Films Watched in 2023:

51.  Les Quatre Cents Coups/The 400 Blows (1959) - Dir. François Truffaut

Marcel Amont à Bobino - Razzia sur la chnouf (Henri Decoin 1955).

RIP Marcel Amont (1929-2023).

Le Ciel est à vous (The Woman Who Dared)

1944. Romantic Adventure Drama

By Jean Grémillon

Starring: Madeleine Renaud, Charles Vanel, Jean Debucourt, Raymonde Vernay, Léonce Corne, Raoul Marco, Albert Rémy, Robert Le Fort, Anne-Marie Labaye, Michel François, Gaston Mauger, Paul Demange, Henry Houry, Anne Vandène

Country: France

Language: French

W A T C H E D

Such a great movie. Used to make my dad so happy. He loved Jackie Gleason.

One summer when I was like 10 he found it on the classic movies channel and we sprawled out on the couch and watched it together.

I miss him terribly. So my mom and I watched it for his birthday together.

Une bonne description. Quatre études autour de Gregory Bateson, Ray L. Birdwhistell et Margaret Mead, Designed deValence, B42-210, Éditions B42, Montreuil, 2024

Texts: Gregory Bateson, Ray L. Birdwhistell, Henry W. Brosin, Rémy Campos, Yvane Chapuis, Christophe Kihm, Norman A. McQuown, Albert E. Scheflen, Laura Spozio, Jacques Van Vlack

Happy 37th birthday to Charlotte Casiraghi!

Born on 3 August 1986, Charlotte Marie Pomeline Casiraghi is the second child of Caroline, Princess of Hanover, and Stefano Casiraghi, a niece of Prince Albert II of Monaco and a granddaughter of Rainier III and Grace Kelly. She is eleventh in line to the throne of Monaco.

On 17 December 2013 Charlotte gave birth to her first son, Raphaël, with stand-up comedian and actor Gad Elmaleh.

On 23 October 2018, Charlotte gave birth to her second child, a son named Balthazar, with Dimitri Rassam. The couple married civilly at the Prince's Palace of Monaco on 1 June 2019 and religiously on 29 June 2019, at the Abbey of Sainte-Marie de Pierredon, outside Saint-Rémy-de-Provence.

Princess Grace of Monaco tribute exposition at Baux-de-Provence, in France in 2012. 

In June 1982, the people of Les Baux gave an official reception for Prince Albert of Monaco, who attended accompanied with her mother, Princess Grace, and presented him with the keys of the town. The princess would die that three months later, in September 14th, in a car accident near Monaco. 

To celebrate the opening of The Princess Grace Photo Album, a group of regional dignitaries, tourism authorities, and local business owners were welcomed for a private tour and gala luncheon this summer. The guest of honor was Diane E. Kelly, the Consul General of the U.S. in Marseille and Monaco. 

Apparently, the Grimaldi family back in 1642 helped Louis XIII beat off the Spanish and were rewarded with Les Baux and Saint-Rémy-de-Provence.  The Grimaldis’ palace there was requisitioned during the Revolution but they have kept the titles.  There’s a supplement on this, with photos and info on the life of Princess Grace, in this week’s Paris Match.

Gala Québec Cinéma 2023: les nominations

Animé par Jay Du Temple, le 25e Gala Québec Cinéma sera diffusé le dimanche 10 décembre prochain à 20h sur les ondes de Noovo et Noovo.ca, en direct des studios Grandé de Montréal. Le Gala Artisans, animé par Fabiola Nyrva Aladin, aura lieu le 7 décembre à 19h30 au Studio TD.

Voici la liste complète des nominations:

IRIS HOMMAGE Rémy Girard

MEILLEUR FILM Arsenault et Fils | La maison de prod — Stéphanie Morissette, Charles Stéphane Roy Babysitter | Amérique Film — Martin Paul-Hus, Catherine Léger ; Phase 4 Productions — Pierre-Marcel Blanchot, Fabrice Lambot Falcon Lake | Metafilms — Nancy Grant, Sylvain Corbeil ; Onzecinq — Dany Boon, Jalil Lespert ; Cinéfrance Studios — Julien Deris, David Gauquié, Jean-Luc Ormières Le plongeur | Sphère Média — Marie-Claude Poulin Les chambres rouges | Némésis Films — Dominique Dussault Noémie dit oui | Productions Leitmotiv — Patricia Bergeron Viking | micro_scope — Luc Déry, Kim McCraw

MEILLEUR PREMIER FILM

Falcon Lake | Charlotte Le Bon Farador | Édouard Albernhe Tremblay Les hommes de ma mère | Anik Jean Noémie dit oui | Geneviève Albert Rodéo | Joëlle Desjardins Paquette

MEILLEURE RÉALISATION Monia Chokri | Babysitter Stéphane Lafleur | Viking Francis Leclerc | Le plongeur Rafaël Ouellet | Arsenault et Fils Pascal Plante | Les chambres rouges

MEILLEUR SCÉNARIO Eric K. Boulianne, Francis Leclerc | Le plongeur Stéphane Lafleur, Eric K. Boulianne | Viking Catherine Léger | Babysitter Rafaël Ouellet | Arsenault et Fils Pascal Plante | Les chambres rouges MEILLEURE INTERPRÉTATION FÉMININE | PREMIER RÔLE Larissa Corriveau (Steven) | Viking Kelly Depeault (Noémie) | Noémie dit oui Hélène Florent (Rose Lemay) | Une femme respectable Léane Labrèche-Dor (Elsie) | Les hommes de ma mère Sara Montpetit (Chloé) | Falcon Lake

MEILLEURE INTERPRÉTATION MASCULINE | PREMIER RÔLE Guillaume Cyr (Adam) | Arsenault et Fils Patrick Hivon (Cédric) | Babysitter Steve Laplante (John) | Viking Henri Picard (Stéphane) | Le plongeur Luc Picard (Gérald Gallant) | Confessions

MEILLEURE INTERPRÉTATION FÉMININE | RÔLE DE SOUTIEN Laurie Babin (Clémentine) | Les chambres rouges Élise Guilbault (Soeur Monique) | Le temps d’un été Ève Landry (Josée) | Bungalow Julie Le Breton (Isabelle) | Tu te souviendras de moi Nadia Tereszkiewicz (Amy) | Babysitter

MEILLEURE INTERPRÉTATION MASCULINE | RÔLE DE SOUTIEN Maxime de Cotret (Greg) | Le plongeur Charles-Aubey Houde (Bébert) | Le plongeur Denis Houle (Liz)| Viking Steve Laplante (Jean-Michel) | Babysitter Guy Nadon (Maître Jean-Pierre Genin) | Le temps d’un été

RÉVÉLATION DE L’ANNÉE Fabiola N. Aladin (Janet) | Viking Emi Chicoine (Léa) | Noémie dit oui Virginie Fortin (Elsa) | 23 décembre Juliette Gariépy (Kelly-Anne) | Les chambres rouges Joan Hart (Bonnie) | Le plongeur François Pérusse (Alain) | Niagara

MEILLEURE DISTRIBUTION DES RÔLES Nathalie Boutrie — Nathalie Boutrie Casting | Arsenault et Fils Marilou Richer — Marilou Richer Casting | Les chambres rouges Lucie Robitaille, Dandy Thibaudeau — Casting Lucie Robitaille | Viking Annie St-Pierre, Antoinette Boulat | Babysitter Brigitte Viau — Casting Brigitte Viau | Le plongeur MEILLEURE DIRECTION ARTISTIQUE André-Line Beauparlant | Viking Sylvie Desmarais| Bungalow Mathieu Lemay | Le plongeur Laura Nhem | Les chambres rouges Colombe Raby | Babysitter

MEILLEURE DIRECTION DE LA PHOTOGRAPHIE Steve Asselin | Le plongeur Vincent Biron| Les chambres rouges Kristof Brandl | Falcon Lake Josée Deshaies | Babysitter Sara Mishara | Viking

MEILLEURS EFFETS VISUELS Marc Hall — A.A. Studios | Babysitter Marc Hall — A.A. Studios, Alex GD — RGB124 | Farador Marc Hall — A.A. Studios | La cordonnière Marie-Claude Lafontaine, Simon Beaupré — Alchimie 24 | Viking Mathilde Vézina-Bouchard | Mistral spatial

MEILLEUR SON Sylvain Bellemare, Bernard Gariépy Strobl, Pierre Bertrand | Viking Olivier Calvert, Stéphane Bergeron, Martyne Morin | Les chambres rouges Olivier Calvert, Luc Boudrias, Yann Cleary | Le plongeur Stephen De Oliveira, Séverin Favriau, Stéphane Thiébaut | Falcon Lake Daniel Fontaine-Bégin, Luc Boudrias, Henry Jr Godding | Arsenault et Fils

MEILLEUR MONTAGE Pauline Gaillard | Babysitter Sophie Leblond| Viking Myriam Magassouba | Arsenault et Fils Jonah Malak | Les chambres rouges Isabelle Malenfant | Le plongeur

MEILLEURE MUSIQUE ORIGINALE Viviane Audet, Robin-Joël Cool, Alexis Martin | Arsenault et Fils Daniel Bélanger | Confessions Christophe Lamarche-Ledoux, Mathieu Charbonneau | Viking Martin Léon | Tu te souviendras de moi Dominique Plante | Les chambres rouges MEILLEURS COSTUMES Mariane Carter | La cordonnière Guillaume Laflamme | Babysitter Sophie Lefebvre | Une femme respectable Sophie Lefebvre | Viking Annabelle Roy, Delphine Gagné | Farador

MEILLEUR MAQUILLAGE Kathryn Casault, Bruno Gatien | Confessions Marie-Josée Galibert | Viking Marie Salvado | Les chambres rouges Lyne Tremblay, Faustina De Sousa, François Gauthier, Michael Loncin | Farador Adriana Verbert | Babysitter

MEILLEURE COIFFURE Vincent Dufault | Viking André Duval | Une femme respectable Nermin Grbic | Les chambres rouges Richard Hansen, Réjean Forget, Johanne Hansen | La cordonnière Ann-Louise Landry | Babysitter

MEILLEUR FILM DOCUMENTAIRE Dear Audrey | Réalisation : Jeremiah Hayes | Scénario : Jeremiah Hayes | Office national du film du Canada — Jeremiah Hayes, André Barro, Annette Clarke Gabor | Réalisation : Joannie Lafrenière | Scénario : Joannie Lafrenière | Tak films — Line Sander Egede Geographies of Solitude | Réalisation : Jacquelyn Mills | Scénario : Jacquelyn Mills | Rosalie Chicoine Perreault, Jacquelyn Mills Je vous salue salope : la misogynie au temps du numérique | Réalisation : Léa Clermont-Dion, Guylaine Maroist | Scénario : Léa Clermont-Dion, Guylaine Maroist | La Ruelle Films — Eric Ruel, Guylaine Maroist Rojek | Réalisation : Zaynê Akyol | Scénario : Zaynê Akyol | Metafilms — Sylvain Corbeil, Audrey-Ann Dupuis-Pierre ; Zaynê Akyol

MEILLEURE DIRECTION DE LA PHOTOGRAPHIE | FILM DOCUMENTAIRE Geoffroy Beauchemin | Humus Nicolas Canniccioni, Arshia Shakiba | Rojek Joannie Lafrenière | Gabor Jacquelyn Mills | Geographies of Solitude Maude Plante-Husaruk | Au-delà des hautes vallées MEILLEUR SON | FILM DOCUMENTAIRE Mélanie Gauthier, Jeremiah Hayes, Isabelle Lussier | Dear Audrey Maxime Lacoste-Lebuis, Eric Shaw, Jean Paul Vialard | Au-delà des hautes vallées Andreas Mendritzki, Jacquelyn Mills | Geographies of Solitude Jean-François Sauvé, Martin M. Messier, Bruno Pucella | 305 Bellechasse Catherine Van Der Donckt, Jean Paul Vialard | Au-delà du papier

MEILLEUR MONTAGE | FILM DOCUMENTAIRE Mathieu Bouchard-Malo| Rojek Jeremiah Hayes | Dear Audrey Emmanuelle Lane | Gabor Jacquelyn Mills | Geographies of Solitude Oana Suteu Khintirian | Au-delà du papier

MEILLEURE MUSIQUE ORIGINALE | FILM DOCUMENTAIRE Olivier Alary, Johannes Malfatti | Twice Colonized Gervaise | Gabor Walter Grimshaw | Dear Audrey Maxime Lacoste-Lebuis | Au-delà des hautes vallées Delphine Measroch | Humus

MEILLEUR COURT OU MOYEN MÉTRAGE | ANIMATION A night for the dogs | Max Woodward | Confettis Production — Guillaume Dubois, Camille Lequenne Harvey | Janice Nadeau | Folimage – Reginald de Guillebon, Pierre Méloni ; Office national du film du Canada — Marc Bertrand, Christine Noël, Julie Roy Madeleine | Raquel Sancinetti | Production : Raquel Sancinetti Marie · Eduardo · Sophie | Thomas Corriveau | Production : Thomas Corriveau Triangle noir | Marie-Noëlle Moreau Robidas | Embuscade Films — Nicolas Dufour-Laperrière

MEILLEUR COURT OU MOYEN MÉTRAGE | DOCUMENTAIRE Belle River | Guillaume Fournier, Samuel Matteau, Yannick Nolin | Kinomada — Jean-Pierre Vézina Fire-Jo-Ball | Audrey Nantel-Gagnon | Office national du film du Canada — Nathalie Cloutier Notes sur la mémoire et l’oubli | Amélie Hardy | Club Vidéo de Montréal — Isabelle Grignon-Francke Oasis | Justine Martin | Déjà Vu — Louis-Emmanuel Gagné-Brochu Zug Island | Nicolas Lachapelle | Production : Guillaume Collin, Nicolas Lachapelle

MEILLEUR COURT OU MOYEN MÉTRAGE | FICTION Invincible | Vincent René-Lortie | Telescope Films — Élise Lardinois, Samuel Caron Nanitic | Carol Nguyen | Coop Vidéo de Montréal — Marie Lytwynuk ; Carol Nguyen Nuit blonde | Gabrielle Demers | Cinquième maison — Nellie Carrier Pas de fantôme à la morgue | Marilyn Cooke | La 115e — Kélyna N. Lauzier, Macha Houssart Simo | Aziz Zoromba | Scarab Films — Rosalie Chicoine Perreault PRIX DU PUBLIC 23 décembre | Immina Films — Patrick Roy | A Média Productions — Guillaume Lespérance | Réalisation : Miryam Bouchard | Scénario : India Desjardins Confessions | Les Films Opale — Christian Larouche, Sébastien Létourneau | Christal Film Productions — Christian Larouche | Réalisation : Luc Picard | Scénario : Sylvain Guy Katak le brave béluga | Attraction Distribution — Xiaojuan Zhou, Maison 4:3 — Chantale Pagé | 10e Ave Productions — Nancy Florence Savard | Réalisation : Christine Dallaire-Dupont, Nicola Lemay | Scénario : Andrée Lambert Le temps d’un été | Immina Films — Patrick Roy | Attraction — Antonello Cozzolino, Brigitte Léveillé | Réalisation : Louise Archambault | Scénario : Marie Vien Les hommes de ma mère | Immina Films — Patrick Roy | Jessie Films — Patrick Huard, Anik Jean | Réalisation : Anik Jean | Scénario : Maryse Latendresse

FILM S’ÉTANT LE PLUS ILLUSTRÉ À L’EXTÉRIEUR DU QUÉBEC Cette maison | Embuscade Films — Félix Dufour-Laperrière | Réalisation : Miryam Charles | Scénario : Miryam Charles | La Distributrice de films — Serge Abiaad Dounia et la princesse d’Alep | Tobo — Judith Beauregard | Réalisation : Marya Zarif, André Kadi | Scénario : Marya Zarif | Maison 4:3 — Chantale Pagé Falcon Lake| Metafilms — Nancy Grant, Sylvain Corbeil ; Onzecinq — Dany Boon, Jalil Lespert ; Cinéfrance Studios — Julien Deris, David Gauquié, Jean-Luc Ormières | Réalisation : Charlotte Le Bon | Scénario : Charlotte Le Bon | Sphère Films — Ariane Giroux-Dallaire Katak le brave béluga | 10e Ave Productions — Nancy Florence Savard | Réalisation : Christine Dallaire- Dupont, Nicola Lemay | Scénario : Andrée Lambert | Attraction Distribution — Xiaojuan Zhou, Maison 4:3 — Chantale Pagé Viking | micro_scope — Luc Déry, Kim McCraw | Réalisation : Stéphane Lafleur | Scénario : Stéphane Lafleur, Eric K. Boulianne | Les Films Opale — Christian Larouche, Sébastien Létourneau

The Antoine Doinel Cycle

Jean-Pierre Léaud in The 400 Blows (François Truffaut, 1959)

Cast: Jean-Pierre Léaud, Albert Rémy, Claire Maurier, Patrick Auffay, Georges Flamant. Screenplay: François Truffaut, Marcel Moussy. Cinematography: Henri Decaë. Film editing: Marie-Josèphe Yoyotte. Music: Jean Constantin. One of the unquestioned great movies, and one of the greatest feature-film directing debuts, The 400 Blows would still resonate with film-lovers even if François Truffaut hadn't gone on to create four sequels tracking the life and loves of his protagonist, Antoine Doinel (Jean-Pierre Léaud). There are, in fact, those who think that the last we should have seen of Antoine was the haunting freeze-frame at the end of the film. But Antoine continued to grow up on screen, and perhaps more remarkably, so did Léaud, carving out his own career after his debut as a 13-year-old. (It's hard to think of any American child actors who were able to maintain a film career into adulthood as well as Léaud did. Mickey Rooney? Dean Stockwell? Who else?) Having Truffaut as a mentor certainly helped, but Léaud had an unmistakable gift. He is on screen for virtually all of the 99-minute run time, and provides a gallery of memorable moments: Antoine in the amusement-park centrifuge, Antoine in the police lockup, Antoine on the run -- in cinematographer Henri Decaë's brilliant long tracking shot. And my personal favorite moment: when the psychologist asks Antoine if he's ever had sex. Léaud responds with a beautiful mixture of surprise, amusement, and embarrassment. It's so genuine a response that I have to think it was improvised, that Truffaut surprised Léaud with the question. But even so, Léaud never drops character in his response. This praise of Léaud is not to undervalue the magnificent supporting cast, or the haunting score by Jean Constantin. It's a film in which everything works.

Jean-Pierre Léaud and Marie-France Pisier in Antoine and Colette (François Truffaut, 1962) Cast: Jean-Pierre Léaud, Marie-France Pisier, Rosy Varte, François Darbon, Patrick Auffay, Jean-François Adam. Screenplay: François Truffaut. Cinematography: Raul Coutard. Music: Georges Delerue.  Four years after he made The 400 Blows, Truffaut was asked to contribute to an anthology of short films by directors from various countries to be called Love at Twenty. As he had with the first film, Truffaut drew on his own experience, an infatuation with a girl he had met at the Cinémathèque Française. And since Léaud was available -- he had worked with Julien Duvivier on Boulevard (1960) after completing The 400 Blows -- it made sense for him to play Antoine Doinel again. A narrator tells us that Antoine had been sent to another reform school after escaping from the first, and that this time he had responded well to a psychologist: After leaving school, he has found a job working for the Phillips record company and is living on his own. Then he sees a pretty young woman at a concert of music by Berlioz and falls for her. Colette (Marie-France Pisier) is not much interested in him, but she is evidently flattered by his advances. Her parents like Antoine and encourage him so much that he rents a room across the street from them. (Truffaut had done the same thing during his crush.) But one evening when he comes to dinner at their apartment, a man named Albert (Jean-François Adam) calls on Colette and she leaves Antoine watching TV with her parents. It's a droll little film, scarcely more than an anecdote, and the stable, lovestruck Antoine doesn't seem much like either the rebellious Antoine of the first film or the more scattered Antoine of the later ones in the cycle.

Jean-Pierre Léaud in Stolen Kisses (François Truffaut, 1968) Cast: Jean-Pierre Léaud, Claude Jade, Michael Lonsdale, Delphine Seyrig, Michael Lonsdale, Claire Duhamel, Daniel Ceccaldi. Screenplay: François Truffaut, Claude de Givray, Bernard Revon. Cinematography: Denys Clerval. Production design: Claude Pignot. Film editing: Agnès Guillemot. Music: Antoine Duhamel.

The Antoine of Stolen Kisses is in his 20s, but has reverted to the more haphazard ways of his adolescence: He has been kicked out of the army, and now relies on a series of odd jobs to get by. But he has also renewed acquaintance with a young woman he met before going into the army, Christine Darbon (Claude Jade). Like Colette's parents, hers are quite taken with Antoine, and they help him get a job as a night clerk in a hotel. He gets fired from that job after helping a private detective who is spying on an adulterous couple, but the detective helps Antoine get a job with his agency. While working for the detective agency, he has to pose as a clerk in a shoe store, and winds up in a liaison with the store owner's wife, Fabienne (Delphine Seyrig). When that ends badly, he becomes a TV repairman, which brings him back to Christine, with whom he winds up in bed after trying to fix her TV. At the film's end, a strange man who has been following Christine comes up to her and Antoine in the park and declares his love for her. She says he must be crazy, and Antoine, who perhaps recognizes his earlier infatuation with Colette in the man's obsession, murmurs, "He must be." Stolen Kisses is the loosest, funniest entry in the cycle, though it was made at a time when Truffaut was politically preoccupied: The film opens with a shot of the shuttered gates of the Cinémathèque Française, which was shut down in a conflict between its director, Henri Langlois, and culture minister André Malraux. This caused an uproar involving many of the directors of the French New Wave. Some of Antoine's anarchic approach to life may have been inspired by the rebelliousness toward the establishment prevalent in the film community. But it's clear that the idea of a cycle of Antoine Doinel films has been brewing in Truffaut's mind: There is a cameo appearance by Marie-France Pisier as Colette and Jean-François Adam as Albert, now married and the parents of an infant.

Claude Jade and Jean-Pierre Léaud in Bed and Board (François Truffaut, 1970) Cast: Jean-Pierre Léaud, Claude Jade, Claire Duhamel, Daniel Ceccaldi, Hiroko Berghauer. : François Truffaut, Claude de Givray, Bernard Revon. Cinematography: Néstor Almendros. Production design: Jean Mandaroux. Film editing: Agnès Guillemot. Music: Antoine Duhamel.  Antoine and Christine have married, and they have settled down in a small apartment. (There's some indication that it's paid for by her parents.) She gives violin lessons and he sells flowers -- carnations, which he dyes, using some environmentally questionable potions. But settling down isn't in Antoine's nature, and when Christine gets pregnant he looks for more lucrative work. He finds a curious sinecure in a company run by an American: Antoine maneuvers model ships by remote control through a mockup of a harbor. ("It gives me time to think," he says.) One day, a Japanese businessman comes to see the demonstration, accompanied by a pretty translator named Kyoko (Hiroko Berghauer), and Antoine is soon involved in an affair with her. Naturally, this precipitates a breakup, though by film's end they have seemingly reconciled. Still, it's obvious that the marriage is not destined to be permanent. They can't even agree on a name for their son: She wants him to be called Ghislain, and he wants to call him Alphonse. Antoine wins out by a trick: He's the one who goes to the registry office to legalize the boy's name. Antoine also spends time writing a novel about his boyhood, to which Christine objects: "I don't like this business of writing about your childhood, dragging your parents through the mud. I don't know much but I do know one thing: If you use art to settle accounts, it's no longer art." Truffaut had his own regrets about the portrait of his parents in The 400 Blows. Less farcical than Stolen Kisses, Bed and Board still has a strong vein of comedy tinged with melancholy.

Claude Jade and Jean-Pierre Léaud in Love on the Run (François Truffaut, 1979) Cast: Jean-Pierre Léaud, Marie-France Pisier, Claude Jade, Dani, Dorothée, Daniel Mesguich, Julien Bertheau. Screenplay: François Truffaut, Marie-France Pisier, Jean Aurel, Suzanne Schiffman. Cinematography: Néstor Almendros. Production design: Jean-Pierre Kohut-Svelko. Film editing: Martine Barraqué. Music: Georges Delerue. Truffaut admitted that he wasn't happy with the final film in the cycle. It's a bit too heavily reliant on flashback clips from the four earlier films, and if it's intended to show that Antoine has finally stabilized now that he's in his 30s and divorced from Christine, it doesn't quite make the case. He has a new girlfriend, Sabine (Dorothée), his novel has been published several years earlier, and he works as a proofreader for a printing house. He's on friendly terms with Christine, and agrees to take their son, Alphonse, to the train station when the boy leaves for a summer music camp. At the station, he runs into Colette, now a defense lawyer, who is on her way to confer with a client -- a man who has murdered his 3-year-old boy. Perhaps a little too coincidentally, Colette is involved with Sabine's brother, Xavier (Daniel Mesguich), and she has bought a copy of Antoine's novel to read on the train. Antoine impulsively boards the train, and sets up a meeting with Colette in the dining car, after which she invites him back to her compartment. All of this sets up a series of revelations: Colette's marriage to Albert broke up after their small daughter was killed by a car. She claims that she supplements her small income as a lawyer by prostituting herself with men she meets on trains. Antoine finally made peace with his mother after her death when he met her old lover, M. Lucien (Julien Bertheau), who persuaded him to visit his mother's grave. (There is a flashback to the scene in The 400 Blows when Antoine, playing hooky, sees his mother kissing a strange man on the street.) Antoine became infatuated with Sabine after hearing a man in a phone booth arguing with a woman on the other end of the line and then tearing up her photograph. Antoine picked up the pieces from the floor, put them together, and after some sleuthing, discovered the woman was Sabine. His marriage to Christine finally broke up after he slept with her friend Liliane (Dani), who he previously had thought was having a lesbian relationship with Christine. And so on. The result of all the flashbacks and revelations is not to round out the Antoine Doinel saga, but to make Love on the Run feel over-contrived.  

Filmes: Os Incompreendidos (1959)

OS INCOMPREENDIDOS Título Original: Les Quatre Cents Coups País: França Ano: 1959 Duração: 99 minutos Direção: François Truffaut Elenco: Jean-Pierre Léaud, Albert Rémy, Claire Maurier, Guy Decomble, Patrick Auffay, Georges Flamant, Pierre Repp, Daniel Couturier, Luc Andrieux. Sinopse: Por conta de uma rebeldia natural e incontrolável, o adolescente Antoine Doinel tem problemas de relacionamento com a mãe e o padrasto, e se sente perseguido pelos professores da escola. Ele mata aula para ficar andando pelas ruas com os colegas, mas um dia quando comete um roubo, é preso e mandado para um reformatório para jovens delinquentes.

Os Incompreendidos teve seu lançamento no Festival de Cannes no dia de hoje, 4 de maio, em 1959. François Truffaut, então um dos mais conhecidos críticos da revista francesa Cahiers du Cinéma, faz sua estreia na direção com uma obra-prima irretocável e um marco da novelle vague.

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SALOMON - Tomorrow is yours (DIRCUT) from Gabriel Dugué on Vimeo.

A film by SALOMON

Advertisers' representatives: Franco Fogliato, Éric Pansier, Benjamin Aidan, Delphine Duhot

Created by DDB Paris Chief Creative Officer: Alexander Kalchev Art Director (Film): Nicolas Malcorps Art Directors (Print): Romane Nougaret-Fischer, Nicolas Malcorps Copywriters: Lucille Ortega, Nicolas Malcorps TV Producers: Pierre Boudin, Chloé Travaillard Strategic Planning: Claude-Henri Galbois Account Department: Xavier Mendiola, Olivier Guillerot, Romane Philippe, Tom Salvan

Produced by OCURENS Director: Gabriel Dugué Co-director: Valentin Petit Director Recycling Sequence: Nathan Almeras DOP: Téva Vasseur (Switzerland) & Olmo Sobrino (Spain) Executive Producers: Rémy Solomon & Germain Robin Line Producer: Ophélie Stavropoulos Production Coordinator: Chloé Goueilhé Production Assistant: Téa Chiffre 1st AD: Mathieu Pérez

SPAIN Service Production: Limon Service Producers: Alejandro Lopez & Albert Montero Production Manager: Josep Gali Production Coordinator: Ainhoa Ballabriga Talent Coordinator: Jordi Faura 2nd AD: Mateus Location Manager: Kiko Gonzalez Driver Director: Raul Carrasco Driver Agency & Client: Joan Miñana Crew Ocurens Van: Dani Ros Driver Crew: Miguel Michavila Driver Crew: David Ceballos Driver Crew: Pedro Crespo Driver Crew & Talents: Oscar Silvente Unit Manager: Francesc Puig DOP: Olmo Sobrino Focus Puller: Alfredo Suarez 2nd AC / Digital Assist: Raul Caso Video Assistant: Joan Brusés Camera Truck Driver: Juanjo Angosto Key Grip: Xavi Gordi Grip Assistant: As Per Xavi Movi: Grip Support Quad: Grip Support Drone: Skynamic (Alejandro) Art Director: Mario Serrano Art Director Asst: Marc Ferrer Props Buyer: Sonia Martin Art Assistant: Arturo Caipa Art Assistant: Pol Carrizo Art Assistant: Berta Negre Stylist: Isis Rodriguez Assistant Stylist: Isabel Domenech Make Up: Simona Avra Make Up Assistant: Margaryta Skomrova Wardrobe Van: Rafa Ruiz Motorhome: Modasa Gaffer: Rafa Ramirez Casting Director: Sonia Rivas

SWITZERLAND Service Production: Theus Productions Service Producers: Michaël Theus & Nicolaï Tchetchelachvili Driver: Marc Despont 2nd AC: Tamara Castagnoli Ski Camera Operator: Thibaud Maury Key Grip: Sébastien Biollaz Gaffer: Claudio Artieda Wardrobe Stylist: Yasmin Achache Assistant Stylist: Fernando Loaiza Hair Stylist & Make Up: Noelia De Jesus Filmmaker & Night Skiing Ambassador: Nicolas Vuignier Snowboard Ambassador: Tess Coady Japanese Ambassador (Tess Stunt Double): Kaito Hamada Little Boy: Wilhem Juillerat Little Boy’s Chaperon: Sandy Juillerat Slope Friend #1: Basile Lafrej Slope Friend #2: Joas Hättenschwiler Slope Friend #3: Alejandra Bayard Location Manager: Aurélie Steinberg Models Agency: Agence POP - People of Publicity Snowpark: Alaïa Parks Crans-Montana Domaine skiable de Crans-Montana - CMASA Office du Tourisme de Crans-Montana Rental Companies: Visuals Switzerland & Wondare

Post Production by MONUMENTAL Post Producers: Laïla Hamdaoui, Elisa Johanna Känd Editor: Jon Echeveste Color Grading Artist: Sylvain Canaux Music: MiM Sound Design: Lafayette Street Studio Sound Design & Mix: Emilien Bernaux

VFX by SQUARE VFX Supervisors: Mathieu Jussreandot / Colin Journée VFX Production Manager: Camille Sermet Supervisors On-Set: Mathieu Legros / Adrien « Palmito » Renay Scan 3D: Adrien Bavant Lead CG: Arthur Villiers-Moriamé Environment Artist: Irakli Kurashvilli Modeling & Texturing: Sébastien LeMoignet Lead FX: Adam Bachiri FX Artists: Maxime Delsart / Donghee Kim Rigging: Gregory Beccucci Animation: Nicolas Caillet Lighting: Adrien Salaun Compositing: Mathieu Legros / Romain Bedouet / Adrien « Palmito » Renay / Isabelle Tchoungang Motion Design: Martin Goldwasser / Antonin Grobost

The 400 Blows (1959)

Director: François Truffaut Starring: Jean-Pierre Léaud, Albert Rémy, Claire Maurier A young boy, left without attention, delves into a life of petty crime. It’s very rare for me to not make a single note during a film’s first 30 minutes. Fact is, there simply was nothing interesting happening, or anything that excited me. For most of these first 30 minutes we watch kids in a classroom. They…

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The artist’s garden at Vétheuil (no date) Art Object Page. Available at: https://www.nga.gov/collection/art-object-page.52189.html (Accessed: 08 November 2023).

Previous work - Nessie Ramm (2022) nessie ramm - contemporary landscape artist. Available at: https://nessieramm.co.uk/previous-work/ (Accessed: 08 November 2023).

Jungbauer, J. (2019) Intricate collages of cities by Anastasia Savinova, IGNANT. Available at: https://www.ignant.com/2016/03/01/intricate-collages-of-cities-by-anastasia-savinova/ (Accessed: 08 November 2023).

Cirrus clouds (no date) Met Office. Available at: https://www.metoffice.gov.uk/weather/learn-about/weather/types-of-weather/clouds/high-clouds/cirrus (Accessed: 08 November 2023).

(No date) Vincent van Gogh. the starry night. Saint Rémy, June 1889 | moma. Available at: https://www.moma.org/collection/works/79802 (Accessed: 08 November 2023).

About Labyrinth by Mark Wallinger: Labyrinth (2016) Labyrinth |. Available at: https://art.tfl.gov.uk/labyrinth/about/ (Accessed: 08 November 2023).

(No date a) Matt Peers. Available at: https://www.mattpeers.photography/ (Accessed: 08 November 2023).

Gunseli Yalcinkaya |3 October 2018 Leave a comment (2019) Rick Owens sets runway on fire at Paris fashion week show, Dezeen. Available at: https://www.dezeen.com/2018/10/03/rick-owens-spring-summer-2019-show-paris-fashion-week/ (Accessed: 08 November 2023).

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Trigg, D. (no date) Albert Reuss, Studio International: Visual Arts, Design and Architecture. Available at: https://www.studiointernational.com/albert-reuss-review-truro-cathedral-newlyn-art-gallery-holocaust-memorial-day#:~:text=Woman%20Reading%20with%20Mother%2Din,%2C%20Rosa%20(n%C3%A9e%20Feinstein). (Accessed: 08 November 2023).

Kieron Cropper - Picture interview (2015) Kollektiv Gallery. Available at: https://www.kollektivgallery.com/artists/kieron-cropper/ (Accessed: 08 November 2023).

Stitched botanicals (no date) HILLARY WATERS FAYLE. Available at: https://www.hillarywfayle.com/new-page-5 (Accessed: 08 November 2023).

Dmitry (2019) Artist paints creatures she sees ‘living’ in the walls due to Pareidolia, Design You Trust. Available at: https://designyoutrust.com/2019/03/artist-paints-creatures-she-sees-living-in-the-walls-due-to-pareidolia/ (Accessed: 08 November 2023).

Snail trail 1 - limited edition 1 of 1 art print (no date) Saatchi Art. Available at: https://www.saatchiart.com/art/Printmaking-Snail-Trail-1-Limited-Edition-1-of-1/423916/3349282/view (Accessed: 08 November 2023).

(No date a) Banksy. Available at: https://www.banksy.co.uk/out.html (Accessed: 12 November 2023).

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Dezeen. (2015). Fall dress by Birce Ozkan drops its panels like leaves. [online] Available at: https://www.dezeen.com/2015/06/03/fall-interactive-dress-parsons-fashion-graduate-birce-ozkan-drops-panels-seasons-autumn-leaves/ [Accessed 12 Nov. 2023].

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Week 2: Essay (The 400 Blows)

The 400 Blows, a film directed by François Truffaut, is a French New Wave cinema masterpiece that explores the coming-of-age story of Antoine Doinel, a troubled adolescent living in Paris in the late 1950s. Truffaut's film is a poetic and lyrical representation of youth and rebellion that captures the innocence, vulnerability, and struggle of growing up. The critically acclaimed film has received widespread praise for its realism, intimacy, and innovative approach to storytelling.

Two critical quotations:

The line "I found out she had wanted to have an abortion" is a significant moment in the film because it reveals the harsh realities of Antoine's family life and the lack of care and attention he receives from his parents. The line is spoken by Antoine to the psychologist. The revelation that Antoine's mother had wanted to have an abortion emphasizes the sense of detachment and neglect in Antoine's family life. It suggests that his mother did not want to have him.

The line "if only he'd confided in us" is significant as it highlights the theme of communication and the lack of it in Antoine's life. Throughout the movie, Antoine, the protagonist, struggles to communicate with the people around him, including his parents, teachers, and friends.

It reveals the missed opportunities for Antoine to receive support and understanding from his parents. It also draws attention to the importance of communication in relationships, especially between parents and their children, and how the lack of it can lead to misunderstandings and difficulties.

Basic Facts and Context: The 400 Blows was released in 1959, and it was François Truffaut's directorial debut. The film was loosely based on Truffaut's own experiences as a troubled youth, and it was shot on location in Paris. The film's title comes from the French idiom "faire les quatre cents coups," which means get into mischief or raise hell. The film's main character is Antoine Doinel, a rebellious adolescent who struggles to find his place in the world. The film stars Jean-Pierre Léaud as Antoine, with Albert Rémy and Claire Maurier playing his parents. Critical Reception: The 400 Blows has been widely praised by critics and audiences alike since its release. The film won the Best Director award at the 1959 Cannes Film Festival and has since become regarded as a classic of French cinema. Renowned film critic Roger Ebert called the film "one of the most intensely touching stories ever made about a young adolescent," while filmmaker Martin Scorsese has said that the film "changed his life" and inspired him to become a filmmaker. Historical Context: The 400 Blows was released at a time of significant social and cultural change in France. The film was made during the height of the French New Wave movement, which was characterized by its rejection of traditional Hollywood-style filmmaking and its focus on realism, improvisation, and personal expression. The film also reflects the social and cultural tensions of French society in the mid-20th century, particularly around issues of youth delinquency and social inequality. The film's portrayal of Antoine as a troubled adolescent who is caught between childhood and adulthood reflects the changing attitudes towards youth and adolescence in post-war France. Style, Look-and-Feel: The 400 Blows is a visually stunning film that is characterized by its innovative approach to storytelling and its use of unconventional film techniques. The film is shot in black and white, with a documentary-style realism that captures the vibrancy and energy of Paris in the late 1950s. Truffaut uses long takes, handheld camera movements, and jump cuts to create a sense of immediacy and intimacy that draws the viewer into Antoine's world. The film also features a memorable score by Jean Constantin, which adds to the film's emotional impact. How is the movie conventional vs. unconventional? The 400 Blows is a film that is both conventional and unconventional in its approach to storytelling. On the one hand, the film follows the conventional structure of a coming-of-age story, with Antoine as the protagonist who must navigate the challenges of adolescence to find his place in the world. However, the film is also unconventional in its use of film techniques, its rejection of traditional Hollywood-style filmmaking, and its focus on realism and improvisation. Truffaut's film is a poetic and lyrical representation of youth and rebellion that captures the innocence, vulnerability, and struggle of growing up in an innovative and unconventional way. Visual Elements: One of the most memorable visual elements of The 400 Blows is the film's final shot, which shows Antoine looking directly at the camera as he runs toward the ocean. This shot is an iconic moment in cinema history, and it captures the sense of freedom.

Truffaut, François. The 400 Blows. 1959.

Ebert, Roger. "The 400 Blows Movie Review (1959) | Roger Ebert." RogerEbert.com. 23 March 2003, https://www.rogerebert.com/reviews/great-movie-the-400-blows-1959.

Scorsese, Martin. "How 'The 400 Blows' Changed My Life." The Criterion Collection. 8 May 2009, https://www.criterion.com/current/posts/845-how-the-400-blows-changed-my-life.

Naremore, James. "The 400 Blows." The Criterion Collection. 2009, https://www.criterion.com/current/posts/845-how-the-400-blows-changed-my-life.

Lefèvre, Raymond. "The 400 Blows: 50 Years After." Senses of Cinema. Issue 53, 2009, http://sensesofcinema.com/2009/feature-articles/the-400-blows-50-years-after/.

Roud, Richard. "The French New Wave: An Artistic School." The Guardian. 13 February 2009, https://www.theguardian.com/film/2009/feb/13/french-new-wave-richard-roud.

Williams, Alan. Republic of Images: A History of French Filmmaking. Harvard University Press, 1992.

Autobiográfico

Rapaz rebelde, com pouco apoio familiar, que acaba ao cuidado de uma instituição.

Café de Flore é um café localizado na esquina do boulevard Saint-Germain e rue Saint-Benoît, no distrito de Saint-Germain-des-Prés, em Paris, França. É famosa por ter sido frequentada por importantes intelectuais e artistas ao longo de sua história, como Joris-Karl Huysmans, Rémy de Gourmont, Charles Maurras, Georges Bataille, Robert Desnos, Léon-Paul Fargue, Raymond Queneau, Jean-Paul Sartre, Albert Camus, Pablo Picasso e Zhou Enlai.