settima

France

La baie des anges [Bay of Angels] (Jacques Demy, 1963)

Jan

9

Wheel of Fortune

La baie des anges (1963)

Jean (Claude Mann) and Jackie (Jeanne Moreau) at a casino table. The tension is palpable. DP: Jean Rabier.

Good, or bad, fortune on the day Wheel of Fortune premiered in 1975.

– How much did you win?

– 500,000 in less than an hour. It's immoral, but no more than anything else. No more than poverty or ugliness.

Mauvais sang [Bad Blood / The Night Is Young] (Leos Carax, 1986)

Jan

8

David Bowie's birthday

Mauvais sang (1986)

(Alex) Denis Lavant in a scene set to David Bowie's Modern Love. DP: Jean-Yves Escoffier.

A [favourite] scene featuring a Bowie song for David Bowie's birthday (1947).

“They pulled in just behind the fridge He lays her down, he frowns “Gee, my life's a funny thing Am I still too young?” He kissed her then and there She took his ring, took his babies It took him minutes, took her nowhere Heaven knows, she'd have taken anything”

– David Bowie, Modern Love (from Let's Dance, 1983)

Escrime [Fencing] (Étienne-Jules Marey, 1890)

Jan

4

revolvers

Escrime (1890)
Escrime (1890)

Footage of Marey at work. Note the mobility of his invention. (via).

A revolver to commemorate Samuel Colt's sale of 1 000 revolvers to butcher Captain Samuel Walker in 1847.

“Art and science encounter each other when they seek exactitude.”

– Étienne-Jules Marey

However, where there is bloodshed, there can be art. Scientist Étienne-Jules Marey studied movement, and further adapted an existing revolver-style camera gun invented by astronomer Jules Janssen in 1874. The revolution in Marey's invention was not in the least in its mobility. Unlike Muybridge, whose locomotion experiments required a huge, cumbersome setup, Marey could strap on his “gun”, and shoot moving footage while following his target around. His chronophotograph Escrime can be considered Marey's first successfully captured moving footage.

À propos de Nice – point de vue documenté [À propos de Nice] (Boris Kaufman + Jean Vigo, 1930)

Jan

1

New Year's Day

À propos de Nice - point de vue documenté (1930)

Exuberant prostitutes, Jean Vigo (5th from the left), and people who appear to be men in drag, dance on a landing with confetti all around them. In the moving footage they can be seen high-kicking with increased vulgarity, the camera posed below them. DP: Boris Kaufman.

Confetti for New Year's Day.

“In this film, by showing certain basic aspects of a city, a way of life is put on trial… the last gasps of a society so lost in its escapism that it sickens you and makes you sympathetic to a revolutionary solution.”

– Jean Vigo in his manifesto Vers un cinéma social

X2000 (François Ozon, 1998)

Jan

1

2000

X2000 (1998)

A young, naked man holding a drink observes two men asleep in a sleeping bag on the floor. On the wall behind them the text “2000” spelled out with tinsel garlands. DP: Pierre Stoeber.

The Book of Life (Hal Hartley, 1998)

Dec

31

1999

The Book of Life (1998)

The “New York News” of December 31, 1999. The headline reads LAST DAY OF CENTURY BELIEVERS PRAY FOR END. DP: Jim Denault.

“It was the morning of December 31, 1999 when I returned, at last, to judge the living and the dead. Though still, and perhaps always, I had my doubts.”

Les abysses [The Depths] (Nikos Papatakis, 1963)

Dec

2

sister's birthday

Les abysses (1963)

Michèle and Marie-Louise (real-life sisters Francine and Colette Bergé) as the real-life Papin sisters in their shared bedroom. DP: Jean-Michel Boussaguet.

Sisters for [OP's] sister's birthday.

Belle (André Delvaux, 1973)

Nov

28

Belle (1973)

Belle (Adriana Bogdan) in front of her cabin on the moors. DPs: Ghislain Cloquet & Charles Van Damme.

Touche pas à la femme blanche [Don't Touch the White Woman!] (Marco Ferreri, 1974)

Nov

23

potato chips

Touche pas à la femme blanche (1974)

Two white Frenchmen – in a University of Columbia and a CIA sweatshirt respectively – comment on the “period piece” they're in. CIA man (Paolo Villaggio) stuffs his face with potato chips. DP: Étienne Becker.

“Whoever dies for the country hasn't lived in vain. I, on the contrary, will live for the country because I'm not that stupid.”

– George A. Custer

Mélodie en sous-sol [Any Number Can Win] (Henri Verneuil, 1963)

Nov

22

banquet

Mélodie en sous-sol (1963)

Backstage at the Cannes casino, stars and stagehands enjoy their well-deserved end-of-season banquet. Just walking in front of the showgirls is piano player Sam (Jimmy Davis). DP: Louis Page.