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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
impossibility of spending, of giving, of losing, and the relentless nature of the law of value’. Compare Chabrol on the political films of Costa-Gavras: ‘Tout est récupéré [everything is recuperated]’ (Chabrol 1976 : 319). 8 Italics in original. 9 ‘an idiotic sign, like all the others: Fascist
’/ ‘in attempting to pass his entry exam into Hollywood he overdoes it’. 28 ‘À 15 ans j’ai passé 10 heures par jour à regarder des films comme Gothika . Même si j’aime aussi Costa-Gavras ou Werner Herzog’/ ‘Even if I also appreciate directors such as Costa-Gavras or Werner Herzog, at the age of 15 I
, 1965 Compartiment tueurs ( The Sleeping Car Murders ), Constantin Costa-Gavras, 1965 La Métamorphose des cloportes ( Cloportes ), Pierre Granier-Deferre, 1965 Pierrot le fou , Jean-Luc Godard, 1965 Le Deuxième souffle ( Second Breath ), Jean-Pierre Melville, 1966 Du rififi à Paname ( Rififi in Paris ), Denys de la Patellière, 1966 Le
Desire, 1987, Down by Law, 1986, etc.). She was a regular collaborator of Wim Wenders but also of filmmakers such as the politically committed Costa Gavras, veteran nouvelle vague director Jacques Rivette, and the enfant terrible of independent American cinema, Jim Jarmush. Rivette was a crucial source of reference for Denis, who shot a documentary portrait of him. Jacques Rivette, Le Veilleur (1990) was produced for
’est Madame la France que tu préfères? , 1981, and Le Départ du père , 1983) and Aïssa Djabri ( La Vago , 1983) were critically acclaimed and gave expression to the identity crisis and, in the case of La Vago , the socio-economic disadvantages facing the ‘second generation’. The breakthrough into full-length feature filmmaking aimed at a mainstream audience carne in 1985 with Costa-Gavras’ sponsoring of Mehdi Charef’s Le Thé au harem d’Archimède , winner of
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
, about an attempt at Arab–Israeli conciliation after the six-day war, is a failure on two counts. It is politically indeterminate, in that we are not allowed to identify with one or other of the contesting groups; and, as a costly, large-scale production, it cannot manage to observe events without seeming artificially to recreate them. This would not matter if John Flynn, the director, had been content to turn The Jerusalem File into a straightforward political thriller. But as an admirer, apparently, of Costa-Gavras he has decided to film as efficiently as the rather
shorts commissioned as a homage to Jean Vigo’s (1905–34) celebrated A propos de Nice (1934), a 21 min documentary that drew a biting portrait of the city of the douceur de vivre. The 1995 sequel, however, received little critical approval in spite of its impressive list of contributors (Abbas Kiarostami and Paviz Kimiavi, Catherine Breillat, Raymond Depardon, Pavel Longuine, Claire Denis, Costa Gavras
the treatment of a victim of political oppression. Denis shot a film in defence of the Sudanese activist Ushari Ahmed Mahmoud. Together with Costa Gavras, she was amongst the few participants who chose the musical clip format: produced in collaboration with French singer Alain Souchon, her film follows, through long travelling shots, the wanderings of a black man in the popular multi-ethnic district of Belleville. The images are set to