The rapport between father and daughter is especially moving. Another is the protracted backstreet abortion administered to the married Lily; all the more scourging a watch for its context. The film is all the more interesting for remaining an eccentric one-of-a-kind that feels every bit the product of its writer-director’s unique sensibility and worldview. However, his ill health, a brief return to the debauchery of brothels and drink, and his irrational resentment of his brother Theo’s failure to sell his work, provoke erratic swings from brooding introspection to frustrated anger. Something of a key film in the development of concepts of cinematic modernism, simply because – with a script by nouveau roman iconoclast Alain Robbe-Grillet – it sets up a puzzle that is never resolved: a man meets a woman in a rambling hotel and believes he may have had an affair with her the previous year at Marienbad... or did he? As their relationship begins to fray, it all goes horribly wrong. The sight of his lifeless baby moves Alfie, untypically, to tears, but – as he tritely puts it – “not for him – he was past it; for my bleeding self”. [23] Roger Ebert included it on his "Great Movies" list in 2003, writing that "No debut film since Citizen Kane in 1942 has been as influential", dismissing its jump cuts as the biggest breakthrough, and instead calling revolutionary its "headlong pacing, its cool detachment, its dismissal of authority, and the way its narcissistic young heroes are obsessed with themselves and oblivious to the larger society. Don’t let the extended running time dissuade you: this is the rare breezy three-plus-hours that manages to explore heady concepts – from the malleability of personality to the fine line separating voyeurism and participation – without once feeling laboured. Like ‘Billy Liar’ – made around the same time – ‘Umbrellas’ makes escapist. Like an open-top tour-bus, this candied, Pop Art, spanking-colour masterpiece stops at every shelter on the swinging 60s route. Despite its simplistic view of Napoleon himself – seen from childhood to the fascistic start of his empire-building as a ‘man of destiny’, guided through hardships and loneliness by his ‘inner eagle’ – the film is completely vindicated by Gance’s raving enthusiasm for his medium. Delon – impossibly beautiful, impossible to read, cold, cool – steals the film here, and the most powerful scenes are on Ripley’s yacht. They were joined by younger names of the calibre of Isabelle Huppert and Gérard Depardieu who would go on to dominate the French scene for decades afterwards. Increasingly inventive as it progresses, Jeunet and Caro’s fast, funny feature debut entertains from sinister start to frantic finish. I saw most of these when they first came out. I suggest that if the document isn't proper to show in its entirety, it should be avoided completely. BR, Fifteen-year-old Suzanne (Bonnaire) seems unable to progress beyond a rather doleful promiscuity in her relations with boys. It’s conservative, as Truffaut views Pierre’s actions as immoral. Love. By the mid-60s, all eyes were on London – the swinging capital of the world – where radical changes to social and sexual politics were fanned by a modern youth. Newly released on Blu-ray and DVD, her debut feature, Peppermint Soda, is ripe for rediscovery, a coming-of-age movie that offers a welcome girl-centred answer to classic French boyhood pics such as Les Quatre Cent Coups (1959) and L’Enfance-nue. (literally, ‘Other People’s Taste’) is a culture-clash comedy with the emphasis on ‘culture’. "[13] The film's use of jump cuts has been called innovative. Laurent Cantet’s Palme d’Or-winning realist drama falls firmly into the latter category. But beyond the film’s titular concerns (My Sex Life), its strength is in its surprising progression. TH, You couldn’t imagine a more discreet tribute to the heroes of the wartime French Resistance than this terrific late-’60s thriller by the ex-Maquis member Melville, the director best known for his gangster masterpieces like ‘The Samourai’. In a time of intolerance, protest and fevered passions, Robin Campillo’s glorious, moving memoir of his time in Aids activism group Act Up in ’90s Paris captures a sense of recurring zeitgeist: just swap in Extinction Rebellion to see how its story of politically engaged young people fearing for their futures still resonates. French-Argentinian filmmaker Noé doesn’t do subtlety. The effect could not be more different from that of other films (Disney’s say, or ‘Jaws’) that centre around animals; Balthazar’s death during a smuggling expedition, amid a field of sheep, is both lyrical and entirely devoid of maudlin sentiment. It deals only with the final stages of Joan’s trial and her execution and is composed almost exclusively of close-ups: hands, robes, crosses, metal bars, and (most of all) faces. This drama film, directed by Alain Resnais and written by Marguerite Duras, is the documentation of an intimately personal conversation between a French-Japanese couple about memory and forgetfulness. Increasingly inventive as it progresses, Jeunet and Caro’s fast, funny feature debut entertains from sinister start to frantic finish. No permission was received to shoot the film in its various locations (mainly the side streets and boulevards of Paris) either, adding to the spontaneous feel for which Godard was aiming. CA, In the garage where he works, Guy (Nino Castelnuovo) plans a trip to the opera. Imagine getting letters from a friend in Japan, full of images, sounds and ideas. The Party’s Over (made in 1963 but held back by the BBFC until 1965) is less forgiving of its cortège of beatnik characters, who stew in their boredom and skulk a blackened London, cratered by the Blitz. [14][15], Godard envisaged Breathless as a reportage (documentary), and tasked cinematographer Raoul Coutard to shoot the entire film on a hand-held camera, with next to no lighting. Many will find it fascinating, not least because its sense of stifled anguish emerges without the least hint of aggression in the style. Blowup – the director’s second colour film after Red Desert (1964) – was perhaps the first film released in the 60s to formally explore the fissured psyche and instability of image in the decade of free will. But if so, it was an ocean that harboured some very big beasts. The character of Michel Poiccard is based on real-life Michel Portail and his American girlfriend and journalist Beverly Lynette. Bourgeois-scum Claude Chabrol territory, essentially, but done with a more commercial eye for showing off Schneider and Delon’s bronzed curves. Watch A Hard Day’s Night online on BFI Player, Watch The Pleasure Girls online on BFI Player, Watch The Party’s Over online on BFI Player, I’ll Never Forget What’s’isname (Michael Winner, 1967), The Magic Christian (Joseph McGrath, 1969), Tonite Let’s All Make Love in London (Peter Whitehead, 1967). Refreshing and pungent, Peppermint Soda deserves to be far better known. Sun, sex and… suspicion. Hate. 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. Corsican inmates rule the roost, led by ageing but vicious César (Niels Arestrup), who forces Malik to kill another inmate in an exceedingly disturbing episode. they truly are so much better than th estuff today, 1940s French stag film: whipping, spanking fetish, 1940sFrenchStagFilmWhippingSpankingFetish, Advanced embedding details, examples, and help, Terms of Service (last updated 12/31/2014). But whatever Bresson’s spiritual intentions the film provides boundless examples of cinema at its most sublime. 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. DJ, Banned on its original release as ‘too demoralising’, and only made available again in its original form in 1956, Renoir’s brilliant social comedy is epitomised by the phrase ‘everyone has their reasons’.

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