French cinema
Mark Kidel
The Last Metro (Le dernier métro), from 1980, is without doubt one of François Truffaut’s best films: a story beautifully told, strong on character, sometimes funny and always profoundly moving. Most of the credit has gone to Truffaut and co-stars Catherine Deneuve and Gérard Depardieu, but there is a key member of the team whose name is barely known outside the world of French cinema history.There are echoes here of the director's 1973 La nuit américaine (aka Day for Night), a film also set behind the scenes of show business, whose strength derives to a large extent from the many Read more ...
Graham Fuller
Life, opined Thomas Hobbes, is “nasty, brutish, and short”. In Gaspar Noé’s Vortex it’s not short enough for a dementia-afflicted octogenarian psychiatrist (Françoise Lebrun) and her addled film critic husband (giallo auteur Dario Argento), whose joint decline is a protracted saga of alienation, confusion, and fear.When worrying is your default mode and oblivion your near future, dignity is an out-of-reach luxury and survival a harrowing moment-to-moment ordeal. As blunt as ever about human flaws and vulnerabilities, the Argentina-born French filmmaker Nóe typically offers no bromides or balm Read more ...
Sebastian Scotney
Among the plentiful bonus items in this Criterion Collection Blu-ray of Round Midnight, the last one is a surprise. It shows Dexter Gordon in his prime, back in 1969.He’s doing the thing for which, purely as a jazz musician, he’s best known. We see his blistering inventiveness as a bebop improviser. He is playing his own tune “Fried Bananas” with barrelling energy at a club in Copenhagen. In other words, it's nothing whatsoever like the slow, atmospheric playing of Dale Turner, the character played by Dexter Gordon, that we hear throughout Bertrand Tavernier’s moody film.By the time Tavernier Read more ...
Mark Kidel
François Truffaut’s Nouvelle Vague masterpiece revolves around an endlessly mutating love triangle, set in a world that encompasses the hedonism of the Belle Époque, the horror of the First World War, and the book burning that ushered in the Nazi period in Germany. The film is a triumph of humanity as well as a deep and touching reflection on friendship, love and marriage.Jules et Jim marked an era, not least because the two male protagonists, the Austrian actor Oskar Werner as Jules and Henry Serre as Jim, are more sentimental than Catherine, the near-psychopathic and yet overwhelmingly Read more ...
Nick Hasted
France is a female dystopia in Audrey Diwan’s immersive illegal abortion drama, set in 1963 and based on Annie Ernaux’s autobiographical novel.Anamaria Vartolomei is Anne, the first girl from her rural family to go to college, where she is a modest but eager star student. Looming exams are a crucial staging-post towards full escape velocity from provincial, working-class restrictions into the writer’s life she desires. Between classes, she lounges on summer grass with her friends, verbally bold Brigitte (Louise Orrey Diquerro) and cautious, quiet Hélène (Luàna Bajrami-Rahmani, pictured below Read more ...
Mark Kidel
Many groundbreaking cinema classics remain frozen in a particular zeitgeist, but François Truffaut’s first feature, from the early days of the French New Wave, is not one of them. Released in 1959, The 400 Blows (Les 400 coups) is so adventurous in style, without ever being pretentious, the coming-of age story it vividly tells so engaging, and the performance of Jean-Pierre Léaud so thrilling, that it remains fresh and relevant to this day.Léaud, a mixture of cocksure arrogance and touching vulnerability, already evident in his impressive and touching screen test (which is among the extras on Read more ...
Markie Robson-Scott
Elie Wajeman’s moodily lit film noir is, among other things, a great advertisement for the French healthcare system. Doctors in Paris do home visits! Even at night, and even for minor troubles such as a painful leg or stomach upset. It costs slightly more than going to the surgery, but t’inquiète pas, you’ll be reimbursed. Just don't lose your insurance card.Mikaël Kourtchine (Vincent Macaigne), leather-jacketed, bearded and slightly hang-dog, is one of these night doctors and although apparently a devoted father, has been doing more than his fair share of night shifts. Although the film Read more ...
Mark Kidel
Hiroshima mon amour (1959), Alain Resnais’s first feature-length film, followed a number of remarkable short documentaries, the most famous of which was Nuit et brouillard (Night and Fog, 1956), a haunting evocation of Nazi terror, and still a reference for the way in which the unspeakable can be powerfully expressed.Another was Toute la mémoire du monde (1956), a beautiful work about the Bibliothèque Nationale, France’s national library – a film about memory, compressed into thousands of book stacks through which Resnais’ camera tracked relentlessly. The same tracking shots re-appear in Read more ...
Graham Fuller
The restrictiveness of conventional gender identities explains the extreme body horror of Titane, in which a pregnant rookie firefighter frequently invoked as Jesus bleeds car oil from her vagina and from the stigmatic splits in her swollen belly. The miracle of Julia Doucournau’s luridly beautiful Palme d’Or-winner is that the memory of the violence puncturing the film's first half recedes as loving tenderness takes hold.Protagonist Alexia (first-time actor Agathe Rousselle magnificently channelling punk snottiness and catwalk hauteur) may be a serial killer who’s been impregnated by a car, Read more ...
Sebastian Scotney
Jef Costello, the lone contract killer in Le Samouraï (Jean-Pierre Melville, 1967), carries out the murder of the boss of a night club. We see how meticulously he has prepared for it, including the construction of an airtight alibi involving precise times – which others will corroborate – for his arrivals and departures at locations other than the scene of the crime. In spite of that, he is rounded up on the same night, identity-paraded the following morning, and once he is released by the police, he still remains their main suspect. And then finds he is also being pursued by his Read more ...
Kathryn Reilly
Wes Anderson and Jarvis Cocker do 1960s French pop – this frothy confection couldn’t be any more “art school” if it were smoking a gauloise in a black polo-neck. Truly, what a match made on the Eurostar! For one so thoroughly Sheffield born-and-bred, Mr Cocker has oodles of French chic (plus a French ex-wife and Paris-based son). He nails yé-yé, of course, but you can imagine he was weaned on the genre.It all started with his cover of the 1965 Christophe hit “Aline” made for Wes Anderson’s latest film, The French Dispatch (Jarvis told We Present recently that the director actually guided Read more ...
Markie Robson-Scott
This is the story of a boy and a building. Sixteen-year-old Youri (newcomer Alseni Bathily) lives, with his telescope, in Cité Gagarine, a vast red-brick Sixties apartment complex in Ivry-sur-Seine, an eastern suburb of Paris governed by the French Communist party.Named after Soviet cosmonaut Yuri Gagarin, it was once a showcase for the party, a modern, utopian, rent-subsidised setting for working-class supporters. But it mirrored the party’s decline and lapsed into disrepair – asbestos, rats, broken lifts, crime – and was, in reality, demolished in 2019.Directors Fanny Liatard and Jérémy Read more ...