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Ray Pride

By Ray Pride Pride@moviecitynews.com

[DVD] Pierrot le fou (1965, ****)

In Jean-Luc Godard’s peppy, pop-art i>Pierrot le fou, made between Masculin-Feminin and Alphaville, is a boldly colored lark of an outlaw couple-on-the-run movie, starring an impish Jean-Paul Belmondo and Anna Karina. It’s remarkable how modern some of his 1960s tossed-off feuilletons remain into this century. Oh, and there’s the party scene with Sam Fuller, behind big sunglasses (the kind fashionable even this week and available at Urban Outfitters) and a fat stogy, who Belmondo says to, “I always wondered what movies were,” and Fuller replies, “Film is like a battleground. Love, hate, action, violence, death. In one word… emotion.” And, Godard, from a 1965 Cahiers du Cinema interview, about one of the movie’s loveliest, most hypnotic effects: “When you drive in Paris at night, what do you see? Red, green, yellow lights. I wanted to show these elements without necessarily placing them as they are in reality. [This effect was created by flashlights being rotated across the windshield of a car sitting still in a dark room.] Rather as they remain in the memory—splashes of red and green, flashes of yellow passing by. I wanted to recreate a sensation through the elements which constitute it.”The Criterion DVD: out two days after seeing La chinoise in 35mm: pictures, moving. First clip: Samuel Fuller.




Buried in the trailer below: Anna Karina, bowling.






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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch