The Kids Aren’t Alright: A Preview of Rendez-Vous with French Cinema 2019
Marshall Shaffer on Film Society of Lincoln Center’s Rendez-Vous with French Cinema 2019
Five Films to See at Rendez-Vous with French Cinema 2018
Marshall Shaffer’s Selections for Rendez-Vous with French Cinema (March 8-18, 2018)
Vague Visages Is FilmStruck: Jeremy Carr on Henri-Georges Clouzot’s ‘The Wages of Fear’
“Within the shell of its high-concept premise, Henri-Georges Clouzot’s ‘The Wages of Fear’ develops into a harrowing depiction of humanity in crisis; economic, political and cultural crisis.”
Vague Visages Is FilmStruck: Jeremy Carr on Louis Malle’s ‘Black Moon’
“Communication — or the lack thereof — is key to ‘Black Moon.’”
Cannes Film Festival Review: Laurent Cantet’s ‘The Workshop’
“Like ‘Visages, villages’ and ‘Claire’s Camera,’ ‘The Workshop’ continues a Cannes 2017 trend for the unmatched power of creation and artistic expression, and this film reaches to darker depths than those tales.”
Tribeca Film Festival Review: Guillaume Canet’s ‘Rock’n Roll’
“Canet’s performance seems to come from a place of real insecurity, and the resulting film plays out like an externalized catharsis.”
Political and Social Conventions in Jacques Demy’s ‘The Umbrellas of Cherbourg’
“Fifty-three years after initial release, ‘The Umbrellas of Cherbourg’ continues to be a formally and contextually innovative French New Wave production; a film that has influenced contemporary directors such as Barry Jenkins, Damien Chazelle and Joachim Trier.”
Vague Visages Is FilmStruck: Jeremy Carr on François Truffaut’s ‘Shoot the Piano Player’
“While Truffaut’s ‘Day for Night’ (1973) is his most pronounced and profound love letter to the moviemaking process, ‘Shoot the Piano Player’ is an exuberant tribute to the end result.”
Dudley’s World: The Painstaking Anxiety of Henri-Georges Clouzot’s ‘The Wages of Fear’
A Column by Jordan Brooks
Chasing Chabrol: ‘Les biches’
“Les biches remains one of the more elusive and symbolic films of Chabrol’s career, as the narrative adopts a dreamlike structure that often obscures reality and truth.”
The Moreau Files: ‘Les Amants’
“It is incredible to think that Louis Malle was only 25 years old when he made Les Amants, as it seems to hold the wisdom and erotic impulse of a much older man.”