The budding cinema with free access

For those who love cinema, confinement will have been a boon. If the cinemas are closed, temporarily depriving us of new products, the range of films will never have been as rich on television as on the sites of channels which offer more and more exclusive content. Joining in this Arte, whose platform has accustomed us to unearth cinematographic nuggets, that of has in recent months enriched its content well beyond the only programs offered in replay.

His collection “1ers films ”online since the end of October offers to discover for free the stammering works of filmmakers who have since made their way, confirming provisions in germ at their beginnings. Some did not go unnoticed as soon as they hit theaters. I killed my mother (2009) by Quebecer Xavier Dolan, birth of octopuses (2007) by Céline Sciamma, God alone sees me (Versailles-Chantiers) by Bruno Podalydès (1998) or Versailles by Pierre Schoeller were immediately acclaimed by critics hailing the birth of promising directors.

As many films by female directors as there are directors

But who remembers Métis by Mathieu Kassovitz before Hate propels him to the front of the stage, Queen of apples by Valérie Donzelli before the immense success of War is declared, or from All is forgiven by Mia Hansen-Love, crowned with the Louis-Delluc prize for first film in 2007? Watching them today is like seeing a sketch of their talents with all the awkwardness – lack of resources, hesitant script, beginner actors – that a first feature film includes. It is also to find there a tone, a singularity which will then become their trademark.

As many directors’ films as female directors have been programmed by, and for the latter, put in the spotlight in another “100% female directors” collection, many representatives of the new generation of French cinema. Alongside the already seasoned Justine Triet (The Battle of Solferino) and Alice Winocour (Augustine), we will be pleased to discover the very first feature films of Katell Quillévéré (A violent poison) who then enchanted us with Suzanne, Lucie Borleteau and his very intense Fidelio, Alice’s Odyssey before Soft song, or Sophie Letourneur whose noticed Life at the ranch, chronicle of the life of young Parisians, preceded Huge.


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