#jean-lucas

#jean-lucas

"Cinematic Immunity" offers a workers'-eye view of Hollywood on the Hudson, revealing the intricate dynamics of filmmaking in New York City from 1954 to 9/11.

"Whenever you manage, through cinema, to cast doubt on the assumed nature of things, you might be approaching something really interesting. And when you have done that once, there's no way back."

Emma drops an absolute bombshell in the midst of a game where they're asked to reveal the worst thing they've ever done. Soon everyone around her starts to question how well they really know her.

Kluge was an accomplished director of intellectually rewarding, if at times oblique filmic essays, and an ever-productive writer of short fiction. He played a key role in organising the rule-breaking New German Cinema movement that brought forth better-known auteurs such as Rainer Werner Fassbinder and Werner Herzog.

Soderbergh has become such a prolific, tirelessly resourceful, and altogether uncategorizable filmmaker that you have to wonder why the mechanics of the break-in still inspire him.

Coppola stated, 'It was scary at first for me to take on the challenge of making a documentary. It was different because there was no script, so I didn't have a map of where we were going.'

Set on the blossom tree-lined fringes of Hyde Park in London, Herbert Wilcox's black-and-white rom-com blows in like a fresh spring breeze. The film charts the will-they-won't-they romance between Richard (Michael Wilding), a wealthy lord masquerading as a butler, and Judy (Anna Neagle), the niece of the family who employs him.

The invention of the Cinématographe was ready right away. The process of the invention was longer, and there were a lot of inventors before Lumière.

Cinematography isn't about beautiful images. It's about producing a whole series of images that serve a story. If I come out of a premiere and somebody says, 'Oh, I love the shot when such and such ...' I know I've made a mistake.

Whether you're thinking of moving for work, for political reasons - and the French are very sympathetic to Americans' situation - or for love (of a person or of croissants), here's our checklist of how to move to France as an American Checklist: How to move to France as an American Is there a legal way of avoiding inheritance tax in France by passing your property onto your children while you're still alive?

What begins as a fairy-tale romance set in the beautiful Mediterranean town of Agde gets more complicated when Stann's family ties prove more durable, and dangerous, than he expects. Stann, the hub of a sprawling, criminally inclined clan, finds himself torn between Gloria, a vibrant Black American woman who offers him a glimpse at a life beyond the one he knows, and his inescapable family obligations.

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

Films seen long ago but unavailable for rewatching often loom large, like myths shadowed by fear: Will a second viewing confirm or dispel the initial impression? I first saw "Caught in the Acts" ("Délits flagrants"), a documentary by the French director Raymond Depardon, in Paris, a few months after it opened there, in 1994, and it struck me as one of the greatest documentaries I'd ever seen.

It would be hard to overstate the influence of Jean-Pierre and Luc Dardenne on traditions of realism in European cinema. The Belgian brothers, now in their seventies, have been making compassionate, uncompromising dramas about the social and economic conditions of modern life for nearly 40 years, approaching each with a direct, unvarnished style that's been imitated far and wide across the international arthouse circuit, if seldom rivaled in its emotional impact.

It's been 40 years since Richard Linklater founded the Austin Film Society, beginning his crusade to make scrappy, personal, romantic and boisterous cinema. It's fitting for a director who first broke out in the 1990s "Indiewood" boom that his latest film, Nouvelle Vague, is an origin story of cinema's enfant terrible par excellence, Jean-Luc Godard, mounting his iconic debut film Breathless. As Linklater's first non-English film, Nouvelle Vague feels like a film fanatic has staged and animated decades' worth of behind-the-scenes anecdotes - genuine and apocryphal alike - to show a turning point for cinema as the Texan director imagines it: lively and collaborative, tetchy and confounding, an amusing slew of rules broken and manifesto points declared.

A quarter-century later, it's safe to say that those days have come to an end. Not only does the streaming-only Netflix of the twenty-twenties no longer transmit movies on DVD through the mail (a service its younger users have trouble even imagining), it ranks approximately nowhere as a preferred cinephile destination. That has to do with a selection much diminished since the DVD days

In all the dystopian visions of the future that the movies have trotted out over the last few decades, the one that sticks the most, surprisingly, is WALL-E. That's not just because of the chastening sight of an over-polluted Earth or those sedentary humans glued to their screens. It's because those quite plausible possibilities mean something different in a kids movie. It's their future, after all.

After dozens of films over a storied six-decade career, Jodie Foster is trying something new, playing the lead role in a French film for the very first time. There's hardly a trace of an American accent in Foster's turn as Parisian therapist Lilian Steiner in A Private Life (Vie privee) and she appears to be very much at home. The character she plays is an American woman who built her career in France.

Every step that I have taken in my career has made me new to something, once again. I like not knowing everything and exposing myself to the unknown, he says. That same impulse led him to send a script for the film adaptation of The Father to Anthony Hopkins, an actor he had never met, and who Zeller would wind up directing in his cinematic debut, which won him an Oscar for best adapted screenplay and netted Hopkins his second Oscar for best actor.