Martine Marignac, the French producer who worked with a myriad of iconic directors including Jacques Rivette, Jean-Luc Godard and Leos Carax, has died in France at the age of 75.
Born in 1946, Marignac broke into cinema in the 1970s as a press attaché, working for seven years alongside Simon Mizrahi, the cinephile and publicist who witnessed the birth of the New Wave and then helped put its directors on the map.
Marignac moved into production in the early 1980s with the creation of the film collective La Cecilia. She took inspiration for the collective’s name from the Cecilia Colony in Brazil founded by a group of Italian anarchists in the late 19th Century.
Under this banner, she began her long-time working relationship with Rivette, taking credits on his 1981 film Pont De Nord. Other credits during this period included Godard’s Passion, Jean-Louis Comolli’s Balles Perdues and Chantal Akerman’s Golden Eighties.
Born in 1946, Marignac broke into cinema in the 1970s as a press attaché, working for seven years alongside Simon Mizrahi, the cinephile and publicist who witnessed the birth of the New Wave and then helped put its directors on the map.
Marignac moved into production in the early 1980s with the creation of the film collective La Cecilia. She took inspiration for the collective’s name from the Cecilia Colony in Brazil founded by a group of Italian anarchists in the late 19th Century.
Under this banner, she began her long-time working relationship with Rivette, taking credits on his 1981 film Pont De Nord. Other credits during this period included Godard’s Passion, Jean-Louis Comolli’s Balles Perdues and Chantal Akerman’s Golden Eighties.
- 7/18/2022
- by Melanie Goodfellow
- Deadline Film + TV
The late Jacques Rivette knocks us silly with a breathtaking meditation on what it means to be an artist, and what art demands of those that believe in it. A woman roped into posing nude for a famed but insecure painter, undergoes several intense days of compliant collaboration. Rivette’s unforced style gives the impression of life as it is being lived; his commitment is matched by that of actors Michel Piccoli, Jane Birkin and Emmanuelle Béart.
La belle noiseuse
Blu-ray
Cohen Media Group
1991 / Color / 1:37 flat full frame / 238 min. / The Beautiful Troublemaker / Street Date May 8, 2018 / 30.99
Starring: Michel Piccoli, Jane Birkin, Emmanuelle Béart, Marianne Denicourt, David Bursztein, Gilles Arbona, Marie Belluc.
Cinematography: William Lubtchansky
Film Editor: Nicole Lubtchansky
Paintings by (and ‘as the hands of the painter’): Bernard Dufour
Production design: Emmanuel de Chauvigny
Written by Pascal Bonitzer, Christine Laurent, Jacques Rivette from a story by Balzac
Produced by Martine Marignac,...
La belle noiseuse
Blu-ray
Cohen Media Group
1991 / Color / 1:37 flat full frame / 238 min. / The Beautiful Troublemaker / Street Date May 8, 2018 / 30.99
Starring: Michel Piccoli, Jane Birkin, Emmanuelle Béart, Marianne Denicourt, David Bursztein, Gilles Arbona, Marie Belluc.
Cinematography: William Lubtchansky
Film Editor: Nicole Lubtchansky
Paintings by (and ‘as the hands of the painter’): Bernard Dufour
Production design: Emmanuel de Chauvigny
Written by Pascal Bonitzer, Christine Laurent, Jacques Rivette from a story by Balzac
Produced by Martine Marignac,...
- 5/12/2018
- by Glenn Erickson
- Trailers from Hell
- #77.The Duchess of Langeais (Ne touchez pas la hache) Director: Jacques RivetteScreenwriters: Pascal Bonitzer, Christine Laurent and RivetteProducers: Roberto Cicutto, Martine Marignac, Luigi Musini, Ermanno Olmi and Maurice Tinchant Distributor: IFC Films The Gist: Based on Honore de Balzac's novella, Antoinette (Balibar) is the Duchess of Langeais, a married coquette who frequents the most extravagant balls in 1820’s Paris. At one such event she meets the handsome, brooding general Armand de Montriveau (Depardieu), who recounts his death-defying adventures in Napoleon’s army. Fact: Jeanne Balibar also starred in Rivette's Va Savoir. See It: Film was one of the most talked about from the Berlin Film Festival in 07'. Release Date/Status?: Day and date IFC films release on February 22nd. ...
- 1/29/2008
- IONCINEMA.com
In Otar Iosseliani's droll "Monday Morning" (Lundi Matin), the Georgia-born French filmmaker makes the world over into a random, almost absurd stage on which to explore the stultifying isolation that daily life imposes on people. Central to the film's success is a touching, funny performance by Jacques Bidou, one of France's leading film and TV producers, who makes an absolutely astonishing debut as an actor. Why has he bothered with producing when he can perform like this?
At times reminiscent of comedies by Jacques Tati and often operating like a silent movie, "Monday" achieves its impact through action, gestures and visual humor. Dialogue is a secondary consideration.
In Competition at the just-concluded Berlinale, this comic fable should do well internationally in art houses. The film needs precious few subtitles -- indeed the translator doesn't even bother with much of the dialogue -- and, like Chaplin's "Modern Times", it represents a satiric attack against the drudgery of monotonous routine.
Bidou plays Vincent, who lives in a small wine-country village and commutes via transit to his job as a welder in a chemical factory. The routine each Monday never varies. The regimented sameness of his life provokes much of the visual wit in early sequences as the viewer experiences one such day -- its monotony, loneliness and estrangement from his family.
Vincent constantly craves tobacco, but smoking is forbidden inside the plant. He sneaks furtive cigarettes all day in this almost surreal factory, which emits billowing clouds of smoke, liquids in many colors and strange, unimaginable sounds. In the village at night, where children play games of fantasy, his family ignores him. If anything, he is more an employee at home than at work. His only pleasure comes from the solitary act of painting, which constantly gets interrupted.
Then comes another Monday. This time he stands outside the factory fence, unwilling to enter. He lazily takes the day off and never makes it home. He gets beaten up, is given too many drinks by a bunch of Cossacks and visits his equally isolated father, who gives him money to journey to Venice. Why Venice? Why not Venice?
Vincent's odyssey to Italy and, coming full circle, back home again is filled with serendipity. He makes friends, visits a marquis, gets his pocket picked and en-counters workers whose conditions in that sunny clime remind him of home.
Like a Tati film, Iosseliani has the movie unfold in a series of deadpan visual gags. But these gags lack the physicality of Tati's; they are more cerebral and cunning. Iosseliani is less a clown and more a social critic.
Aiding his vision is Bidou. His expressions change little. He nonchalantly accepts what life delivers. He adapts. He perseveres. Bidou's Vincent is a beaten-down Everyman who impulsively de-cides to change his life.
Iosseliani himself appears in a wry role, that of the Italian marquis whose wealth and social status have gained him little over the French blue-collar worker. He too is a prisoner of routine and self-importance.
Behind the camera, music, cinematography and set decor all create a world remarkably like our own, only somewhat pixilated.
MONDAY MORNING
Pierre Grise Prods./Rhone-Alpes Cinema/
Mikado with the participation of CNC,
Canal Plus, Gimages 4, Cofimage 12
Credits:
Producers: Martine Marignac, Maurice Tinchant, Roberto Cicutto, Luigi Musini
Screenwriter-director-editor: Otar Iosseliani
Director of photography: William Lubtchansky
Production designer: Manu de Chauvigny
Music: Nicolas Zourabichvili
Costume designer: Cori d'Ambrogio
Cast:
Vincent: Jacques Bidou
Wife: Anne Kravz-Tarnavsky
Mother: Narda Blanchet
Father: Radslav Kinski
Carlo: Arrigo Mozzo
Michel: Pascal Chanal
Bathroom Attendant: Manu de Chauvigny
No MPAA rating
Color/stereo
Running time -- 128 minutes...
At times reminiscent of comedies by Jacques Tati and often operating like a silent movie, "Monday" achieves its impact through action, gestures and visual humor. Dialogue is a secondary consideration.
In Competition at the just-concluded Berlinale, this comic fable should do well internationally in art houses. The film needs precious few subtitles -- indeed the translator doesn't even bother with much of the dialogue -- and, like Chaplin's "Modern Times", it represents a satiric attack against the drudgery of monotonous routine.
Bidou plays Vincent, who lives in a small wine-country village and commutes via transit to his job as a welder in a chemical factory. The routine each Monday never varies. The regimented sameness of his life provokes much of the visual wit in early sequences as the viewer experiences one such day -- its monotony, loneliness and estrangement from his family.
Vincent constantly craves tobacco, but smoking is forbidden inside the plant. He sneaks furtive cigarettes all day in this almost surreal factory, which emits billowing clouds of smoke, liquids in many colors and strange, unimaginable sounds. In the village at night, where children play games of fantasy, his family ignores him. If anything, he is more an employee at home than at work. His only pleasure comes from the solitary act of painting, which constantly gets interrupted.
Then comes another Monday. This time he stands outside the factory fence, unwilling to enter. He lazily takes the day off and never makes it home. He gets beaten up, is given too many drinks by a bunch of Cossacks and visits his equally isolated father, who gives him money to journey to Venice. Why Venice? Why not Venice?
Vincent's odyssey to Italy and, coming full circle, back home again is filled with serendipity. He makes friends, visits a marquis, gets his pocket picked and en-counters workers whose conditions in that sunny clime remind him of home.
Like a Tati film, Iosseliani has the movie unfold in a series of deadpan visual gags. But these gags lack the physicality of Tati's; they are more cerebral and cunning. Iosseliani is less a clown and more a social critic.
Aiding his vision is Bidou. His expressions change little. He nonchalantly accepts what life delivers. He adapts. He perseveres. Bidou's Vincent is a beaten-down Everyman who impulsively de-cides to change his life.
Iosseliani himself appears in a wry role, that of the Italian marquis whose wealth and social status have gained him little over the French blue-collar worker. He too is a prisoner of routine and self-importance.
Behind the camera, music, cinematography and set decor all create a world remarkably like our own, only somewhat pixilated.
MONDAY MORNING
Pierre Grise Prods./Rhone-Alpes Cinema/
Mikado with the participation of CNC,
Canal Plus, Gimages 4, Cofimage 12
Credits:
Producers: Martine Marignac, Maurice Tinchant, Roberto Cicutto, Luigi Musini
Screenwriter-director-editor: Otar Iosseliani
Director of photography: William Lubtchansky
Production designer: Manu de Chauvigny
Music: Nicolas Zourabichvili
Costume designer: Cori d'Ambrogio
Cast:
Vincent: Jacques Bidou
Wife: Anne Kravz-Tarnavsky
Mother: Narda Blanchet
Father: Radslav Kinski
Carlo: Arrigo Mozzo
Michel: Pascal Chanal
Bathroom Attendant: Manu de Chauvigny
No MPAA rating
Color/stereo
Running time -- 128 minutes...
- 2/19/2002
- The Hollywood Reporter - Movie News
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