1951: The women of "La Ronde"

We're revisiting the 1951 film year in the lead up to the next Supporting Actress Smackdown. As always Nick Taylor will suggest a few alternatives to Oscar's ballot.

Each writer here at The Film Experience has our checklist of cinematic fetishes. Those qualities we look out for whenever we watch a film, a list of glories we breathlessly recite the way Nicole Kidman talks about going to the movie theater in her Nobel Prize-winning AMC ad. Cinematography so elegant the camera moves like silk. Depictions of sex that recognize it as a real human connection, something that can be playful and disatisfying, and is worth as much consideration in the buildup and the comedown as when it’s happening. Beautiful, immaculately assembled people gliding around gorgeous locales and gleefully succumbing to their libidos. Actresses fulfilling roles that are equal parts familiar archetypes and fleshy, hot-blooded individuals (you know I’m a sucker for this one). And on that note, let’s kick off our look of 1951’s alternate supporting actresses miniseries with a belatedly imported joint from France herself: the lovely ladies of Max Öphuls’ sexy, ephemeral La Ronde...

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28 Years, 28 Films

by Cláudio Alves

It was on July 17th, 1994, when a most foul thing happened. In Lisbon, a baby was born destined to become an insufferable cinephile full of opinions and costume design trivia swilling around in his chronically depressed mind. That unfortunate creature was me, and today I celebrate my 28th birthday. Inspired by Nathaniel and Tim Brayton, I decided to mark the occasion with a special list that fully displays my movie passions. With a film for each year, this collection comprises titles that mean something to me, for one reason or another. Of course, they're not these years' best cinematic achievements, nor are they my outright favorites. However, I have a special place in my heart, in my memories, for them all. So come explore my life through a personal film odyssey and maybe get to know me better…

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Cannes at Home: Days 10 & 11 – The End Is Upon Us

by Cláudio Alves

The last days of the 75th Cannes Film Festival saw the premiere of many buzzy titles, including some that were declared Palme d'Or frontrunners on the spot. Albert Serra celebrates his first stint in the Main Competition with Pacification, a film that might not be for everyone but will undoubtedly satisfy the director's fans. Hirokazu Kore-eda returns after Shoplifters with another found-family crowd-pleaser, Broker. Lukas Dhont's Close reduced many to tears, but I'm not convinced. His debut was similarly acclaimed in Cannes, only to receive much-deserved backlash when seen by wider audiences. Kelly Reichardt seems to have delivered a low-key marvel with the Portland-set Showing Up, starring frequent collaborator Michelle Williams. Finally, Léonor Serraille closed the competition screenings with her sophomore feature, Mother and Son.

Just hours before Vincent Lindon's jury announces its choices, the Cannes at Home miniseries comes to an end with Serra's The Death of Louis XIV, Kore-eda's After Life, Dhont's Girl, Reichardt's Wendy and Lucy, and Serraille's Jeune Femme…

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Cannes at Home: Days 8 & 9 – Women in Red, the War on Drugs & French Colonialism

by Cláudio Alves

The 75th Cannes Film Festival is almost over! If there's any hope of finishing Cannes at Home before the closing ceremony, it's critical to pick up speed. So, here go two days' worth of auteurs in one go. 

The Dardennes showed their latest, Tori and Lokita, to some acclaim. However, after The Unknown Girl and Young Ahmed, I'm skeptical about the Belgian duo's tackling of immigrant stories. Mario Martone also returned to the competition, and his Nostalgia could see Perfrancesco Favino winning the festival's Best Actor trophy. In contrast, Saeed Roustayi is competing for the Palme for the first time with Leila's Brothers. All that being said, the big story from these latest festival days was surely Claire Denis' Stars at Noon. Most critics seem to hate it – some even jokingly calling for the director's retirement – while a scattering of ardent fans provides a contrarian takes. For sure, hers seems to be the most divisive film at the Croisette.

Today's Cannes at Home selection includes the Dardennes' first Palme d'Or honoree Rosetta, Martone's L'Amore Molesto, Roustayi's acclaimed Just 6.5, and Denis' debut feature Chocolat…

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Almost There: Jean Gabin in "Grand Illusion"

by Cláudio Alves

The Almost There series continues its exploration of the Criterion Channel's May programming. It's time to shine a light on Jean Gabin, currently celebrated in a 10-film collection named "France's Everyman". From 1936's The Lower Depths to 1963's Any Number Can Win, this tenfold serves as a sample of the Gallic actor's extensive career, dramatic prowess, and on-screen persona. Gruff and disaffected, with a cynic's soul and a mischievous twinkle in the eye, Gabin came to embody the French working classes in a myriad of roles from romantic heroes through charismatic scoundrels. Even before the Nouvelle Vague rocked the foundations of France's film industry, the actor had already become something bigger than life. Gabin turned from man into symbol, the personification of his nation's cinema. No wonder he never found a home in Hollywood despite a 1940s detour. Maybe he was just too French! 

Still, American audiences embraced Gabin's movies. In 1938, Jean Renoir's Grand Illusion made Oscar history and brought the actor close to a nomination…

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