french – Page 6 – PopCult Reviews

Movie Review – Three Colors: Blue

Three Colors: Blue (1993)
Written by Krzysztof Kieślowski & Krzysztof Piesiewicz
Directed by Krzysztof Kieślowski

My first thought when I decided to watch Krzysztof Kieślowski’s Three Colors trilogy was why this Polish filmmaker chose to make a series centered around the three political ideals of France: liberty, equality, fraternity. His explanation reveals a lot about how the director approaches his work. Kieślowski said he chose these themes because the funding he received to make the pictures were in francs which bear these three ideals as France’s motto. Kieślowski had no interest in making nationalistic propaganda for France, and instead, these ideas are often presented with a sense of irony in the trilogy, exploring them in ways that feel antithetical but ultimately uphold their meaning. Even stranger is that only one of these movies takes place in France; White is set mainly in Poland, while Red is about people living in Switzerland. While The Three Colors trilogy isn’t attempting to be overtly political, it is set against the backdrop of the most significant change to Europe since World War II, the formal treaties signed to create the European Union, a political body that has reshaped life in the continent.

Movie Review – Eyes Without a Face

Eyes Without a Face (1960)
Written by Georges Franju, Jean Redon, Pierre Boileau, Thomas Narcejac, Claude Sautet, and Pierre Gascar
Directed by Georges Franju

The 1960s were the prelude to the horror boom of the 1970s. This means you’ll find some archetypes and tropes refined here, elements that will be at their zenith in the following decade. Foreign film markets were gaining strength during the Sixties, with places like France & Italy at the forefront. There weren’t many French horror films then, so Eyes Without a Face was quite different. Producer Jules Borkon thought it was an untapped market in France and purchased the rights to a horror novel he’d recently read. Director Georges Franju had only made documentaries, so this was his first fictional narrative feature. Smartly, he hired writers who had worked on Les Diaboliques and Hitchcock’s Vertigo to help work out the script. The result is something that feels like a horrific modern fairy tale. A princess locked in a tower in the woods who has been turned into a monster by another.

Movie Review – The Young Girls of Rochefort

The Young Girls of Rochefort (1967)
Written & Directed by Jacques Demy

Undeniably, The Umbrellas of Cherbourg is a perfect masterpiece of filmmaking. But…I sort of loved The Young Girls of Rochefort more. Rochefort is a comedy in the classical sense, as opposed to the definition of a tragedy. Cherbourg is a serious story with a down ending, while Rochefort is very upbeat and does allow its characters to have a happy ending. Now one of those endings is more ambiguous than most films would deliver, but that makes it feel like a Demy movie. We don’t see our characters living happily ever after; we see them happy right now. Sometimes that’s the most you can ask for. Stories have to end, meaning we’ll never know if these characters stay happy. If it’s anything like real life, there will be a series of ups and downs, and you eventually learn how to appreciate the good moments.

Movie Review – The Umbrellas of Cherbourg

The Umbrellas of Cherbourg (1964)
Written & Directed by Jacques Demy

Masterpieces don’t happen all the time. Sometimes they happen, and people don’t realize they are looking at one. Other times, they know right away when they see it. The Umbrellas of Cherbourg is a true masterpiece of filmmaking. The script alone is a perfect plot, no fat; everything moves the characters forward, whether getting closer to their goals or having it complicated. There’s not a single second of wasted time on the screen, which says a lot for a film that is also spilling over with style. Oh yes, and every word in the movie is sung, starting with an exchange between a mechanic and a customer talking about the status of a car. Damien Chazelle boldly claimed this is “the best film ever made.” But is it?

Movie Review – Bay of Angels

Bay of Angels (1963)
Written & Directed by Jacques Demy

From the opening credits, Bay of Angels explodes onto the screen. The energy of this sequence will propel the rest of the film forward, a visual representation of the distance between people, of long winding personal journeys intersecting with another’s, and even the overstimulated rush provided by gambling. Demy’s characters are always caught up in their passions, and women are found at the center of things. For the director, women seem to be the key for a man to feel life; without them, everything seems to fall into abject misery. Of course, that doesn’t mean life is going to be sunshine and rainbows with a woman in your life, but you will, if nothing else, feel something. These celestial figures light up every nerve ending, even if the sensation is searing pain.

Movie Review – Lola

Lola (1961)
Written & Directed by Jacques Demy

The French New Wave was a dominant force in Western cinema in the post-War era. The various filmmakers associated with the movement (Goddard, Truffaut, et al.) left an indelible mark on how movies are made, but at some point, they faded into the background as other countries around the world started revolutionizing cinema in their own way. Jacques Demy was a French filmmaker, a little younger than the New Wave auteurs, whose best work happened after that attention had faded. He made some incredible movies, often inspired by Hollywood pictures but with his own flourishes added. His name would not be as well known as his older peers, but his work would resonate with certain modern filmmakers. Damien Chazelle cited The Umbrellas of Cherbourg as “the greatest film ever made” and heavily cribbed from it and The Young Girls of Rochefort for his La La Land. I think Demy deserves much more accolades for the brilliant remixing of film elements he presented in his work.

Movie Review – L’Argent

L’Argent (1983)
Written & Directed by Robert Bresson

Money is essential for survival in our current system yet is the constant root of many problems. Theft is predicated on taking money from someone or stealing property that can later be sold for money. Homelessness results from not having enough money to afford rent/mortgages. Medical debt continues to explode across the United States. Inflation is driving up the prices of essential goods. As Max Bialystock once said, “Money is honey,” but it’s also a load of shit. Those with money essentially live in a different society from those who do not have it, able to transcend the Law and behave as they please. Those who must toil and labor are slaves to money, never able to take a break from working for more. Robert Bresson was a student of how humanity tortures itself and imposes strictures based on economic class. We saw this in Mouchette earlier this year, as a peasant girl is made to be the object of cruelty for so many.

Movie Review – The Phantom of Liberty

The Phantom of Liberty (1974)
Written by Luis Buñuel and Jean-Claude Carrière
Directed by Luis Buñuel

The comedy anthology film is a rare beast but experienced some popularity in the 1960s and 70s. Monty Python’s contributions are notable, sometimes using an overarching plot to structure the sketches or just featuring scenes that exist independently. Most recently, we have The French Dispatch as a prime example. I think these movies come out of the filmmakers having ideas that weren’t big enough for a feature film but not wanting to make short films as those aren’t as marketable. People want to see a movie, so you take all these little ideas, maybe create some links to move from one bit to the next, and release them that way. This is precisely what Luis Buñuel’s The Phantom of Liberty is.

Movie Review – Mouchette

Mouchette (1967)
Written & Directed by Robert Bresson

In the early days of cinema, movies were just filmed as stageplays. Over time, filmmakers came to develop a language of film, understanding that the camera could be moved closer or further away from the performers. There could also be cuts to different places or flashbacks in time. Today all of these things seem standard, but they are part of a craft and had to be developed. Robert Bresson was a French director who worked to break away from the performance-centered model of filmmaking and refocus on the techniques. He saw that many movies were just someone aiming the camera at a performance but not really saying anything through the craft. He came to refer to his actors as models, implying they were posed by him and more like props in the stories he was attempting to tell. It probably won’t surprise you to learn Bresson had no interest in the acting schools that were coming up in the 20th century, and he hated performances that stole away from the whole picture.

Movie Review – Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles

Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (1975)
Written & Directed by Chantal Akerman

Our lives are made up of rituals. We wake up, get dressed, clean ourselves, make food, and overall prepare for our day. This is just the opening of a single morning. There is comfort in ritual; repetition provides security because we can easily predict what happens next. The disruption of these rituals can upend all peace we feel, throwing us into a realm of conflict and volatile emotion. From a filmmaker’s perspective, it’s relatively common to compress and delete chunks of time that don’t flow into a structured narrative. You don’t often see a character going through every step of that morning routine on film; only the pieces the director or screenwriter has decided provide shorthand to understand a character or jumpstart a plot. Chantal Akerman threw all of this out the window to present an almost four-hour picture that, by focusing on tedium, illuminates a kind of life often discounted in the medium.