“It is Karina who embodied the freedom, fascination and the unpredictability that would define the French New Wave. It is Karina who made so many fall in love — with her and with cinema as an extraordinary, exultant medium.”
“Throughout both the foreground and background of ‘Fahrenheit 451,’ Truffaut emphasizes the characters’ self-absorption via a hyper-sexual form of narcissism in a society lacking real love.”
Marshall Shaffer’s Selections for Rendez-Vous with French Cinema (March 8-18, 2018)
“The point is to look as closely as Varda herself, who watches every detail with curiosity, kindness and a relentless sense of wonder.”
“Like his characters, Demy’s camera in ‘Lola’ moves everywhere but goes nowhere; it’s a paradoxically headlong hesitation.”
“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.”
“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.”
“Rohmer cares more about posing questions than providing the comfort of a conclusion.”
“‘Contempt’ is a daunting and formally labyrinthine work, calling its own fallibility to question even as it submits completely to the romance of cinema.”
“It reminds me of Ingmar Bergman films and the inspirational depression that I love.”
