French New Wave

Breathless - Criterion Collection

The movie that heralded the French New Wave movement, this lean and exciting 1959 film directed by Jean-Luc Godard (A Woman Is a Woman, Weekend) broke new ground not only in its unorthodox use of editing and hand-held photography, but in its unflinching and nonjudgmental portrayal of amoral youth. Jean-Paul Belmondo and Jean Seberg play two young lovers on the run from the law after Belmondo kills a cop and steals a car. Soon they are on an odyssey through the streets of Paris searching for some money he is owed so that he and his American girlfriend can escape to Italy. As a chase picture it features some startling photography on the streets of Paris, but as a romance it defies expectations, existing as part tragedy and part Bonnie and Clyde crime movie. The result is a wholly original film experience. Inspiring not only a remake starring Richard Gere but numerous films and television series, Breathless is an essential part of motion picture history. --Robert Lane

There was before Breathless, and there was after Breathless. With its lack of polish, surplus of attitude, crackling personalities of rising stars Jean-Paul Belmondo and Jean Seberg, and anything-goes crime narrative, Jean-Luc Godard's debut fashioned a simultaneous homage to and critique of the American film genres that influenced and rocked him as a film writer for Cahiers du cinema. Jazzy, free-form, and sexy, Breathless (A bout de souffle) helped launch the French new wave and ensured cinema would never be the same.

Night and Fog - Criterion Collection

Though only a short subject, this groundbreaking documentary remains one of the most influential and powerful explorations of the Holocaust ever made. Director Alain Resnais bluntly presents an indictment not only of the Nazis but of the world community, and the film is all the more remarkable for its harsh judgment considering the time in which it was made, less than a decade after the end of the war, when questions of responsibility were not yet being addressed. Juxtaposing archival clips from the concentration camps across Germany and Poland with the present-day denials of the camps' existence, the film seeks to once and for all expose the horrifying truth of the Final Solution, as well as to address the continuing anti-Semitism and bigotry that existed long after the war's end. An invaluable resource and testament to history, this film was a profound influence on all films to address issues of the Holocaust, from Judgment at Nuremberg and Shoah to Schindler's List. Night and Fog remains an essential and indispensable document of the 20th century. --Robert Lane

Ten years after the liberation of the Nazi concentration camps, filmmaker Alain Resnais documented the abandoned grounds of Auschwitz. One of the first cinematic reflections on the horrors of the Holocaust, Night and Fog (Nuit et Brouillard) contrasts the stillness of the abandoned camps' quiet, empty buildings with haunting wartime footage. With Night and Fog, Resnais investigates the cyclical nature of man's violence toward man and presents the unsettling suggestion that such horrors could come again.

Jean-Luc Godard (3-Disc Collectors Edition)

La Chinoise

Jean-Luc Godard presents one of his most contentious and political films focusing on a small group of French students who want to change the world by using any means necessary. After studying Mao and the growth of communism in China the students decide that they must use terrorism to ignite their own revolution. Starring Jean-Pierre L aud Juliet Bertho Anne WiazemskySystem Requirements:Running Time: 93 minsFormat: DVD MOVIE Genre: FOREIGN/FRENCH UPC: 741952311591 Manufacturer No: KLF-DV3115

The Young Girls of Rochefort

The French director Jacques Demy scored a worldwide hit in 1964 with The Umbrellas of Cherbourg, a bittersweet candy-colored romance in which all the dialogue was set to music. Equally enchanting is the musical that reunited Demy with the star and composer of Umbrellas, Catherine Deneuve and Michel Legrand. The film is The Young Girls of Rochefort, an effervescent concoction about traveling players and dreamy-headed demoiselles in a seaside town. Deneuve and her real-life sister, Françoise Dorléac (who died in a car accident not long after the movie was made), play twins who fantasize about life in Paris. But before they leave town, they are distracted by the weekend fair and its colorful singers and dancers. They're also destined to meet an American composer--gloriously, it's Gene Kelly, carrying the aura of classic MGM musicals in his lighter-than-air wake. He was 55 at the time, but much younger in movie years. (Another American, George Chakiris, also dances his way through the film.) Legrand's music isn't as powerful as his Cherbourg score, and some of the choreography would fit right into an Austin Powers discotheque sequence. And the costumes--well, the excesses of '60s mod designs have not aged well. Yet the crazy hairstyles and vinyl boots fit right into the film's sense of gleeful fun. There is a sunny, daffy spirit to this movie that becomes positively infectious. It deserves to be better known. (Try to catch a widescreen version, if possible.) --Robert Horton

A wonderfully entertaining musical fantasy, THE YOUNG GIRLS OF ROCHEFORT features big-screen legend Gene Kelly (THAT'S ENTERTAINMENT) and international star Catherine Deneuve (BELLE DE JOUR) in a delightfully lighthearted story about two charming sisters waiting for their perfect love to arrive! In the picturesque seaside village of Rochefort, Delphine (Deneuve) teaches dance while her twin Solange (Francoise Dorleac) composes and gives piano lessons. As the girls dream of success and romance in the far-off big city, they don't realize that true love may be just around the corner! An exuberant musical treat that earned rave reviews from critics everywhere, this beloved classic has been beautifully restored to its original magnificence!

Day for Night

François Truffaut's lavish and fun 1973 comedy-drama about a film production is a clever hall of mirrors, with Truffaut himself playing a director, and his most important actor in real life, Jean-Pierre Léaud (The 400 Blows), portraying Jacqueline Bisset's immature costar. Day for Night is full of tales undoubtedly told out of school and repeated here in camouflage, and one can't help but be impressed with the stylistic and technical means by which Truffaut captures the adventurousness of a full-budget shoot. The cast is very good all around, with actors in some cases playing fictional thespians and in other cases playing members of the crew. A sequence set to thrilling music by Georges Delerue celebrates the whole art of filmmaking as seen from an editor's perspective--it makes one want to drop everything and shoot a film of one's own. --Tom Keogh

The leading lady is recovering from a nervous breakdown, another performer is soused on the set, unions threaten to walk, shooting must finish before the insurance lapses and a cat can't hit its mark. Is this any way to make a film? FRANCOIS TRUFFAUT's sly, humorous OscarO-winning Best Foreign Language Film (1973) that speaks the language of everyone who loves movies. JACQUELINE BISSET, JEAN-PIERRE AUMONT, VALENTINA CORTESE, NATHALIE BAYE and Truffaut star.

Hiroshima Mon Amour - Criterion Collection

An extraordinary and deeply moving film that retains much of its power since its original release in 1959, Alain Resnais's Hiroshima, Mon Amour is the story of a French woman (Emmanuelle Riva) and a Japanese man (Eiji Okada) who become lovers in the city of Hiroshima, where the U.S. dropped a nuclear bomb to end World War II in the Pacific. Written by Marguerite Duras and juggled, as if by wandering thoughts, in chronology and setting by Resnais, the film reveals the miserable and mortifying experiences of each character during the war and suggests the obvious healing properties of their relationship in the present. An emotional allusion or two can certainly be made with the more recent The English Patient, but nothing can quite prepare one for Resnais's extreme yet intuitively accessible experiments in fusing the past, present, and future into great sweeps of subjectively experienced memory. Yet audiences have never had trouble relating to this bold milestone of the French New Wave, largely because at its heart is a genuinely affecting, soulful love story. --Tom Keogh

A cornerstone of French cinema, Alain Resnais' first feature is one of the most influential films of all time. A French actress (Emmanuelle Riva) and a Japanese architect (Eiji Okada) engage in a brief, intense affair in postwar Hiroshima, their consuming fascination impelling them to exorcise their own scarred memories of love and suffering. Utilizing an innovative flashback structure and an Academy Award®-nominated screenplay by novelist Marguerite Duras, Resnais delicately weaves past and present, personal pain and public anguish, in this moody masterwork.

The Pied Piper

The Pied Piper is director Jacques Demy's masterful retelling of the classic children's tale. Set in the Middle Ages, the divided town of Hamelin tries in vain to rid itself of the black plague. When a mysterious musician arrives (played by music legend Donovan), can the townspeople put aside their personal agendas to rid themselves of their rat infestation? Or will the petty and greedy town leaders, led by the sublimely creepy Donald Pleasence, attempt to take advantage of their savior? With great music and spectacular costumes and sets, The Pied Piper is a fascinating take on a familiar legend.

Alphaville - Criterion Collection

As the French New Wave was reaching its maturity and filmgoing had evolved as a favorite pastime of intellectuals and urban sophisticates, along came Jean-Luc Godard to shake up every convention and send highfalutin critics scrambling to their typewriters. 1965's Alphaville is a perfect example of Godard's willingness to disrupt expectation, combine genres, and comment on movies while making sociopolitical statements that inspired doctoral theses and left a majority of viewers mystified. Part science fiction and part hard-boiled detective yarn, Alphaville presents a futuristic scenario using the most modern and impersonal architecture that Godard could find in mid-'60s Paris. A haggard private eye (Eddie Constantine) is sent to an ultramodern city run by a master computer, where his mission is to locate and rescue a scientist who is trapped there. As the story unfolds on Godard's strictly low-budget terms, the movie tackles a variety of topics such as the dehumanizing effect of technology, willful suppression of personality, saturation of commercial products, and, of course, the constant recollection of previous films through Godard's carefully chosen images. For most people Alphaville, like many of the director's films, will prove utterly baffling. For those inclined to dig deeper into Godard's artistic intentions, the words of critic Andrew Sarris (quoted from an essay that accompanies the Criterion Collection DVD) will ring true: "To understand and appreciate Alphaville is to understand Godard, and vice versa." --Jeff Shannon

A cockeyed fusion of science fiction, pulp characters, and surrealist poetry, Godard's irreverent journey to the mysterious Alphaville remains one of the least conventional films of all time. Eddie Constantine stars as intergalactic hero Lemmy Caution, on a mission to kill the inventor of fascist computer Alpha 60. Criterion's edition of this seminal film features a new digital transfer.

La Belle Noiseuse

La Belle Noiseuse is a thrilling and unconventional drama about the responsibility of an artist to his vision and the conflicts that arise when such responsibility is perceived as a threat to others. Michel Piccoli (Le Doulos) delivers one of his finest, most lived-in performances as Edouard Frenhofer, a famous painter living with his artist wife Liz (Jane Birkin) on a spacious estate in the French countryside. Frenhofer has lacked inspiration for a decade and has given up on painting. The idea behind his unfinished masterpiece, La Belle Noiseuse ("The Beautiful Troublemaker"), has been seemingly unattainable for a decade; Liz was the original model for it, and Frenhofer's exhaustion with the project has an emotional parallel to his dispassionate relationship with her.

Along comes a rising artist, Nicolas (David Bursztein), who suggests that his girlfriend, Marianne (Emmanuelle Béart), a writer, could help Frenhofer jumpstart the painting's completion. From this point, most of La Belle Noiseuse becomes a remarkable, seemingly unedited and privileged look at the development of a bond between artist and muse. Béart, fiercely brilliant, spends the majority of the film nude and continually molded into sometimes-painful positions as Frenhofer struggles--sketch after sketch, paint upon paint--to find something beyond the obviousness of Marianne's body. As the two struggle to meet each other halfway, Liz and Nicolas feel marginalized and jealous, putting pressure on Frenhofer to disregard such personal concerns or give in to them. Adapted by French New Wave master Jacques Rivette from a story by Honore de Balzac, the lengthy La Belle Noiseuse is fascinated by the artistic process; it is itself a patient process of watching ideas and aesthetic courage reveal themselves in the face of extraneous aversion. --Tom Keogh