Word: godard
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...special enthusiasm in Europe, cut by censors into incoherence in the U.S., Pandora's Box had to wait a generation to find its audience. But when recognition for the film, and even more so for Brooks, did come, it didn't stop. The Anna Karina character in Jean-Luc Godard's Vivre sa vie was based on her, as was Melanie Griffith's Lulu in Jonathan Demme's Something Wild. An adoring 1979 New Yorker profile by Kenneth Tynan (calling Brooks "the most seductive, sexual image of woman ever committed to celluloid") cemented her celebrity, and suddenly the Rochester...
...checks the Brattle’s website. This ensures that, for the near future, Bujalski’s films are likely to find a limited audience of cinephiles. And indeed, Bujalski’s influences—as noted by film critics—include John Cassevetes, Jean-Luc Godard, Eric Rohmer: brilliant artists whose work is largely unnoticed by the casual filmgoer.But obscurity is not what Bujalski intends: “My biggest fear at the moment is that my films might be elitist, which I never intended them to be, and I don’t ultimately think...
...least the type who have friends that do. This helps to ensure that, for the near future, Bujalski’s films find only a limited audience of cinephiles. The influences film critics have said they see in his work—John Cassevetes, Jean-Luc Godard, Eric Rohmer—link him with other brilliant artists whose work is largely unnoticed by the casual filmgoer...
...decades, French films have meant different things to the American audience. For a long time they were ooh-la-la, saucier, more worldly than their robust but prim Hollywood counterparts. Then, when movies became films, they were the heart (François Truffaut) and the brains (Jean-Luc Godard) of international cinema in its glory days. Then there were the boulevard comedies, like La Cage aux Folles and Three Men and a Baby, that got remade by Hollywood. After that they retreated into austerity, into the perfunctory embrace of minimalism. And now... well, frankly, now French films are hardly...
...foreign-language films that have made any noise at the U.S. box office were not daring at all. Cinema Paradiso, Like Water for Chocolate, The Postman and their ilk gave viewers the warm fuzzies. They owed more to traditional Hollywood romantic dramas than to the trailblazing experiments of Bergman, Godard and Antonioni. As for the foreign films that critics championed, these tended to be minimalist to the point of inertia: static-camera portraits of glum people doing not very much...