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the way in which structure ‘represents’ and ‘explains’ content, and claims to ‘know’ and ‘judge’ events within a ‘cause-effect chain’, Elephant serves to foreground the ideological mediation of the narrative process. The radicalism of this combination of form and narrative can be explored through reference to Loach’s Hidden Agenda, which approached Britain’s alleged shoot-to-kill policy through an investigative structure resembling a political thriller. John Hill (1997b: 131) located complaints about this structuring alongside the ‘Costa-Gavras debate’, which tied
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
Europe’s internal open border policies. The ready aero-mobility addressed in Chapter 3 means that distant coastal resorts can simultaneously occupy in popular imagination the role of remote and perilous borderline on the one hand and convenient vacation hub on the other. This confrontation is central to three of the films covered in this chapter. Eden à l’ouest / Eden Is West (Costa-Gavras
’/ ‘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
cinematic critiques including Reds (Warren Beatty, 1981), Missing (Costa Gavras, 1982), Silkwood (Mike Nichols, 1983), and of course Stone’s own Salvador (1986), Platoon (1986) and Wall Street. By the time that Natural Born Killers arrived in cinemas, US audiences were more likely to be savouring The Bodyguard (Mick Jackson, 1992), Jurassic Park (Steven Spielberg, 1993), Forrest Gump (Robert Zemeckis, 1994) and The Lion King (Roger Allers and Rob Minkoff, 1994). Only in Quentin Tarantino’s Pulp Fiction (1994), fêted by the Academy with a Oscar for Best Screenplay and six
’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
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
, 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
she refuses him. This is a rose-coloured perspective, of course; other international films such as Amen. (2002, Costa-Gavras) reveal uncomfortable truths of Catholic complicity in collaboration during the war and also in hiding Nazis in the subsequent decades. Lelouch may tread lightly in his judgment of the Catholic Church, but the film's condemnation of the authorities and individuals who sought to profit from this ‘miserable’ situation is clear. In a heartbreaking scene, one of the last things Henri Fortin's father (Henri senior) says to his
one of several niche directors who sought to strike a different tone and maintain some of the agendas set by Pakula and Coppola a decade earlier. Alongside him, Warren Beatty, Constantin Costa-Gavras and Mike Nichols all made important contributions to Hollywood’s more daring liberal wing, with movies such as Reds (1981), Missing (1982) and Silkwood (1983). The Russian Revolution, South American politics and corporate and political cover-ups seemed unlikely subjects for critical let alone commercial successes during the decade, but each of the directors bucked the