Alain Resnais
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“What Would Resnais Bring Back from Japan? I Had Not a Clue”: Producer Anatole Dauman on Alain Resnais, Night and Fog and Hiroshima Mon Amour
The following appeared in Filmmaker‘s Spring, 2000 edition accompanying All Tomorrow’s Yesterdays, an article in which four filmmakers reflect on the work of Alain Resnais. — Editor Anatole Dauman, through his company Argos Films, produced or co-produced many of the masterworks of postwar European cinema – including Alain Resnais’s Night and Fog; Hiroshima, Mon Amour; Last Year at Marienbad; and Muriel.Following his death in 1998, his daughter, Florence Dauman (herself a producer of A Personal Journey with Martin Scorsese Through American Cinema), assumed control of the company, which today houses the greatest collection of independent cinema in France. Ms. Dauman […]
by Filmmaker Staff on Aug 11, 2022 -
All Tomorrow’s Yesterdays: Keith Gordon, Radley Metzger, Errol Morris and Christopher Münch on the Films of Alain Resnais
In 2000, Filmmaker, timed to a traveling retrospective, asked four directors to reflect on the work of legendary French film director Alain Resnais. We are reposting this piece now as another retrospective, Film Forum’s Alain Resnais 100, opens tomorrow. The below films, with the exception of Je T’aime, Je T’aime, are all also streaming now on the Criterion Channel. See as well this article’s original sidebar, in which producer Anatole Dauman reflects on the making of Night and Fog and Hiroshima, Mon Amour. — Editor Perhaps more than those of any other modern director, the films of Alain Resnais are […]
by Filmmaker Staff on Aug 11, 2022 -
Mad Men: The NYFF’s Go-To Films (II)
Can we permanently delete the term “home stretch” in a festival context? All right then. In the NYFF’s final week, the best fiction in the Main Slate is stronger (arguably) and more obscure (undoubtedly) than just about everything that has come before. Products of exceptional minds creating in different keys, these three gems (Horse Money, Jauja, Life of Riley) do share some elements that could make them off-putting for the passive viewer. All bets are off for anyone looking for the expected visual and aural cues. Each of these directors builds a self-contained universe with its own rules of engagement. […]
by Howard Feinstein on Oct 7, 2014 -
Legendary Producer Marin Karmitz on Great Directors, Producing, and Why Money is Never the Real Problem
Combining taste, business savvy, and enduring idealism for the role cinema can play within the broader culture, legendary producer, distributor, director and exhibitor Marin Karmitz has helped shape the course of world cinema since launching his MK2 Films in the early 1970s. Beginning his career as an assistant director to, among others, Jean-Luc Godard and Agnes Varda, Karmitz went on to become one of the most distinguished producers of his generation, with such classics as Kieslowski’s Three Colors trilogy, Jean-Luc Godard’s Every Man for Himself and Claude Chabrol’s Ceremonie to his name. But his list of producing credits only tells […]
by Scott Macaulay on Jun 5, 2014 -
“In My Film Time Is Shattered”: Producer Anatole Dauman Remembers Working with Alain Resnais
Coinciding with a 2000 retrospective of Alain Resnais’ work organized by both the American Cinematheque and the Film Society of Lincoln Center, producer Florence Dauman gave Filmmaker these quotes from her father, Anatole Dauman, about working with the great director. Through his company, Argos Films, Dauman produced or co-produced many of the masterworks of postwar European cinema – including Resnais’s Night and Fog; Hiroshima, Mon Amour; Last Year at Marienbad; and Muriel. On the occasion of Resnais’ death yesterday at 91, we are reprinting them here. Night and Fog (1956) “It was our first short film together. Would he accept […]
by Scott Macaulay on Mar 2, 2014 -
All Tomorrow’s Yesterdays: Remembering Alain Resnais (1922 – 2014)
One of cinema’s greats, the French director Alain Resnais, died yesterday, March 1, at the age of 91. The director of such landmark films as Last Year at Marienbad, Hiroshima, Mon Amour, and Night and Fog, he premiered his latest film, Life of Riley, just one month ago at the Berlin Film Festival. In 2000, coinciding with a retrospective organized by both the American Cinematheque and the Film Society of Lincoln Center, Peter Bowen wrote the following short essay, and we collected appreciations from three independent directors — Christopher Munch, Keith Gordon and Radley Metzger. It is reprinted below. Perhaps […]
by Peter Bowen on Mar 2, 2014 -
Fuller: On Great, Boring Movies and Cultural Vegetables
Unless you are a very serious basketball player — at minimum serious intramural league level, or one of those Wall Street guys who absolutely must blow off a ton of steam by playing their hearts out on the court or else they’ll absolutely lose their soul — there is a very distinct qualitative difference between what it feels like to play basketball for a while and to run for a while. After you finish playing basketball for a while you feel good, you’ve gotten some good cardio, but that cardio is intermittent, the game being filled with plenty of pauses […]
by Zachary Wigon on Jun 7, 2011 -
IN ROTTERDAM, AMERICAN FILMS THAT COULDN’T EXIST ANYWHERE ELSE
After the rush of sales in Park City this year, it seems the entire American cine-punditry is racing to declare this the beginning of a new golden age in American Independent Film. I sure hope they’re right. One wonders if March’s SXSW Film Festival in Austin will continue the trend and finally push that festival into true market status. Nearly 40 films were acquired in Park City and many more that premiered there will surely be acquired in the weeks and months to come. Yet for some of the most daring new American films, the sales rat race at Sundance […]
by Brandon Harris on Feb 4, 2011 -
“I See No Difference Between the Two”: On Cinema’s Role in Society
by Zachary Wigon on Jan 24, 2011
“I see no difference between the two”: cinema’s role in society. By Zachary Wigon.
