When Quentin Tarantino got a plane earlier this month, traveling to the Lumière Film Festival in Lyon, France it wasn’t just for a meet and greet. In addition to preparing for a masterclass talk, the director selected fourteen films from 1970 to screen at the festival — Arthur Hiller’s “Love Story,” Jerzy Skolimowski‘s “Deep End,” Dario Argento’s “The Bird With The Crystal Plumage,” Anatole Litvak‘s “The Lady in the Car with Glasses and a Gun,” Eric Rohmer‘s “Claire’s Knee,” Claude Chabrol’s “The Butcher,” John Huston‘s “The Kremlin Letter,” Billy Wilder’s “The Private Life Of Sherlock Holmes,” Bob Rafelson’s “Five Easy Pieces,” William Wyler‘s “The Liberation of L.B.
Continue reading Quentin Tarantino Dives Into 1970s Cinema In Full Masterclass Talk From 2016 Lumière Film Festival at The Playlist.
Continue reading Quentin Tarantino Dives Into 1970s Cinema In Full Masterclass Talk From 2016 Lumière Film Festival at The Playlist.
- 10/18/2016
- by Kevin Jagernauth
- The Playlist
Decidedly weird but not altogether enthralling is the 1962 title Five Miles to Midnight, a melodramatic thriller with noir elements and one of the last films by the accomplished Anatole Litvak (who would only direct two more features after, including The Night of the Generals and the currently unavailable 1970 version of The Lady in the Car with Glasses and a Gun).
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- 7/19/2016
- by Nicholas Bell
- IONCINEMA.com
If you read a title of a film that was The Lady In The Car With Glasses And A Gun at first glance you may have thought that someone was trying to be cheeky with their take on exploitation cinema. A cheap, B-film grade knock off of a bygone era. Thankfully this is not the case at all with Joann Sfar's upcoming French thriller. Magnolia Pictures is releasing the film in cinemas and on VOD on December 18th and they released a trailer yesterday. A beautiful secretary steals her boss' sports car to go joyriding in this stylish psychological thriller. She goes to visit a seaside town she swears she's never been to, but everyone knows her name. And when a body turns up in the...
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- 11/12/2015
- Screen Anarchy
‘Nymphomaniac’ Star Stacy Martin Leads U.S. Trailer for ‘The Lady in the Car with Glasses and a Gun’
After leaving a big impression in both volumes of Lars von Trier‘s Nymphomaniac, we were hoping to soon see more from up-and-comer Stacy Martin. Before Brady Corbet’s The Childhood of a Leader and Ben Wheatley’s High Rise hit theaters, we’ll see her in The Lady in the Car with Glasses and a Gun, a ’70s-influenced thriller with more than a bit of style to spare. (That period influence isn’t only aesthetic: this film is the second adaptation of Sébastien Japrisot’s novel, which was previously brought to the screen in 1970.)
The true lead, however, is Freya Mavor, as will be showcased in this preview — and that’s also the most this preview will tell you. It’s almost exclusively a collection of stylish, “propulsive” shots — set to the antiquated sounds of Wendy Rene’s “After Laughter (Comes Tears)” — which one of the only available reviews confirms is a key component.
The true lead, however, is Freya Mavor, as will be showcased in this preview — and that’s also the most this preview will tell you. It’s almost exclusively a collection of stylish, “propulsive” shots — set to the antiquated sounds of Wendy Rene’s “After Laughter (Comes Tears)” — which one of the only available reviews confirms is a key component.
- 11/11/2015
- by Nick Newman
- The Film Stage
Set to Wendy Rene's 1960 song "After Laughter (Comes Tears)," the new trailer features Freya Mavor, playing a gorgeous secretary, driving around in a stolen car, but things go from stylish and sexy to brutally dark and thrilling in this French-Belgian production. "The Lady in the Car With Glasses and a Gun" centers on Dany Doremus (Mavor) as she drives her boss's car to a town where everyone seems to know her, although she claims she's never been in the town before. Matters become worse when she discovers a body in her trunk. The trailer is a stunning peek at the noir thriller, which looks to be both stylish and gritty. Director Joann Sfar returns to the screen with his third film and third adaptation; his two previous films "Gainsbourg: A Heroic Life" and "The Rabbi's Cat" were based on his own comics. Sfar takes a dabble at another adaptation...
- 11/11/2015
- by J. Carlos Menjivar
- Indiewire
After a successful career as an illustrator and as a writer, Joann Sfar tackled the medium of cinema in 2010 when he directed Gainsbourg (Vie héroïque), a beautiful and surprisingly oneiric biopic about the famous French singer. He then followed up with two animated films, one he adapted from his own work (The Rabbi's Cat, 2011) and a second one for which he directed one segment (Kahlil Gibran's The Prophet, 2014). With La Dame dans l'Auto avec des Lunettes et un Fusil (The Lady in the Car with Glasses and a Gun), Sfar comes back to live cinema with this adaptation of Sébastien Japrisot's homonymous novel, which was already transposed once in 1970 by Anatole Litvak. Sfar himself stated that he wanted to make a...
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- 8/4/2015
- Screen Anarchy
Joann Sfar has taken his acclaim as a comics artist and used that momentum to bring his particular visual flair to the world of filmmaking, making his directorial debut with 2010 biopic "Gainsbourg." While narratively uneven, the film undoubtedly boasts strong imagery which renders his foray into genre movies via the upcoming "The Lady In The Car With Glasses And A Gun" all the more intriguing. Read More: Review: 'Gainsbourg: A Heroic Life' Is An Ambitious Biopic That's Disappointingly Incomplete Starring Freya Mavor, Elio Germano, Benjamin Biolay and "Nymphomaniac" star Stacy Martin, and based on the book by Sébastien Japrisot, the story kicks off when an enigmatic woman takes her employer's car for a joyride. Along the way, she encounters a variety of people who claim to have seen her before, and things become even more twisted when a dead body is discovered in the trunk. My curiosity is certainly piqued.
- 6/30/2015
- by Kevin Jagernauth
- The Playlist
Some movies just vanish.
While Costa-Gavras continues to enjoy a high reputation for his sixties and seventies political thrillers (perhaps more respected than watched, which is a shame) and to some extent for his later American movies (more watched than respected, also a shame), The Sleeping Car Murders (1965), one of his earliest works, is so hard to see that I wound up watching a pan-and-scanned off-air recording taped on VHS from Scottish Television sometime in the eighties, and dubbed into English. At least Simone Signoret seems to have done her own re-voicing, but her erring husband Yves Montand has that strained Amurrican tone I associate with Robert Rietty doing Orson Welles.
So Costa-Gavras' movie, formerly a missing person, turns up as a homicide victim, mutilated to prevent identification. With the performances defaced, the compositions utterly ruined, and the editing patterns minced in this copy (because a cut doesn't mean the...
While Costa-Gavras continues to enjoy a high reputation for his sixties and seventies political thrillers (perhaps more respected than watched, which is a shame) and to some extent for his later American movies (more watched than respected, also a shame), The Sleeping Car Murders (1965), one of his earliest works, is so hard to see that I wound up watching a pan-and-scanned off-air recording taped on VHS from Scottish Television sometime in the eighties, and dubbed into English. At least Simone Signoret seems to have done her own re-voicing, but her erring husband Yves Montand has that strained Amurrican tone I associate with Robert Rietty doing Orson Welles.
So Costa-Gavras' movie, formerly a missing person, turns up as a homicide victim, mutilated to prevent identification. With the performances defaced, the compositions utterly ruined, and the editing patterns minced in this copy (because a cut doesn't mean the...
- 11/6/2014
- by David Cairns
- MUBI
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