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Rohmer Summer has fed into Rohmer Fall: following sold-out screenings of The Green Ray and a shorts program, my screening series Amnesiascope has partnered again with Instagram auteur Rohmer Fits for two special screenings of Éric Rohmer’s 1998 triumph A Tale of Autumn, which will play Sunday, October 13 and Tuesday, October 22 at the Brooklyn Center for Theatre Research.

Though perhaps the crowning achievement in Rohmer’s Tale of Four Seasons, A Tale of Autumn still seems underappreciated and underseen. A brisk fall evening in close quarters suggests the ideal time to discover or revisit the film––for my money his best take on both the romantic comedy and Shakespearian case of mistaken identity. Our thanks to Janus Films for facilitating these screenings.

Official synopsis is below and tickets are here. We look forward to seeing you.

The concluding installment of the “Tales of the Four Seasons” tetralogy is a breezy...

Studiocanal have put together a lovely package for this re-release of the Jean-Pierre Melville classic. It offers a 4k restoration of the film, supervised by DoP Pierre Lhomme, which certainly brings out the bleak blue-dominated palette of the film.

Previous editions of the film have included a commentary track by Professor Ginnette Vincendeau. This time out, that has disappeared into the shadows but there are two substantial background extras instead.

Army Of Shadows...The Hidden Side Of The Story first appeared on the 2013 release of the film and it's an excellent guide to the ins and outs of Melville's attitude and the way he worked with the actors on the set. Interviewees include the producer Jacques Dorfman and the DoP along with Olivier Bohler, who directed documentary Code Name: Melville and who proves an informative guide to Melville's motivations. Actors Alain Mottet, Alain Libolt, and Claude Mann also provide some excellent.

One Shot is a series that seeks to find an essence of cinema history in one single image of a movie. Jean-Pierre Melville’s Army of Shadows (1969) welcomes the unhappy memories of Vichy France. The movie unfolds like a living diary, mostly from the perspective of the sturdy Phillipe Gerbier (Lino Ventura), a member of the French resistance. It puts before us, among other things, the individual costs that are meant to be paid to the collective. Paul Dounat (Alain Libolt) is a traitor who is to be punished for his treachery. On the face of it this punishment is a righteous act performed by the committed heroic forces. But his murder by the resistance sequence flips that notion. When La Masque (Claude Mann), a young member of the execution party, berates the traitor for his actions we realize that Dounat is but a kid who hardly fits his coat.

Any flimsiness in the script by director Hirokazu Kore-eda, the Japanese filmmaker behind Shoplifters, After Life, and Nobody Knows, is quickly overcome by the sight of this dazzling duo in a duel of wits and conflicting emotions. Kore-eda may be working off his home turf, but his funny and sneakily touching film — his first in English (with a smattering of French) — tackles the universally relatable topic of family bonds and how to stop them from fraying.

Deneuve plays Fabienne Dangeville, an aging icon of French cinema. (Since Deneuve herself is famously ageless,...

Title: La Vérité (The Truth) Director: Kore-eda Hirokazu Cast: Catherine Deneuve, Juliette Binoche, Ethan Hawke, Clémentine Grenier, Manon Clavel, Alain Libolt, Christian Crahay, Roger Van Hool, Ludivine Sagnier, Laurent Capelluto, Jackie Berroyer. The Nippon director who won the Jury Prize at the 2013 Cannes Film Festival for Like Father, Like Son and the Palme d’Or […]

The post 76th Venice Film Festival: La Vérité (The Truth) Movie Review appeared first on Shockya.com.

Early in the morning, late in the summer, the first ferryboat docked outside the Casino Palace shortly before 8 am, ejecting a crowd of critics onto the Lido and out toward the first screening of the year. Capping off weeks of excitement for yet another auteur-studded lineup, as well as endless controversies over its chronic lack of female representation, the 76th Venice Film Festival kicked off on August 28. And the Lido—that long strip of land separating the Venice lagoon from the Adriatic—braced for the return of a platoon of cinephiles that will keep flocking to its shores until the feast’s end on September 7. Now at its eighth edition under the aegis of Artistic Director Alberto Barbera, the festival has long turned into a fertile ground for awards season hopefuls. To be sure, this is nothing new: the late summer/early fall slot makes Venice an ideal launchpad for Oscar contenders,...

Hirokazu Kore-eda’s The Truth puts spotlight on motherhood, female relationships and the nature of cinema itself.

The Venice Film Festival kicked off on Wednesday night (Aug 28) with Japanese director Hirokazu Kore-eda’s French-language debut The Truth, starring Catherine Deneuve and Juliette Binoche.

The generally well-received feature made for a fitting opening film amid the ongoing debate over female representation at the festival, spurred by the fact that just two of the 21 films in competition this year are directed by women.

Deneuve plays a steely cinema diva who has put career ahead of friends and family throughout her life, opposite Binoche as her long-suffering,...

In the latest film from Hirokazu Kore-eda (director of the 2018 Palme d’Or winner “Shoplifters”), Catherine Deneuve plays a legendary French film star who has just published a memoir titled, like this movie, “The Truth.” It’s a promise that her book comes nowhere near fulfilling; as for Kore-eda’s first film made outside his native Japan, it’s a fascinating exploration of the fallibility of memory and of how the truths we tell ourselves so frequently outweigh an empirical certainty.

Deneuve’s Fabienne falls into the great screen tradition of actresses capable of great emotion on stage or screen but less so off. (Think Bette Davis’ Margo Channing in “All About Eve” or Gena Rowlands’ Myrtle Gordon in “Opening Night.”) She also shares some DNA with Ingrid Bergman’s musician in “Autumn Sonata” or Shirley MacLaine’s movie star in “Postcards From the Edge” — have we acknowledged how much...

Director: Patric Chiha Writer: Patric Chiha Starring: Béatrice Dalle, Isaïe Sultan, Alain Libolt, Raphaël Bouvet, Sylvia Rohrer, Udo Samel, Tatiana Vialle, Bernd Birkhahn, Manuel Marmier, Gisèle Viene, Gloria Pedemonte, Thomas Landbo Nadia (Béatrice Dalle) is a mathematician. The rhythms and patterns of her life appear to be very orderly and precise, like -- ehem -- math. Her high heels clack like a metronome as she goes on the same walk in the park with her 17-year-old nephew, Pierre (Isaie Sultan), day after day after day. The repetition is enough to lull one into a hypnotized state, which could explain why Pierre seems so mesmerized by his aunt. Star-struck is more like it. Pierre worships at the altar of Nadia; to Pierre, she is the epitome of cool. But maybe Nadia is cool because she actually listens to Pierre; she cares what he thinks -- especially when it comes to his fashion advice.

Representing the final entry in his quartet of "Four Seasons" films, Eric Rohmer's "Tale of Autumn" is a typically droll and witty talkathon about the complications of romantic love that, while not being one of his more sublime excursions, should well please his die-hard fans. Recently showcased at the New York Film Festival, it is due for commercial release by October Films.

Unlike many of his previous films, the appropriately titled "Autumn" deals with middle-aged protagonists. The central character is Magali (Beatrice Romand), a 45-year old widowed winery owner who, without her knowledge, gets set-up with a pair of men. Her best friend Isabelle Marie Riviere) places a personal ad on her behalf and, pretending to be Magali, personally meets with the most promising respondent, a mild-mannered balding businessman named Gerald (Alain Libolt). Meanwhile, Rosine (Alexia Portal), her son's precocious and sexy girlfriend, schemes to hook her up with Etienne (Didier Sandre), her college professor and former lover. Etienne, faced with the prospect of becoming involved with a woman who may well be his ex's future mother-in-law, is understandably skittish.

It all comes to a head at an outdoor wedding in which Magali is introduced to both would-be suitors, with predictably complicated results. The mildly farcical story line, while amusing, is not as important as the well-textured characterizations and Rohmer's witty observations about friendship, love, sex and other matters of the heart. If the film deviates little from the director's typically leisurely approach, and is unlikely to win him any new converts, it offers the type of sophisticated, subtle pleasures that only he can provide.

TALE OF AUTUMN

October Films

Director-screenwriter: Eric Rohmer

Producer: Margaret Menegoz

Photography: Diane Baratier

Editor: Mary Stephen

Music: Claude Marti

Color/stereo

Cast:

Isabelle: Marie Riviere

Magali: Beatrice Romand

Gerald: Alain Libolt

Etienne: Didier Sandre

Rosine: Alexia Portal

Leonce: Stephane Darmon

Emilia: Aurelia Alcais

Running time -- 110 minutes

No MPAA rating...