European Movie Directors

48 Hours A Day – 48 Heures Par Jour (2008) Trailer Eurocinema

eurocinema — Tue, 23 Dec 2008 18:41:48 +0000

Destined for a brilliant professional future but tired of reaching a ceiling and advancing no further in her career because she also has to look after her children, Marianne dreams of swapping roles with her husband Bruno so that he comes home earlier to take care of the home and she can devote more time to her job! Looking at the dream and the reality, the film casts a humorous eye on the fate of women today who are constantly juggling job, children and home, and are often the only ones to carry the burden of everything.

Ordering Eurocinema Movies Has Never Been Easier. All you need to do is find your cable operator and follow the instructions below:

Time Warner > IMOD or Main Menu>International>look for Eurocinema Titles
BrightHouse Networks> IMOD> International>look for Eurocinema titles
Charter> Channel 999> Movies> Foreign> Eurocinema
Atlantic Broadband> Channel 1> Movies by Category> Eurocinema
Bresnan> Channel 1> Movies on Demand> Eurocinema
Mediacom> Channel 1> Movies> Eurocinema
OneLink>Menu>VOD>Movies>Eurocinema

RCN> Channel 1> International>Eurocinema

Shaw> Menu> VOD> Multicultural> Eurocinema
Rogers> Menu> VOD>Eurocinema
Verizon>Menu>International Films>Eurocinema
Satellite Providers:
DirecTV> VOD menu>Channel 1802 (on the networked HR20 set top box)
Dish Networks> VOD Menu>international movies on demand.
For additional information on how to get VOD on Dish, follow this link:
www.dishnetwork.com/faq/dish_on_demand/default.aspx

Interview with Daniele Luchetti • Director (My Brother Is an Only Child)

eurocinema — Tue, 28 Oct 2008 19:23:13 +0000

September 6, 2007

Two rebellious brothers

Eurocinema: My Brother is an Only Child [trailer, film focus] was inspired by Antonio Pennacchi’s novel Il fasciocomunista. How much of it comes from the book?
Luchetti: When I read the novel, which Cattleya proposed to me, I was initially captivated by its unconventional tone because the novel relates those years firsthand, because it’s an autobiographical story. Then, however, while working on the screenplay as well as and above all while shooting the film I felt there was something emotionally powerful that this story could grasp. This film is very heartfelt for me: I looked at that world affectionately, even the character of Accio, who perhaps in a film of several years ago would have depicted as a monster.

In fact, the approach is less political than one might imagine.
I wanted a film that was similar to me, so I shot it with a light tone, which is my own. I did not want to fall into the trap of the cliché of the fascist. I wanted to portray Accio without judging him and without any intention of legitimising or de-legitimising one political side or the other. Nevertheless, it is not a “qualunquista” [term used to reflect mistrust towards all political factions] film. I wasn’t interested in making a political film, or only a political film, but a film about people who were led by the most diverse circumstances to make their choices, even political ones. I tried to look affectionately at the people who in those years were swept up by the current of history and found themselves, as a result of the most varied circumstances, making political choices that would condition their entire lives. It is a story with several layers, from the relationship between the brothers to politics, the family, love. Through the crack that is created within this working class family I wanted to relate the many cracks that divide Italy: the right and left, North and South, the rich and poor.

How did you direct the actors?
I shot this film in a somewhat different way than usual. First of all, we didn’t rehearse very much. I asked the actors to give up the tricks of the trade and play the characters without judging them, to give a freshness and naturalness, to give the actors freedom and capture certain unpredictable expressions. I asked the director of photography for a 360 degree set so that the actors were free to move around, invent, and so that I could shoot the scene as if it were real.

Claude Chabrol French Movie Director

eurocinema — Mon, 18 Aug 2008 18:37:12 +0000

Claude Chabrol (pronounced [klod ʃaˈbʁɔl] in French) (born June 24, 1930, Paris) is a French film director and has become well-known since his first film, Le Beau Serge (1958), for his chilling tales of murder, including Le Boucher (1970).

He was a member of the French New Wave cinema group. Chabrol and Éric Rohmer wrote Hitchcock (Paris: Éditions Universitaires, 1957) a study of the films made by director Alfred Hitchcock through the film The Wrong Man (1957).

He divorced Agnès, his first wife, to marry the actress Stéphane Audran, with whom he had a son, actor Thomas Chabrol. His third wife is Aurore Paquiss.

[edit] Filmography

Le Beau Serge (1958) (Prix Jean Vigo)
Les Cousins (1959)
À double tour (1959)
Les Bonnes Femmes (1960)
Les Godelureaux (1961)
Les Sept péchés capitaux (sketch) (1962)
L’Œil du Malin (1962)
Ophelia (1963)
Bluebeard (1963)
Les plus belles escroqueries du monde (sketch) (1964)
Le Tigre aime la chair fraiche (1964)
Paris vu par… (sketch) (1965)
Marie-Chantal contre docteur Kha (1965)
Le Tigre se parfume à la dynamite (1965)
La Ligne de démarcation (1966)
Le Scandale (1967)
La Route de Corinthe (1967)
Les Biches (1968)
La Femme infidèle (1969)
Que la bête meure (1969)
Le Boucher (1970)
La Rupture (1970)
La Décade prodigieuse (1971) (based on Ten Days Wonder by Ellery Queen)
Docteur Popaul (1972)
Les Noces rouges (1973)
Nada (1974)
Une Partie de plaisir (1975)
Les Innocents aux mains sales (1975)
Les Magiciens (1976)
Folies bourgeoises (1976)
Alice ou la Dernière Fugue (1977)
Les Liens de sang (1978)
Violette Nozière (1978)
Le Cheval d’orgueil (1980)
Les Fantômes du chapelier (1982)
Le Sang des autres (1984)
Poulet au vinaigre (1985)
Inspecteur Lavardin (1986)
Masques (1987)
Le Cri du hibou (1988, from a novel by Patricia Highsmith)
Une affaire de femmes (1989)
Jours tranquilles à Clichy (1990)
Docteur M (1990)
Madame Bovary (1991)
Betty (1992)
L’Œil de Vichy (1993)
L’Enfer (1994)
La Cérémonie (1995)
Rien ne va plus (1997)
Merci pour le chocolat (2000), prix Louis-Delluc
La fleur du mal (2002)
La Demoiselle d’honneur (2004)
L’ivresse du pouvoir (2006)
La fille coupée en deux (2007)

[edit] Actor

1986 : Je hais les acteurs by Gérard Krawczyk
1987 : L’Été en pente douce by Gérard Krawczyk

[edit] External links

Claude Chabrol at the Internet Movie Database
Senses of Cinema: Great Directors Critical Database
Breathless 7: a Berlinale diary Chabrol’s Comedy of Power at signandsight.com
They Shoot Pictures, Don’t They?
Claude Chabrol Bibliography (via UC Berkeley
Interview with Chabrol on La Cérémonie
Roger Ebert interviews Chabrol in 1971
Surfer on the New Wave – Interview with Chabrol from 2001

Persondata
NAME	Chabrol, Claude
ALTERNATIVE NAMES
SHORT DESCRIPTION	French film director
DATE OF BIRTH	June 24, 1930
PLACE OF BIRTH	Paris, France
DATE OF DEATH
PLACE OF DEATH

Retrieved from “http://en.wikipedia.org/wiki/Claude_Chabrol“

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