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#frenchnewwave

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Tucker Teague

Again and again I am reminded that most of my favorite films don't necessarily follow that standard plot structure/screenwriting "rules" promulgated so much these days by the gurus of the "how to write screenplays" cottage industry. I love films where "nothing happens" and where it's all talking or not easy to quickly grasp characters' motivations, etc.

Below: Two screenshots from one of my all time fave films, MY NIGHT AT MAUD'S (1969, d. Eric Rohmer).

#cinema#film#movies
Ricardo Harvin

I had in my queue since it hit the service in 2021, and I finally watched it yesterday.

is great in service of a that's a dash of , a pinch of , a dollop of , and likely many more references/homages I missed.

It's a disjointed that feels like a musical composition with a central structure that veers off into disparate solos before returning to its core, and has an ending that seems to punish the main character.

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Tucker Teague

🎥 🍿 🎥 🍿 🎥 🍿 🎥 🍿 🎥 🍿
Papa's prerogative...

Since today is Father's Day (US), I got to pic the movie and I picked Jean-Luc Godard's 1960 film, BREATHLESS.

Before we started watching I gave a short bit of background and perspective on the film (also Papa's prerogative).

Son - maybe liked it but also fell asleep.
Daughter - liked it.
Wife - liked it.

#film#cinema#movies
Continued thread
Dan Kletter 🥑

#FrenchNewWave I don’t need the protagonist to prevail with a happy ending, but Jef Costello is a seasoned professional. His fate just doesn’t make sense. By contrast, in Goddard’s “Breathless” (1960), you just know Jean-Paul Belmondo’s character is living on borrowed time the minute he gets in over his head.

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Dan Kletter 🥑

#Cinemastodon Finally watched “Le Samouraï” (1967), a #FrenchNewWave film directed by Jean-Pierre Melville, and starring #AlainDelon as Jef Costello, a professional hitman who takes what appears to be a straightforward job before it unravels into a more complex web of deception. Sure, Jef’s audacious, but he seems to also have a strong survival instinct, which is why the ending really puzzled me. archive.org/details/le-samoura

followfocus

“Though Richard Linklater’s HIT MAN is about to debut in theaters and on Netflix––just after his under-the-radar documentary GOD SAVE TEXAS: HOMETOWN PRISON came to Max––the ever-prolific American was recently in Paris for NOUVELLE VAGUE, his chronicle of the making of Godard’s BREATHLESS….” 📽️ 🎞️ 🇺🇸 🇫🇷 #film #CineMastodon #FrenchNewWave #RichardLinklater #FilmDirectors

First Images from NOUVELLE VAGUE Give Us Richard Linklater’s Jean-Luc Godard thefilmstage.com/first-images-

The Film Stage - Your Spotlight On Cinema · First Images from Nouvelle Vague Give Us Richard Linklater’s Jean-Luc GodardThough Richard Linklater's Hit Man is about to debut in theaters and on Netflix––just after his under-the-radar documentary God Save Texas: Hometown Prison came to Max––the ever-prolific American was recently in Paris for Nouvelle Vague, his chronicle of the making of Godard's Breathless. (If not more: casting notices for Jean-Pierre Léaud around the time of François Truffaut’s The 400 Blows and
Tucker Teague

I'm thinking I need to do an Antoine Doinel retrospective. Doinel was the famous character played by Jean-Pierre Léaud in five films directed by François Truffaut.

The films:
The 400 Blows (1959)
Antoine and Colette (1962, short)
Stolen Kisses (1968)
Bed and Board (1970)
Love on the Run (1979)

I've seen The 400 Blows several times but not the others (except for part of Stolen Kisses).

#film#cinema#movies
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Jess McGrath

Ok, am I the only one who has just heard about Ovid.tv? (Hat tip to Screen Slate.) For Francophiles this service is impressive. Worth subscribing for the French New Wave shorts and the “France Before the New Wave” series alone. The latter has the very-hard-to-find (for me anyway) 1946 Dietrich/Gabin collab MARTIN ROUMAGNAC. Planning to smash that subscribe button shortly… #frenchfilm
#frenchnewwave

www.Ovid.tv

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