Podcasts about Louis Malle

Programa realizado entre torrijas de semana santa en el que hablamos de películas como Amateur, La cita, Misión panda en África, Muy lejos y mucho más. Además la serie Black mirror y el clásico de Louis Malle, Ascensor para el cadalso.

Da Fedez alla versione spagnola di Temptation Island, non ci sono più i tradimenti di una volta. Fonti: video “FALSISSIMO EP 04 - IL VERO AMORE DI FEDEZ PARTE 1" pubblicato sul canale Youtube FABRIZIO CORONA il 27 gennaio 2025; video “TUTTA ROMA SAPEVA della storia di ILARY | Netflix Italia" pubblicato sul canale Youtube Netflix Italia il 29 novembre 2023; account Tiktok behatrich, 4 febbraio 2025; account Tiktok move_without_pain, 8 febbraio 2025; estratto dal film "Damage" del 1992 del regista Louis Malle; video "Luca Bizzarri è Fede, il ragazzo con la carogna sulle spalle" pubblicato sul sito mediasetinfinity.mediaset.it il 15 ottobre 2021; video “La rottura del fidanzamento Seymandi-Segre" pubblicato sul canale Youtube CronacaQui torino il 9 agosto 2023. Learn more about your ad choices. Visit megaphone.fm/adchoices

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.

In the ninth episode of Season 11: The Son of Cult Flicks, Kyle is joined by novelist Samuel Cullado and screenwriter/critic Joseph Hamersly to discuss one of the true unique works in cinema history, the whimsical and philosophical conversation of two friends at an existential divide within their cosmopolitan comforts in Louis Malle's experimental, Brechtian, and introspective film My Dinner with Andre (1981).

La romancière et poétesse, Louise de Vilmorin, née 1902 dans une famille de la haute bourgeoisie en 1902, a été l'une des femmes les plus élégantes du Tout-Paris . Elle a été aussi le premier grand amour d'Antoine de Saint-Exupéry et partagea ses dernières années avec André Malraux. Louise de Vilmorin a publié des recueils de poèmes et nombres de ses œuvres seront adaptées pour le grand écran, notamment « Julietta » réalisé par Marc Allegret en 1953 et » les amants » avec Jeanne Moreau et réalisé par Louis Malle en 1958. On l'écoute au micro de Janine Lambotte en 1960. Sujets traités : Louise de Vilmorin, romancière, poétesse, ntoine de Saint-Exupéry, André Malraux, Jean Cocteau, Marc Allegret , Jeanne Moreau, Louis Malle, Sonuma Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et 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.

L'histoire du jazz et l'histoire du cinéma se rencontrent. Paris et le jazz, c'est une histoire d'amour, incarnée magistralement par Jeanne Moreau et la musique de Miles Davis dans Ascenseur pour l'échafaud, de Louis Malle, en 1958. Le jazz américain trouve aussi une place de choix dans Rendez-vous en juillet, de Jacques Becker en 1949, ou dans Eva, de Joseph Losey, sur la musique de Billie Holliday, en 1962. La rencontre entre la nouvelle vague et le jazz n'est en revanche pas toujours évidente. Truffaut, Godard, Rohmer, Chabrol ne sont pas très connaisseurs ni amateurs de ce genre musical. Pourtant, la nouvelle vague et son rapport à la liberté, au corps, à l'improvisation ont beaucoup à voir avec le jazz. L'enseignant-chercheur Gilles Mouëllic raconte cette histoire dans son livre Jazz et Cinéma, paru en 2000. Un entretien signé Charline Caron, de la Maison du Jazz de Liège, et une mise en ondes du Ciné-récit par Jean-Louis Dupont. Merci pour votre écoute Par Ouïe-Dire c'est également en direct tous les jours de la semaine de 22h à 23h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Par Ouïe-Dire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/272 Et 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.

Introducing Julianne Moore at the New Yorker Festival, in October, the staff writer Michael Schulman recited “only a partial list” of the directors Moore has worked with, including Robert Altman, Louis Malle, Todd Haynes, Paul Thomas Anderson, Lisa Cholodenko, Steven Spielberg, the Coen brothers, and many more legends. It seems almost obvious that Moore co-stars (alongside Tilda Swinton) in Pedro Almodóvar's first feature in English, “The Room Next Door,” which comes out in December. Moore has a particular knack with unremarkable characters. “I don't know that I seek out things in the domestic space, but I do think I'm really drawn to ordinary lives,” she tells Schulman. “I've never been, like, I'm going to play an astronaut next. . . . A lot of these stories [are] domestic stories—well, that's the biggest story of our lives, right? How do we live? Who do we love? . . . Those are the things that we all know about.”New episodes of The New Yorker Radio Hour drop every Tuesday and Friday. Follow the show wherever you get your podcasts.

1974 was a landmark year for film, a convergence of exciting international cinema and the original voices of New Hollywood that still resonates 50 years later. In our new series we invite a different guest for each episode to choose a 1974 movie to talk about, ranging from giant blockbusters to minor cult curios and everything else in between. We start winding down the series with a great companion piece to our past episodes on "wilderness adventure" classics Dersu Uzala and Quest for Fire. Filmmaker Jeremy Workman returns to discuss Philip Kaufman's The White Dawn, the story of three whalers who become stranded in the Northern Arctic and end up integrating with an Inuit tribe. There's a lot to talk about, from Kaufman's status as possibly the most underrated of 70's directors to Michael Chapman's naturalistic photography, the film's inspired use of diegetic music, authentic regional language and frozen landscapes, and how this movie is definitely not Louis Malle's Black Moon. Jeremy Workman on social media @jeremyworkman on Twitter Jeremy Workman's website https://jeremyworkman.com/ Website for Secret Mall Apartment secretmallapartment.com Support our Patreon: www.patreon.com/thepinksmoke The Pink Smoke site: www.thepinksmoke.com The Pink Smoke on X: twitter.com/thepinksmoke Christopher Funderburg on X: twitter.com/cfunderburg John Cribbs on X: twitter.com/TheLastMachine Intro music: Unleash the Bastards / “Tea for Two” Outro music: Marcus Pinn / “Vegas”

In questo episodio esploriamo la straordinaria sinergia tra cinema e jazz, due arti apparentemente distanti che si intrecciano in modo unico, arricchendo e sublimando la settima arte. Approfondiremo il processo creativo che ha portato Miles Davis, icona del jazz, a comporre e improvvisare la colonna sonora di "Ascensore per il patibolo", il capolavoro noir di Louis Malle. Le sue note malinconiche e raffinate hanno ridefinito il sound del genere, dimostrando come il jazz possa amplificare l'atmosfera e il potere evocativo del cinema. Voce e Testi: Francesco Menici Montaggio e Post-Produzione: Davide Zagnoli - - - - Gruppo TELEGRAM: https://t.me/cinescorepodcast

Tratto da un romanzo di Noël Calef, "Ascensore per il patibolo" è un noir francese diretto da un allor esordiente Louis Malle. Una storia di tradimenti, omicidi progettati e commessi, di dettagli che complicano la vicenda e casualità che segnano il destino. Malle costruisce una melodia soffusa, aiutato dalla magistrale partitura jazz composta da Miles Davis, un mood che combacia perfettamente con le tinte cupe e minacciose del film.  Nel cast Jeanne Moreau una magnetica dark lady dallo sguardo inquieto. Ne parliamo insieme a Gabriella Maldini...e dopo la puntata non perderti lo speciale sul podcast "Cinescore le musiche nel cinema" dove Francesco Menici racconta le musiche di questo film firmate dal grande Miles Davis FEED RSS: https://anchor.fm/s/e8b73778/podcast/rss Spotify: https://goo.by/mHApwF Apple Podcast: https://goo.by/aWLxWt

"My Dinner With Andre" is beautiful simple film directed by Louis Malle. A legendary filmmaker decided to film two theater guys talk about life while they eat in what looks like to be a fancy restaurant in New York. This film is unqiue due to the fact that it's simply two people who meet up and dine. And they talk for 111 minutes. For us nowadays, one will say "oh, well that's just a typical podcast". True, but it's the FIRST. And honestly the only of it's kind. There's really not a film like "My Dinner With Andre". These two men talk about life, throw in their perspectives. There is a point to the film. There is a beginning, middle and end and it's great. It all works very well. I love how these characters make life seem real by talking about things that are real to some of us. A scripted as it can be, they were able to create something that we can all relate no matter who we are, where we're from. I like the they it shot as well. There's an intensity with Andre Gregory that Malle was able to get down. When you see that close up, you feel the words that Andre is saying. You see that vulnerability and contrast it with Wallace Shawn's realistic approach of life. They are great together. You can tell Shawn is skeptical but he loves his friend. He has a respect for him that you can see and Malle, again, shoots it so dignifying, I can't help but just stare and figure if there's more to it and turns out in this film, there's not, haha. I'm actually going to watch it again. There's layers in the topics they discuss and it's fun to see something so real to be just fiction but it's that darn believable.Four out of four tokes.#mydinnerwithandre #louismalle

Normal Saeeda hosts a Normal Dinner. Starring Bidrohi Ankhattam, Mushfiq Ankhattam, and Golden-Eyed Clementine. Dir. Louis Malle. With Bald Murad, Pilot, and special guest star Moonlit Chariot Racing Toward a Temple Fire. Support us at https://ko-fi.com/desperateattune and at https://www.patreon.com/DesperateAttune Follow us at https://twitter.com/DesperateAttune Desperate Attune's season 2 is hosted by Prince Edited by Zoheb (Klow), tree and Aadiyat (Soap) Featuring Prince and salty Blades in the Dark by John Harper and Evil Hat Productions With thanks to Johnstone Metzger Duellist playbook by Zoheb (klow) Skovlan playbooks by Prince Iruvian playbooks by Johnstone Metzger Intro music is 'Jalandhar' by Kevin Macleod Outro music is 'Alapana in Kiravani Ragam' by U. Srinivas Recap music is 'Alapana in Shankarabharanam Ragam' by U. Srinivas Sound effects from Pixabay.com Cover art by Fahim Anzoom Rumman (botagainsthumanity) 

Lúgubre melancolía en cada fotograma del Fuego Fatuo de Louis Malle. Cada ademán del dipsómano Alain Leroy -Maurice Ronet- transmite su su hartazgo de todo, parece que cumplir los 30 le ha postrado en una crisis vital sin retroceso, por mucho que el médico de la clínica afirme que está totalmente curado. Una voz en off en primera persona nos acerca al personaje desde la distancia, con una lente inocua nos hace receptores de la desidia de vivir de un hombre enfermo de si mismo, cansado de un mundo que ha perdido todo el encanto , si alguna vez lo tuvo. Hay mucho más que la mera adicción al alcohol, para que este hombre decida quitarse de en medio, hombre de acción. Al volver del ejército, durante su último recorrido parisino de despedida se reunirá en un bar con dos compañeros de armas, Alain se encoge de hombros y juguetea con su pistola, el 23 de julio escrito en el espejo de la alcolba, ese es el dia escogido. La última lectura del suicida es El gran Gatsby de Fitzgerald, otro ser con aguijón letal, que aun así disfrutó de los placeres de la vida. Alain lamenta la hipocresía despreciable de todos, los momentos que nunca volverán, la carta que espera de su mujer en New York y nunca llega. Se llama borracho, y da la nota rompiendo un vaso en la reunión de pseudoculturetas de salón. Así se despide al final de este filme magnífico : “Me suicido porque no me habéis amado, porque tampoco yo os amé. Me suicido porque nuestras relaciones fueron cobardes, para estrecharlas. Dejaré sobre vosotros una mancha indeleble.” Esta noche derribamos el castillo de cajetillas de tabaco vacías… Salvador Limón, David Velázquez, Raúl Gallego y Zacarías Cotán

With America about to celebrate the biggest meal of the year, we decided to watch the quintessential film about talking during a dinner: "My Dinner With Andre," directed by Louis Malle (1981).In addition to chewing with our mouths open, we also discuss: an opening monologue; memorable meal conversations; fanboying over Wallace Shawn; the movie's presence in pop culture; "trenchant insight;" genre fiction; and deathbed goals. Hosted on Acast. See acast.com/privacy for more information.

The gang ushers in Noirvember with a French classic, Louis Malle's "Elevator to the Gallows". Sync up your video player of choice and watch along.

Alain Delon foi um ícone da história da 7ª Arte. Trabalhou com Luchino Visconti, Michelangelo Antonioni, Louis Malle, René Clément, Jean-Pierre Melville, Jean-Luc Godard, Romy Schneider, Monica Vitti, Claudia Cardinale, Jean-Paul Belmondo, Jean Gabin e tantos outros. Foi considerado "o homem mais bonito da história do cinema”, mas tinha uma personalidade reaccionária que nunca escondeu. Guillaume Bourgois, professor de Estudos Fílmicos, falou-nos sobre a “força magnética” e “tenebrosa” de Alain Delon. Alain Delon foi descrito como “o homem mais bonito da história do cinema” pela revista New Yorker, enquanto o jornal Corriere della Sera fala de uma lenda e de "estrela bela e maldita”. O El Pais recorda uma “aura incomparável” e “um ícone do cinema europeu conhecido pelo seu talento e pelo seu poder de sedução”, mas não esquece os seus comentários machistas e homofóbicos, nem a sua amizade declarada com a figura da extrema-direita francesa Jean-Marie Le Pen.O francês, que morreu aos 88 anos, entrou na 7ª Arte “por acidente” – dizia ele - e acabou por ser um dos seus protagonistas mais lendários. Foi actor em cerca de 90 filmes, foi realizador, produtor e até argumentista. Trabalhou com os melhores e maiores realizadores do seu tempo: Luchino Visconti, Michelangelo Antonioni, Louis Malle, René Clément, Jean-Pierre Melville, Alain Cavalier, Jean-Luc Godard. A sua história também cruzou os maiores actores de então: Romy Schneider, Monica Vitti, Claudia Cardinale, Jean-Paul Belmondo, Jean Gabin. As suas personagens integram o panteão de símbolos universais: Delon foi "O Leopardo", "Rocco", "Monsieur Klein", "O Samurai" e tantos outros.Neste programa, Guillaume Bourgois, professor de Estudos Fílmicos na Universidade de Grenoble, falou-nos sobre “a força magnética” e “misteriosa” de Alain Delon, um autodidacta que se tornou num dos monstros sagrados do cinema francês e europeu.Alain Delon foi um actor e uma figura importantíssima da história do cinema, especialmente da história do cinema moderno, desse novo cinema que aparece nos anos 60. Foi, sobretudo, graças a Visconti que o mundo ficou a conhecer o Alain Delon. Ele convidou Alain Delon a participar no “Rocco e i suoi fratelli” que é um filme extraordinário. Eu acho que foi mesmo o Visconti que descobriu a força magnética, quase aristocrática, que tinha o Delon na interpretação dele, na intensidade dos seus olhares, dos seus gestos. Depois, grande parte dos cineastas mais importantes foram sempre buscar essa energia, essa dimensão tenebrosa, misteriosa, enigmática que tinha o Delon e que fez com que ele pudesse ter essas interpretações extraordinárias nos papéis mais famosos.Alain Delon foi um artista que “fez avançar o cinema moderno”, mas também construiu “uma personalidade mediática extremamente egocêntrica”. O actor falava de si na terceira pessoa e inscreveu-se numa “tendência reaccionária da história da indústria cinematográfica francesa que sempre existiu de contestação dos meios de esquerda que estavam a tentar utilizar o cinema para desenvolver as suas ideias”. Defendeu, várias vezes, as posições do amigo Jean-Marie Le Pen, líder da extrema-direita francesa, e nunca refreou comentários machistas e homofóbicos.“Nos anos 90, essa legitimação [da extrema-direita] não existia e houve figuras que participaram francamente e de forma assumida para essa legitimação. Alain Delon foi uma delas, outra foi Brigitte Bardot. É sempre importante relembrarmos isso quando se fala do Alain Delon”, acrescenta o professor de Estudos Fílmicos.Neste programa, oiça a entrevista a Guillaume Bourgois sobre quem foi Alain Delon, quais foram os principais filmes, papéis e o legado que ele deixa para o mundo do cinema.

pWotD Episode 2665: Alain Delon Welcome to Popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 616,050 views on Sunday, 18 August 2024 our article of the day is Alain Delon.Alain Fabien Maurice Marcel Delon (French: [alɛ̃ dəlɔ̃]; 8 November 1935 – 18 August 2024) was a French actor. Acknowledged as a cultural and cinematic leading man of the 20th century, Delon emerged as one of the foremost European actors of the 1960s, 1970s, and 1980s, and became an international sex symbol. His style, looks, and roles made him an icon of cinema worldwide and earned him enduring popularity. Delon achieved critical acclaim for his roles in films such as Women Are Weak (1959), Purple Noon (1960), Rocco and His Brothers (1960), L'Eclisse (1962), The Leopard (1963), Le Samouraï (1967), The Girl on a Motorcycle (1968), La Piscine (1969), Le Cercle Rouge (1970), Un flic (1972), and Monsieur Klein (1976). Over the course of his career, Delon worked with many directors, including Luchino Visconti, Jean-Luc Godard, Jean-Pierre Melville, Michelangelo Antonioni, and Louis Malle.Delon received many film and entertainment awards throughout his career. In 1985, he won the César Award for Best Actor for his performance in Notre histoire (1984). In 1991, he became a member of France's Legion of Honour. At the 45th Berlin International Film Festival, he won the Honorary Golden Bear. At the 2019 Cannes Film Festival, he received the Honorary Palme d'Or.In addition to his acting career, Delon also recorded the spoken part in the popular 1973 song "Paroles, paroles", a duet with Dalida as the main singing voice. He acquired Swiss citizenship in 1999.This recording reflects the Wikipedia text as of 03:00 UTC on Monday, 19 August 2024.For the full current version of the article, see Alain Delon on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Emma.

An Atlantic City oyster-schucker and an aging gangster are on the run after her ex-husband rips off a Philly drug-running operation. Filmed as the Jersey Shore opened up to gambling, it captures a city under the wrecking ball of an uncertain future. Starring Burt Lancaster, Susan Sarandon, Kate Reid, and Robert Joy. Written by John Guare. Directed by Louis Malle.

durée : 01:00:00 - Les Nuits de France Culture - par : Philippe Garbit - Parlez-moi d'elle - Louis Malle (1ère diffusion : 30/07/1994)

This week we're excited to present a conversation between My Dinner with André lead actor Wallace Shawn and Janet Planet filmmaker Annie Baker. When Dan Talbot, the pioneering distributor and exhibitor of international art films, read playwrights Wallace Shawn and André Gregory's script for My Dinner with André, he was so excited about the project that he helped director Louis Malle procure production funding from Gaumont. The concept was to depict an encounter between the two writers, playing fictionalized versions of themselves, as they discuss mortality, money, despair, and love over a meal at an Upper West Side restaurant—according to Gregory, Malle's one direction was to “talk faster.” By turns entertaining, confessional, funny, and moving, suffused with melancholy and joy alike, the film became a sensation at the art house upon its release, playing to packed theaters for a solid year, and went on to endure as a perennial favorite on the home video circuit. Now please enjoy the conversation between Annie Baker and Wallace Shawn.

This week we're excited to present a conversation with Film at Lincoln Center Assistant Programmer Madeline Whittle, as she discusses the films featured in FLC's new series Angels and Puppets: The Stage on Screen with Annie Baker. A series of 17 films handpicked by acclaimed playwright Annie Baker that engage with theater as a cinematic theme, Angels and Puppets: The Stage on Screen with Annie Bakera runs from June 14-20 in anticipation of the release of Baker's directorial debut, Janet Planet, on June 21. Get tickets to Angels and Puppets: The Stage on Screen with Annie Baker! Get tickets to Janet Planet! Many films in the series will be shown on 35mm and Baker will join us in-person for select introductions and Q&As, including a sneak preview of Janet Planet on June 20. Opening Night of the series will feature Louis Malle's iconic collaboration with André Gregory and Wallace Shawn, My Dinner with André (1981) and Vanya on 42nd Street (1994), both presented on 35mm. Baker will also engage in a discussion with Shawn about each film's perspective on theater as an art form and its translation to the big screen. The conversation was moderated by Erik Luers, FLC's Digital Marketing Manager.

Louis Malle reunites with the stars of My Dinner with Andre, Andre Gregory and Wallace Shawn, for a production of Chekhov's Uncle Vanya in a an abandoned theater just off Time Square. Not just a delightful production of Uncle Vanya, but also a look at theater for the sake of theater, squatting and otherwise unmoored from financial obligations.

This week, Josh and Drusilla are joined by a very special guest: Matt Landsman, manager of the newly re-opened Vista's Video Archives Club and Programmer at Be Kind Video. The episode is focused on 1968's Spirits of the Dead. From wiki: “Spirits of the Dead (French: Histoires extraordinaires, lit. 'Extraordinary Tales', Italian: Tre passi nel delirio, lit. 'Three Steps to Delirium'), also known as Tales of Mystery and Imagination and Tales of Mystery,[8] is a 1968 horror anthology film comprising three segments respectively directed by Roger Vadim, Louis Malle and Federico Fellini, based on stories by Edgar Allan Poe. A French-Italian international co-production, the film's French title is derived from a 1856 collection of Poe's short stories translated by French poet Charles Baudelaire; the English titles Spirits of the Dead and Tales of Mystery and Imagination are respectively taken from an 1827 poem by Poe and a 1902 British collection of his stories.But they also discuss Bulldog Drummond, Quentin Tarantino, micro cinemas, VHS, Tales from the Darkside, Monster Squad, Sleepaway Camp, Blood Beach, Fright Night, Creepshow, Jill Schoelen, The Peoples' Joker, The Pit, The Gate, Troll, Ghoulies, Critters, Speak No Evil, Force Majeur, Bad Boy Bubby, the love of Terrence Stamp and Jane Fonda, and more! NEXT WEEK: Inside (2007) Follow them across the internet:Matt Landsman:https://twitter.com/MattLandsmanhttps://twitter.com/archivesclubhttps://twitter.com/bekindvideo 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/ 

Every hiatus seems to end with a Break and this one is no different. The Criterion Break is back! On this week's show, the Arthouse trio discuss some recent watches, and then dive into the One Night collection, now streaming on the Criterion Channel. The guys discuss their love for this particular sub-genre, before chatting about Elaine May's Mikey and Nicky, John Carpenter's Assault on Precinct 13, and Louis Malle's My Dinner With Andre. Blake can be found on Letterboxd @therealjohng. Derrick can be found on Instagram AND Letterboxd @dervdude.Follow Fat Dude Digs Flicks across social media:Facebook - Fat Dude Digs FlicksInstagram - FatDudeDigsFlicksTwitter - FatDudeFlicksTikTok - FatDudeDigsFlicksLetterboxd - FatDudeFlicksSubscribe to this podcast on Apple Podcasts, Spotify, Amazon Music, Goodpods, or wherever you get your podcasts. Search for Fat Dude Digs Flicks and click on that subscribe button. Please take a second to rate and review the show, while you're at it!Subscribe to the Fat Dude Digs Flicks YouTube channel and send a thumbs up or two my way!If you'd like to contact me for any recommendations, questions, comments, concerns, or to be a future guest, you can send an email to FatDudeDigsFlicks@gmail.com. Support the Show.

1984 was a busy year for Cooder. Not only did he produce the soundtracks for Paris, Texas and Streets of Fire almost simultaneously. He also ended up juggling both jobs with Alamo Bay, Louis Malle's drama about the clashes between Texas and Vietnamese fishermen in the Gulf of Mexico. Cooder saw the movie as a simple working man's story in the tradition of John Ford. His goal was "a Chinese cowboy thing without an overt ethnic statement.” Alamo Bay has a great soundtrack album with references to Paris Texas, The Border, and even Southern Comfort.This podcast frequently uses small snippets of musical recordings in podcast episodes for educational, review, and commentary purposes. In all cases, without exception, we believe this is protected by fair use in the U.S., fair dealing in the U.K. and EEA, and similar exceptions in the copyright laws of other nations. No more of the original than necessary is used, and excerpts are edited into long-form narratives, making the use transformative in nature.Written, produced and edited by Frank SchnelleTheme and background music by Chris HaugenAdditional background music The Mini VandalsFollow us on Facebook, Instagram, Tik Tok and YouTubeThe Ry Cooder Story WebsiteSupport us on Patreon Hosted on Acast. See acast.com/privacy for more information.

Jenny Frankfurt is the founder of The Finish Line Script Competition, currently in its 7th year. Prior to Finish Line and her work as a script consultant, Jenny was a film and television literary manager/producer at ICM, Handprint Entertainment and her own company, Highstreet Management. She has represented writers and filmmakers around the globe, specializing but not limited to breaking UK, European & amp; Australian writers and directors into the US market. She sold television shows (both reality and fiction), features and staffed television shows for over 20 years. Jenny began her career in representation after graduating from NYU's Tisch School of the Arts by working at the William Morris Agency in New York where she worked for a legendary film, tv and playwright's agent, who represented such writers as Eric Bogosian, William Mastrosimone, Warren Leight, Eric Overmyer and Jon Robin Baitz. Jenny worked at ICM with clients such as Susan Sarandon, Louis Malle, Johnny Depp, Lasse Hallstrom and Will Smith. After deciding management would give her more freedom to produce and influence her client's careers she started working with manager Rick Yorn and clients such as Leonardo DiCaprio, Cameron Diaz, Claire Danes and Benicio Del Toro among others. Finish Line is based on the idea that rewriting is essential to being a successful writer and we provide development notes when requested in order for writers to rewrite and resubmit new drafts (for free) throughout the competition. This mimics a studio, network or production company process and helps the writer prepare for a serious career in the entertainment industry. https://finishlinescriptcomp.com/ Connect with your host Kaia Alexander: https://entertainmentbusinessleague.com/ https://twitter.com/thisiskaia  Produced by Stuart W. Volkow P.G.A. Get career training and a free ebook “How to Pitch Anything in 1 Min.” at www.EntertainmentBusinessLeague.com Learn more about your ad choices. Visit megaphone.fm/adchoices

It's a classic Emilio and Andy mess around as we discuss the recently announced Cannes Lineup. We then discuss Louis Malle's Vanya on 42nd Street for its 30th Anniversary. Our twitter is @CannesIKickIt Our instagram is @CIKIPod Our letterboxd is CIKIPod Enjoying the show? Feel free to send a few bucks our way on Ko-fi. Thanks to Tree Related for our theme song Our hosts are @andytgerm @clatchley @imlaughalone @jcpglickwebber

Paul and Erin review Denis Villeneuve's DUNE PART TWO, THE BEEKEEPER, Ethan Coen's DRIVE AWAY DOLLS, Nuri Bilge Ceylan's ABOUT DRY GRASSES and Wim Wenders' PERFECT DAYS. We also take a curious look at THE COLOR PURPLE, RUSTIN, MERRY CHRISTMAS, DAMAGE and RIKI-OH: THE STORY OF RICKY.

In this episode, we review our second-ranked film of 1963, Louis Malle's haunting drama, "The Fire Within,” starring Maurice Ronet. Support this project on Patreon!

durée : 01:00:00 - Les Nuits de France Culture - par : Philippe Garbit - .

The one-and-only RAINN WILSON (The Office, Super, The Meg, Geography of Bliss, and author of SOUL BOOM: WHY WE NEED A SPIRITUAL REVOLUTION) DEMANDS to come on the podcast. He forces Aaron and David to admit they've never actually watched Louis Malle's MY DINNER WITH ANDRE (1981), in which nothing happens but two guys talking over dinner. So now THREE guys sit around talking about those two guys talking!PLUS: Shocking anecdotes about Danny Thomas and Desi Arnaz! Rainn performs one of Andre Gregory's monologues from the movie! David utterly nerds out about Rainn's work on STAR TREK! And a LOT of complaining about Aaron's editing work on the podcast!This episode will leave you utterly changed as a human being. Or hungry!

Le Monde du Silence, sorti en 1956, nous emmène sur la piste du commandant Cousteau, de son équipe, et de Jojo le Mérou figure emblématique du film. Le monde du silence est une réalisation de Jacques-Yves Cousteau et de Louis Malle, jeune homme embarqué sur la Calypso où il sert à la fois de réalisateur documentaire et de photographe. De la méditerranée à lʹocéan Indien, le film se construit entre plongées, mers dʹhuiles ou agitées, corvées sur le bateau, rencontre avec des animaux merveilleux, explorations dʹépaves et divers drames, comme quand le bateau heurte et lacère un bébé cachalot. Les images sous-marines, magnifiques, les contrastes entre le monde des océans et la terre, cette vie à bord, lʹennui, la recherche biologique, la violence aussi, la pêche à la dynamite, le sang des requins, font du Monde du silence une œuvre tout à la fois exotique, mystérieuse, passionnante, humaine et animale. Terrible aussi. A lʹépoque, on sʹy trompe pas. Le film obtient, à Cannes, la Palme dʹor en 1956 et à Hollywood, lʹOscar du meilleur documentaire en 1957. Mais si le Monde du silence fascine alors, aujourdʹhui il est vivement critiqué. Car on ne traite plus les animaux comme ils le faisaient. Car on nʹexplore plus les mers comme ils le faisaient. Mais ça le commandant lʹa compris assez vite, devenant plus darwinien, ouvertement écologiste, porte-parole du Continent bleu, encourageant les humains à prendre conscience du rôle déterminant de la mer et des océans. Mais nous vous raconterons tout cela. Nous ferons le portrait en clair et en sombre de Cousteau, lʹhomme poisson, qui a fait rêver et connaître à toutes et tous, la beauté des océans, nous parlerons de Louis Malle et de ses images exceptionnelles et qui, maintenant, nous fascinent et nous choquent. Dès lors ne tardons plus, plongeons ensemble dans les eaux bleues en compagnie dʹun commandant iconique et de toute une équipe de marins scientifiques. REFERENCES J.-Y. Cousteau et Frédéric Dumas, Le Monde du silence, Paris, Éditions de Paris, 1953, Franck Machum Un cinéaste nommé Cousteau, editions du Rocher, 2011 Spécial Louis Malle https://www.rts.ch/archives/tv/culture/special-cinema/7276961-curieux-louis-malle.html Jean-Michel Cousteau "Le sombre passé du Commandant Cousteau" chez Thierry Ardisson | INA Arditube https://www.youtube.com/watch?v=m3sDrmLG6m0 Là-Bas si jʹy suis, la critique de Gérard Mordillat https://www.youtube.com/watch?v=7gpa7SRyIe0

L'émission 28 Minutes du 04/12/2023 De Coppola à Akerman en passant par Chabrol, la vie rêvée d'Aurore Clément « L'un des rares plaisirs de la vie de ma mère était de fumer une cigarette en regardant le catalogue de La Redoute. » Son envie de devenir mannequin est certainement venue de là : née dans les Ardennes, Aurore Clément — appelée à l'origine Marie-Thérèse — grandit dans une famille d'agriculteurs, avant de perdre son père à 17 ans, puis ses « deux amours », sa mère handicapée et sa petite sœur. Elle voyage alors à Paris —  « 100 kilomètres qui vous arrachent à vos racines » — pose pour plusieurs magazines, et débute sa vie au cinéma. Repérée par le cinéaste Louis Malle pour jouer dans « Lacombe Lucien », les rôles s'enchaînent, pour Francis Ford Coppola, François Ozon ou Claire Denis. Aurore Clément revient aujourd'hui sur sa carrière de modèle et publie « Une femme sans fin s'enfuit », un livre de photographies réalisées en 1972 et mis en texte par l'écrivain Mathieu Terence.  Le terrorisme de retour en France : l'impossible déradicalisation des suspects ? L'attaque s'est déroulée à Paris, samedi soir, non loin de la tour Eiffel : Armand Rajabpour-Miyandoab, né à Neuilly-sur-Seine en 1997, a tué un touriste allemand et blessé deux autres personnes. Atteints de troubles psychiatriques, condamné en 2018 à cinq ans de prison pour un projet d'action violente à la Défense, il était fiché S et en lien avec la sphère djihadiste française, dont les assassins de Samuel Paty. Si l'assaillant se disait « déradicalisé », il a pourtant affirmé aux policiers lors de son arrestation vouloir « venger les musulmans » d'une France « complice d'Israël ». L'Hexagone est victime de son deuxième attentat, après celui d'Arras survenu le 13 octobre, depuis le début du conflit entre Israël et le Hamas. La « déradicalisation » des fichés S est-elle impossible ? Doit-on craindre des attentats en escalade en France ? Nos invités en débattent.  Enfin, retrouvez également les chroniques de Xavier Mauduit et Marie Bonnisseau !  28 Minutes est le magazine d'actualité d'ARTE, présenté par Elisabeth Quin du lundi au jeudi à 20h05. Renaud Dély est aux commandes de l'émission le vendredi et le samedi. Ce podcast est coproduit par KM et ARTE Radio.  Enregistrement : 04 décembre 2023 - Présentation : Elisabeth Quin - Production : KM, ARTE Radio

On the eighth episode of All the Film Things, we are celebrating Noirvember! I am joined by my friend, and host of the podcast Red Room Radio, Cristina Santiago, to discuss Louis Malle's 1958 noir film, Elevator to the Gallows. This episode is spoiler- filled. Elevator to the Gallows is a crime thriller film set in Paris and with the events unfolding within 24 hours.  The film follows two couples in paralleled storylines. One couple, is young and always together while the other pair are literally separated. Jeanne Moreau stars in the lead role of Florence, who we see in the beginning of the film, plotting with her lover Julien (Maurice Ronet) to kill her husband- his boss- in order for them to be together. After their plans go awry, a tangled web of events involving both couples is set in motion. Not only was this Louis Malle's debut directed feature film, this film also made Jeanne Moreau a star. Released two years before Jean Luc Godard's Breathless, Elevator to the Gallows is regarded as an inspiration for the French New Wave. Miles Davis's jazz score is regarded as "historic" and we quote from Richard Brody's article on the score and film for The New Yorker. I incorrectly stated the name of the author and did not realize until the release date of this episode. This is technically the second ATFT episode Cristina has appeared on. As I mention in the beginning in this episode, this was our second attempt at discussing Elevator to the Gallows. We recorded this second attempt on November 10, 2023 but there are a few excerpts from the first attempt, which was recorded on October 26, 2023. Cristina has a real appreciation for Old Hollywood films so I had recommended her this film, assuming she enjoyed foreign film as well, but I was surprised to learn Elevator to the Gallows was the first foreign film she watched! But watching the film didn't go so smoothly… Cristina and I discuss this in the beginning of the episode. Luckily, she enjoyed the film and is looking forward to watching more classic foreign films! Cristina hosts the pop culture podcast Red Room Radio. Like ATFT, Cristina has a range of topics and different formats allowing her to have a broad range of pop culture- focused episodes. She recently welcomed R. Kurt Osenlund on RRR for a pop culture chat. I was fortunate to have been a guest on RRR for part one and two of the Jayne Mansfield episodes. Be sure to follow Red Room Radio on Apple Podcasts, Spotify, and more so you never miss an episode! In this episode, Cristina and I talk about the famous scene of Jeanne Moreau strolling the streets of Paris at night, Miles Davis's score, imagining what Academy Awards Elevator to the Gallows should have won, the film's ending, and much more! Noire #1 by Music By Pedro https://goo.gl/sJT2e8  Promoted by MrSnooze  • Film Noir Background Music for Videos...   "Flashback Synth" by se2001 Retrieved from Freesound.org

Les positions du bien-être et de la productivité Dans l'imaginaire occidental, le yoga a été importé d'Inde par des hippies qui refusaient le moule petit-bourgeois : métro, boulot, dodo. Aujourd'hui, Amazon met à disposition de ses employés en entrepôt des cabines baptisées « Amazen » : on peut y méditer, s'étirer et réaligner ses chakras avant de repartir empaqueter les commandes. Chez Google, un programme de méditation est proposé aux employés, il s'intitule “Search inside yourself”. Quoi de mieux qu'une séance en savasana pour se recentrer avant un conf call ? Ou une posture du “guerrier II” pour libérer son potentiel ? Malgré ses côtés gentiment baba cool, le yoga s'est tranquillement intégré au monde de l'entreprise et aux techniques de management. Delphine Saltel interroge Marie Kock et Zineb Fahsi, deux Yogis qui ont chacune enquêté sur la discipline qu'elles pratiquent et enseignent. Comment d'ancestrales sagesses indiennes ont pu être digérées par l'économie de marché ?  En nous incitant à travailler d'abord sur nous-mêmes, le yoga ne risque-t-il pas de devenir une courroie de transmission de l'idéologie libérale ordinaire ? Compter sur la respiration ventrale pour surmonter nos difficultés, n'est-ce pas une manière de les dépolitiser ? Merci à Binge Audio et au centre Sésam de Lyon. Avec :- Zineb Fahsi, enseignante de yoga et autrice de « Le Yoga, nouvel esprit du capitalisme », Éditions Textuel, 2023.- Marie Kock, autrice de « Yoga, une histoire-monde, de Bikram aux Beatles, du LSD à la quête de soi », Éditions La Découverte, 2019.- Jeanne Pouget, professeure de yoga, créatrice du blog Citta Vritti- Victoire Tuaillon, journaliste, pratiquante et enseignante de yoga Ressources :- « Le nouvel esprit du capitalisme », Luc Boltanski, Ève Chiapello, Éditions Gallimard, 1999- « Politiser le bien-être », Camille Teste, Éditions Binge Audio, 2022- Extrait du film l'Inde fantôme, de Louis Malle, 1968 Enregistrements : septembre-octobre 23 - Texte, voix, prises de son et montage : Delphine Saltel - Réalisation, mixage et musique originale : Arnaud Forest - Illustration : Raphaëlle Macaron - Production : ARTE Radio - Arnaud Forest

Our second in this pair of Louis Malle at his weirdest, Black Moon (1975) is an Alice in Wonderland-ish coming of age story during a literal battle of the sexes. We were concerned about a French male director making such a movie at the height of second-wave feminism, but Malle is nothing if not surprising. Malle claims he wrote the film on a sort of automatic writing while also changing course whenever a plot line looked like it might be emerging, which leaves us with a film quite widely open to interpretation. Black Moon's surreal nature also gets a big help by being shot by longtime Bergman cinematographer Sven Nykvist.

L'écrivaine et historienne âgée de 56 ans nous reçoit, à l'occasion de la sortie de son dernier livre Proust, roman familial, au sein de la Bibliothèque nationale de France, rue de Richelieu, dans le deuxième arrondissement à Paris. Laure Murat évoque son enfance très privilégiée dans un triplex du seizième arrondissement à Paris qui s'apparentait à un musée d'Empire. Elle a grandi dans une famille aristocrate auprès d'un père attiré par la modernité qui a soutenu financièrement le poète Henri Michaux et produit des films de Louis Malle et d'une mère passionnée d'histoire et d'opéra. Elle dépeint un milieu, à rebours de ses parents, rempli de gens ordinaires peu portés sur la culture. Plus jeune, elle se prend de passion pour l'équitation puis la photographie tout en s'intéressant à la littérature et aux arts. Elle en vient graduellement à publier des livres après un début de carrière comme journaliste, travaillant notamment autour de l'archive. Elle loue le travail de Violette Leduc, Céline Minard ou Céline Sciamma, décrypte son coup de cœur pour Los Angeles, « ville antiphallique », et reconnaît son amour pour l'oblique.Elle revient aussi longuement sur son rapport à Marcel Proust qui s'est inspiré de membres de sa famille pour créer certains de ses personnages, des patronymes familiaux peuplent d'ailleurs A la recherche du temps perdu. Elle voit dans son œuvre un mélange de fiction et de réalité troublant. Et célèbre celui qui a fait de l'homosexuel un peu « sujet universel ». « A la recherche du temps perdu est pour moi un grand objet de consolation. »Depuis cinq 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 Johanna SebanRéalisation : Guillaume GiraultMusique : Gotan Project

With the Louis Malle films we've seen so far it was clear the man was willing to reinvent his style, but I had sort of assumed he had eras at least. This week we start off a pair of his more out there films, one from very early in his career and one from the height of his career in the 80s. This week it's Zazie dans le Metro, an adaptation of a popular French book that borders on Finnegans Wake-level nonsense made into a live action cartoon that borders on Playtime-level nonsense. It's a real curveball as Malle's third film, coming after The Lovers and Elevator to the Gallows which are both certainly not this. It's also probably the funniest movie about a little girl running away from a child molester that you'd ever watch. It's a weird one.

Le yoga made in France à la loupe On s'inscrit au Yoga pour aller mieux, dompter le stress qui nous ratatine la cervelle, relaxer ses lombaires, sourire enfin à la vie. Mais bizarrement, il arrive qu'on ne se sente pas si bien que ça, une fois positionné en lotus sur son tapis. Surgit parfois un sentiment de malaise ou une vague impression de ridicule : qu'est-ce qu'on fabrique là en legging à chanter Shiva ou Krishna ? Comment réussir à toucher sa clavicule droite avec son orteil gauche ? Pourquoi s'infliger le gong du bol tibétain ? Est-ce qu'on ne serait pas en pleine carte postale exotico-néo coloniale ? Dans ce premier épisode, Delphine Saltel, tente de prendre position sur le Yoga, en tout cas celui que l'on pratique aujourd'hui dans les studios qui fleurissent en centre-ville. Elle mouille la brassière en prenant un cours de Hatha Yoga, rencontre des Yogis et des enseignants, soulève la question de l'appropriation culturelle et se penche sur l'histoire moderne de cette discipline multimillénaire. Derrière le mythe d'un yoga ancestral pur et authentique, se dégagent des pistes pour distinguer postures et impostures, et trouver une pratique éclairée du “chien tête en bas”. Remerciements à Victoire Tuaillon et au centre Sésam de Lyon. Avec :- Marie Kock, enseignante de Yoga et autrice de Yoga, une histoire-monde - De Bikram aux Beatles, du LSD à la quête de soi, Éditions de la découverte, 2019- Pulan Devii, analyste culturelle- Zineb Fahsi, professeur de Yoga et autrice de Le Yoga, nouvel esprit du capitalisme, Éditions Textuel, 2023 Ressources :- Mark Singleton, Aux origines du Yoga postural moderne, Éditions Almora, 2020- Extrait du film L'Inde fantôme, de Louis Malle, 1968  Enregistrements : septembre 23 - Texte, voix, prises de son et montage : Delphine Saltel - Réalisation, mixage et musique originale : Arnaud Forest - Illustration : Raphaëlle Macaron - Production : ARTE Radio

This week in physical media with Peter Sobczynski begins with a little argument over the new 4K release of another John Hughes film. There is no disagreement that the new work from Nicole Holofcener is worth grabbing. Horror fans get works from Lucio Fulci, Jean Rollin and Michael Crichton. Ralph Bakshi finally gets a Blu-ray release for his animated musical ode and you can also see Louis Malle's controversial film with Brooke Shields and where that George C. Scott meme comes from courtesy of Paul Schrader. 0:00 - Intro 0:59 - Arrow Films (Weird Science (4K)) 15:25 - Cauldron Films (City of the Living Dead (4K)) 23:55 - Indicator (The Night of the Hunted, The Rape of the Vampire) 34:34 - Sony (American Pop) 43:33 - Universal (Elizabeth (4K), Promising Young Woman (4K)) Shout! Factory (Hackers (4K), Coma) 53:27 - Lions Gate (The Blackening (4K), You Hurt My Feelings) 59:45 - Kino (Brightwood, Two Tickets to Greece, Three Into Two Won't Go, Pretty Baby, Hardcore) 1:21:32 – New Blu-ray Announcements 1:24:32 - Outro

Two guys who get together to talk about movies watch a movie about two guys who get together to talk about…white fetishism of other cultures? A midlife crisis of a self indulgent rich dude? What exactly is this picture about? The boys try to figure it out.      Links You can rate and review us in these places (and more, probably) Does This Still Work? - TV Podcast https://www.podchaser.com/podcasts/does-this-still-work-1088105   ‎Does This Still Work? on Apple Podcasts https://podcasts.apple.com/us/podcast/does-this-still-work/id1492570867  

Since we started Criteria: The Catholic Film Podcast in May 2020, we've been hosting in-depth discussions of movies from the Vatican's 1995 list of important films. Now, after three years, we've finished discussing all 45 films - and in this episode, together with Catholic filmmaker Nathan Douglas, we're taking a look back at the list as a whole. After discussing how and why the Vatican film list (actually titled "Some Important Films") was made, and putting it in the context of several decades of concern from the highest levels of the Vatican about the social and moral influence of cinema, we talk about our favorite and least favorite films on the Vatican's list, as well as the movies we think should be added in a hypothetical future update of the list. Ultimately, watching through the entire Vatican film list is not only an education in the classics of world cinema, but also gives  important perspective on the strengths and weaknesses of past cinematic engagement with religion, allowing us to see both the potential fruit that could be borne and the dead ends that should be avoided in the Catholic cinema of the future. 0:00 Introduction 11:31 History behind the Vatican film list 43:34 What films should be removed from the list? 1:24:10 Our favorite films on the list 1:55:30 What films should have been included that weren't? 2:34:09 What post-1995 films would we add? 3:00:19 The most Catholic/edifying films on the list Links Pope St. John Paul II's address on the 100th birthday of cinema https://www.vatican.va/content/john-paul-ii/en/speeches/1995/march/documents/hf_jp-ii_spe_19950317_plen-pccs.html "100 Years of Cinema" document from the Pontifical Council of Social Communications with model curriculum https://www.vatican.va/roman_curia/pontifical_councils/pccs/documents/rc_pc_pccs_doc_19960101_100-cinema_en.html Below is the 1995 list by the Pontifical Council for Social Communications, "Some Important Films" (with links to our episode on each film): Religion Andrei Rublev, Andrei Tarkovsky (1969, USSR) The Mission, Roland Joffé (1986, UK) The Passion of Joan of Arc, Carl T. Dreyer (1928, France) Vie et passion du Christ (Life and Passion of Christ), Ferdinand Zecca and Lucien Nonguet (1905, France) The Flowers of St. Francis, Roberto Rossellini (1950, Italy) The Gospel According to Matthew, Pier Paolo Pasolini (1964, France/Italy) Thérèse, Alain Cavalier (1986, France) Ordet (The Word), Carl T. Dreyer (1955, Denmark) The Sacrifice, Andrei Tarkowsky (1986, Sweden/UK/France) Francesco, Liliana Cavani (1989, Italy/Germany) Ben-Hur, William Wyler (1959, USA) Babette's Feast, Gabriel Axel (1987, Denmark) Nazarín, Luis Buñuel (1958, Mexico) Monsieur Vincent, Maurice Cloche (1947, France) A Man for All Seasons, Fred Zinnemann (1966, UK) Values Gandhi, Richard Attenborough (1982, UK/USA/India) Intolerance, D. W. Griffith (1916, USA) Dekalog (The Decalogue), Krzysztof Kieslowski (1987, Poland) Au Revoir, Les Enfants (Goodbye, Children), Louis Malle (1987, France) Dersu Uzala, Akira Kurosawa (1974, Japan) The Tree of Wooden Clogs, Ermanno Olmi (1978, Italy/France) Rome, Open City, Roberto Rossellini (1946, Italy) Wild Strawberries, Ingmar Bergman (1957, Sweden) The Seventh Seal, Ingmar Bergman (1957, Sweden) Chariots of Fire, Hugh Hudson (1981, UK) Bicycle Thieves, Vittorio de Sica (1948, Italy) It's a Wonderful Life, Frank Capra (1946, USA) Schindler's List, Steven Spielberg (1993, USA) On the Waterfront, Elia Kazan (1954, USA) The Burmese Harp, Kon Ichikawa (1956, Japan) Art 2001: A Space Odyssey, Stanley Kubrick (1968, UK/USA) La Strada, Federico Fellini (1954, Italy) Citizen Kane, Orson Welles (1941, USA) Metropolis, Fritz Lang (1927, Germany) Modern Times, Charlie Chaplin (1936, USA) Napoléon, Abel Gance (1927, Italy) 8½, Federico Fellini (1963, Italy) La Grande Illusion, Jean Renoir (1937, France) Nosferatu, F. W. Murnau (1922, Germany) Stagecoach, John Ford (1939, USA) The Leopard, Luchino Visconti (1963, Italy/France) Fantasia (1940, USA) The Wizard of Oz, Victor Fleming (1939, USA) The Lavender Hill Mob, Charles Crichton (1951, UK) Little Women, George Cukor (1933, USA)

The Criterion Break returns this week, but deviates from the path a little bit. Blake is on a brief hiatus, so we opted to take a little breather from The World of Wong Kar Wai. Louis Malle's Elevator to the Gallows played the State Theater in Sioux Falls, so Andy and Derrick decided to take a little detour into the world of French noir. Hear what the guys have to say of this beloved classic.Blake can be found on Letterboxd @therealjohng. Derrick can be found on Instagram AND Letterboxd @dervdude.Follow Fat Dude Digs Flicks across social media:Facebook - Fat Dude Digs FlicksInstagram - FatDudeDigsFlicksTwitter - FatDudeFlicksTikTok - FatDudeDigsFlicksLetterboxd - FatDudeFlicksSubscribe to this podcast on Apple Podcasts, Stitcher Radio, Spotify, or wherever you get your podcasts. Search for Fat Dude Digs Flicks and click on that subscribe button. Please take a second to rate and review the show, while you're at it!Subscribe to the Fat Dude Digs Flicks YouTube channel and send a thumbs up or two my way!If you'd like to contact me for any recommendations, questions, comments, concerns, or to be a future guest, you can send an email to FatDudeDigsFlicks@gmail.com. Support the show

In the early 90s, one of the biggest scripted shows on TV was Murphy Brown, starring 40-something Candice Bergen as a product of the 60s whose high-powered career precluded marriage and family. When the character became a single mother, and was criticized for it by vice president Dan Quayle, a massive conversation about “family values” began that would change the culture – and, arguably, American politics. Off-screen, Bergen was married to French filmmaker Louis Malle. While his wife was in the middle of the “family values” maelstrom, Malle was making Damage, one of the most sexually intense films of the 90s, and one which used sexuality to explicitly critique the hypocrisy of politicians. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Jenny Frankfurt joined us to discuss the Finish Line Script Competition, being a manager, and all sort of fun creative talk. https://finishlinescriptcomp.com ABOUT JENNY Jenny Frankfurt is the founder of the Finish Line Script Competition. Finish Line is based on the idea that rewriting is essential to being a successful writer and we provide development notes when requested in order for writers to rewrite and resubmit new drafts (for free) throughout the competition. This mimics a studio, network or production company process and helps the writer prepare for a serious career in the entertainment industry. Prior to Finish Line and her work as a script consultant, Jenny was a film and television literary manager/producer with her own company, Highstreet Management based in Los Angeles. Highstreet represented writers around the globe, specializing but not limited to breaking UK, European & Australian writers and directors into the US market. She sold television shows (both reality and fiction), features and staffed television shows for almost 20 years. Jenny began her career in representation after graduating from NYU's Tisch School of the Arts by working at the William Morris Agency in New York where she worked for a legendary film, tv and playwright's agent, who represented such writers as Eric Bogosian, William Mastrosimone, Warren Leight, Eric Overmyer and Jon Robin Baitz. From NYC Jenny moved to Los Angeles where she worked at ICM with clients such as Susan Sarandon, Louis Malle, Johnny Depp, Lasse Hallstrom and Will Smith. After deciding management would give her more freedom to produce and influence her client's careers she started working with manager Rick Yorn and clients such as Leonardo DiCaprio, Cameron Diaz, Claire Danes and Benicio Del Toro among others. Jenny tried her own hand at producing the independent feature JOHNNY HIT AND RUN PAULINE, to which Emma Thompson was attached as Executive Producer. Jenny then started working with manager Benny Medina at Handprint Entertainment, representing talent, literary and production clients. She soon became Head of Handprint's Literary Department. --- Learn more from Paul's and Justin's books, both on Amazon! Go Ahead and Ask Creative Writing Life

durée : 01:49:59 - Les Nuits de France Culture - par : Albane Penaranda - Par Michel Polac - Avec Louis Malle et Maurice Ronet - Réalisation Annie Coeurdevey

We go arthouse this week, and surprise surprise, we have some very different feelings about this one. This week we're talking the one and only, My Dinner with Andre. In this episode we're just two guys talking about two guys talking. We argue whether or not this film works, what could have been done differently, and the guts to make something this unique. Come back in two weeks for Guillermo del Toro's Pinocchio! Contact us at rollitpodcast@gmail.com and follow us, and enter our giveaway:    Twitter - @RollItPodcast    Instagram - @rollitpodcast    Music by Ethan Rapp

The gang bring along a special guest, writer/editor/podcaster Kristen Lopez (@Journeys_Film), as they consider the emotional fallout of infidelity, betrayal and running while naked in Louis Malle's Damage.       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/

Erin and Paul review two films about young men who must hide their Jewish identity while attending all-boys' Catholic boarding schools: the 1992 coming-of-age drama SCHOOL TIES, and Louis Malle's 1987 heartbreaker AU REVOIR LES ENFANTS. Plus: our quick takes on BULLET TRAIN, FALL, ORPHAN: FIRST KILL, and THREE THOUSAND YEARS OF LONGING.

Our eternal friends the Dom Deluise Patreon Pals are in on the mysterious fun with us this week as we review three of their (semi-)mystery movie picks! Up first! It's Louis Malle's 1958 debut Elevator to the Gallows, a strikingly photographed French film noir with a Miles Davis soundtrack. Picked by Listener Luke! Next up! We double dip on the French tip with another franco-feature, the sparse but bloody Revenge (from 2017)! It's more or less what you've seen from prior rape/revenge flicks, but with vastly more shots of butts and open wounds on Frenchmen's feet. Thanks to Aaron for picking it! Finally! Of course, it's 2018's The Clovehitch Killer, because we already reviewed The Office Killer, The Killer Tomatoes/Klowns/Bimbos/Workouts/Sharks, The Driller Killer, The Thrill Killers, Honeymoon Killers, and Fearless Vampire Killers - and didn't want ol' Clovehitch to feel left out. Stars Dylan McDermott. Picked by Travis.All this plus the Garfield poop update, Parker & Sam: A Love Story, casting for the next Dorito's packaging, Benedict Cumberbatch? I hardly knew her batch, Kevin's minority opinion corner, Kevin's off-mic snickerdoos, Parker's moving furniture, Sean's stuck in a fuzzy Skype session, checking your bagel qualifications, Miles on the track, donut shop payphones, James "King" Hong, nerd news and even more! Recorded live-to-tape on National Shrimp Day, 2022!! Direct Donloyd HereGot a movie suggestion for the show, or better yet an opinion on next week's movies? Drop us a line at JFDPodcast@gmail.com. Or leave us a voicemail: 347-746-JUNK (5865). Add it to your telephone now! JOIN THE CONVERSATION!Also, if you like the show, please take a minute and subscribe and/or comment on us on iTunes, Stitcher, Blubrry or Podfeed.net. Check us out on Facebook and Twitter! We'd love to see some of your love on Patreon - it's super easy and fun to sign up for the extra bonus content. We'll move trap ourselves in a French office building's service elevator for your love and support. With picks like these, you GOTTA #DonloydNow and listen in!