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sloshed-cinema · 1 year

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Jacquot de Nantes (1991)

How wonderful to have someone so caring for and about you that they find ways to immortalize and share you with the world, to create a little precious gem of what they see in you. Here we witness how Agnès Varda documents her love for another great filmmaker, her husband Jacques Demy.

The beach is an important primordial sort of place for Varda throughout her filmography, so it seems an apt location to bookend her love-letter to Jacques Demy in this film. Soothing waves wash over strains of Bach’s “Jesu, Joy of Man’s Desiring” and her camera wanders freely over the sand before returning to consider Demy himself, lounging near the shore. Sand again becomes emblematic of ephemerality and impermanence, fitting for a man reflecting on his formative years near the end of his life. While largely a biopic, Varda nods to her documentarian tendencies, allowing Demy to comment and reflect on his life, if in broad terms. She presses in on him, considering him in the same sense that she does oil paintings or architectural details, all these little hairs and birthmarks and liver spots, a stunning composition worthy of notice to her eye. Most touchingly, Varda allows for Demy to pass the torch in a sense, showing a grandchild one of his earliest movies, the boy tinkering with the mechanism of the 9mm camera. Cinema meant the world to Demy. But in this presentation of his personage, his passion lacked the clinical pretense of the Cahiers du Cinéma crowd. For him, it was a labor of love, something to toil over and share with others.

While not explicitly a war movie, Jacquot does effectively capture the everyday horrors of living in Occupied France for this family. Daily life tries to find a way to carry on with some degree of normalcy. Sunday matinees at the cinema remain a tradition, and aside from the occasional jaunt to the country to stay, classes continue. But it’s a fragile existence balanced on the edge of a knife. An assassination could prompt retaliatory measures from the occupying Germans as the Vichy administration sits on their hands, or Allied bombardment of the city upends an otherwise normal afternoon. The class are distracted by a nearby dogfight as an airman parachutes from the sky, and a soldier steals Demy’s father’s bicycle as German forces begin to retreat and fall apart. Small, yet indelible moments in a life, made all the more striking in Varda’s passive structuring of her narrative.

THE RULES

SIP

Someone says ‘camera’.

Someone names a film or director.

Voiceover begins.

BIG DRINK

The Demy boy character changes actors.

Closeup of Jacques Demy.

#drinking games #jacquot de nantes #french cinema #agnes varda #jacques demy #drama

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thirdrowcentre · 4 months

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It's that time again. A few years ago I decided I would try and watch two films I'd never seen before each week. This year I've watched 374.

These are some of the ones that stood out.

JANUARY

The Leopard (dir. Luchino Visconti, 1963). Watched 1.1.23 at BFI Southbank

Benediction (dir. Terence Davies, 2021). Watched 11.1.23

Gangubai Kathiawadi (dir. Sanjay Leela Bhansali, 2022). Watched 17.1.23

The Swimmer (dir. Frank Perry, 1968). Watched 30.1.23.

Comizi d’amore (dir. Pier Paolo Pasolini, 1964). Watched 31.1.23

FEBRUARY

Ugetsu Monogatari (dir. Kenji Mizoguchi, 1953). Watched 7.2.23

Wings (dir. Larisa Shepitko, 1966). Watched 22.2.23

Mirror (dir. Andrei Tarkovsky, 1975). Watched 24.2.23

MARCH

Born in Flames (dir. Lizzie Borden, 1983). Watched 2.3.23

Yi Yi (dir. Edward Yang, 2000). Watched 5.3.23

Taste of Cherry (dir. Abbas Kiarostami, 1997). Watched 6.3.23

Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles. (dir. Chantal Akerman, 1975). Watched 11.2.23 at BFI Southbank

Judex (dir. Georges Franju, 1963). Watched 12.3.23

Transit (dir. Christian Petzold, 2018). Watched 14.3.23

A Man Escaped (dir. Robert Bresson, 1956). Watched 19.3.23

Bellissima (dir. Luchino Visconti, 1951). Watched 31.3.23

APRIL

Army of Shadows (dir. Jean-Pierre Melville, 1969). Watched 2.4.23

Jacquot de Nantes (dir. Agnès Varda, 1991). Watched 10.4.23

Where is the friend’s house? (dir. Abbas Kiarostami, 1987). Watched 13.4.23

John Wick: Chapter 4 (dir. Chad Stahelski, 2023). Watched 16.4.23 at BFI IMAX

Charulata (dir. Satyajit Ray, 1964). Watched 27.4.23

Night and Fog (dir. Alain Resnais, 1956). Watched 28.4.23

MAY

Thirst (dir. Park Chan-wook, 2009). Watched 3.5.23

Return to Seoul (dir. Davy Chou, 2023). Watched 7.5.23 at Curzon Hoxton

The Eight Mountains (dir. Felix van Groeningen, Charlotte Vandermeersch, 2023) Watched 12.5.23 at Curzon Hoxton

The Five Devils (dir. Léa Mysius, 2022). Watched 24.5.23

Nostalgia for the Light (dir. Patricio Guzmán, 2010). Watched 31.5.23

JUNE

Citadel (dir. John Smith, 2021). Watched 1.6.23

It’s Always Fair Weather (dir. Stanley Donen, Gene Kelly, 1955). Watched 10.6.23 at BFI Southbank 35mm.

Service for Ladies (dir. Alexander Korda, 1932). Watched 11.6.23 at BFI Southbank 35mm *nitrate*

And Life Goes On (dir. Abbas Kiarostami, 1992). Watched 14.6.23

Be Natural: The Untold Story of Alice Guy (dir. Pamela Green, 2018). Watched 19.6.23

King and Country (dir. Joseph Losey, 1964). Watched 20.6.23

JULY

London (dir. Patrick Keiller, 1994). Watched 3.7.23

Conquest of the Planet of the Apes (dir. J. Lee Thompson, 1972). Watched 14.7.23

Barbie (dir. Greta Gerwig, 2023). Watched 21.7.23 at BFI Southbank

Oppenheimer (dir. Christopher Nolan, 2023). Watched 23.7.23 at BFI IMAX. 70mm IMAX

I’m Not There (dir. Todd Haynes, 2007). Watched 28.7.23

AUGUST

Three Blind Mice (dir. William A. Seiter, 1938). Watched 17.8.23

Corridor of Mirrors (dir. Terence Young, 1948). Watched 22.8.23

World of Apu (dir. Satyajit Ray, 1959). Watched 26.8.23

L’argent (dir. Robert Bresson, 1983). Watched 31.8.23

SEPTEMBER

Past Lives (dir. Celine Song, 2023). Watched 3.9.23 at Curzon Soho.

Austenland (dir. Jerusha Hess, 2013). Watched 8.9.23

Lady Vengeance (dir. Park Chan-wook, 2005). Watched 19.9.23

News from Home (dir. Chantal Akerman, 1977). Watched 20.9.23

Edge of Tomorrow (dir. Doug Liman, 2014). Watched 28.9.23

OCTOBER

Killers of the Flower Moon (dir. Martin Scorsese, 2023). Watched 8.1.23 at Royal Festival Hall. London Film Festival

Judgement at Nuremberg (dir. Stanley Kramer, 1961). Watched 12.10.23

The Stranger and the Fog (dir. Bahram Beyzai, 1974). Watched 14.10.23 at BFI Southbank. London Film Festival. 35mm

I am Not a Witch (dir. Rungano Nyoni, 2017). Watched 26.10.23

Contraband (dir. Michael Powell, 1940). Watched 30.10.23 at BFI Southbank

NOVEMBER

Uncle Boonmee Who Can Recall His Past Lives (dir. Apichatpong Weerasethakul, 2010). Watched 9.11.23.

Anatomy of a Fall (dir. Justine Triet, 2023). Watched 15.11.23 at Curzon Hoxton

Citizens Band (dir. Jonathan Demme, 1977). Watched 21.11.23

DECEMBER

Oh, Rosalinda!! (dir. Michael Powell, Emeric Pressburger, 1955). Watched 2.12.23 at BFI Southbank. 35mm

How to Have Sex (dir. Molly Manning Walker, 2023). Watched 10.12.23 at the Garden cinema.

Tish (dir. Paul Sng, 2023). Watched 22.12.23

Fallen Angels (dir. Wong Kar-wai, 1996). Watched 29.12.23

----

Other highlights included: Stop Making Sense (twice!) on BFI IMAX. Tears of joy, dancing in my seat. Black Narcissus on nitrate at the BFI Southbank. Crying all the way through The Life and Death of Colonel Blimp at BFI Southbank. Showing someone L’Atalante and I Know Where I’m Going, two of my favourite films, in my favourite cinema (again, BFI Southbank). The terrible Fast X, in Vue Leicester Square with one of my best friends. Walking through Shoreditch on a Saturday night, maybe the most heterosexual place imaginable, to watch Bottoms at Curzon Aldgate. Talking and crying about Jonathan Demme at a house party with a stranger. Sitting and sobbing, breathless, after How to Have Sex - steeling myself and walking home thinking about my life, the lives of all the young women I know. Watching Aftersun for the second time at the beginning of the year with my youngest sister, floods of tears overtaking us both. Seven Samurai on the BFI IMAX with my best friends. The Hunger on 35mm at the Prince Charles Cinema, with more of my best friends. And screening Some Like it Hot on 16mm in the tiny theatre at the back of Ümit and Son in Clapton, surrounded by loving, beautiful people who make me who I am.

#new year #films #2023

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tilbageidanmark · 1 year

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Movies I watched this Week #120 (Year 3/Week 16):

“Give up my daughter. That’s the price you pay. For the life you choose.”

First watch: Coda, The death of Michael Corleone, Coppola’s 2020 (minimal) re-cut of his 1990 masterpiece ‘The Godfather Part 3′. I never understood the haters. (And the misogyny against Sofia Coppola as Mary was completely misplaced.) Even though part 3 is obviously not as perfect as the first two, it’s still a superb and subtle work. A Shakespearean tragedy, operatic and expansive, it resonates with me deeply. 10/10.

I love how symmetric it is: The “Just when I thought I was out” scene clocks in exactly on the 1:00 hour mark, the Sicily first introduction exactly at the half-movie mark (1:17), and the Cavalleria Rusticana concert start exactly on the 2:00 hour mark..

It’s also a parallel Coppola Family Saga, with sister Talia Shire as Connie, daughter Sofia as Mary, father Carmine composing, nephew Nicolas Cage producing, his parents and a bunch of other family members in the background. Also, Martin Scorsese's mother.

🍿

3 by Irish John Michael McDonagh, Martin’s older brother:

🍿 'I can't tell if you're really motherfuckin' dumb, or really motherfuckin' smart'.

His brilliant feature directorial debut, the perfectly calibrated buddy cop thriller, The Guard. A philosophical comedy of manners featuring Brendan Gleeson’s and Don Cheadle‘s best roles. Foul mouthed but duty-bound Sergeant Gerry Boyle of the Irish Garda is a character that will not soon be forgotten. It was so good that the moment I finished it, I wanted to see it again. 10/10

🍿 His next film Calvary was completely different and still tremendous. An exceptional examination of abandonment, troubled faith and broken parenthood, it opens with honest village priest Brendan Gleeson who hears a confession by a man who was horribly abused during his childhood. The unseen man promises to kill the priest next Sunday, in order to avenge his own suffering, so the priest knows he has only one week to put his house in order. A profound play with a transcendental finale. 10/10.

🍿 I was excited to continue with McDonagh’s next two movies, but War on Everyone was so horribly disappointing, that his last one, ‘The Forgiven’, will now have to wait. ‘War on Everyone’ was as if a second-rated hack was assigned to remake ‘The Guard’ in a Hollywood Mold, but was ordered to mix it with elements from ‘Lethal Weapon’ and ‘Rush hour’. 2/10.

🍿

Sweet Land, an independent art-film from Minnesota, about a 1920′s mail-order emigrant-bride who arrives at a farm with the wrong paperwork. Very much reminiscent of ‘Days of Heaven’ lyrical landscapes. It was the only film directed by otherwise-successful TV-director Ali Selim. It opens with a stirring scene of an old woman dying, told in a unique way, realistic and poetic at the same time.

🍿

2 more with Jacques Demy:

🍿 Jacquot de Nantes, My 10th film by Agnès Varda. In 1991, Just before her husband Jacques Demy's death, Varda created this bio-docudrama as a dramatisation of his early life. From his happy childhood in the Loire, discovering his love for film-making, under the German occupation and up until he left for Paris to study cinema. The nostalgic fictional recreations are the most French evocations I ever saw. And then, because she’s a great documentarian, she mixes them up with frequent comments by the dying Demy himself, as well as clips from his movies corresponding to these memories.

This is a heartfelt love letter from one great artist to another - Absolutely fantastic! 9/10.

🍿 My 4th by Jacques Demy himself, his 2nd, the extraordinary Bay of Angels. A doomed romance and the allure of gambling never seen so glamorous and so hopeless. 9/10.

I really must sit through his complete “Oeuvre”!

🍿

Masaan (”Crematorium”) is a realistic art film about suffering and loss, an unusual and uncomfortable Hindi film, which won various accolades. It takes place in Varanasi, among the ‘ghats’, body-burners on the banks of the Ganges. It tells two separate stories that do not converge until the final scene. The more compelling one is about an ordinary young woman, who’s caught having sex in a hotel room. A cruel policeman (An hateful character if I ever saw one on film), blackmails her father and threatens him that he will “tell” about his daughter, if not paid an absorbent amount of money. 5/10.

(Incidentally, before the opening title, there was a lengthy anti-smoking PSA, and when somebody in the movie lighted a cigarette, a small message appeared at the bottom of the screen: ‘Smoking is injurious to health’.)

🍿

2 about Father & Daughter Reunion:

🍿 Acidman, another new drama about a fraught relationship between estranged father and his grown-up daughter. He’s a recluse who lives alone “out in the middle of nowhere”, and she tracks him down to the forests of the NW, after having lost contact with him for 10 years. Meanwhile he had became distant and disoriented and is only interested in UFO’s.

It’s a story that is resonant with me, but it was poorly made, all atmosphere, and without a point. 2/10.

🍿 Wild Roots, another excellent feature debut by a young woman director, this one from Hungary. 12-year-old “wild” girl who lives with her grandparents forms a new, complicated relationship with her tough father who was just released from prison after 7 years. You wouldn’t guess that both actors were amateurs. 8/10. (Photo Above).

🍿

Tom McCarthy is one of my favorite minor directors, and by now I’ve seen all 9 of his movies. He wrote and directed The Visitor after his terrific debut ‘The Station Agent’, and before writing the script for ‘Up’. A tender and humane story about cold and lonely widower Richard Jenkins who discovers an illegal immigrant couple living in his empty NYC apartment, when he shows up unannounced one night. Made in 2007, it dealt with the painful realities of life after 9/11. Sad and nuanced. With Succession’s Hiam Abbass. 8/10. 🍿

3 more films from the “100% score on Rotten Tomatoes” list:

🍿 Pinocchio, Walt Disney’s 2nd feature (after ‘Snow White'), and one of at least 23 adaptations to the story. Cuckoo clocks, Tyrolean hats, cigar smoking bad boys, Monstro the sperm whale, they are all there. Conveying to children the "middle-class virtues of deferred gratification, self-denial, thrift, and perseverance, naturalized as the experience of the most average American".

🍿 Polanski’s favorite film, Carol Reed’s morality tale Odd man out; The last hours of injured IRA leader James Mason. Exquisite black and white German Expressionist Noir style cinematography, which Reed later repeated in ‘The third man’.

🍿 Jonah Hill’s 2nd directorial feature, the documentary Stutz, about his therapist. His coming-of-age debut film, ‘Mid90s’ was terrific. This one is OK; Partially-meta, a bit too self-indulgent and self-centered. Robert Downey Jr.’ similar project ‘Sr.’, also from 2022, was better.

🍿

Grizzly Man, the Werner Herzog documentary about bear enthusiast Timothy Treadwell who lived out among ferocious Alaskan brown bears for 13 summers - until he was eaten by one. Herzog used some of the 100 hours of video tapes that Treadwell himself recorded.

🍿

“Give my love to Tabboulah”

The Castle, the 1997 feel-good low-brow comedy, considered to be “One of the greatest Australian films ever made”. A story about a simple, low-middle-class family who are fighting (and winning) en eviction forced upon them by Eminent Domain, there called ‘Compulsory acquisition’. With Bryan Dawe, the ‘Front Fell Off’ guy as a lawyer.

🍿

Between 1909-1914 Denmark was the most prosperous film center in Europe. The 1910 erotic melodrama The Abyss ("Afgrunden”) launched the career of Asta Nielsen, Europe's first great female film star. It’s about a piano teacher who destroys her life by running away with a circus performer she became sexually obsessed with.

🍿

Riotsville, USA is a new documentary about a little known fact from the turbulent Civil Right Struggle of the 60′s. After the Watts Riots, a report from a government panel recommended a massive infrastructure changes to address poverty and inequality. But the only steps taken were funneling of resources into more militarization of the police to combat “race riots” and “street violence”, both of anti-war and black protesters. A fake ‘War Game’ town called Riotsville was build to train cops from all over the country in how to suppress demonstrations.

America is a deeply, fundamentally racist society, and its history comes down to race; from Slavery to Jim Craw to the civil rights of the 60′s up to today’s GOP. However, this badly-put-together film was weak, arbitrary and meandering. 2/10.

🍿

2 George Carlin evergreens:

🍿 His perfect 1999 Special You Are All Diseased. There never was, and never will be, a deeper, funnier and more insightful comedian than St. George. Also, nobody understood America better. It includes such classics as American Bullshit and When it comes to bullshit, big time, major league bullshit, you have to stand in awe, in awe of the all-time champion of false promises and exaggerated claims… religion.

The full transcript is worth a read: ...Living in this country, you’re bound to know... that America’s leading industry, America’s most profitable business is still the manufacture, packaging, distribution, and marketing of bullshit… high quality, grade-A, prime cut, pure American bullshit.

🍿 Complaints and Grievance, released on December 11, 2001. Originally named ‘I Kinda Like It When a Lot of People Die’, he had to change the name of it. Still hilarious. This copy is sound only.

🍿

I’ve seen Black Mirror’s USS Callister many times, even though I never saw any episodes of the space operas on which it is based (Star Trek, Star Wars, etc.). It’s because of the rebelliously-cute Nanette Cole fighting (and winning over) the male abuser. Funny, that Jesse Pinkman joined Jesse Plemons in this episode. 9/10.

🍿

4 shorts:

🍿 For the 1999 MTV Movie Awards, Wes Anderson created three promo spots, each one a staged re-creation of a nominated movie in the style of the Hollywood-inspired Rushmore plays (Serpico & the Vietnam War one). All three shorts (Armageddon, Out of Sight, The Truman Show) star Jason Schwartzman as Max Fisher, along with the rest of the Max Fischer Players.

🍿 Chuck Jones - The Evolution of an Artist, an old ‘Every frame a painting’ episode by fantastic editor Tony Zhou, about how a good artist became a great one.

Extra: How Kurosawa composed movement. Damn! I need to stop bullshitting and start watching every one of his 31 movies again!

🍿 A History Of The World According To Getty Images is a short documentary about property, profit, and power, made out of archive footage sourced from the online catalogue of Getty Images. It forms a historical journey through some of the most significant moments of change caught on camera, while at the same time reflecting on archive images’ own histories as commodities and on their exploitation as ‘intellectual property’.

🍿

(My complete movie list is here)

#movies

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aboutmercy · 5 months

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jacquot de nantes btw if you are a demy and/or varda lover you absolutely have to watch it (not sure how you can be a demy lover but not a varda one but i digress). i haven’t watched its companion documentary yet but i sobbed four times watching it. sobbed. not teared up, but cried so hard i was close to choking on my tears. i freaking love romance

#diary

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julietsha · 7 months

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Jacquot de Nantes d'Agnès Varda (1991)

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tieshoeseveryday · 10 months

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Artist/Artwork references - Theme of Ocean Waves

1. 'Contact ' by Japanese Art Collective Mé - Mori Art Museum in Tokyo, Japan 2018

The hyper-realistic artwork suspends stormy ocean swell within the confines of a small room. A window behind the work lets natural light flood in, and as the sun moves throughout the day, the ripples appear to slightly shift in form. Consequently, the piece plays on the viewer’s perception, glistening from different angles.

A statement by the collective explains that the trio work with themes that “manipulate perceptions of the physical world”, whereby their installations aim to “provoke awareness of the inherent unreliability and uncertainty in the world around us”. ‘Contact’ demonstrates just this: the ocean’s oscillating balance of power and fragility.

By capturing the tumultuous nature of ocean currents in such acute detail, Mé indeed brings our attention to the uncertain future of Earth’s oceanic waters.

2. 'Bord de Mer ' by Agnès Varda - Blum & Poe Gallery Tokyo, Japan 2018

This exhibition, the artist's first in Tokyo, centers on Bord de Mer (2009), a video installation which portrays three distinct dimensions of time—past, permanent, and present. A still image projected onto a vertical screen reveals a view of the ocean; on a sloped platform below, moving footage shows a wave rolling and dissolving into the shoreline; finally, this platform merges with a small beach of sand at the viewer's feet.

Varda is celebrated as the mother of the French New Wave. Films such as Cléo from 5 to 7 (1961), Vagabond (1984), Jacquot de Nantes (1991), and The Gleaners and I (2000) have won her global critical acclaim. In 2003 she transformed, in her own words, from being an 'old filmmaker to a young visual artist,' creating sculptures and installations that play with the representation of time, space, and reality.

3. 'Elegy ' by Miguel Rothschild - St. Matthäus-Kirche, Evangelical church in Berlin, Germany 2018

The multidisciplinary Argentinian artist works across a wide variety of mediums from modified photography to glass sculpture and textiles. In several recent works the Rothschild has captured the slow roll of ocean waves in suspended fabric installations titled Elegy and De Profundis. Both artworks seem to play with the viewer’s perception, appearing both as waves or perhaps a slice of the sky. Even the filament that holds the artwork airborne seems to glisten like rays of sun or rain.

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phantomtutor · 1 year

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This is the movie list pick one: 1991 Life on a String Naked Lunch Slacker The Rapture Les Amants du Pont Neuf The Double Life of Veronique Barton Fink Jacquot des Nantes Tribulation 99: Alien Anomalies Under America JFK A Brighter Summer Day Days of Being Wild The Suspended Step of the Stork Instructions: Do not include quotes To what degree your writing on film is intelligent, thoughtful, referential, scholarly, creative and/or original is up to you – but your grade will be largely determined by these considerations (as well as by your entries’ punctual posting on Fridays). Certainly, using the ideas we cover in class will be helpful. “Criticism” in these terms does not suggest a mere statement of preference, or a thumbs-up-or-down judgment, but a thorough and insightful dissection of the film in question, taking as many factors into consideration as possible. Read the film – what are its intentions, its metaphoric meanings, its vibe, its texture, its impact, its role as a cultural statement made when and where it was made? Your main concerns are: clarity, articulation of your point of view, and keeping your prose interesting, so at least you, as a reader, would not be bored with it and might want to keep reading to the end. Please keep in mind that your readers may not know your personally, and don’t care how you feel, or how tired you were, or what kind of movies you prefer. Do not write about yourself, and DO NOT use personal pronouns: I, me, my. You should make your position understandable and persuasive and interesting to perfect strangers, all of whom we will presume have graduated high school. My advice generally in writing criticism is to skip the obvious statement; think about what the film’s thrust is (whether or not it seems to be intentional); and keep thinking about films as objects with aesthetic values – that is, texts – not simply as stories and certainly not simply as momentary experiences you’ve had. Of course, reading thoughtful film criticism helps; I would encourage everyone to hunt down work online by J. Hoberman, Chuck Stephens, A.O. Scott, Scott Tobias, Andrew O’Hehir, Andrew Sarris, Geoffrey O’Brien, David Thomson, Violet Lucca, Dennis Lim, Mark Asch, J.R. Jones, Nick Pinkerton, Howard Hampton, Melissa Anderson, Jonathan Rosenbaum (try to overlook his first-person narcissism), and Godfrey Cheshire. The critiques require no sources, quotes or references – they ARE NOT research papers, but critiques. You are the critic, so critique. I don’t want to read about the film’s production history or what Roger Ebert thought of it. For your first four critiques, please only write about movies on the list from 1975 and earlier. In the second half, any item on the whole menu is permissible. ORDER THIS PAPER NOW. 100% CUSTOM PAPER CategoriesEnglish, MLA Leave a Reply Cancel replyYour email address will not be published. Required fields are marked *Comment * Name * Email * Website Save my name, email, and website in this browser for the next time I comment. Post navigation Previous PostPrevious Assignment #4Next PostNext Week 6 Assignment – Job Satisfaction vs. Organizational Commitment

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