#pierre kast

[frenchcurious]

Geneviève Page & France Roche à bord d'une MG A dans le film de Pierre Kast, ''Un Amour de poche'', 1957 - Source Facebook

#geneviève page #france roche #mg #pierre kast

[ghostnight]

La Brûlure de mille soleils (1965)

#pierre kast

[nicoooooooon]

La morte-saison des amours (1961) featuring Françoise Arnoul and Pierre Vaneck

#cinema #La morte-saison des amours #The Season for Love #Pierre Kast #cinematography #Sacha Vierny #françoise arnoul #Pierre Vaneck #jura #france

[phantomladyoverparis]

Saint-Tropez Blues (1961), dir. Marcel Moussy

#Saint-Tropez Blues #marcel moussy #60s #claude chabrol #Nouvelle Vague #french new wave #french cinema #pierre kast #l'ecran

[auxoubliettes]

La Morte-Saison des Amours, dir. Pierre Kast (1961)

#la morte-saison des amours #pierre kast #daniel gélin #cinema

[laurent-bigot]

LES ARTISANS DE LA NOUVELLE VAGUE

LES ARTISANS DE LA NOUVELLE VAGUE

Après des années d’effort, demeurés à peu près vains depuis 1945, de jeunes réalisateurs français réussirent enfin à se faire remarquer en faisant irruption dans le monde cinématographique avec une énergie sans précédent. L’apparition soudaine en 1959 de la nouvelle vague mit le monde cinématographique en émoi. Ce fut une extraordinaire explosion d’activité créatrice : en dix-huit mois, une…

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#agnes varda #alexandre astruc #andré bazin #éric rohmer #chris marker #claude chabrol #eric rohmer #françois reichenbach #françois truffaut #jacques doniol valcroze #jacques rivette #jacques rozier #jean luc godard #jean rouch #louis malle #marcel camus #pierre kast

[parure-d-insomnie]

L' Herbe Rouge'' (1985)______________Pierre Kast.

Téléfilm adapté de Boris Vian.

#L Herbe Rouge #1985 #Pierre Kast #Boris Vian

[lux-vitae]

Cover by Peter Goodfellow for Pierre Kast’s Vampires of Alfama (1976)

#peter goodfellow #art

[venustapolis]

Illustration by Peter Goodfellow for Pierre Kast's 'The Vampires of Alfana' (1975)

#art #painting #Peter Goodfellow

[equatorjournal]

Les Soleils de l’île de Pâques, 1972. Directed by Pierre Kast. "In Pierre Kast’s metaphysical odyssey, six people find a mysterious mark in the center of their left hand and all independently go to Easter Island in hopes to uncover the mystery. The plot is minimal and the pace is glacial, but the film has that gorgeous 70s patina and atmosphere by the bucket-full." "...it’s the images rather than the ideas that leave the greatest impression: a giant wall of solar panels blazing in sunlight, hieroglyphs in the Chilean desert, the dramatic landscapes of Easter Island, and of course the pulsing hexagon figures that initiate each of the hallucinations. But it’s the Moai stones, stationed along the cliffs of Easter Island like sentinels, silent and ultimately unknowable, that are the real stars of the film." https://www.instagram.com/p/Cf4gtL1N19m/?igshid=NGJjMDIxMWI=

[spectaculardistractions]

From Georges Sadoul Paris, 10 December 1951 My dear Luis, I’ve been wanting to reply for six months now to your letter, as I was considerably moved by it. But at Easter, after finishing my tome of a book, I had an attack of lumbago and, after I recovered from that, an extreme case of fatigue lasted well into the summer. The truth is that I have been dragging myself around for six months now and am only a little improved after my return in November. I had an enormous backlog of work when I arrived back in Paris, where I had practically not set foot since April. You will know that your film was a monstrous success in Cannes. I saw it again and some of my reservations disappeared. However, the viewers were largely bemused, always, or almost always applauding at quite the wrong moments. For example: an ovation when the cop tells the mother: ‘it’s the parents’ fault, madam’. They thought that statement was a reflection of your own views, but I know it’s the opposite, because the character of the mother is truly chilling. On my second viewing, what moved me most was your tenderness towards your characters. But Pudovkin only needed to see The Young and the Damned once to understand it and to say as much in places like Pravda. I was too under the weather in April to be able to remember now precisely what he said in private, but it was basically that in a festival where the films from capitalist countries were generally dismal and dispiriting, your film (and the Italian films) introduced a sense of condemnation, a cry of rage, or in other words, hope. You will also have heard that The Young and the Damned has been a great success in Paris for two months now. I haven’t been to Studio Vendôme yet (the old Opéra cinema, Avenue de l’Opéra), but everyone tells me it is full every night. The cinema had been ‘dying’ for a long time and they tried to relaunch it with, amongst other things, that repulsive Swedish film, Fröken Julie (Grand Prix at Cannes), but with no luck. The Young and the Damned is a rejection of society. But what’s most important is that everyone tells me that people (high society people) are leaving ashamed. That doesn’t mean they understand it all, of course, but at least they’ve understood the essential. And they’re not just going to be entertained by the horror, like the Grand Guignol, which is what I feared initially. You may know that at first it was practically sponsored by Le Figaro (even more repugnant in 1951, if possible, than in 1930 in the days of Coty and The Golden Age); a ploy by the distributor of course. Still, The Young and the Damned did not have the impact Le Figaro expected, which is crucial. I was talking about you for hours yesterday with the Lotars, going over so many old and shared memories. They had been interviewed by little Pierre Kast, who wrote an article in Cahiers du cinéma (Lulu and Viñes will have sent it to you) full of memories of your friends, and in which you are represented, at the end of the day, as a Rimbaud who removed himself forever to an inaccessible Harar, or like a Gauguin who never wrote from Tahiti. Apart from the tendency to bury you definitively in ‘other places’, there is little to say about this ‘Search for Buñuel’. However, I really disliked the other Cahiers du cinéma article: the first one. I wrote a letter correcting Little Kast (in reference to the part where he referred to me without naming me). You’ll find a copy of my letter to Kast enclosed, as well as cuttings from my three articles on The Young and the Damned published in L’Humanité, Les Lettres françaises and L’Écran français. I expressed some reservations, as you’ll see, but it would have been worse if I’d written them the day after Studio 28 and before our (last) meeting on the Champs-Élysées (or even just after it). And I also believe that my reservations have faded (although they haven’t yet disappeared altogether). What irritated me most about Little Kast’s article was that he called into question and in the worst possible faith, what I had said about your three films in my Histoire du cinéma. Those three pages were difficult for me to write at the time. I made a real effort to put in them, in good faith, what I thought at the time (and what I’m sure you also thought), between 1927 and 1932. At that time, I think I was a witness, rather than an historian. Nevertheless, witnesses are often confused. If you think that at any point in those three pages I betrayed your principles, do please tell me. I could make corrections to future editions, or to the international editions that are underway. I’m very grateful for the magazines you sent me on Mexican cinema. They will be very useful for the next book I’m preparing (film from 1939 to 1952). But on a personal note, I should like you to keep your promise: to send me the photographs of the Vallée de Chevreuse from 1932. I so much loved the photo you took of poor Norma. I have no other photograph of Pierre Unik and you. If you can, please send me those negatives. I saw a still from your new film. The Lotars mentioned a letter you sent to the Viñes, they tell me you think it’s a very optimistic film. Bravo. And above all, I would be pleased (and here I think I speak on behalf of all your friends) if the success of The Young and the Damned would allow you to return to France. With your wife and children. You must tell your producer that The Young and the Damned would not have sold as well nor earned as much had you not come over to prepare its release (it’s true). And that its chances of winning the Grand Prix at Cannes would have been much higher if you had been at the Festival (even more true). For all these reasons, they must pay for your travel and an extended stay in Paris at the beginning of 1952, or when the Cannes festival is on. Until later. Impatiently awaiting your next film. My wife joins me in sending you our warmest regards and best wishes, Georges Sadoul 3 rue de Bretonvilliers PS I quoted from your letter in my response to Kast and in the article for L’Écran français. Please forgive me, although I’m sure you’ll bear me no ill-will for doing so. I can’t find L’Humanité, but I think Lulu and Ricardo will send it to you.

Jo Evans & Breixo Viejo, Luis Buñuel: A Life in Letters

#jo evans #breixo viejo #luis bunuel: a life in letters #georges sadoul #luis bunuel #los olvidados #vsevolod pudovkin

[ghostnight]

La Brûlure de mille soleils (1965)

#pierre kast

[isvicreninsesi]

1 Mayıs’ta onbinlerce kişi sokaklara döküldü

🇨🇭SESİ- İşçi Bayramı'nda İsviçre’nin çeşitli şehirlerde mitingler düzenlendi. Bazı bölgelerde göstericiler ile polisler çalıştı. İsviçre’deki İşçi Bayramı'nda onbinlerce kişi ücretlerin iyileştirilmesi, daha iyi emekli maaşı ve daha fazla eşitlik için gösteri yaptı. İsviçre genelinde düzenlenen yaklaşık 50 etkinlikte, sendikacılar ve politikacılar eşitsizliğe karşı mücadele ve toplumsal ilerleme çağrısında bulundu. Polislerin sabote etmesiyle bazı yerlerde göstericiler çatışma yaşandı ve maddi hasar meydana geldi.

Zürih'teki etkinliğe binlerce kişi katıldı. Sosyalist Parti (SP/PS) ulusal meclis üyesi Tamara Funiciello, Sechseläutenplatz'daki mitingde yaptığı konuşmada, çalışma saatlerinin kısaltılması çağrısında bulundu ve işverenler birliği tarafından getirilen emeklilik yaşının 70 olmasına sert bir şekilde karşı çıktı. Kadın haklarından da bahsetti ve 14 Haziran kadın grevine katılma çağrısında bulundu. Öğleden sonra Zürih şehir merkezinde polislerin sabote etmesiyle, göstericilerle çatışma yaşandı. Olaylarda 200’den fazla kişinin 1 Mayıs’a katılması engellenirken, 11 kişide gözaltına alındı. Polis şiddeti nedeniyle iki kişi de yaralandı. SENDİKACILAR SOSYAL YARDIM TALEP ETTİ İsviçre Sendikalar Konfederasyonu (SGB) Başkanı Pierre-Yves Maillard, Interlaken'de yaptığı konuşmada İsviçre'deki çalışma koşullarına değindi. "Satın alma gücü krizinin" daha da kötüleşeceği konusunda uyardı ve ücretlerin ayarlanması, AHV emekli maaşlarının artırılması ve sağlık sigortası primlerinin net gelirin yüzde onu ile sınırlandırılması çağrısında bulundu. SGB ​​baş ekonomisti Daniel Lampart, Thun'da “sosyal AHV”nin genişletilmesi çağrısında bulundu.  BASEL’DEKİ YÜRÜYÜŞE POLİS ENGELİ Basel'deki etkinliğe yaklaşık 1000 kişi katılırken, polis çok sayıda kafesli ve tazyikli su araçlarıyla göstericilerin yürüyüş yapmasını engellemeye çalıştı. https://twitter.com/basta_bs/status/1653019960367562754?s=46&t=7LruKCNOyxTS3EFO0Tl7Vw Cenevre'de yaklaşık 2.000 kişi maaş ve emekli maaşlarının arttırılması için sokaklara çıktı. Eyleme Ulusal Konsey Üyeleri Laurence Fehlmann Rielle (SP), Isabelle Pasquier-Eichenberger (Yeşiller), Devlet Konsey Üyesi Lisa Mazzone (Yeşiller) ve Pazar günü seçilen yeni Devlet Konsey Üyesi Carole-Anne Kast (SP)’ ta katıldı. SP eş başkanı Cédric Wermuth, Zofingen'deki 1 Mayıs kutlamalarında, yaşamak için yeterli maaşlara ve onurlu bir yaşam sürmeyi mümkün kılan emekli maaşlarına ihtiyaç olduğunu söyledi. Kurumlar için daha fazla kar ve vergi indirimi yerine, daha uygun fiyatlı sağlık sigortası primleri ve kiralara da ihtiyaç duyulduğunu vurguladı. Read the full article

[wien1983]

Freitag, 4. November

Habe herausgefunden, dass das gar nicht Ernst Schmidt junior war, der bei der Konrad Bayer Veranstaltung war, sondern Manfred. Habe nämlich in der Früh Geld geholt, war in der Buchhandlung Herrmann in der Grünangergasse, ein Buch gekauft, in dem war das Stück DER KOPF DES VITUS BERING samt Darstellern, ohne Ernst Schmied junior. Mir fiel auch wieder ein, dass ihn Ursula immer Manfred genannt hat. In der Buchhandlung waren Edek Bartz und Brigitte Herrmann, das war gar nicht die Frau, die beim vorletzten Mal da war, die ich für Brigitte Hermann gehalten hatte. Es war die Frau, die im Club 2 war und über Psychiatrie gesprochen hat! Klein und mollig und lange, schwarze Haare. Sie hat dauernd gemotzt. Edek Bartz erkannte ich zuerst an seiner schönen Stimme, dann sagte der Buchhändler, den ich so gerne mag: "Edek, willst du einen Kaffee?" Edek Bartz hat gesprochen: "Ja, Klavierspielen ist etwas Schönes." Weil der Andere war lange fort und jetzt hat er ein billiges Klavier bekommen und es sei besser, wenn jemand streng ist beim Üben. Das alles hat er gesagt. Edek hat Brigitte gestreichelt und sie gebeten, dass sie mit ihm ins U4 gehe, aber sie wollte nicht. Sagte, dass sie einen Film anschauen müsse. Er: Nach dem Film gehen wir ins U4. Sie: Nein!

Ich habe wieder viele, viele Bücher gekauft: Gisela Dischner und KONKURSBUCH Schrecken und ein Geburtstagsgeschenk für Karin: Urwald. Eine Reise zu den Schamanen des Amazonas. Trikont Verlag. Und eins über das ANDERE THEATER. Und wie viele Bücher gäbe es noch! Dann ging ich in die Ringbuchhandlung und kaufte INGEBORG BACHMANN: Bilder aus ihrem Leben. Wien, wie es isst. Natalia Ginzburg und Aristophanes. Dann ins Uni-Buffet, Orangensaft und Wurstbrot. Vorlesung Theaterwissenschaft, Aischylos gekauft im U-Bahnschacht, bei den Mängelexemplaren. Nach Hause, die Bücher eingeordnet und das Datum hineingeschrieben, meine Signatur. Das mache ich noch immer. Da war es schon wieder 16 Uhr. Habe in der U4 das Buch über Ingeborg Bachmann angeschaut, bin zu spät gekommen zum Proseminar. Maria hat mir einen Platz freigehalten. Wir aßen Schokolade, Weiße mit Nüssen. Danach fuhr sie mit mir in der Untergrundbahn zum Karlsplatz; erzählte von einem Mann, der ihr gesagt hat, dass er Angst vor einer Beziehung mit ihr hätte. Ich zog Parallelen zu Tristan, wir fanden heraus, dass beide eine Freundin haben. Peter Handke: Irgendwie sind alle schon besetzt. So wie Stühle besetzt sind. Aus dem Gedächtnis zitiert. Aber es steht in DAS GEWICHT DER WELT. Es war gut, dass ich offen war. Danach wollte ich zu PASSION von Godard im Burgkino gehen, aber sie spielten es noch nicht. Fuhr ins Studio Molière, da gab es einen Film von Pierre Kast, der war selbst anwesend, mit Schal, wie es sich für einen Franzosen gehört. LE BEL AGE, danach fuhr ich sofort nach Hause, obwohl ich mir überlegte, ob ich nicht eine Pizza essen sollte. In der U-Bahn sah ich zwei Punks, die auf die Stiege WHY sprühten, als sie bemerkten, dass ich komme, lächelte ich sie an, sie lächelten zurück.

Zu Hause kochte ich mir ein Supperl, habe mir heute die ZEIT gekauft, werde sie dann lesen, höre gerade Konstantin Wecker. In dem Film, den ich gerade sah, kam ein Claude vor, ein schöner Mensch, der aber nicht mit Frauen umgehen konnte. Er war zu schüchtern. So wie ich. Eine von ihnen hieß Bárbará.

#4.11.1983 #ari fink texte #barbara zanotti #wien 1983 #feuersalamander #vienna #1983 #wien #grünangergasse #buchhandlung herrmann #brigitte salanda

[regioonlineofficial]

Valkenburg - Gistermiddag 'her'opende de oudste VVV van het land - Visit Zuid-Limburg - het monumentale Spaans Leenhof aan het Theodoor Dorrenplein, dat sinds de watersnood van 2021 niet meer begaanbaar was door het vocht in de mergelstenen waarmee het pand is gebouwd. Reden temeer om het concept te vernieuwen en het geologische thema een belangrijke plaats te geven. Met museale aantrekkingskracht en moderne technieken die de zintuigen prikkelen waaronder een interactief 'Geologisch Kabinet' en een tot leven gebrachte Geuldal landschapsmaquette. Zoek je een complete onder- en bovengrondse beleving? Dompel je dan onder in de nieuwe Visit Zuid-Limburg Experience, een beleving voor jong en oud. Na de 'experience' ben je klaar voor een bezoek aan de regio. Bovengrondse belevingen Vanaf nu kun je Valkenburg en omgeving in de nieuwe Visit Zuid-Limburg Experience Valkenburg gaan 'beleven'. Je kunt er meer leren over de historie van Valkenburg in de 'Wauwelkamer' waarin belangrijke figuren zoals Pierre Cuijpers en Theodoor Dorren (oprichter VVV) je meenemen en op grote schermen toespreken. Op de begane grond vind je verder een levensgrote plattegrond met ondergrondse visualisaties en verschillende schermen met films over wandelen, wielrennen en evenementen in de directe omgeving. Je kunt hier ook een kennisquiz doen over Valkenburg en Meerssen en meer uitleg krijgen over de historische momenten in de tijdlijn van Zuid-Limburg onder de noemer 'Bron van Europa'. Ondergrondse belevingen Op de vide lonkt de meer museale invulling van de vestiging die in het teken staat van de Zuid-Limburgse bodem en hier op verschillende manieren zichtbaar is gemaakt. In het Geologisch Kabinet is van alles te ontdekken in en op de laatjes van de kast zoals fossielen en de nekwervel van een Mosasaurus. Verschillende thema's over de bodem van Zuid-Limburg worden hierin aangelicht. Op de landschapsmaquette komt het Geuldal tot leven met bewegend beeld en animaties.   Ervaar de nieuwe beleving zelf  Je bent van harte uitgenodigd, om zelf een kijkje te komen nemen. Tot en met 15 maart extra aantrekkelijk vanwege de openingsactie van 10% korting op je aankopen in de winkel zoals streekproducten, toeristische kaarten en gidsen - m.u.v. cadeaubonnen, tickets en andere waardepapieren.  De openingstijden zijn van maandag tot en met zaterdag van 09.00-17.00 uur. Voor meer informatie kijk op visitzuidlimburg.nl/valkenburg-experience

[phantomladyoverparis]

La brûlure de mille soleils (1965), dir. Pierre Kast

#la brulure de mille soleils #pierre kast #60s #experimental film #science fiction #french cinema #chris marker #eduardo luiz