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Mubi's retrospective For Ever Godard is showing from November 12, 2017 - January 16, 2018 in the United States.Jean-Luc Godard is a difficult filmmaker to pin down because while his thematic concerns as an artist have remained more or less consistent over the last seven decades, his form is ever-shifting. His filmography is impossible to view in a vacuum, as his work strives to reflect on the constantly evolving cinema culture that surrounds it: Godard always works with the newest filmmaking technologies available, and his films have become increasingly abstracted and opaque as the wider culture of moving images has become increasingly fragmented. Rather than working to maintain an illusion of diegetic truth, Godard’s work as always foreground its status as a manufactured product—of technology, of an industry, of on-set conditions and of an individual’s imagination. Mubi’S Godard retrospective exemplifies the depth and range of Godard’s career as...

French director Bruno Dumont's Camille Claudel 1915 (2013), which premièred at last year's Berlin Film Festival, sees Juliette Binoche take the lead as the famous French artist and lover of Auguste Rodin. The main thrust of Dumont's latest sees Camille placed by her brother, the Catholic poet Paul Claudel (Jean-Luc Vincent), in a remote mental institution where she remained for 30 years up until her death. Here, Dumont constructs a stripped-down formal universe that bends not inwards to his tragic heroine, but pushes her outwards towards transcendental hopelessness and an easy acceptance of her desperate situation. Earlier this year we caught up with Dumont to discuss Camille Claudel 1915, his first collaboration with Binoche and the complexities of mental illness.

It’s fair to say that Bruno Dumont has favoured a quite bleak, unforgiving style of cinema – and his latest, Camille Claudel 1915, is certainly no different. The biopic is centred around the life of Camille Claudel, played by Juliette Binoche – a renowned sculpture who, following a break up with artist Auguste Rodin, had a breakdown and found herself confined to a mental institution. In spite of her somewhat speedy recovery, it’s where she spent the following 30 years of her life.

Dumont discusses how the project came into fruition, what it was like to work with real people suffering from mental illness as opposed to actors – and which Hollywood stars he would like to work with in the future.

How long have you been preparing for this movie – when did the idea of making it come to you?

In fact, it was when Juliette Binoche approached me to do a project together,...

It’s fair to say that Bruno Dumont has favoured a quite bleak, unforgiving style of cinema – and his latest, Camille Claudel 1915, is certainly no different. The biopic is centred around the life of Camille Claudel, played by Juliette Binoche – a renowned sculpture who, following a break up with artist Auguste Rodin, had a breakdown and found herself confined to a mental institution. In spite of her somewhat speedy recovery, it’s where she spent the following 30 years of her life.

Dumont discusses how the project came into fruition, what it was like to work with real people suffering from mental illness as opposed to actors – and which Hollywood stars he would like to work with in the future.

How long have you been preparing for this movie – when did the idea of making it come to you?

In fact, it was when Juliette Binoche approached me to do a project together,...

Many are perhaps familiar with Isabelle Adjani’s much hailed Oscar nominated performance as the turn of the century French sculptress Camille Claudel in the 1988 Bruno Nuytten sensation, an artist whose unfortunate demise overshadowed her work. When director Bruno Dumont announced his latest film, Camille Claudel, 1915, (a 2013 Berlin Film Festival entry) which would mark the first time the auteur utilizes a notable actor, here in the form of Juliette Binoche, it marked an intriguing change of pace for a director known for oblique and sometimes distractingly philosophical works where the sacred and profane seethe incongruously until sparks of surprising violence puncture the ambiance.

What’s perhaps more surprising is Dumont’s end result here, an elegiac look at a brief moment in time where Claudel was only two years into a nearly thirty year internment in an insane asylum. Without a doubt, the success lies primarily with a formidable performance from Binoche,...

Snake Pit Soliloquy: Dumont’s Brief Vignette Profoundly Effective

Many are perhaps familiar with Isabelle Adjani’s much hailed Oscar nominated performance as the turn of the century French sculptress Camille Claudel in the 1988 Bruno Nuytten sensation, an artist whose unfortunate demise overshadowed her work. When director Bruno Dumont announced his latest film, Camille Claudel, 1915, which would mark the first time the auteur utilizes a notable actor, here in the form of Juliette Binoche, it marked an intriguing change of pace for a director known for oblique and sometimes distractingly philosophical works where the sacred and profane seethe incongruously until sparks of surprising violence puncture the ambiance. What’s perhaps more surprising is Dumont’s end result here, an elegiac look at a brief moment in time where Claudel was only two years into a nearly thirty year internment in an insane asylum. Without a doubt, the success lies primarily...

Camille Claudel 1915

Written and directed by Bruno Dumont

France, 2013

Camille Claudel 1915 is a 3-day portrait of great sculptress Camille Claudel and her life in an institution. A rarity in art history, Claudel found success during her lifetime and was often exhibited alongside male contemporaries. Emblematic of larger issues plaguing art history and criticism, academically, she is most often referred to in relation to sculptor Auguste Rodin, rather than on the merits of her own work. His lover, muse, and student for over a decade, her relationship with him was a source of great inspiration and turmoil over the course of her life. An incredibly emotive and imaginative artist and sculptor, she was heralded by famous art critic Octave Mirbeau, Claude Debussy was passionate about her work, and Henrik Ibsen apparently based one of his plays on her tumultuous relationship with Rodin.

Standing the test of time, her art remains powerful and raw.

Above: Elisabeth Perceval and Nicolas Klotz. Photograph by Michael Ackerman.

“I am Ophelia. She who the river could not hold.” These words, taken from Heinrich Müller’s play Hamletmachine, are spoken by a girl playing an actress at the start of the beautiful new film Low Life, screening Sunday and Wednesday as part of Lincoln Center’s series Rendez-Vous with French Cinema. She is one of a group of young people who gather together in the streets and in their rooms at night, quoting and making plays, films, novels, and songs in an effort to choose their own identities, and to resist identities imposed on them by the State. The binaries of native/immigrant, legal/illegal, and natural/unnatural come into relief in particular through the love story of Carmen (Camille Rutherford), born in Lyon, and Hussain (Arash Naiman), an Afghan poet threatened with deportation. When together they’re quiet...

The 2011 Bram Stoker International Film Festival, running October 28th-31st, takes place in Whitby, North Yorkshire, England, and shows independent narrative features, documentaries, and shorts from around the world, many of which will be having their world or UK premieres at this year's fest. Read on for all the details regarding the lineup!

Below is a list of all the films screening this year. Other events include a Vampire Ball on Saturday, October 29th; a performance of The Feast of Blood on Sunday, October 30th; and the Scorpius Dance Theatre's production of A Vampire's Tale on Halloween itself. In addition, the following awards will be presented at the festival:

Best Picture

Best Short

Best Director

Best Effects

Best Script...

...and a special Lifetime Achievement Award

For more info visit the official Bram Stoker International Film Festival website, and click here for ticket packages.

Absentia - UK Premiere

Director: Mike Flanagan...

Press Release:

New York, August 17, 2011 -The Film Society of Lincoln Center announced today that Alexander Payne.s The Descendants will be the Closing Night Gala selection for the 49th New York Film Festival (September 30-October 16). Nyff.s main slate of 27 feature films was also announced as well as a return to the festival stage of audience favorite, On Cinema (previously titled The Cinema Inside Me), featuring an in-depth, illustrated conversation with Alexander Payne.

The 2011 edition of Nyff will also feature a unique blend of programming to complement the main-slate of films, including: the Masterworks programs, additional titles added to the previously announced Ben-hur, Nicholas Ray.s We Can.T Go Home Again and Velvet Bullets and Steel Kisses: Celebrating the Nikkatsu Centennial, as well as Views from the Avant-Garde, and several special event screenings, all of which will be announced in more detail shortly.

.In many of the films in this year.s Festival,...