BILDER FRÅN LEKSTUGAN Stig BJÖRKMAN 2009 - 00:29

In the early fifties Ingmar Bergman got himself a cine-camera, a 9.5 mm Bell & Howell, which he often used both privately and in his work. Images from the Playground embark on these films, giving a diverse representation of one of the greatest artists in cinema.

”When I come into the studio with my camera and colleagues around me, we always seem to be starting a game. I remember exactly like when I was small and took my toys out of the toy cupboard. It’s exactly the same feeling”, Bergman says at one occasion.

These imagery from the director’s grown-up playground is accompanied with Bergman’s own commentaries from various interviews. Whereas the actresses Harriet Andersson and Bibi Andersson – exposed to Bergman’s loving eye in these wealthy documents – also contribute with personal

DEUX DE LA VAGUE Emmanuel LAURENT 2009 - 01:30

Two of the Wave will evolve around the tempestuous friendship, both professional and personal, between Truffaut and Godard, the main pillars of the French New Wave.
From 1959 to 1962 the French New Wave represents the biggest influx of renewal ever before encountered in the history of world cinema. It was the first movement in the history of movie making to have stylised, in present tense, the world in wich its contemporaries lived. What happened was unique : a two-fold recognition- a new generation of filmgoers who were called the « new wave » in surveys, magazine and newpapers- which found itself in sympathy with an idea and a pratice of cinema- which was named the « New Wave » in cinema history.
In May 2009, during the 62nd Cannes Film Festival, the world of cinema will celebrate th

L'ENFER D'HENRI-GEORGES CLOUZOT Serge BROMBERG - Ruxandra MEDREA 2009 - 01:34

Our film is a legend! In 1964, Henri-Georges Clouzot chose 26 years-old Romy Schneider and 42 years-old Serge Reggiani, to be the leads of L’ENFER. An enigmatic and original project; an unlimited budget; a film, which was meant to be the cinematographic event at its release. However, after 3 weeks into filming, drama happens. The project is interrupted and the images, which were told to be “incredible”, will never be shown.
I have recovered those images that were forgotten for half a century and they are more mind-blowing than the legend predicted. They are telling a unique film, that of madness and jealousy filmed from a subjective point of view, the story of a cursed filming and that of Henri-Georges Clouzot, who had set free his mad film making talent. Romy Schneider has never been so

PIETRO GERMI, IL BRAVO, IL BELLO, IL CATTIVO Claudio BONDI 2009 - 01:00

PIETRO GERMI - THE GOOD, THE BEAUTIFUL, THE BAD

Once upon a time there was a man. He was a "shy, quiet man who loved the warm wide embrace of a large room perhaps because it allowed for private solitude", a suspicious man, who was afraid to cross a square or enter a bar, fearful of finding himself the focus of numerous looks from inquisitive strangers.
Once upon a time there was "an old school director " who combined a moral and conservative approach to filmmaking, with scrupulous professionalism, skillful craftsmanship of the language of images, respect for the public’s wishes and a belief in "communicating with the masses" .
This is the cinematographic journey of "Pietro Germi: The good the beautiful, the ugly," From the end of neo-realist to the invention of Comedy - Italian st

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