It was during a run-in with Coco Chanel in 1958 that Hanne-Karine changed her name to Anna Karina, which the fashion designer told her sounded better. She used the moniker for her movie career, which began in earnest in 1960 with A Woman Is a Woman— just Godard’s second feature to be released —and lasted until 2008 with Victoria, a road movie she directed as well as starred in.
Anna Karina, the French New Wave starlet who rose to international acclaim in films directed by her then-husband Jean-Luc Godard, has died. She was 79.
She and Godard were married from 1961-64, and she served as his muse in such memorable works as A Woman Is a Woman (1961) — for which she received a Silver Bear at the Berlin Film Festival — Vivre sa vie (1962), Band of Outsiders (1964), Pierrot le Fou (1965) and Alphaville (1965).
The actress’ productive career was not limited to the movies of Godard, however. She accumulated more than 50 feature credits, working with other major auteurs like Jacques Rivette, Luchino Visconti, Chris Marker, Volker Schlöndorff and Rainer Werner Fassbinder.
The arresting visual beauty of “A Hidden Life,” which was shot by Joerg Widmer, is essential to its own argument, and to Franz’s ethical and spiritual rebuttal to the concerns of his persecutors and would-be allies. The topography of the valley is spectacular, but so are the churches and cathedrals. Even the cells and offices are infused with an aesthetic intensity at once sensual and picturesque.
The hallmarks of Malick’s later style are here: the upward tilt of the camera to capture new vistas of sky and landscape; the brisk gliding along rivers and roads; the elegant cutting between the human and natural worlds; the reverence for music and the mistrust of speech. (The score is by James Newton Howard.)
Danny DeVito breaks down his most iconic roles, including his characters in ‘It’s Always Sunny in Philadelphia,’ ‘Batman Returns,’ ‘One Flew Over the Cuckoo’s Nest,’ ‘Taxi,’ ‘Throe Momma from the Train,’ ‘Twins,’ ‘Matilda,’ ‘Hercules,’ ‘L.A. Confidential,’ ‘Curmudgeons’ and ‘Jumanji: The Next Level.’
In No Time To Die, Bond has left active service and is enjoying a tranquil life in Jamaica. His peace is short-lived when his old friend Felix Leiter from the CIA turns up asking for help. The mission to rescue a kidnapped scientist turns out to be far more treacherous than expected, leading Bond onto the trail of a mysterious villain armed with dangerous new technology.
From Atlantis in The Spy Who Loved Me to Nathan Bateman’s ultra-modern abode in Ex Machina, big-screen villains tend to live in architectural splendor. The villain’s lair, as popularized in many of our favorite movies, is much more than where the megalomaniac goes to get some rest.
Instead, the homes of the villains are places where evil is plotted and where, often, the hero is tested and must prove him/herself. Like evil itself, the abodes of movie villains are frequently compelling and seductive. From a design standpoint, they tend to be stunning, sophisticated, envy-inducing expressions of the warped drives and desires of their occupants.
Lair, the first title in Tra Publishing’s Design + Film series, celebrates and considers several iconic villain’s lairs from recent film history. The book, strikingly designed in silver ink on black paper, explores the architectural design of these structures through architectural illustrations and renderings, photographs, essays, film analyses, interviews, and more.
The war spectacle “1917,” directed by Sam Mendes (“American Beauty”), was unveiled in preview screenings on both coasts this past weekend and immediately announced itself as a significant Oscar player. The movie follows two British soldiers during World War I (George MacKay and Dean-Charles Chapman) as they’re given a seemingly impossible mission: Rush through dangerous territory to deliver a message that could save another battalion on the verge of annihilation.
Though “1917” recalls other Oscar-winning war movies like “Saving Private Ryan” and “Dunkirk,” Mendes distinguishes his effort by presenting the story as though “1917” were filmed all in one single take. It isn’t — Mendes and the cinematographer Roger Deakins employ all manner of clever methods to stitch together a great many different shots — but the average moviegoer won’t be able to spot the tells, and the you-are-there verisimilitude is potent.
Netflix has risen from obscurity to be one of the most powerful media companies in the world with more than 150 million global subscribers. It has launched critically acclaimed hits such as House of Cards, The Crown and Unbelievable, as well as showcasing the back catalogues of popular television series. But as part of its rapid growth, the company has racked up huge debts.
Joining Anushka Asthana to discuss the long-term sustainability of Netflix are the TV critic Mark Lawson and the Guardian’s deputy business editor Dan Milmo.