By Walter Donohue, John Boorman
This factor of "Projections" celebrates French cinema through the use of the interviews carried out through "Positif" journal with the key French film-makers of the earlier 50 years. The e-book provides a landscape of French cinema starting from the classy masterpieces of Robert Bresson to the searing aggression of Mathieu Kassovitz's l. a. Haine, together with alongside the best way the masters of the French New Wave: Alain Resnais, Eric Rohmer and Claude Chabrol. during the last 50 years French cinema has exhibited an important skill to resume itself and not to in simple terms flourish within the face of pageant from English-language film-making, but additionally to create masterpieces of cinema unheard of at any place on the earth, and this choice of interviews sheds new gentle at the purposes at the back of this resilience.
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Extra resources for Projections 9: French Film-Makers on Film-Making (No. 9)
But I wasn't real ly. A deluxe immigrant maybe. Obviously different to an illegal Pakistani fighting for survival. I was particularly interested in those who had just arrived, in finding out what it was that America did to them and what they ended up doing to Amer ica. Americans wanted to know whether 'those people' were going to change America - were they an invasion? But what America does to them is very inter esting: there is the shock of coming out of well-established cultures and entering the world of American mass-communication; that's an enormous change.
In the film, Julien is somewhat blackened. Specifically, he feels that he gave Bonnet away by turning round and looking at him in the classroom. Well, that's probably something I've added. But it's how I remember things too. My memory tells me I was partly responsible for Bonnet's death. Once - only once, because I am not really given to reminiscing - I told a class reunion this 34 story and I realized that it had affected me much more than the others. They remembered it as a dramatic episode, but they had no clear memory of Bonnet, whereas I remembered him very clearly.
39 Le Souffle au coeur: Malle is charmed by his leading man, Benoit Ferreux Le Souffle au coeur: Laurent (Benoit Ferreux) broaches a taboo subject with his mother (Lea Massari) 40 Three-quarters of the film, in terms of character, action, detail, is fictional. But at the same time I believe that every single minute of the film was written and shot for a reason. The main thing in the film, Julien's relationship with Bonnet, is infinitely more interesting than my relationship with the real-life Bonnet was.