This edition: July 2000 editionTweet
Original tape date: July 1, 2000.
The Impressionists at Argenteuil
Follow the leader! That's what the impressionists did when Claude Monet moved to the suburban village of Argenteuil in 1871. For the next decade he and his friends made the small town the capitol of Impressionism. Art historian Kimberly Jones tells CANAPE about an exhibition that explores the collaborative spirit inspired by Argenteuil.
The French call it Quatorze Juillet, the 14th of July. We call it Bastille Day. Whatever you call it, the festive spirit of the French Independence Day is catching on across the USA. CANAPE takes a look at what makes the day so much fun and a reason to celebrate the friendship of two democracies created by revolution over 200 years ago.
Francois Truffaut called it the best film noir he'd ever seen. Often imitated but never surpassed , Rififi has been out of circulation in the United States for over forty years. 89 year old director Jules Dassin, who made Rififi in France while he was blacklisted in the United States, talks to CANAPE about the heist film that set the model for all others and its long overdue re-release.
“Most films seem to come from the 19th century,” director Alain Resnais once observed. “I want to make films that reflect the way we live in the 20th century.” And that he has. Hiroshima Mon Amour, Last Year at Marienbad, Providence, these films and others virtually define cinematic Modernism. Film historian Kent Jones tells CANAPE how Alain Resnais' achievement can be viewed in the current retrospective on a national tour.
If there is a new French New Wave, Francois Ozon certainly knows how to surf it. The young director has just taken home a prize from the New York Gay and Lesbian Film Festival and will see two of his films in release in the United States in 2000. Ozon chats with CANAPE about Criminal Lovers, a film noir version of Adam and Eve, and Water Drops On Burning Rocks, a chamber piece based on a play by Rainer Werner Fassbinder.
Jules Dassin Film Director
Kent Jones Film Critic
Kimberly Jones Art Historian, National Gallery of Art, Washington, D.C.
François Ozon Film Director