ROLLE, Switzerland: Jean-Luc Godard, one of the most influential filmmakers of the 20th century and the father of the French New Wave, died “peacefully at home” on Tuesday aged 91, his family said.
The legendary maverick blew up the conventions of cinema in the 1960s, shooting his gangster romance “Breathless” on the streets of Paris with a hand-held camera, using a shopping trolley for panning shots.
He continued to thumb his nose at Hollywood and an older generation of French filmmakers by breaking all the rules again in “Contempt” (1963) with Brigitte Bardot and “Pierrot le Fou” in 1965.
“No official (funeral) ceremony will take place,” his family said. “He will be cremated... And it really must happen in private.”
The secrecy — and choosing to disappear in a puff of smoke — is typical of Godard, who loved to surprise the world from his lair in the Swiss village of Rolle where he lived as a virtual recluse for decades.
It was there that he died “peacefully at home,” his wife Anne-Marie Mieville at his side, his producers said.
Godard’s influence is hard to underestimate, with directors from Martin Scorsese, Quentin Tarantino and Paul Thomas Anderson to Robert Altman, the maker of “M*A*S*H” and “The Player,” often speaking of their debt to him.
French President Emmanuel Macron hailed the director’s talent and mourned the loss of a “national treasure.”
“Jean-Luc Godard, the most iconoclastic filmmaker of the New Wave, invented a resolutely modern, intensely free art. We have lost a national treasure, a genius,” Macron tweeted.
Godard’s house, with green shutters and a green bench out front, looked empty on Tuesday, its shades drawn, with an abandoned ashtray and teapot on the windowsill, an AFP reporter said.
Despite the filmmaker’s often difficult relationship with critics, The Guardian’s Peter Bradshaw heaped praise on Godard, saying, “The last great 20th-century modernist is dead.”
He compared him to other 1960s rebels like John Lennon and Che Guevara.
“Or maybe Godard was the medium’s Socrates, believing that an unexamined cinema was not worth having,” he added.
Guy Lodge, of the screen bible Variety, tweeted that it was “glib to say ‘he changed everything’, but he sure changed a hell of a lot of things.”
Indeed, Godard became a “god” to many 1960s political and artistic radicals who would hang on every word of his often contradictory — and tongue-in-cheek — declarations on the state of cinema and the world.
“All you need for a movie is a gun and a girl,” he once proclaimed, in a nod to US actress Jean Seberg, the star of “Breathless.”
The movie was a fashion as well as a film landmark, her pixie haircut copied by millions bowled over by her effortless Parisian cool.
“A story should have a beginning, a middle and an end — but not necessarily in that order,” Godard later famously declared, and “every edit is a lie.”
As he grew older, Godard would occasionally emerge from his Swiss bolthole to make low-budget films well into his 80s.
He never, however, regained the capacity to shock or move more mainstream audiences as he had in the 1960s, though a small band of disciples remained doggedly loyal to the master.
His periodic appearances at the Cannes film festival — often via FaceTime — still drew crowds, however, though he no longer held the sway he did when he had managed to shut down the festival entirely in 1968 in solidarity with the student protests in Paris.
Cannes also saw the premiere in 2017 of “Redoubtable,” a tragi-comic film about Godard’s doomed romance with the French actress Anne Wiazemsky, directed by the Oscar-winning director of “The Artist,” Michel Hazanavicius.
French cinema giant Jean-Luc Godard dies aged 91
https://arab.news/wswz8
French cinema giant Jean-Luc Godard dies aged 91
- The legendary maverick blew up the conventions of cinema in the 1960s
- The secrecy -- and choosing to disappear in a puff of smoke -- is typical of Godard
‘Bridgerton’ actress says she was warned not to campaign for Palestinians
- Nicola Coughlan: Hollywood insiders told her advocacy could harm her career
- Irish star feels ‘moral responsibility’ to campaign for ceasefire, continue to fundraise
LONDON: Irish actress Nicola Coughlan has revealed that she was told her Palestinian advocacy could harm her career.
The “Bridgerton” and “Derry Girls” star told Teen Vogue she had been warned by people in Hollywood not to be openly supportive of Palestinian rights, but has continued to campaign for a ceasefire in Gaza and still publicly wears an Artists4Ceasefire pin.
“You do get told, ‘you won’t get work, you won’t do this,’ but I also think, deep down, if you know that you’re coming from a place of ‘I don’t want any innocent people to suffer,’ then I’m not worried about people’s reactions,” she said.
“My family lived in Jerusalem back in the late ‘70s, early ’80s, before I was born, so I heard first hand stories about them living there.”
She said her father, who served in the Irish military, went to a “lot of war-torn regions after the conflict and try and help rebuild,” and this had left a profound impression on her.
“I’m so lucky I’ve gotten to this point in my career, and I’m privileged as a white woman, first off.
“Then the fact that I get to do the job I love and travel the world and meet amazing people, I feel a moral responsibility to give back.”
She has made a point of continuing to campaign and raise money around the issue, adding: “To me, it always becomes about supporting all innocent people, which sounds oversimplified, but I think you’ve got to look at situations and just think, ‘Are we supporting innocent people no matter where they’re from, who they are?’ That’s my drive.”
Coughlan said social media plays a role in driving advocacy but it requires nuance. “More of us should be trying to understand how upsetting and traumatising this is for Jewish people, and how horrific it is that all these innocent people in Palestine are being murdered,” she added.
A number of Hollywood figures have faced repercussions for their open support of the Palestinians or criticism of Israel.
Mexican actress Melissa Barrera was fired from the latest “Scream” film over social media posts in support of Palestine, while director Jonathan Glazer caused controversy for using his acceptance speech at the Oscars for his film “The Zone of Interest” to criticize the Gaza war.
‘Game of Thrones’ star Liam Cunningham says world will ‘not forget’ those who stayed silent on Gaza
- Irishman has been vocal advocate for Palestinian causes for decades
LONDON: Irish actor Liam Cunningham has said the public will “not forget” those who have not voiced support for Palestinians during the ongoing Israel-Hamas conflict in Gaza.
The “Game of Thrones” star has been a vocal advocate for Palestinian causes for decades. Speaking during a demonstration in Dublin led by Irish-Palestinian Ahmed Alagha, who has lost 44 family members in the recent Israeli assault on Gaza, Cunningham said he has been commended by his peers in the past for his activism.
“What concerns me is that the people who do care and are not doing anything are, in my opinion, worse than the people who don’t care,” he said.
Cunningham was asked if he had spoken to other actors to convince them to show support for the Palestinian cause, but responded by saying he could not speak for others, The Independent reported.
However, he added, “The internet doesn’t forget. When this comes around, when the ICJ (International Court of Justice) and ICC (International Criminal Court) hopefully do their work honorably, it is going to come out,” he said.
“And the people who didn’t talk — it is not going to be forgotten. It’s livestreamed, this genocide, and (saying) you didn’t know is not an option. You did know. And you did nothing. You stayed quiet. I need to be able to look in the mirror, and that’s why I speak,” he added.
A month after Israel launched its onslaught on Gaza in response to Hamas incursions on Oct. 7 in Israeli territory in which nearly 1,200 people were killed and around 250 hostages were taken, Cunningham said that for Irish people to ignore the treatment of Palestinians would be to “betray” their history.
“If we allow ourselves to accept this behavior, then we allow it to happen to us,” he said at the time. “We have to stand up for standards. We have to stand up for international law and it reduces us as human beings if we don’t.”
Israel’s assault on Gaza has killed more than 34,000 Palestinians, around two-thirds of them children and women, according to Hamas-run health authorities in the enclave.
Saudi Film ‘Hajjan’ wins 6 nominations at Critics Awards for Arab Films
DUBAI: Saudi Arabia-based film “Hajjan,” directed by Egyptian filmmaker Abu Bakr Shawky, is nominated for six categories at the eighth Critics Awards for Arab Films.
The movie is competing in the best feature film, best screenplay, best actor, best music, best cinematography and best editing categories.
“Hajjan” tells the story of Matar, a boy who embarks on a journey across the desert with his camel, Hofira.
The movie is a co-production between the Kingdom’s King Abdulaziz Center for World Culture, or Ithra, and Egyptian producer Mohamed Hefzy’s Film Clinic.
The movie, which is written by Omar Shama from Egypt and the Kingdom’s Mufarrij Almajfel, stars Saudi actors Abdulmohsen Al-Nemer, Ibrahim Al-Hsawi, among others.
The awards ceremony, scheduled for May 18 on the sidelines of the Cannes Film Festival, is organized by the Arab Cinema Center in Cairo and assessed by a panel of 209 critics representing 72 countries.
Sudanese director Mohamed Kordofani’s inaugural feature film, “Goodbye Julia,” and Tunisian filmmaker Kaouther Ben Hania’s Oscar-nominated documentary, “Four Daughters,” scored nominations in seven categories.
Jordanian filmmaker Amjad Al-Rasheed’s “Inshallah A Boy” and Palestinian-British director Farah Nabulsi’s “The Teacher” have six nominations.
Emirati designer Hamda Al-Fahim dresses Anya Taylor-Joy for Tiffany event
DUBAI: US actress Anya Taylor-Joy this week was spotted at the Tiffany & Co. celebration of the launch of Blue Book in Beverly Hills wearing a dress by Emirati designer Hamda Al-Fahim.
The actress from “The Queen’s Gambit,” who is the ambassador for the American luxury jewelry label, impressed her fans in a head-turning dark golden brown dress that featured a corset-styled bodice paired with a fitted velvet skirt that flowed down, culminating in a short train trailing behind her.
The dress is called the Velvet Canyon and is from Al-Fahim’s Earthy collection.
Al-Fahim took to Instagram to share pictures of the star championing her design with her 498,000 followers.
“Anya Taylor-Joy (looks) stunning in our Velvet Canyon,” she wrote on her Stories.
For her jewelry, Anya chose a glitzy diamond necklace embellished with red rhinestones, accompanied by matching earrings and a ring. She completed the ensemble with a statement chunky silver bracelet.
She styled her blonde hair with a side part, which cascaded in soft waves past her shoulders.
Taylor-Joy was accompanied by a star-studded lineup of celebrities, including Olivia Wilde, Emily Blunt, Gabrielle Union, Quinta Brunson, Rosie Huntington-Whiteley, Reese Witherspoon, Laura Harrier, Suki Waterhouse and Aimee Song, among others.
Wilde flaunted a black figure-hugging dress with a plunging neckline, Blunt was radiant in a white sequin dress, Union opted for a custom-made Staud dress in black and white, Brunson wore a black velvet midi-gown from Roland Mouret and Huntington-Whiteley chose a white Carolina Herrera dress.
Al-Fahim is an Abu Dhabi-based designer known for her elegant and ethereal aesthetic, often featuring intricate embellishments, delicate fabrics and flattering silhouettes. Her creations combine femininity and sophistication, blending traditional craftsmanship with modern sensibilities.
Seen on red carpets, premieres and high-profile events worldwide, Al-Fahim’s creations have captured the attention of international celebrities including Rihanna and Jennifer Lopez.
Al-Fahim has also previously teamed up with US luxury handbag designer Tyler Ellis on a limited-edition capsule collection in 2022.
REVIEW: Sofia Boutella’s heroic efforts can’t save ‘Rebel Moon — Part Two’
DUBAI: “Rebel Moon — Part One: A Child of Fire” drew scathing reviews (our writer described it as perhaps “the most discombobulating collection of mismatched sci-fi tropes ever committed to film”). “Part Two: The Scargiver” simply adds to that legacy.
The story: Former Imperium soldier Kora and the surviving band of ragtag warriors she’s recruited return to the moon of Veldt — home to simple farming folk in danger of being blown to bits by the mighty Imperium for failing to supply the unreasonable grain quota demanded of them. With just a few days before the deadline, Kora and her band must train the villagers to fight (and harvest the grain in just three days to provide a bargaining chip). What Kora doesn’t know is that Admiral Noble, the bad guy she ‘killed,’ is still alive. And bent on vengeance.
Before the enemy arrives, the warriors tell their life stories in a trust-building exercise — one of the clunkiest pieces of exposition ever written. There are slow-mo shots of the harvest gathering and a brief interlude to show that Kora and farmer Gunnar are very much in love.
Then, thankfully, we’re into the battle(s). Here, at least, director Zack Snyder doesn’t disappoint, even giving an original twist to the ‘spaceship plummeting from the sky’ trope by staging a showdown between Kora, Gunnar and Admiral Noble on a floor that becomes increasingly vertical. Below them, the villagers fight heroically against odds very much stacked against them, even with the help of Nemesis and her two flaming definitely-not-lightsabers.
The well-constructed battle scenes, though, aren’t enough. Not even with a cast fighting as heroically as the villagers to salvage something. Sofia Boutella, as Kora, emerges with most credit, proving herself a convincing action hero who deserves better than this material to work with (spoiler alert: perhaps even material that allows the heroine to kill the bad guy herself, without the intervention of her boyfriend).
Yes, no one’s sitting down to watch an “epic space opera” in the expectation of thought-provoking dialogue, but “Rebel Moon” is like the result of forcing a seven-year-old to watch all things “Star Wars” and “Star Trek” in random order, then asking them to write down what happened. The best thing to say about “The Scargiver” is that it finishes — but even that comfort is tainted by Snyder’s cynical setting up of a potential part three. Possibly because that seven-year-old fell asleep before writing an actual ending.
