Et par le pouvoir d’un mot
Je recommence ma vie
Je suis né pour te connaître
Pour te nommer
Liberté
—Paul Eluard (1942)
Who remembers today that thousands of flyers of Paul Eluard's poem "Liberté" were parachuted over occupied France by British Raf in the summer of 1942? What a disturbing mystery, hearing it as key dialog line (to be rehearsed, to be played, to express one's mind, to circulate as a cursed yet essential script) in Cronenberg's Mapa to the Stars. Well, Cronenberg's film opened in Paris today, and yes, this is where I saw it, comfortably sitting in my neighborhood grandiose arthouse cinema, the wonderful Louxor Palace of Cinema (a perfectly restored—and programmed—1921 built cinema theater in a working-class neighborhood), recently reopened after too many years in limbo.
And no, it's not tough not to be in Cannes anymore. And yes, Cronenberg's film is far more interesting...
Je recommence ma vie
Je suis né pour te connaître
Pour te nommer
Liberté
—Paul Eluard (1942)
Who remembers today that thousands of flyers of Paul Eluard's poem "Liberté" were parachuted over occupied France by British Raf in the summer of 1942? What a disturbing mystery, hearing it as key dialog line (to be rehearsed, to be played, to express one's mind, to circulate as a cursed yet essential script) in Cronenberg's Mapa to the Stars. Well, Cronenberg's film opened in Paris today, and yes, this is where I saw it, comfortably sitting in my neighborhood grandiose arthouse cinema, the wonderful Louxor Palace of Cinema (a perfectly restored—and programmed—1921 built cinema theater in a working-class neighborhood), recently reopened after too many years in limbo.
And no, it's not tough not to be in Cannes anymore. And yes, Cronenberg's film is far more interesting...
- 5/22/2014
- by Marie-Pierre Duhamel
- MUBI
In our latest World Cinema column, we salute the work of Spanish director Pedro Almodovar, and take a look back at 1997’s Live Flesh...
A conversation in the pub the other night got me thinking. The conversation was about Pedro Almodovar, and the (as we thought) unfair critical reaction to Broken Embraces. It was unfair to judge the film on solely its own merits, as it many ways acts as a summation and retrospective of Almodovar's previous body of work. It was, in fact, casting a look over the world he had created and letting the viewer remember their own individual past memories of this world.
This, in turn, led to a discussion about Almodovar's legacy, and his influence on not just a generation of Spanish language filmmakers, but to an entire world audience.
For many viewers, the Spain of his movies is the reality of the country...
A conversation in the pub the other night got me thinking. The conversation was about Pedro Almodovar, and the (as we thought) unfair critical reaction to Broken Embraces. It was unfair to judge the film on solely its own merits, as it many ways acts as a summation and retrospective of Almodovar's previous body of work. It was, in fact, casting a look over the world he had created and letting the viewer remember their own individual past memories of this world.
This, in turn, led to a discussion about Almodovar's legacy, and his influence on not just a generation of Spanish language filmmakers, but to an entire world audience.
For many viewers, the Spain of his movies is the reality of the country...
- 8/4/2010
- Den of Geek
The Strange Case of Angélica
This year, Cannes’ Un Certain Regard sidebar presents a line-up of appealing titles by both young and established directors, from Xavier Dolan and Agnès Kocsis to Jean-Luc Godard and Manoel de Oliveira, who opened the programme on Friday. At 101, the world’s oldest director seems determined not to stop and The Strange Case of Angélica is there to prove it.
After adapting a short story by Eça de Queiroz, Eccentricities of a Blond-Haired Girl (which premiered in Berlin in 2009), Oliveira this time decided to take a journey down memory lane for a story whose first draft he wrote back in 1952. Set in the city of Régua – in the region of Douro, where Oliveira lays most of his plots – Angélica centres on Isaac (Ricardo Trepa), a young photographer who is unexpectedly asked by a wealthy family to photograph their daughter, Angélica (Pilar Lopez de Ayala).
The...
This year, Cannes’ Un Certain Regard sidebar presents a line-up of appealing titles by both young and established directors, from Xavier Dolan and Agnès Kocsis to Jean-Luc Godard and Manoel de Oliveira, who opened the programme on Friday. At 101, the world’s oldest director seems determined not to stop and The Strange Case of Angélica is there to prove it.
After adapting a short story by Eça de Queiroz, Eccentricities of a Blond-Haired Girl (which premiered in Berlin in 2009), Oliveira this time decided to take a journey down memory lane for a story whose first draft he wrote back in 1952. Set in the city of Régua – in the region of Douro, where Oliveira lays most of his plots – Angélica centres on Isaac (Ricardo Trepa), a young photographer who is unexpectedly asked by a wealthy family to photograph their daughter, Angélica (Pilar Lopez de Ayala).
The...
- 5/15/2010
- by Cineuropa
- DearCinema.com
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