Ahh… Bourbon Street. Never spend more than 3 minutes on Bourbon Street.

It's called Filmstruck.

I think it's a girl who communicates in TV references. (Let's all be Friends! I'm like the Rachel (or Phoebe?)! Oh, Heeeey Duuude!)

Hey, it's Carly Monardo! I feel like this is a big get. These don't look like Strong Female Characters though. Not enough skin.

<drop "pitch"="1" octave="">
"Let's pretend I didn't say that."

By the by, here's a link to a kickstarter for a blu set of early women filmmakers (a followup to a similar African-American set).
https://www.kickstarter.com…

I think Vago just meant that she's better known as an icon than for any of her actual roles. That includes "It"— which is as much a showcase for the New Yorker article that coined the phrase as it is for Bow.

Only when workshopping script ideas with actors in an improvisational manner and they conclude that tweeting an address would be a valid character choice to write into the final script.

Watch more Mike Leigh films.

It should be noted that the International release of Hero is actually much more nationalist than the Chinese release. While the film is an apologia for authoritarianism in any language, the final pre-credits text in the Chinese version is a fairly dry statement of historical events: "In 221 BC, the King of Qin unified…

To rephrase a bit, I agree that there are misogynist elements in Godard's work, but I think it's reductive to classify his female characters as "deadly," "bad and seductive," or "powerful and corrupt manipulators." Those readings really only apply to Breathless, Pierrot le fou, and Prenom: Carmen (and maybe the…

Ironically, the first 5 minutes or so of A Winter's Tale are also super summery (I also think it's easily the best of the Season films).

Hi-faluting fancy answer: a bunch of Eric Rohmer films, but especially La collectioneuse. Watching that always makes want to find a beach and talk to people trying to mask their insecurities under intellectualism, and I generally hate summer.

Calling Godard misogynist is reductive, and it ignores the way his treatment of women evolved throughout his films (later Godard's sexual politics are totally different, and even many of his late 60s films like Weekend are just flat out misanthropic rather than misogynist). It was often problematic, often gross, but…

As the Clever guy said, the ambiguity is what makes the shot so powerful. That said, I always read it as a mix of confusion and hope. To me, the ocean is the first glimpse Antoine gets of the wider world. It is vast and endless, which makes it frightening but also full of possibility.

For all of 400 Blows' sadness, there's a bit of hope in that final frame as Antoine faces an unknown but boundless future, maybe heading for something better or greater (like a career in film.) The later films, while being much lighter, are all somehow sadder as Antoine keeps fucking up and wasting potential.

No, only Godard.

The most interesting line of thought I've heard is that Hitchcock/Truffaut sort of ruined Truffaut. His initial style was much more improvisational and experimental, but after talking to Hitchcock, Truffaut started trying to carefully plan his shots and techniques ahead of time. It worked for Hitchcock, but mostly…

Antoine Doinel, Antoine Doinel, Antoine Doinel, Antoooooinnne Doinel!

Glad you enjoyed the film, but maybe you need to adjust your expectations of ''French New Wave''. There's a lot of fun and humor in them, even Godard (though granted a very particular strain of humor there).