Chloe in the Afternoon (1972) - News Poster


‘By the Grace of God’ Film Review: François Ozon’s Look at Catholic Child Abuse Puts Victims First

  • The Wrap
‘By the Grace of God’ Film Review: François Ozon’s Look at Catholic Child Abuse Puts Victims First
Versatile in a way that few directors at his level of recognition dare to be, prolific French auteur François Ozon follows his psychosexual thriller “Double Lover” with a multi-narrative drama based on true events. “By the Grace of God” offers a masterfully structured and sublimely acted account of a group of men reckoning with childhood sexual abuse at the hands of a priest neglectfully entrusted with their innocence.

While a procedural like Tom McCarthy’s “Spotlight” took a journalistic angle on the subject, and Pablo Larraín’s “The Club” functioned as fiery character study centered on the perpetrators, Ozon’s compassionate and ideologically balanced take on the Catholic Church’s disgraceful inaction against pedophilia within its ranks serves the victims’ stories first and foremost. The ramifications of the ongoing suffering caused by such despicable criminal acts guide the film through the lives of three distinct survivors.

Email correspondence in voice-over
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Ava DuVernay Original Prison Documentary Set To Open The 54th New York Film Festival

The Film Society of Lincoln Center announces Ava DuVernay’s documentary The 13th as the Opening Night selection of the 54th New York Film Festival (September 30 – October 16), making its world premiere at Alice Tully Hall. The 13th is the first-ever nonfiction work to open the festival, and will debut on Netflix and open in a limited theatrical run on October 7.

Chronicling the history of racial inequality in the United States, The 13th examines how our country has produced the highest rate of incarceration in the world, with the majority of those imprisoned being African-American. The title of DuVernay’s extraordinary and galvanizing film refers to the 13th Amendment to the Constitution—“Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States . . . ” The progression from that second qualifying clause to the horrors of mass incarceration and
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Ava DuVernay’s ‘The 13th’ Will Open the 2016 New York Film Festival

If the languid summer tentpole season has you down, fear not, as the promising fall slate is around the corner and today brings the first news of what we’ll see at the 2016 New York Film Festival. For the first time ever, a non-fiction film will open The Film Society of Lincoln Center’s festival: Ava DuVernay‘s The 13th. Her timely follow-up to Selma chronicles the history of racial inequality in the United States and will arrive on Netflix and in limited theaters shortly after its premiere at Nyff, on October 7.

“It is a true honor for me and my collaborators to premiere The 13th as the opening night selection of the New York Film Festival,” Ava DuVernay says. “This film was made as an answer to my own questions about how and why we have become the most incarcerated nation in the world, how and why we regard
See full article at The Film Stage »

The Marquise of O… | Blu-ray Review

Film Movement brings Eric Rohmer’s classic period film The Marquise of O… to Blu-ray, the first time the title is made available in the Us (previously, it was sandwiched into a Region 2 Rohmer collection, the same set which features another rare title, 1982’s A Good Marriage). Awarded the Grand Jury Prize at the Cannes Film Festival (it tied with Carlos Saura’s Cria Cuervos), it would be the only accolade the famed filmmaker would collect from the event and it was his last time in competition.

It’s one of Rohmer’s earliest historical dramas (he would continue in this vein intermittently, with titles like Perceval and The Lady and the Duke), and initially seems like a black comedy on social mores before it seeps into a . A German co-production, the film is based on a short story by Heinrich von Kleist (Jessica Hausner’s 2014 film Amour Fou documents the writer’s curious denouement,
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The 50 Definitive Relationship Dramas: 20-11

20. Love/Chloe in the Afternoon (1972)

Directed by: Éric Rohmer

Originally titled “Love in the Afternoon,” but released in North America as “Chloe in the Afternoon,” this Rohmer film is a tale of possible infidelity, seen through the eyes of a conflicted man. Frédéric (Bernard Verley) is a successful young lawyer who is happily married to a teacher named Hélène (Françoise Verley), who is pregnant with their second child. While Frédéric is in a considerably good place in his life, he still struggles with the loss of excitement he had before he married, when he could sleep with whomever he chose. It wasn’t so much the sex that thrilled him, but the chase itself. Still, he feels that these thoughts and fantasies, paired with his refusal to act upon them, only proves that he is completely dedicated and in love with his own wife. That is, until he meets Chloé
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Eric Rohmer: The Forgotten Man Of The French New Wave

David Woods on Eric Rohmer, the forgotten man of the French New Wave...

It occurred to me after gorging my cinephilic appetite on Mark Cousins’ exemplary document of love to movies, The Story Of Film, that one thing surprised me. Though the coverage of the French New Wave was fabulously rich and immersive, I found myself rather disappointed that one of my all-time favourite filmmakers had not been mentioned even once in passing. That filmmaker was Eric Rohmer.

I feel I should say that Rohmer hasn’t been ‘forgotten’ in a historical sense: his place in cinema is well established. Nor am I criticising the wonderful Story Of Film which for me is a film lover’s dream come true. It just seemed to me that film audiences are in danger of ignoring the legacy of this truly gifted and astute director and are missing out on an influence that
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Rosario Dawson and Chris Rock Team for Untitled Comedy

Chris Rock has signed Rosario Dawson to play the female lead in his upcoming untitled comedy, which marks his third feature film as writer-director. Deadline has the news and, while plot details are not yet available, they note that the film takes place in New York City and pokes some fun at show business. Rock's previous writing and directing projects include 2003's Head of State and his 2007 remake of Eric Rohmer's Chloe in the Afternoon , I Think I Love My Wife . Dawson, meanwhile, recently starred in Danny Boyle's Trance and is set to reprise her role as Gail in Robert Rodriguez and Frank Miller's Sin City: A Dame to Kill For . (Photo Credit: Ljt Images / Pnp /
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Jennifer Lawrence, Jessica Chastain, Amy Adams Let Their Hair Down For THR Nominees’ Night

So, Monday was a busy day for Oscar nominee’s and various other stars who buff up guest lists around this time. ‘Tis the month of the Academy Awards and the lead-up to it always has a bunch of events and and other awards shows crammed into a two-month period. The Oscar nominees’ luncheon happened in the afternoon, and as we’ve already reviewed, it was a bit of a boring affair, sartorially speaking. Things looked up a tad more at night, at The Hollywood Reporter Nominees’ Night at Spago, in Beverly Hills.

Where Jennifer Lawrence got it it wrong in Chloe in the afternoon, she fared better here in a nude, bedazzled Versace number with metallic, neutral peep-toe heels. The look is sexier, as the hair’s also thicker and more tousled. Now if only Jen’s team would get their lengths right. This dress should have had a couple of inches lopped off.
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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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Chris Rock To Write And Direct Secret Comedy Film Project Produced By Scott Rudin

After 2003's Head of State and 2007's I Think I Love My Wife, Chris Rock is planning to see how the director's chair fits again him, with a new comedy film project he's going to write and direct, starting sometime later this year. The film will be produced by Scott Rudin, the hyperactive and prolific film and Broadway producer who was one of the producers of the Broadway play The Motherf____r  With the Hat, which Rock made his Broadway acting debut in. However the premise of the film, Rock is keeping top secret for now, except to say that unlike I Think I Love My Wife, which was a remake ofthe 1972 French film Chloe in the Afternoon, this new film will be...
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David Lynch's favourite bands

Buñuel goes new romantic. Michael Corleone as the guitarist's role model … David Lynch's favourite musicians discuss the relationship between music and the movies

Nick Rhodes, Duran Duran

What moment in film is most similar in its own way to the music you make, and how?

Fellini's La Dolce Vita – specifically, the Trevi fountain scene. I relate to it because of its style and meticulous detail. It's irreverent, and at the time it was made he was doing something that nobody else had done before. This is what we always strive for. Obviously, the results are in the eye of the beholder, but that's how I'd personally love to envisage what we do.

What moment in your music is most filmic, and how?

Two songs come to mind: an early one called The Chauffeur, which tells a story and lends itself to many different interpretations, and one from the new album,
See full article at The Guardian - Film News »

Why I made Submarine

The lead character in The It Crowd star's new coming-of-age tale is refreshingly rotten. So here, writing exclusively for the Guardian, he chooses his A to H of antiheroes

When the Guardian finally came crawling, begging me to prop up its ailing fortunes by graciously condescending to write an article for its so-called "Guide", I was overcome with such a fit of anger at the wormy presumption of it all that I could scarcely finish my mid-morning muffin. But as I stared into the trusting eyes of the carrier pigeon they'd employed to deliver this wretched entreaty, I had a change of heart. Wouldn't this be a good way of trying to convince people to see the film I'd directed (Submarine: a coming-of-age comedy based on Joe Dunthorne's critically acclaimed novel, executive produced by Ben Stiller, and featuring original songs by Alex Turner) without looking like it was flat-out,
See full article at The Guardian - Film News »

The Pulp Imagination of Eric Rohmer; or, The Shortest Film-Critical Website Post Ever!

  • MUBI
Because, you know, why even bring up something such as "the pulp imagination of Eric Rohmer" when such a quality is never manifested in any of his films?

Or is it?

First, to the question of why even bring it up. Well, it's the pseudonym. Maurice Scherer, "Momo" to his pals, supposedly chose the name Eric Rohmer our of respect for two authors: Eric Ambler, the British and relatively respectable creator of spy thrillers such as The Mask of Dmitrios; and Sax Rohmer, the altogether more disreputable creator of that racist embodiment of the, ahem, "Yellow Peril," the arch-villain Fu Manchu. So he must have liked that kind of thing. You'd not likely get this from his films, which are peopled with largely refined and cultivated characters who almost unfailingly maintain a sense of good taste even as Rohmer is peeling back their façades and dissecting their rather silly and sometimes profoundly sad emotional cores.
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Retro Pick: Chloe in the Afternoon

The final film in Eric Rohmer's Six Moral Tales series is a thoughtful meditation on the meaning of commitment and excess in a highly regulated culture. Never did French New Wave master Eric Rohmer manage to narrativize his ethical concerns - actions partaken due to desire versus what is the societally condoned 'right thing' to do versus what is important to the well-being of his characters - so well as he did in his 1972 classic, Chloe in the Afternoon. The plot is beautiful in its simplicity: Frederic (Bernard Verley) is a Parisian businessman. He is (seemingly) happily married with child, and his wife Helene (played by his real-life wife Francoise Verley) is expecting another. He has his life in order - he allows himself fantasies about other women, but fantasies are all they are. Eric Rohmer Then, of course, a woman from his past steps into his life -
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Film Society of Lincoln Center's 'The Sign of Rohmer': Rohmer Retrospective Closes out Summer

The oldest member of 1960s France’s Nouvelle Vague, the late Eric Rohmer receives the retrospective treatment starting today, through September 3rd, at New York’s Walter Reade Theater at Lincoln Center with “The Sign of Rohmer.” Rohmer had a style all his own that was not really picked up on until many years later, and indirectly at that, arguably in the 1990s and now quite prevalently in today’s indie cinema. He started with an idea, and then created a film as an essay about that idea. This is the essence of film as art. Pictures like "The Kids Are All Right" and "Cyrus," likely unconsciously, are more mainstream and significantly less-intellectualized versions of Rohmer constructs. They each start with an idea, or conflict, and then we watch characters discuss that idea—with plot only functioning as a means to bring us different sides of the arguments. Highlights are
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Chris Rock Scribes High And Low

I haven't seen Akira Kurosawa's 1963 "High and Low," which I'm ashamed about. I'm ashamed about a lot of things.I know that the movie is based on the book "King's Ransom" by Evan Hunter and the Kurosawa iteration is closely linked to Asian culture (sorry guys who actually know - I'm grasping at straws).In 1999 Martin Scorsese and producer Scott Rudin optioned a re-make and set David  to write the film.Now, that project has re-surfaced with Chris Rock as the new writer and Mike Nichols (dir "Closer," "Charlie Wilson's War") on board to direct.I'm actually greatly in favor of this, because it's shaping up to be interesting. As far as Chris Rock's drama adaptations go, the only one that exists is "I Think I Love My Wife," which was a remake of "Chloe in the Afternoon."He's also starring in "Death at a Funeral," a re-make as well,
See full article at LRM Online »

Chris Rock To Remake Japanese Thriller

Actor and comedian turned film producer Chris Rock has only just finished the remake of British comedy Death At A Funeral, which he produced and starred in, but he's already got his sights set on his next project: another adaptation, this time of 1963 drama High and Low, originally by legendary Japanese director Akira Kurosawa.

The funnyman has revealed that he is to replace David Mamet as writer, in a project first commissioned by Martin Scorsese back in 1999. It's not yet known whether Scorsese is still involved in the movie, which will be directed by Mike Nichols. In fact, very few details have been released about the remake, but it's understood that the plot will stick closely to the original movie's story of a businessman trying to make extra money in an effort to save a kidnapped child.

Taking on Kurosawa is a brave step, but Rock appears unfazed by such challenges,
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Chris Rock to Adapt Akira Kurosawa’s High And Low for Mike Nichols

If you were going to remake a classic film noir by one of the world’s greatest directors, whom would you pick to write the adaptation? That’s the question faced by Mike Nichols, who’s next project is an update of Akira Kurosawa’s classic High and Low. And his answer? According to BlackVoices, it’s Chris Rock. That’s right: the writer of I Think I Love My Wife is adapting Kurosawa.

Kurosawa’s original 1963 film is about a businessman who must decide whether he will give up his substantial life savings in order to save his chauffer’s kidnapped son. It’s a tense, intelligent drama, not exactly the kind of work Rock is know for. One has to assume that he will not be attempting to create a modern noir, but that he will be turning it into some kind of comedy.

Hit the jump for
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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
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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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