PATRICIA: What did he say? He told Truffaut "Roughly speaking, the subject will be the story of a boy who thinks of death and of a girl who doesn't. [8], Truffaut worked on a treatment for the story with Claude Chabrol, but they dropped the idea when they could not agree on the story structure. who maintains a sense of dread and mystery until the end by taking his shaggy-dog story deadly seriously. TH, You couldn’t imagine a more discreet tribute to the heroes of the wartime French Resistance than this terrific late-’60s thriller by the ex-Maquis member Melville, the director best known for his gangster masterpieces like ‘The Samourai’. GA, Tati’s most consistently enjoyable comedy, a gentle portrait of the clumsy, well-meaning Hulot on holiday in a provincial seaside resort. He described this, his penultimate film, as a digest of the 19 definitive underworld set-ups that could be found in John Huston’s picture of doomed gangsters, ‘The Asphalt Jungle’. In ‘La Vie en Rose’, much creative energy seems to have been expended on figuring out how to tell the story in as flash a manner as possible, without quite marking out Piaf’s troubled essential self. But Malik is a clever individualist and he learns to read and write, and exploits a friendship with another (released) French-Arab prisoner to pursue his own drug deals and invest in a power base within the jail. Imbued with a dry, ironic sense of humour, the film is perhaps the director’s most perfectly realised, and certainly his most moving. Noé drops facts like lead balloons, but you have to admire Noé’s ballsy vision and loopy execution, and the way he sucks you into this world with such a bold fusion of sound and image. However, his ill health, a brief return to the debauchery of brothels and drink, and his irrational resentment of his brother Theo’s failure to sell his work, provoke erratic swings from brooding introspection to frustrated anger. BW. Or was it somewhere else? Despite her domestic woes, she remains extraordinarily level-headed – at least until the full-blown psychedelia of the finale. But also more secretive pointers to social circumstance and the ‘exchange of guilt’ as Audran’s starchy schoolmistress finds herself irresistibly drawn to the ex-army butcher she suspects of being the killer: the fact, for instance, that alongside the killer as he keeps vigil outside the schoolhouse, a war memorial stands sentinel with its reminder of society’s dead and maimed. Laurent Cantet’s Palme d’Or-winning realist drama falls firmly into the latter category. Inspired by a wide variety of sources, it follows a group of astronomers who travel to the Moon in a cannon-propelled capsule, explore the Moon's surface, escape from an underground group of Selenites (lunar inhabitants), and return in a splashdown to Earth with a captive Selenite in tow. Not so much a saga of the individual against an increasingly dehumanised décor, it’s more a semi-celebratory symphony to Tati’s sensational city set, all reflections and rectangles, steel, chrome, gleaming sheet metal and trompe-l’oeil plate glass. i sure do like watching these stripper videos. Watch A Hard Day’s Night online on BFI Player, Watch The Pleasure Girls online on BFI Player, Watch The Party’s Over online on BFI Player, I’ll Never Forget What’s’isname (Michael Winner, 1967), The Magic Christian (Joseph McGrath, 1969), Tonite Let’s All Make Love in London (Peter Whitehead, 1967). A former magician, Georges Méliès created his silent film ‘A Trip to the Moon’ in 1902, just six years after the Lumière Brothers’ legendary first projection. Bourgeois-scum Claude Chabrol territory, essentially, but done with a more commercial eye for showing off Schneider and Delon’s bronzed curves. However, his ill health, a brief return to the debauchery of brothels and drink, and his irrational resentment of his brother Theo’s failure to sell his work, provoke erratic swings from brooding introspection to frustrated anger. Pialat’s methods of close, intimate filming may place him close in many ways to our own Ken Loach, but his interests are rooted in a very cinematic approach to personal inner life, rather than any schematic political theory. Maurice Pialat’s searing 1968 debut, L’Enfance-nue, promised much, and he spent the 70s delivering on it, turning his attention to terminal illness (La Gueule ouverte, 1974), disaffected youth (Passe ton bac d’abord, 1978) and, in 1972’s Nous ne vieillirons pas ensemble, the disintegration of a marriage. The eventual profit was substantial, rumored to be fifty times the investment. Simone Signoret as the peroxide-blonde mistress is the harder of the two would-be killers, while Véra Clouzot is shivering and simpering as the wife. In Marcel Carné’s rich, literary romance from 1945 (‘France’s answer to “Gone with the Wind”!’), four men tussle for the affections of one woman, the conflicted, sphinx-like Garence (Carné regular Arletty), an ice maiden in the league of Marlene Dietrich who, in nearly every shot, has her eyes masked by a beam of light. This improbable film – set during one of France’s greatest workers’ uprisings – is pure excess, an explosion of colour, sound and feeling. 17 year-old Joanna is cool, stylish and determined to start a new life as an art student in swinging London. Death. Like Blowup, Morgan: A Suitable Case for Treatment explores the pressures exerted on the sensitive sensibility. The third of Rohmer’s six moral tales, and the first of his films to achieve wide recognition. The film is an act of pure fetishism, and Deneuve its willing object. It’s a gentle call to arms aimed at modern cinema. He follows her in his car, but she soon disappears and he bumps into Vidal (Antoine Vitez), an old friend and teacher at the local university. The film is, finally, affecting, thanks to a seemingly intuitive understanding of colour, movement and composition, and to an ability to draw from earlier films without ever seeming plagiaristic. Made in 1976, Alain Cavalier’s ‘Fill ’er Up With Super’ is a well-kept secret among French cinephiles. In Philippe Garrel’s delightfully meta film, a successful director (played by Garrel) offers the lead role in his next project – an autobiographical film – to the celebrated actress Minouchette (Anémone), but his wife Jeanne, also an actress (played by Brigitte Sy, Garrel’s actual partner), feels the role should have been hers. ‘Our sexual desire has to be seen as the product of centuries of repressive and emasculating Catholicism... it is always coloured by the sweet secret sense of sin,’ mused Buñuel in his autobiography ‘My Last Breath’. It deals only with the final stages of Joan’s trial and her execution and is composed almost exclusively of close-ups: hands, robes, crosses, metal bars, and (most of all) faces. Clouzot’s entire body of work deserves to be revisited, but ‘The Wages of Fear’ is ground zero and undoubtedly the place to start. Neither young nor especially glamorous – she’s stuck in subsidised theatre – Clara touches him so deeply, she opens up horizons he’s never dreamed of: a world of art, literature, philosophy and beauty. Directed by Guy Hamilton, who would move on to gloss-coat colorific violence in his Bond movies of the 70s, it’s a black-and-white morality tale about the party-power of hot-blooded youth, whose volatility vents in suicide, partner-swapping and necrophilia. I never feel there is a "best" because there were so many different films made during the New Wave in such a short period of time, that I believe it is better to give a sampling of what could be considered the best. As the scientists frantically try to trace their missing guinea pig, fragments of his past surface momentarily, recurringly. TM, Duras’s main protagonist is Anne-Marie Stretter (Seyrig), a bored consular wife in ’30s India, and the film details the languorous desperation that drives her to suicide. For East End wide boy Alfie Elkins (Michael Caine), a woman is a commodity. A Borgesian basement by day; by night, under influence of psychedelic mushrooms, Powis Square is an amaranthine laboratory where “nothing is true; everything is permitted”. linchpin François Truffaut begins with ‘The 400 Blows’ and ends with ‘Jules and Jim’ should seek out this steely 1964 study in the cruel mechanics of illicit love. This represented a radical about turn for Rohmer, who was previously known for the delicate naturalism of his classic Moral Tales, but in fact there’d always been something courtly about his stories of love and temptation. TM, Castella (Bacri) is an industrialist, married, who in his own world, is king. Released here in a sparkling new print, the film centres on Catherine Deneuve and Françoise Dorléac as the ‘pair of twins, born in the sign of Gemini’ looking to escape the sleepy environs of Rochefort for life in the big city. A gorgeous, pin-sharp remaster for poet-dramatist-artist-director Jean Cocteau’s giddy, sumptuous 1946 retelling of the Freudian fairytale about a helpless girl and a kindhearted monster. Godard’s ambitious, sweeping eight-part video project exploring, as per the pun in the film’s title, the ‘history’, ‘histories’, ‘story’ and ‘stories’ of cinema, is often considered the most important work of his late career. Joining Delon on the wrong side of the law are escaped con Gian Maria Volontè and alcoholic marksman Yves Montand, while André Bourvil is the dogged lawman on their trail – as grimly set on his chosen path as they are. A dutiful trip to the theatre is a revelation. Michael Haneke’s ‘Amour’ is a devastatingly original and unflinching look at the effect of love on death, and vice versa. He must be the villain of the piece, right? It’s a keenly observed, naturalist, semi-improvised ‘slice of life’, set in the post-Women’s Lib Paris of the late ’70s, depicting class- and culture-clashing passion. © 2020 Time Out England Limited and affiliated companies owned by Time Out Group Plc. Patricia says she is pregnant, probably with Michel's child. As when he’s dabbling with Sheffield girl Annie (Jane Asher) – whose crying after sex sets him thinking, after he wheedles an apology from her: “Alfie, I said to myself, she’s as human as you are.”.

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