New Orleans French Film Fest 2020, Ranked & Reviewed

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 30th 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. All films are at least partially French productions, all 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; 2018’s Double Lover ranked near the top of my favorite films of the 2010s . 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.

We will be doing a more exhaustive recap of our experience at the festival on an upcoming episode of the podcast, featuring a more fleshed out review of 1945’s Children of Paradise. For now, here’s a ranking of the few films we’ve seen that screened at the 2020 New Orleans French Film Fest. Each title includes a blurb and a link to a corresponding review. Enjoy!

1. Mr. Klein (1976) – “It’s clear from the start where the story is headed, as the movie largely functions as a Twilight Zone-style morality tale, but the point is less in the surprise of the plot than it is in the ugly depths of Klein’s authoritarian, self-serving character. This is a damn angry film about the evils of Political Apathy, and a damn great one.”

2. Deerskin (2020) – “Damn funny from start to end. Not only is the idea of a jacket being so fashionably mesmerizing that it leads to a life of crime hilarious even in the abstract, but the overqualified Jean Dujardin’s straight-faced commitment to the bit sells each gag with full inane delight.”

3. Varda by Agnès (2019) – “It may not be as kinetic or as aggressively stylistic as her career’s greatest triumphs (a contrast that’s unignorable, given those films’ presence on the screen), but it’s still incredibly playful & thoughtful in its own construction, especially considering the limitations of its structure as an academic lecture.”

4. Children of Paradise (1945) – Given this one’s accolades as one of the greatest films of all time, I expected a shift into outright Movie Magic surrealism during its stage pieces that never came. Instead, it’s just a well constructed, stately four-way melodrama with a dark sense of humor and an exceptionally grand budget considering it was partially made under Nazi occupation. It’s really good, but I was prepared to be totally floored (which is my fault, not the movie’s). Looking forward to diving further into it on the podcast.

5. Sibyl (2020) – “Its only major fault is that you could name several movies that push its basic elements way further into way wilder directions; Double Lover & Persona both come to mind. Otherwise, it’s an admirably solid Movie For Adults, the kind of thoughtfully constructed erotic menace that used to be produced by Hollywood studios at regular intervals but now only seeps quietly through European film festivals.”

6. Matthias & Maxime (2020) – “Incredibly observant about macho bonding rituals & typical group dynamics among basic bros – especially when parsing out what’s considered Normal male-on-male touching vs. what’s considered Gay. It’s just a shame that same thoughtful consideration didn’t extend to knowing how to trim the movie down to its best, most efficient shape.”

7. House of Cardin (2020) – “Not at all interested in matching the avant-garde artistry of its subject in any formal way; it’s about as forward-thinking in its filmmaking style as an I Love the 60s special on VH1. However, the vibrant, playful art of Pierre Cardin more than speaks for itself, and stepping out of that portfolio’s way read to me like a great sign of respect.”

8. Celebration (2019) – “Without any contextual info about how this late-career misery differs from YSL’s earlier, more youthful fashion shows, this behind-the-scenes glimpse fails to communicate anything coherent or concrete. Like the worst of the ‘elevated horrors’ of recent years that it stylistically emulates (if not only in its spooky score), it’s all atmosphere and no substance.”

-Brandon Ledet

House of Cardin (2020)

I saw two fashion documentaries at this year’s New Orleans French Film Festival. The more artistically ambitious one—Celebration—was an eerily atmospheric, shot-on-16mm abstraction capturing the aging Yves Saint Laurent in the lead-up to his final show in 1998. It was an aesthetically pleasant bore. The more straight-forward, less stylistic film—House of Cardin—was a biographical fluff piece shamelessly promoting the legacy of its own aging subject, designer Pierre Cardin. It was a delight. House of Cardin is not at all interested in matching the avant-garde artistry of its subject in any formal way; it’s about as forward-thinking in its filmmaking style as an I Love the 60s special on VH1. However, the vibrant, playful art of Pierre Cardin more than speaks for itself, and stepping out of that portfolio’s way read to me like a great sign of respect. By contrast, the stylistic flourishes of Celebration constantly call attention to itself in a showy way that feels almost deliberately disrespectful to its own subject. Whether or not it’s the refined, Intellectual thing to say, the charming Fluff Piece was simply more enjoyable & more useful to me as an audience than the Art Film.

I fell in love with Pierre Cardin’s mod-defining, Pop Art fashion designs over the course of this movie. By recalling his career path from haute couturier to ready-to-wear name brand, the movie is able to touch on such cultural touchstones as Cocteau’s Beauty and the Beast, the mod style revolution of The Beatles, and the injections of Space Race futurism into women’s everyday fashion – all of which Cardin had a major hand in. More importantly, the film knows that its strongest asset is the bold graphic imagery of Cardin’s designs – relying heavily on archival footage of the designer’s life’s work as illustrated in its own time. It’s totally in love with Cardin, even taking amusement in his self-dilution by licensing his brand to products as wide-ranging as sunglasses, cars, perfumes, telephones, you name it. This is practically more of a narrated slideshow than it is a proper film, and it’s cheesily wonderful for it. The truth is that Cardin himself is charmingly tacky (especially the further away he gets from his 1960s heyday), so it’s appropriate that he’d have a flashy fluff-piece doc where a parade of celebrities stop by just to gush about how wonderful he is.  Cheesy or not, it’s near impossible to walk away from this film without falling a little further in love with Cardin; the adoration is infectious.

I could see how a much more learned fashionista who’s already scholarly informed on all the ins & outs of both Cardin’s & YSL’s careers could have the exact opposite reaction than me. Maybe the contextless atmospheric dread of Celebration would have registered with more heft if I knew more about YSL’s life & career going in. Likewise, maybe House of Cardin’s no-frills presentation of its own designer’s career highlights would have been a bore. As a fashion-curious newbie who needs a little informational handholding, though, I much preferred the puff piece.

-Brandon Ledet