For the filming of the Franco-Swedish series “Polar Day”, broadcast from Monday on Canal +, the actress Leïla Bekhti immersed herself several months in Lapland, an “adventure in itself” which she returned upset.
The origin of the Swedish thriller “Polar Day”, co-produced by Canal + and SVT, Swedish public television, has attracted the actress. She finds the Scandinavian authors a “great writing ambition” at the service of the characters and the detective story. “I loved the Bron series and the film Festen” […]
After almost 40 years in cinema, the director remains the quintessential leftfield auteur. He discusses how his gentle new film Paterson offers a Zen alternative to blockbuster chaos
There’s a line in Jim Jarmusch’s 1986 film Down By Law that seems apposite in November 2016. It goes: “My mama used to say that America’s the big melting pot. You bring it to a boil and all the scum rises to the top.”
Over tea in a Paris hotel, Jarmusch considers whether he’d agree. “Kind of appropriate, but also kind of cynical,” he says finally. “But it’s a scary and sad time with these creeps coming to the top. I think we all have to be vigilant around the world now with Brexit, and Marine Le Pen in France. There’s a lot of scary shit, you know?”
There’s a line in Jim Jarmusch’s 1986 film Down By Law that seems apposite in November 2016. It goes: “My mama used to say that America’s the big melting pot. You bring it to a boil and all the scum rises to the top.”Over tea in a Paris hotel, Jarmusch considers whether he’d agree. “Kind of appropriate, but also kind of cynical,” he says finally. “But it’s a scary and sad time with these creeps coming to the top. I think we all have to be vigilant around the world now with Brexit, and Marine Le Pen in France. There’s a lot of scary shit, you know?”
Star of second world war thriller calls for artists to defend free speech, while her director Robert Zemeckis says the Trump years will be boon for TV and film industry.
“All the philosophers, thinkers and writers, who question themselves and the world, and who have the freedom of speech and freedom to express themselves, have to do it – for the ones who cannot.” […]
Though he still doesn’t quite enjoy household name status, Cornell Woolrich might be the most influential American mystery writer of the past century. The adaptations are an obvious place to start with Alfred Hitchcock’s Rear Window (1954) leading the pack, but his real legacy is the way he permanently embedded modern thrillers with recurring themes.
Hollywood really jumped on the Woolrich bandwagon in the ‘40s with a slew of radio adaptations as well as fascinating films like The Leopard Man (1943), Phantom Lady (1944), The Chase (1946), and Night Has a Thousand Eyes (1948). The big screen took less of an interest in him the following decades as television honed in on him instead, churning out numerous versions of his novels and short stories for home viewers on such programs as Alfred Hitchcock Presents and Thriller. The 1960s would prove to be Woolrich’s last decade on earth with his passing in 1968, but he had another resurgence from a most unlikely source: acclaimed French filmmaker François Truffaut […]
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