Late in 1999, a Melbourne based independent filmmaker decided to take a well-earned hiatus from his prolific filmmaking activities and thought it would be a good idea to start up a web-based film journal. He so...
Like many of his collaborators, filmmaker Jackie Raynal was present at the Cinémathèque Française’s memorial homage to Rohmer earlier this year. Sparked by the occasion, she looks back at her time with Rohmer in this heartfelt reminiscence.
A landmark interview originally published in Cahiers du cinéma in 1970. The journal was in the midst of its Marxist/Leninist era, while Rohmer's Bazinian idealism was vindicated by the success of My Night at Maud’s. A fascinating joust between two entirely opposed views of the cinema
Rohmer was himself a private and reserved individual who, more often that not, shunned the spotlight. Bruce Perkins examines three documentaries on the filmmaker, and concludes that together they offer as vivid and multi-dimensional a portrait of Rohmer as we can wish for.
In both content and form, a strong pedagogical endeavour has informed the work of Rohmer throughout his career. Darragh O’Donoghue discusses this inclination, focusing on some of the earlier shorts and made-for-television documentaries.
The topographical tracings of Rohmer’s feature debut reveal a dual motif: the cartographic and the photographic. Roland-François Lack’s insightful essay meticulously traces the unfolding of this dual motif.
Love, morality, fidelity and chance crystallised around Pascal’s ‘wager’. Taken by many to be the key film of the ‘Six Moral Tales’ series, the fascination of this film has not receded with time. Constantine Santas unravels the film’s thematics.
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.
For any scholar of the so-called New American cinema of the late ’60s and early ’70s, the career of Bob Rafelson makes for an interesting case study. A wide-ranging interview with the director of Five Easy Pieces, Stay Hungry and Mountains of the Moon.
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.”
Warren, together with his contemporary Pete Walker, were seen as the “two young Turks of British ’70s horror” that took the genre beyond the gothic Hammer studio template. The director of such titles as Her Private Hell, Satan’s Slave and Terror discusses his career.
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”.