MK2 Films has acquired a collection of films and TV series directed by Bruno Dumont, the award-winning French director behind “Life of Jesus” and “Humanity.”
The acquisition, unveiled during Mipcom Cannes, covers the bulk of the director’s work, spanning eight films and TV series including “Li’l Quinquin,” which premiered at Cannes’ Directors’ Fortnight. MK2 Films will represent rights to some of these titles, in France and/or international markets, apart from a few titles like “Slack Bay” whose global rights are still handled by Memento International.
“Bruno Dumont is, of course, a major figure of contemporary cinema,” said Nathanaël Karmitz, MK2’s chairman of the executive board. Karmitz praised Dumont for the “originality of his unusual, unpredictable [films], veering from gravitas to some unnerving, comedic tangents.” He continued, “Iconoclastic and consistently courageous in its form, his work perfectly represents the free and ambitious cinema that we are proud to promote.
The acquisition, unveiled during Mipcom Cannes, covers the bulk of the director’s work, spanning eight films and TV series including “Li’l Quinquin,” which premiered at Cannes’ Directors’ Fortnight. MK2 Films will represent rights to some of these titles, in France and/or international markets, apart from a few titles like “Slack Bay” whose global rights are still handled by Memento International.
“Bruno Dumont is, of course, a major figure of contemporary cinema,” said Nathanaël Karmitz, MK2’s chairman of the executive board. Karmitz praised Dumont for the “originality of his unusual, unpredictable [films], veering from gravitas to some unnerving, comedic tangents.” He continued, “Iconoclastic and consistently courageous in its form, his work perfectly represents the free and ambitious cinema that we are proud to promote.
- 10/16/2023
- by Elsa Keslassy
- Variety Film + TV
Kohn’s Corner is a weekly column about the challenges and opportunities of sustaining American film culture.
Chances are that if you care about international cinema, you care about the French New Wave. A loose collective of young directors who came to define their country’s cinema as the 1950s gave way to the ’60s, the French New Wave gave cinema permission to be audacious and uncompromising while bolstering its style and personality. It was cool with purpose.
Jacques Rozier, the last living member of the Nouvelle Vague, died this week at 96. Rozier was a blind spot for me, but the French New Wave was my guide to grasping what the movies could be.
As a teenager, Jean-Luc Godard’s “Breathless” got me excited about the possibilities of the movies like nothing that came before. Francois Truffaut’s “The 400 Blows” was a formative encounter with the expansive possibilities of the coming-of-age story.
Chances are that if you care about international cinema, you care about the French New Wave. A loose collective of young directors who came to define their country’s cinema as the 1950s gave way to the ’60s, the French New Wave gave cinema permission to be audacious and uncompromising while bolstering its style and personality. It was cool with purpose.
Jacques Rozier, the last living member of the Nouvelle Vague, died this week at 96. Rozier was a blind spot for me, but the French New Wave was my guide to grasping what the movies could be.
As a teenager, Jean-Luc Godard’s “Breathless” got me excited about the possibilities of the movies like nothing that came before. Francois Truffaut’s “The 400 Blows” was a formative encounter with the expansive possibilities of the coming-of-age story.
- 6/17/2023
- by Eric Kohn
- Indiewire
Cannes slates includes new restorations of David Lynch’s Lost Highway, Claire Denis’s Chocolat, and Olivier Assayas’s Irma Vep.
France’s mk2 films is ramping up its heritage film operation with the appointment of Frédérique Rouault as head of collections and the acquisition of a raft of catalogues by directors who have marked cinema history.
In one of its most significant heritage deals to date, the company has acquired the rights to the entire collection of films by the late writer and director Marcel Pagnol.
Until now, the catalogue has been managed by grandson Nicolas Pagnol under the...
France’s mk2 films is ramping up its heritage film operation with the appointment of Frédérique Rouault as head of collections and the acquisition of a raft of catalogues by directors who have marked cinema history.
In one of its most significant heritage deals to date, the company has acquired the rights to the entire collection of films by the late writer and director Marcel Pagnol.
Until now, the catalogue has been managed by grandson Nicolas Pagnol under the...
- 5/18/2022
- by Melanie Goodfellow
- ScreenDaily
This is the diary Angela Schanelec wrote when she visited Marseilles in March 2002 in preparation to making her film Marseille, released in 2004. Originally translated and published as a complement to the fifth issue of Fireflies, which celebrates the cinema of Angela Schanelec and Agnès Varda. Angela Schanelec's Marseilles. Courtesy of Schramm Film.Marseilles, 1-10 March 2002 My mood was free of all desire.—Walter Benjamin, Hashish in MarseillesFriday. Marseilles, Provence. At the airport you can choose your destination: Aix, Marseilles, the sea or the mountains. You can see the mountains, light and craggy, beyond the airfield. The highway passes through urban canyons in the middle of the city. The houses are the same colour as the mountains. Le Corbusier’s Cité radieuse. In Marseilles there are innumerable buildings like this one, unit agglomerations designed with varying degrees of passion, each unit a cell housing life. The hotel is on the third floor,...
- 11/27/2017
- MUBI
Despite some warranted detractors targeting Abdellatif Kechiche’s male gaze in Blue in the Warmest Color, his romantic drama had no problems picking up the Palme d’Or back at Cannes a few years ago. He’s now back with his new film, Mektoub, My Love: Canto Uno, but the same sort of acclaim hasn’t returned.
The first in a potential series tracking the life of a young screenwriter who heads to the Mediterranean, many critics out of its Venice premiere lambasted the director over his masturbatory sensibilities. While we’ll have to wait to see it for ourselves when it picks up U.S. distribution, the first teaser has landed.
If you’re looking for a different take, despite most reactions swaying mixed-negative, Film Comment said, “You wince at the camera’s undisguised lechery, but the sheer exuberance knocks you over. Mektoub, My Love is perhaps the most...
The first in a potential series tracking the life of a young screenwriter who heads to the Mediterranean, many critics out of its Venice premiere lambasted the director over his masturbatory sensibilities. While we’ll have to wait to see it for ourselves when it picks up U.S. distribution, the first teaser has landed.
If you’re looking for a different take, despite most reactions swaying mixed-negative, Film Comment said, “You wince at the camera’s undisguised lechery, but the sheer exuberance knocks you over. Mektoub, My Love is perhaps the most...
- 9/11/2017
- by Jordan Raup
- The Film Stage
Philippe Garrel. Photo by Darren Hughes.There’s no exact equivalent in film history for Philippe Garrel’s “family cinema,” as he calls it here. To immerse oneself in his work is to watch Garrel and those he loves (parents, partners, children) be transformed by age and experience, while their passions and preoccupations—that particular Garrelian amour fou—persist.After several decades during which Garrel’s films saw limited distribution and exhibition in North America, he's now experiencing something of a revival. Over the span of three days at the Toronto International Film Festival I enjoyed an impromptu Garrel family retrospective. In the Cinematheque program, Tiff debuted its recently-commissioned 35mm print of Jacques Rozier’s first film, Adieu Philippine (1962), which features a middle-aged Maurice Garrel in a supporting role. Actua 1 (1968), Philippe Garrel’s long-lost short documentary of the May ’68 protests, screened in the Wavelengths section, also in a new print.
- 1/13/2016
- by Darren Hughes
- MUBI
Organisers unleashed their latest volley of programming, an embarrassment of riches featuring new non-fiction work about education activist Malala Yousafzai, Russia’s Bolshoi Theatre, the immediate aftermath of the Charlie Hebdo attacks and the iconic tango pairing of María Nieves and Juan Carlos Copes.
Midnight Madness brings a Turkish glimpse of hell, new work from the directors of Almost Human and The Loved Ones, a cyborg Pov story and Jeremy Saulnier’s Green Room, which premiered in Cannes and backer Broad Green Pictures recently made available for Us distribution after electing not to self-release.
Vanguard entries include Gaspar Noé’s Love, Alex de la Iglesia’s My Big Night and Ryoo Seung-wan’s South Korean cop thriller Veteran.
The Masters Of Cinema programme features Jafar Panahi’s Taxi, Alexander Sokurov’s Francofonia and Hirokazu Kore-eda’s Our Little Sister, while the Tiff Cinematheque selection of restored classics includes Luchino Viconti’s Rocco And His Brothers and Marcel Ophüls...
Midnight Madness brings a Turkish glimpse of hell, new work from the directors of Almost Human and The Loved Ones, a cyborg Pov story and Jeremy Saulnier’s Green Room, which premiered in Cannes and backer Broad Green Pictures recently made available for Us distribution after electing not to self-release.
Vanguard entries include Gaspar Noé’s Love, Alex de la Iglesia’s My Big Night and Ryoo Seung-wan’s South Korean cop thriller Veteran.
The Masters Of Cinema programme features Jafar Panahi’s Taxi, Alexander Sokurov’s Francofonia and Hirokazu Kore-eda’s Our Little Sister, while the Tiff Cinematheque selection of restored classics includes Luchino Viconti’s Rocco And His Brothers and Marcel Ophüls...
- 8/11/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
HollywoodNews.com: The Academy of Motion Picture Arts and Sciences will present a recently restored 35mm print of “Breathless” (“À bout de souffle”) on Friday, March 23, at 7:30 p.m. at the Samuel Goldwyn Theater in Beverly Hills. The screening is presented in conjunction with the opening of the Academy’s new exhibition “Photos de Cinéma: Images of the French New Wave by Raymond Cauchetier.” Cauchetier was the set photographer for this and many other key titles of the French New Wave movement. There will be special evening gallery hours from 6:30 to 7:30 p.m. and immediately following the screening.
“Breathless” (1960) launched a global passion for “La Nouvelle Vague” (“The New Wave”) and made actors Jean Seberg and Jean-Paul Belmondo international stars. The film also became an inspiration for a generation of legendary French filmmaking talent.
Writer-director Jean-Luc Godard made his feature film debut with this now classic work.
“Breathless” (1960) launched a global passion for “La Nouvelle Vague” (“The New Wave”) and made actors Jean Seberg and Jean-Paul Belmondo international stars. The film also became an inspiration for a generation of legendary French filmmaking talent.
Writer-director Jean-Luc Godard made his feature film debut with this now classic work.
- 3/19/2012
- by Josh Abraham
- Hollywoodnews.com
Critics' Week has already begun celebrating its 50th anniversary by posting 50 video interviews with directors and actors who've seen their work debut in this section at Cannes. We're celebrating, too. In association with the 4+1 Film Festival, Mubi is presenting a retrospective of some of the greatest films first seen in Critics' Week over the past half-century. And even though the first 1000 views of each of the films will be free to you, the viewer, the rights holders will carry on receiving their duly earned revenue.
The retrospective encompasses over 100 titles in all, but please do keep in mind that rights issues can get complicated and not every film can be available in every country. That said, here's a quick overview of just some of the highlights:
Over in the Garage, a La Semaine Blogathon is already on the roll, starting with Kj Farrington's entry on Miranda July's Me and You and Everyone We Know,...
The retrospective encompasses over 100 titles in all, but please do keep in mind that rights issues can get complicated and not every film can be available in every country. That said, here's a quick overview of just some of the highlights:
Over in the Garage, a La Semaine Blogathon is already on the roll, starting with Kj Farrington's entry on Miranda July's Me and You and Everyone We Know,...
- 5/14/2011
- MUBI
The name Raymond Cauchetier probably doesn’t mean much to anybody, but this guy is very special. The ninety year old set photographer chronicled one of the most revolutionary moments in cinema. Dubbed The French New Wave, Cauchetier photographed productions for the cinema gods such as Godard, Truffaut and Jacques Demy. After decades in the industry, he’s getting his first ever exhibition.
From the press release:
“The exhibition coincides with the 50th anniversary of Godard’s first feature A Bout de Souffle (1960), re-released in cinemas (25 June) and on Blu-ray / DVD (13 September); for which Cauchetier was hired as the on-set photographer. Along with A Bout de Souffle, the exhibition includes images from Godard’s Une Femme est Une Femme (1960), Jacques Rozier’s Adieu Philippine (1960), Jacques Demy’s Lola (1960), starring Anouk Aimée, and Francois Truffaut’s Jules et Jim (1962) with Jeanne Moreau, La Peau Douce (1963) and Baisers Volés (1968).”
Cauchetier recalled the...
From the press release:
“The exhibition coincides with the 50th anniversary of Godard’s first feature A Bout de Souffle (1960), re-released in cinemas (25 June) and on Blu-ray / DVD (13 September); for which Cauchetier was hired as the on-set photographer. Along with A Bout de Souffle, the exhibition includes images from Godard’s Une Femme est Une Femme (1960), Jacques Rozier’s Adieu Philippine (1960), Jacques Demy’s Lola (1960), starring Anouk Aimée, and Francois Truffaut’s Jules et Jim (1962) with Jeanne Moreau, La Peau Douce (1963) and Baisers Volés (1968).”
Cauchetier recalled the...
- 6/28/2010
- by Martyn Conterio
- FilmShaft.com
After seeing Kiju Yoshida’s debut film Good for Nothing (1960), we can add the filmmaker’s name to the rare list of studio directors whose first films signal immediate, restless talent, vision fully formed, grasp of cinematic tools and expressions already mature. While other Japanese New Wavers were trying to capture a youth audience through filming flighty takes on the too young and too irresponsible, Yoshida aims squarely at the malaise of post-college new adults and the newfound prospect of becoming a tired salaryman in your twenties. Or salarywoman—because as tightly hued as Yoshida’s picture is of lean, exasperated men fidgeting for meaning in their impassive apathy, Good for Nothing devotes just as much time to its female heroine—out of her 20s but wants to be no simple lover, housewife, or member of society, and is just as beset with a need for fulfillment and meaning. With...
- 2/2/2010
- MUBI
PARIS -- French director Jacques Rozier has been named patron of the International Critics' Week at this year's Cannes film festival, organizers of the sidebar said Monday. Rozier, who succeeds such directors as Ken Loach and Bernardo Bertolucci as patron of the prestigious showcase, will initiate and preside over an informal discussion with Critics' Week directors May 17. The 78-year-old "new wave" director's maiden feature, Adieu Philippine, which was selected for the event's first edition in 1962, will also be screened that day, organizers said. The 43rd edition of the Critics' Week runs May 13-21. The Festival de Cannes unspools May 12-23.
- 3/23/2004
- The Hollywood Reporter - Movie News
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