Podcast appearances and mentions of Claude Chabrol

durée : 00:54:17 - Affaires sensibles - par : Christophe Barreyre, Fabrice Drouelle - Aujourd'hui dans Affaires sensibles : un fait divers tragique, devenu l'une des affaires criminelles les plus médiatisées de son temps et qui inspirera d'ailleurs quelques années plus tard le réalisateur Claude Chabrol pour le scénario de son film "Les Noces rouges". - réalisé par : Stéphane COSME

"Cannes 2025: clap de fin" diffusée dans "Beau Geste" du dimanche 25 mai 2025 à 22h45 sur France 2.C'est la plus française des actrices américaines: Jodie Foster a tourné de nouveau dans un film français, 40 ans après son film avec Claude Chabrol. C'est Rebecca Zlotowski qui a attiré la star américaine pour jouer "vie privée" aux côtés de Daniel Auteuil. Tous les 3 nous présentent ce film qui sortira en salle le 26 novembre prochain."Beau geste" c'est une plongée au cœur du cinéma en train de se fabriquer. Menée par Pierre Lescure, Beau geste va là où bat le pouls du cinéma : en tournage, en avant-première, dans les festivals, en France comme à l'étranger, sur les films intimistes comme les comédies populaires. Pierre Lescure discute avec les artistes qui font l'actualité dans des lieux qui font sens : salles de cinéma, musées, librairies…https://www.instagram.com/beaugeste_france2?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==https://www.france.tv/france-2/beau-geste/

In this show we look at the remarkable run of films Claude Chabrol made in the last years of his life. For a full track listing of the music played in this podcast please visit www.mrdemillefm.com Please email us with comments, suggestions etc. The email address is info@mrdemillefm.com

Autant on parle des années 80 aujourd'hui, autant dans les années 80 on rêvait des années 60. Ah c'est vrai que c'était pas du pipeau, non plus, les sixties. Tenez imaginez-vous en ce mois de mai 1962, sous le soleil du Festival de Cannes, car c'est encore une de ces éditions qui bénéficie d'une météo splendide. Vous la voyez cette affiche de film devant l'hôtel Carlton ? On ne peut pas la louper avec Alain Delon en grand, aux côtés de Monica Vitti. Le film se nomme L'éclipse, signé Michelangelo Antonioni, un film oublié aujourd'hui mais il va remporter le prix spécial du jury et c'est mérité. Une Jaguar cabriolet décapotée passe sous l'affiche, pas de quoi étonner les passants à Cannes, sauf qu'au volant, c'est Johnny Hallyday tout juste débarqué d'avion pour un passage éclair. Mais que fait-il là ? On ne va pas tarder à le savoir, y a sûrement de la promo dans l'air pour le jeune sauvage de la chanson française qu'on va cette année surnommer Yéyé et qui est aussi désormais acteur.Et de fait, il rejoint sur la plage, à deux pas du Carlton, l'actrice allemande Elke Sommer, l'héroïne du film De quoi tu te mêles Daniela, qu'on a vu l'an dernier et pour lequel son ami Eddy Mitchell et ses Chaussettes noires ont interprété une chanson signée Charles Aznavour … La pose des deux jeunes gens devant les caméras et les objectifs n'est pas innocente, on annonce en effet que Johnny et Elke joueront bientôt ensemble. Et le voilà assis sur le porte bagage d'un vélomoteur conduit par celle qui partage sa vie, Patricia Viterbo, et qui n'est pas encore actrice. Ils vont prendre un bateau pour voir Cannes depuis le large, puis il y aura une partie de pétanque, c'est un vrai Français, notre Johnny. Allez, on ne pointe pas sans boire un ballon de blanc sorti d'un pichet bien frais.Mais le Festival reprend déjà le dessus, Johnny est à présent attablé avec des professionnels du cinéma, on le retrouve assis à une terrasse aux côtés de Ludmila Tcherina, une des rares danseuses étoiles à avoir réussi une carrière d'actrice. On lui demande un autographe, Johnny s'exécute aimablement, il va déjà repartir, ce garçon a décidément un V8 sous la chemise. Il faut dire que le Twist l'appelle, cette danse rock venue d'Amérique dont il a ravi la vedette à Richard Anthony et qui lui vaut une mauvaise réputation auprès d'une bonne partie de la belle société, horrifiée de le voir “remuer comme un singe et se traîner par terre”, disent-ils. Mais ce n'est pas à cela que nous assistons, un orchestre mexicain, en tout cas en tenue mariachi, joue un twist exécuté par des enfants habillés aussi en tenue mexicaine, Johnny se joint au groupe pour son fameux pas de danse, il est tout sourire, aimable, loin de la mauvaise réputation qu'on lui fait.Ce soir, Johnny enfilera un smoking qui convient si bien à cette époque dont nous n'avons gardé le souvenir qu'en noir et blanc, il montera et descendra les marches de l'escalier de l'ancien Palais Croisette, il va soutenir Claude Chabrol, un des rois de la Nouvelle Vague, et puis, il finira la nuit au Whisky à Gogo, évidemment, en dansant et chantant. Le lendemain, Johnny s'envolera pour New York, un peu à la manière de ces acteurs américains venus se montrer au monde entier, comme chaque printemps, sur cette Côte d'Azur où il se passe tant de choses. Tenez, un peu plus loin vers Marseille, à St Tropez, un gars nommé Claude François donne des cours de danse.

ESSENTIEL, le rendez-vous culturel de RCJ présenté par Sandrine Sebbane. Elle reçoit Serge Toubiana pour son livre « On ne connaît du film que la scène des adieux » aux éditions Calmann-Levy À propos du livre : « On ne connaît du film que la scène des adieux » paru aux éditions Calmann-Levy TÔT OU TARD, LA VIE S'EN VA. À PEINE A-T-ON LE DOS TOURNÉ QU'ELLE S'EN EST DÉJÀ PEUT-ÊTRE ALLÉE. IL NOUS FAUT DONC VEILLER SUR LES MORTS, ENTRETENIR LA FLAMME, FAIRE EN SORTE QU'ILS NE SOIENT JAMAIS OUBLIÉS. » Aux Cahiers du cinéma pendant plus de vingt ans, puis directeur de la Cinémathèque française, Serge Toubiana est un témoin privilégié de l'histoire du cinéma français. Dans On ne connaît du film que la scène des adieux, il revient sur les éloges qu'il a écrits pour ses chers disparus, au fil du temps. Des antidotes à l'oubli dans lesquels on lit toute l'admiration et tout l'amour qu'il a pour ces cinéastes, acteurs et actrices, hommes et femmes de cinéma qu'il a connus pour la plupart personnellement. Suivant un ordre chronologique dicté par le hasard de la mort, depuis celle déterminante de François Truffaut en 1984, jusqu'à celle de David Lynch, en passant entre autres par Maurice Pialat, Simone Signoret, Orson Welles, Jacques Demy, Michel Piccoli, Claude Chabrol, Jean-Pierre Bacri, Marguerite Duras, Gaspard Ulliel et Tonie Marshall, Serge Toubiana nous offre des textes ciselés et émouvants en hommage aux hommes et femmes qui ont marqué le cinéma et la culture des quarante dernières années. Biographie de l'auteur Serge Toubiana a été critique de cinéma, journaliste et éditeur. Auteur de nombreux ouvrages sur le cinéma, il a également produit des émissions radiophoniques pour France Culture et réalisé divers documentaires. Il a été directeur général de la Cinémathèque française de 2003 à 2016, et président d'Unifrance de 2017 à 2023.

"He said you're a real Film Nerd." "What's a Film Nerd?" On this episode, BK & Jack catch the French New Wave via its most iconic film! Join them on a journey through the history of French Cinema from the Lumieres to Cahiers, the formation of the New Wave movement on both banks of the Senne, how an unexpected classic flew by the seat of its pants throughout the production, and so much more!The Film Nerds want all or nothing, and they've got it all in this episode!

Février 1933, Le Mans. Dans une maison bourgeoise, un drame d'une rare violence se joue. Christine Papin, 28 ans, et sa sœur Léa, 22 ans, domestiques exemplaires, massacrent leur patronne Léonie Lancelin et sa fille Geneviève. laissant derrière elles une "bouillie sanglante", selon le légiste. Crime de folie ou vengeance sociale ? Cette affaire a fasciné et inspiré écrivains et cinéastes. Mais derrière l'horreur, que raconte réellement cette histoire ? Un crime d'une violence inouïe Comme beaucoup de faits divers tragiques, cette histoire a fasciné et a inspiré les plus grands romanciers, cinéastes et metteurs en scène. La pièce de théâtre “Les bonnes” de Jean Genet , le film “La cérémonie” de Claude Chabrol ou encore “Les blessures assassines” de Jean-Pierre Denis sont de libres adaptations de cette histoire vraie… Une histoire dont vous avez peut-être déjà entendu parler. Est-ce un crime de folie ou un crime de vengeance? Aujourd'hui encore, on s'interroge. Qui étaient les sœurs Papin ? Pourquoi après des années de bons et loyaux services, elles décidèrent de massacrer de la manière la plus sauvage qu'il soit leur patronnes ? Un podcast écrit et raconté par Caroline Nogueras. Réalisé par Julien Roussel et Jean-Gabriel Rassat. Un épisode en partenariat avec upday. Première diffusion le 1 avril 2021 Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:43:48 - Les Nuits de France Culture - par : Philippe Garbit - - réalisation : Virginie Mourthé

Le tabou de l'inceste n'est pas tout à fait tombé. Si sa condamnation et l'indignation publique semblent unanimes, le silence reste souvent la règle, parce que ces violences faites aux enfants collent toujours aussi mal avec l'idée que la famille les protège, mais c'est aussi le résultat d'une histoire au cours de laquelle on a appris à se taire. L'affaire Violette Nozière, dans les années 1930, est un des cas les plus médiatisés d'inceste, parce qu'elle a donné la matière d'un film signé par un monstre sacré du cinéma français : Claude Chabrol. C'est pourtant une affaire où la dénonciation de l'inceste a été écartée par la justice. Anne-Emmanuelle Demartini, historienne, autrice de Violette Nozière, la fleur du mal, Une histoire des années trente (Champ Vallon Epoques, 2017) a co-dirigé l'ouvrage Dire, entendre et juger l'inceste (Seuil, 18 oct. 2024).

Programa conducido por Darío Lavia y Chucho Fernández.Ilustraciones: Andy Warhol, Fred Banbery, Ansel Adams.Fotogramas: "Spellbound" (1942); "Vertigo" (1959); "North by Northwest" (1958); "Psycho" (1960); "Alfred Hitchcock Presents: Revenge" (1955); "The Trouble with Harry" (1955), todas de Alfred Hitchcock; "Hombre sin rostro" (1950) de Juan Bustillo Oro.Acto I: "Introducción" de Alfred Hitchcock (ghostwriting de Robert Arthur) por Pablo Martínez Burkett 0:02:50"La risa, remedio infalible" por Chucho Fernández 0:10:30Acto II: "¿Es bueno o es malo?" de Éric Rohmer & Claude Chabrol por Darío Lavia 0:12:29"La risa, remedio infalible" por Chucho Fernández 0:22:24Acto III: "El expreso de medianoche" de Alfred Noyes por Chucho Fernández 0:25:03 Fuentes de los textos: "Introduction", Alfred Hitchcock en "Alfred Hitchcock's Ghostly Gallery" (Random House, 1962)"Hitchcock", Éric Rohmer & Claude Chabrol (S. A. Editions Universitaires / Jean-Pierre Delarge Editeur, 1957)"Midnight Express", Alfred Noyes, en "This Week" (1935), recopilado por August Derleth en "Sleep No More: Twenty Masterpieces of Horror for the Connoisseur" (Farrar & Rinehart, 1944) y luego por Alfred Hitchcock en "Bar the Doors: Terror Stories" (Dell, 1946)Oscuro Total (sitio oficial)https://www.instagram.com/oscurototalImdbhttps://www.imdb.com/title/tt35741521/Web de Cineficción⁠http://www.cinefania.com/cineficcion⁠/Fan Page de Cineficción⁠https://www.facebook.com/revista.cineficcion/

Elle est actuellement en tournée avec « Phèdre », mis en scène par Anne-Laure Liégeois, et au cinéma dans « La Mer au loin », de Saïd Hamich, qui retrace le parcours d'intégration d'un jeune immigré marocain. Anna Mouglalis nous reçoit à cette occasion dans son appartement parisien du 9e arrondissement. L'actrice, à la voix grave et singulière, raconte sa jeunesse à Nantes, où chaque mercredi, elle se rendait au cinéma.Révélée au grand public dans « Merci pour le chocolat », de Claude Chabrol en 2000, Anna Mouglalis a incarné des destins de femmes qui ont marqué leur époque, de Coco Chanel à Juliette Gréco, en passant par Simone de Beauvoir. Elle a aussi été une figure de la série politique « Le Baron noir », pendant trois saisons, où elle devient présidente de la République.Dans cet épisode du « Goût de M », elle se confie sur son amitié avec le couturier Karl Lagerfeld et son engagement pour les droits des femmes. En décembre 2024, elle a ainsi témoigné devant la commission d'enquête relative aux violences commises dans les secteurs du cinéma et de l'audiovisuel à l'Assemblée nationale.Depuis six saisons, la journaliste et productrice Géraldine Sarratia interroge la construction et les méandres du goût d'une personnalité. Qu'ils ou elles soient créateurs, artistes, cuisiniers ou intellectuels, tous convoquent leurs souvenirs d'enfance, tous évoquent la dimension sociale et culturelle de la construction d'un corpus de goûts, d'un ensemble de valeurs.Un podcast produit et présenté par Géraldine Sarratia (Genre idéal) préparé avec l'aide de Diane Lisarelli et Juliette SavardRéalisation : Emmanuel BauxMusique : Gotan Project Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

Extrait : « … À 20 ans, elle remplace au pied levé sa sœur inscrite à un concours organisé par Europe 1, Naissance d'une étoile. À l'issue d'une longue série de 34 émissions pendant lesquelles 2435 rivales sont éliminées, elle se retrouve en finale, où elle interprète un texte de Pirandello, elle est déclarée vainqueur après avoir séduit le jury composé de Henri-Georges Clouzot, Claude Chabrol, Julien Duvivier et Louis Malle, ce dernier la choisissant dans la foulée comme l'actrice principale de son prochain film, Liberté. Maïtena Douménach devient Marie Laforêt … »Pour commenter les épisodes, tu peux le faire sur ton appli de podcasts habituelle, c'est toujours bon pour l'audience. Mais également sur le site web dédié, il y a une section Le Bar, ouverte 24/24, pour causer du podcast ou de musique en général, je t'y attends avec impatience. Enfin, si tu souhaites me soumettre une chanson, c'est aussi sur le site web que ça se passe. Pour soutenir Good Morning Music et Gros Naze :1. Abonne-toi2. Laisse-moi un avis et 5 étoiles sur Apple Podcasts, ou Spotify et Podcast Addict3. Partage ton épisode préféré à 3 personnes autour de toi. Ou 3.000 si tu connais plein de monde.Good Morning Music Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Dans cet épisode de Pop Culture, Mathieu Alterman explore les tensions cachées derrière les célébrités. Il raconte les relations difficiles entre Claude Chabrol et Romy Schneider sur Les Innocents aux mains sales et entre George Lazenby et Diana Rigg, où l'actrice utilisait de l'ail pour repousser son partenaire. Il aborde aussi les rivalités dans la musique, comme celle de Simon & Garfunkel et des frères Gallagher d'Oasis. Cet épisode nous montre comment, malgré les conflits, ces artistes réussissent à offrir des performances exceptionnelles au public.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.

Dans cet épisode de Pop Culture, Mathieu Alterman explore les tensions cachées derrière les célébrités. Il raconte les relations difficiles entre Claude Chabrol et Romy Schneider sur Les Innocents aux mains sales et entre George Lazenby et Diana Rigg, où l'actrice utilisait de l'ail pour repousser son partenaire. Il aborde aussi les rivalités dans la musique, comme celle de Simon & Garfunkel et des frères Gallagher d'Oasis. Cet épisode nous montre comment, malgré les conflits, ces artistes réussissent à offrir des performances exceptionnelles au public.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.

durée : 01:31:13 - Les Nuits de France Culture - par : Albane Penaranda - Que vaut la dernière période de Chaplin ? Claude Chabrol, Henri Colpi et Pierre Etaix nous répondent dans un volet des "Mardis du cinéma" d'avril 1986. Il analysent les derniers films de Charlie Chaplin : "Monsieur Verdoux", "Limelight", "Un Roi à New York et, en 1967, "La Comtesse de Hong-Kong". - réalisation : David Jacubowiez - invités : Pierre Etaix; Georges Sadoul Historien et critique de cinéma (1904-1967); Philippe Soupault Poète, journaliste; Claude Chabrol Réalisateur français

This episode we discuss Claude Chabrol's La Cérémonie starring Isabelle Huppert and Sandrine Bonnaire. Send us an email at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠zafilm2film⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or tweet us at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/zafilm2film⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ !

Le Festival international du Film de Comédie de Liège (FIFCL) a lieu du 6 au 10 novembre. On reçoit l'acteur, metteur en scène et chanteur français Lambert Wilson, qui recevra un Taureau d'Or d'honneur lors de la cérémonie d'ouverture au Forum de Liège pour célébrer sa carrière. Né à Paris, Lambert Wilson a fait trois ans d'études théâtrales au Drama Centre de Londres (1975-1978). Il a collaboré avec de grands metteurs en scène tels que Claude Chabrol, Bertrand Tavernier, les sœurs Wachowski, Alain Resnais, Valéria Bruni-Tedeschi, Sophie Fillières, Valérie Lemercier, Alain Chabat, Andrzej Zulawski,... Il a obtenu le prix Jean-Gabin pour son interprétation de l'Abbé Pierre dans le film Hiver 54. Il s'est distingué dans de nombreux films d'époque, comme Jefferson à Paris ainsi que dans des œuvres historiques telles que L'Odyssée (où il incarne l'emblématique Jacques-Yves Cousteau) et le film De Gaulle. Audacieux dans ses choix de rôles, il n'hésite pas à se lancer dans des projets singuliers comme Le Ventre de l'architecte et Les Possédés. Sa popularité s'est affirmée avec des films tels que Palais Royal, Matrix, Des Hommes et des Dieux, Sur la piste du Marsupilami, La Vache et Alceste à bicyclette. Plus récemment, il a brillé dans Benedetta, Des Mains en or, et 5 Hectares. Merci pour votre écoute Entrez sans Frapper c'est également en direct tous les jours de la semaine de 16h à 17h30 sur www.rtbf.be/lapremiere Retrouvez l'ensemble des épisodes et les émission en version intégrale (avec la musique donc) de Entrez sans Frapper sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/8521 Abonnez-vous également à la partie "Bagarre dans la discothèque" en suivant ce lien: https://audmns.com/HSfAmLDEt si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Vous pourriez également apprécier ces autres podcasts issus de notre large catalogue: Le voyage du Stradivarius Feuermann : https://audmns.com/rxPHqEENoir Jaune Rouge - Belgian Crime Story : https://feeds.audiomeans.fr/feed/6e3f3e0e-6d9e-4da7-99d5-f8c0833912c5.xmlLes Petits Papiers : https://audmns.com/tHQpfAm Des rencontres inspirantes avec des artistes de tous horizons. Galaxie BD: https://audmns.com/nyJXESu Notre podcast hebdomadaire autour du 9ème art.Nom: Van Hamme, Profession: Scénariste : https://audmns.com/ZAoAJZF Notre série à propos du créateur de XII et Thorgal. Franquin par Franquin : https://audmns.com/NjMxxMg Ecoutez la voix du créateur de Gaston (et de tant d'autres...)

Madame Rochas by Rochas (1960) + Madame Bovary: Provincial Manners by Gustave Flaubert (1857) + Vincente Minnelli's Madame Bovary (1949) + Claude Chabrol's Madame Bovary (1991) + Sophie Barthes' Madame Bovary (2014) with Madison Maurer 11/3/24 S6E84 To hear this episode and the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 

Par Rafael Wolf et Vincent Adatte Monsieur Aznavour de Grand Corps Malade et Mehdi Idir, avec Tahar Rahim. Challenger de Varante Soudjian, avec Alban Ivanov, Soso Maness. Trois kilomètres jusquʹà la fin du monde dʹEmanuel Parvu. Les conseils : Les fantômes du chapelier (1982) de Claude Chabrol, avec Michel Serrault et Charles Aznavour (en DVD et sur certaines plateformes) Larmes de joie (1960) de Mario Monicelli, avec Toto et Anna Magnani, (programmé dans le cadre du VIFFF le vendredi 25 octobre, disponible en DVD)

Felicia is joined by Riley Greenwood to discuss a film about a family who makes a questionable decision in Michael Haneke's The Seventh Continent (1989). We chat about how Haneke decision to not give the audience any answers but instead allows them to wonder why people make certain life decisions. Along with how the story is fragmented to disorient the viewer. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Riley here: IG: @rileydreamwood Letterboxd: @rileydreamwood Sources: https://www.theguardian.com/film/filmblog/2008/apr/30/hanekeshouseofhorrors https://www.sensesofcinema.com/2005/cteq/seventh_continent/#:~:text=The%20Seventh%20Continent%20seems%20postmodern,monstrousness%20of%20everyday%20bourgeois%20society. https://www.criterion.com/current/posts/8010-michael-haneke-s-alienation-effect https://flaszonfilm.com/2020/10/30/understanding-michael-haneke-the-seventh-continent-1989/ https://fresques.ina.fr/europe-des-cultures-en/fiche-media/Europe00218/interview-with-michael-haneke.html OUTRO SONG: Show of Strength by Echo and the Bunnymen FILMS MENTIONED: Amour (Michael Haneke 2012) Funny Games (Michael Haneke 1997) Fraulein – Ein deutsches Melodram (Michael Haneke 1986) Benny's Video (Michael Haneke 1992) The Piano Teacher (Michael Haneke 2001) The White Ribbon (Michael Haneke 2009) 71 Fragments of a Chronology of Chance (Michael Haneke 1994) La notte (Michelangelo Antonioni 1961) Beau Travail (Claire Denis 1999) La cerémonie (Claude Chabrol 1995)

Frenchman Ben Chevalier and erudite man Alex Mackenzie are our special guests. We discuss two French actresses: Catherine Deneuve and Isabelle Huppert, through their films Belle de Jour (1967) by Luis Buñuel and La Cérémonie (1995) by Claude Chabrol. We reveal sub/dom dynamics as foil to bourgeois sexuality and say the word ‘bourgeois' 25 times in one hour. Guest stars: shit or mud, YSL, Mama Weed.Opposite Ends is made with help from our producer Anna on Gadigal Country (Sydney), Australia and Gdynia, Poland and Bristol, UK. Please like and follow us or even give us a rating if you like. Thank you Ellen Pearce for our music

Britnee, James, Brandon, and Hanna discuss the longtime creative partnership between French New Wave director Claude Chabrol and powerhouse actress Isabelle Huppert, starting with their chocolate-flavored psychological thriller Nightcap (2000) https://swampflix.com/ 00:00 Welcome 02:45 Trap (2024) 08:05 E.T. the Extra-Terrestrial (1982) 14:44 Three Amigos (1986) 20:51 La Piscine (1969) 26:58 Nightcap (2000) 48:42 Story of Women (1988) 1:01:34 La Cérémonie (1995) 1:13:41 The Swindle (1997)

Hit Factory's Chief Canadian Correspondent and host of Junk Filter Podcast Jesse Hawken is back to discuss the work of French genre provocateur Claude Chabrol and his 1995 thriller 'La Cérémonie' starring Sandrine Bonnaire and Isabelle Huppert. Inspired by the true story of Christine and Lea Papin - two French sisters who, as live-in maids, were convicted of murdering their employer's wife and daughter in 1933 - the film follows Sophie (Bonnaire) a housekeeper for a wealthy family in Brittany who befriends Jeanne (Huppert), the local postal clerk. Together, the two slowly begin to form a shared psychosis, sharing a collective fantasy of paranoia, resentment, and eventually explosive violence. One of Chabrol's most championed works, the film was a key influence and inspiration for Korean director Bong Joon-ho's Oscar-winning 2019 film 'Parasite'.We unpack Chabrol's prolific career as filmmaker, beginning with his origins in the Nouvelle Vague, before leaning into more commercial tendencies during his "Golden Era" of the late 60s through the 70s, and culminating in some of his most accomplished and acclaimed work in the 1990s. Then, we discuss La Cérémonie as genre exercise and how it yields further reward with repeat viewings. Finally, we attempt to make meaning of Chabrol's joke that the movie was "the last Marxist film" by unpacking its ideas about class resentment and the disaffected, uncaring attitudes of the rich toward working class anxieties. Follow Jesse Hawken on Twitter. Follow Junk Filter on TwitterListen & Subscribe to Junk Filter and support the podcast on Patreon. Get access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish. 

One of the less well-known of the Cahiers contributors, but also one of the first to break into directing, Claude Chabrol is the subject of this week's deep dive in which Alex and Jonathan talk about his films Le beau Serge (1958), Les cousins (1959), and Les bonnes femmes (1960). We discuss Chabrol's role in getting the French New Wave off the ground as a movement, the way he uses typical genre techniques to tell personal stories, and why Chabrol could be the perfect place to start if you're trying to get into French New Wave cinema. Skip to: (33:44) – Le beau Serge (53:14) – Les cousins (1:12:16) – Les bonnes femmes (1:25:15) – Overall (1:33:28) – Coming Attractions Coming Attractions: Paris Belongs to Us (1961) L'amour fou (1969) Celine and Julie Go Boating (1974) *Episode correction: Destiny (1921) was directed by Fritz Lang, not F. W. Murnau, but the point stands. You can hear our discussion of Destiny on Episode 42. Legendary Lang. For more information, visit the blog: https://thefilmlings.com/2024/05/03/chabrol/ Join us on Discord for ongoing film discussion: https://discord.gg/MAF6jh59cF

Bienvenue dans ce nouvel épisode d"Un Pot de Cas". Aujourd'hui, préparez-vous à plonger au cœur d'une affaire aussi troublante que mystérieuse : le cas Nozière. Cette affaire, longtemps reléguée dans l'oubli, resurgit pour nous confronter à des questions sur l'inceste, le silence, la criminalité féminine, le parricide et la violence. Grâce aux recherches approfondies d'Anne-Emmanuelle Demartini, professeure d'histoire contemporaine, nous vous invitons à découvrir tous les rouages de cette histoire fascinante. À travers cette tragédie, nous vous convions à une réflexion sur la nature de la violence, tant celle subie que celle exercée. Demartini, Anne-Emmanuelle. Violette Nozière, la fleur du mal : une histoire des années 30. Ceyzérieu: Éditions Champ Vallon, coll. « Époques », 7 septembre 2017, 420 p. (ISBN 979-1-02670-608-3). Demartini, Anne-Emmanuelle. Figures de femmes criminelles : de l'Antiquité à nos jours. Paris: Publications de la Sorbonne, coll. « Hommes et Société », 25 mars 2010, 352 p. (ISBN 978-2-85944-631-4). Demartini, Anne-Emmanuelle. L'Affaire Lacenaire. Paris: Éditions Aubier Montaigne, coll. « Historique », 31 août 2001, 430 p. (ISBN 978-2-70286-656-6). Demartini, Anne-Emmanuelle. « L'Affaire Nozière entre instruction judiciaire et médiatisation », Le Temps des médias, Nouveau Monde, no 15, septembre 2010, p. 126-141. (ISBN 978-2-84736-558-0). Demartini, Anne-Emmanuelle. « L'Affaire Nozière : la parole sur l'inceste et sa réception sociale dans la France des années 1930 », Revue d'histoire moderne et contemporaine, Éditions Belin, nos 56-4, avril 2009, p. 190-214 (ISBN 978-2-70115-108-3). Maïlander, Elissa. "Violence des femmes / Analyse des discours identitaires à l'intersection du genre, de la maternité, de la classe et de la « race »." [Inclure les informations complètes sur l'ouvrage ou l'article de Maïlander cité.] Chbat, Marianne. Récits en mosaïque : analyse intersectionnelle des discours identitaires de femmes qui exercent de la violence, 2017. Vigarello, Georges. Histoire du viol XVIe-XXe siècle. Paris: Seuil, 1998, 357 p. Collectif avec Frédéric Chauvaud, Christine Bard, Michelle Perrot, Jacques-Guy Petit. Femmes et justice pénale, XIXe-XXe siècles.PUR, 2002. Collectif dirigé par Loïc Cadiet, Frédéric Chauvaud, Claude Gauvard, Pauline Schmitt-Pantel, Myriam Tsikounas. Figures de femmes criminelles de l'Antiquité à nos jours. Publication de la Sorbonne, 2010. Demartini, Anne-Emmanuelle. Violette Nozière, la fleur du mal : Une histoire des années trente. Champ Vallon, 2017. Kalifa, Dominique. L'encre et le sang : récits de crimes et société à la Belle Époque. Fayard, 1995. Dorlin, Elsa. Se défendre, une philosophie de la violence.La Découverte, 2017. Cardi, Coline et Pruvost, Geneviève (dir.). Penser la violence des femmes.La Découverte, 2012. Zoummeroff. La bibliothèque française de criminologie. Exposition virtuelle sur Violette Nozière et son procès. Équipe du film de Claude Chabrol. Violette Nozière. [Archive en ligne sur le site de l'Ina.]

durée : 01:31:11 - Les Nuits de France Culture - par : Philippe Garbit - Que vaut la dernière période de Chaplin ? Claude Chabrol, Henri Colpi et Pierre Etaix nous répondent dans un volet des "Mardis du cinéma" d'avril 1986. Il analysent les derniers films de Charlie Chaplin : "Monsieur Verdoux", "Limelight", "Un Roi à New York et, en 1967, "La Comtesse de Hong-Kong". - invités : Pierre Etaix; Georges Sadoul Historien et critique de cinéma (1904-1967); Philippe Soupault Poète, journaliste; Claude Chabrol Réalisateur français

The gang are joined by special guest, author Linda Belhadj, for an unsettling journey into jealousy and psychosis in Claude Chabrol's L'Enfer.       Night on the Docks - Sax Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

Our second Claude Chabrol film is his second film, Les Cousins (1959) which came out a month before Truffaut's The 400 Blows and as a piece of "French New Wave" meets almost none of the criteria we've come to associate with the movement. It's visually nice at times, but we just don't care about any of these characters or their conflicts.

Claude Chabrol's Le Beau Serge (1958) is, by some definitions, the first film of the French New Wave. I feel like I've said that before. Chabrol clearly has a preternatural eye for the visual language of film. If only he had a similar talent for writing. Le Beau Serge is beautiful, but it's bland.

Returning to Watch With Jen this week, we have my very talented friend and an official (and very popular) friend of the show. William Boyle is the acclaimed novelist behind such titles as Gravesend, The Lonely Witness, A Friend is a Gift You Give Yourself, City of Margins, and Shoot the Moonlight Out. In addition to crafting these wonderfully humanistic Lumet-like character-driven ensemble crime epics, Bill is quite the pop culture buff and one hell of a good movie trivia game player.In this entertaining follow-up to the first installment of a new pod series focused on French Crime Movies that we launched in Season 4, Bill is back to chat about another trio of terrific works released across three decades: director Alain Corenau's CHOICE OF ARMS, Claude Chabrol's TORMENT (aka HELL), and Guillaume Canet's TELL NO ONE.Originally Posted on Patreon (11/7/23) here: https://www.patreon.com/posts/92467704Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music ArchiveShop Watch With Jen logo merchandise in Logo Designer Kate Gabrielle's Threadless Shop

Look, I know what you're thinking, this is just another bad eurospy movie- but this movie was made by Claude Chabrol, one of the directors of the French New Wave, during his middle period. He may have made this movie entirely to keep the lights on, but he clearly used the opportunity to try some things out. French secret Agent 'The Tiger' is tasked with bodyguarding a Turkish minister's wife and daughter during an arms trade. ------ URGENT APPEAL FOR AID FOR PALESTINE SAG-AFTRA are still on strike and their donation links can be found in the description of the previous episode. However, right now there's only one link to provide. https://www.map.org.uk/donate/donate What needs to happen in occupied Palestine cannot be accomplished with donations alone. The UN and entire international community must step in and hold Israel accountable for its ongoing genocide and relentless war crimes against the Palestinian people. Join a solidarity protest as soon as you can ------ Consider supporting us on our reasonably-priced patreon! https://www.patreon.com/killjamesbond ------ *WEB DESIGN ALERT*  Tom Allen is a friend of the show (and the designer behind our website). If you need web design help, reach out to him here:  https://www.tomallen.media/   Kill James Bond is hosted by Alice Caldwell-Kelly, Abigail Thorn, and Devon. You can find us at https://killjamesbond.com

durée : 00:45:04 - Les Nuits de France Culture - par : Philippe Garbit - Le cinéma des cinéastes - René Allio et Claude Chabrol (1ère diffusion : 12/09/1976)

durée : 00:50:00 - Les Nuits de France Culture - par : Philippe Garbit - Par Claude-Jean Philippe - Avec René Allio et Claude Chabrol

Dès le 18 septembre, découvrez la nouvelle saison de Home(icides), consacrée au meurtre de Bernadette Bissonnet. C'est l'histoire d'un trio improbable uni dans un complot meurtrier, et qui a passionné les Montpelliérains. Le 11 mars 2008, Jean-Michel Bissonnet découvre le corps de sa femme gisant dans le hall de sa grande villa sur les hauteurs de Montpellier. Trois années d'enquête, trois procès et trois hommes que tout oppose condamnés pour meurtre. 15 ans après l'assassinat de Bernadette Bissonnet, Jean-Michel, son mari continue de clamer son innocence. Mais savons-nous tout de cette affaire ? Découvrez les dessous de ce faits-divers digne d'un film de Claude Chabrol, sur toutes les plateformes d'écoute. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Cʹest un film français, avec un crime français qui a défrayé la chronique judicaire, un parricide opéré par une jolie jeune fille issue de la petite bourgeoisie. "Violette Nozière", de Claude Chabrol, est sorti en 1978. Revenant sur un fait divers de 1933, le cinéaste interroge le mythe. Car il y a eu un mythe Violette Nozière: les surréalistes sʹen sont emparé en faisant une héroïne de lʹantifamille, et lʹhistoire a retenu le nom de cette jeune fille, de son procès, qui a eu un formidable retentissement à lʹépoque.

REDIFF - Celui que ''Jour J'' reçoit ce soir est un veilleur. Il veille sur le passé, les souvenirs, nos chers disparus. Il est le gardien de leur repos éternel. Si les pierres tombales parlent pour ceux qui ne sont plus là, on entend aussi dans ses allées les murmures des amoureux, les pas du renard.. Et puis, c'est aussi le rendez-vous des illustres et des anonymes... Dalida, Colette, Jim Morrison, Claude Chabrol, Edith Piaf y reposent... "Jour J", c'est l'émission des grands entretiens d'actualité internationale, culturelle, économique et politique. Chaque jour sur RTL de 20h à 21h et en podcast, Flavie Flament reçoit un acteur de l'actualité et revient avec lui sur une date fondamentale de sa vie.

Book:  The Talented Mr Ripley              By Patricia Highsmith   Film:  The Talented Mr Ripley (1999)   The Talented Mr. Ripley is a 1955 psychological thriller novel by Patricia Highsmith. This novel introduced the character of Tom Ripley, who returns in four subsequent novels. It has been adapted numerous times for film, including the 1999 film of the same name. ​ The Talented Mr. Ripley is a 1999 American psychological thriller film written and directed by Anthony Minghella, and based on Patricia Highsmith's 1955 novel of the same name. It stars Matt Damon as Tom Ripley, with Jude Law, Gwyneth Paltrow, Cate Blanchett and Philip Seymour Hoffman in supporting roles.  The novel was previously filmed twice. In 1957, a one-hour version was produced for the TV anthology series Studio One, directed by Franklin J. Schaffner, though no recording survives. In 1960, a full-length film version was released, titled Purple Noon (French: Plein soleil) and directed by René Clément, starring Alain Delon in his first major role. Claude Chabrol's 1968 film Les biches ('The Does') uses many elements of Highsmith's novel but switches the gender of the main characters. The film was a critical and commercial success. It received five Academy Award nominations, including Best Adapted Screenplay and Best Supporting Actor for Law.   Opening Credits; Introduction (2.31); Background History (10.18); Plot Synopsis (10.53); Book Thoughts(15.40); Let's Rate (34.54); Introducing a Film (36.59); Film Trailer (37.48); Lights, Camera, Action (39.56); How Many Stars (1:14.52); End Credits (1:16.27); Closing Credits (1:17.27)   Opening Credits– Epidemic Sound – copyright 2021. All rights reserved   Closing Credits:  Tu vuò fà l'americano by Renato Carsone.  Copyright 1956 Pathe records. ​ Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast.    All rights reserved.   All songs available through Amazon Music.

durée : 01:15:59 - Les Nuits de France Culture - par : Albane Penaranda - "Surpris par la nuit" proposait en 2007 "Paul Gégauff, une partie de plaisir", un portrait sonore du dandy, acteur, écrivain, scénariste. Avec des archives de Paul Gégauff et des témoignages croisés de Danielle Gégauff, Claude Chabrol, Michel Subotzky, Jean-Baptiste Morain, Matthias Debureaux, etc. Paul Gégauff, le "mauvais garçon" de la nouvelle vague, a une réputation sulfureuse due à ses nombreuses conquêtes féminines, à sa propension à la dépense, à son sens de la fête, à son sens de l'exagération dans la vie quotidienne, à son amour pour le luxe.  * De façon paradoxale, il fascinait cette nouvelle vague très puritaine qui voyait en lui un héros de cinéma. On ne mesure pas assez combien il l'a influencée.  Il a écrit plusieurs scénarios de Claude Chabrol (Docteur Popaul), et inspiré plusieurs de ses personnages (dans Les Godelureaux, Les Cousins, Que la bête meure). Il est même l'interprète d'un film peu connu de Chabrol, Une partie de plaisir, en 1974, sorte d'auto-fiction conjugale.  Il inspire Godard (Belmondo dans A bout de souffle) et Rohmer (Brialy dans Le Genou de Claire, les deux personnages de La collectionneuse, Féodor Atkine dans Pauline à la plage).   Paul Gégauff a publié plusieurs romans, Le Toit des autres, Rébus... Il meurt comme un personnage de film, tel que l'a relaté "Le Monde" le 28 décembre 1983 :  Paul Gégauf, soixante et un ans, écrivain et scénariste, a été assassiné de trois coups de couteau, dans la nuit du samedi 24 au dimanche 25 décembre 1983, par sa compagne âgée de 25 ans, à Ghoevic, en Norvège. La jeune femme, dont l'identité n'a pas été révélée, a reconnu les faits. Avec Paul Gégauff, Danielle Gégauff, Claude Chabrol, Michel Subotzky, Jean-Baptiste Morain, Matthias Debureaux, André-Sylvain Labarthe et Jean-Baptiste Morin. Par Christophe Deleu  Réalisation : Anna Szmuc Surpris par la nuit - Paul Gégauff, une partie de plaisir (1ère diffusion : 13/02/2007) Indexation web : Sandrine England, Documentation sonore de Radio France

A trailblazing figure in film and popular culture, Netherlands native Sylvia Kristel became one of the biggest stars in the world as Emmanuelle in 1974. Alongside her most famous role, directed by Just Jaeckin, a little-known fact is that Sylvia Kristel also appeared in over 20 films between 1973 and 1981 featuring exceptional work with some of the greatest directors in film history including Walerian Borowczyk, Alain Robbe-Grillet, Roger Vadim and Claude Chabrol.  Now the story of Sylvia's astonishing career in the '70s is told in Sylvia Kristel: From Emmanuelle to Chabrol (Cult Epics, 2022). Featured are new interviews with Just Jaeckin, Pim de la Parra, Robert Fraisse, Joe Dallesandro and Francis Lai among others. Sylvia Kristel: From Emmanuelle to Chabrol is a film-by-film guide to one of the most distinctive and uncompromising careers in modern cinema, and a celebration of a most remarkable woman in a fully illustrated coffee-table book written by author Jeremy Richey. A recollection of Sylvia Kristel's most exciting period as an actress. Beginning with her early Dutch film roles in Frank & Eva, Because of the Cats, and Naked over the Fence, this book covers all 22 movies Sylvia starred in between 1973 and 1981 including the European films Emmanuelle, Julia, No Pockets in a Shroud, Playing with Fire, Emmanuelle II, Une Femme fidele, La Marge, Alice, Rene the Cane, Goodbye Emmanuelle, Pastorale 1943, Mysteries, Tigers in Lipstick, The Fifth Musketeer, Love in First Class, Lady Chatterley's Lover, and the American films The Concorde.... Airport '79, The Nude Bomb, Private Lessons, plus a chapter on the unmade films, dozens of iconic roles that she was offered but declined written with in-depth detail. Sylvia Kristel: From Emmanuelle to Chabrol also contains many vintage reviews and interviews with Sylvia Kristel never before translated into English, and takes a look at Sylvia's brief music recording career as well. Jeremy R. Richey is a film and music historian and writer originally from Kentucky. The creator of the long-running blogs Moon in the Gutter and Fascination: The Jean Rollin Experience, Richey was also the publisher of the print-only journals Art Decades and Soledad. His work has appeared in a variety of books and magazines as well as on various home video supplements, including audio commentaries for Cult Epics' releases Madame Claude and the upcoming Julia and Mysteries. Richey currently resides in Bremerton, WA with his beloved dog Ziggy. Jeremy's website and Instagram. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

A trailblazing figure in film and popular culture, Netherlands native Sylvia Kristel became one of the biggest stars in the world as Emmanuelle in 1974. Alongside her most famous role, directed by Just Jaeckin, a little-known fact is that Sylvia Kristel also appeared in over 20 films between 1973 and 1981 featuring exceptional work with some of the greatest directors in film history including Walerian Borowczyk, Alain Robbe-Grillet, Roger Vadim and Claude Chabrol.  Now the story of Sylvia's astonishing career in the '70s is told in Sylvia Kristel: From Emmanuelle to Chabrol (Cult Epics, 2022). Featured are new interviews with Just Jaeckin, Pim de la Parra, Robert Fraisse, Joe Dallesandro and Francis Lai among others. Sylvia Kristel: From Emmanuelle to Chabrol is a film-by-film guide to one of the most distinctive and uncompromising careers in modern cinema, and a celebration of a most remarkable woman in a fully illustrated coffee-table book written by author Jeremy Richey. A recollection of Sylvia Kristel's most exciting period as an actress. Beginning with her early Dutch film roles in Frank & Eva, Because of the Cats, and Naked over the Fence, this book covers all 22 movies Sylvia starred in between 1973 and 1981 including the European films Emmanuelle, Julia, No Pockets in a Shroud, Playing with Fire, Emmanuelle II, Une Femme fidele, La Marge, Alice, Rene the Cane, Goodbye Emmanuelle, Pastorale 1943, Mysteries, Tigers in Lipstick, The Fifth Musketeer, Love in First Class, Lady Chatterley's Lover, and the American films The Concorde.... Airport '79, The Nude Bomb, Private Lessons, plus a chapter on the unmade films, dozens of iconic roles that she was offered but declined written with in-depth detail. Sylvia Kristel: From Emmanuelle to Chabrol also contains many vintage reviews and interviews with Sylvia Kristel never before translated into English, and takes a look at Sylvia's brief music recording career as well. Jeremy R. Richey is a film and music historian and writer originally from Kentucky. The creator of the long-running blogs Moon in the Gutter and Fascination: The Jean Rollin Experience, Richey was also the publisher of the print-only journals Art Decades and Soledad. His work has appeared in a variety of books and magazines as well as on various home video supplements, including audio commentaries for Cult Epics' releases Madame Claude and the upcoming Julia and Mysteries. Richey currently resides in Bremerton, WA with his beloved dog Ziggy. Jeremy's website and Instagram. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

durée : 02:59:59 - Les Nuits de France Culture - par : Albane Penaranda - Par Lucien Attoun - Avec Michel Bouquet, Jean Audureau, Claude Chabrol, William Christie, Agnès Dewitte, Christophe Lambert, Fabrice Luchini, Roger Planchon et Claude Santelli - Réalisation Nicole Gandrey-Réty

A trailblazing figure in film and popular culture, Netherlands native Sylvia Kristel became one of the biggest stars in the world as Emmanuelle in 1974. Alongside her most famous role, directed by Just Jaeckin, a little-known fact is that Sylvia Kristel also appeared in over 20 films between 1973 and 1981 featuring exceptional work with some of the greatest directors in film history including Walerian Borowczyk, Alain Robbe-Grillet, Roger Vadim and Claude Chabrol.  Now the story of Sylvia's astonishing career in the '70s is told in Sylvia Kristel: From Emmanuelle to Chabrol (Cult Epics, 2022). Featured are new interviews with Just Jaeckin, Pim de la Parra, Robert Fraisse, Joe Dallesandro and Francis Lai among others. Sylvia Kristel: From Emmanuelle to Chabrol is a film-by-film guide to one of the most distinctive and uncompromising careers in modern cinema, and a celebration of a most remarkable woman in a fully illustrated coffee-table book written by author Jeremy Richey. A recollection of Sylvia Kristel's most exciting period as an actress. Beginning with her early Dutch film roles in Frank & Eva, Because of the Cats, and Naked over the Fence, this book covers all 22 movies Sylvia starred in between 1973 and 1981 including the European films Emmanuelle, Julia, No Pockets in a Shroud, Playing with Fire, Emmanuelle II, Une Femme fidele, La Marge, Alice, Rene the Cane, Goodbye Emmanuelle, Pastorale 1943, Mysteries, Tigers in Lipstick, The Fifth Musketeer, Love in First Class, Lady Chatterley's Lover, and the American films The Concorde.... Airport '79, The Nude Bomb, Private Lessons, plus a chapter on the unmade films, dozens of iconic roles that she was offered but declined written with in-depth detail. Sylvia Kristel: From Emmanuelle to Chabrol also contains many vintage reviews and interviews with Sylvia Kristel never before translated into English, and takes a look at Sylvia's brief music recording career as well. Jeremy R. Richey is a film and music historian and writer originally from Kentucky. The creator of the long-running blogs Moon in the Gutter and Fascination: The Jean Rollin Experience, Richey was also the publisher of the print-only journals Art Decades and Soledad. His work has appeared in a variety of books and magazines as well as on various home video supplements, including audio commentaries for Cult Epics' releases Madame Claude and the upcoming Julia and Mysteries. Richey currently resides in Bremerton, WA with his beloved dog Ziggy. Jeremy's website and Instagram. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

A trailblazing figure in film and popular culture, Netherlands native Sylvia Kristel became one of the biggest stars in the world as Emmanuelle in 1974. Alongside her most famous role, directed by Just Jaeckin, a little-known fact is that Sylvia Kristel also appeared in over 20 films between 1973 and 1981 featuring exceptional work with some of the greatest directors in film history including Walerian Borowczyk, Alain Robbe-Grillet, Roger Vadim and Claude Chabrol.  Now the story of Sylvia's astonishing career in the '70s is told in Sylvia Kristel: From Emmanuelle to Chabrol (Cult Epics, 2022). Featured are new interviews with Just Jaeckin, Pim de la Parra, Robert Fraisse, Joe Dallesandro and Francis Lai among others. Sylvia Kristel: From Emmanuelle to Chabrol is a film-by-film guide to one of the most distinctive and uncompromising careers in modern cinema, and a celebration of a most remarkable woman in a fully illustrated coffee-table book written by author Jeremy Richey. A recollection of Sylvia Kristel's most exciting period as an actress. Beginning with her early Dutch film roles in Frank & Eva, Because of the Cats, and Naked over the Fence, this book covers all 22 movies Sylvia starred in between 1973 and 1981 including the European films Emmanuelle, Julia, No Pockets in a Shroud, Playing with Fire, Emmanuelle II, Une Femme fidele, La Marge, Alice, Rene the Cane, Goodbye Emmanuelle, Pastorale 1943, Mysteries, Tigers in Lipstick, The Fifth Musketeer, Love in First Class, Lady Chatterley's Lover, and the American films The Concorde.... Airport '79, The Nude Bomb, Private Lessons, plus a chapter on the unmade films, dozens of iconic roles that she was offered but declined written with in-depth detail. Sylvia Kristel: From Emmanuelle to Chabrol also contains many vintage reviews and interviews with Sylvia Kristel never before translated into English, and takes a look at Sylvia's brief music recording career as well. Jeremy R. Richey is a film and music historian and writer originally from Kentucky. The creator of the long-running blogs Moon in the Gutter and Fascination: The Jean Rollin Experience, Richey was also the publisher of the print-only journals Art Decades and Soledad. His work has appeared in a variety of books and magazines as well as on various home video supplements, including audio commentaries for Cult Epics' releases Madame Claude and the upcoming Julia and Mysteries. Richey currently resides in Bremerton, WA with his beloved dog Ziggy. Jeremy's website and Instagram. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

durée : 00:04:46 - Le cinéma de Thomas Croisière - par : Thomas CROISIERE - Aujourd'hui, Thomas Croisière revient sur le film de Claude Chabrol, Que la bête meure

durée : 00:13:00 - Les Nuits de France Culture - par : Albane Penaranda - Dans "Jeunesse Magazine" Claude Chabrol était invité à présenter son premier film "Le Beau Serge", qui, avant sa sortie, était projeté dans les festivals. Une émission diffusée en 1958 sur la Chaîne Nationale. Dans la France de 1958 la nouveauté avait le vent en poupe à travers notamment une nouvelle génération de cinéastes bien décidée à secouer le cocotier du 7ème art. En dépit de leurs différences notables, reprenant une formule lancée par Françoise Giroud, la passion du "nouveau" rassembla ces jeunes réalisateurs sous la bannière "Nouvelle Vague". On connaît la suite... En tournant Le Beau Serge, Claude Chabrol fut le premier à se jeter à l'eau. C'est le jeune Claude Chabrol, 28 ans, que nous allons entendre en 58, répondant aux questions de Simone Dubreuilh sur les ondes de la Chaîne Nationale dans Jeunesse Magazine. Aux côtés de Chabrol, à l'exception de Bernadette Lafont, on retrouvait les comédiens du film, Micheline Méritz, Gérard Blain et Jean-Claude Brialy. Voilà comment Claude Chabrol parlait de son film : J'ai pu faire ce film exactement comme je l'entendais... comme un film d'auteur, je veux dire comme un roman. J'ai essayé de faire un film qui n'appartienne pas à un genre particulier, qui ne soit pas un film policier ou un film paysan.  Un film tourné à Sardent dans la Creuse dont sa mère était originaire. Un village où Claude Chabrol avait vécu pendant la guerre : C'est un pays qui me tient à cour, que j'aime beaucoup et que j'ai cru voir sombrer en 46-47. Les gens s'en allaient, ne voulaient plus rester. J'ai essayé de montrer l'atmosphère d'un pays comme ça qui fout le camp, qui s'en va à la dérive.  Par Simone Dubreuilh  Jeunesse Magazine : Entretien avec Claude Chabrol à propos de son film "Le Beau Serge" (Date d'enregistrement : 01/01/1958 Chaîne Nationale) Indexation web : Documentation Sonore de Radio France Archive Ina-Radio France

A l'occasion des 90 ans de l'affaire, (re)découvrez l'énigme des soeurs de Papin. C'est une histoire de domestiques qui se révoltent contre la bourgeoisie, une lutte des classes qui se termine dans un bain de sang. Un soir de février 1933, au Mans dans la Sarthe, derrière les murs d'une maison cossue va se jouer un drame qui marquera par sa violence les annales criminelles du début du 20ème siècle.  Un crime d'une violence inouïe Comme beaucoup de faits divers tragiques, cette histoire a fasciné et a inspiré les plus grands romanciers, cinéastes et metteurs en scène. La pièce de théâtre “Les bonnes” de Jean Genet , le film “La cérémonie” de Claude Chabrol ou encore “Les blessures assassines” de Jean-Pierre Denis sont de libres adaptations de cette histoire vraie… Une histoire dont vous avez peut-être déjà entendu parler. Est-ce un crime de folie ou un crime de vengeance ? Aujourd'hui encore, on s'interroge. Qui étaient les sœurs Papin ? Pourquoi après des années de bons et loyaux services, elles décidèrent de massacrer de la manière la plus sauvage qu'il soit leur patronnes ? Derrière le crime odieux, que raconte réellement cette histoire ? Découvrez la saison précédente en intégralité : L'affaire Jacqueline Sauvage : tuer pour survivre Un podcast Bababam Originals Ecrit et raconté par Caroline Nogueras Réalisé par Julien Roussel En partenariat avec upday.  Learn more about your ad choices. Visit megaphone.fm/adchoices

THIS WEEK: This Man Must Die AKA Que La Bête Meure (1969), La Rupture AKA The Breach (1970), Torment AKA L'enfer (1994)Murder! Jealousy! Acid trips! Claude Chabrol sure knows how to hook you. He's also made roughly one zillion movies and they all seem to be pretty great. Guess we'll keep doing these episodes!Support Optimism Vaccine on Patreon: https://www.patreon.com/optimismvaccine

Ep. 149: Bruce Bennett on Skolimowski's Deep End, Baby Love, Chabrol Freakout, and more Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. This episode I had a wonderful time talking with the inimitable Bruce Bennett, who's back on the show with a new garden of cinematic delights. We start with Deep End, a past hit from director Jerzy Skolimowski, who's enjoying a renaissance with EO. From there, we delve into unsung British rarities from the turn of the 1970s and the wildest Claude Chabrol film you ever did (or did not) see. But wait, there's more! So much more, in fact, that I will publish the second half of our jampacked chat separately. Stay tuned! Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow's Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

A Very Curious Girl (1969) / The Unfaithful Wife (1969) This week we're tripping on a double dose of 1969 as we explore the sexual revolution and its consequences with Nelly Kaplan and Claude Chabrol