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Nuit chez Maud narrowly missed a prize for best actress, which Fabian lost to Vanessa Redgrave (Isadora Duncan). And while Trintignant took Best Actor for his role as a magistrate in Costa-Gavras’s political thriller Z (also Best Picture), many thought he equally deserved that distinction for Maud’s church-going engineer. Rohmer’s popular success mystified industry experts: how could an austere picture
to make the film, Chang offers that ‘the Mediterranean has more birth certificates than fish … an anonymous person is harder to expel’ (something displayed in a scene that is depicted in the 2009 film Eden à l’ouest / Eden is West (Costa-Gavras, France/Greece/Italy, 2009), covered in Chapter 4 ). Likewise, his arrival story on a train situates him in connection
British, Scottish? 161 instance Snow’s mainstream account in Capturing Idi Amin) but this remains little discussed. The film achieves this largely by means of the political thriller, a generic dimension that Marx objects to, but her critique of the film overlooks debates about genre and politics that have been found in Film Studies since the 1960s, in the form of the so-called ‘Costa Gavras debates’ which pitted the political thrillers of Costa Gavras against the modernist work of Jean-Luc Godard in a debate over the proper form that political film-making should take
) led to a vogue for political thrillers, such as Costa-Gavras’s trilogy – Z (1969), L’Aveu (1970) and État de siège (1973) – starring the left-wing icon Yves Montand. The same period saw Jean-Pierre Melville’s apolitical and heavily stylised trilogy with Alain Delon (see below). The breadth of the genre thus contributed to its popularity in the subsequent decade: a quarter of all French films made in 1981 were polars
society and its political structures. Films such as Stavisky (Alain Resnais, 1974), Z (Costa Gavras, 1969), Il caso Mattei/The Mattei Affair (Francesco Rosi, 1972), Il conformista/The Conformist or Strategia del ragno/The Spider’s Stratagem (both Bernardo Bertolucci, 1970) are examples of just how far these didactic, critical films aimed to go, usurping stereotypical
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
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
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
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
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