My Night at Maud's (1969) - News Poster


Daily | Goings On | Rohmer, Mamoulian, Makhmalbaf

From September 16 through 29, the Film Society of Lincoln Center will be screening new restorations of all six films that make up Eric Rohmer's Moral Tales: The Bakery Girl of Monceau, Suzanne’s Career, My Night at Maud's, La collectionneuse, Claire's Knee and Love in the Afternoon. More goings on: Work by Curt McDowell and Tom Rubnitz, Derek Jarman's Will You Dance With Me?, David Miller's Sudden Fear with Joan Crawford in New York; The Monkees and Guillermo del Toro in Los Angeles; Rouben Mamoulian at Harvard; art inspired by Wes Anderson's films in San Francisco; remembering Abbas Kiarostami in Toronto; and a Mohsen Makhmalbaf series in London. » - David Hudson
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Daily | Goings On | Rohmer, Mamoulian, Makhmalbaf

From September 16 through 29, the Film Society of Lincoln Center will be screening new restorations of all six films that make up Eric Rohmer's Moral Tales: The Bakery Girl of Monceau, Suzanne’s Career, My Night at Maud's, La collectionneuse, Claire's Knee and Love in the Afternoon. More goings on: Work by Curt McDowell and Tom Rubnitz, Derek Jarman's Will You Dance With Me?, David Miller's Sudden Fear with Joan Crawford in New York; The Monkees and Guillermo del Toro in Los Angeles; Rouben Mamoulian at Harvard; art inspired by Wes Anderson's films in San Francisco; remembering Abbas Kiarostami in Toronto; and a Mohsen Makhmalbaf series in London. » - David Hudson
See full article at Fandor: Keyframe »

Episode 168 – Eric Rohmer’s My Night at Maud’s

This time on the podcast, Scott is joined by David Blakeslee to discuss Eric Rohmer’s My Night at Maud’s.

About the film:

In the brilliantly accomplished centerpiece of Rohmer’s “Moral Tales” series, Jean-Louis Trintignant plays Jean-Louis, one of the great conflicted figures of sixties cinema. A pious Catholic engineer in his early thirties, he lives by a strict moral code in order to rationalize his world, drowning himself in mathematics and the philosophy of Pascal. After spotting the delicate, blonde Françoise at Mass, he vows to make her his wife, although when he unwittingly spends the night at the apartment of the bold, brunette divorcée Maud, his rigid ethical standards are challenged. A breakout hit in the United States, My Night at Maud’s was one of the most influential and talked-about films of the decade.

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Eric Rohmer's influence on 2013 film, from Before Midnight to Frances Ha

Subtle irony, minimal plot – and plenty of couples debating the meaning of love. This summer's cinema has all gone a bit Eric Rohmer. So why do today's directors love the French auteur?

After a handful of writers happened to publish novels that depicted Henry James as a character, or paid homage to his work, David Lodge – who was one of them – christened 2004 "the year of James". In the same spirit, it could be said that this is the summer of Eric Rohmer. Some of the season's most prominent films, including Frances Ha, Before Midnight, and Exhibition (which recently opened the Locarno film festival), show the influence of the French director, who died in 2010, and whose lithe and playful work extended the possibilities of a certain kind of small-scale, psychologically curious, dialogue-led drama.

Though Rohmer's name has been invoked whenever films include anything other than exploding fireballs and blood-drenched zombies, it's
See full article at The Guardian - Film News »

In the mood for love: is Brief Encounter still the most romantic film ever?

Time Out has put its heart on its sleeve and shouted its Brief Encounter infatuation from the rooftops. Will you join them in their lovebombing of the 68-year-old classic? Or have your tastes in romantic movies moved on?

Sam played it again, now it's our turn to plug in the turntable and petition you once more for your top romance films of all time. The peg? Time Out's 100 Most Romantic Films of all Time poll, which has been announced today, and which names Brief Encounter as the title most likely to get your heart a-flutter.

But by our reckoning, the Time Out folk are cruising for a bruising; when we came to the same conclusion three years ago, the readers felt we'd done them wrong, and suggested Casablanca was Mr Right when it came to romantic movies.

Do you feel the same? Has your taste for gin joints endured over the past three years?
See full article at The Guardian - Film News »

The stars of Amour

The octogenarian French actors Emmanuelle Riva and Jean-Louis Trintignant discuss their roles in Michael Haneke's Palme d'Or-winning film – and reveal their problem with Cannes

The last time we see Emmanuelle Riva in Amour, she's lying pale and lifeless on a double bed, petals strewn about her head, the lights turned down low and the shutters closed. The last time we see Jean-Louis Trintignant, he's the walking wounded, racked by grief and barely there. Michael Haneke's acclaimed new picture offers such an unflinching portrait of the grubby business of dying – focusing on the final days of an elderly French couple – that it precludes all talk of second acts or miracle cures. To paraphrase Dorothy Parker, there's no such thing as a happy ending.

All of which makes it curious to find the film's stars abruptly reunited in the airy limbo of a Paris hotel, just south of the Arc de Triomphe.
See full article at The Guardian - Film News »

Close-Up on Eric Rohmer's "The Green Ray": An Interview with Marie Rivière

  • MUBI
Close-Up is a column that spotlights films now playing on Mubi. The Green Ray is playing on Mubi UK starting today through December 5.

Smitten by a viewing of Eric Rohmer's 1972 film, Love in the Afternoon, French actress and filmmaker Marie Rivière felt compelled to write the director a letter expressing her fondness of the film and offering her professional services. By 1978, she had been given a small role in Perceval, the director's minimalist take on Chrétien de Troyes's 12 century romantic text. Rivière was later given an expanded role in 1981's The Aviator's Wife, the first entry in Rohmer's six-film cycle of Comedies & Proverbs. By 1986, Rivière was called upon to play Delphine in the director's semi-improvised masterpiece, The Green Ray, a film whose form and content innovatively draws upon the actor's personal experiences and fragile emotional state at the time. Such was her connection with Rohmer and his work,
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A Conversation About "The Unspeakable Act" with Dan Sallitt

Dan Sallitt's new film, The Unspeakable Act, marks the return of an underseen, major American filmmaker (long esteemed as one of the superior cinema critics writing in English, often here at The Notebook) with a feature which surely ranks among the richest works of the last several years.

Additionally, the new Sallitt film introduces the world to Tallie Medel, a performer whose intellect, emotive capacity, and force of persona place her in the outstanding category of such ascendant figures as Greta Gerwig and Kate Lyn Sheil while outlining a contour of being, a persuasion, that are hers alone.

The Unspeakable Act has its New York premiere as part of BAMcinemaFest on Sunday, June 24th, and its international premiere at the Edinburgh International Film Festival on Friday, June 29th, with three screenings at the Karlovy Vary International Film Festival to follow in July.

The conversation below took place over email across the last two months.
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Éric Rohmer's "Le Rayon Vert" (and More)

"Though Éric Rohmer's breakthrough film stateside was the lustrous black-and-white, winter-set My Night at Maud's (1969), the New Wave architect may be cinema's greatest chronicler of the summer vacation," suggests Melissa Anderson in the Voice. "Among the director's many holiday-set movies, Pauline at the Beach (1983) and A Summer's Tale (1996) explore both the languid pleasures and the romantic anguish of time off during the hottest season. Rohmer's 1986 masterpiece (being re-released with its original French title, which translates as 'The Green Ray'), Le Rayon Vert centers on those themes, too, but delivers something much richer: an absorbing, empathic portrait of a complex woman caught between her own obstinacy and melancholy."

"As Delphine, the lonely but defiant Paris secretary at the center of Le Rayon Vert, Marie Rivière creates an emotionally rich portrait of a young woman disappointed in love who transfers her energies into an anxious quest for the ideal summer vacation.
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My Afternoons With Marguerite – review

The Rohmeresque English title seems to be offering a cross between Love in the Afternoon and My Night With Maud, but the French title, La tête en friche, means something like "the fallow mind", and refers to the middle-aged odd-jobman Germain (Gérard Depardieu), who strikes up an acquaintance in the square of a small French town with the 95-year-old Marguerite (the nonogenarian Gisèle Casadesus), a former international civil servant. A bloated giant in dungarees, more hulk than hunk, with low self-esteem and barely literate, he looks as if he could anchor a zeppelin. She's articulate, highly intelligent, frail, and looks as if a sharp breeze could send her floating away. Touchingly, their growing friendship centres on books and words – Marguerite's subtle love of them, Germain's inquiring wonder about them – and the first text is Camus's La Peste, which she reads to him. Gradually, if somewhat factitiously, his life is transformed through the experience,
See full article at The Guardian - Film News »

Exclusive: Michael Haneke Rebooting 'These Two' With Isabelle Huppert, Will Shoot In 2011

Our favorite Austrian director has been toying with a new project lately, but the usually authoritative filmmaker has been waffling a bit this time. After winning the Palme D'Or for the black-and-white intro to fascism "The White Ribbon," Michael Haneke announced that he would reunite with great French thespian Isabelle Huppert ("The Piano Teacher," "Time of the Wolf") and French icon Jean-Louis Trintignant (Bertolucci's "The Conformist," Eric Rohmer's "My Night at Maud's," Claude Chabrol's "Les Biches" to name just a few classics) in a brutal-sounding story about the agony of aging titled "These Two." Excitement rose, but then quickly deflated:…
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Which omissions leave you breathless?

This list of all-time greats will no doubt have some readers flinging their cappuccinos in disgust. Which choices put the sin in cineaste?

There will be blood. Today's list, more than any other in our series of seven guides to the 25 best films in each genre, is guaranteed to ruffle feathers and provoke punch-ups, even of the online kind. As my colleague Michael Hann wrote yesterday in the action blogpost thread, we didn't intend it to be so: we'd have liked 21 supplements so every genre could be given the space and respect they all undoubtedly deserve. But sadly we could only stretch to seven, hence a few mash-ups, like the one today (kudos to Jason Solomons for an admirable wrangle of a definition from our picks).

So: how much of a triumph or a travesty is the final list? Myself, I'm unconvinced The Graduate should be that high (more of
See full article at The Guardian - Film News »

The Forgotten: Libertine or Death

  • MUBI
Michel Deville can't, or shouldn't, be considered forgotten, can/should he? He's still alive, and his last film was as recent as 2005 (Un fil à la patte, with Emanuelle Beart). Among his past works available with English subtitles are moderately acclaimed minor classics like On a volé la Joconde (The Mona Lisa Has Been Stolen, 1966), Death in a French Garden (1985), Le paltoquet (1986) and La lectrice (1988)—the last three made back-to-back in the eighties during Deville's hottest period internationally. Although it's hard to figure out how the same filmmaker could be responsible for the variety of Deville's work, which ranges from deadly serious political drama to quirky slapstick. Amid this confusion of disparate styles, Deville tends to disappear the more intently one looks for him.

And certainly we can't consider Francoise Fabian a forgotten star, can we? She too is still alive and is still working solidly, and her credits include
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The Sign of Rohmer: 8.18 to 9.3

As an end-of-summer treat, the Film Society of Lincoln Center offers up a comprehensive retrospective of Eric Rohmer, the founding father of the French New Wave. The next best thing to spending the summer in France is diving into the oeuvre of the most quintessentially French of all filmmakers, Eric Rohmer. On the 60th anniversary of the French New Wave, this comprehensive retrospective includes every Rohmer feature film, the U.S. premiere of his 1980 TV film Catherine de Heilbronn, and in person appearances by key Rohmer collaborators. This program is a fitting tribute to the master Rohmer, who died in January at the age of 89. The Collector Rohmer came to prominence in the late '60s and early '70s with a series of films known as Six Moral Tales, four of which were made with his longtime collaborator, the brilliant cinematographer Nestor Almendros: The Collector, My Night At Maud's,
See full article at Tribeca Film »

Jason Solomons talks to actor and director Rachel Ward

Jason Solomons talks to The Thorn Birds actor turned writer and director Rachel Ward about her film Beautiful Kate, a tale of sibling loss and sexual transgression in the Australian outback.

Next up we have film writer Demetrious Matheou, discussing his book The Faber Book of New South American Cinema and the challenges of programming a season of South American cinema at London's BFI.

Xan Brooks then steps into the pod to review Catherine Zeta-Jones in Rebound, Andy Garcia in City Island, Sicilian epic Baaria and the re-issue of Eric Rohmer's My Night At Maud's.

Jason SolomonsXan BrooksJason Phipps
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Tiff Cinematheque To Screen Several Criterion Films This Summer

To celebrate its 20th Anniversary, it appears as though the Tiff Cinematheque is set to pull out all the stops.

According to Criterion, the Tiff, formerly known as the Cinematheque Ontario, will be bringing out a rather superb and cartoonishly awesome summer schedule, that will include films ranging from Kurosawa pieces, to films from Pier Paolo Pasolini. Other films include a month long series dedicated to James Mason, Eric Rohmer’s Six Moral Tales, a tribute to Robin Wood, and most interesting, a retrospective on the works of one Catherine Breillat.

Personally, while the Kurosawa, Pasolini, and Rohmer collections sound amazing, the Breillat series is ultimately the collective that I am most interested in. Ranging from films like the brilliant Fat Girl, to the superb and underrated Anatomy of Hell, these are some of the most interesting and under seen pieces of cinema of recent memory, and are more than
See full article at CriterionCast »

Eric Rohmer, 1920 - 2010

  • MUBI
Updated through 1/18.

"Eric Rohmer, a pioneer of the French New Wave which transformed cinema in the 1960s," reports Reuters. "He was 89." As in the barrage of other first reports hitting the wires, the milestones are just touched on now, an outline to be fleshed out over the coming days. And weeks. And years. Born Jean-Marie Maurice Scherer in Nancy on April 4, 1920; first international acclaim with Ma nuit chez Maud (My Night at Maud's), nominated for an Oscar for Best Screenplay in 1969; founding La Gazette du Cinema with Jean-Luc Godard, François Truffaut and Jacques Rivette in 1950; editorship of Cahiers du Cinéma; the last film, Les amours d'Astree et de Celadon (The Romance of Astree and Celadon) in 2007.

"A former novelist and teacher of French and German literature, Mr Rohmer emphasized the spoken and written word in his films at a time when tastes - thanks in no small part to his
See full article at MUBI »

Eric Rohmer: 1920-2010

Eric Rohmer: 1920-2010
One of the great masters of the French New Wave his no longer with us. Eric Rohmer passed away Monday at the age of 89. Rohmer was known for making movies about young, modern French people who fall in love and talk and talk and talk, spurring the infamous comment that his films were like "watching paint dry." But the secret of Rohmer is that, even though his characters are smart and educated and know a little something about human nature, they can't help themselves from succumbing to feelings of love and lust and jealousy, no matter how many words they use or how often they try to intellectually justify themselves.

That duality worked in almost all of Rohmer's films, which he tended to direct in specific groups. His "Six Moral Tales" is perhaps the most well-regarded, including La Collectionneuse (1967), My Night at Maud's (1969), Claire's Knee (1970) and Love in the Afternoon
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Eric Rohmer obituary

Idiosyncratic French film-maker who was a leading figure in the cinema of the postwar new wave

In Arthur Penn's intelligently unconventional private eye thriller Night Moves (1975), Gene Hackman's hero – who finds the mystery he faces as unfathomable as his personal relationships – is asked by his wife whether he wants to go to an Eric Rohmer movie. "I don't think so," he says. "I saw a Rohmer film once. It was kind of like watching paint dry."

Behind that exchange lies a jab at ­Hollywood's mistrust of any film-maker, especially a French one, who neglects plot and action in favour of cerebral exploration, metaphysical conceit and moral nuance. The Dream Factory, after all, had proved through trial and error that cinema is cinema, literature is ­literature, and the twain shall meet only provided the images rule, not the words.

Of the major American film-makers, perhaps only Joseph Mankiewicz allowed his scripts,
See full article at The Guardian - Film News »
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