Issue 50

In order to understand Michel Fournier’s personality, it helps to know that his silent, five-hour-long, abstract, black-and- white-feature, A quoi...

This past January while in Paris I tried to contact Michel Fournier, Philippe Garrel’s legendary cameraman on six films, from Marie pour Mémoire (...

The film takes as its source Cortázar’s (and wife-photographer Carol Dunlop’s) book about their unusual road trip from Paris to Marseille, titled Autonauts of the Cosmoroute. Humbert discusses the intricate process of adapting such a unique book to the screen.

The origins of the Luxembourg Cinémathèque is a fascinating story of cinéphilia in its own right. Claude Bertemes discusses the Cinémathèque’s history, along with issues about curatorship, preservation, and film and technology in the digital age.

Andrew V. McLaglen never quite reached the ranks of auteur, but he left his mark in his own way. This career interview offers real insight into the working life of a noted director in the studio era.

Dresen has directed eight feature films and, as Abel reveals, “Is one of the rare successful contemporary German directors who was born and raised in the GDR [former East Germany] and has managed to adjust to the market-driven rules of filmmaking characteristic of reunified Germany.”

Denis discusses her recent feature, 35 Shots of Rum, a film inspired by Yasujiro Ozu’s Late Spring, and, as Hughes puts it, “a love story – or, in fact, several love stories – told in small gestures and commonplace tragedies”.

Serra places his film dealing with the Three Wise Men in the same tradition of religious films as those of Dreyer, Rossellini and Pasolini.