Whether by accident or design, French filmmaker Jacques Rivette is probably the least known member of the influential Nouvelle Vague movement of the late fifties though, like Jean-Luc Godard, Francois Truffaut, Eric Rohmer, and Claude Chabrol, he too was a former writer and film critic for Cashiers du Cinema. He even started production on his first feature length film, Paris Belongs to Us (French title: Paris Nous Appartient), in 1957, before Chabrol, Truffaut and Godard began work on what would become their universally acclaimed debuts of, respectively, Le Beau Serge (1958), The 400 Blows (1959) and Breathless (1960). Yet, despite the artistic and liberating impact the latter three films had on world cinema, Paris Belongs to Us might be the most ambitious, challenging and intellectually provocative film of the whole movement. It is also the darkest, waltzing toward an imagined or possibly real oblivion. The Homeland Security System would give it a code orange classification.Continue reading
Almost everyone has a good reason for why they want to get married but for Hugues, there is a very specific need. He wants to find a woman with a place of her own, preferably one with ample square footage that includes a sitting room and a large, walk-in closet. Love or companionship isn’t a main objective. Nor does he have any particular preferences concerning the woman’s appearance or personality as long as she is close to the same age. Strangely enough, Hugues finds the ideal candidate through the Duvernet Agency, a professional matchmaker. Jeanne is not only lovely and charming, if a bit elusive, and she has never been married before. Plus, she resides in a sprawling ground floor apartment once owned by an uncle. What could be better? So begins 1970’s L’Alliance (also known as The Wedding Ring), an exceedingly peculiar tale that slowly lures the viewer down a rabbit hole.
Back in the days before the VHS home video market exploded and Blockbuster became the obiquitous rental store, the 16mm film library was still a viable business in the non-theatrical college and educational markets. The decline would begin in the early eighties and by the end of the decade most 16mm distributors would be out of business. But during the peak years, this film format was affordable and easily accessible to all types of organizations (churches, schools, businesses and prisons) and also individuals who ran private film societies. Continue reading