This poetic style has largely disappeared

In the production of the last six months, a title is required: "The surrealism in film" (Ramsay), a classic of Ado Kyrou reissued last winter. It allows to understand the evolution of the work of the critic, the "smuggler" between the film and the public. In 1952, Kyrou did not, as critics today, DVD or VHS for ironing, shell, reverse films. He had to rely on his memory. Kyrou therefore wrote souvenirs of films. In a splendid fog, his texts mix fantasies to images of the screen: "Lying on the sofas of the wagon-salon of Shanghai Express, Marlène disappears behind his huge black lace hat." A hands wrung a sudden gesture the hat and the lips of Marlène entrouvraient. "This poetic style has largely disappeared. "The Dvdéothèque of Jean Douchet" (Les Cahiers de cinema), host star of the film society and historical pen of the "Cahiers", is the evidence, starting with the same title. Douchet regularly based on "pause" for framing, explain the choice of the filmmaker. Scroll and analyses of Tarantino, Walsh, Kitano, Godard, Ozon movies.

Another kind: the book devoted to a film, a Director, an actor. In his "Taxi Driver" (transparency, collection "Love"), Amy Taubin is interested in the lighthouse of 1970s directed by Scorsese title. The photos selected by the production for promotional purposes have been replaced with plans drawn inside of the films. His work goes beyond plastic study remember that movies, mostly American, is the mirror of a nation. The hero, writes, "is responsible for two centuries of American history written with blood."

Saga overwrought

Hollywood vehicle the American myth, his films and its history. His Annals are paved legends. Former editor in Chief of the "first" us, "Vanity Fair contributor Peter Biskind is today the most brilliant of his columnists. It tells the story of the film as overexcited saga. Stories, more or less proven, are all the more incredible to put in existing characters. After having discussed the generation Coppola, Lucas and Spielberg in "The new Hollywood", it traces with "Sex, lies and Hollywood" (the seeks-noon), the 1990s and the emergence of the "independent cinema". Tarantino, Matt Damon or Uma Thurman are stealing the spotlight by the shrewd Weinstein, angry dictators brothers at the head of the Miramax production company. On more than six hundred pages often very funny, racing stars in crying, jets of ashtray, necklaces of name-calling, bundles of dollars, limousines and champagne showers. The point is summarized in a sentence by actor Ethan Hawke: "The Weinstein visited sexy independent films by proving that they could be profitable." The problem is that the way they made commercial films. "A Hollywood, the margin eventually enter into the standard.

Singular object

Columnists, critical, academics are sometimes filmmakers, filmmakers, writers. The presence of Jean-Luc Godard (JLG) in exposure, ("Voyage (s) in utopia.") Looking for a theorem lost. ("JLG 1945-2005", until August 14) and especially a complete retrospective at the centre Pompidou, in Paris, gives rise to the new edition of his "Histoire (s) of cinema" (Gallimard): amazing series of photomontages where Klimt meets Hitchcock on a dark, funny, nostalgic frame. JLG is an observation: "I wanted to be engineer, I don't even know if I managed to be ingenious."

Most singular object, signed Peter Greenaway: the "round night" (see Dis), scenario for a film that the author of "Murder in a French garden" has not yet made on the work of Rembrandt. As illustrations, Greenaway cut the canvas in large planes to search the soundtrack orchestrated by the painter. He is thus isolating a dog, a musket which slams... and through the pages, a strange police film eventually take shape.

In the second volume of "Lessons of cinema" (new world), collection of interviews with filmmakers by Laurent Tirard for the monthly "Studio", Atom Egoyan exposes this theory: "the language of cinema is one of our dreams." We dream plans large, medium and big plans. "To see the next Greenaway, just read... and turn a blind eye.