Anna Karina

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Justine (1969)
The Stranger (1968)
Pierrot le Fou (1966)

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Ebert Club

#370 December 24, 2019

Matt writes: As the days of 2019 grow short, let's take a look at the Best Films of 2019, as chosen by the writers at RogerEbert.com. Our combined list includes such celebrated titles as "Marriage Story," "Parasite," "The Last Black Man in San Francisco" and "The Irishman." You can find all the individual lists submitted by our writers (including your's truly) here.

Features

Thumbnails 5/18/16

Jeff Nichols brings "Loving" to Cannes; Cherchez la femme; Best of Cannes so far; STX pays $50 million for unmade Scorsese movie; "Mean Dreams" thrills at Cannes.

Festivals & Awards

Fresh cinematic air at 7,000 ft.

Today at Sundance I wandered aimlessly around a supermarket picking up different cheeses and putting them back down. I can never decide on a brie.

Cheese-less I journeyed to a bustling main street (a very steep hill) where altitude-acclimated rich ladies breezed by me in furry hats and sunglasses. They were having a good time.

Roger Ebert

Great Movie: "Cleo from 5 to 7"

In France, the afternoon hours from five to seven are known as the hours when lovers meet. On this afternoon, nothing could be further from Cleo's mind than sex. She is counting out the minutes until she learns the results from tests she believes will tell her she is dying from cancer. Agnes Varda's "Cleo from 5 to 7" is 90 minutes long, but its clock seems to tick along with Cleo's.

Far Flungers

My Brother, My Love

A quiet story of incestuous desire told with deadpan precision and a fair share of subliminal humor, "The Unspeakable Act" marks its writer-director's long-awaited cinematic breakthrough. Even though New York-based Dan Sallitt (born 1955) has been making movies from the mid-1980s on (he had three under his belt before this one), his media presence has been unduly under-the-radar throughout that period. With the new movie scooping The Independent Visions Prize at the 2012 Sarasota Film Festival, and then being picked up by Edinburgh, Karlovy Vary and - most notably - BAMcinemaFest (where it plays 24 June at 9:30 PM), it's high time to put Sallitt on the map of highly original independent American filmmakers, which is where he'd belonged right from the start.

May contain spoilers

Roger Ebert

Saint Agnes of Montparnasse

Dear Agnes Varda. She is a great director and a beautiful, lovable and wise woman, through and through. It is not enough that she made some of the first films of the French New Wave. That she was the Muse for Jacques Demy. That she is a famed photographer and installation artist. That she directed the first appearances on film of Gerard Depardieu, Phillipe Noiret--and Harrison Ford! Or that after gaining distinction as a director of fiction, she showed herself equally gifted as a director of documentaries. And that she still lives, as she has since the 1950s, in the rooms opening off each side of a once-ruined Paris courtyard, each room a separate domain.

That is not enough, because her greatest triumph is her life itself. She comes walking toward us on the sand in the first shot of "The Beaches of Agnes," describing herself as "a little old lady, pleasantly plump." Well, she isn't tall. But somehow she isn't old. She made this film in her 80th year, and she looks remarkably similar to 1967, when she brought a film to the Chicago Film Festival. Or the night I had dinner with her, Jacques and Pauline Kael at Cannes 1976. Or when she was at Montreal 1988. Or the sun-blessed afternoon when we three had lunch in their courtyard in 1990. Or when she was on the jury at Cannes 2005.

Interviews

Director thrived in chaotic '60s

From the revolutionary visual strategies of his first film, "Breathless" (1960), to his recent experiments with video, the French director Jean-Luc Godard has been on the cutting edge of cinema. The Music Box revival of a restored version of his "Contempt" (1963) is an occasion to review some of the landmarks in his career.

Roger Ebert

Two or three things we know about Jean-Luc Godard

For many American moviegoers, Jean-Luc Godard's “Breathless” (1960) was an introduction to the new style of French filmmaking. Everything about the movie seemed filled with life, invented on the spot. Godard scribbled the script on the backs of envelopes every morning before shooting. For his hero he chose an unknown, Jean-Paul Belmondo, who was not handsome like Rock Hudson but ugly like Humphrey Bogart. Aware of the inevitable comparisons, Belmondo parodied Bogart in a memorable scene which put him in the tradition of the master.

May contain spoilers