Podcast appearances and mentions of Delphine Seyrig

Mais de meio século depois da publicação do livro que abalou a ditadura portuguesa, “Novas Cartas Portuguesas”, de Maria Isabel Barreno, Maria Teresa Horta e Maria Velho da Costa, há uma nova edição em francês. “Nouvelles Lettres Portugaises” é uma tradução de Ilda Mendes dos Santos e Agnès Levécot e espera fazer redescobrir a intemporalidade de uma obra que foi revolucionária. A RFI conversou com Agnès Levécot neste programa. “Eu acho que, naquela altura, em Portugal, não era nada estranho que este livro tivesse esse efeito de bomba”, contava à RFI, há um pouco mais de um ano, Maria Teresa Horta, uma das autoras das “Novas Cartas Portuguesas”, que nos recebeu, em sua casa, em Lisboa, nas vésperas dos 50 anos da Revolução dos Cravos e que nos deixou em Fevereiro de 2025, aos 87 anos.A obra de Maria Teresa Horta, Maria Isabel Barreno e Maria Velho da Costa, publicada em 1972, foi uma revolução literária e feminista que denunciou ao mundo o regime fascista português, o colonialismo, o racismo, o machismo, a violência sobre as mulheres, ao mesmo tempo que subvertiam as noções de autoria e de género na literatura.A ditadura do Estado Novo considerou o livro como “insanavelmente pornográfico e atentatório da moral pública”, abrindo um processo judicial contra as escritoras que ficaram ameaçadas com uma pena entre seis meses a dois anos de prisão. Seguiu-se uma onda de solidariedade internacional e o livro chegou a todo o mundo, incluindo a França, onde em 1974 é publicada a tradução de Monique Wittig e Evelyne Le Garrec.Mais de meio século depois, e perante uma edição há muito esgotada, surge agora nova tradução, “Nouvelles Lettres Portugaises”, de Ilda Mendes dos Santos e Agnès Levécot, editado pela Ypsilon, que chega às livrarias francesas a 7 de Maio e que é apresentada esta sexta-feira, 25 de Abril, em Paris.Fomos conversar com Agnès Levécot para perceber “o que podem [ainda] as palavras” das Três Marias.“Essa é uma pergunta complicada porque as próprias escritoras, as três, no fim do livro, ainda fazem a pergunta. Realmente um dos aspectos literários desta obra é o questionamento do acto da escrita e até ao fim, nas últimas cartas, elas continuam a pôr a questão ‘o que podem as palavras?' Quanto a nós, como tradutoras, chegámos à conclusão também que todos os aspectos políticos e históricos que são denunciados nas cartas continuam actuais. Esse é o problema. A questão do colonialismo continua actual. A questão da repressão continua. A questão feminista também. Estamos a ver, no mundo actual, um retrocesso em relação a esse aspecto. Portanto, continua completamente actual”, explica Agnès Levécot.Em plena ditadura, “Novas Cartas Portuguesas” era uma obra literária inédita que esbatia noções de autoria e de género e que era assinada colectivamente por três autoras que escreviam, sem tabus, sobre o corpo, o desejo, mas também sobre a violência de que eram vítimas as mulheres. Denunciavam, ainda, a guerra colonial, a pobreza, a emigração, a violação sexual, o incesto, o aborto clandestino. O livro era, assim, um perigo para o regime repressivo, retrógrado e fascista português. Pouco após o seu lançamento, em 1972, os exemplares foram recolhidos pela censura e o Estado português movia um processo judicial contra as “Três Marias”. Perante as ameaças de prisão e a tentativa de silenciamento das autoras, nasce um movimento de solidariedade internacional. Meses depois de ter sido publicado, em 1972, o livro chega às mãos da escritora francesa Christiane Rochefort e, através dela, ao grupo feminista Movimento de Libertação das Mulheres. Seguem-se várias acções de luta, nomeadamente em França, e que envolvem nomes como Simone de Beauvoir e Marguerite Duras. Há distribuição de panfletos, recolha de assinaturas para um abaixo-assinado entregue na Embaixada de Portugal em Paris e uma procissão de velas diante da Catedral de Notre-Dame. Outro momento emblemático é a leitura-espectáculo “La Nuit des Femmes”, a 21 de Outubro de 1973, no Palais de Chaillot, em Paris, que deu origem ao documentário “Les Trois Portugaises”, de Delphine Seyrig (1974).“Monique Wittig e Evelyne Le Garrec pegaram no texto e fizeram uma primeira tradução que foi publicada em 1974. Entretanto, tinha havido excertos traduzidos para artigos e espectáculos porque houve uma série de espectáculos e movimentações de apoio às Três Marias quando estavam no julgamento. Houve uma noite que ficou muito famosa que foi ‘La Nuit des Femmes' em que leram alguns excertos”, relembra Agnès Levécot, sublinhando que “o aspecto literário quase não foi abordado na altura”.O aspecto literário é precisamente “uma coisa fora do comum”, acrescenta a especialista em literatura lusófona. Três mulheres escrevem colectivamente uma obra literária e política, depois de terem publicado livros que não agradaram à ditadura patriarcal portuguesa. Maria Velho da Costa e Maria Isabel Barreno tinham lançado, em anos anteriores, livros que denunciavam a opressão e a secundarização da mulher: Maina Mendes (1969) e Os Legítimos Superiores (1970). Em 1971, Maria Teresa Horta também publicava Minha Senhora de Mim e escrevia abertamente sobre o desejo, algo considerado escandaloso pelos fascistas.“São três mulheres que já eram escritoras, que já tinham publicado obras bastante feministas, que se juntaram e decidiram escrever um livro a três. Começaram a reunir-se todas as semanas num restaurante em Lisboa. Todas as semanas traziam um texto que elas tinham escrito e trocavam ideias a propósito dos textos, mas não os modificavam. A certa altura, começaram a pensar na figura de Mariana Alcoforado, a religiosa portuguesa, e começaram a escrever cartas. Globalmente, são chamadas cartas, mas não são só cartas, tem vários géneros: poesia, ensaios, supostos artigos de jornal, textos teóricos... Elas escreveram cartas a uma Mariana, mas são as descendentes de Mariana, ou seja, as várias Marianas que vieram depois. Portanto, têm cartas de vários séculos a acompanhar o percurso de uma suposta Mariana”, acrescenta Agnès Levécot.No posfácio de “Nouvelles Lettres Portugaises”, Agnès Levecot e Ilda Mendes dos Santos recordam, justamente, a importância da figura de Mariana Alcoforado, suposta autora das “Cartas Portuguesas”, de 1669, “apresentada por alguns como o arquétipo da mulher portuguesa” e a partir da qual “as Três Marias trabalham a questão da autoridade e do poder, o exercício da violência e da dominação, assim como, o poder da palavra”.Agnès Levecot, que já tinha participado no livroNovas Caras Portuguesas entre Portugal e o Mundo, que foi publicado depois de uma pesquisa internacional sobre a recepção das "Novas Cartas Portuguesas" no mundo, foi convidada por llda Mendes dos Santos para se juntar a ela na tarefa de traduzir a obra. “As principais dificuldades estavam no facto de serem textos completamente diferentes do ponto de vista do género, da tonalidade, da língua usada. Portanto, temos textos a imitar o estilo do século XVII ou XVIII, e aí a Ilda teve um papel muito importante porque ela trabalha muito sobre esses séculos. Foi sobretudo adaptar-se, tentar encontrar um estilo para cada momento e cada época. Depois, nós íamos oferecer uma tradução francesa a franceses e forçosamente tínhamos que encontrar uma maneira de passar certos elementos históricos, geográficos, políticos para o público francês perceber, porque são textos que estão muito impregnados de referências intertextuais portuguesas e internacionais de textos muito conhecidos e outros muito menos conhecidos, mas bem conhecidos dos portugueses. Referências políticas, nomes também, ou seja, elementos que nos levaram a acrescentar 200 e tal notas no fim do livro”, acrescenta.“Nouvelles Lettres Portugaises” chega às livrarias francesas a 7 de Maio e é apresentada esta sexta-feira, 25 de Abril, na livraria Les Nouveautés, em Paris. Uma data simbólica para Agnès Levécot que estava em Portugal no 25 de Abril de 1974 e ainda guarda, em casa, um cravo desses tempos revolucionários que marcariam, para sempre, o seu percurso pessoal e profissional.

The BFI's screenings of JEANNE DIELMAN, 23 COMMERCE QUAY, 1080 BRUXELLES were all sold out. Luckily, we were both able to see it on a big screen elsewhere. In this podcast we discuss why this is a film to see on a big screen, how it remains a radical film, how the first scene sets a context, how Jeanne Dielman lives in a pimped world where the very same money she gets from men she gives to men. We discuss how the bare bones of the story could have been done as melodrama or noir and the significance of rendering it as ‘slow cinema', including all that's been left out of cinema previously (the various kinds of women's work). We admire the three-day structure as well as the formal rigour and precision which creates Dielman's world and Ackerman's point-of-view on it; how the film puts into play elements that are never rendered explicit (is the son gay?). We also discuss Delphine Seyrig, the muse insoumise, in the light of her art-house and activist careers (the program for the Queen Sofia exhibition on her work and career is in the blogpost); the film itself in the context of Second Wave Feminism; how the film remains radical in that it is simultaneously a depiction of what Tate brothers bros think women should be, a refutation of those ideas, and women's frustration/ explosion/ revenge in response. A film that is almost half a century old and feels continuously relevant

durée : 00:28:50 - Les Nuits de France Culture - par : Albane Penaranda - En 1972, quatre militantes du MLF accompagnées de Monique Wittig et Delphine Seyrig expliquent la genèse et les objectifs du Mouvement de Libération des Femmes, tordant le cou au passage à l'idée d'une figure figée de la femme. Bien au contraire, les femmes existent dans leur diversité. - réalisation : Virginie Mourthé - invités : Delphine Seyrig Actrice; Monique Wittig

Best Pick with John Dorney, Jessica Regan and Tom Salinsky Episode 315: Jeanne Dielman Released 12 February 2025 For this episode, we watched the 1975 film Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles, written and directed by Chantal Akerman and starring Delphine Seyrig. As well as holding a 95% rating on Rotten Tomatoes, the film unexpectedly topped the 2022 Sight & Sound poll of the greatest movies ever made. We take the opportunity to explore what this poll is, how it has changed over seventy years, and what films we would have put on our lists, had we been asked. https://princecharlescinema.com/savethepcc/ Sight and Sound Top Tens https://bestpickpod.com/wp-content/uploads/2025/02/The-Sight-and-Sound-Survey-top-tens-1.pdf https://thefilmstage.com/watch-a-behind-the-scenes-documentary-on-the-making-of-jeanne-dielman https://www.slantmagazine.com/film/q-a-with-chantal-akerman-jeanne-dielman-three-decades-later/ John Cage's 4'33” https://www.youtube.com/watch?v=JTEFKFiXSx4 BEST PICK – the book is available now from all the usual places, and the paperback is out on 18 February. From the publisher https://tinyurl.com/best-pick-book-rowman UK Amazon https://amzn.to/3zFNATI US Amazon https://www.amzn.com/1538163101 UK bookstore https://www.waterstones.com/book/9781538163108 US bookstore https://www.barnesandnoble.com/w/best-pick-john-dorney/1139956434 Audio book https://www.audible.co.uk/pd/Best-Pick-Audiobook/B09SBMX1V4 To send in your questions, comments, thoughts and ideas, you can join our Facebook group, email us on bestpickpod@gmail.com, or find us on Bluesky. You can also visit our website at https://bestpickpod.com and sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n. If you enjoy this podcast and you'd like to help us to continue to make it, you can now support us on Patreon for as little as £2.50 per month, but please be aware that future releases will continue to be sporadic.

This episode of the podcast celebrates the work of the great Belgian filmmaker Chantal Akerman, with a special focus on one of her lesser known films, the 1986 musical Golden Eighties.Our guide to all things Akerman is Marion Schmid. Marion is Professor of French Literature and Film at the University of Edinburgh and the author of several books and articles on Akerman, including a 2010 monograph for Manchester University Press.Marion and Pasquale begin by discussing Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles, Akerman's 1975 masterpiece which famously topped Sight & Sound's Greatest Films of All Time poll in 2022.Discussion then moves on to Golden Eighties, a vibrant, effervescent musical which tells of the romantic intrigues in a Brussels shopping centre and stars Jeanne Dielman herself, Delphine Seyrig.

Film recommandé par Horreur Québec Invité: DJ Jeff Gadoury Dans notre 2e épisode du mois des films coquins, nous jasons du coquinet film de vampires, Les lèvres rouges ou Le rouge aux lèvres.   Au menu: Le ASMR de Delphine Seyrig, les aventures rocambolesques de la magnifique Danielle Ouimet, WTF avec "Mother", Stéphane le "simili chien sale", le pauvre Pierre, les livres audio de la Comtesse, une position sexuelle #88 et un vol plané mortel.   Serge, c'est Ostende et non Ostendé.    Est-ce que la direction artistique a été réalisée par la chanteuse Françoise Hardy? Que se passe-t-il avec Mother? Réponses? Répondues dans l'entrevue réalisée par Serge avec Danielle Ouimet dans le Patreon de Rétro Terreur   Bonne écoute!   Tu peux échanger avec nous sur: https://www.instagram.com/terreursurlepodpodcast/ https://www.facebook.com/Terreur-sur-le-Pod-111446400732063 https://www.instagram.com/lafreniere.serge/ @surlepod sur Twitter   Tu désires avoir accès à plus de contenus de TSLP? Abonne-toi à notre Patreon.  https://www.patreon.com/terreursurlepod   Boutique TSLP www.terreursurlepod.etsy.com La semaine prochaine: Mulholland Drive (2001)   Terreur sur le pod Daughters of Darkness Animateurs: Serge Lafrenière et Bruno Roy Invités: Jean-François Gadoury https://www.podbean.com/podcast-detail/f67em-2c7ad3/DJ-JeFF-Gadoury-en-mode-Podcast LÈCHE-MOI T'AIMER est une présentation des Disco-mobile L'ÉVAZION https://dj-mariage.ca/ Jean-François Gadoury https://www.facebook.com/discomobilelevazion/?locale=fr_FR Chanson-thème: Storytime par Myuu Musiques additionnelles: Infraction Music- Ordinary Love MokkaMusic - Graceful Illusion Fin: Music par Karl Casey @ White Bat Audio https://www.youtube.com/@WhiteBatAudio Liens additionnels: Bronski Beat - Smalltown Boy https://youtu.be/88sARuFu-tc?si=JZdOkNoTrBnf-HYY Bla bla bla https://youtu.be/VBujI0yAUa4?si=Hi1H4XiP_eCLiLGM  

This week, we discuss two vampire films. The first is Daughters of Darkness (1971), an erotic horror film co-written and directed by Harry Kümel and starring Delphine Seyrig, John Karlen, Andrea Rau and Danielle Ouimet. A newlywed couple's honeymoon at a deserted seaside hotel takes a sinister turn when they encounter the enigmatic Countess Bathory, whose seductive and vampiric nature threatens to consume them. The second is Near Dark (1987), a neo-Western horror film co-written and directed by Kathryn Bigelow. A young man is reluctantly drawn into a nomadic gang of vampires after falling for a mysterious drifter, forcing him to choose between his humanity and his newfound bloodthirsty family.   Timestamps What we've been watching (00:01:05) –  The Brutalist, Companion, The Fury, The Collapse, Thief  Daughters of Darkness (00:27:21) Near Dark (00:47:50) Coin toss (01:14:15)   Links Instagram - @callitfriendopodcast @munnywales @andyjayritchie   Letterboxd – @andycifpod @fat-tits mcmahon   Justwatch.com – streaming and rental links - https://www.justwatch.com

Bryan and Dave go Belgian this week for a look at the extremely artsy vampire sleeper, Daughters of Darkness. Where Jess Franco and Jean Rollin both released signature lesbian vampire movies in 1971, Harry Kumel snuck in and delivered his own interpretation of sleazy euro-trash horror through the lens of The French New Wave. The film stars the absolutely radiant Delphine Seyrig and her many outrageous costumes. We break down the film's attempt to make a statement about the gender dynamics between men and women in a patriarchy and Dave goes to great lengths to illustrate the ways in which gay women are treated differently than gay men. In the process you get a crash course in radical feminism and, more specifically, radical lesbianism and the two of us do a lot of lousy cartoonish French accents. Support Bring Me The Axe on Patreon! ⁠⁠⁠https://www.patreon.com/c/bringmetheaxepod⁠⁠⁠ Buy Bring Me The Axe merch here: ⁠⁠⁠https://www.bonfire.com/store/bring-me-the-axe-podcast/⁠

durée : 00:10:17 - L'Avant-scène - par : Aurélie Charon - Marie Rémond reprend au Théâtre Paris Villette le spectacle "Delphine et Carole" avec Caroline Arrouas. Elles incarnent Delphine Seyrig et la cinéaste militante Carole Roussopoulos pour raconter leur amitié et leurs luttes féministes. - réalisation : Alexandre Fougeron - invités : Marie Rémond Metteuse en scène

durée : 00:10:17 - L'Avant-scène - par : Aurélie Charon - Marie Rémond reprend au Théâtre Paris Villette le spectacle "Delphine et Carole" avec Caroline Arrosas. Elles incarnent Delphine Seyrig et la cinéaste militante Carole Roussopoulos pour raconter leur amitié et leurs luttes féministes. - réalisation : Alexandre Fougeron - invités : Marie Rémond Metteuse en scène

Extrait : « … En 1975, Marguerite Duras adapte au cinéma sa pièce de théâtre India Song, elle-même inspirée de son roman Le vice-consul, publié en 66. Le film, avec Delphine Seyrig et Michael Lonsdale, est une énorme prise de chou, pardonnez l'expression mais il ne pouvait en être autrement avec la Duras, qui, si elle écrit sublimement, n'a aucune idée des techniques de tournage. Résultat, les acteurs ne parlent pas, leurs lèvres ne bougent pas, les dialogues sont ajoutés en voix off, imagine le truc … » Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Depuis le mois de septembre, la cinéaste belge Chantal Akerman est mise à l'honneur à travers une rétrospective en salles et une exposition au Jeu de Paume, à Paris. L'occasion pour nous de revenir sur l'oeuvre multiple de cette cinéaste fascinante, pétrie d'idées révolutionnaires et d'une liberté permanente.Chapitrage :02:50 : Saute ma ville07:17 : News from home19:32 : Golden EightiesAnimation : Léon CattanParticipantes : Noémie Attia, Léon Cattan, Diane LestageRéalisation, montage, son : Mariana AgierGénérique : © SorocinéMusique : © Antonin AgierHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

durée : 00:51:57 - Les Nuits de France Culture - par : Albane Penaranda - En 1986, la cinéaste Chantal Akerman est l'invitée de Brigitte Ollier dans "Microfilms" pour "Golden Eighties", une comédie musicale avec Delphine Seyrig, Fanny Cottençon, Lio et Charles Denner. - réalisation : Virginie Mourthé - invités : Chantal Akerman Réalisatrice

Today on the podcast, Josh and Drusilla discuss one of their very favorite European lesbian vampire films, Daughters of Darkness. From wiki: “Daughters of Darkness[b] is a 1971 erotic horror film co-written and directed by Harry Kümel and starring Delphine Seyrig, John Karlen, Andrea Rau, and Danielle Ouimet.” Also discussed: Laserdiscs, VCRs, Alice Sweet Alice, Psycho II, Scream, franchises, It's Alive, Karen Black, The House that Screamed, Delphine Seyrig, Klaus Kinski, Jean Rollins, Dark Shadows, haint blue, queer villains, gigolos, and more!NEXT WEEK: Vacation of Terror and Vacation of Terror II    Follow them across the internet:Bloodhaus:https://www.bloodhauspod.com/https://twitter.com/BloodhausPodhttps://www.instagram.com/bloodhauspod/ Drusilla Adeline:https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/ Joshua Conkelhttps://www.joshuaconkel.com/https://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/

We triple the length of our last film and delve into what Sight & Sound has crowned as the Best Film of All Time for their 2022 poll – Chantal Ackerman's “Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles”. Join the 1001 by 1 crew as they discuss slow cinema, Ackerman and Delphine Seyrig behind the scenes, loser sons, and what we think is happening behind Jeanne's eyes. Do we think it's the best film of all time? Did we like it at all…??? Also, this week Adam recommends “Amy” (available on Max), Britt recommends “Vive l'amour” (available on Kanopy), and Joey recommends “Promising Young Woman” (available on Peacock). You can listen to us on Apple Podcast, Stitcher, Spotify, & Google Play. You can find us on Letterboxd - https://letterboxd.com/1001by1/ You can find us on Twitter, Instagram, & Facebook at facebook.com/1001by1. You can send us an email at 1001by1@gmail.com. Intro/Outro music is “Bouncy Gypsy Beats” by John Bartmann.

https://notesonfilm1.com/2024/07/08/thinking-aloud-about-film-ritrovato-round-up-2024/ Richard and I return to the podcast with our Ritrovato Round-up. Last year I couldn't go due to health reasons and I interviewed him; this year, the tables were turned and he interviews me. Ritrovato is so vast and generous in its programming that everyone who attended would have had a different experience of the festival. This is an account of mine. We criticise the booking system and people's piggish habit of taking out their phones during screenings. Cinephiles do know better, which makes it all the worse. The rest is mainly hossanas. We praise Daniel Bird's programming of the Parajanov Strand. We note how even seeing familiar films can be the basis of a rediscovery and discuss how the programme of Dietrich films at the festival should re-write the narrative of the Von Sternberg/ Dietrich collaborations from one of a Svengali act of moulding to a feminist act of self-creation. We touch on Delphine Seyrig, the Dark Heimat Strand, Gustaf Molander, Anatole Litvak and highlight Carlos Sauras' Los golfos and Montxo Armendáriz Tasio from the Cinema Libero strand. We also discuss seeing films at the stunning Cinema Modernissimo, watching Les parapluies de Cherbourg at the Piazza Maggiore and many other bits and bobs.

País Francia Dirección Luis Buñuel Guion Luis Buñuel, Jean-Claude Carrière Reparto Fernando Rey, Paul Frankeur, Delphine Seyrig, Bulle Ogier Fotografía Edmond Richard Sinopsis Don Rafael Costa, embajador de Miranda, y el matrimonio Thévenot están invitados a cenar en casa del matrimonio Sénechal, pero a causa de un malentendido tienen que ir a un restaurante. Cuando llegan, no pueden cenar porque el dueño del lugar ha muerto. A partir de ese momento, las reuniones de este selecto grupo de burgueses se verán siempre interrumpidas por las circunstancias más extrañas, algunas reales y otras fruto de su imaginación.

Ce dont on parle dans cet épisode de Laisse-moi kiffer :Minis kiffs :- Le podcast Le Bisoudrome (et leur Instagram)- Le crumble (bientôt la recette d'Anthony en lien ici)Le kiff de Fanny : faire du surf (00:31:02)+ Le podcast Impact ZoneLe kiff d'Ariane : se redécouvrir en vivant seule (00:41:54)+ Le film "Cléo de 5 à 7" de Agnès Varda (dispo sur Netflix)Le kiff d'Anthony : le roman graphique "Moi ce que j'aime c'est les monstres" de Emil Ferris (00:48:30)+ Documentaire "Black Panther" de Agnès Varda (dispo sur la Cinetek)+ La rétrospective Delphine Seyrig (dispo sur la Cinetek)+ Le défilé spectacle Rectum Crocodile de Marvin M'toumo+ La bande dessinée "Fun Home" de Bechdel+ Le roman graphique "Coming in" de Elodie FontLe kiffe de Marie-Stéphanie : l'artiste Cécile Davidovici (01:09:34)Laisse-moi kiffer :Autour d'une table, chaque jeudi, l'équipe échange recos culturelles, anecdotes et coups de gueule. Envoyez-nous sur Instagram vos anecbofs de star (une anecdote bof avec une star cool et vice versa), vies de boloss (une VDM mais en 2023, quoi) et autres messages boubou (si/quand vous avez un petit coup dans le nez).Retrouve-nous sur Instagram :Laisse-moi kiffer / Marie-Stéphanie / Anthony / Ariane / FannyAbonnez-vous :Apple Podcasts • Deezer • SpotifyLaisse-moi kiffer est un podcast de Madmoizelle présenté par Marie-Stéphanie.Avec Anthony Vincent, Ariane Hemery, Fanny Cohen Moreau.Réalisation et production : Fanny Cohen Moreau.Rédaction en chef : Marie-Stéphanie Servos. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Du 19 avril au 4 juillet, la Cinémathèque de la Documentaire de la BPI met à l'honneur le cinéma militant féministe avec sa programmation "Contre-chant : luttes collectives, films féministes", organisé en partenariat avec le centre Simone de Beauvoir qui archive et diffuse des documents audiovisuels sur les luttes pour les droits des femmes. L'occasion pour nous de nous entretenir avec Nicole Fernandez Ferrer, co-présidente du centre, et de faire le point sur l'histoire du cinéma militant féministe, depuis les années 1970 avec les oeuvres de Carole Roussopoulos et Delphine Seyrig jusqu'aujourd'hui.Pour consulter le programme du cycle Contre-chant : Contre-chant : luttes collectives, films féministes - Agenda BpiParticipantes : Mariana Agier, Diane Lestage, Nicole Fernandez FerrerAnimation, réalisation, montage, son : Mariana AgierGénérique : (c) SorocinéMusique : (c) Antonin Agier Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

durée : 00:43:29 - Fictions / Théâtre et Cie - Gisèle Halimi choisit délibérément de faire témoigner à la barre non seulement des femmes mais aussi des hommes célèbres sans lien direct avec l'affaire, pour dénoncer publiquement la loi : Michel Rocard, Françoise Fabian, Simone de Beauvoir, Jacques Monod (Prix Nobel), Delphine Seyrig…

Having amassed more than 100 episodes in its run, PACCTS' sixth season will focus its sights on “the greatest films of all time” (both in the US and internationally), as assembled by the British Film Institute's 2022 Sight and Sound Poll of industry critics. Corey will be choosing American films from the list, and Paul will be choosing international ones.  Our goal is to examine the films that are considered great, and why that may be the case.   For this episode, Paul jumped right to the head of the class: the number one film on the list, Chantal Akerman's Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975). Never are Paul and Corey ones to give spoiler warnings, but due to the experiential nature of how this film communicates with the viewer, they highly recommend that listeners watch it before listening to the episode. Jeanne Dielman follows three days in the life of a widow who lives with and dotes upon her teenage son. We watch her disciplined schedule of cooking, cleaning, running errands, and engaging in sex work slowly...falter. Paul and Corey discuss the topics of slow cinema, Chantal Akerman and Delphine Seyrig's lives and politics, feminism, reproductive labor, and why this film may have "dethroned" Citizen Kane from the number one slot on the list. A great discussion. Enjoy!

Explorez le monde cinématographique captivant de Chantal Akerman, une réalisatrice belge qui a façonné le féminisme à travers des films comme "Jeanne Dielman" et "No Home Movie". Plongez dans la banalité révolutionnaire de son cinéma, questionnez le quotidien, et découvrez comment Akerman a laissé une empreinte indélébile sur l'histoire du cinéma féministe.Références :No Home Movie - Film de Chantal Akerman (2015).Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles - Film de Chantal Akerman (1975).Saute ma ville - Court métrage de Chantal Akerman (1968).Sois belle et tais-toi - Documentaire de Delphine Seyrig (1977).Ma mère rit - Livre de Chantal Akerman (2013).Sight and Sound - Revue britannique de cinéma.Manifeste des 343 salopes - Pétition signée par Delphine Seyrig (1971).Bienvenue dans « Purple Theorie », Là où les questions deviennent féministes , le podcast qui explore les questions de féminisme à travers la culture, l'histoire et bien plus encore. Bienvenue dans « Purple Theorie", le podcast qui explore les questions de féminisme à travers la culture, l'histoire et bien plus encore.Écoutez, partagez et laissez-vous emporter par "Purple Theorie" sur Apple Podcast et Spotify & Co. Préparez-vous à vivre des sensations fortes à chaque épisode !Production: Mikrophonie Emission écrite et réalisée par Marie SuchorskiMusique: Royalty-free music by Slip.stream / https://slip.stream Rejoignez-nous pour une exploration passionnante du féminisme….Instagram : www.instagram.com/purpletheorieSite web : www.purpletheorie.com#purpletheorie #podcast #féminisme #feministe #femme #art #cinema #Mikrophonie Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Prudence Peiffer's first book, The Slip, is the never-before-told story of an obscure little street at the lower tip of Manhattan and the remarkable artists who got their start there. For just over a decade, from 1956 to 1967, a cluster of dilapidated former sail-making warehouses became the quiet epicenter of the art world. Coenties Slip, a dead-end street near the water, was home to a circle of wildly talented artists that included Robert Indiana, Ellsworth Kelly, Agnes Martin, James Rosenquist, Lenore Tawney, Delphine Seyrig, and Jack Youngerman. As friends and inspirations to one another, they created a unique community of unbridled creative expression and experimentation, and the works they made at the Slip would go on to change the course of American art. Peiffer pays homage to these artists and the impact their work had on the direction of late 20th-century art and film. This remarkable biography questions the very concept of a “group” or “movement,” as it spotlights the Slip's eclectic mix of gender and sexual orientation, abstraction and Pop, experimental film, painting, and sculpture, assemblage and textile works. Despite Coenties Slip's obscurity, the entire history of Manhattan was inscribed into its cobblestones—it was one of the first streets and central markets of the new colony, built by enslaved people, with revolutionary meetings at the tavern just down Pearl Street; named by Herman Melville in Moby Dick and site of the boom and bust of the city's maritime industry; and, in the artists' own time, a development battleground for people like Jane Jacobs and Robert Moses. I caught up with Peiffer, in the Fall of 2023 where she unpacked this group portrait, one of my favorite books of the year. Listen to hear Prudence Peiffer discuss the history of Coenties Slip.

Jackie and Greg tidy the apartment for Chantal Akerman's landmark JEANNE DIELMAN, 23 QUAI DU COMMERCE, 1080 BRUXELLES from 1975. Topics of discussion include the film's background and production, how it uses mundanity as a powerful tool, what it's saying about female sexuality, and whether its spot atop the 2022 Sight & Sound list is justified.#36 on Sight & Sound's 2012 "The 100 Greatest Films of All Time" list.https://www.bfi.org.uk/sight-and-sound/polls/greatest-films-all-time-2012#1 on Sight & Sound's 2022 "The Greatest Films of All Time" list.  https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out on Instagram: https://www.instagram.com/sceneandheardpodCheck us out at our official website: https://www.sceneandheardpod.comJoin our weekly film club: https://www.instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtGraphic Design: Molly PintoMusic: Andrew CoxEditing: Greg KleinschmidtGet in touch at hello@sceneandheardpod.comSupport the showSupport the show on Patreon: patreon.com/SceneandHeardPodorSubscribe just to get access to our bonus episodes: buzzsprout.com/1905508/subscribe

Cʹest un conte sorti en 1970, avec la totale : une princesse, un roi, une fée marraine, un prince, et la peau dʹun âne. Peau dʹÂne, cʹest le film musical enchanté et enchanteur de Jacques Demy avec Jean Marais, Delphine Seyrig, Micheline Presle, Jacques Perrin et Catherine Deneuve. Inspiré du conte du même nom de Charles Perrault, le film suit lʹintrigue traditionnelle en y ajoutant une part de modernité. Rassurez-vous, je ne ferai pas, dans cette émission, une analyse psychanalytique des contes de fée, il y a énormément dʹouvrages à ce sujet, mais nous allons nous intéresser au tournage de ce film culte qui nʹa pas été si facile à monter. Cʹétait un projet dont pas grand monde ne voulait. On peut le comprendre : faire un film pour des adultes qui sont encore des enfants, ça ne motive pas les producteurs. Et pourtant : le voici en 1970, ce film OVNI, hyper pop et coloré, et pour lequel Jacques Demy pioche du côté de Cocteau, de Walt Disney et du Pop Art américain. Il va également engager son comparse, son ami Michel Legrand qui compose la musique et les chansons qui occupent une place prépondérante et qui vont également devenir cultissimes. Peau d'âne, cʹest le plus grand succès au box-office de Jacques Demy. Cʹest un film que lʹon voit et lʹon revoit en famille, un conte de fées réaliste, comme le nommait Jacques Demy. Ne tardons plus. Après avoir revêtu sa robe couleur de temps, sa robe couleur de nuit et sa robe couleur de soleil, voilà que la princesse a demandé la Peau de lʹâne. Le roi accède à sa demande. Elle doit fuir pour mieux pouvoir, plus tard, rencontrer son prince. REFERENCES Peau dʹÂne en 6 minutes https://www.youtube.com/watch?v=_QXHUV_YUrU Jacques Demy sur ses films quʹon nʹaime ou nʹaime pas https://www.ina.fr/ina-eclaire-actu/video/i04275517/jacques-demy-sur-ses-films-qu-on-aime-ou-qu-on-n-aime-pas Rosalie Varda Demy et Emmanuel Pierrat, il était une fois Peau dʹâne. Editions de la Martinière Camille Taboulay, Le cinéma enchanté de Jacques Demy, Cahiers du Cinéma, 1996 Michel Legrand à propos de Peau dʹÂne https://www.ina.fr/ina-eclaire-actu/video/i04265168/michel-legrand-a-propos-de-peau-d-ane Jean-Pierre Berthomé, Jacques Demy et les racines du rêve, LʹAtalante, cinéma, 1982

C'était une dame, une actrice à la voix si particulière (Michael Lonsdale disait d'elle qu'elle avait une « voix de violoncelle »). Inoubliable fée des Lilas dans « Peau d'Âne » de Jacques Demy, Jeanne Dielman pour Chantal Akerman, elle avait tourné sous la direction de Marguerite Duras, Alain Resnais ou François Truffaut. Rediffusion du 1er avril 2023Mais c'était aussi une militante féministe et une cinéaste visionnaire. Son documentaire, Sois belle et tais-toi, ressort en salles et conquiert une nouvelle génération de cinéphiles.Tandis que le chef-d'œuvre de Chantal Akerman, Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles, élu meilleur film du monde l'an dernier (2022) (par la revue Sight and sound et le British institute), sera lui aussi de nouveau à l'affiche dans quinze jours.Delphine Seyrig est à l'honneur de Tous les cinémas du monde ce samedi. Nous recevons Nicole Fernandez Ferrer, la co-présidente du centre audiovisuel Simone de Beauvoir, un centre co-fondé par Delphine Seyrig en 1982 pour réunir, produire et diffuser des documents audiovisuels sur les droits, luttes et création de l'art des femmes.Et Alexandre Moussa, universitaire qui a consacré sa thèse à Delphine Seyrig, « Je ne suis pas une apparition, je suis une femme » : Delphine Seyrig, icône du cinéma moderne, actrice insoumise, star féministe. Pauses musicales : Delphine Seyrig chante dans Peau d'Âne de Jacques Demy, et Feist Hiden out in the open. Références :- Delphine Seyrig,En constructions, par Jean-Marc Lalanne (éditions Capricci).- Delphine et Carole Insoumuses, par Callisto Mc Nulty, disponible sur la plateforme Madelen, la machine à remonter le temps de l'Ina.

Musician Owen Ashworth (Advance Base) joins our ongoing "Alone for the Holidays" series with a discussion of JEANNE DIELMAN, 23 QUAI DU COMMERCE, 1080 BRUXELLES starring Delphine Seyrig. At the age of 25, Chantal Akerman wrote and directed this slow-burning Belgian drama depicting the daily chores of a widowed mother in exacting detail. Through a series of static long takes, we become accustomed to Jeanne Dielman's well-worn pattern of cooking, cleaning, caretaking, and sex work- until the pattern breaks down and her behavior grows increasingly erratic. When first screened at Cannes in 1975, JEANNE DIELMAN was met with a mixed reception, but subsequent re-evaluation deemed it a masterpiece of slow cinema. In the 2022 Sight and Sound poll, JEANNE DIELMAN was voted to be the greatest film of all time by critics, and is but one film of many in Akerman's body of work to grow in esteem since her 2015 death. Join us as we try to figure out the deal with DIELMAN, taking a few diversions into Aki Kaurismäki, Cold Mountain, Playtime, Afire, famous filming locations, housecleaning, and much, much more! Check out Owen's music with Advance Base: https://advancebasemusic.com/ Check out Owen's drawings: https://www.instagram.com/ownashworth JEANNE DIELMAN can currently be streamed with subscription to The Criterion Channel or Max.

"Défricheuses / féminismes, caméra au poing et archive en bandoulière", c'est le titre de cette passionnante exposition proposée par La Cité internationale des arts à Paris, en partenariat avec le Centre audiovisuel Simone de Beauvoir et dans le cadre du Festival d'Automne 2023.L'exposition revient sur l'histoire culturelle et visuelle du féminisme en France dans les années 1970 et 1980 à travers la fondation en 1982 du Centre audiovisuel Simone de Beauvoir par 3 femmes - Delphine Seyrig, Carole Roussopoulos et Ioana Wieder, membres du collectif Les Insoumuses. La page de l'exposition Défricheuses / féminismes, caméra au poing et archive en bandoulière sur le site de la Cité Internationale des Arts avec les textes explicatifs du Parcours de l'expo, les manifestations Programme satellite et les Informations pratiques :https://www.citedesartsparis.net/fr/defricheuses-feminismes-camera-au-poing-et-archive-en-bandouliereGalerie de la Cité internationale des arts | Site du Marais18, rue de l'Hôtel de Ville75004 ParisDu 28 septembre au 20 décembre 2023Les mercredis de 14h à 21h Du jeudi au samedi de 14h à 19hVernissage le 27 septembre 2023, de 18h à 21hEntrée libreToutes les informations sur : http://www.citedesartsparis.fr Le site du Centre Simone de Beauvoir :https://www.centre-simone-de-beauvoir.com/So Sweet Planet : un site et un podcast indépendants !Merci de soutenir mon travail sur Patreon Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Ce dont on parle dans cet épisode de Laisse-moi kiffer :Minis kiffs :- Le podcast Le Bisoudrome (et leur Instagram)- Le crumble (bientôt la recette d'Anthony en lien ici)Le kiff de Fanny : faire du surf (00:31:02)+ Le podcast Impact ZoneLe kiff d'Ariane : se redécouvrir en vivant seule (00:41:54)+ Le film "Cléo de 5 à 7" de Agnès Varda (dispo sur Netflix)Le kiff d'Anthony : le roman graphique "Moi ce que j'aime c'est les monstres" de Emil Ferris (00:48:30)+ Documentaire "Black Panther" de Agnès Varda (dispo sur la Cinetek)+ La rétrospective Delphine Seyrig (dispo sur la Cinetek)+ Le défilé spectacle Rectum Crocodile de Marvin M'toumo+ La bande dessinée "Fun Home" de Bechdel+ Le roman graphique "Coming in" de Elodie FontLe kiffe de Marie-Stéphanie : l'artiste Cécile Davidovici (01:09:34)Laisse-moi kiffer :Autour d'une table, chaque jeudi, l'équipe échange recos culturelles, anecdotes et coups de gueule. Envoyez-nous sur Instagram vos anecbofs de star (une anecdote bof avec une star cool et vice versa), vies de boloss (une VDM mais en 2023, quoi) et autres messages boubou (si/quand vous avez un petit coup dans le nez).Retrouve-nous sur Instagram :Laisse-moi kiffer / Marie-Stéphanie / Anthony / Ariane / FannyAbonnez-vous :Apple Podcasts • Deezer • SpotifyLaisse-moi kiffer est un podcast de Madmoizelle présenté par Marie-Stéphanie.Avec Anthony Vincent, Ariane Hemery, Fanny Cohen Moreau.Réalisation et production : Fanny Cohen Moreau.Rédaction en chef : Marie-Stéphanie Servos. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In the 1950s and 60s, Coenties Slip—an obscure street on the lower tip of Manhattan overlooking the East River—was home to some of the most iconic artists in history, and who would define American Art during their time there: Robert Indiana, Ellsworth Kelly, Agnes Martin, James Rosenquist, Delphine Seyrig, Lenore Tawney, and Jack Youngerman. As friends and inspirations to one another, these artists created a unique community for unbridled creative expression and experimentation. Prudence Peiffer is the kind of art historian who understands the importance of context and place, and her book, “The Slip: The New York City Street that Changed American Art Forever” provides the kind of rich context and human detail that textbooks could only dream of. She joined me to discuss the history of these artists, why we have such a hard time seeing artists as people, the friction between accessible artists and their inaccessible art, why watching Robert Indiana eat a mushroom for 39 minutes is actually totally beautiful, and what it means to authentically nudge art history towards inclusion. Prudence Peiffer is an art historian, writer, and editor, specializing in modern and contemporary art. She is Director of Content at MoMA, New York. She was a Senior Editor at Artforum magazine from 2012-2017, and Digital Content Director at David Zwirner in 2018. Her writing has appeared in the New York Times, New York Review of Books, Artforum, and Bookforum, among other publications.  Her book, “The Slip: The New York City Street that Changed American Art Forever” has been longlisted for the National Book Award. See the images: https://bit.ly/3rOM7vE Music used: The Blue Dot Session, “Skyforager” Rufus Wainwright, “11:11” Support the show: www.patreon.com/lonelypalette

Writer, editor, and art historian Prudence Peiffer joins Kate Wolf to speak about her first book, The Slip: The New York City Street That Changed American Art Forever. The book is a group biography of a collection of luminous American artists including Agnes Martin, Ellsworth Kelly, Robert Indiana, James Rosenquist and Jack Youngerman, as well as his wife, the French actress and filmmaker, Delphine Seyrig. From the late 1950s to the middle of the 1960s, all of them happened to live in the same place: a collection of former sail-making warehouses on Coenties Slip, a dead end street in one of the oldest sections of Manhattan, right next to the river. Rather than jostle their work into well-established art historical movements and categories, Peiffer's book asserts place as the generative frame from which to understand these artists and the connections and influence between them. Though the community was short-lived, their support of one another, the collective solitude they found, even their rivalry, takes shape as integral to their development, and at least one of the reasons that their work survives today. Also, Andrew Leland, author of The Country of the Blind, returns to recommend Darryl by Jackie Ess.

Writer, editor, and art historian Prudence Peiffer joins Kate Wolf to speak about her first book, The Slip: The New York City Street That Changed American Art Forever. The book is a group biography of a collection of luminous American artists including Agnes Martin, Ellsworth Kelly, Robert Indiana, James Rosenquist and Jack Youngerman, as well as his wife, the French actress and filmmaker, Delphine Seyrig. From the late 1950s to the middle of the 1960s, all of them happened to live in the same place: a collection of former sail-making warehouses on Coenties Slip, a dead end street in one of the oldest sections of Manhattan, right next to the river. Rather than jostle their work into well-established art historical movements and categories, Peiffer's book asserts place as the generative frame from which to understand these artists and the connections and influence between them. Though the community was short-lived, their support of one another, the collective solitude they found, even their rivalry, takes shape as integral to their development, and at least one of the reasons that their work survives today. Also, Andrew Leland, author of The Country of the Blind, returns to recommend Darryl by Jackie Ess.

And thus the people who started this podcast to review the AFI's Top 100 Lists have now made a point of talking about the Sight & Sound list. S&S critics ranked Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles in the #1 spot last December, which is the main reason we committed 200 minutes to watch it...let alone decided to review it. Ryan went on a passionate rant about their controversial Top 100, which led to a pretty heated debate about the merits of this lugubrious motion picture and other "women who suffer" films. Not that Jeanne Dielman doesn't find a way to draw you in. Chantal Akerman's feminist look at a widowed mother who lives a dull, repetitive life with her son is Ozu-like in its shot compositions, the unmoving camera and the (very) long takes. We watch process---do we ever---and not much happens as we see Delphine Seyrig go about her routine...until her entire world is rocked. And what causes it to be rocked? Invest a solid hour in our review of an acclaimed example of "slow cinema" in this 531st Have You Ever Seen podcast. A follow-up thought: a problem with the Sight & Sound list that wasn't quite put into clear words in this review is that Ryan just doesn't think a lot of the movies they honoured are, well, good enough. To like them or get some meaning out of films that weren't made by or for a straight, white male is very valid, but for enough people to feel so strongly as to put them on their own Top 10 is a mind-boggler. Also, is Jeanne Dielman rewatchable? That's something we didn't get into. Is this a movie you want to see again and again? We're sponsored by Sparkplug Coffee, who will give customers who use our "HYES" promo code 20% off their next order. Your destination is "sparkplug.coffee/hyes". Feel very free to contact us by email (haveyoueverseenpodcast@gmail.com) or by blasting us with a few tweets (@moviefiend51 and @bevellisellis). Also, look for our shows on YouTube (@hyesellis). We post our podcasts in full there. Comment, share, like, subscribe and also rate our podcast and write a comment through our podcast service.

Episode No. 613 features author Prudence Peiffer and museum director Timothy Potts. Peiffer is the author of "The Slip: The New York City Street That Changed American Art Forever." The book, out this week from Harper, is a group biography of seven artists -- Robert Indiana, Ellsworth Kelly, Agnes Martin, James Rosenquist, Delphine Seyrig, Lenore Tawney, and Jack Youngerman -- who worked on Coenties Slip in the 1950s and '60s. Coenties Slip was a street that overlooked the East River in lower Manhattan. Peiffer's book argues for not only the importance of the artists themselves, but for where and how they worked as being important to the development of post-war art in New York. Peiffer is director of content at the Museum of Modern Art, New York.  Amazon and Bookshop offer "The Slip" for $22-36. Potts discusses the J. Paul Getty Museum's co-acquisition (with the National Portrait Gallery, London) of Joshua Reynolds' Portrait of Mai (ca. 1776). The painting, among Reynolds' finest works, is on view at the National Portrait Gallery. The first presentation at the Getty will be in 2026.

The seventh episode of our season on the awesome movie year of 1975 features our foreign film pick, Chantal Akerman's Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles. Written and directed by Chantal Akerman and starring Delphine Seyrig and Jan Decorte, Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles was named the greatest film of all time in the most recent Sight and Sound poll.The contemporary reviews quoted in this episode come from Louis Marcorelles in Le Monde (https://www.lemonde.fr/archives/article/1976/01/22/comment-dire-chef-d-uvre-au-feminin_2956052_1819218.html), Danièle Dubroux in Cahiers du Cinema, and Kevin Thomas in the Los Angeles Times.Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 1975 installment, featuring Jason's personal pick, Sidney Lumet's Dog Day Afternoon.

Avec Brahim Naït-Balk, retrouvez « Homomicro, le podcast qui se prend aux mots », avec l'invité du jour : - Laurent Mullens  et son livre "homoparentalité,  dis c'est quoi" (Editions la Renaissance du livre) Ainsi que le cercle des chroniqueurs: - Eric Garnier et "c'est à voir" avec le film DVD "Sublime (distribution Optimale) - Annabelle Guiraud avec "art pour iel" consacré à 2 livres : "Vieillir comme je suis - L'invisibilité des vieux LGBTQI+", de Francis Carrier (éditions rue de Seine) et la BD jeunesse "La fille de ses rêves" de Mari Costa (éditions Jungle) - Valérie Baud - chronique "j'écris ton nom" spéciale Delphine Seyrig  - Nicolas Rividi pour "Le plus de "l'actu" consacré au Mariage pour tous (5ème et dernier épisode) Réalisation: Nathan Hillaireau Montage: Anatole Maschas Soutenez-nous sur PayPal !

Film scholar and author Patricia White (https://www.swarthmore.edu/profile/patricia-white) joins us to tackle a couple of Akerman's more direct attempts at self-portraiture (Lettre d'un Cinéaste and Chantal Akerman par Chantal Akerman), along with Sami Frey's behind-the-scenes chronicle Autour de Jeanne Dielman (edited by Akerman in the early 2000s). Discussed: the greatness of Delphine Seyrig, the joy of listening to Akerman talk about movies, her push-pull approach to tackling commissioned work, and (of course) much more. Music by: The Peter Parkers, Tim Hecker, Sandy Denny. If you like the show or what we do generally, consider throwing us a few bucks to help cover our costs: https://paypal.me/kateandsimonpod Our intro music is performed by Sundar Subramanian. You can stream and buy his work here: https://sundarsubramanian.bandcamp.com/

C'était une dame, une actrice à la voix si particulière (Michael Lonsdale disait d'elle qu'elle avait une « voix de violoncelle »). Inoubliable fée des Lilas dans « Peau d'Âne » de Jacques Demy, Jeanne Dielman pour Chantal Akerman, elle avait tourné sous la direction de Marguerite Duras, Alain Resnais ou François Truffaut. Mais c'était aussi une militante féministe et une cinéaste visionnaire. Son documentaire, Sois belle et tais-toi, ressort en salles et conquiert une nouvelle génération de cinéphiles.Tandis que le chef-d'œuvre de Chantal Akerman, Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles, élu meilleur film du monde l'an dernier (2022) (par la revue Sight and sound et le British institute), sera lui aussi de nouveau à l'affiche dans quinze jours.Delphine Seyrig est à l'honneur de Tous les cinémas du monde ce samedi.Nous recevons Nicole Fernandez Ferrer, la co-présidente du centre audiovisuel Simone de Beauvoir, un centre co-fondé par Delphine Seyrig en 1982 pour réunir, produire et diffuser des documents audiovisuels sur les droits, luttes et création de l'art des femmes.Et Alexandre Moussa, universitaire qui a consacré sa thèse à Delphine Seyrig, « Je ne suis pas une apparition, je suis une femme » : Delphine Seyrig, icône du cinéma moderne, actrice insoumise, star féministe. Pauses musicales : Delphine Seyrig chante dans Peau d'Âne de Jacques Demy, et Feist Hiden out in the open. Références :- Delphine Seyrig,En constructions, par Jean-Marc Lalanne (éditions Capricci).- Delphine et Carole Insoumuses, par Callisto Mc Nulty, disponible sur la plateforme Madelen, la machine à remonter le temps de l'Ina.

durée : 01:00:00 - Les Nuits de France Culture - par : Albane Penaranda - Une femme, une ville - Sarah Bernhardt 2/3 : Boston (1ère diffusion : 28/12/1979) Par Françoise Malettra - Avec Jean Mercure, Delphine Seyrig et Noëlle Guibert - Réalisation Elyane Milhau

A l'occasion de la ressortie en salles le 15 février 2023 des trois films réalisés par Jeanne Moreau, on vous retrouve ce mois-ci pour vous parler de l'actrice phare de la Nouvelle Vague française, qui est passée derrière la caméra entre les années 1970 et 1980 pour réaliser trois films : Lumière, L'Adolescente, et Lillian Gish. Bonne écoute ! Chapitrage : Lumière : 03:31 / L'Adolescente : 17:21 / Lillian Gish : 32:08  Participantes : Léon Cattan, Diane Lestage, Alicia Arpaïa Réalisation, animation : Léon Cattan Montage : Alicia Arpaïa, Mariana Agier Mixage son : Hugo Cardona Générique : (c) Sorociné Musique : (c) Antonin Agier Photo : (c) Carlotta Films Retrouvez toute l'actualité de Sorociné sur nos réseaux sociaux, Twitter, Facebook et Instagram : @Sorociné Si l'épisode vous a plu, n'hésitez pas à liker et à le partager

Tracklist :Stevie Wonder - Don't You Worry ‘Bout A ThingYuksek, Juvéniles - The Night ft. M.I.L.KLiv.e - Wild AnimalsKevin Heartbeats - Sweet Sly & The Family Stones - Runnin' Away Everything But The Girl - Caution to the WindFlavien Berger - Feux FolletsIsabelle Huppert - Message Personnel Jeanne Balibar - Johnny GuitarThe Tubs - The Sniveller Marina Herlop - Shaolin mantis Caroline Polachek - Fly to You ft. Grimes, Dido Feist - Hiding Out In the OpenSquid - Swing (In a Dream)Carlo d'Alessio - India SongFrançois de Roubaix - Lèvres rouges Rob & Jack Lahana - Adentro feat. Daniela Spalla Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

It's the finale of Sight and Sound Month, and that means we're talking the number one ranked film on the latest Greatest Films of All Time Poll - "Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles"! Ben and Vaz discuss Chantal Akerman's 1975 slow-cinema classic, the first film directed by a woman to top the Sight and Sound Poll... or to even be in the top ten. Next week: The Terminator! Written and directed by Chantal Akerman and starring Delphine Seyrig. Links: Sight and Sound Poll 2022: https://www.bfi.org.uk/sight-and-sound/greatest-films-all-time

Our Dorothy McGuire Acteurist Oeuvre-view begins with Claudia (1943) and The Enchanted Cottage (1945), in both of which she's paired with Robert Young. We talk about the qualities McGuire imported to the screen from the stage role she made famous, in the 1941 play Claudia, by Rose Franken, David O. Selznick's marketing of them, and the career vicissitudes that possibly negated this nascent persona. After diving deep into the complex psychology of Claudia, we discuss John Cromwell's great romantic fantasy, The Enchanted Cottage, and the metaphorical implications of its fairy tale. And in Fear and Moviegoing in Toronto, the Delphine Seyrig retrospective continues with Alain Resnais' Muriel and Jacques Demy's Donkey Skin.  Time Codes: 0h 1m 00s:        Introduction to Dorothy McGuire 0h 15m 45s:      CLAUDIA (1943) [dir. Edmund Goulding] 0h 45m 23s:      THE ENCHANTED COTTAGE (1945) [dir. John Cromwell] 1h 14m 57s:      FEAR & MOVIEGOING IN TORONTO – MURIEL (1962) by Alain Resnais & PEAU D'ANE (1970) by Jacques Demi (From TIFF's Delphine Seyrig series) 1h 23m 35s:     Listener mail with Simon   +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

For our Paramount 1942 episode, we hit the road with a comedy with a lot on its mind, Preston Sturges' Sullivan's Travels, and a comedy without any mind, the Hope/Crosby road movie Road to Morocco. We debate just how much deep thinking a comedy should do and consider what kind of thinking comedy itself can do without any help from an auteur. We also isolate some of the unusual features of the Hope/Crosby double act that lend Road to Morocco an invigorating unpleasantness. And then, in our Fear and Moviegoing in Toronto segment, we start off the TIFF Cinematheque Delphine Seyrig retrospective with a feminist documentary directed by the actress, Be Pretty and Shut Up!, and a couple of mind-bending European art films about the leisure class, Marguerite Duras' India Song and Alain Resnais' Last Year at Marienbad.  Time Codes: 0h 01m 00s:      SULLIVAN'S TRAVELS [dir. Preston Sturges] 0h 35m 39s:      ROAD TO MOROCCO [dir. David Butler] 0h 55m 34s:      FEAR & MOVIEGOING IN TORONTO – Delphine Seyrig series at TIFF: Sois belle et tais-toi (1981), India Song (1975) and L'année dernière à Marienbad (1961)   Studio Film Capsules provided by The Paramount Story by John Douglas Eames Additional studio information from: The Hollywood Story by Joel W. Finler                                     +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com   We now have a Discord server - just drop us a line if you'd like to join!         

"IndieSeen" closes out 2022 by planting seeds for Kicking the Seat's next decade!"Sight and Sound" (the magazine of the British Film Institute) recently released its ranking of "The Greatest Films of All Time", and the controversial boosting of Chantal Akerman's Jeanne Dielman, 23. quai du Commerce, 1080 Bruxelles from #36 to #1 set FIlm Twitter ablaze.The 1975 drama centers on three days in the life of a single mother (Delphine Seyrig). She cleans her apartment, makes coffee, takes care of her teenage son, and pays the bills by sleeping with a succession of distant, skeevy men. Does this experiment in slow cinema deserve a place among the likes of Citizen Kane, Vertigo, and Tokyo Story?The guys' initial answers won't surprise you, but the episode-long evolution of one particularly harsh opinion just might. Ian and Sujewa talk about the poll, the film, the Twitter drama, and Ian's plans to discuss every film on the BFI list until the next edition comes out in 2032!Also, the guys catch up on Sujewa's current projects, as well as his own wildly ambitious plans for the future!Timestamps:Intro: 0:00 - 1:09What's New with Sujewa? 1:10 - 9:20BFI: Setting the Stage: 9:21 - 15:54Jeanne and Chantal: 15:55 - 24:35"The Greatest Film of All Time": 24:36 - 39:08The 2022 Top 20 Draft: 39:09 - 44:26"The Straight White Male Canon": 44:27 - 50:11Jeanne Dielman, Revisited: 50:12 - 59:20 Outro: 59:21 - 101:18Show Links:Watch the Jeanne Dielman trailer.Read Sight and Sound's 2022 list of "The Greatest Films of All Time".Read Armond White's critique of the "Sight and Sound" poll (and of Jeanne Dielman's place in the top spot) at The National Review.Read Glenn Kenny's analysis of the "Sight and Sound" poll at Decider (mentioned, without proper citation at the time, in the show).Read Jordan Ruimy's blog about the consultant hired to help diversify the "Sight and Sound" polling results (including his controversial tweet) at World of Reel.Watch Ian and Sujewa discuss Uncle Boonmee Who Can Recall His Past Lives on "The Slowdown" (mentioned in the show).Rent Sujewa's new movie, The Secret Society for Slow Romance.Find clips, making-of videos, and other cool info about Sujewa's upcoming film, The Secret Society for Slow Romance.Follow the production of Sujewa's Slow Romance sequel, Cosmic Disco Rene.Keep up with all of Sujewa's projects.Follow Sujewa on Twitter.And if you'd like to catch up on Ian's Jeanne Dielman live-tweets, follow him as well!Subscribe to, like, and comment on the Kicking the Seat YouTube channel!

With superheroes dominating today's multiplexes and streaming channels, we look back at the 1960s, when people got way into superheroes for two years and then got the hell over it. First, we've got the superhero as a metaphor for American imperialism, racism and police brutality in MR. FREEDOM (1968), a savage satire produced in France and directed by American expat William Klein. In "Mr. Freedom," fellow expat John Abbey (The Sandpiper) plays a sociopathic himbo in red, white and blue football pads who takes a break from beating up Black people to keep the "mixed-up, sniveling crybabies" of France from falling to a communist invasion led by an inflatable Chinese Dragon and a Russian agent clad in a comical amount of foam rubber. Featuring wacked-out visuals that capture the look and feel of French sci-fi comics (think Moebius) and later American dystopian comics such as "Dark Knight Returns" and "The Watchmen." Also starring Donald Pleasance as Mr. Freedom's boss, Dr. Freedom, Delphine Seyrig as Mr. Freedom's girlfriend, and French pop and jazz legend Serge Gainsbourg. Director William Klein died on the same day that we taped this ep. RIP. For our B-feature, we go waaaay low budget with "Rat Pfink a Boo Boo" (1966), a ramshackle effort from Ray Dennis Steckler, the mad genius behind the world's first monster musical, "The Incredibly Strange Creatures Who Stopped Living and Became Mixed Up Zombies." The film starts out as a pretty severe crime drama but then makes one of the most jarring tonal shifts in history when Rat Pfink and his trusty sidekick Boo Boo show up and turn it all into a goofy superhero flick, no doubt inspired by the wave of "Batmania" that swept the nation in 1966 with the brief mega success of TV's BATMAN with Adam West. This one's got some rock and roll numbers + a gorilla (!), causing Philena to ask why dudes are so into apes, a question that the straight cis men on the panel don't have all that good answer for. It's perhaps something we'll have to ponder in a future Ape-isode of OMFYS. MR. FREEDOM is streaming on Criterion Channel. RAT PFINK A BOO BOO is on tubi + it's including in Severin Films' upcoming "The Incredibly Strange Films of Ray Dennis Steckler" blu-ray boxset. The set also includes "Wild Guitar," "The Thrill Killers," and "Incredibly Strange Creatures..." among others + intros by Joe Bob Briggs. Go to severinfilms.com for more info. Weed is at your local dispensary. If you get it on the streets, we don't need to know. Hosts: Philena Franklin, Cory Skalr, Greg Franklin, Bob Calhoun Co-producers: Bob Calhoun & Cory Sklar

durée : 00:58:01 - Toute une vie - Comédienne, réalisatrice, activiste, Delphine Seyrig a mené une vie aventureuse. Des planches du théâtre aux réunions du MLF, de la fée des Lilas aux vidéos engagées, celle qui ne croyait pas aux emplois, a toujours fait ce qu'elle voulait.

durée : 00:30:00 - Les Nuits de France Culture - Par Simone Matil - Avec Delphine Seyrig

durée : 01:00:00 - Les Nuits de France Culture - Par Françoise Malettra - Avec Jean Mercure, Delphine Seyrig et Noëlle Guibert - Réalisation Elyane Milhau