Jacques Rivette, the great cinematic visionary and probably least known of the major French Wave directors, started making his first film in 1957 and completed it slowly over a period of two years, as money allowed. Finally released in 1961, Paris nous appartient brilliantly captured the mood of paranoia and uncertainty of that Cold War period. Featuring cameos from fellow New Wave directors Claude Chabrol, Jean-Luc Godard, and Jacques Demy; a striking musique concrète score, and Charles Bitsch's stunning black and white photography. The BFI is proud to present this world cinema classic in High Definition for the first time in the UK. Special features: Presented in High Definition Newly commissioned feature-length commentary by film scholar Adrian Martin (2018) Filmed introduction by critic Jonathan Romney on Rivette and Paris nous appartient (2016, 18 mins) Le Coup du Berger (Jacques Rivette, 1957, 29 mins) Illustrated booklet with a new essay by So Mayer, Tom Milne s 1962 review and a preview from Louis Marcorelles looking forward to the film s release Other extras TBC
Monsieur Hulot continues his battle with the modern world. He also pours his affection on to his nephew of which fact his parents don't seem to appreciate.
Paris Nous Appartient was 'Cahier Du Cinema' critic Jacques Rivette's first film as is regarded as one of the foremost examples of the movement. A young literature student studying in Paris Anna Goupil (Betty Schneider) is drawn to the mysterious suicide of a young Spanish man Juan following a discussion with his friends at a party. Taking a role in an amateur performance of Shakespeare's Pericles Anna uses the rehearsals to try to uncover the reason why Juan took his own life.
The BFI’s acclaimed Jacques Tati remaster series continues with the world premiere High Definition release of Tati’s multi-award-winning third feature, Mon Oncle, in two different versions. This 1958 box-office hit confirmed his reputation as the foremost comic artist of his day and picked up a string of awards, including the 1959 Oscar for Best Foreign Film.Tati’s second outing as the accident-prone Monsieur Hulot takes him to Paris where the high-tech lifestyle of his relatives, the Arpels, is contrasted with his old-fashioned ways in a scruffy part of town. With an eye on the international market, and wishing to avoid subtitles (which he always disliked), Tati shot two versions of the film – Mon Oncle and My Uncle, the latter replacing French signs such as ‘Ecole’ and ‘Sortie’ with their English equivalents and dubbing much of the main dialogue into English. This specially remastered edition contains both versions.
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