Janine Bazin

Recently added

Urgent ou à quoi bon exécuter des projets puisque le projet est en lui-même une jouissance suffisante
5.5
Gérard Courant applies the Lettrist editing techniques of Isidore Isou to footage of late 70's pop culture. Courant posits that his cinema offers an aggressive détournement to the French mainstream, reifying a Duchampian view of film: "I believe in impossible movies and works without meaning... I believe in the anti-movie. I believe in the non-movie. I believe in Urgent... My first full length movie that is so anti-everything that I sometimes wonder if it really does exist!"
Documentary
Jacques Rivette, le veilleur
6
This film of interviews with the film director Jacques Rivette was produced in collaboration with Serge Daney, film critic from “Cahiers du cinéma”, then of “Liberation”. In the course of their conversations, the two speakers discuss Rivette’s career, his relationships with the other film makers of the new wave, his use of “mise en scene” and his working with actors.
Documentary
Le Celluloïd et le Marbre
1
This film of interviews with the film director Jacques Rivette was produced in collaboration with Serge Daney, film critic from “Cahiers du cinéma”, then of “Liberation”. In the course of their conversations, the two speakers discuss Rivette’s career, his relationships with the other film makers of the new wave, his use of “mise en scene” and his working with actors.
Documentary
Jean-Pierre Melville: portrait en neuf poses
7.2
Shot while he was preparing Un Flic, Melville carefully leads Labarthe through the trajectory of his career, from his daring debut The Silence of the Sea to his great successes of the 1960s, Le Samourai and Le cercle rouge. Labarthe also details the development of the Melville “myth: the dark glasses, the trenchcoats, the Ford Mustang, and his general tough-guy demeanor. This documentary first appeared as an episode on the French television series "Cinéastes de notres temps".
Documentary
Claude Chabrol, l'entomologiste
1
Shot while he was preparing Un Flic, Melville carefully leads Labarthe through the trajectory of his career, from his daring debut The Silence of the Sea to his great successes of the 1960s, Le Samourai and Le cercle rouge. Labarthe also details the development of the Melville “myth: the dark glasses, the trenchcoats, the Ford Mustang, and his general tough-guy demeanor. This documentary first appeared as an episode on the French television series "Cinéastes de notres temps".
Documentary
Georges Franju - Le visionnaire
7
Shot while he was preparing Un Flic, Melville carefully leads Labarthe through the trajectory of his career, from his daring debut The Silence of the Sea to his great successes of the 1960s, Le Samourai and Le cercle rouge. Labarthe also details the development of the Melville “myth: the dark glasses, the trenchcoats, the Ford Mustang, and his general tough-guy demeanor. This documentary first appeared as an episode on the French television series "Cinéastes de notres temps".
Documentary
D'un silence l'autre - Josef von Sternberg
5
Speaking as scenes from Anatahan are shown, for which he directed, photographed, wrote, and provided voiceover narration, film director Josef von Sternberg takes the viewer on a fantastic filmmaking journey in this presentation of Cinéastes de notre temps: Josef von Sternberg - From Silence Comes Another.
Documentary
Le Celluloïd et le Marbre
1
Speaking as scenes from Anatahan are shown, for which he directed, photographed, wrote, and provided voiceover narration, film director Josef von Sternberg takes the viewer on a fantastic filmmaking journey in this presentation of Cinéastes de notre temps: Josef von Sternberg - From Silence Comes Another.
Documentary
Cinéastes de notre temps : Le Dinosaure et le Bébé, dialogue en huit parties entre Fritz Lang et Jean-Luc Godard
6
Second in the documentary trilogy from mastermind Jacques Rivette, featuring a conversation between Jean Renoir and Michel Simon, who celebrate their reunion by discussing, among other things, La Chienne (1931) and Boudu Saved from Drowning (1932).
Documentary
Robert Bresson - Ni vu, ni connu
9
Second in the documentary trilogy from mastermind Jacques Rivette, featuring a conversation between Jean Renoir and Michel Simon, who celebrate their reunion by discussing, among other things, La Chienne (1931) and Boudu Saved from Drowning (1932).
Documentary
The Scorsese Machine
7

The Scorsese Machine

Jan 01, 1990
Amazing documentary shows rarely seen side of a master director. 1990 was a very good year for Martin Scorsese. After making a diverse group of films in the 80s, he reunited with Robert DeNiro for "Goodfellas" and later that year shot a segment for "New York Stories", an anthology film of three shorts by Scorsese, Woody Allen, and Francis Ford Coppola. During the editing, the French documentary series "Cinéma, de notre temps" filmed a documentary on the director, and it's a fascinating glimpse into his life, personality, and working habits as he edits his short with long-time collaborator Thelma Schoonmaker.
Documentary
Oliveira, l'architecte
1
Paulo Rocha catches up with his “beloved subject” in Porto, where he made Douro, Faina Fluvial in 1929, and where today Oliveira reminisces about the figure of his father, his first experience of cinema as an actor, his past as a racing driver, his first technical experiences…
Documentary
Oliveira, l'architecte
1
Paulo Rocha catches up with his “beloved subject” in Porto, where he made Douro, Faina Fluvial in 1929, and where today Oliveira reminisces about the figure of his father, his first experience of cinema as an actor, his past as a racing driver, his first technical experiences…
Documentary
Chantal Akerman par Chantal Akerman
6
Paulo Rocha catches up with his “beloved subject” in Porto, where he made Douro, Faina Fluvial in 1929, and where today Oliveira reminisces about the figure of his father, his first experience of cinema as an actor, his past as a racing driver, his first technical experiences…
Documentary
Parlons cinéma, Les anticours d'Henri Langlois
1
Henri Langlois, founder and director of the Cinémathèque française, is interviewed in his museum at the Palais de Chaillot and talks about cinema. “Henri Langlois's anti-courses” are made up of a set of short films, or more exactly of chapters. Each chapter is devoted to a filmmaker or to a significant pivotal period of such or such a country and of such or such style, or to a group of men whose action was, at one time, decisive for the course of cinema.
Documentary