It is always a great emotion to watch Michel Simon, perhaps the greatest french-speaking comedian ever, whether he appears in Carné's or Duvivier's pre-war masterpieces or in mediocre films by third rate directors. But it is actually the same emotion to watch him in the role of Michel Simon. As noted by Sacha Guitry in the prologue of La Poison, with him there is no reason to stop filming as no one knows when he starts or stops acting. Guitry was perhaps the only established director to trust Michel Simon and offer him major roles at the end of his career which Jean Renoir certainly did not, and this is why it is particularly painful to watch his hypocritical demonstrations of friendship and interest. Renoir's idea was probably to entertain his court of young admirers (Rivette et al.) by showing them some old freak. But in spite of his endless but insignificant talking, Renoir just does not exist in front of Michel Simon.

It is always a great emotion to watch Michel Simon, perhaps the greatest french-speaking comedian ever, whether he appears in Carné's or Duvivier's pre-war masterpieces or in mediocre films by third rate directors. But it is actually the same emotion to watch him in the role of Michel Simon. As noted by Sacha Guitry in the prologue of La Poison, with him there is no reason to stop filming as no one knows when he starts or stops acting. Guitry was perhaps the only established director to trust Michel Simon and offer him major roles at the end of his career which Jean Renoir certainly did not, and this is why it is particularly painful to watch his hypocritical demonstrations of friendship and interest. Renoir's idea was probably to entertain his court of young admirers (Rivette et al.) by showing them some old freak. But in spite of his endless but insignificant talking, Renoir just does not exist in front of Michel Simon.

In this thriller, a UNESCO translator stumbles across a group which is hiding and supporting Nazis and facilitating their travel around the world. She had been given an assignment to study the work of a writer who recently had died, and the conspiracy is revealed in materials he left behind. She comes upon a young man who is going through the writer's papers, and she immediately assumes he must be one of the conspirators. However, he soon convinces her of his innocence in that regard, and the two together begin a search for the ringleader.

A part of Joan of Arc's life. At the beginning, Jeanne (Joan) has already left Domremy, she is trying to convince a captain to escort her to moxia.cc the Dauphin. It ends during Jeanne's first battle, at Orleans. Meanwhile, Jeanne is depicted more as a warrior than a saint (all cliches are avoided), with only her faith for strength.

2015 saw the the digital restoration of Jacques Rivette’s magnum opus OUT 1 (1971) and its revival both in theaters and on Blu-ray and DVD. To coincide with this event, filmmakers Robert Fischer and Wilfried Reichart interviewed cast and crew members and revisited some of the film’s most significant locations. THE MYSTERIES OF PARIS: JACQUES RIVETTE’S »OUT 1« REVISITED features first-hand accounts from actors Bulle Ogier, Michael Lonsdale and Hermine Karagheuz, cinematographer Pierre-William Glenn, assistant director Jean-François Stévenin and producer Stéphane Tchal Gadjieff, but also rare archival interviews with actors Jacques Doniol-Valcroze and Michel Delahaye and, most prominently, illuminating statements by director Jacques Rivette himself from two different archival interviews. Original title: LES MYSTÈRES DE PARIS: OUT 1 DE JACQUES RIVETTE REVISITÉ. Language: French with English subtitles.

This film of interviews with the film director Jacques Rivette was produced in collaboration with Serge Daney, film critic from “Cahiers du cinéma”, then of “Liberation”. In the course of their conversations, the two speakers discuss Rivette’s career, his relationships with the other film makers of the new wave, his use of “mise en scene” and his working with actors.

Chaque documentaire traite d'un cinéaste, voire d'une école cinématographique (la Nouvelle Vague...), ou d'une question particulière liée au cinéma (Critique et cinéma...). Le choix des réalisateurs, comme les questions abordées sont très empreintes de la vision des Cahiers du cinéma dont André S. Labarthe est l'un des anciens rédacteurs, Janine Bazin étant par ailleurs l'épouse d'André Bazin, fondateur de la revue.
Sur le plan du traitement audiovisuel, les documentaires sont assez hétérogènes et tentent d'ailleurs de s'accorder au style du réalisateur concerné : une caméra portée en plan séquence pour John Cassavetes, une conversation en voiture pour Abbas Kiarostami... D'une manière générale, les documentaires se gardent de comporter une voix-off et cherchent à donner la parole aux réalisateurs, pénétrer son univers, sans forcément recourir à l'interview.
La série démarre en 1964 sur l'ORTF et se poursuit aujourd'hui sur Arte. En 1989, à l'occasion de sa reprise par Arte, la collection est rebaptisée Cinéma, de notre temps.

1995 anthology film by 41 different directors

An in-depth analysis of the relationship between New Wave pioneers François Truffaut and Jean-Luc Godard, as seen through rare archival footage, interviews, and film excerpts — written and narrated by former Cahiers du Cinéma editor Antoine de Baecque.