L'important c'est d'aimer (1975) - News Poster


Life Is Elsewhere: Close-Up on "That Most Important Thing: Love"

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Close-Up is a feature that spotlights films now playing on Mubi. Andrzej Żuławski's The Most Important Thing: Love (1975) is showing November 22 - December 22, 2017 in the United States.The DevilKiedy wszedłeś między wrony, musisz krakać jak i one.

(‘When among the crows, caw as they do.’)—Polish sayingAndrzej Żuławski’s That Most Important Thing: Love (1975) is unlike any film he ever made, and was certainly a departure in his visual sensibility relative to the feature films he had made previously in his native Poland: The Third Part of the Night (1971) and The Devil (1972). Narratively and visually, the film is at once an oddity and a turning point in Żuławski’s oeuvre, and in viewing it, it would benefit the viewer to understand the director’s experience with the French cinematic tradition and its effect on his own cinema.Żuławski was born into a well-known family of artists that spanned several generations in Poland,
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New to Streaming: ‘Woodshock,’ ‘The Big Sick,’ ‘Heart of a Dog,’ and More

With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.

The Big Sick (Michael Showalter)

From start to finish, The Big Sick, directed by Michael Showalter, works as a lovingly-rendered, cinematic answer to the dinner party question: “So how did you two meet?” Based on comedian Kumail Nanjiani‘s real life (he co-wrote the screenplay with his wife Emily V. Gordon), we meet Kumail (Nanjiani) as he finishes a stand-up set in Chicago. He becomes fast friends with a
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NYC Weekend Watch: ‘La Chinoise,’ Yvonne Rainer, ‘Koyaanisqatsi’ Scored Live, ‘Saturday Night Fever’ & More

Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.

Quad Cinema

Godard’s La Chinoise has been restored.

The Bava series continues, as do No Maps on My Taps and Zulawski’s That Most Important Thing: Love.


A to Z” continues with Altman and Suzuki, while the Alain Tanner retro winds down, “‘Scope in the ’60s” plays, and Mary Poppins screens.

Film Society
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Power and Resistance: Andrzej Żuławski’s "On the Silver Globe"

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“There is in every one of us, even those who seem to be most moderate, a type of desire that is terrible, wild, and lawless.”—The Republic, Book IX 572bWhat’s the best way to describe the mania of an Andrzej Żuławski film? William Grimes, eulogizing Żuławski for The New York Times chose “emotionally savage.” J. Hoberman used “hyperkinetic,” “frenzied,” and “‘awful’ in its root sense of inspiring dread. Daniel Bird, writing about the most recent Lincoln Center screenings in New York, chose “deeply disturbing.” These descriptors make perfect sense after experiencing a Żuławski film, but I’ve never been able to sell his films to a newcomer this way. How could I? They’re much too primal for adjectives in our delicate English language, crafted to communicate Enlightenment-era ideas in a pleasing series of vibrations. The intensity of this director’s films could only be described in some sort of ancient Lovecraftian squelching,
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Deneuve is César Award Record-Tier; Stewart Among Rare Anglophone Nominees in Last Four Decades

Catherine Deneuve: César Award Besst Actress Record-Tier (photo: Catherine Deneuve in 'In the Courtyard / Dans la cour') (See previous post: "Kristen Stewart and Catherine Deneuve Make César Award History.") Catherine Deneuve has received 12 Best Actress César nominations to date. Deneuve's nods were for the following movies (year of film's release): Pierre Salvadori's In the Courtyard / Dans la Cour (2014). Emmanuelle Bercot's On My Way / Elle s'en va (2013). François Ozon's Potiche (2010). Nicole Garcia's Place Vendôme (1998). André Téchiné's Thieves / Les voleurs (1996). André Téchiné's My Favorite Season / Ma saison préférée (1993). Régis Wargnier's Indochine (1992). François Dupeyron's Strange Place for an Encounter / Drôle d'endroit pour une rencontre (1988). Jean-Pierre Mocky's Agent trouble (1987). André Téchiné's Hotel America / Hôtel des Amériques (1981). François Truffaut's The Last Metro / Le dernier métro (1980). Jean-Paul Rappeneau's Le sauvage (1975). Additionally, Catherine Deneuve was nominated in the Best Supporting Actress category
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“What does it matter how many lovers you have if none of them gives you the universe?” — Jacques Lacan

“How’s it feel to take that off every night and find there’s nothing underneath?” — Quentin

Rendez-vous (1985) is the sixth film directed by André Téchiné, the first he wrote with Olivier Assayas, and the first time Téchiné cast Juliette Binoche. This director continued his trend of making films about failed romances, per Barocco and Hotel America, and expanded his style to create something similar to Andrzej Żuławski’s films. Téchiné’s film featured graphic sex-scenes with masochistic overtones and soft-core porn shows that are reminiscent to what Żuławski explored in That Most Important Thing: Love. Rendez-vous looks at unrequited love from the perspective of damaged individuals that have no idea what they want and abuse others in the process of trying to discover that for themselves.

Binoche play Nina, a
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Andrzej Żuławski @BAMcinematek

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Andrzej Żuławski does not like the title of the first retrospective of his work in the Us. Hysterical Excess: Discovering Andrzej Żuławski opens tommorrow and runs through March 20 at New York's BAMcinématek. At the top of his piece for the New York Times, J Hoberman allows the director to explain his objection and then suggests himself that the "word to best describe the Żuławski oeuvre might be 'awful' in its root sense of inspiring dread. Exuding charm and urbanity on the phone, Mr Żuławski is nonetheless an auteur to be approached with trepidation. His movies are seldom more than a step from some flaming abyss, with his actors (and audience) trembling on the edge. Typically shot with a frenzied, often subjective moving camera in saturated colors that have the over-bright feel of a chemically induced hallucination, these can be hard to watch and harder to forget."

Bam's presenting all 12 features
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Berlinale 2012. Denis Côté's "Bestiaire"

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As Godard once said of Jerry Lewis, Denis Côté is "a very good framer, like great painters. He has a lot of sense of geometry." In Bestiaire, Côté trains the viewer's eye right from the opening sequence, in which three artists, one sitting, the other two standing before their easels on either side of her, sketch a doe. It might take a moment for the realization to sink in that the doe is dead; she's been stuffed and mounted in an eerily life-like pose. I have to wonder, too, if the artists weren't chosen for their radically different approaches. One concentrates on establishing the form of the animal, another on the texture of the fur.

What follows is a series of compositions whose dominating principle is the frame. For the most part, Côté does not set out to arrange these compositions in such a way that they'll kick the mind
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Daily Briefing. Zulawski @ Bam, Film Comment Selects, Berlinale

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Romy Schneider on the set of

Andrzej Zulawski's That Most Important Thing: Love (1975)

Following last month's revival of Possession (1981), Hysterical Excess: Discovering Andrzej Zulawski will be the first complete retrospective of the Polish director's work in the Us, running from March 7 through 20 at BAMcinématek in New York. What's more, Zulawski will be making his first appearance in the Us to present an oeuvre that "spans four languages and four decades," as Bam puts it, announcing that they'll be presenting "all 12 of Zulawski's feature films, many of which remain unavailable on home video, with 11 in 35mm prints. Additionally, the two rarely screened shorts that Zulawski made for Polish television at the beginning of his career, Pavoncello and The Song of Triumphant Love (both 1967), make their Us debuts in the series."

The second big announcement out of New York today comes from the Film Society of Lincoln Center. The lineup and
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