Word: cinemae
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...color-coordinated catfight assembles eight fabulous femmes (Catherine Deneuve, Ludivine Sagnier, Virginie Ledoyen, Danielle Darrieux, Isabelle Huppert, Firmine Richard, Emmanuelle Beart and Fanny Ardant) for a game of hide-and-shriek, with each star given a guilty secret and a solo chanson. Ozon, the bright hope of French pop cinema (Water Drops on Burning Rocks, Under the Sand), lets the gals get a bit too chatty and catty. But he knows how to dress them in glamorous frocks and attitudes. Seduction is more important than deduction in this chic display of star quality to the eighth power. --By Richard Corliss...
...into the cyclo-filled Saigon of colonial days. They did the same a month later in Hanoi's Old Quarter, and then the 1,000-year-old city of Hoi An. This time, no one was killed, but all that heavy machinery threatened to sabotage a complex vision. In cinema as in war, size is no match for cunning, determination and stealth...
...Form,” Mitchell discussed the various ways African-American pride has been displayed on celluloid. Much of Mitchell’s talk focused on the Blacksploitation era of the late ’60s and ’70s. At a time when most American cinema was dark and depressed, the Blacksploitation pictures, strangely enough, offered hope and “sheer joy” to moviegoers. The heroes of black action pictures always triumphed over their enemies and the women were empowered. Mitchell also took special care to mention Rupert Cross, a little-known African-American actor...
...third and final lecture of the series, “The Aftermath: What Next?” took place at the Harvard Film Archive. While fully acknowledging the existence of bad African-American cinema (he mentioned Booty Call with a cringe), Mitchell remains hopeful for the future. He even turned Booty Call into an interesting case study, illustrating star Jamie Fox’s progression from comic to serious actor, as he moved beyond the silly comedy to his criticlly-acclaimed turn as Muhammad Ali’s trainer in Michael Mann’s Ali. Mitchell also credited...
Mitchell cited one final thing that would keep African-American cinema growing and developing: ambition. He called it “the knot that ties pride and anger together for black actors and actresses.” It is the special hardheadedness that keeps the writers, directors, actors and actresses going even if the parts are bad and the money is hard to find, he said. Mitchell also predicted that the playing field will be leveled in the future. “The next two years will be interesting because people will begin to have access to the same equipment...