Ντοκιμαντέρ/Documentary

Γαλλία, Η.Π.Α./France, USA, 2015, 79’ Εγχρ./Color, α/μ/b&w, Με ήχο/Sound

In 1962 Hitchcock and Truffaut locked themselves away in Hollywood for a week to excavate the secrets behind the mise-en-scène in cinema. Based on the original recordings of this meeting—used to produce the mythical book Hitchcock/Truffaut—this film illustrates the greatest cinema lesson of all time and plummets us into the world of the creator of Psycho, The Birds, and Vertigo. Hitch- cock’s incredibly modern art is elucidated and explained by today’s leading filmmakers: Martin Scorsese, David Fincher, Arnaud Desplechin, Kiyoshi Kurosawa, Wes Anderson, James Gray, Olivier Assayas, Richard Linklater, Peter Bogdanovich and Paul Schrader.

Kent Jones //

Kent Jones (1964) is a film critic, film-

maker, screenwriter and the director of the New York Film Festival. His first feature film Diane (2018) was awarded at Locarno and Tribeca film festivals. His best known documentaries are Hitchcock/Truffaut (2015) and Letter to Elias (2010).

Σκηνοθεσία/Direction Kent Jones
Σενάριο/Screenplay Kent Jones, Serge Toubiana
Φωτογραφία/Cinematography Nick Bentgen, Daniel Cowen, Eric Gautier, Mihai Malaimare Jr., Lisa Rinzler, Genta Tamaki
Μοντάζ/Editing Rachel Reichman
Μουσική/Music Jeremiah Bernfield
Ηθοποιοί/Cast Wes Anderson, James Gray, David Fincher, Olivier Assayas, Paul Schrader, Richard Linklater, Peter Bogdanovich, Martin Scorsese, Kiyoshi Kurosawa, Arnaud Desplechin
Παραγωγή/Production Charles S. Cohen, Olivier Mille
Προέλευση κόπιας/Print source Park Circus

* Suitable for English speaking audience

Μυθοπλασία/Fiction, Γαλλία, Ιταλία/France, Italy, 1973, 116’, Εγχρ./Color, Με ήχο/Sound

Occasioned by a fake floor that was build for the set of Notorious, Truffaut had comment to Hitchcock: “For a passer-by, the set must be quite funny, and I think we could shoot a wonderful comedy on the making of a film”. Hitchcock agreed: “The action will take place in a studio, not in the set in front of the camera, but outside of the set, between takes. The stars are going to be the extras and the extras are going to be the protagonists”. Truffaut’s American Night is this idea. The title comes from the technical term and technique, whereby sequences shot in daylight appear as if they are taking place at night.

Σκηνοθεσία/Direction: François Truffaut
Σενάριο/Screenplay: François Truffaut, Jean- Louis Richard, Suzanne Schiffman
Φωτογραφία/Cinematography: Pierre- William Glenn
Μοντάζ/Editing: Martine Barraqué, Yann Dedet
Ηθοποιοί/Cast: Jacqueline Bisset, Jean- Pierre Léaud, François Truffaut
Παραγωγή/Production: Marcel Berbert
Προέλευση κόπιας/Print source: Park Circus

* Suitable for English speaking audience

Μυθοπλασία/Fiction, Γαλλία/France 1980, 131’ Εγχρ./Color, Με ήχο/Sound

This multi-awarded film (10 Cesars and an Oscar nomination for best foreign film) was one of the most successful productions in Truffaut’s career. In contrast to the subversive formalism of his previous films, Truffaut made a classic narrative film, that is as personal as it is collective. It narrates the chronicle of a Parisian theater-troupe during the Nazi-occupation, 1942-1944. Truffaut didn’t make a film on an another art, as he didn’t make a film on cinema in Day for night, but a film on love, war and life.

Σκηνοθεσία/Direction: François Truffaut
Σενάριο/Screenplay: François Truffaut, Suzanne Schiffman, Jean –Claude Grumberg
Φωτογραφία/ Cinematography: Néstor Almendros
Μοντάζ/Editing: Martine Barraqué
Ηθοποιοί/Cast: Gérard Depardieu, Catherine Deneuve
Παραγωγή/ Production: François Truffaut
Προέλευση κόπιας/Print source: MK2

* Suitable for English speaking audience

Μυθοπλασία/Fiction, Η.Π.Α./USA, 1946, 102’, DCP, α/μ/b&w, Mε ήχο/Sound

Notorious is Truffaut’s favorite film, along with Rear Window: “Notorious is the very quintessence of Hitchcock… Despite the lapse of twenty years it’s still a remarkably modern picture, with very few scenes and an exceptionally pure story line. It’s really a model of scenario construction. Of all it’s qualities, the outstanding achievement is perhaps that in Notorious you have at once a maximum of stylization and a maximum of simplicity”. Hitchcock endorses: “Notorious was simply the story of a man in love with a girl who, in the course of her official duties, had to go to bed with another man and even to marry him”.

Σκηνοθεσία/Direction: Alfred Hitchcock
Σενάριο/Screenplay: Ben Hecht
Φωτογραφία/Cinematography: Ted Tetzlaff Μοντάζ/Editing: Theron Warth
Μουσική/Music: Roy Webb
Ηθοποιοί/ Cast: Cary Grant, Ingrid Bergman, Claude Rains, Louis Calhern, Leopoldine Konstantin, Alexis Minotis
Παραγωγή/ Production: Alfred Hitchcock
Προέλευση κόπιας/Print source: Park Circus

* Suitable for English speaking audience

Μυθοπλασία/Fiction, Γαλλία/France, 1960, 80’, α/μ/b&w, Με ήχο/Sound

The film, is about identity and the loss of identity and, despite its pattern after the American gangster genre, has the freshness of the French New-Wave. Charlie, who has changed his name from Edouard, lives in the margins, playing piano in a dive bar, until his older brother pushes him at the other end of the underworld. The order of time in the film is circular, and the music, as an an element that characterizes the protagonist, at times is just background and at times drives the narrative drama.

Σκηνοθεσία/Direction: François Truffaut
Σενάριο/Screenplay: François Truffaut, Marcel Moussy [βασισμένο στο μυθιστόρημα του/based on the novel Down There by David Goodis]
Φωτογραφία/ Cinematography: Raoul Coutard
Μοντάζ/ Editing: Claudine Bouché, Cécile Decugis
Μουσική/Music: George Delerue
Ηθοποιοί/ Cast: Charles Aznavour, Marie Dubois, Nicole Berger
Παραγωγή/Production: Pierre Braunberger
Προέλευση κόπιας/Print source: MK2

* Suitable for English speaking audience

Μυθοπλασία/Fiction, Η.Π.Α./USA, 1960, 109’, DCP Έγχρ./Color, Με ήχο/Sound

A woman steals 40 thousand dollars and takes cover in an isolated motel, run by a cranky young man, dominated by his dead mother’s personality. Hitchcock confesses: “I don’t care about the subject matter; I don’t care about acting; but I do care about the pieces of film and the photography and the sound track and all the technical ingredients that made the audience scream. I feel it’s tremendously satisfying for us to be able to use the cinematic art to achieve something of a mass emotion. And with Psycho we most definitely achieved this”. Despite what Hitchcock says, one should not oversee that the narrative of the film was traversed by major psychoanalytic theories.

Σκηνοθεσία/Direction: Alfred Hitchcock
Σενάριο/Screenplay: Joseph Stefano [βασισμένο σε μυθιστόρημα του/ based on the novel by Robert Bloch]
Φωτογραφία/Cinematography: John L. Russell
Μοντάζ/Editing: George Tomasini
Μουσική/Music: Bernard Hermann
Ηθοποιοί/Cast: Anthony Perkins, Vera Miles, John Gavin, Janet Leigh, Martin Balsam
Καλλιτεχνική Διεύθυνση/Art Direction: Robert Clatworthy, Joseph Hurley
Παραγωγή/ Production: Alfred Hitchcock
Προέλευση κόπιας/Print source: Park Circus

* Suitable for English speaking audience

Μυθοπλασία/Fiction, Ην. Βασίλειο/UK, 1927, 90’ DCP, α/μ/b&w, Χωρίς ήχο/Silent

The lodger is Hitchcock’s first important film: “The whole approach to this film was instinctive with me. It was the first time I exercised my style. In truth, you might almost say that The lodger was my first picture”, he recounts to Truffaut. Shot during his silent period in England, the film tells the adventures of a lodger of a furnished apartment, until the landlady sees in his face the wanted murderer. It launches the theme that recurs in his later work, which, as Truffaut ascertains, is about: “A man accused of a crime of which he’s innocent”.

Σκηνοθεσία/Direction: Alfred Hitchcock
Σενάριο/Screenplay: Eliot Stannard [βασισμένο στο ομώνυμο μυθιστόρημα της/based on the homonymous novel by Marie Belloc Lowndes]
Φωτογραφία/ Cinematography: Gaetano di Ventimiglia
Μοντάζ/Editing: Ivor Montagu
Μουσική/ Music: Ashley Irwin
Ηθοποιοί/Cast: Marie Ault, Arthur Chesney, June Tripp, Malcolm Keen, Ivor Novello
Παραγωγή/Production: Michael Balcon, Carlyle Blackwell, C.M. Woolf
Πηγή κόπιας/Print source: Park Circus

* Original music performance from Minas I. Alexiadis

* Suitable for English speaking audience

Μυθοπλασία/Fiction, Η.Π.Α./USA, 1940, 130’ 4K DCP, α/μ/b&w, Με ήχο/Sound

Hitchcock’s debut in Hollywood, is an entirely British film under the American influence, “first because of Selznick, who had just made Gone with the wind, and then because the screenplay was written by the Sherwood, who gave it a broader viewpoint than it would have had if made in Britain”, as Hitchcock remarks. It’s about the story of woman who marries a lord, who can’t get over the mysterious death of his first wife. The housekeeper dominates him and the mansion. “The mechanism of Rebecca is remarkable. The sinister momentum is built up solely through references to a dead woman who is never shown”, as Truffaut writes.

Σκηνοθεσία/Direction: Alfred Hitchcock
Σενάριο/Screenplay: Robert E. Sherwood, Joan Harrison [βασισμένο στο ομώνυμο μυθιστόρημα της/based on the homonymous novel by Daphne Du Maurier]
Φωτογραφία/ Cinematography: George Barnes
Μοντάζ/Editing: W. Donn Hayes
Μουσική/Music: Franz Waxman
Ηθοποιοί/Cast: Laurence Olivier, Joan Fontaine, George Sanders, Judith Anderson, Nigel Bruce
Παραγωγή/ Production: David O. Selznick
Πηγή κόπιας/Print source: Park Circus

* Suitable for English speaking audience

Μυθοπλασία/Fiction, Η.Π.Α./USA, 1954, 112’, DCP Έγχρ./Color, Με ήχο/Sound

“A whole film from the viewpoint of one man, and embodied in a single, large set” says Truffaut and Hitchcock concurs, “Absolutely. It was a possibility of doing a purely cinematic film. You have the immobilized man looking out. That’s one part of the film. The second part shows what he sees and the third part shows how he reacts.”. The film, nominated for several Oscars, is a confluence of looks. A film about voyeurism. “Sure, he’s a snooper, but aren’t we all?”, Hitchcock wonders.

Σκηνοθεσία/Direction: Alfred Hitchcock
Σενάριο/Screenplay: John Michael Hayes [βασισμένο στη νουβέλα από τον/ based on a novella by Cornell Woolrich]
Φωτογραφία/Cinematography: Robert Burks
Μοντάζ/Editing: George Tomasini
Μουσική/Music: Franz Waxman
Ηθοποιοί/Cast: James Stewart, Grace Kelly, Wendell Corey, Thelma Ritter,Raymond Burr
Καλλιτεχνική Διεύθυνση/Art Direction: J. McMillan Johnson, Hal Pereira
Παραγωγή/ Production: Alfred Hitchcock
Προέλευση κόπιας/Print source: Park Circus

* Suitable for English speaking audience

Μυθοπλασία/Fiction, Γαλλία/France, 1967, 105’, Εγχρ./Color, Με ήχο/Sound,

After the wedding-ceremony, outside the church, the groom is shot, and the widow finds herself in a manhunt after the possible killers. The influence of Hitchcock is more than obvious. The script is based on a novel by Cornell Woolrich, as was Rear Window (1954) script, and the direction follows closely the script in the way of Hitchcock’s known method. It’s one of Truffaut’s most important films, along with Fahrenheit 451 (1966). The gradual revelation of the protagonist’s vindictive motives, the objects as lethal traps, the composition of close-ups that invoke anguish to the viewer and the dynamic use of music are drawn from the toolbox of the master of suspense.

Σκηνοθεσία/Direction: François Truffaut
Σενάριο/Screenplay: François Truffaut, Jean- Louis Richard [βασισμένο στο ομώνυμο μυθιστόρημα του/based on the novel by Cornell Woolrich]
Φωτογραφία/ Cinematography: Raoul Coutard
Μοντάζ/Editing: Claudine Bouché, Cécile Decugis
Μουσική/Music: George Delerue
Ηθοποιοί/Cast: Jean- Claude Brialy, Jeanne Moreau, Claude Rich, Michel Bouquet
Παραγωγή/ Production: Marcel Berbert, Oscar Lewenstein
Προέλευση κόπιας/Print source: MK2

* Suitable for English speaking audience