#Jean-Claude Dreyfus

[filmjunky-99]

d e l i c a t e s s e n, 1991 🎬 dir. jean-pierre jeunet, marc caro

[adreciclarte4]

Jean-Claude Dreyfus by Denis Rouvre

[philippebresson]

Je serai bientôt à l'antenne avec un Drôle de Coco, pas de chez Chanel non, plutôt du genre Coco-Bel-Œil 👁️ Un dur à cuire difficile à faire fondre au premier regard même si, d'abord à feu doux (et non à l'étouffée, surtout pas !), puis en maintenant une température à cœur pendant quelques minutes, il finit par se révéler (rêve ailé) tendre à souhait.

Il faut dire qu'il est notamment connu pour avoir été un boucher sanguinaire au cinéma (Delicatessen), ainsi qu'un Dragon et quelques monstres/monstresses au théâtre (300 pièces et une seule vie !).

Peut-être l'avez-vous croisé à La Grande Eugène à l'époque, Fassbinder et sa bande n'avaient d'yeux que pour sa "Toute Méchante" (aurait dit Genet) et délicieuse créature, Erna von Scratch.

Je serai donc sur les ondes de France Culture du 13 au 17 novembre (20h-20h30 chaque soir), en direct différé du Musée des Arts forains et en compagnie de Monsieur Dreyfus JC (Jessy), qu'on appelle aussi MC Rictus dans les milieux les plus interlopes, tant il a contribué à redonner vie à la verve révolutionnaire du poète Gabriel Randon de Saint-Amand plus connu sous le nom de Jehan Rictus.

"Jean-Claude Dreyfus, anatomie d'un joueur"

(À voix nue - France Culture)

Du 13 au 17 novembre 2023

20h-20h30

Philippe Bresson

https://www.radiofrance.fr/personnes/philippe-bresson

[ulrichgebert]

Immer schön ist Delicatessen, Jeunets et Caros besonders liebevoll ausgestattete postapokalyptische Liebeskomödie mit Mord, Intrigen, Verdorbenheit, Akrobatik, Kannibalismus und Hausmusik für Cello und singende Säge.

[ozkar-krapo]

Patrice BOYET

"Nuits / Voix Mémoire"

(LP. Anagramme Production. 1983) [FR]

[genevieveetguy]

. Nobody is entirely evil: it's that circumstances that make them evil, or they don't know they are doing evil.

Delicatessen, Marc Caro and Jean-Pierre Jeunet (1991)

[movies-to-add-to-your-tbw]

Title: Death and the Winemaker

Rating: NR

Director: Victor Jaquier

Cast: Kacey Mottet Klein, Virginie Meisterhans, Jean-Claude Dreyfus, Jacques Roman, Séverine Bujard, Stéphanie Schneider

Release year: 2021

Genres: horror, fantasy

Blurb: A winemaker creates the most exquisite wine in the world to win a noblewoman's hand. When Death herself wants a taste, he discovers that his bride is next on her list, and must think quickly to save her.

[cinemaquiles]

O irmão mais velho de O sobrevivente (1987) e pai de Jogos Vorazes: "O preço do perigo" (1983)

[robhorninginternalexile]

2024 Book List

January

1. Trances of the Blast, Mary Ruefle

2. Falling Star, Patricia Moyes

3. Labyrinths, Jorge Luis Borges

4. Introduction to the Work of Marcel Mauss, Claude Lévi-Strauss 

5. The Sweet Dove Died, Barbara Pym

6. The Prison-House of Language, Fredric Jameson

7. The Order of Things, Michel Foucault

8. Illuminated Manuscripts, Tamara Woronowa and Andrej Sterligow

9. Structuralism, John Sturrock

February

10. Immediacy; or the Style of Too Late Capitalism, Anna Kornbluh

11. The Dark Frontier, Eric Ambler

12.  Macbeth, William Shakespeare

13. Michel Foucault: Beyond Structuralism and Hermeneutics, Hubert Dreyfus and Paul Rabinow

14. Don’t Look at Me Like That, Diane Athill

15. The Most of It, Mary Ruefle

16. The Archaeology of Knowledge, Michel Foucault

March

17. Henry IV Part 1, William Shakespeare

18. A Murder Is Announced, Agatha Christie

19. Shakespeare, Johan Gottfried von Herder

20. Literary Theory for Robots, Dennis Yi Tenen

21. Henry IV Part 2, William Shakespeare

22. Richard II, William Shakespeare

23. Lucy Gayheart, Willa Cather

24. Henry V, William Shakespeare

25. Mimesis, Expression, Construction, Fredric Jameson

26. Four-Legged Girl, Diane Seuss

27. Death of a Nationalist, Rebecca Pawel

28. The Flight From the Enchanter, Iris Murdoch

29. The Purloined Clinic, Janet Malcolm

April

30. King Lear, William Shakespeare

31. White Butterfly, Walter Moseley

32. Humanism and Antihumanism, Kate Soper

33. The Illusion of the End, Jean Baudrillard

34. Discourse on Method, René Descartes 

35. Meditations on First Philosophy, René Descartes

36. Cambridge Companion to Descartes, John Cottingham ed

37. The Ordinal Society, Marion Fourcade and Kieran Healy

38. Much Ado About Nothing, William Shakespeare

39. Primer, Bob Perelman

40. As You Like It, William Shakespeare

May

41. A Midsummer Night’s Dream, William Shakespeare

42. The Ballad of Peckham Rye, Muriel Spark

43. Preface to Shakespeare, Samuel Johnson

44. The Weariness of the Self, Alain Ehrenberg 

45. Harmonium, Wallace Stevens

46. Mr. Scarborough’s Family, Anthony Trollope

47. Computing Taste, Nick Seaver

48. Hamlet, William Shakespeare

June

49. On Shakespeare, Northrop Frye

50. The Taming of the Shrew, William Shakespeare

51. The Double Shift, Jason Read

52. Romeo and Juliet, William Shakespeare

53. La Vendée, Anthony Trollope

54. Mirror Worlds, David Gelertner

55. The Commercialization of Intimate Life, Arlie Hochschild

July

56. In Our Own Image, Fred Ritchin

57. Bending the Frame, Fred Ritchin

58. After Photography, Fred Ritchin

59. Cue the Sun!, Emily Nussbaum

60. Appointment With Death, Agatha Christie

61. The Friend, Sigrid Nunez

62. Libra, Don DeLillo

63. The Interpretation of Cultures, Clifford Geertz

64. Mimesis, Erich Auerbach

65. Julius Caesar, William Shakespeare

August

66. Antony and Cleopatra, William Shakespeare

67. Nonrequired Reading, Wisława Szymborska

68. Traveling, Ann Powers

69. Annie Bot, Sierra Greer

70. Regency Buck, Georgette Heyer

71. Coriolanus, William Shakespeare

September

72. Troilus and Cressida, William Shakespeare

73. Fools of Time, Northrop Frye

74. Bel Canto, Ann Patchett

75. Measure for Measure, William Shakespeare

76. William Shakespeare, Terry Eagleton

77. Shakespeare’s Problem Plays, E.M.W. Tillyard

78. Twelfth Night, William Shakespeare

79. The Merchant of Venice, William Shakespeare

80. Othello, William Shakespeare

81. AI Snake Oil, Arvind Narayanan and Sayash Kapoor

82. Passage of Arms, Eric Ambler

October

83. All’s Well That Ends Well, William Shakespeare

84. The Book of the Courtier, Baldesare Castiglione

85. Fables of Aggression, Fredric Jameson

86. Intermezzo, Sally Rooney

87. The Pleasure of the Text, Roland Barthes

88. Liars, Sarah Manguso 

89. James, Percival Everett

November

90. Aesthetics and Politics, Bertholt Brecht, Walter Benjamin et al.

91. Protocol, Alexander Galloway

92. Sartor Resartus, Thomas Carlyle

93. The Unaccountability Machine, Dan Davies

94. Timon of Athens, William Shakespeare

95. Machines Who Think, Pamela McCorduck

December

96. Henry VI, Part 1, William Shakespeare

97. Henry VI, Part 2, William Shakespeare

98. The Triumph of Achilles, Louise Glück

99. All Shot Up, Chester Himes

100. The Saint-Fiacre Affair, Georges Simenon

101. Henry VI, Part 3, William Shakespeare

[eretzyisrael]

by NORMAN J.W. GODA

All of this made perfect sense to French Trotskyists and Maoists. Pro-Palestinian anti-Zionist organizations formed in France after the Six-Day War. They included university students who styled themselves as revolutionaries. Using the language of anti-colonialism still fresh from France’s ill-fated attempt to retain Algeria, these organizations also borrowed the legacy of the French Resistance, neatly turning the Israelis into the Nazis. French keffiyeh-wearing Communists complained of Jewish press control. “Palestine solidarity” events included distribution of the Protocols of the Elders of Zion. As Jewish writer Gérard Rosenthal put it in early 1970, “The problem of Israel is becoming a national problem.” Israel’s seasoned ambassador Asher Ben-Natan, who arrived in Paris in 1970, noted that relations with France had hit difficulties because “there exists also in France elements that have suddenly adopted anti-Israel attitudes.”

How did France’s Jews respond? By asserting their Jewishness without sacrificing their claim to France’s promise of universal dignity. “The world,” said Meïr Waintrater, the editor of the Jewish monthly L’Arche, in April 1970, “only likes dead Jews. . . . It is impossible today to open a newspaper without finding an article [that] gives Jews advice — which curiously resembles orders — on how to be Jewish or how to be French.” Later, in 1977, filmmaker Claude Lanzmann asked, “Why must the Jews feel obligated after Auschwitz to speak in [polite] language? To prove that they are really French? This language . . . is from the time of Dreyfus! It is the language [from] before the creation of Israel! If we are to protest, I ask that we do so as Jews!”

The chief vehicle of the French-Jewish campaign was the International League against Racism and Antisemitism (LICRA), formed in 1927 in reaction to the dreadful treatment of Jews in Eastern Europe after World War I. After World War II, LICRA countered racism as well, monitoring everything from apartheid in South Africa to the civil rights movement in the United States to the war in Vietnam to the treatment of Arab workers in France. For French Jews, anti-antisemitism and the fight against racism were both part of the struggle for human dignity. LICRA saw no contradiction between opposing racism and advocating the safety of the State of Israel. If the world was divided, it was not between the oppressors and the oppressed. It was divided into those whose rights to safety were respected and those whose rights were not.

LICRA altered its view on de Gaulle. He was still the man who, on June 18, 1940, had called for resistance to the Germans in the name of the universalism France represented. As LICRA president and former Gaullist intelligence officer Jean Pierre-Bloch put it, “We will never forget.” But Pierre-Bloch also noted publicly that de Gaulle “is betraying the Franco-Israeli friendship, not to [help] the Arab people, but to support the potentates who rule these people to their great detriment.” Understanding that the French policy encouraged Arab extremists to hold out for Israel’s destruction rather than work for peace, LICRA also led demonstrations of Jews and non-Jews in Paris and other cities against what Pierre-Bloch called “the scandalous embargo.” Meanwhile LICRA called for a Palestinian state — but without the PLO, whose terror operations disqualified it from any human-rights struggle.

LICRA’s writers, Jews and non-Jews, also tried to expose the antisemitic nature of anti-Zionism in their newspaper Le Droit de vivre. Didier Aubourg, who worked for Judeo-Christian amity in France, wrote in March 1970, “Of all the forces that threaten Israel, the Arab armies are far from the most fearsome. The most relentless enemy . . . is indeed antisemitism, the old antisemitism that no longer dares to say its name, but which, rebaptized as anti-Zionism, has never lost its murderous virulence.” Former member of the Resistance, writer, and curator Jean Cassou was more direct. Anti-Zionism, he said, was “a wonderful invention,” because it “allows everyone to be an antisemite in good conscience from now on.”

As for the PLO’s mask of humanism and progressivism, philosopher Anne Matalon noted in the spring of 1968 that “one would be justified in thinking” that the PLO “would recognize . . . the Israeli people.” Instead, the PLO resembled “a capricious child or psychopath” who insisted that history could be turned back. Could the PLO really pose as revolutionary? Jacques Givet, whose family was murdered in Auschwitz and who narrowly escaped death by jumping from a deportation train, said no. “Any apology for al-Fatah, however veiled,” he wrote in March 1969, referring to the PLO’s main group, “is by necessity an apology for genocide.” Unlike the anti-colonial terror in Algiers, Givet argued, “Free Palestine” was little more than a slogan wrapped in pseudo-revolutionary imagery to justify Israel’s destruction and the killing of Jews. François Musard, a member of the Jewish Resistance, identified Palestinian terror as “defiance of the most elementary rules of civilization.” It “strikes blindly in theaters, in markets, among innocent populations where their victims are more often women and children. It wants nothing more than ‘to kill a Jew.’”

[dear-indies]

people who signed the letter in support of depardieu (an abuser):

Benoit Poelvoorde (actor), Nathalie Baye (actress), Carole Bouquet (actress), Jacques Dutronc (singer), Charlotte Rampling (actress), Yvan Attal (actor and director), Jacques Weber (actor), Bertrand Blier (director ), Emmanuelle Seigner (actress), Roberto Alagna (singer), Michel Fau (actor and director), Victoria Abril (actress), Dominique Besnehard (actor and producer) Carla Bruni (singer), Pierre Richard (actor), Clémentine Célarié (actress), Gérard Darmon (Actor), Rudy Ricciotti (architect), Christophe Barratier (director), Arielle Dombasle (singer), Francis Veber (director), Patrice Leconte (director), Brigitte Fossey (actress), Boualem Sansal ( writer), Charles Berling (actor), Yannis Ezziadi (actor and author) Philippe Caubère (actor), Vincent Perez (actor), Myriam Boyer (actress), Antoine Dulery (actor), Afida Turner (singer), Paolo Branco (producer ), Jean-Marie Rouart, of the French Academy (writer), Josée Dayan (director), Joel Seria (director), Bernard Murat (director), Serge Toubiana (film critic and former director of the Cinémathèque française) , Catherine Millet (writer), Jacques Henric (writer), Stéphanie Murat (director), Marie-France Brière (producer and director), Daniel Humair (musician and painter), Judith Magre (actress), David Bélugou (theater decorator) , Marie Beltrami (stylist), Tanya Lopert (actress), Jean-Claude Dreyfus (actor), Chiara Muti (actress), Jean-Marie Besset (playwright), Stéphane Druet (director), Christine Boisson (actress), Karine Silla-Perez (actress and director), Myriam Boisaubert (poet), Lilian Euzéby (painter), Marion Lahmer (actress).

Nadine Trintignant announced this December 29 in “Le Point” that she was withdrawig her signature from the platform.

"Hi ! About Depardieu and the letter: yes, a lot of people such as Nadine Tratignant and Carole Bouquet withdrawed their signature. Not because supporting the victims but because the author of the letter is far right (in french "d'extrême droite) and national journal say it. They still support Depardieu. For example, Carole Bouquet was a great supporter of Depardieu few days ago in a lot of radio/tv show."

[filmjunky-99]

d e l i c a t e s s e n, 1991 🎬 dir. jean-pierre jeunet, marc caro

[detournementsmineurs]

"Bonsoir" de Jean-Pierre Mocky (1994) avec Michel Serrault, Jean-Claude Dreyfus, Marie-Christine Barrault, Lauren Grandt, Claude Jade, Corinne Le Poulain, Catherine Mouchet, Serge Riaboukine, Maaike Jansen, Jean-Pierre Bisson, Jean Abeillé et Georges Lucas, février 2025.

[philippebresson]

[juliopison]

CINE La inglesa y el duque (2001) Título original: L'Anglaise et le Duc Francia Dirección: Éric Rohmer Idioma: Francés con Subtítulos en Español

Atención: Solo para ver en PC o Notebook Para ver el Film pulsa o copia y pega el Link: https://artecafejcp.wixsite.com/escenario-cafejcp/post/la-inglesa-y-el-duque-2001

Reparto: Lucy Russell. Jean-Claude Dreyfus. François Marthouret. Alain Libolt · Laurent Le Doyen · Daniel Tarrare.

Género: Drama | Histórico. Siglo XVIII. Revolución Francesa.

Sinopsis: Reconstrucción de las memorias de Miss Grace Eliott, una inglesa monárquica que vivió durante la Revolución Francesa y que tuvo una relación amorosa con el Duque de Orleans.

Críticas: "Una obra maestra, una película inolvidable, inundada de generosidad, inteligencia y espíritu de libertad" -Ángel Fernández Santos: Diario El País

Premios: 2001: Premios César: 2 nominaciones: mejor vestuario y diseño de producción. 2001: Premios del Cine Europeo: Nominada a mejor director

Café Mientras Tanto jcp

[byneddiedingo]

Robert Liensol and Jenny Alpha in The Old Sorceress and the Valet (Julius-Amédée Laou, 1987)

Cast: Jenny Alpha, Robert Liensol, Christine Amat, Jean-François Perrier, Jean-Claude Fal, Sophie Pal, Jacques Martial, Jean-Claude Dreyfus, Roger Lemus, Jean-Marie Retby. Screenplay: Julius-Amédée Laou. Cinematography: Jean-Paul Miotto. Film editing: Sophie Chailley, Tamara Pappe. Music: Leona Gabrielle, Ernest Léardée, Jean-Claude Mejstelman, Stellio. 

Julius-Amédée Laou's The Old Sorceress and the Valet is not a particularly obscure film: Enough people have seen it for it to have a page on Letterboxd, though not on Wikipedia. But it deserves to be better-known, if only for the performances of Jenny Alpha and Robert Liensol, who play the title couple, an elderly husband and wife reflecting on their life together. We first see Armand at the breakfast table waiting for his wife, Eugénie, to join him. When she rises from the bed, she calls out for him to bring her robe, but he doesn't respond, even when she joins him, grumbling and scolding. And then he disappears from the apartment and we see Eugénie in her nightgown at a window, calling out for him, a moment that recurs throughout the movie. We then concentrate on Eugénie herself, as she deals with a variety of clients who have come to her for her aid as a sorceress: One woman wants help in murdering her husband, a man wants another man to fall in love with him, and so on. In addition to potions, Eugénie offers advice, much of it sensible. Then the major thread of the film begins: Eugénie and Armand take a walk through Paris, reflecting -- usually bitterly and angrily, but sometimes with tenderness -- on their life together. As the film proceeds, we notice some discontinuities: Eugénie, for example, sometimes walks with a cane or carries a purse, but not always. We see them trapped on a traffic island as they try to cross a busy thoroughfare, and then we see Eugénie alone, being rescued from the island by two policemen. We gather that there has been discord throughout their life in Paris ever since they came there, many decades ago, from Martinique. Alpha, the actress who plays her, was a celebrated performer in nightclubs and on stage, and Eugénie was a showgirl until age reduced her to her current job, dealing with a mostly white clientele. Armand was a valet to a man they refer to as "Master," with whom Eugénie had an affair. The film builds to a revelation that probably doesn't surprise many who see it, and in fact feels a little clumsily handled. But what matters are the haunting insights into the lives of the characters, superbly embodied by their performers.