Anne Wiazemsky, a French novelist and New Wave actress who appeared in seven films directed by her husband, Jean-Luc Godard, died on Thursday in Paris. She was 70.
Ms. Wiazemsky expressed few regrets, though she recalled that when she was first cast by Bresson in “Au Hasard Balthazar,” she replaced an actress who had already been selected for the role.
“She lost the film because of me,” she said, “and I still feel a pang of regret for that unknown girl.” [ NYTimes 10/5/17 ]
The women, the films, the fights, the flops … the director of The Artist has risked infuriating France with Redoubtable – a hilarious drama about Jean-Luc Godard.
Full Review: ‘Godard is not God!’ … Michel Hazanavicius on his film about France’s most notorious director | Film | The Guardian
It’s an uncomfortable irony that, after her life has ended, Anne Wiazemsky risks being seen as a bystander in her own story. In Michel Hazanavicius’s enjoyable but somewhat facetious new film Redoubtable, Wiazemsky, played by Stacy Martin, is depicted as a wry observer in her marriage to Jean-Luc Godard – the straight woman to his tormented clown. | More: Anne Wiazemsky: a haunting, humane star who helped France discover itself | Film | The Guardian
The Unknown Girl may seem to meander in its midsection, but by the end it is gripping on every level. It’s a whodunnit complete with car chase. It’s a character study of a woman learning what her vocation will really demand of her. It’s a portrait of a community, impoverished and divided, whose only common link is the doctor. And it’s a portrayal of guilt, shame, and deliverance as rich and memorable as any I’ve seen [ . . . }
Read full post at: The First Responder | Eve Tushnet | First Things
17 Memorable Pictures of the Mysterious and Captivating Jeanne Moreau
Read More at: 17 Memorable Pictures of the Mysterious and Captivating Jeanne Moreau | Best Movies by Farr
Cannes Film Review: Jeanette: The Childhood of Joan of Arc by Sam C. Mac
Bruno Dumont follows his oddball 2016 Cannes competition entry Slack Bay with the bold and more divisive rock opera Jeanette: The Childhood of Joan of Arc. And as with Slack Bay and 2014’s Li’l Quinquin, Jeanette’s provocations—sacred subject matter paired with pounding death-metal bass drums—add to its sense of humor. A sample scene: a sheep bleating off screen while an earnest hymnal is sung into the camera. Even the frequently out-of-tune singing and chintzy synthesizer soundtrack add to a sense of levity and play, a tone Dumont’s never pulled off as comfortably as he does here [ . . . . ] More at source: Cannes Film Review: Jeanette: The Childhood of Joan of Arc | The House Next Door | Slant Magazine
Pas De Merde 