Of the two local film festivals operated by the New Orleans Film Society, New Orleans Film Fest is both the longest-running and the most substantial. The 29th Annual NOFF, for instance, screened hundreds of films all over downtown New Orleans last October, of which we were able to cover 10 features (and a few shorts). We’re only seeing an insignificant fraction of the films screening NOFF every year, making a festival-wide recap something of a Sisyphean task as amateur bloggers.
NOFS’s annual New Orleans French Film Fest is a different matter entirely. The entirety of French Film Fest is located at a single, beautiful venue: The Prytania, Louisiana’s oldest operating single-screen cinema. In past years, we’ve been able to see an average of a dozen features at each French Film Fest, which is a fairly substantial percentage of the 15-20 pictures that screen there. All films are at least partially French productions, most are shown in subtitled French language, and the large majority of them never see domestic big screen distribution outside of the festival. I see some of my favorite releases of the year at French Film Fest too; last year’s Double Lover ranked near the top of my favorite films of 2018. There are also typically at least two screenings a year that I’d comfortably call all-time favorites after just one viewing, especially in retrospective screenings from auteurs like Agnès Varda & Jacques Demy. New Orleans French Film Fest is the smaller, more intimate festival on the NOFS calendar, but its manageability is more of a charm than a hindrance and I’m starting to look forward to it more every year.
That’s why it’s a little disappointing that we had to scale way back at this year’s festival. This year, French Film Fest arrived at the boiling point of Mardi Gras season. It had to compete with a surge of drag shows, parades, and all other sorts of Mardi Gras mayhem that flooded New Orleans’s social calendar in its one-week run. As a result, we were only able to schedule four screenings during the festival, only a third of our usual attendance. Still, I was very pleased with our four selections, and I look forward to catching up with a few titles we missed as they pop up on VOD throughout the year.
James and I will be doing a more exhaustive recap of our experience at the festival in early April (along with this week’s PATOIS Film Fest), but for now here’s a ranking of the few films we’ve seen that screened at the 2019 New Orleans French Film Festival. Each title includes a blurb and a link to a corresponding review. Enjoy!
La Belle et la Bête (1946) – “I cannot deny the visual splendor & fairy tale magic of Cocteau’s La Belle et la Bête; it’s every bit of a masterpiece as it has been hyped to be, just a gorgeous sensory immersion that defines the highest possible achievements of its medium. What I didn’t know to expect, however, what its reputation as the defining Beauty and the Beast adaptation had not prepared me for, was that it would be so deliriously horny. La Belle et la Bête is more than just a masterpiece; it’s a Kink Masterpiece, which is a much rarer breed.”
Yellow is Forbidden (2019) – “The ambition of Guo Pei’s work and the importance of her outsider status in the fashion industry are enough to trigger an emotional response on their own merits, but what makes Yellow is Forbidden a great film is the way it attempts to match that significance in its own mood & artistry. It feels less like an academic document of a culturally significant artist than it does like a swooning, dizzying trip to a fine art museum where the designer’s work is on magnificent display.”
The Nun (1966) – “This is a grim prison sentence of a motion picture, a harsh reminder of the punishment that awaits anyone born a woman under the ‘wrong’ circumstances. Although it’s never as overtly, sexually blasphemous as later arthouse nunsploitation pieces like the Ken Russell classic The Devils or the recent sex comedy The Little Hours, it’s not difficult to see why the Catholic Church pushed to have The Nun banned upon its initial release. Any brief flashes of joy, light, color, or relief detectable in the film are quickly stamped out by exploitation, guilt, and misogyny, all in the name of serving God and the Church.”
The Image Book (2019) – “What Godard is trying to say with this assemblage is anyone’s guess. He makes a somewhat clear-eyed distinction between the decadent wealth of the West and the war-torn poverty of the Middle East, but the narration itself is too loosely philosophical to put too fine a point on what he’s saying. Mostly, what comes through is the sadness & anger of an old man who’s getting weary of watching the world burn with no sign of substantial change to come, a frustration he’s eager to pass on to his (mostly Western) audience as punishment. It’s a bleak political treatise that supposes its audience is unworthy of any cinematic pleasure, even the comfort of a clear thesis or narrative.”