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L'immortelle (Alain Robbe-Grillet, 1963)
Mar
12
National Hitchcock Day
A woman in silhouette (Françoise Brion) enters a building. The setup is perfectly symmetrical except a beam of light passing through the opened doors that highlight's the woman's presence, adding a sense of wrong to the scene. DP: Maurice Barry.
“You're a foreigner and you're lost.”
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L'homme à la valise [The Man with the Suitcase] (Chantal Akerman, 1983)
Mar
11
close quarters
Henri (Jeffrey Kime) and the woman (Chantal Akerman) at a claustrophobically small table, each eating their breakfast. The woman has a baguette, a bowl of coffee, and a cigarette. Henri takes up most of the table with a serving tray holding a whole box of Pelletier toast, a plastic milk bottle, and a coffee pot. He's also manspreading. DP: Maurice Perrimond.
Close quarters: US premiere of 10 Cloverfield Lane (2016).
A filmmaker (Akerman) reluctantly hosts a guest (the always imposing Jeffrey Kime) in her already cramped quarters. His increasingly expanding presence in volume, sight and sound are insufferable for the quiet cineast.
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Le Songe Des Chevaux Sauvages [Dream of the Wild Horses] (Denys Colomb de Daunant, 1960)
Mar
10
ithrah69's birthday
Camargue horses galloping through a haze of water and dreams. DPs: Denys Colomb de Daunant & André Costey.
Filmmaker and photographer Colomb de Daunant's spiritual sequel to Crin blanc : le cheval sauvage [White Mane] (1953) and Glamador (1958) follows the same wild Camargue horses in their dreams.
The accompanying music is performed on a Cristal Baschet, a glass instrument key to several avant-garde films. I refer to John Coulthart's writeup about Le Songe, which links through to an article about the Cristal Baschet.
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Io la conoscevo bene [I Knew Her Well] (Antonio Pietrangeli, 1965)
Mar
5
Crispus Attucks – 1770
Adriana (Stefania Sandrelli) seen through her apartment window. Rome is reflected in her face. DP: Armando Nannuzzi.
A wasteful act: Crispus Attucks, (arguably) the first American victim in the American Revolution, dies on March 5th, 1770.
“She's always happy. She desires nothing, envies no one, is curious about nothing. You can't surprise her. She doesn't notice the humiliations, though they happen to her every day. It all rolls off her back like some waterproof material. Zero ambition. No moral code. Not even a whore's love of money.”
– The Writer
An ambitious but aimless girl – she wants to be loved, and to be a model, a proto-Edie – mills about her day.
Sublimely shot, we see Adriana through glass panes, in reflections, in an off-focal plane, in other people's words.
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สัตว์วิกาล [Sud Vikal / Vampire] (Apichatpong Weerasethakul, 2008)
Mar
2
Dr. Seuss' birthday
Applying blood to attract the Nok Phii. It's cold. DP: Chaisiri Jiwarangsan.
Imaginary animals or food for Theodor “Dr.” Seuss Geisel's birthday (1904).
“I like the settings where the lights and desire cross path. The desire to communicate with the invisibles in the darkness, or in memory, or in the future. It's always related to cinema and we as insects that are drawn to lights.”
– Apichatpong Weerasethakul, via
Villagers in the north of Thailand reported a rare sighting of a male and female Nok Phii, an elusive species of bird that feeds on animals' blood. It is unknown if the sighting was reliable, and if this vampire does, or ever did, exist.
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Le tombeau d'Alexandre [The Last Bolshevik] (Chris Marker, 1993)
Feb
25
Warsaw Pact
Still from a Medvedkin film. Silhouettes in light of Lenin and Stalin facing each other are projected above a crowd of people. DP of Le tombeau d'Alexandre: Chris Marker.
“Alexandre Ivanovitch Medvedkine est le seul cinéaste russe né en 1900. (…) Son énergie, son courage, ses illusions, ses désillusions, ses compromissions, ses bagarres avec les bureaucrates, ses illuminations prophétiques, ses aveuglements, volontaires ou non, son humour indestructible et la lumière déchirante que l’effondrement de l’URSS jette rétrospectivement sur toute sa vie, ce sont ceux de toute une génération, et c’est le portrait de cette génération que j’entends tracer à travers le portrait d’un ami.”
– press kit (via)
A film essay using the life and work of filmmaker Aleksandr Medvedkin to tell the story of communism. Medvedkin traveled the Soviet Union with his Kinopoezd or Cinetrain (also Agit-train), a moving film production train with the sole purpose to create Agitprop while documenting the Five Year Plan.
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Les abysses [The Depths] (Nikos Papatakis, 1963)
Feb
18
pancakes
Michèle and Marie-Louise (real-life sisters Francine and Colette Bergé) as the real-life Papin sisters prepare crêpes for Monsieur. DP: Jean-Michel Boussaguet.
– Why are we making pancakes?
– Monsieur likes them. Besides, what else is there?
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Le charme discret de la bourgeoisie [The Discreet Charm of the Bourgeoisie] (Luis Buñuel, 1972)
Feb
16
No One Eats Alone Day
The diners at a long table. DP: Edmond Richard.
“My God. What am I doing in this place?”
– Henri Sénéchal
The bourgeoisie meet for dinner in various settings, but never consume.
* this event takes place on the Friday of the second full week in February, which makes the 2025 date February 14.
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Adieu Philippine [Farewell, Philippine] (Jacques Rozier, 1962)
Feb
11
friendship
Juliette and Liliane (Stefania Sabatini and Yveline Céry) walk along a promenade in a beautiful, vérité tracking shot. DP: René Mathelin.
A film about friendship for Jennifer Anniston's birthday (1969).
1960. Michel is due to leave for Algeria to serve in the Algerian War. Juliette and Liliane are best friends as inseparable as “Filipino almonds”(?). When they meet, the girls decide to join Michel on his final vacation, on Corsica.
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La notte [The Night] (Michelangelo Antonioni, 1961)
Feb
7
Falò delle vanità – 1497
Author Giovanni Pontano (Marcello Mastroianni) pondering next to a full bookcase. DP: Gianni Di Venanzo.
“I used to spend afternoons reading in bed. Tommaso would call and find me there. He could have kissed me. I wouldn't have resisted, out of boredom. But he was satisfied to watch me as I read. All those purposeless books.”
– Lidia
A lavish #CocktailParty in celebration of the launch of a novel is bookended by tragedy, in the loss of a befriended writer and the unraveling of another writer and his wife's marriage.