son and are possibly hoping for something romantic to happen between the two teenagers. All of these hopes are dashed, however, when the pretty Colette is met at the front door by an older man and her parents and Antoine look helplessly on as she disappears off with her date. They are all left to watch television, doinels adventures follow with Stolen Kisses, Bed and Board and Love on the Run. Truffaut had just finished Jules and Jim in 1962 when he was approached by film producer Pierre Roustang for his omnibus film project Love At Twenty. Truffaut was influential in helping to select Shintarô Ishihara, Marcel Ophüls, Renzo Rossellini, Antoine and Colette is a largely autobiographical work, based on seventeen-year-old Truffauts infatuation with an unconventional beauty named Liliane Litvin. Truffaut met Litvin at the Cinémathèque Française and quit his job as a welder, like Antoine, he took an apartment across the street from hers so that he could monitor her activities. However, she was not interested in him nor in any of his friends
12.
Claude Jade
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Claude Marcelle Jorré, better known as Claude Jade, was a French actress. She is known for starring as Christine in François Truffauts three films Stolen Kisses, Bed and Board and Love on the Run, Jade acted in theatre, film and television. Her film work outside France included the Soviet Union, the United States, Italy, the daughter of university professors, Jade spent three years at Dijons Conservatory of Dramatic Art. In 1964 she played on stage 40 times the part of Agnès in Molières Lécole des femmes, in 1966 she won the Prix de Comédie for Jean Giraudouxs stage play Ondine, performed at the Comédie Boulogne. She moved to Paris and became a student of Jean-Laurent Cochet at the Edouard VII theater, while performing as Frida in Pirandellos Henri IV, in a production by Sacha Pitoëff at the Théâtre Moderne, Jade was discovered by New Wave film director François Truffaut. He was completely taken by her beauty, her manners, her kindness, and her joie de vivre, during the filming, Truffaut fell in love with her, and there was talk of marriage. American critic Pauline Kael wrote that Jade seems a less ethereal, playing the same character, Jade appeared in two more movies by Truffaut, Bed and Board, and Love on the Run. Some months after Truffauts Stolen Kisses Claude Jade starred in Alfred Hitchcocks Topaz, as Michèle Picard, recommended to Hitchcock by Truffaut, she was 19 years old when cast, with Dany Robin playing her mother. Hitchcock said he chose the two actresses to provide glamor, and later quipped, Claude Jade is a quiet young lady. Jade recounted that they talked in a Paris hotel about cooking, and I gave him my recipe for soufflé and told him I liked Strangers on a Train, Hitchcock said she resembled his former star Grace Kelly, and in France she was a younger Danielle Darrieux. Some of her scenes were deleted and restored for the cut of Topaz in 1999. Topaz was Jades only Hollywood film, universal Pictures offered her a seven-year contract, which she turned down reportedly because she preferred to work in French. Director Tony Richardsons film Nijinsky, based on a screenplay by Edward Albee, was canceled during pre-production by producer Harry Saltzman and it was to have starred Jade as Vaslav Nijinskys wife, alongside Rudolf Nureyev as Nijinsky and Paul Scofield as his lover Sergei Diaghilev. She had a role as Linda in Sous le signe de Monte-Cristo by André Hunebelle. Here the 19 years young actress starred alongside French cinemas veterans like Pierre Brasseur, Jade starred in Édouard Molinaros My Uncle Benjamin alongside Jacques Brel. As Manette she refuses Brels advances until he produces a marriage contract, at the End Manette realizes she prefers happiness to a marriage contract after all. Her career continued in Belgium, where she played a young English teacher who is intrigued by a murderer in the 1969 film The Witness. Her fiancé is this movie was played by Jean-Claude Dauphin, to whom she was engaged at this time, also in 1969 she starred as Helena in a film adaptation of Shakespeares A Midsummer Nights Dream by Jean-Christophe Averty, Le Songe dune nuit dété
13.
Stolen Kisses
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Stolen Kisses is a 1968 French romantic comedy-drama film directed by François Truffaut starring Jean-Pierre Léaud and Claude Jade. It continues the story of the character Antoine Doinel, whom Truffaut had previously depicted in The 400 Blows and the short film Antoine and Colette. In this film, Antoine begins his relationship with Christine Darbon, the original French title of the film comes from a line in Charles Trenets song Que reste-t-il de nos amours. Which is also used as the signature tune. The film was nominated for Academy Award for Best Foreign Language Film, the film begins with a pan onto the locked gates of the Cinémathèque Française then based at the Palais du Chaillot. On the gates there is a sign Relache and this is Truffauts reference to the Affaire Langlois when the head of the Cinémathèque had been sacked by the French government. He was eventually reinstated after filmmakers like Truffaut used all their wiles to foment protest, there are many continuations from The 400 Blows, discharged from the army as unfit, Antoine Doinel seeks out his sweetheart, violinist Christine Darbon. He has written to her voluminously while in the military and their relationship is tentative and unresolved. Christine is away skiing with friends when Antoine arrives, and her parents must entertain him themselves, after she learns that Antoine has returned from military service, Christine goes to greet him at his new job as a hotel night clerk. It is a sign that perhaps this time, the romance will turn out happily for Antoine. He is, however, quickly fired from the hotel job, counting the army, Antoine loses three jobs in the film, and is clearly destined to lose a fourth, all symbolic of his general difficulty with finding his identity and fitting in. Later, Christine attempts to guess Antoines latest job, amusingly tossing out guesses like sheriff or water taster, finally, his job as a private detective is revealed. Throughout the film, Antoine works to maintain the job, working a case requires him to pose as a shoe store stock boy. The job separates Antoine from his relationship with Christine, soon, he falls for his employers attractive wife, who willingly seduces him. He quarrels with Christine, saying he has never admired her, fired from the detective agency, by the films end, Antoine has become a TV repairman. He still avoids Christine, but she wins him back by deliberately disabling her TV, the company sends Antoine, who is once again bumbling and inept, trying for hours to fix a TV with just one missing tube. Morning finds the two of them in bed together, the films final scene shows the newly engaged Antoine and Christine, strolling in the park. A strange man who has trailed Christine for days approaches the couple and he describes his love as definitive and unlike the temporary love of temporary people
14.
Bed and Board (1970 film)
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Bed and Board is a 1970 French film directed by François Truffaut. It is the fourth in Truffauts series of five films about Antoine Doinel, the last in the series is Love on the Run. The fourth installment in François Truffaut’s chronicle of the ardent, anachronistic Antoine Doinel, Bed, expecting his first child and still struggling to find steady employment, Doinel involves himself in a relationship with a beautiful Japanese woman that threatens to destroy his marriage. Lightly comic, with a touch of the burlesque, Bed and Board is a look at the travails of young married life. Bed and Board at the Internet Movie Database Bed and Board at AllMovie Criterion Collection essay by Noah Baumbach
15.
Love on the Run (1979 film)
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Love on the Run is a 1979 French film directed by François Truffaut. It is Truffauts fifth and final film about the character Antoine Doinel, a significant portion of the film is made up of selected clips from the previous films in the series. It was entered into the 29th Berlin International Film Festival, in the previous Antoine Doinel film, Bed and Board, the marriage between Antoine and Christine had survived Antoines infidelity. Love on the Run is set eight years later when Antoine is over thirty, having an affair with Christines friend Liliane and divorced Christine, he gets a job as a proofreader, and falls in love with Sabine, a record seller. He also writes an autobiographical novel and he meets Colette, his teenage love who had appeared in Antoine and Colette, and who is now a lawyer. They impulsively go on a journey and read Antoines novel. The film holds a rating of 67% on Rotten Tomatoes, renard Alain Ollivier as the judge in Aix Monique Dury as Mme. Ida Emmanuel Clot as the friend at the printing press Love on the Run at the Internet Movie Database Love on the Run at AllMovie Criterion Collection essay by Chris Fujiwara
16.
Two English Girls
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Two English Girls, is a 1971 French romantic drama film directed by François Truffaut and adapted from a 1956 novel of the same name by Henri-Pierre Roché. It stars Jean-Pierre Léaud as Claude, Kika Markham as Anne, Truffaut restored 20 minutes of footage, which fills out the characters, before his death in 1984. The novel was first published in English in 2004, translated by Walter Bruno and published by Cambridge Book Review Press, Cambridge, the film begins in Paris around the year 1902 when Claude Roc and his widowed mother are visited by Ann Brown, daughter of an old friend. Ann invites Claude to spend the summer on the coast of Wales with her mother and sister Muriel. While she enjoys Claudes company, her hope is that he may be a husband for her introverted sister. In the event, Claude and Muriel do start to fall in love and Mrs Brown, with the agreement of Madame Roc, returning to France, Claude moves in artistic circles and meets many attractive women while Muriel gets increasingly despondent in Wales. Ann leaves home to art in Paris, where she falls into an affair with Claude, only to leave him for Diurka. When Muriel is told of the affair, she collapses into deep depression, Ann falls ill and returns to Wales, dying among her family with Diurka at her side. Diurka tells Claude that Muriel is leaving home to take a job in Belgium, Claude meets her ship at Calais and they spend that night together in a hotel. In the morning she says they must now part for ever, later she writes to say she is pregnant, raising Claudes hopes of marriage, but a second letter says she has miscarried and their relationship is truly at an end. In an epilogue set in the 1920s, the unmarried and orphaned Claude, now an author, still dreams of the artistic gifts of Ann. This version was released after his death, critics such as Tom Wiener believe it improved the film
17.
Day for Night (film)
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Day for Night is a 1973 French film directed by François Truffaut. It stars Jacqueline Bisset and Jean-Pierre Léaud, in English, the technique is called day for night, and is the films English title. In between are several small vignettes chronicling the stories of the crew-members and the director, Ferrand who tangles with the problems one deals with when making a movie. Behind the camera, the actors and crew go through several romances, affairs, break-ups, the production is especially shaken up when one of the secondary actresses is revealed to be pregnant. Finally, Alexandre dies on the way to hospital after a car accident, cast notes, Author Graham Greene makes a cameo appearance as an insurance company representative, billed under the name Henry Graham. One of the themes is whether or not films are more important than life for those who make them. The film opens with a picture of Lillian and Dorothy Gish, the films title in French could be read as Lennui américain, Truffaut wrote elsewhere of the way French cinema critics inevitably make this pun of any title which uses nuit. The film is considered one of Truffauts greatest films. For example, it is one of two Truffaut films featured on Time magazines list of the 100 Best Films of the Century and it has also been called the most beloved film ever made about filmmaking. Jean-Luc Godard walked out of Day for Night in disgust, Truffaut responded with a long letter critical of Godard, and the two former friends never met again. The film was screened out of competition at the 1973 Cannes Film Festival, the film won the 1974 BAFTA Award for Best Film and the Academy Award for Best Foreign Language Film. Valentina Cortese was nominated for the Academy Award for Best Supporting Actress, and Truffaut for the Academy Award for Directing
18.
Jean Eustache
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Jean Eustache was a French filmmaker. Each film went to the end of its material, from real to fictional sorrow and it was impossible for him to go against it, to calculate, to take cultural success into account, impossible for this theoretician of seduction to seduce an audience. Jim Jarmusch dedicated his 2005 film Broken Flowers to Eustache, Eustache was born in Pessac, Gironde, France into a working class family. After becoming a filmmaker, Eustache maintained close ties to his friends, in 1981, he was partially immobilized in an auto accident. He killed himself by gunshot in his Paris apartment, a few weeks before his 43rd birthday, Eustache had a son, Boris Eustache, who worked on his fathers second feature and appears as an actor in Eustaches short film Les Photos dAlix. Eustache was quoted as saying, “The films I made are as autobiographical as fiction can be. ”Because of his reluctance to discuss his personal life, the Mother and the Whore, the first, is a 217-minute rumination on love, relationships, men and women. The film’s central three-way romance plot focuses on Alexandre, his girlfriend Marie, such an incident occurred in December 1997, when I was assigned to review Jean Eustache’s 1973 film The Mother and the Whore, then beginning a revival engagement at Film Forum. Frankly, I was a lot more excited about seeing Scream 2 that evening. Little did I know, as I eased into my seat, shot in color by cinematographer Nestor Almendros, the film also features significantly less dialogue and focuses on teenage characters in a rural setting. The film was entered into the 9th Moscow International Film Festival, Eustache appeared as an actor in The American Friend. Eustache admired the qualities of early actuality films, and frequently cited the Lumiere Brothers as influences. He made two films about a religious parade in Pessac, both titled La Rosière de Pessac, in 1968 and 1979, and remade his short Une sale histoire twice
19.
Jacques Rivette
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Jacques Rivette was a French film director and film critic most commonly associated with the French New Wave and the film magazine Cahiers du Cinéma. He made twenty-nine films, including Lamour fou, Out 1, Celine and Julie Go Boating and his work is noted for its improvisation, loose narratives, and lengthy running times. Inspired by Jean Cocteau to become a filmmaker, Rivette shot his first short film at age twenty, Rivette began writing film criticism, and was hired by André Bazin for Cahiers du Cinéma in 1953. He continued making films, including Le Coup de Berger. Truffaut later credited Rivette with developing the movement, although he was the first New Wave director to begin work on a feature film, Paris Belongs to Us was not released until 1961. Rivette became editor of Cahiers du Cinéma during the early 1960s and publicly fought French censorship of his feature film. He then re-evaluated his career, developing a unique style with Lamour fou. This technique led to the thirteen-hour Out 1 which, although rarely screened, is considered a Holy Grail of cinephiles and his films of the 1970s, such as Celine and Julie Go Boating, often incorporated fantasy and were better-regarded. After attempting to make four films, however, Rivette had a nervous breakdown. During the early 1980s, he began a partnership with producer Martine Marignac. Rivettes output increased from then on, and his film La Belle Noiseuse received international praise and he retired after completing Around a Small Mountain, and it was revealed three years later that he had Alzheimers disease. Very private about his life, Rivette was briefly married to photographer and screenwriter Marilù Parolini during the early 1960s. Jacques Pierre Louis Rivette was born in Rouen, Seine-Maritime, France to André Rivette and Andrée Amiard, according to childhood friend André Ruellan, Rivettes father was a skilled painter who loved opera. His younger sister said that their home in Rouen was next to a movie theater, Rivette, educated at the Lycée Pierre-Corneille, said that he briefly studied literature at university just to keep myself occupied. Inspired by Jean Cocteaus book about the filming of La Belle et la Bête, Rivette decided to pursue filmmaking, in 1948, he shot his first short film, Aux Quatre Coins, in Rouens Côte Sainte-Catherine section. The following year, he moved to Paris with friend, Francis Bouchet, on the day of his arrival, he met future collaborator Jean Gruault, who invited him to see Les dames du Bois de Boulogne at the Ciné-Club du Quartier Latin. Éric Rohmer, whose film criticism Rivette admired, gave a talk at the screening, although Rivette submitted his film to the Institut des Hautes Études Cinématographiques because it was the kind of thing that would have pleased my parents, he was not accepted by the school. He took courses at the Sorbonne, but began frequenting screenings at Henri Langloiss Cinémathèque Française with Bouchet instead of attending classes, Rivette was active in post-screening debates, and Rohmer said that in film-quiz competitions at the Studio Parnasse he was unbeatable
20.
Last Tango in Paris
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It stars Marlon Brando, Maria Schneider, and Jean-Pierre Léaud. The films raw portrayal of violence and emotional turmoil led to international controversy. Upon release in the United States, the most graphic scene was cut, after revisions were made to the MPAA ratings code, in 1997 the film was re-classified NC-17 for some explicit sexual content. Metro-Goldwyn-Mayer released a censored R-rated cut in 1981, Paul, a middle-aged American hotel owner mourning his wifes suicide, meets a young, engaged Parisian woman named Jeanne at an apartment that both are interested in renting. Paul takes the apartment after they begin a sexual relationship there. He insists that neither of them must share any personal information, the affair continues until one day, Jeanne arrives at the apartment and finds that Paul has packed up and left without warning. Paul later meets Jeanne on the street and says he wants to renew the relationship and he tells her of the recent tragedy of his wife. As he tells his story, they walk into a tango bar. The loss of anonymity disillusions Jeanne about their relationship and she tells Paul she does not want to see him again. Paul, not wanting to let Jeanne go, chases her back to her apartment, Jeanne takes a gun from a drawer. She tells Paul her name and shoots him, Paul staggers out onto the balcony, mortally wounded, and collapses. Bernardo Bertolucci developed the film from his fantasies, He once dreamed of seeing a beautiful nameless woman on the street. The screenplay was by Bertolucci, Franco Arcalli, and Agnès Varda and it was later adapted as a novel by Robert Alley. The film was directed by Bertolucci with cinematography by Vittorio Storaro, Bertolucci originally intended to cast Dominique Sanda, who developed the idea with him, and Jean-Louis Trintignant. Trintignant refused and, when Brando accepted, Sanda was pregnant, an art lover, Bertolucci drew inspiration from the works of the Irish-born British artist Francis Bacon for the opening sequence of cast and crew credits. According to American artist Andy Warhol, the Last Tango film was based on Warhols own Blue Movie film released a few years earlier in 1969, the film contains a scene in which Brandos character engages in anal rape using butter as a lubricant. In a 2006 interview, Schneider said that the scene was not in the script, and nobody can force someone to do something not in the script. In 2007, Schneider recounted feelings of sexual humiliation pertaining to the scene, They only told me about it before we had to film the scene
21.
The Mother and the Whore
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The Mother and the Whore is a 1973 French film directed by Jean Eustache. An examination of the relationships between three characters in a triangle, it was Eustaches first feature film and is considered his masterpiece. The film is available on the internet. The film focuses on three twenty-somethings in a love triangle in Paris during the summer of 1972. Alexandre is a young man involved with both a live-in girlfriend Marie and the Polish nurse Veronika. He had picked up Veronika at a café after a reconciliation with a former love. With Veronika, he begins a desultory affair, although Marie affirms her indifference to Alexandres affairs, she quickly changes her mind when she sees how close he becomes to Veronika. This leads to an estrangement between her and Alexandre. The film focuses less on plot or narrative than on the confused and he told a reporter from Le Nouvel Observateur If I knew what it was that I wanted, I wouldnt wake up in the morning to make films. Id do nothing, Id try to live without doing or producing anything, Eustache was loaned money from friend Barbet Schroeder to spend three months writing the script, which was over three hundred pages. Although the film seems to be highly improvised, every word of dialogue was written by Eustache. Many of the used in the film were places that Garnier had lived or worked. The character played by Jacques Renard was based on Eustaches friend Jean-Jacques Schuhl, the film was shot between May 21 and July 11,1972. On a budget of 700,000 francs, Eustache called it a very hostile film, and it mostly consisted of dialogues and monologues about sex. Eustache says that the character Alexandre is destroying, but he is looking for it all along, after his voyage into madness and depression, he ends up alone. Thats when I stop the film, Eustache described the film as a narrative of certain seemingly innocuous acts. It could be the narrative of entirely different acts, in other places, what happens, the places where the action unfolds, have no importance. My subject is the way in which important actions situate themselves in a continuum of innocuous ones. Its the description of the course of events without the schematic abbreviation of cinematographic dramatization
22.
Marlon Brando
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Marlon Brando, Jr. was an American actor, film director and activist. He is credited with bringing realism to film acting and he helped to popularize the Stanislavski system of acting, studying with Stella Adler in the 1940s. Julius Caesar, The Wild One, Reflections in a Golden Eye, Last Tango in Paris, Brando was also an activist for many causes, notably the Civil Rights Movement and various Native American movements. Brando received Academy Award nominations for playing Emiliano Zapata in Viva Zapata, Mark Antony in Joseph L. Mankiewiczs 1953 film adaptation of Shakespeares Julius Caesar, and Air Force Major Lloyd Gruver in Sayonara, an adaption of James Micheners 1954 novel. Brando was included in a list of Top Ten Money Making Stars three times in the 1950s, coming in at number 10 in 1954, number 6 in 1955, the 1960s proved to be a fallow decade for Brando. The Godfather was then one of the most commercially successful films of all time, Brando took a four-year hiatus before appearing in The Missouri Breaks. After this, he was content with being a highly paid actor in cameo roles, such as in Superman and The Formula. According to the Guinness Book of World Records, Brando was paid a record $3.7 million and 11. 75% of the profits for 13 days work on Superman. Brando was ranked by the American Film Institute as the fourth-greatest movie star among male movie stars whose screen debuts occurred in or before 1950. He was one of three professional actors, along with Charlie Chaplin and Marilyn Monroe, named in 1999 by Time magazine as one of its 100 Most Important People of the Century. He died of respiratory failure on July 1,2004, at age 80, Brando was born on April 3,1924, in Omaha, Nebraska, to Marlon Brando, Sr. a pesticide and chemical feed manufacturer, and Dorothy Julia. Brando had two sisters, Jocelyn Brando and Frances. His ancestry included German, Dutch, English, and Irish and his patrilineal immigrant ancestor, Johann Wilhelm Brandau, arrived in New York in the early 1700s from the Palatinate in Germany. Brando was raised a Christian Scientist, however, she was an alcoholic and often had to be brought home from Chicago bars by her husband. In his autobiography, Songs My Mother Taught Me, Brando expressed sadness when writing about his mother, dodie and Brandos father eventually joined Alcoholics Anonymous. Brando harbored far more enmity for his father, stating, I was his namesake and he enjoyed telling me I couldnt do anything right. He had a habit of telling me I would never amount to anything, Brandos parents moved to Evanston, Illinois, when his fathers work took him to Chicago, but separated when Brando was 11 years old. His mother took the three children to Santa Ana, California, where they lived with her mother, in 1937, Brandos parents reconciled and moved together to Libertyville, Illinois, a small town north of Chicago
23.
Lady Cops
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Lady Cops or Les Keufs is a 1987 French comedy film directed by Josiane Balasko. Mireille Molineux, police inspector, stalking pimps, with the complicity of Yasmina, a prostitute, she stops Charlie, her pimp. To avenge Mireille, Jean-Pierre, another pimp, accused of corruption and she then investigated two inspectors IGS, Blondel and Lacroix. Soon after, Charlie is released for lack of evidence, to keep Yasmina, he removes his son and threatened to kill him. In 1988, the movie was screened to the Toronto International Film Festival, Les keufs at the Internet Movie Database
24.
Pier Paolo Pasolini
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Pier Paolo Pasolini was an Italian film director, poet, writer and intellectual. Pasolini also distinguished himself as an actor, journalist, philosopher, novelist, playwright, painter and his murder prompted an outcry in some circles of Italy, with its circumstances continuing to be a matter of heated debate. Pasolini was born in Bologna, traditionally one of the most leftist politically of Italian cities and he was the son of Carlo Alberto Pasolini, a lieutenant of the Italian army, and Susanna Colussi, an elementary school teacher. His parents married in 1921, Pasolini was born in 1922 and his family moved to Conegliano in 1923 and, two years later, to Belluno, where another son, Guidalberto, was born. In 1926, Pasolinis father was arrested for gambling debts and his mother moved with the children to her familys house in Casarsa della Delizia, in the Friuli region. That same year, his father Carlo Alberto, first detained, at any rate, Carlo Alberto was persuaded of the virtues of fascism. Pasolini began writing poems at the age of seven, inspired by the beauty of Casarsa. One of his influences was the work of Arthur Rimbaud. In 1931, his father was transferred to Idria in the Julian March, in 1933 they moved again to Cremona in Lombardy, and later to Scandiano and Reggio Emilia. Pasolini found it difficult to adapt to all moves, though in the meantime he enlarged his poetry and literature readings. In the Reggio Emilia high school, he met his first true friend, the two met again in Bologna, where Pasolini spent seven years while completing high school, here he cultivated new passions, including football. With other friends, including Ermes Parini, Franco Farolfi, Elio Meli, in 1939 Pasolini graduated and entered the Literature College of the University of Bologna, discovering new themes such as philology and aesthetics of figurative arts. He also frequented the cinema club. Pasolini always showed his friends a virile and strong exterior, totally hiding his interior travail and he took part in the Fascist governments culture and sports competitions. In his poems of this period, Pasolini started to include fragments in Friulan, I learnt it as a sort of mystic act of love, a kind of félibrisme, like the Provençal poets. After the summer in Casarsa, in 1941 Pasolini published at his own expense a collection of poems in Friulan, the work was noted and appreciated by intellectuals and critics such as Gianfranco Contini, Alfonso Gatto and Antonio Russi. His pictures had also been well received, Pasolini was chief editor of the Il Setaccio magazine, but was fired after conflicts with the director, who was aligned with the Fascist regime. A trip to Germany helped him also to perceive the status of Italian culture in that era
25.
Jerzy Skolimowski
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Jerzy Skolimowski is a Polish film director, screenwriter, dramatist and actor. A graduate of the prestigious National Film School in Łódź, Skolimowski has directed more than twenty films since his 1960 début Oko wykol, in 1967 he was awarded Golden Bear for his film Le départ. His famous film is Deep End, jane Asher and John Moulder Brown acted in Deep End. He lived in Los Angeles for over 20 years where he painted in a figurative, expressionist mode, more recently, he returned to Poland, and to film making as a writer and director after a 17-year hiatus with Cztery noce z Anną in 2008. He received the Golden Lion Award for Lifetime Achievement at the 2016 Venice Film Festival, Skolimowski was born in Łódź, Poland, the son of Maria and Stanisław Skolimowski, an architect. He often recognized indications in his work to a childhood ineradicably scarred by the War, as a small child he witnessed the brutalities of war, even having been rescued from the rubble of a bombed-out house in Warsaw. His father, a member of the Polish Resistance, was executed by the Nazis and his mother hid a Jewish family in the house and Skolimowski recalls being required to take candy from the Nazis to maintain appearances. After the war, his became the cultural attaché of the Polish embassy in Prague. His fellow pupils at school in Poděbrady, a spa town near Prague, included future film-makers Miloš Forman and Ivan Passer, Skolimowski was considered as a trouble maker at school as he was the origin of many pranks which angered the authorities. At college he studied ethnography, history and literature and took up boxing, Skolimowskis interest in jazz and association with composer Krzysztof Komeda brought him into contact with actor Zbigniew Cybulski and directors Andrzej Munk and Roman Polanski. In his early twenties Skolimowski was already a writer, having published several books of poems, short stories, Skolimowski was not impressed and dismissed the script. However, in response to a challenge by Wajda, he produced his own version became a basis for the finished film, Innocent Sorcerers. Skolimowski enrolled in the Łódź Film School with the intention of avoiding the long apprenticeship required before graduating to feature film direction, while scoring poorly in course work Skolimowski had a finished feature film by the end of the course. Skolimowski then collaborated with Polański, writing the dialogue for the script of Knife in the Water, between 1964 and 1984 he completed six semi-autobiographical feature films, Rysopis, Walkover, Barrier, Hands Up. Moonlighting and Success Is the Best Revenge, a segment in Dialóg, Barrier won Grand Prix at Bergamo International Film Festival. Le Départ won the Golden Bear at the 17th Berlin International Film Festival, after Barrier he left Poland to make Le Départ in Belgium in French. According to him Le Départ was a film rather than a comedy. Skolimowski returned to Poland to make Ręce do góry, the film of the Andrzej trilogy
26.
Olivier Assayas
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Olivier Assayas is a French film director, screenwriter and film critic. Assayas was born in Paris, France, the son of French director/screenwriter Raymond Assayas, alias Jacques Rémy and his father was of Italian Jewish origin and his mother was of Protestant Hungarian origin. Assayas started his career in the industry by helping his father and he ghostwrote episodes for TV shows his father was working on when his health failed. In a 2010 interview, Assayas stated that his political influences when growing up were Guy Debord. Speaking of the 1968 May uprising to overthrow General de Gaulle, Assayas in the same interview stated, I was defined by the politics of May 68, but for me May 68 was an anti-totalitarian uprising. People seemed to forget that at the occupied Odéon theater, you had crossed flags-black and red and he made his debut in 1986, after directing some short films and writing for the influential film magazine Cahiers du cinéma. Assayass film Cold Water was screened in the Un Certain Regard section at the 1994 Cannes Film Festival. His biggest hit to date has been Irma Vep, starring Hong Kong star Maggie Cheung, while working at Cahiers du cinéma, Assayas wrote lovingly about European film directors he admires but also about Asian directors. One of his films, HHH, A Portrait of Hou Hsiao-Hsien, is a documentary about Taiwanese filmmaker Hou Hsiao-Hsien and he married Hong Kong movie actress Maggie Cheung in 1998. They divorced in 2001, but their relationship remained amicable, and they met when Hansen-Løve, seventeen at the time, starred in Assayass 1998 feature Late August, Early September, but didnt get together until was 20. He directed and co-wrote the acclaimed 2010 French television miniseries Carlos, venezuelan actor Édgar Ramírez won the César Award for Most Promising Actor in 2011 for his performance as Carlos. In April 2011, it was announced that he would be a member of the jury for the competition at the 2011 Cannes Film Festival. His 2012 film, Something in the Air, was selected to compete for the Golden Lion at the 69th Venice International Film Festival, Assayas won the Osella for Best Screenplay at Venice. His 2014 film Clouds of Sils Maria was selected to compete for the Palme dOr in the competition section at the 2014 Cannes Film Festival. Sils Maria won the Louis Delluc Prize and garnered six César Award nominations including Best Film, Best Director, the film won a César Award for Best Supporting Actress for American actress Kristen Stewart
27.
Tsai Ming-liang
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Tsai Ming-liang is a Malaysian Chinese filmmaker. He has written and directed 10 feature films and has directed many short films. Tsai is one of the most celebrated Second New Wave film directors of Taiwanese cinema and his films have been acclaimed worldwide and have won numerous film festival awards. Tsai was born in Malaysia of Chinese ethnic background and spent his first 20 years of his life in Kuching, Sarawak, after which he moved to Taipei and this, he said, had a huge impact on mind and psyche, perhaps later mirrored in his films. Even today, said Tsai, I feel I belong neither to Taiwan nor to Malaysia, in a sense, I can go anywhere I want and fit in, but I never feel that sense of belonging. Tsai graduated from the Drama and Cinema Department of the Chinese Culture University of Taiwan in 1982 and worked as a producer, screenwriter. From 1989 to 1991, he directed several telefilms, two of these, All the Corners of the World and Boys, starred his muse, Lee Kang-sheng. Tsais first feature film was Rebels of the Neon God, a film about troubled youth in Taipei, it starred Lee as the character Hsiao-Kang. Lee went on to appear in all of Tsais feature films through 2013, Tsais second feature, Vive LAmour, is about three people who unknowingly share an apartment. The film is slow-paced, has little dialogue, and is about alienation, Vive LAmour was critically acclaimed and won the Golden Horse Awards for best picture and best director. Tsais next film was The River, in which a family has to deal with the neck pain. The family is similar to the one appears in Rebels of the Neon God and is played by the same three actors. The Hole is about two neighbors in an apartment, in Tsais next film, What Time Is It There. A man and a meet in Taipei before the woman travels to Paris. This was Tsais first film to star Chen Shiang-chyi, who would star in his few films alongside Lee. Goodbye, Dragon Inn is about people inside an old cinema that is closing down, for this film, Tsai included even longer shots and fewer lines of dialogue than in previous films, a trend that continued in his later work. The Wayward Cloud is a sequel to What Time Is It There, in which Hsiao-Kang and Shiang-chyi meet again and start a relationship while Hsiao-Kang works as a pornographic film actor. This film, like The Hole, features musical numbers between Tsais typical slow pace
28.
British Academy Film Awards
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The British Academy Film Awards are presented in an annual award show hosted by the British Academy of Film and Television Arts to honour the best British and international contributions to film. Between 2008 and 2016, the ceremony was held in central London at the Royal Opera House, the 70th British Academy Film Awards were held on 12 February 2017 at the Royal Albert Hall in London. British Academy of Film and Television Arts was founded in 1947 as The British Film Academy, by David Lean, Alexander Korda, Carol Reed, Charles Laughton, Roger Manvell and others. BAFTA stated charitable purpose is to support, develop and promote the art forms of the image, by identifying and rewarding excellence, inspiring practitioners. In addition to awards ceremonies BAFTA runs a year-round programme of educational events including film screenings. BAFTA is supported by a membership of about 6,000 people from the film, television, the Academys awards are in the form of a theatrical mask designed by American sculptor Mitzi Cunliffe, which was commissioned by the Guild of Television Producers in 1955. The ceremony previously took place in April or May and since 2002 it takes place in February in order to precede the Oscars. The awards are open to all nationalities, though there is an award for Outstanding British Film. Only UK films are eligible for the categories of The British Short Film, the Awards ceremony is delayed broadcast on British television the same evening, and across the world for example its shown on BBC America in the United States. It has been broadcast in colour since 1970, the award ceremony is held in London. From 2000 to 2007 the ceremonies took place at the flagship Odeon cinema in Leicester Square, between 2008 and 2016, the ceremonies took place at the Royal Opera House. The 70th Awards in 2017 were held at the Royal Albert Hall, until 2012, the mobile network Orange sponsored the awards and starting in 2013 Oranges parent company, EE, began sponsorship. British Academy of Film and Television Arts British Academy Television Awards Official website BAFTA Awards database Museum of Broadcast Communications, BAFTA IMDB, BAFTA
29.
Bertrand Bonello
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Bertrand Bonello is a French film director, screenwriter, producer and composer. His background is in music, and he lives between Paris and Montreal. His work has also associated with the New French Extremity. His film The Pornographer won the FIPRESCI prize at the 2001 Cannes Film Festival, tiresia was nominated for the Palme dOr at the 2003 Cannes Film Festival. His film House of Tolerance, a depiction of life in a fin-de-siècle Parisian bordello. His 2014 film Saint Laurent competed for the Palme dOr in the competition section at the 2014 Cannes Film Festival. The film was selected as Frances submission for the Academy Award for Best Foreign Language Film at the 87th Academy Awards. Chevalier of the Order of Arts and Letters Bernard Stiegler, Tirésias et la guerre du temps, Autour dun film de Bertrand Bonello, De la misère symbolique, Bertrand Bonello at the Internet Movie Database
Commmander of the Order of Merit, Portugal (12 January 2017)[10]
