Memoir of a Snail 2024 - Movies (Jan 13th)
Lick 2024 - Movies (Jan 13th)
Singing in My Sleep 2024 - Movies (Jan 13th)
Sebastian 2024 - Movies (Oct 2nd)
Hounds of War 2024 - Movies (Oct 2nd)
A Quiet Place Day One 2024 - Movies (Oct 2nd)
Cabrini 2024 - Movies (Oct 2nd)
Ghost Cat Anzu 2024 - Movies (Jan 13th)
Daniel Sloss Hubris 2024 - Movies (Jan 12th)
The Room Next Door 2024 - Movies (Jan 12th)
Polar Opposites 2025 - Movies (Jan 12th)
Moon Maidens 2 2024 - Movies (Jan 12th)
Putin 2024 - Movies (Jan 12th)
The Last Showgirl 2024 - Movies (Jan 12th)
Behave 2024 - Movies (Jan 12th)
The Darkening Hour 2024 - Movies (Jan 12th)
The Death That Awaits 2024 - Movies (Jan 12th)
Watchmen Chapter II 2024 - Movies (Jan 12th)
The Gardener 2025 - Movies (Jan 11th)
Absolution 2024 - Movies (Jan 11th)
Bank of Dave 2 The Loan Ranger 2025 - Movies (Jan 11th)
Traffic Cops - (Jan 13th)
Nobody Asked - (Jan 13th)
Chris Jansing Reports - (Jan 13th)
Panorama - (Jan 13th)
Andrea Mitchell Reports - (Jan 13th)
Room to Improve - (Jan 13th)
Deal or No Deal - (Jan 13th)
The Chase - (Jan 13th)
Junior Bake Off - (Jan 13th)
The Bidding Room - (Jan 13th)
I Escaped to the Country - (Jan 13th)
Great Performances - (Jan 13th)
Pictionary - (Jan 13th)
Wipeout - (Jan 13th)
Crime Beat - (Jan 13th)
Murdoch Mysteries - (Jan 13th)
Bargain Hunt - (Jan 13th)
Saint-Pierre - (Jan 13th)
Rip Off Britain - (Jan 13th)
Back Roads - (Jan 13th)
I think it's pretty safe to say that Jean-Luc Godard was a bit of a selfish arse, and Louis Garrel captures that really quite effectively here. The film is set in 1967 when French society was being rocked by political upheaval, student demonstrations and where President De Gaulle was at his most unpopular. The thirty-six year old Godard was already an household name and had fallen for his young starlet Anne Wiazemsky (Stacey Martin) who could have been his daughter, and they marry. She adores him - his reputation, his vision, his passion whilst he loves the fact that she is young, beautiful and can be fairly easily twisted around his little finger. As the filming of his film "La Chinoise" proceeds, though, we discover that this relationship might not be much more than puddle deep and his constant search to remain relevant in an ever changing and increasingly hostile environment is taking it's toll on his temperament and his popularity. Many begin to suspect that his latest film - extolling the virtues of ultra-socialism as espoused by Mao is but a gimmick to keep him germane, but it's when his wife gets the chance to travel to Rome to work with Bertolucci and things start to unravel. She starts to open her own eyes to the failings in both herself and her husband - and it looks like a bit of chop and change is in the wind. Garrel does his best here to illustrate a man who is eccentric and quirky, capable of humour and jealousy but who struggles to see beyond the end of his own nose. Director Michel Hazanavicius was never going to be able to encapsulate all the vagaries of this man here, but he does allow his lead actors to develop plausible aspects of their personalities and we can fill in some gaps, make the odd gasp, and wonder why anyone would ever want to be associated with this fairly introspective film-making genius in the first place. The production itself is slightly stylised to mimic some of Godard's original techniques - the odd reverse exposure, bad continuity, jump cuts - but I'm not sure they were really necessary to remind us of the character we were following. You could probably do a mini-series on Godard and still not get it all in and/or right - this has a good try, though.
A dramatisation of the workers' protests in June 1976 in Radom, seen from the perspective of the local Secretary of the Polish United Workers' Party. [Produced in 1981, but not commercially released until 1996.]
Two children, Ignacio and Enrique, know love, the movies and fear in a religious school at the beginning of the 1960s. Father Manolo, director of the school and its professor of literature, is witness to and part of these discoveries. The three are followed through the next few decades, their reunion marking life and death.
For young Parisian boy Antoine Doinel, life is one difficult situation after another. Surrounded by inconsiderate adults, including his neglectful parents, Antoine spends his days with his best friend, Rene, trying to plan for a better life. When one of their schemes goes awry, Antoine ends up in trouble with the law, leading to even more conflicts with unsympathetic authority figures.
A small-time thief steals a car and impulsively murders a motorcycle policeman. Wanted by the authorities, he attempts to persuade a girl to run away to Italy with him.
Lukas, a young schizophrenic man, has to deal with a new town, a new relationship, and the paranoia in his head.
A renowned New York playwright is enticed to California to write for the movies and discovers the hellish truth of Hollywood.
A filmmaker recalls his childhood, when he fell in love with the movies at his village's theater and formed a deep friendship with the theater's projectionist.
An aged Charlie Chaplin narrates his life to his autobiography's editor, including his rise to wealth and comedic fame from poverty, his turbulent personal life and his run-ins with the FBI.
Paul, a young idealist trying to figure out what he wants to do with his life, takes a job interviewing people for a marketing research firm. He moves in with aspiring pop singer Madeleine. Paul, however, is disillusioned by the growing commercialism in society, while Madeleine just wants to be successful. The story is told in a series of 15 unrelated vignettes.
Even though the protagonist of the Canadian Femme De L'Hotel is a female filmmaker, one would think twice before suggesting that this effort by Swiss-born director Lea Pool is autobiographical. Paule Baillargeon portrays a well-known director who returns to her home town of Montreal to film a high-budget musical drama. At her hotel, Paule has a brief but unsettling encounter with a suicidal elderly woman (Louise Marleau). This element of the plot is briefly forgotten as we get to know the actors in Paule's current project. Then she meets the old lady again, and with mounting incredulity Paule discovers that the actual events in the woman's life mirror the fictional events in the director's film.
An exiled filmmaker finally returns to his home country where former mysteries and afflictions of his early life come back to haunt him once more.