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Losey in Europe
Colin Gardner

Brecht’s Galileo (filmed directly between the two projects) than the vital political activists of filmmakers such as Costa-Gavras, Gillo Pontecorvo or even Resnais. Both Trotsky and Larrea led hermetic lives of purely textual production, one pathetically cut off from past glories, the other Oedipally alienated by the younger generation’s political apathy and unfocused rage. Much of this dearth of topical relevance is rooted in

in Joseph Losey
Will Higbee

lived in the same apartment block; while director Costa-Gavras the iconic auteur of 1970s civic cinema – was also a regular visitor (Aubel 2003 : 19). Kassovitz’s parents appear, therefore, to have been part of the increasingly politicised intellectual and artistic scene found in Paris during the late 1960s and 1970s; though the extent to which they were actively involved in such movements is unclear. For

in Mathieu Kassovitz
Will Higbee

, Kassovitz’s particular brand of social cinema can be compared with the spectacularisation of politics found in French civic cinema of the 1970s, employed by directors such as Costa-Gavras (with whom Kassovitz has recently worked) and Yves Boisset. Certainly Kassovitz would have been familiar with the work of these directors, if only due to the fact that such filmmakers moved within similar social, artistic

in Mathieu Kassovitz
Sarah Cooper

Secretary General of the Czech Communist Party) and ten others were condemned to death, while London and the remaining two were sentenced to life imprisonment. London was freed, however, in 1956. His book, The confession , is a vivid account of living under Stalinist rule, which filmmaker constantin Costa-Gavras decided to make into a film, L’Aveu (1970). On vous parle de Prague moves between newsreel footage of the Slansky

in Chris Marker
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Le Thé au harem d’Archimède and Hexagone
Carrie Tarr

CAP d’électricien and four years of unemployment behind him. But whereas Charef was sponsored by Costa-Gavras, Chibane set up his own production company and took six years to make Hexagone , facing problems in raising funding at every stage. The original script failed to get the avance sur recettes , and in the end the shooting of the film was financed through support from the local community, thanks also to technicians and a local amateur cast who were

in Reframing difference
Guy Austin

Klein’s documentary on the inaugural Panafrican Festival of 1969. The organisation also co-produced French films such as Z (Costa-Gavras, 1968) and Elise ou la vraie vie (Drach, 1970). By the mid-1970s, however, the only Algerian films to have covered their costs were Gillo Pontecorovo’s 1965 classic La Bataille d’Alger and Lakhdar Hamina’s 1968 comedy Hassan Terro (see Salmane 1976b : 22

in Algerian national cinema
Laissez-passer, Effroyables Jardins and Monsieur Batignole

their actions ( 2003 ). They pretend to be resistants and this represents an ad hoc, spontaneous and ultimately counterproductive kind of heroism, made even more problematic when there are reprisals from the Germans, including taking hostages. The German authorities here will serve their own kind of justice by wrongfully convicting individuals and executing them unless the real culprits identify themselves. As previously seen in Séction spéciale (Costa-Gavras, 1975), the French judicial system of the time collaborated in delivering this perverted form of justice

in Reframing remembrance
Diane Otosaka

Introduction Born in 1939 in Paris, Jean-Claude Grumberg is one of France’s best-known contemporary playwrights. A prolific writer, he has authored over thirty plays while also writing for cinema (notably having co-written the scripts of François Truffaut’s Le Dernier Métro ( The Last Metro ) and Costa-Gavras’s Amen ) as well as for young audiences. Key recurrent themes

in Dreams and atrocity
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Michael Temple

-authored tribute to Vigo, produced by François Margolin in 1995. The list of directors is as impressive as it is diverse: Catherine Breillat, Costa Gavras, Claire Denis, Raymond Depardon, Abbas Kiarostami and Parviz Kimiavi, Pavel Lungin and Raoul Ruiz. Most of the episodes take Vigo’s original as a springboard for formal remotivation and thematic speculation. Some redirect À propos de Nice towards contemporary fictional sketches set in the

in Jean Vigo
Derek Paget

publisher of the false libel acted with actual malice’, while for private individuals, ‘a showing of negligence in the publication of the defamatory falsehood’ is required.20 The case that helped establish the US law’s position in regard to docudrama was ‘Davis versus Costa-Gavras’ (1987). The latter film director’s depiction of historical events in his 1982 film Missing was challenged by a very powerful court opponent: the US State Department. Politicians were, to say the least, unhappy with the way American involvement in Chile in 1973 was portrayed in Missing. The

in No other way to tell it