#Charles Jeunet

[probablygayattorneys]

I don’t know why, but learning Last Window used live action actors and somehow put those files into the game has rocked my whole world.

[vertoludum]

I think about this parallel a normal amount.

Le Fabuleux Destin d'Amélie Poulain (2001) Pushing Daisies (2007-2009)

[eemcintyre]

@eemcintyre's top 118 favorite movies in alphabetical order

An admittedly random number that includes objectively "well-made" films with artistic merit, objectively considered-to-be-entertaining movies, and possibly questionable ones that I'm sentimental for or just like for whatever mysterious reason (usually a hot guy but not always). This is just what I like and the premier way to get to know me.

(Updated 09/07/24)

A Charlie Brown Christmas (1965), dir. Bill Melendez

A Few Good Men (1992), dir. Rob Reiner

A New Hope (1977), dir. George Lucas

Amelie (2001), dir. Jean-Pierre Jeunet

American Made (2017), dir. Doug Liman

AMY (2015), dir. Asif Kapadia

Annie (1982), dir. John Huston

Argylle (2024), dir. Matthew Vaughn

Arthur Christmas (2011), dir. Sarah Smith

Barbie as the Princess and the Pauper (2004), dir. William Lau

Barbie of Swan Lake (2003), dir. Owen Hurley

Black Swan (2010), dir. Darren Aronofsky

The Blair Witch Project (1999), dir. Eduardo Sanchez & Daniel Myrick

The Bodyguard (1992), dir. Mick Jackson

Borat (2006), dir. Larry Charles

The Breakfast Club (1985), dir. John Hughes

Camille (1936), dir. George Cukor

Casablanca (1943), dir. Michael Curtiz

Chinatown (1974), dir. Roman Polanski

Cocktail (1988), dir. Roger Donaldson

Con Air (1997), dir. Simon West

The Conjuring (2013), dir. James Wan

The Conjuring 2 (2016), dir. James Wan

The Crow (1994), dir. Alex Proyas

Cruel Intentions (1999), dir. Roger Kumble

Dallas Buyers Club (2013), dir. Jean-Marc Vallée

Die Hard (1988), dir. John McTiernan

Eddie and the Cruisers (1983), dir. Martin Davidson

Elf (2003), dir. Jon Favreau

Eloise at Christmastime (2003), dir. Kevin Lima

The Empire Strikes Back (1980), dir. Irvin Kershner

Enchanted (2007), dir. Kevin Lima

Face/Off (1997), dir. John Woo

Far and Away (1992), dir. Ron Howard

Footloose (1984), dir. Herbert Ross

Galaxy Quest (1999), dir. Dean Parisot

The Great Muppet Caper (1981), dir. Jim Henson

Hannah Montana: The Movie (2009), dir. Peter Chelsom

Harry Potter and the Chamber of Secrets (2002), dir. Chris Columbus

Harry Potter and the Goblet of Fire (2005), dir. Mike Newell

Harry Potter and the Prisoner of Azkaban (2004), dir. Alfonso Cuaron

Harry Potter and the Sorcerer's Stone (2001), dir. Chris Columbus

Heathers (1988), dir. Michael Lehmann

Hereditary (2018), dir. Ari Aster

High School Musical (2006), dir. Kenny Ortega

The Hitchhiker's Guide to the Galaxy (2005), dir. Garth Jennings

Holes (2003), dir. Andrew Davis

The Holiday (2006), dir. Nancy Meyers

Hollow Point (1996), dir. Sidney J. Furie

Hotel Rwanda (2004), dir. Terry George

How to Lose a Guy in 10 Days (2003), dir. Donald Petrie

I Know What You Did Last Summer (1997), dir. Jim Gillespie

I, Tonya (2017), dir. Craig Gillespie

Ice Princess (2005), dir. Tim Fywell

Indiana Jones and the Last Crusade (1989), dir. Steven Spielberg

Indiana Jones and the Raiders of the Lost Ark (1981), dir. Steven Spielberg

In a Lonely Place (1950), dir. Nicholas Ray

Insidious (2010), dir. James Wan

Insidious: Chapter 2 (2013), dir. James Wan

Insidious: The Red Door (2023), dir. Patrick Wilson

Jackie (2016), dir. Pablo Larrain

Jerry Maguire (1996), dir. Cameron Crowe

JFK (1991), dir. Oliver Stone

The Karate Kid (1984), dir. John G. Avildsen

The Karate Kid Part II (1986), dir. John G. Avildsen

Knight and Day (2010), dir. James Mangold

Laggies (2014), dir. Lynn Shelton

The Last Samurai (2003), dir. Edward Zwick

Lawn Dogs (1997), dir. John Duigan

Lean on Me (1989), dir. John G. Avildsen

Leaving Las Vegas (1995), dir. Mike Figgis

Magnolia (1999), dir. Paul Thomas Anderson

Megamind (2010), dir. Tom McGrath

Minority Report (2002), dir. Steven Spielberg

Mission: Impossible (1996), dir. Brian De Palma

Mission: Impossible - Dead Reckoning Part One (2023), dir. Christopher McQuarrie

Mission: Impossible - Rogue Nation (2015), dir. Christopher McQuarrie

Mission: Impossible III (2006), dir. J.J. Abrams

Mr. Right (2015), dir. Paco Cabezas

National Lampoon's Christmas Vacation (1989), dir. Jeremiah S. Chechik

National Treasure (2004), dir. Jon Turteltaub

Natural Born Killers (1994), dir. Oliver Stone

Oklahoma! (1955), dir. Fred Zinnemann

The Outsiders (1983), dir. Francis Ford Coppola

The Pacifier (2005), dir. Adam Shankman

Planes, Trains and Automobiles (1987), dir. John Hughes

The Preacher's Wife (1996), dir. Penny Marshall

Pretty in Pink (1986), dir. John Hughes

Pride and Prejudice (2005), dir. Joe Wright

The Princess Diaries (2001), dir. Garry Marshall

Raising Arizona (1987), dir. Joel & Ethan Coen

Return of the Jedi (1983), dir. Richard Marquand

Roman Holiday (1953), dir. William Wyler

Sabrina (1954), dir. Billy Wilder

Scream (1996), dir. Wes Craven

Se7en (1995), dir. David Fincher

Sense and Sensibility (1995), dir. Ang Lee

The Shining (1980), dir. Stanley Kubrick

The Silence of the Lambs (1991), dir. Jonathan Demme

The Sound of Music (1965), dir. Robert Wise

Stretch (2014), dir. Joe Carnahan

The Talented Mr. Ripley (1999), dir. Anthony Minghella

A Time to Kill (1996), dir. Joel Schumacher

Titanic (1997), dir. James Cameron

Tropic Thunder (2008), dir. Ben Stiller

The Trouble with Angels (1966), dir. Ida Lupino

Truly, Madly, Deeply (1990), dir. Anthony Minghella

Twin Peaks: Fire Walk with Me (1992), dir. David Lynch

Ulterior Motives (1992), dir. James Becket

Valkyrie (2008), dir. Bryan Singer

Vanilla Sky (2001), dir. Cameron Crowe

Vertigo (1958), dir. Alfred Hitchcock

The Way, Way Back (2013), dir. Jim Rash & Nat Faxon

West Side Story (1961), dir. Robert Wise & Jerome Robbins

Where the Heart Is (2000), dir. Matt Williams

White Christmas (1954), dir. Michael Curtiz

Zodiac (2007), dir. David Fincher

(500) Days of Summer (2009), dir. Marc Webb

[talesfromthecrypts]

Movie recs for an uncultured person who wants to become cultured?

I assume you mean in a Criterion way and not in either a "Spielberg Ready Player One" way or a my "80s grindhouse/70s giallo" way. So here we go fancy cultured movies:

Sherlock Jr (1924) dir. Buster Keaton*

Metropolis (1927) dir. Fritz Lang*

Dance, Girl, Dance (1940) dir. Dorothy Arzner*

La belle et la bete (1946) dir. Jean Cocteau

Rashomon (1951) dir. Akira Kurosawa

Tokyo Story (1953) dir. Yasujirō Ozu*

The Hitch Hiker (1953) dir. Ida Lupino

Diabolique (1955) dir. Henri-Georges Clouzot

The Night of the Hunter (1955) dir. Charles Laughton

The Killing (1956) dir. Stanley Kubrick*

Peeping Tom (1960) dir. Michael Powell

Scorpio Rising (1963) dir. Kenneth Anger*

Persona (1966) dir. Ingmar Bergman*

Belle de Jour (1967) dir. Luis Buñuel*

Midnight Cowboy (1969) dir. John Schlesinger*

American Graffiti (1973) dir. George Lucas*

Mean Street (1973) dir. Martin Scorsese

House (1977) dir. Nobuhiko Ōbayashi

Possession (1981) dir. Andrzej Żuławski

Nostalgia (1983) dir. Andrei Tarkovsky

Brazil (1985) dir. Terry Gilliam

Do The Right Thing (1989) dir. Spike Lee*

Poison (1991) dir. Todd Haynes

The Piano (1993) dir. Jane Campion*

The City of Lost Children (1995) dir. Jean-Pierre Jeunet/Marc Caro

Irma Vep (1996) dir. Olivier Assayas

Happy Together (1997) dir. Wong Kar-wai

Trouble Every Day (2001) dir. Claire Denis*

Whale Rider (2002) dir. Niki Caro*

Children of Men (2006) dir. Alfonso Cuarón

I See the Devil (2010) dir. Kim Jee-woon

Shame (2011) dir. Steve McQueen*

Holy Motors (2012) dir. Leos Carax

Paterson (2016) dir. Jim Jarmusch

Vox Lux (2018) dir. Brady Corbet

*movies I watched for college courses so 100% confirmed fancy smart people movies

[internettythings]

I don't usually do these things, but I was tagged by the fabulous @behind-evil-thoughts (You should follow her) so I thought, "what the hell."

1. Dogs or Cats?

It's a loaded question. Half of the internet hates your answer either way. Pass.

2. YouTube celebrities or normal celebrities?

There are normal celebrities?

3. If you could live anywhere where would that be?

I kinda like it in Minnesota. But I have to admit when I visited Scotland, I did say "I could live here" more than once.

4. Disney or DreamWorks?

Old, old, Disney

5. Favorite childhood TV show?

The news (what can I say?)

6. The movie you’re looking forward to most in 2020?

no clue

7. Favorite book you read in 2019?

The Big Thirst: The Secret Life and Turbulent Future of Water by Charles Fishman (re-read)

8. Marvel or DC?

Gold Key

9. If you choose Marvel favorite member of the X-Men? If you choose DC favorite Justice League member?

n/a

10. Night or Day?

Dusk

11. Favorite Pokemon?

n/a

12. Top 5 bands/artists:

I'm currently really into French and French Canadian artists.

1.Zaz 2.Les soeurs Boulay 3.Nicolas Pellerin et les Grands Hurleurs 4.Pomme 5.Galant, tu perds ton temps

13. Top 10 books.

I mostly read nonfiction books. I find it hard to rank them.

14. Top 4 movies

(This list changes frequently, but 1 and 2 are always on it.)

1. Amélie (2001) directed by Jean-Pierre Jeunet

2. The Road Home (2000) directed by Zhang Yimou

3. The Best Years of Our Lives (1946) directed by William Wyler

4. Moonrise Kingdom (2012) directed by Wes Anderson

15. US or Europe

It depends on where in Europe you're talking about.

16. Tumblr or Twitter?

Tumblr

17. Favorite vacation destination?

I'd love to travel the world to find it.

18. Favorite YouTuber?

Leo Moracchioli - he does heavy metal covers of pop songs

19. Favorite author ?

Me

20. Tea or Coffee?

I don't drink any warm beverages.

21. OTP?

n/a

22. Do you play an instrument/sing?

In the car with the windows closed I'm a rock star.

[puta-mente-rosa]

Películas

1. Orígenes ( escrita, dirigida y producida por Mike Cahill)

2. Harry Potter y el cáliz de fuego (escrita por J. K. Rowling. Fue dirigida por el realizador inglés Mike Newell)

3. Alicia en el país de las maravillas (Dibujos animados, disney channel)

4. Mi vecino Totoro ( Studio gibli director: Hayao miyazaki) El castillo ambulante( producida por Toshio Suzuki y dirigida por Hayao Miyazaki), la tumba de las luciérnagas ( dirigida por Isao Takahata).

5. Los 7 más odiados (dirigida por Quentin Tarantino)

6. Her ( escrita y dirigida por Spike Jonze)

7. Star Wars episodio V “el imperio contraataca” ( dirigida por Irvin Kershner)

8. El pianista ( dirigida por Roman Polanski)

9. El resplandor (producida y dirigida por Stanley Kubrick)

10. Psicosis (dirigida por Alfred Hitchcock)

11. Forrest gump ( Basada en la novela de Winston Groom, dirigida por Robert Zemeckis)

12. La naranja mecánica (dirigida por Stanley Kubrick)

13. Bastardos sin gloria ( escrita y dirigida por Quentin Tarantino )

14. V de vendetta ( dirigida por el australiano James McTeigue)

15. Amélie ( dirigida por Jean-Pierre Jeunet)

16. Ciudad de Dios ( dirigida por Kátia Lund y Fernando Meirelles)

17. El cuerpo ( dirigida por Oriol Paulo)

18. Una mente brillante ( Ron Howard y Akiva Goldsman)

19. El código enigma ( dirigida por Morten Tyldum)

20. The room ( Lenny Abrahamson)

21. El hobbit: la desolación de smaug ( Peter Jackson)

22. La chica danesa ( Tom Hooper)

23. American Beauty ( Sam Mendes)

24. Now is good ( dirigida por Ol Parker)

25. El club de los poetas muertos ( Peter Weir)

26. El renacido ( dirigida por Alejandro González Iñárritu)

27. La forma del agua ( dirigida por Guillermo del Toro)

28. Atrápame si puedes ( Steven Spielberg)

29. Begin again ( John Carney)

30. El niño ( Charles Chaplin)

31. El ilusionista ( Neil Burger)

32. El club de la pelea ( David Fincher)

33. Green book ( Peter Farrelly)

34. Relatos salvajes ( Damián Szifron)

35. Los rescatadores (Disney)

36. La lengua de las mariposas (José Cuerda)

37. León el profesional (Luc Besson)

38. Hermano oso ( Bob Walker, Aaron Blaise)

39. Mi nombre es Sam ( Kristine Johnson y Jessie Nelson)

40. La playa ( Danny Boyle)

41. Sufragistas ( Sarah Gavron)

42. El gran hotel Budapest (Wes Anderson)

43. Okja ( Bong Joon Ho)

44. Nueve Reinas ( Fabián Bielinsky)

45. El número 23 ( Joel Schumacher)

[byneddiedingo]

Jonathan Pryce in Brazil (Terry Gilliam, 1985) Cast: Jonathan Pryce, Robert De Niro, Katherine Helmond, Ian Holm, Bob Hoskins, Michael Palin, Ian Richardson, Peter Vaughan, Kim Greist, Jim Broadbent. Screenplay: Terry Gilliam, Tom Stoppard, Charles McKeown. Cinematography: Roger Pratt. Production design: Norman Garwood. Film editing: Julian Doyle. Music: Michael Kamen. I have to admit reluctantly that I'm not a fan of the kind of dystopian social satire epitomized by Terry Gilliam's Brazil and echoed in such films as Marc Caro and Jean-Pierre Jeunet's Delicatessen (1991) and the Coen brothers' The Hudsucker Proxy (1994). They seem to me too scattered to be effective as satire, too dependent on production design and special effects to connect with the realities they're supposedly lampooning. I find myself forgetting them almost once they end. That said, Brazil is always worth watching just for the performances of a cast filled with specialists in a kind of British-style muddling through even the weirdest of situations.

[atypical60]

It’s been a while since I’ve posted.  With early holiday decorating, work, cooking a feast for Thanksgiving dinner for two, Bonaparte and me, and anticipating if we will be home for Christmas due to another possible pandemic lockdown, it’s been the continuation of WTF else can go wrong in 2020.

Goodbye Thanksgiving. Hello Christmas–even though it might be spent “tout seul”–all alone!

I’ve been sitting around pouting over  our cancelled trip to Paris—of which I would have been enjoying this very day as I sit here pounding upon my laptop’s keyboard.  But instead, I bring Paris as well as other parts of France into your living rooms. Or bedrooms.  Or family rooms. Or wherever you enjoy watching TV.  It’s a way of traveling both through time and to another country and can get your imagination going during these trying times.

Same time last year.  I discovered this beautiful pile of croissants at Cafe de Paris on Rue du Buci–our neighborhood hangout.  Not this year….

Let’s face it— those Hallmark Holiday movies can, at times, be a bit of overkill so why not try something different?   French movies–with subtitles for those who don’t speak the language!  Subtitles don’t take away from the movie at all. In fact, I find that subtitles can assist in learning another language.

My bad.  I realize this is a post about French cinema but…I had to get a photo of my favorite French Netflix series in here. Dix Pour Cent.  As I eagerly await the new season  I am BEGGING you to watch the first seasons. It’s the greatest!!

For you, I’ve compiled a listing of some of my favorite French movies. Trust me, if I listed all of them, this post would turn into a novel. And I must resume writing about the weight gloss (I have a lot to say on that) and other subjects.  And Bonaparte has added his very pragmatic listing of French films that he highly recommends.  As my husband is a man of very few English language words, he leaves no descriptions.  Just films he loves that you might love.

I, on the other hand, will list some of my faves and brief descriptions.  Before I do.  Remember a few tips:  Invest in a DVD player equipped to play foreign films.  Seriously.  There’s a difference between many foreign DVD’s and ones in the States.  If you purchase an international DVD player, your life and movie-watching will be much easier.

  Many of these movies can be found online if you wish to purchase.  Many can be found for streaming on YouTube or Amazon Prime or any other streaming venues.  TV 5 Monde shows many films as well.    So here we go—some of my recommendations:

  It’s my favorite movie of all time.  ALL TIME!!

And I double-dog dare ya to not fall in love with Mathieu Kassovitz and Audrey Tautou–it is impossible. They are the most adorable couple ever!

Amelie or “Le Fabuleux Destin d’Amelie Poulain: This is my Number 1 favorite movie of all time.  Yes. ALL TIME!  THIS is what every person who thinks “Emily in Paris” is a great show should watch. They would certainly change their minds about that horrific show after viewing the first ten minutes of Amelie.   The film is delightful and a masterpiece.  Audrey Tautou stars as the lovely but shy Amelie.  A waitress in a Paris café, she feels her mission is to help others, all the while allowing love to pass her by.  She develops a crush on a young Parisien, Nino, and the rest is a wild, bittersweet, scavenger hunt.  All the characters in this movie are perfectly cast and the cinematography is outstanding.  Shot in a greenish filter, the view is almost ethereal—like a dream.  And in the end, when Amelie and Nino finally meet, I guaranty you will be crying like a baby.  Over the years I’ve seen this movie about 30 times, and the ending still get me.  I can’t stop crying.  If you want a feel good, beautifully filmed movie, sweetest story that will have you grinning from ear to ear, please make this a must-watch!

This movie has something for everyone. It’s a great “couples” movie.  It’s got some really intense trench and war scenes and the scenes between Manech and Mathilde pre-war are touching and beautiful.  Hands down, this is one great epic film!

A Very Long Engagement:  As with Amelie, this is another Jean-Pierre Jeunet film.  This has a great deal of sentimentality for me—it’s the first movie Bonaparte took me to see.  This epic drama has everything.  It’s a love story.  It’s a story about World War I.  It’s tragic and beautiful and has a large cast—but the best surprise is Jodie Foster as Elodie, the wife of a soldier and her French is perfect—she is completely bi-lingual.  Oscar-winner Marion Cotillard stars as prostitute Tina Lombardi headed for a bad fate.  It follows the story of Mathilde and Manech, two young lovers who are engaged.  Mathilde, played by Audrey Tautou, due to a bout with polio wears a leg brace but it doesn’t stop her. Manech, played by Gaspard Ulliel, is Mathilde’s fiancé headed for the trenches of war.  When word reaches Mathilde that Manech has been killed, she refuses to believe it and the film turns to her search for him.  It’s an excellent movie that you’ll want to watch on repeat!

The 400 Blows or les Quatre Cents Coups–whichever you prefer, this is one of the greatest films of all time. It’s depressing but hopeful and Antoine Doinel is one of the greatest characters ever. I recommend watching the series of his “life” into adulthood!

The 400 Blows:  This film by New Wave Film maker Francois Truffaut introduces the iconic character Antoine Doinel.  Antoine is Truffaut’s alter ego and much of the Doinel movies are based on incidents in Truffaut’s life.  The 400 Blows has its comical moments, but for the most part is somewhat sad. Doinel doesn’t get much love at home and ends up in a school for truancy.  There are five movies in the Doinel series and I highly recommend watching all of them.  It’s interesting to watch the series as Doinel goes from young teen to adulthood.  Jean-Pierre Leaud is excellent as the brooding Doinel.

I saw this for the first time back in NYC when I was 22 years old. At The Thalia theatre on the Upper West Side.  After seeing Charles Denner, I had such a serious crush on him that I daydreamed about marrying a Frenchman.  OH!  Wait!  I DID marry a Frenchman!

The Man Who Loved Women:  Another Truffaut film, this one, from 1977 was the movie that started my decades-long crush on actor Charles Denner, who plays Frenchman Bertrand Morane in his insatiable pursuit of women.  I loved it—it’s kind of sexist but who cares *French shrug*–its just a great movie!

Many of us are familiar with Jean Reno–he’s been in a lot of movies made in the USA. But..Christian Clavier is another story. He is one of the funniest actors on the face of the earth. I could devote an entire post on him alone.  His face, his emotions–he’s just so funny–and if you love time travel this is such an entertaining movie.  Warning-empty your bladder before viewing because you will laugh THAT hard!

Les Visiteurs: A hysterically funny movie, this is the first of I believe three Visiteurs movies.  It stars Jean Reno, and Christian Clavier, who wrote the screenplay with John Hughes.  It’s a time travel movie about a knight and his sidekick who, through a spell gone wrong find themselves in modern-day France.  This movie has laugh-out-loud moments and Christian Clavier happens to be one of my favorite comedic actors.  You may recognize Jean Reno from many movies made here in the States.  If you are looking for a very sophomoric movie with a ton of humor, this is it!

I’m impressed. Somewhere there’s a video game based on this movie.  But seriously folks–the suave and bumbling Jean Dujardin is great in these movies..

It was like watching The Artist all over again with these two–only with voices and far more laughs!

OSS 117 Cairo, Nest of Spies:  You will definitely recognize two of the lead stars from this movie. Oscar winner Jean Dujardin (his Oscar from The Artist) and Berenice Bejo, wife of director/writer Michel Hazanavicius.  Dujardin also starred in OSS117 Lost in Rio and next year he stars in another OSS 117 movie.   A take on James Bond films, Dujardin is perfectly cast as the suave albeit bumbling spy.  There’s a scene in this movie where he is singing a song in a restaurant and it is, hands down, one of the funniest scene’s I’ve ever viewed in my life.  It reeks of every 1960’s spy, espionage, secret-agent movie and is done so very well!  Enjoy. You’ll want more!

My favorite naughty girl!  And naughty she is!

But put the sexist behavior behind-this WAS filmed in 1956 after all, and watch it for the visuals of old St. Tropez!

And God Created Woman: This Roger Vadim film turned Bardot into a star. It’s so stinking sexist and not in a good way either.  But, it’s so worth watching because of Bardot and St. Tropez. This was filmed in 1956.  Back when St. Tropez wasn’t the St. Trop we know now.  No jet-setters.  No  yachts. It was a simple fishing village.  My husband spent his summers here and his grandmother had a home here.  The stories he tells me fills my head with wishes that St. Tropez was still a small fishing village!  Bardot is so incredibly beautiful and the dancing scene in the bar/restaurant is epic.  Filmed in black and white, it hasn’t really aged that well but I still think it is worth watching.

Gerard Jugnot is so wonderful in this–and it IS an exceptional film! It’s based on a true story and honestly-once will not be enough to watch this. I may watch it again this afternoon!

The Chorus:  Want a good cry?  Watch this movie.  Seriously.  It’s about a failed musician, Clément Mathieu, played by the wonderful Gerard Jugnot, who ends up teaching music at a boarding school for bad boys.  Well, more like boys with issues because there’s only one who is really bad.  But Mathieu starts a choir and the movie takes us on the journey.  It’s loosely based on a real-life story. This is a beautiful movie that keeps you on edge but ends up being such a feel-good film. You’re going to need a box of tissues for this one!

I know. I know. There’s a certain campiness and cheesiness about this movie–but it’s FUN!!  A great little costume dramedy and  Robin Hood frenchie style!

Cartouche:  Got kids? Got grandkids?  Got your kid-at-heart ready? This is such a barrel of swashbuckling fun—it’s impossible not to love this one.  Jean-Paul Belmondo, Claudia Cardinale and Jean Rochefort star in this most entertaining and thrilling movie! Taking place in the 18th century, it’s a kind of French-style Robin Hood movie.  It’s just so much fun.  In 1962, when this movie was made, I was seven years old. Trust me, I would have loved this movie whether or not I understood the language!

I laughed. I cried. I fell in love with Omar Sy…

It was also fun being in Paris at the premiere of this movie . I got to see my favorite French actors in the audience and Bonaparte beamed with pride at his cousin’s son’s success.  It was a nice moment and this movie is just so “feel good”!

Demain tout Commence:  Shameless plug here. This movie was written and directed by my husband’s cousin, Hugo Gelin.  And the title is actually a saying his aunt, Daniele used to say all the time—tomorrow, it begins.  This family-fare film is charming, funny and sweet.  It stars the actor with the greatest smile on earth—Omar Sy.  He’s a rather wild playboy type until one day he receives a surprise in the form of…. a baby.  Is it his daughter or not?  Anyway, the film follows his life with daughter.  It is just such a sweet, sweet movie that will have you laughing and crying at the same time—and I’m sure you will fall in love with this little movie!

How successful was this movie?  Enough so that when we visit Yves Gravesite in Montparnasse, there are buttons placed upon his grave!

Bonaparte’s brothers, Fracois and Martin.  It was so much fun to see them in the movie.  Makes me wish I had someone who would put me into a movie!!

La Guerre des Boutons:  The original. Released in 1962 and directed by Bonaparte’s uncle, Yves Robert, he and Daniele produced this and put their money in this project which was filmed largely on their estate.  My husband’s brothers Francois and Martin play two of the young boys in the movie.  It’s about a war of the buttons. The movie is about two rival teams of kids whose fun combats escalate. The buttons are cut off from clothing in this movie based on the book by Louis Pergaud, who was killed in WWI. It’s also a book and movie with strong anti-military overtones. It was remade in Ireland in the 1990’s and again in 2011 in France.  It is filmed in black and white. It may not be everyone’s choice but I think –especially in these uncertain times, it’s definitely worth watching!

This movie.  It personifies Film Noir.  It was so intense!  Louis Malle created a masterpiece with this dark thriller–and the soundtrack was pretty darn great too!

Elevator to the Gallows:  Whew.  This movie by Louis Malle will have you biting your nails. It’s such a dark thriller.  Starring Jean Moreau who is great, it’s the story of two lovers planning a murder.  And the effect of an elevator. That’s all I’m going to say.  It’s total film noir. And the soundtrack by Miles Davis adds to the darkness.  This is one movie you should not miss!

This movie.  It’s a gem that nobody seems to know about and I love it so much.  This is that movie you watch when you are a bit stressed and the visuals and the story will be so soothing for you.  I freaking LOVE this movie and the reaction from people–even my husband is “What movie are you talking about’?

Les Enfants du Marais:  Set in the very early 1900’s, after WWI. This is just one of those surprise gems.  I came across it a few years back when Netflix mailed movies to you.  There isn’t a lot of action—it’s just a slow, almost laze-like film about life in the French marshland in the Loire Valley.  It follows Riton, a sad-sack sort of guy, played by Jacques Villeret, with a wife and three really badly-behaved children.  Jacques Gamblin plays Garris, who lives alone with his memories of The Great War, and their friends, Tane a train conductor and Amedee, a complete dreamer who basically does nothing but read. Amedee is played by one of my favorite actors, Andre Dussolier.   The movie follows every day mundane life but it isn’t a boring movie. Visually it is beautiful and it’s one of those movies that you remember but can be difficult to find. Honestly, this movie deserves more love than it gets!

The French movie poster for Pardon Mon Affaire.  This movie was so stinking funny. Jean Rochefort was clearly the big star here because everything from his timing to his facial expressions were hysterically funny.   Want a great comedy?  Here you go!

Pardon Mon Affaire:  Alright.  Another shameless family plug. But I swear, this movie is so funny that you’ll thank me for recommending it. Jean Rochefort and Daniele Delorme star as a married couple.  Bonaparte’s uncle, Yves Robert who was married to his aunt, Daniele, wrote and directed the movie and Daniele starred as Jean Rochefort’s wife in the first of two movies. Daniele and Jean play a very happily married couple until one day, Jean is taken and obsessed with a young model wearing a red dress.  There’s a lot of miscommunication and comedy in this film—and Jean Rochefort on a building ledge is one scene that continues to get a ton of laughs.  In fact, this was remade in 1984 as The Woman in Red starring Gene Wilder and Kelly LeBrock.  I’ll take the French version s’il vous plait!

This is another little gem of a movie and if you can find it–you’ve found a lost treasure!

The Hairdresser’s Husband:  This was described as exotic. It was more dramatic than exotic if you ask me.  Another movie starring Jean Rochefort–I’m gonna go on record as saying he’s one of my favorite actors.  This was a quiet little movie about a man obsessed with hairdressers and he marries one. There life together seems wonderfully perfect and full of love–until one night.  It’s really kind of depressing but it’s great at the same time.  Personally, I loved it.  And think it’s worth sleuthing to find it!

One of the sweetest and charming musicals ever.  It never gets old and the music by Michel Legrand is classic.  So are the shoes that Catherine Deneuve is wearing. I want those.

 The Umbrellas of Cherbourg: Did you know that Catherine Deneuve could sing?  She can! The Umbrellas of Cherbourg is a semi-operetta. There’s a lot of singing dialogue.  The story centers around Genevieve, a teenaged girl working in her mother’s umbrella shop. She’s in love with Guy, a young auto mechanic. Guy is drafted into the Algerian war.  Genevieve and Guy spend one night together.  She gets pregnant.  He’s away.  In the meantime, Roland, an older man who is in love with Genevieve wants to marry her.  He does.  The rest of the movie is love gone awry.  Guy returns and marries Madeleine.  Both Guy and Genevieve move on with their lives until a snowy night years later when Genevieve stops by the auto mechanics with a bit of auto trouble. Jacques Demy wrote and directed this movie and it’s become a classic.  It’s a great story plot but even better made as a musical.  It’s very touching and Michel Legrand’s music is incredible and well-known.  If you haven’t seen this 1964 classic, now is the time to watch it!

And those are just some of my favorite French imports. There’s an awful lot I haven’t mentioned because I want to move on and write about other subjects for now—but, this is a great narrowed-down start! Check out Bonaparte’s listing below!

FRENCH MOVIE LIST

Most of the films below are available on Netflix and/or video stores.

AMERICAN TITLE                                     FRENCH TITLE                                     

Indochine                                                        Indochine                                            Drama/History

Au Revoir les Enfants                                    Au revoir les enfants                          War Drama

My Father’s Glory (1)                                     La gloire de mon père                         Comedy/History

My Mother’s Castle (2)                                   Le château de ma mère                       Comedy/History

Pardon mon Affair                                          Un éléphant ça trompe …..                  Comedy

Métro                                                              Le métro                                             War Drama

Jean de Florette (1)                                         Jean de Florette                                  Drama/History

Manon of the Spring (2)                                 Manon des sources                             Drama/History

Cousin, Cousine                                             Cousin, cousine                                  Comedy

Camille Claudel                                              Camille Claudel                                  Drama/History

La Cage aux Folles                                         La cage aux folles                              Comedy

Ridicule                                                          Ridicule                                              Drama/History

Cyrano de Bergerac                                        Cyrano de Bergerac                            Drama/History

Amelie                                                            Amélie                                                Drama

Nikita  Woman                                               La femme Nikita                                Drama

The Tall Man with a Red Shoe                       Le grand blond à la chaussure …            Comedy

Cesar and Rosalie                                           César et Rosalie                                  Drama

Vincent, François, Paul and the others           Vincent, François, Paul et …              Comedy

Umbrellas of Cherbourg                                 Les parapluies de Cherbourg              Music hall

400 Blows*                                                     Les 400 coups                                     Drama

Beauty and the Beast*                                    La belle et la bête                               Drama/History

Partners                                                           Les ripoux                                           Comedy

French Kiss**                                                                                                             Comedy

Monsieur Ibrahim                                           Monsieur Ibrahim                               Comedy

The Barbarian Invasions (Fr Canadian)         Les invasions barbares                       Drama

The Closet                                                      Le placard                                           Comedy

Grand Illusion *                                              La grande illusion                              War Drama

Swimming Pool                                              La piscine                                           Drama

Mad Adventures of Rabbi Jacob                    Les folles aventures du rabin Jacob            Comedy

Story of Adele H.                                            Adèle H.                                              Drama/History

A Heart in Winter                                           Un coeur en hiver                               Drama

The Wages of Fear*                                       Le salaire de la peur                           Drama

L’Auberge Espagnol                                       (Same title)                                         Comedy

The Beat that My Heart Skipped                    (?)                                                       Drama

Elevator to the Gallows*                                Ascenseur pour l’échafaud                 Drama

Mr. Klein                                                        Monsieur Klein                                   War Drama

Rules of the Game*                                        La règle du jeu                                    Drama

Right Now                                                      A tout de suite                                    Comedy

Le Casque d’Or*                                             (Same title)                                         Drama

The Taste of Others                                        Le goût des autres                   Comedy

Touchez pas au Grisbi*                                  (Same title)                             Drama

Classe Tous Risques*                                     (Same title)                             Action

I Would Lie to You                                        (?)                                           Comedy

The Sorrow and the Pity                                 Le chagrin et la pitié               War Documentary

Jules et Jim*                                                   (Same title)                             Drama

Lacombe Lucien                                             (Same title)                             War Drama

La Chevre                                                       (Same title)                             Comedy

La Vie en Rose                                               (Same title)                             Drama

Delicatessen                                                   (Same title)                             Drama

Three Men and a Baby                                   3 hommes et un coufin           Comedy

The Man who Loved Women                         (?)                                           Comedy

A Very Long Engagement                             De très longues fiancailles     War Drama

Merry Christmas                                            Joyeux Noel                            War Drama

Two Days in Paris                                          2 jours à Paris                         Comedy

Paris Je T’Aime                                              (Same title)                             Comedy

The Valet                                                        Le valet                                   Comedy

Return of Martin Guerre                                 Le retour de Martin Guerre            Drama/History

Night and Fog                                                 Nuit et brouillard                    War Documentary

Green Card**                                                                                                 Comedy

All The Mornings of the World                     Tous les matins du monde            Drama/History

Caché                                                              (Same title)                             Drama

Count of Monte Cristo                                   Le comte de Monte Cristo            Drama/History

The Children of Chabannes**                        Les enfants de Chabannes      War Documentary

  The Formatting is weird because I can’t add  proper columns to this blog post. Thanks WordPress!

NOTES:

Any movie directed by François Truffaut usually is interesting, at least for the quality of dialogues, which are made in “good French”, i.e. without much slang and clearly said.

Movies made by Eric Rohmer are also in excellent French but stories tend to be very slow.

The “Style” description above is very general.  “History” can refer to true historical subjects but also simply to movies taking place in early 20th Century or before.

* : Black and White movie

** : American made movie showing an excellent description of French life an/or behavior

And there you have it!  French cinema recommendations from The Frenchman and me!

The Danton Movie theatre in Paris.  I’ve passed this theatre thousands of times!  And there’s always a few hours of treasured cinema time to come by in here!

Shall We Attend French Cinema? Oui? Non? Oui! It’s been a while since I’ve posted.  With early holiday decorating, work, cooking a feast for Thanksgiving dinner for two, Bonaparte and me, and anticipating if we will be home for Christmas due to another possible pandemic lockdown, it’s been the continuation of WTF else can go wrong in 2020.

[probablygayattorneys]

No judgement on his character because I don’t even know his character yet but why does Charles from Last Window look like a gay vampire

[frontmezzjunkies]

Amélie: What's She So Afraid Of?

#frontmezzjunkies reviewed: @AmelieBroadway @PhillipaSoo #AdamChanlerBerat #TonySheldon

Amélie: What’s She So Afraid Of?

By Ross

If you ask anyone who saw the French film this musical is based on, a few words come up constantly.  ‘Sweet’, ‘pretty’, and ‘adorable ‘ are the main adjectives that get attached to that 2001 film, directed by the always interesting Jean-Pierre Jeunet. Beyond that, everyone’s memory of Amélie (also known as Le Fabuleux Destin d’Amélie Poulain falls into…

[filmskribent]

“Filmtåget – sinnenas färdmedel” (publicerad i Filmrutan, nr. 4 2016)

Det kan vara en kryddad skröna, men bröderna Lumières Tåget ankommer Ciotats station (L'Arrivée d'un train en gare de La Ciotat, 1895) sägs ha varit så effektiv att biobesökare flydde när de såg tåget komma rakt mot dem. Filmen är bara en knapp minut lång, men det räckte för att befästa filmmediets explosiva kraft. Att reagera kroppsligt och som åskådare “känna” det man ser på bioduken, är ett högst mänskligt fenomen. För att kunna relatera räcker egna erfarenheter långt. Filmforskaren Linda Williams är omtalad för sina resonemang kring så kallade body genres – dit räknar hon porr, skräck och melodram – då hon menar att de i hög grad framkallar fysiska reaktioner. Man kan tänka sig detta oavsett genre, om än i enstaka scener. Genom att explicit kittla våra sinnen, utnyttjas våra drifter och svagheter för att komma åt våra mest primitiva jag. Audiovisualitet där åskådaren blir upphetsad, skrämd, illamående eller gråtfärdig. Även om vi vet att det rör sig om fiktion, låter vi oss bli förförda enligt det osynliga kontrakt vi skriver på när vi äntrar biomörkret.

Sensationen av att se ett tåg anlända vid en perrong, kan härröras till tivolits attraktioner. I äldre dagars (amerikanska) spelhallar kunde man befinna sig i simulerade tågvagnar; omgärdad av rörliga landskapsbilder skapades en illusion av att färdas i tåg på riktigt. Om det då främst handlade om att komma så nära verkligheten som möjligt, handlar det numera snarare om fantasi och eskapism. Tivolits uppenbara relation till filmindustrin märks än idag, i form av nöjesparker som Disneyland och Universal Studios. Maggropen kan låta oss veta att vi lever, oavsett om den inre berg och dalbanan är upplevd eller faktisk. Men ibland är det inte chocken som lockar. Det finns något rogivande, nästan hypnotiskt i att betrakta tåg som dundrar fram genom landskapet. Fredagsmysande tevetittare verkar inte få nog av SVT:s allmänbildande långkörare På spåret. Sällskapsnöjet i att försätta sig i resenärens förstapersonsperspektiv, är inte att underskatta – att överblicka en till synes evig räls.

Med nya vidder i sikte I västerngenren brukar tåget fungera som narrativ motor, men också som symbol för utveckling och förändring. Ett av de tydligaste exemplen, är Sergio Leones mästerliga spaghettivästern Harmonica – En hämnare (C'era una volta il West, 1968). Filmens ikoniska inledning placerar oss vid en ödslig tågstation någonstans i Amerikas nybyggarland på 1800-talet. Innan tågets ankomst, är en stund av spänd förväntan. Helt utan dialog och med närbilder som dröjer sig kvar, följer kameran tre revolvermän som etableras som allt annat än tillmötesgående. Att Ennio Morricones musik låter vänta på sig, förstärker tristessen. Ljudläggningen lyfter i stället fram den vinande vinden, fågelläten, knackandet från en telegraf, knogar som knäcks, flugor som irriterar, vattendroppar på hattbrätten som sedan dricks upp, andetag och buttra gubbläten. Det tar nästan sex långsamma minuter innan tågets tutande bryter stillheten. Då filmkameran är placerad på rälsen, blir kontrasten enorm när vi får se och höra ånglokets kraft, som om vi blir överkörda av en ostoppbar maskin. Det mullrande vidundret saktar in och trion gör sig redo för sammandrabbning med Charles Bronsons munspelande hämnare. Tågets funktion i inledningen är viktig, dels för spänningsbyggandet i sig, dels för att etablera vad som ska komma att bli en central konflikt i filmen: politiska och inte minst fysiska strider om mark och järnväg. Oavsett om det handlar om matinéäventyr för hjärnan i T.S. Spivets fantastiska resa (The Young and Prodigious T.S. Spivet, Jean-Pierre Jeunet, 2013), tågnörderi i Station Agent (Tom McCarthy, 2003) eller ödesdigra val i Sliding Doors (Peter Howitt, 1998), bekräftas hur något så basalt som ett färdmedel kan ge upphov till stora och små berättelser. Nödvändig transport av huvudrollskaraktärer är dessutom en utmärkt anledning att filma snygga helikoptervyer. I David Finchers händer ser det mesta dyrt och lyxigt ut och The Girl With a Dragon Tattoo (2011) är inget undantag med sin landskapsporr. Sverige har aldrig tidigare fotas inom ramen för en produktion av denna kaliber; budgeten är uppskattad till 90 miljoner dollar. Ett vackert vinterlandskap bländar oss när Daniel Craigs journalist Mikael Blomkvist åker till fiktiva Hedestad/Hedeby för att lära om familjen Vangers hemligheter. Hans resa med långfärdståg (försjunken i tankar, utrustad med kaffe och macka) skulle kunna förväxlas med en påkostad reklamfilm för SJ. Företaget har haft slogans som “Den inre resan” och “En användbar stund”. Båda kan tolkas anspela på förhållandet mellan mental och fysisk förflyttning, tillståndet av lugn och ro i rörelse. Kanske kan dagens bioåskådare lättare än någonsin identifiera sig i att ständigt vara på väg, den uppkopplade människans eviga vardagsdilemma.

Det goda (eller onda) samtalet För att åstadkomma tät stämning som närmast liknar ett kammarspel, räcker det långt om (hela eller delar av) handlingen utspelar sig i en tågvagn. Om inte annat är det en praktisk manuslösning, som motiverar varför ett antal personer skulle vistas nära varandra på en begränsad yta. Alla som pendlat i kollektivtrafik i rusningstid vet vad klaustrofobi och påtvingad närhet kan göra med det mänskliga psyket. En som har fullt upp med att fråga ut sina medresenärer, är privatdetektiven Hercule Poirot i Agatha Christies Mordet på orientexpressen (Murder on the Orient Express,1934). Populärkulturen verkar inte få nog av denna deckare. Ett interaktivt exempel är det filmiska peka och klicka-spelet, med samma namn som romanen. Efter sitt släpp 2006, fick datorspelet bra kritik för ljudeffekter och röstskådespeleri, viktiga ingredienser för att framhäva realism och rumskänsla. Christies mordgåta har annars fått liv i tevefilmer och en prisad filmatisering från 1974. Närmast i tid är 2017 års långfilmstolkning i regi av Kenneth Branagh, med Johnny Depp och regissören själv i huvudrollerna. Branagh spar inte på krutet. I en intervju i IndieWire berättar han om ambitionen att omfamna det tidlöst grandiosa: “We’re on a lavish scale [...] to make it feel like an embrace of big-period cinema, big-train cinema – it’s a big canvas.” Med en hög budget borde det inte vara några problem att visualisera tågets framfart och fulla prakt. Den ursprungliga sträckningen mellan Paris och Istanbul upphörde 1977, men på delar av sträckan förekommer det fortfarande lyxresor, med restaurerade vagnar i 1920-talsstil. Med sitt premiärår 1883, såg den verkliga Orientexpressen dagens ljus strax innan filmmediet själv. Dess mytbildning lever onekligen kvar. 

De mest utstuderade idéer brukar födas i restaurangvagnen, åtminstone på film. Tio minuter in i Patricia Highsmith-filmatiseringen Främlingar på tåg (Strangers on a Train, Alfred Hitchcock, 1951), har Bruno Anthony (Robert Walker) levererat sin nyckelreplik till den naiva Guy Haines (Farley Granger): “Want to hear one of my ideas for a perfect murder?” Detta över en bättre lunch. Hjärnceller behöver aktiveras, med eller utan mord i sinnet. Som en gåtfull Eve Kendall (Eva Marie Saint) säger till Roger Thornhill (Cary Grant) i Hitchcocks I sista minuten (North by Northwest, 1959): “I never discuss love on an empty stomach.” Det är heller ingen god idé att försöka rädda världen på fastande mage. James Bond om någon, vet att förena nytta med nöje. I Agent 007 ser rött (From Russia With Love, Terence Young, 1963), som delvis utspelar sig på Orientexpressen, används utspilld måltidsdryck som fulknep för att droga medpassagerare. Casino Royale (Martin Campbell, 2006) har liknande scener. Visserligen kräks Daniel Craigs agent 007 upp en förgiftad martini, men innan dess, på ett modernare tåg till Montenegro, går ingen dyr alkohol till spillo. Gourmetmåltiden med Vesper Lynd (Eva Green) innebär i sann Bond-anda, både flört och ekonomisk förhandling. Scenen hade gott kunna få vara längre. Tågets puttrande rum är nämligen som gjort för romans och intellektuella konversationer. Det tillvaratas i Bara en natt (Before Sunrise, Richard Linklater, 1995), där Ethan Hawkes och Julie Delpys välskrivna karaktärer träffas på ett tåg till Wien. De klickar direkt och pratar sig igenom resten av filmen – Woody Allenskt så det förslår. Deras slumpmässiga möte har garanterat inspirerat en och annan tågluff genom Europa. Intrigen i klassikern Kort möte (Brief Encounter, David Lean, 1945) bygger också på lyckotur och ödets nycker. Miljöerna vid en engelsk järnvägsstation blir upptakten på en varm bekantskap, dock inte utan förvecklingar när äktenskapslöften utmanas av kärlekens rus. Filmen är än idag en relevant markör för hur vardagspendlande kan ge bränsle åt det oväntade; hur livsöden kan vävas samman om man tillåter sig att rucka på egna bekvämlighetszoner.

Tåget som dramatisk persona Denzel Washington (Unstoppable och nyinspelningen av Pelham 1-2-3 kapat), Rebecca De Mornay (Runaway Train) och Christian Slater (Broken Arrow). Alla har de bidragit till actiongenren, med gestaltningar av modiga personers försök att stoppa skenande tåg. Andra har tvärtom använt sig av tågets hastighet för att undvika katastrof. I Så går det till i krig (The General, Clyde Bruckman, Buster Keaton, 1926), forcerar Buster Keatons hjälte ett tåg mot en bro för att bekämpa sydstatare. Det vanligaste skälet till att vilja ta över tåg, lär dock vara pengahunger. Milstolpen Det stora tågrånet (The Great Train Robbery, Edwin S. Porter, 1903) i all ära, filmhistoriens mest suggestiva skildring av ett tågrån kan dateras 2007. Detta i lågintensiva Mordet på Jesse James av ynkryggen Robert Ford (The Assassination of Jesse James by the Coward Robert Ford, Andrew Dominik). När Brad Pitts gängledare med anhang avvaktar vid rälsen för att utföra sitt dåd, sker ett mästerligt samspel mellan foto, musik och ljud. Utan att vara särskilt spektakulär, biter sig scenen fast som en av filmens mest minnesvärda.

Tågets fysiska uppenbarelse eller vetskapen om dess ankomst, påminner oss inte bara om järnvägens historiska betydelse; dess ekonomiska och samhälleliga effekter. Växelverkan mellan rörelse och passivt betraktande, liknar filmupplevelsen i sig. Man kan filosofera kring om en resa någonsin har ett slut, men när filmtåget ges möjlighet att färdas genom sinnena, behöver man förhoppningsvis inte dra i nödbromsen.

[hadarlaskey]

The 100 Best Films of the 2000s: 50-26

I watched Marina de Van’s 2002 film In My Skin for an issue of LWLies celebrating female filmmakers through the ages, and wanted to make sure we covered the less well-trodden grounds of genre cinema, as it’s often neglected in these projects. I was astounded, shocked and repulsed by the film I saw, but was also in awe of what was a superbly conceived and executed body horror of rare erotic intimacy in which a woman (played by writer-director de Van) injurers her leg during a party and instigates a strange relationship with the weeping wound. At once heartbreaking and stomach-churning.

After you’ve read this part, check out numbers 100-76 and 75-51.

50. The Departed (Martin Scorsese, 2006)

Purists will tell you that Martin Scorsese’s loose remake of Andrew Lau and Alan Mak’s Infernal Affairs can’t hold a candle to the original, but The Departed is a great film in its own right. Taking inspiration from the life of Boston crimelord Whitey Bulger, Jack Nicholson chews up the scenery as the psychopath gangster Frank Costello, while Leonardo DiCaprio and Matt Damon play the cop-posing-as-a-criminal and criminal-posing-as-a-cop who race to rat each other out. Exhilarating and engrossing with that familiar Marty humour, it’s a taut thriller that, by Scorsese’s own admission, “is the first movie I’ve done with a plot.” Hannah Woodhead

49. Amélie (Jean-Pierre Jeunet, 2001)

Anyone who watched Amélie on release (including this writer) immediately wanted to move to Paris. Jean-Pierre Jeunet’s hyper-saturated look at love, loneliness and connection in a big, unfriendly city is as cheesy as it gets, but still manages to strike a chord. The titular character is a young Parisian woman (Audrey Tautou, single-handedly bringing back short bobs) crafting a romantic scavenger hunt for a man (Matthieu Kassovitz) who is just as adorably quirky as she is. Anna Bogutskaya

48. In My Skin (Marina de Van, 2002)

I watched Marina de Van’s 2002 film In My Skin for an issue of LWLies celebrating female filmmakers through the ages, and wanted to make sure we covered the less well-trodden grounds of genre cinema, as it’s often neglected in these projects. I was astounded, shocked and repulsed by the film I saw, but was also in awe of what was a superbly conceived and executed body horror of rare erotic intimacy in which a woman (played by writer-director de Van) injurers her leg during a party and instigates a strange relationship with the weeping wound. At once heartbreaking and stomach-churning. David Jenkins

47. Silent Light (Carlos Reygadas, 2007)

Temptation and virtue go to war in a small Mennonite community, an inner conflict that Carlos Reygadas portrays as an elemental clash on planetary terms. The movement of the sun and changing of the seasons elapse in counterpoint against a Christian’s infidelity and contrition, forming a parable worthy of comparison to Dreyer. With a cast of nonprofessionals and the boundless splendour of nature at his disposal, Reygadas created a towering work that stretches all the way up to heaven. Charles Bramesco

46. The Piano Teacher (Michael Haneke, 2001)

Michael Haneke’s vision of a feverish, sadomasochistic desire is like a trick mirror. Every time you watch The Piano Teacher, a different, disturbingly human angle becomes visible. Adapted from the novel by Nobel Prize-winning Elfriede Jelinek, a tightly-wound middle-aged piano teacher begins a tentative affair with a young pianist (Benoît Magimel). Beneath Erika’s steely exterior and hyper controlled lifestyle is a vast array of fetishes, desires, and furious jealousies that make her (and Huppert’s performance) a fascinating watch. AB

45. Spider-Man 2 (Sam Raimi, 2002)

Long before the MCU and DCEU were a thing, Sam Raimi was raking in the big bucks for Sony with his take on Stan Lee and Steve Ditko’s friendly neighbourhood webslinger. That rare sequel which manages to improve on its predecessor, Spider-Man 2 benefitted from its everyman hero, exhilarating set pieces, and a sublime villain in the form of Alfred Molina’s Doctor Octopus, setting the template for countless superhero movies which would follow in its wake. Veering away from the gothic stylings of the Batman films which dominated the ’90s, Raimi leans into the eye-popping colour and earnestness of the source material, and the result is pure blockbuster magic. HW

44. George Washington (David Gordon Green, 2001)

In terms of the great films of the 2000s, were we to be tabulating a list of great debut features culled from this decade, then David Gordon Green’s ineffably lyrical George Washington would be very much up there. Within the first 10 minutes it’s clear you’re in the hands of someone who has been able to capture a racially diverse group of latchkey kids, all hanging out on the detritus-strewn North Carolina landscape, with a rare and sophisticated sense of naturalism. Much of the film is just spent observing seemingly banal scenes of youngsters at play, until a tragedy befalls the group and their passive (albeit innocent) reaction only makes things worse. DJ

43. Punch-Drunk Love (Paul Thomas Anderson, 2002)

Before starring in Paul Thomas Anderson’s third feature film, Adam Sandler had been written off by most critics as the gurning schmuck from Billy Madison and The Waterboy. His turn as the oddball plunger salesman Barry Egan who falls in love with his sister’s co-worker Lena (the wonderful Emily Watson) changed all that, and established him as a credible dramatic talent. Featuring a sex hotline scam, an airplane miles loophole and the mesmerising works of visual artist Jeremy Blake, it’s a Californian screwball comedy like no other, tender, strange and sweet. HW

42. Dogtooth (Yorgos Lanthimos, 2009)

Yorgos Lanthimos made a name for himself and modern Greek cinema with a perverse, violent thought experiment about perception, control, and authoritarianism: a father insulates his family from the outside world by fencing them in to their home, where he can tinker with their understanding of language, sexuality, and culture. What could’ve been a big fat metaphor mutates into something stranger and funnier through Lanthimos’ singularly wry sensibility and penchant for sick kicks. (Don’t get too attached to the cat.) CB

41. Our Beloved Month of August (Miguel Gomes, 2008)

It was from the ruins of an intended feature that Miguel Gomes’ second film emerged. His funding gone, the Portuguese critic-turned-filmmaker set off for his location regardless, scaling back his crew and shooting from the hip with the aim of finding out what he had in the editing room. The resulting film is serendipitously inspired in its mischievous design; a rich, metatextual fusing of documentary and melodrama brimming with life and a typically droll sense of humour, while charting a cohesive path to his masterworks Tabu and the Arabian Nights triptych. Matt Thrift

40. Still Life (Jia Zhangke, 2006)

This film was included as a late game surprise feature in competition at the 2006 Venice Film Festival, and many people missed it because it was scheduled so late in the game. And many regretted missing it, because it went on to deservedly win the Golden Lion and brought the work of the then-little-known Chinese director Jia Zhang-ke to a much wider audience. Effortlessly merging elements of documentary and fiction, this tale of a riverside town being demolished to become a floodplain is a reflection on globalisation and how modernisation almost always comes at the expense of tradition. DJ

39. The House of Mirth (Terence Davies, 2000)

Edith Wharton’s genius Edwardian novel is a chronicle of the slow but sure fall of the beautiful Lily Bart who dared to pursue independence, rather than a good marriage. Life echoed art as Terence Davies, a fiercely individual artist, was financially ruined by his loyal adaptation. Gillian Anderson is ablaze as Lily, and her embodiment of defiance and despair lights up the screen. Sophie Monks Kaufman

38. The Death of Mr Lazarescu (Cristi Puiu, 2005)

An ailing curmudgeon gets ferried by a long-suffering nurse from one hospital to the next, each one unable or outright refusing to treat the bitter old bastard — but wait, it’s a comedy! Cristi Puiu put the Romanian New Wave on the global stage with his bleakly funny look at austerity in the nation, a subject that necessarily exposed the hypocrisies and ironies of life in Bucharest. And as a bonus, these days, it doubles as a sobering comment on overtaxed healthcare systems. CB

37. Still Walking (Hirokazu Koreeda, 2008)

As a maker of hushed, poignant domestic dramas, Hirokazu Koreeda is often asked whether he’s influenced by Yajujiro Ozu, another maker of hushed, poignant domestic dramas. Koreeda often demurs and welcomes the comparison, but often claims to be more in tune with the kitchen sink social realist likes of Britain’s Ken Loach. Yet when you see a film like Still Walking, a contemplative, poetic mood piece in which three generations of a family come together for a feast in remembrance of one of their number’s untimely passing, it’s hard to shake the Ozu comparisons: the gentle humour; the focus on food as a social binder; the profound sense of melancholy that comes from the passing of time. DJ

36. Pan’s Labyrinth (Guillermo del Toro, 2006)

After a decade-plus of Grand Guignol genre excellence, Guillermo del Toro pivoted to a mossy magical realism and reintroduced himself as an Oscar-winning prestige filmmaker. In Civil War-ravaged Spain, a girl escapes her distressing day-to-day by retreating into a fairy tale with frights of its own, most notable among them the eye-handed ghoul known as The Pale Man. Gold-drenched cinematography, top-flight special effects, and transporting production design wooed Western audiences and conquered the subtitle barrier to attain blockbuster status. CB

35. Dogville (Lars von Trier, 2003)

Everyone has a different favourite Lars von Trier film, but Dogville is, objectively speaking, his masterpiece. It takes place in a fictional township tucked away in the Rocky mountains, and sees a kindly damsel named Grace (Nicole Kidman) bend over backwards to endear herself to its increasingly fussy and – lol, dogmatic – denizens. It’s a thrilling and, eventually, lacerating civics lesson-gone-awry that is strangely visceral given it is filmed entirely on a blank sound stage with only chalk markings on the floor. Von Trier proves that all you need to make a movie is your imagination. DJ

34. Father of my Children (Mia Hansen-Love, 2009)

Mia Hansen-Løve’s second feature marked her ascension to a goddess of cinema. A shocking event is nestled within the hustle and bustle of family life as a film producer faces financial ruin. The miracle here is the weight given to events beyond the central one, causing momentum to fall upon life itself as a forceful flow of time and effort. SMK

33. Songs From The Second Floor (Roy Andersson, 2000)

Sweden’s Roy Andersson returned from a twenty-five-year feature-directing hiatus to elbow the Grim Reaper in his skeletal ribs once again with gallows humour unmatched for both grimness and hilarity. As Andersson assembles 46 massive still-life tableaux (a ceremonious murder, a bitter sacking, et cetera), death, misery and sadism commingle with comic absurdity in a brutally Brutalist world of greys and beiges. You must laugh to keep from sobbing. CB

32. Millennium Actress (Satoshi Kon, 2001)

While his final film Paprika remains Satoshi Kon’s best-known work – in no small part for having been famously ‘incepted’ by Christopher Nolan – it’s 2001’s Millennium Actress that stands as the animator’s masterpiece. An exquisite homage to a bygone age of Japanese cinema, the film looks back over the career of a reclusive star (clearly modelled on Setsuko Hara), from her childhood discovery to ingenue and starlet, accruing an anecdotal meta-biography through sequences that explicitly riff on real-world golden age classics. At once a reverent and subversive ode to an idealised screen legend, its bittersweet romanticism will cut to the quick of anyone with even a passing interest in one of world cinema’s richest eras. MT

31. Unrelated (Joanna Hogg, 2007)

Joanna Hogg’s debut feature announced a thoughtful and distinctive talent willing to go there in terms of showing excruciatingly awkward interactions between monied Brits. Kathryn Worth, a shy woman in her forties, crawls sideways into a mid-life crisis against the backdrop of a friend’s Tuscan villa. She shuns her pals to be with their kids, including a young Tom Hiddleston. The music, once faced, is heartrending. SMK

30. Moolaadé (Ousmane Sembene, 2004)

With Moolaadé, Ousmane Sembène brought the controversial practice of female genital mutilation to the wider film world’s attention, depicting a circumcised woman’s (Collé Gallo Ardo Sy) brave resistance to the ritual in a Burkina Faso village. With great humanity and humour, the veteran Senegalese director unambiguously sets out his stall in opposition to the barbaric act of “cutting” young girls, while eloquently conveying the historical significance of such local customs. A deserved recipient of the Un Certain Regard prize at Cannes in 2004. Adam Woodward

29. Tropical Malady (Apichatpong Weerasethakul, 2004)

The name Apichatpong Weerasethakul conjures the chirruping of cicadas deep in a green magical forest. His films create an enveloping mood as characters explore their desires in all their strange, shape-shifting forms; folkloric fantasy blending with realism. Tropical Malady is a love story between two men, until the soul of one of them enters a tiger. SMK

28. Innocence (Lucile Hadžihalilović, 2004)

Lucile Hadžihalilović’s work is all mood and suggestion. Set in an isolated all-girls’ boarding school (a whole sub-genre in its own right) where new students arrive in coffins. The girls, of different ages, are trained by their teachers to behave, enforce a hierarchy and obey a strict code of conduct. Colour-coded ribbons are involved. A unique combination of fairy tale, horror and melodrama, Innocence is dripping with symbolism. AB

27. Fat Girl (Catherine Breillat, 2001)

That ending. It comes out of nowhere and leaves you searching online for therapists. Catherine Breillat is not not a provocateur, yet truthfulness underpins the taboo subjects splashed sensationally across her films. Fat Girl is one of her best; on account of its portrayal of teen sexual awakenings, sisterly bitchiness, its shy star’s watchful energy and all-enveloping summer horniness. SMK

26. Oldboy (Park Chan-wook, 2003

An anti-revenge thriller sitting comfortably in the middle of Park Chan-wook’s deeply uncomfortable “Vengeance Trilogy”, Oldboy is a devilish twist on the idiom that those seeking revenge should dig two graves – partly because, Oh Dae-su begins the film by leaving a box, and ends at a much more twisted fate. It’s a far funnier film than its reputation would suggest, mixing tragedy and pitch-black humour from the jump. Kambole Campbell

The post The 100 Best Films of the 2000s: 50-26 appeared first on Little White Lies.

source https://lwlies.com/articles/100-best-films-of-the-2000s-part-3/

[detournementsmineurs]

Maquette "Le Grenier de Sacher Masoch" de Charles Matton (2003) à l'exposition "Caro/Jeunet" à la Halle Saint Pierre, Montmartre, Paris, septembre 2017.

[sweetbot]

Subsequently, another of my interviewees brought up laundry in relation to Kyle. It was one of the residents of his apartment building, a young man named Charles Jeunet.

"I didn't see Mr.Hyde a lot, but I sometimes bumped into him in the laundry room. There were a few times I said hello to him and we ended up having an unsually long conversation.

Let me think, what did we talk about? That's it- movies. Yes, we mostly talked about movies. I remember being surprised he knew so much about French cinema. Oh, and once we realised we both liked mysteries, we started playing detective a bit ourselves. People always used to leave things in the laundry room by mistake, so we'd try to figure out who they belonged to."

now i understand why people ship these two

this is really cute