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Searchlight’s All of Us Strangers leads the 2024 Dorian Awards film nominations with nine, followed by the Warner Bros juggernaut Barbie with seven. Netflix’s May December is next with six noms, A24’s Past Lives (five) and Searchlight’s Poor Things (four). All five will compete for the marquee Best Film of the Year prize, presented by Galeca: The Society of LGBTQ Entertainment Critics.

All of Us Strangers will face off against MGM’s Bottoms, Mubi/Sbs’ Passages, Netfix’s Rustin (Netflix and Amazon MGM’s Saltburn for LGBTQ Film of the Year.

The Director of the Year race pits Oscar-snubbed Barbie helmer Greta Gerwig against Andrew Haigh (All of Us Strangers), Todd Haynes (May December), Christopher Nolan (Universal’s Oppenheimer) and Celine Song (Past Lives).

Along with such offbeat categories as Campy Flick and Unsung Film of the year, the Dorians will debut three new ones in 2024: LGBTQ Screenplay of the Year,...

Andrew Haigh’s “All of Us Strangers” led nominations Monday for the 15th Dorian Film Awards, as voted on by the Society of LGBTQ Entertainment Critics, with nine nominations, including Film of the Year, LGBTQ Film of the Year, Director of the Year, co-lead Andrew Scott and supporting actress Claire Foy.

The group’s more than 500 entertainment critics and journalists also handed out nods to “Barbie,” which scored seven nominations; followed by Todd Haynes’ “May December” with six; and Celine Song’s “Past Lives” with five, including Director of the Year.

While the Oscars overlooked “Barbie” director Greta Gerwig this year, she’s very much in the running at this awards show, as is Song, Haynes, and Haigh.

“Bottoms” star Ayo Edebiri, who just collected her first Emmy for “The Bear,” is nominated in two categories: “We’re Wilde About You!” Rising Star Award and Wilde Artist Award, given to...

Galeca: The Society of LGBTQ Entertainment Critics announced the nominees of the 15th Dorian Film Awards, and Searchlight’s All of Us Strangers leads the nominations with nine.

The Andrew Haigh-written and -directed drama earned nods for film of the year, LGBTQ film of the year and genre film of the year, with Haigh also landing nods for best director and best screenplay. Andrew Scott was nominated for his lead performance, while Claire Foy and Paul Mescal are both nominated in best supporting performance. (The Dorians’ acting categories are gender neutral, with 10 contenders in both categories.)

Following in All of Us Strangers‘ lead is Warner Bros.’ Barbie, which scored seven noms, including film of the year, best director for Greta Gerwig (also nominated for writing the screenplay with partner Noah Baumbach), best supporting performance (Ryan Gosling) and best film music.

The three remaining film of the year nominees are Netflix’s May December,...

Given the reportedly frequent use of puppets as aids to the therapeutic process, one might expect a family of third-generation puppeteers to be among the most well-adjusted people in the world. Or among the least, given the other connotation of puppetry, as a conduit for demonic, psychotic or otherwise malign energies. Sadly, neither is the case with the clan in Philippe Garrel’s “The Plough,” a featherweight folderol even by the director’s uneven recent standards, which seems mainly conceived as a cozy way for the veteran director to spend a little time reminding his real-life family how much they will miss him when he’s gone. It’s all about relationships but for anyone not surnamed Garrel, trying to find anything much to relate to in “The Plough” is a lonely furrow indeed.

Le Grand Chariot is the puppet theater run by Simon (Aurélien Recoing) alongside his aspiring actor...

Le Grande Chariot

Cinema for the Garrels has always been a family affair but Philippe Garrel‘s 28th features feel a tad more special. Starring Louis Garrel, Esther Garrel, Léna Garrel, Aurélien Recoing, Damien Mongin, Francine Bergé, Mathilde Weil, Asma Messaoudene and marionette artists, Le Grande Chariot (formerly known as “La lune crevée”) moved into production early in 2022. Written by the director alongside Jean-Claude Carrière, Arlette Langmann and Caroline Deruas, the story charts the fantastic yet tragic destiny of three puppet artist siblings.

Gist: Three siblings, a father and a grandmother who run a travelling puppet show. When the father dies during a performance, the remaining family members try to keep his legacy alive.…...

As of late the work of prolific French director Philippe Garrel has gone a bit unappreciated here in the States, the perceived notion being that he keeps recycling the same themes with little invention. For those who don’t prescribe to that theory (e.g. this writer) the announcement of a new project still carries much anticipation.

Such is the case for his next film La lune crevée (roughly translated to The Burst Moon), which was first reported on late last year but we’re getting wind of thanks to new funding from Cnc (via Cineuropa). Set to once again be a family affair, the director’s 28th film stars his three children as well as Aurélien Recoing, Damien Mongin, Francine Bergé, Mathilde Weil, and Asma Messaoudene.

Co-written by Garrel, Jean-Claude Carrière (Rip), Arlette Langmann, and Caroline Deruas, the plot will tell “the romantic and tragic destiny of a family of puppeteer artists,...

Love Means Never Having to Say: Garrel Continues Exploration of Love and Lust

“Love ain’t nothin’ but sex misspelled,” Harlon Ellison astutely wrote, for too often is the former used as a ruse to obtain the latter. Perennial French auteur Philippe Garrel completes a thematic trilogy of sorts with his latest, The Salt of Tears, a poetic title which suggests once the emotions have evaporated, all we’re left with is the cynical reality of a situation.

Reuniting with his regular scribes Jean-Claude Carriere and Arlette Langmann, his latest, on the surface, is as archaic a narrative as one might expect from an aged director still obsessed with the exploring the troubled communication between nubile young women and the various men who use them.…...

Philippe Garrel’s modus operandi since 2013’s Jealousy has been unfussy, melancholic, black-and-white tales of Parisian men in the throes of romance, typically under 75 minutes. His latest, The Salt of Tears, which played in competition at the Berlin Film Festival, stretches to 100 minutes, but retains much of the lo-fi monochrome aesthetic, here centering on a cocky, shaggily attractive 20-something whose predilection for spurning women won’t win admirers from the MeToo generation.

But The Salt of Tears, with its title that sounds like a philosophical tract by Sartre, is a distant, ruminative film that refrains from wallowing in snide judgments of its characters. Perhaps to its fault, it’s a sober, adult, sincere film that seeks to consider some truth of the fallacy present in all human relationships.

The story follows trainee carpenter Luc through a trio of romantic misadventures, as he moves from the French countryside for something akin to a sentimental Parisian education.

Handsome twentysomething Luc is a trainee joiner, a craft inherited from his doting single dad: a man at once proud of his son’s continuation of their trade, and hopeful that he’ll do something greater with it. When Luc asks his father if he ever wanted to design furniture rather than simply build it, the reply is simple and resigned: “It’s all been done already.” Six decades and 28 features into his career, French writer-director Philippe Garrel seems to be saying something similar with his latest, “The Salt of Tears”: A minor romantic roundelay that deviates little from the essential template of his last three films, it’s very much the work of an artist less preoccupied with innovation than with signature craftsmanship.

Which is not to say “The Salt of Tears,” even within its narrow bracket of ambition, is an especially careful or well-turned example of Garrel’s form.

Le sel des larmes

2020 will see the premiere of the 27th feature by French auteur Philippe Garrel with The Salt of Tears, which reunites him with scribes Jean-Claude Carriere and Arlette Langmann. Dp Renato Berta (who lensed Garrel’s last two feature) is on board, as is producer Edouard Weil (who previously produced A Burning Hot Summer and Frontier of Dawn for the director). Garrel’s youthful cast consists of Louise Chevillotte (who made her debut in Lover for a Day and has since starred in Nadav Lapid’s Synonyms and Verhoeven’s upcoming Benedetta), Oulaya Amamra (Cesar winner for 2017’s Divines), Souheila Yacoub, Andre Wilms and newcomer Logann Antuofermo.…...

French director Philippe Garrel has always only needed the barest means to make movie magic: a beautiful, tragic face, a sad wall to put behind it, a mournful, pensive walk alone on the street. His latest film premiered last year in Cannes at the Directors’ Fortnight; having first shown his work there in 1969 with Le lit de la vierge, Garrel once again proves he is nearly alone in continuing the French New Wave’s revolution of creating celluloid myths from mere bedrooms and cafes. This new film, Lover for a Day is one of his most simple, a lithe, splendid picture dazzling in its clarity, direct emotional resonance and condensed storytelling. The set-up, co-written with Garrel’s partner Caroline Deruas-Garrel and his usual writer Arlette Langmann along with Jean-Claude Carrière, is inspired: A young woman, Jeanne breaks up with her boyfriend and must stay at the flat of his father,...

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The Post [my review] pictured

Meryl Streep costars as Washington Post publisher Katharine Graham at a critical juncture in the paper’s history. Cowritten by Liz Hannah. (male director)

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Attraction (Prityazhenie) [my review]

Irina Starshenbaum costars as a teenaged girl who falls for an alien just visiting Earth. (male director and writers)

Lover for a Day [IMDb]

Esther Garrel and Louise Chevillote costar as, respectively, the adult daughter of and the new lover of the same man in this French drama. Cowritten by Caroline Deruas-Garrel and Arlette Langmann. (male director)

Please let me know if I’ve missed any movies directed by, written by, or about women.

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Mubi has locked down the U.S., U.K. and Ireland rights to Lover For A Day (L'Amant d’un jour), the third and final installment of writer-director Philippe Garrel's trilogy on love. The drama premiered in the Directors' Fortnight at the Cannes Film Festival and won the Sacd prize from the French Writers and Directors Guild. Co-written by Garrel, Jean-Claude Carriere, Caroline Deruas and Arlette Langmann, the film follows Jeanne who, after a devastating breakup, has to stay…...

French director Philippe Garrel has always only needed the barest means to make movie magic: a beautiful, tragic face, a sad wall to put behind it, a mournful, pensive walk alone on the street. He is back in Cannes at the Directors’ Fortnight, having first come in 1969 with Le lit de la vierge, and once again proves he is nearly alone is continuing the French New Wave’s revolution of creating celluloid myths from mere bedrooms and cafes. Lover for a Day, his newest, one of his most simple, is a lithe, splendid picture, dazzling in its clarity, direct emotional resonance and condensed storytelling. The set-up, co-written with Garrel’s partner Caroline Deruas-Garrel and his usual writer Arlette Langmann, along with Jean-Claude Carrière, is inspired: A young woman, Jeanne (Garrel’s daughter, Esther) breaks up with her boyfriend and must stay at the flat of his father, Gilles (Éric Caravaca), who,...

One Day Lover

Director: Philippe Garrel

Writer: Jean-Claude Carriere, Caroline Deruas-Garrel, Arlette Langmann, Philippe Garrel

French auteur Philippe Garrel presented one of his strongest entries in years with 2015’s In the Shadow of Women, which opened the Directors’ Fortnight.

Continue reading...

Usually one doesn’t think of seeing a “best film of the year” contender in what is usually the dumping ground known as January and February. However, distributor Distrib Films and director Philippe Garrel have tossed into theaters not only one of last year’s festival darlings but an early contender for the film of the year for 2015. Those unfamiliar with Garrel may find the black and white photography, pretentious-sounding title and hefty festival pedigree as a calling card for a film that’s more style than substance, but In The Shadow Of Women is a triumph of both direction and narrative nuance.

Women tells the story of documentarians Pierre (Stanislas Merhar) and Manon (Clotilde Courau), a husband and wife creative team that crafts shoestring-budget documentaries financed by a series of random jobs that both take on. However, the relationship faces its latest and greatest test when Pierre meets and...

Early on in her seminal text, From Reverence to Rape: The Treatment of Women in the Movies, critic Molly Haskell makes dismissive note of the “modern” movie, something that was then purported by many to be a corrective to classical filmmaking. One of its chief tenets, she claimed, was that we came out of the theatre feeling superior to the foibles and insanity of the characters. Furthermore, she points to John Cassavetes’ Minnie & Moskowitz as representational of where modern screen romance stood, claiming its disorganized, improvised approach (“letting it all out”) was a poor substitute for the way an old Hollywood master (e.g. Howard Hawks) created order and understanding out of the chaos of relationships.

If Cassavetes was synonymous with what drove the culture wars of the 1970’s, then what do we make of his supposed compatriots and kindred spirits, particularly Maurice Pialat, the one labelled by many as...

The American Film Institute announced today the films that will screen in the World Cinema, Breakthrough, Midnight, Shorts and Cinema’s Legacy programs at AFI Fest 2015 presented by Audi.

AFI Fest will take place November 5 – 12, 2015, in the heart of Hollywood. Screenings, Galas and events will be held at the historic Tcl Chinese Theatre, the Tcl Chinese 6 Theatres, Dolby Theatre, the Lloyd E. Rigler Theatre at the Egyptian, the El Capitan Theatre and The Hollywood Roosevelt.

World Cinema showcases the most acclaimed international films of the year; Breakthrough highlights true discoveries of the programming process; Midnight selections will grip audiences with terror; and Cinema’s Legacy highlights classic movies and films about cinema. World Cinema and Breakthrough selections are among the films eligible for Audience Awards. Shorts selections are eligible for the Grand Jury Prize, which qualifies the winner for Academy Award®consideration. This year’s Shorts jury features filmmaker Janicza Bravo,...

Distrib Films Us, which releases high-quality French indie films stateside, has acquired all Us rights to Philippe Garrel's romantic drama "In the Shadow of Women," which opens the Directors' Fortnight at Cannes. Veteran Garrel's film "The Virgin Bed" screened in the debut edition of the Director's Fortnight in 1969. "In the Shadow of Women" is written by honorary Oscar-winner Jean-Claude Carriere ("Belle du Jour"), Caroline Deruas and Arlette Langmann.  Distrib Films Us released Garrel's previous film "Jealousy" last summer.  Pierre and Manon (Stanislas Merhar and Clotilde Courau) are a couple who make low-budget documentaries and live off odd jobs. After Pierre meets a young trainee, Elisabeth (Lena Paugam) they start an affair. But Pierre doesn't want to leave Manon -- he wants to keep both women. But Elisabeth discovers that Manon also has a lover, and tells Pierre. So Pierre begs Manon to...

Jealousy (La Jalousie) Distrib Films Reviewed for Shockya by Harvey Karten. Data-based on Rotten Tomatoes Grade: B Director: Philippe Garrel Screenplay: Philippe Garrel, Caroline Deruas, Arlette Langmann, Marc Cholodenko Cast: Louis Garrel, Anna Mouglalis, Rebecca Convenant, Olga Milshtein, Esther Garrel, Manon Kneuse, Julien Lucas Screened at: Review 1, NYC, 8/11/14 Opens: August 15, 2014 In the Broadway musical “My Fair Lady,” Henry Higgins notes, “The French don’t care what they do, actually, so long as they pronounce it properly.” We do, in fact, have the impression that what’s taken with some seriousness here in the States is treated more casually across the Atlantic. Bar pickups, for example. We may think [ Read More ]

The post Jealousy Movie Review appeared first on Shockya.com.

In this weekend’s specialty box-office debuts, IFC Films hopes to replicate the critical and commercial success of Michael Winterbottom’s first amusing little travelogue/talker of a feature, The Trip, with a semi-sequel, The Trip To Italy. The second Trip again stars Steve Coogan and Rob Brydon; the entertainingly garrulous pair on yet another jaunt across restaurants, countryside and philosophy. The latest Trip will bow in NYC and La this weekend after a successful Australian run earlier this summer (or their winter).

Frank, a British-Irish-American drama from Magnolia Pictures featuring Michael Fassbender that had runs at Sundance and SXSW, bows in only one U.S. theater this weekend. Frank centers on an eccentric band, giving Fassy fans a chance to hear the Oscar-nominated actor sing, albeit from behind a mask (he’s not bad, actually).

Other notable new films include Philippe Garrel‘s Jealousy, which Distrib Films will expand...

Distrib Films announced that it has picked up the U.S. rights to Philippe Garrel’s black and white, meta-like dramedy. A true family affair, Jealousy sees the Garrel clan in full force; Louis toplines again and a supporting perf from sis Esther Garrel (Bertrand Bonello’s House of Tolerance) in a text that is close to Philippe’s own personal family history. A summer theatrical release is planned.

Gist: Written by Philippe Garrel, Caroline Deruas, Marc Cholodenko and Arlette Langmann, Louis (Louis Garrel) leaves his wife Clothilde (Rebecca Convenant) and daughter Charlotte (Olga Milshtein) for a theater actress Claudia (Anna Mouglalis). Though she can’t get any work and they struggle to make money, their passion carries them through. However, it’s not long before the outside world creeps back in.

Worth Noting: This received film fest showings at the Venice and New York Film Festival.

Do We Care?...

Distrib Films has acquired all Us rights to Philippe Garrel’s Jealousy, which premiered at Venice 2013 and stars Louis Garrel, Anna Mouglalis, Rebecca Conevant, Olga Milshtein and Esther Garrel.

Philippe Garrel wrote the screenplay with Caroline Deruas, Marc Cholodenko and Arlette Langmann. The producer is Saïd Ben Saïd of Sbs Productions.

Distrib, a Paris-based company that specialises in releasing French films in the Us, acquired rights from Wild Bunch to the story of a man who leaves his family for an actress. Distrib plans a summer theatrical release.

“Philippe Garrel is one of the world’s great filmmakers,” said Distrib president Françoise Scippa-Kohn. “Jealousy is not only one of his most beautiful films but also his most accessible. We hope we can make this his most successful film in America ever.”...

Col*Coa is winding down, but you can still catch a few stellar films and see the award winners for free Monday, April 22, 2013.

Award Screenings at 6:00 pm: The evening will start with the rerun of two awarded films in the Renoir and Truffaut Theaters at the DGA. Films will be announced on Sunday April 21 on the Col*Coa website, on Facebook, Twitter and on the Col•Coa info line (310) 289 5346. Free admission on a First comes First Served basis. No RSVP needed.

You can stay and also see the Closing Night Films at 8:30 pm at the DGA. Reservations needed. Those are both North American Premieres of two very anticipated French films. The thriller Moebus by Eric Rochant will show for free as will the comedy Like Brothers by Hugo Gélin.

Being among the French filmmakers (and I saw way too few of the films) gave me such a surprising sense of renewal - again because of this upcoming generation. After seeing City of Lights, the short by Pascal Tessaud which preceded the classic Jacques Demy film Bay of Angels starring a platinum blond gambling-addicted Jeanne Moreau in Cannes, Nice and Monte Carlo in 1963, we spoke at length about what is called "The New Vibe". City of Lights stars a deeply quiet young man from "les banlieus", the notorious "suburbs" surrounding Paris where the international mix of young (and old) proletariat population is invisible to the rest of France except when the anger erupts into riots. This first generation has the French education but not the money or jobs and it hurts. They have picked up the cameras and with no money are creating films which express their lives in many ways like the new Latin American filmmakers or the new Eastern European filmmakers. Tessaud gave me an entire education in the hour we talked and I will share this in time. For now, aside from his wonderfuly trenchant film which played like a feature, which captured the Paris this young generation recognizes as The City of Lights - dancing, the kitchen of a very upscale restaurant, the dreary streets filled with construction, there is another example of The New Vibe, started by Rachid Djaïdani (a story in himself) the film Hold Back (Rengaine) leads the pack of the 20-some-odd new films of The New Vibe. It is produced by Anne-Dominque Toussaint (Les Films des Tournelles) whose films are too numerous to name but include my favorite The Hedgehog which I wrote about at Col*Coa two years ago, Col*Coa's current Cycling with Moliere, 2002's Respiro and many many others. Hold Back took 9 years to make and most of the team was unpaid. The New Vibe makes films without the aid of the French system of funding; it is more guerilla-style, not New Wave, not Dogma but New Vibe. Hold Back took Cannes by storm when it showed last year in Directors Fortnight and went on to New Directors/ New Films in New York. The classic story of a Catholic and a Muslim who want to marry but whose family objects, this rendition the Juliet has a brother who marches throughout Paris to alert her 39 other brothers that she wants to marry outside her cultural and religious traditions. "This fresh debut mixes fable, plucky social commentary - particularly about France's Arab community - and inventive comic setpieces" (Col*Coa)

Hold Back (Rengaine) (Isa: Pathe) goes beyond the funny but "establishmant" film Intouchable which played here last year. It is the exact opposite of such films as Sister or even Aliyah (Isa: Rezo) which played here this year and also in Directors Fortnight last year. Aliyah is about a young French Jewish man who must make his last drug sale in order to escape his brother's destructive behavior. He escapes by immigrating to Israel. These films are made by filmmakers within the French establishment and describe a proletariat existence which exists in their bourgeois minds. They lack a certain "verite" which can only be captured by one who knows viscerally what such marginal existence is.

At the opposite end of the contemporary spectrum of films today, a real establishment film is You Ain't Seen Nothing Yet by Alain Renais (you have to be a Renais fan to love it who was so avant-garde in his day). Those old New Wave films one could see here stand out in beautiful contrast to today's New Vibe: Renais' Stavisky or the 1963 film The Fire Within (Le feu follet) by Louis Malle again starring the beautiful Jeanne Moreau. I missed them both to my regret. When I miss a film I always tell myself I can see it when it's released or on DVD or Mubi, but rarely do I get to see it. Instead I can only read about it as here written up by Beth Hanna on Indiewire blog ToH. The Fire Within was part of Wes Anderson's choices, one of the various showcases of Col*Coa. Says Hanna: "Anderson's taste is impeccable: He has selected Louis Malle's 1963 lyrical depression drama The Fire Within." It was made after the classic Elevator to the Gallows (1958) which Miles Davis scored and which also starred the young Jeanne Moreau. She also could be seen her in Col*Coa in the classic 1963 Jacques Demy-directed Bay of Angels.

Col*Coa really offered something for everyone this year. Another of my favorite film genres, the Jewish film, was represented by Aliyah and The Dandelions (Du Vent dans mes mollets) (Isa: Gaumont), Stavisky, and It Happened in St. Tropez (Isa: Pathe), a classic French comedy -- though a bit dark and yet still comedic, about romance, love and marriage switching between generations in a neurotic, comfortably wealthy Jewish family. The Dandelions was, according to my friend Debra Levine, a writer on culture including film and dance, (see her blog artsmeme), "darling, so touching, so well made, so creative ... i really liked it. Went into that rabbit hole of little girls together ... Barbie doll play. Crazy creative play. As looney as kids can be."

Ian Birnie's favorite film was Becoming Traviata. Greg Katchel's favorite originally was Rendez-vous à Kiruna by Anna Novion, but when I saw him later in the festival his favorite was Cycling with Moliere (Alceste a bicyclette) (Isa: Pathe), again produced by Anne-Dominque Toussaint and directed by Philippe Le Guay who directed one of my favorites, The Women on the 6th Floor. Greg also liked Three Worlds though it was a bit "schematic" in depicting the clash of different cultures which were also shown in Hold Back.

Of the few films I was able to see, the most interesting was Augustine by Alice Winokur. It is the French response to David Cronenberg's A Dangerous Method and the British film Hysteria. All three were about the turn of the century concern of psychologists or doctors with female hysteria. This one concerned Jean-Martin Charcot and the neurologist's belief that hysteria was a neurological disease and he used hypnosis to get at its roots, whild in A Dangerous Method it was seen by Freud and Jung as a mental disorder and in Hysteria by Tanya Wexler (Tiff 2011) in which Dr. Mortimer Granville devises the invention of the first vibrator in the name of medical science.

Take a look at Indiewire's own article here for more on Los Angeles's greatest French attraction, the second largest French film festival in the world.

Several American distributors will present their films at Col•Coa before their U.S. release: Kino Lorber – You Ain’t Seen Nothing Yet, co-written and directed by Alain Resnais (Focus on a Filmmaker); Mpi Media – Thérèse, the last film of director/co-writer Claude Miller starring Audrey Tautou; Cohen Media Group – In the House, written and directed by François Ozon and The Attack, co-written and directed by Ziad Doueiri; Distrib Films for two documentaries: Becoming Traviata and The Invisibles; Film Movement for two thrillers: Aliyah and Three Worlds; The Weinstein Company - Populaire.

Below you can see the international sales agents for the current features showing.

11.6 / 11.6 (Isa: Wild Bunch)

Directed by: Philippe Godeau

Written by: Philippe Godeau, Agnès De Sacy

A Few Hours Of Spring / Quelques heures de printemps (Isa: Rezo)

Directed by: Stéphane Brizé ♀

Written by: Stéphane Brizé, Florence Vignon

Cast: Vincent Lindon, Hélène Vincent, Emmanuelle Seigner, Olivier Perrier

Aliyah/Alyah ✡ (Isa: Rezo, U.S.: Film Movement

Directed by: Élie Wajeman

Written by: Élie Wajeman, Gaëlle Macé

Armed Hands / Mains armées (Isa: Films Distribution)

Directed by: Pierre Jolivet

Written by: Pierre Jolivet, Simon Michaël

Augustine / Augustine (Isa: Kinology, U.S.: Music Box)

Directed by: Alice Winocour ♀

Written by: Alice Winocour

Aya Of Yop City / Aya de Yopougon (Isa: TF1)

Directed by: Clément Oubrerie, Marguerite Abouet ♀

Written by: Marguerite Abouet

Bay Of Angels / La Baie des anges (U.S.: Criterion)

Directed by: Jacques Demy

Written by: Jacques Demy

Becoming Traviata /Traviata et nous (Isa: Films Boutique, U.S. Distrib Films and Cinema Guild)

Directed by: Philippe Béziat

Written by: Philippe Béziat

Cycling With MOLIÈRE / Alceste à bicyclette (Isa: Pathe)

Directed by: Philippe Le Guay

Written by: Philippe Le Guay, based on an original idea by Fabrice Luchini and Philippe Le Guay

Fly Me To The Moon / Un plan parfait (Isa: Kinology)

Directed By: Pascal Chaumeil

Written By: Laurent Zeitoun, Yoann Gromb, Philippe Mechelen

Haute Cuisine / Les Saveurs du palais (Isa: Wild Bunch, U.S.: The Weinstein Company)

Directed by: Christian Vincent

Written by: Etienne Comar & Christian Vincent, based on the life of Danièle Mazet-Delpeuch

Hidden Beauties / Mille-Feuille (Isa: Other Angle Pictures)

Directed by: Nouri Bouzid

Written by: Nouri Bouzid, Joumène Limam

Hold Back / Rengaine (Isa: Pathe)

Directed by: Rachid Djaïdani

Written by: Rachid Djaïdani

In The House / Dans la maison (Isa: Wild Bunch, U.S.: Cohen Media Group)

Directed by: François Ozon

Written by: François Ozon

It Happened In Saint-tropez / Des Gens qui s’embrassent (Isa: Pathe)

Directed by: Danièle Thompson ♀

Written by: Danièle Thompson, Christopher Thompson

Jappeloup/ Jappeloup (Isa: Pathe)

Directed by: Christian Duguay

Written by: Guillaume Canet

Le Grand Soir / Le grand soir (Isa: Funny Balloons)

Directed by: Benoît Delépine and Gustave de Kervern

Written by: Benoît Delépine and Gustave de Kervern

Little Lion / Comme un Lion (Isa: Pyramide)

Directed by: Samuel Collardey

Written by: Catherine Paillé, Nadège Trebal, Samuel Collardey

Moon Man / Jean de la lune (Isa: Le Pacte)

Directed By: Stephan Schesch

Written By: Stephan Schesch, Ralph Martin. Based on the book by: Tomi Ungerer

Populaire / Populaire (Isa: Wild Bunch, U.S.: TWC)

Directed By: Régis Roinsard

Written By: Régis Roinsard, Daniel Presley, Romain Compingt

Rendezvous In Kiruna / Rendez-vous à Kiruna (Isa: Pyramide)

Directed by: Anne Novion ♀

Written by: Olivier Massart, Anne Novion, Pierre Novion

Sons Of The Wind / Les Fils du vent (Isa: Wide)

Directed by: Bruno Le Jean

Written by: Bruno Le Jean

Stavisky / Stavisky (1974) (Isa: StudioCanal)

Directed by: Alain Resnais

Written by: Jorge Semprún

The Attack / L’Attentat

France, Belgium, Lebanon, Qatar, 2013

Directed by: Ziad Doueiri (Isa: Wild Bunch, U.S.: Cohen Media Group)

The BRONTË Sisters / Les Soeurs Brontë (Isa: Gaumont, U.S.: Cohen Media Group)

Directed by: André Téchiné

Written by: André Téchiné, Jean Gruault, Pascal Bonitzer

The Dandelions / Du Vent dans mes mollets ✡

Directed By: Carine Tardieu ♀

Written By: Carine Tardieu, Raphaële Moussafir, Olivier Beer

The Fire Within / Le Feu Follet (1963) (Isa: Pyramide, U.S.: Janus Films)

Directed by: Louis Malle

Written by: Louis Malle

The Invisibles / Les Invisibles (Isa: Doc & Film, U.S. Distrib Films))

Directed By: Sébastien Lifshitz

The Man Who Laughs/ L’Homme qui rit (Isa: EuropaCorps)

Directed by: Jean-Pierre Améris

Written by: Jean-Pierre Améris , Guillaume Laurant

THÉRÈSE / Thérèse Desqueyroux (Isa: TF1, U.S.: Mpi)

Directed by: Claude Miller

Written by: Claude Miller, Natalie Carter

Three Worlds / Trois mondes (Isa: Pyramide, U.S.: Film Movement)

Directed by: Catherine Corsini ♀

Written by: Catherine Corsini, Benoît Graffin

To Our Loves / À nos amours (1983) (U.S. Janus)

Directed By: Maurice Pialat

Written By: Arlette Langmann, Maurice Pialat

True Friends / Amitiés sincères (Isa: Snd Groupe 6)

Directed By: Stéphan Archinard, François Prévôt-Leygonie

Written By: Stéphan Archinard, François Prévôt-Leygonie, Marie-Pierre Huster

Welcome To Argentina / Mariage à Mendoza (Isa: Kinology)

Directed By: Édouard Deluc

Written By: Anaïs Carpita, Édouard Deluc, Thomas Lilti, Philippe Rebbot

What’S In A Name / Le prénom (Isa: Pathe, U.S. Under The Milky Way)

Directed by: Alexandre de La Patellière, Matthieu Delaporte

Written by: Alexandre de La Patellière, Matthieu Delaporte

You Ain’T Seen Nothin’ Yet / Vous n’avez encore rien vu (Isa: StudioCanal, U.S.: Kino Lorber)

Directed By: Alain Resnais

Written By: Alain Resnais, Laurent Herbiet...

DVD Playhouse—August 2010

By

Allen Gardner

Black Orpheus (Criterion) Winner of the 1959 Best Foreign Film Oscar and that same year’s Palme d’Or at Cannes, Black Orpheus is a modern-day update of the Greek myth of Orpheus and Eurydice reset in 20th century Brazil during Carnival in Rio. Director Marcel Camus offers up a visual feast with some of the decade’s most ravishing color cinematography. A classic. Also available on Blu-ray disc. Bonuses: Archival interviews with Camus and actress Marpessa Dawn; Interviews with Brazilian cinema scholar Robert Stam, jazz historian Gary Giddins, and Brazilian author Ruy Castro; Documentary on the film; Trailer. Full screen. Dolby 1.0 mono.

The Last Song (Touchstone) Sentimental adaptation of Nicholas Sparks’ (by Sparks and Jeff Van Wie) sentimental novel about a father and daughter attempting to repair their damaged relationship. Greg Kinnear, as the dad in question, comes off best, while tween sensation Miley Cyrus...

Greetings, CriterionCast readers. I’m writing to you today from outside my usual routine of blogging in the comfort of my own home, as I’m in the midst of a family vacation to Northern California. So this review will admittedly be on the skimpy side compared to the depths of detailed and nuanced observation I normally strive to provide. And in the case of the film at hand, that’s not such a big problem. L’enfance nue, the 1968 debut feature of French director Maurice Pialat, is a film probably best critiqued in a stripped-down manner. After all, the title translates into English as “naked youth,” though the only nudity involved is in regard to its plain, unadorned delivery: no soundtrack music, no effort at filling in a back story, no dramatic build-up, catharsis or resolution.

The youth at the center of the story is a ten year old boy,...

Well here we are, another mid-month Criterion Collection New Release announcement extravaganza. A few titles that we suspected, due to rumors and various clues, and new addition to Maurice Pilat’s section of the Criterion Collection.

First off, we’re getting a re-release of a Criterion classic, Marcel Camus’ Black Orpheus. This is Criterion #48, so they are keeping in line with their re-releasing older titles, with new features, transfers, and absolutely gorgeous cover art. This Black Orpheus painting is one that I would certainly buy a print of, to hang on my wall. Black Orpheus will be released on August 17th on DVD and Blu-ray

A few weeks back, we told you about how the New York Times, in their Summer DVD column, let loose the idea that Criterion was working on a collection of Josef Von Sternberg titles, and we now have a complete list of the films, along with supplemental materials and artwork.