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The ultimate staycation: TIFF Cinematheque revives its decades-old tradition of spending summers in France with this series of over three dozen classics of French cinema, from well-known milestones in new or restored prints to great rarities and buried treasures. À toute vitesse!
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- Lumière d'été
- Summer Light
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Jean
Grémillon
Often compared to The Rules of the Game, Jean Grémillon's influential masterwork examines the uneasy and finally explosive interactions between a group of corrupt, high-society carousers and a crew of workers over a long weekend at a country manor.
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- The 400 Blows
- Les Quatre cents coups
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François
Truffaut
François Truffaut's autobiographical first feature, chronicling the misadventures of a twelve-year-old delinquent hero (the unforgettable Jean-Pierre Léaud), was an international sensation and a clarion call for the emerging French New Wave.
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- Breathless
- À Bout de souffle
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Jean-Luc
Godard
One of the most famous debuts in film history, Jean-Luc Godard's jazzy, virtuosic masterpiece about a small-time hoodlum on the run (Jean-Paul Belmondo) and his blithely treacherous American girlfriend (Jean Seberg) brought about a revolution in film form and style.
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- 2 or 3 Things I Know About Her
- Deux ou trois choses que je sais d'elle
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Jean-Luc
Godard
In one of his greatest films, Jean-Luc Godard uses the slim story of a young wife and mother who works afternoons as a prostitute as a springboard for a dazzling cinematic essay on materialism, contemporary alienation and the changing face of Paris.
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- Pierrot le fou
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Jean-Luc
Godard
A bored novelist (Jean-Paul Belmondo) and his beautiful, treacherous babysitter/mistress (Anna Karina) become embroiled in a seamy stew of guns, drugs and dirty money in Jean-Luc Godard's gloriously apocalyptic salute to amour fou.
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- Le Combat dans l'île
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Alain
Cavalier
This buried treasure of '60s French cinema segues from politically-charged thriller to tenderly affecting romance as a young woman (the gorgeous Romy Schneider) discovers that her jealous and abusive husband (Jean-Louis Trintignant) has become embroiled with a shadowy, right-wing paramilitary group.
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- The Mother and the Whore
- La Maman et la putain
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Jean
Eustache
A narcissistic, would-be intellectual (Jean-Pierre Léaud) vacillates between two women in Jean Eustache's raw, intense and exhilaratingly excessive rumination on youthful disenchantment in the wake of May 1968.
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Whatever ironies attend the recent triumph of The Artist at the Academy Awards®, the cultural significance of its victories cannot be denied. (The argument that the film is more Hollywood than French is surely spurious.) An important reminder that there is another great originating film industry, with a history as rich and extensive as America's, The Artist derives from a culture whose cinephilia has no equal (as is obvious in our contemporary sidebar of films by Mia Hansen-Løve). Summer in France celebrates that passion with classics both familiar — including new digital restorations of Marcel Carné's Les Enfants du paradis, Jean Renoir's The Rules of the Game and French Cancan — and considerably less so: for instance, Georges Franju's Thomas the Imposter, Alain Cavalier's Le Combat dans l'île and Jean Grémillon's Remorques and Lumière d'été, all of which deserve far better than the obscurity to which they have been consigned in North America. (All three directors receive major retrospectives this year, Franju at the San Sebastian film festival, Cavalier at the Cinémathèque française, and Grémillon at Il Cinema Ritrovato in Bologna.)
As is perhaps inevitable with such a series, thematic constellations emerge: Alain Resnais and Chris Marker, stalwarts of the so-called Left Bank Group, explore the labyrinths of memory and consciousness; Maurice Pialat and François Truffaut offer divergent views of childhood that reflect their opposing approaches to life and cinema; Jean Gabin gets a mini-retrospective (he deserves a full one!), while Jeanne Moreau turns up several times, more fatale on each appearance. In at least three films, nasty men meet their ends with poison, while the Hitchcock-obsessed tip their hats to the Master in homages both blatant (Truffaut's La Peau douce and Marker's Sans Soleil, both conjuring Vertigo, and Claude Chabrol's La Femme infidèle) and implicit (Henri-Georges Clouzot's nail-biter Diabolique). And everywhere, amour fou and countless ménages à trois, some murderous, some perhaps imaginary (did X really meet A last year at Marienbad?), and some merely insouciant. Subsuming them all, Jean-Luc Godard declares the end of cinema in Weekend, a film that has more to say about how we live now than much contemporary cinema.
— James Quandt
Special thanks to Claire La Masne and Laure Dahout, Consulat général de France à Toronto; Jean-Baptiste Garnero, CNC — Archives Françaises du Film; Susan Oxtoby, Pacific Film Archive, Berkeley.