Sometimes, it feels as if we are eavesdropping on day-to-day conversations rather than just hearing the usual litany of platitudes and regrets.
In honor of the late Claude Chabrol, one of the great filmmakers of the French New Wave, co-author with Eric Rohmer of the first book on Alfred Hitchcock, maker of moral thrillers and autopsier of the dis-ease of the bourgeoisie ("Les Biches," "La femme infidel," "Le Boucher," "La rupture," "Violette Nozière," "La cérémonie"...), here is my Opening Shot (and closing shot) piece for "La femme infidel:
A fairy-tale home in a wooded setting. Two women sit an an outdoor table in the shade of some tall trees. The camera glides across the lawn silently (we can't hear what they're saying, just barely audible laughter) at an oblique angle that takes us closer to the women, but not directly toward them. A big black trunk passes startlingly across the screen in the foreground. Then a smaller trunk comes into the shot, mid-distance, and nicely frames the image. That's all there is to the opening shot (which lasts less than 10 seconds), but to understand the context we have to consider the rest of the brief pre-titles sequence.
A rebuttal to Joni Edelman's piece on "Inside Out."
The July 2015 edition of The Unloved looks at Andrew Dominik's "The Assassination of Jesse James by the Coward Robert...
Three films starring Gina Lollobrigida have been released on Blu-ray; Glenn Kenny looks at them and her entire career.
MTV's Scream and CBS's Zoo premiere tonight. One is worth your time. Which one?