Film Reviews – Girl Who Would be KING on Life, Style and INSPIRATION.

PSIFF: Dead Man’s Wire

The Palm Springs International Film Festival has now come to a close.

My movie choices this time explored themes of resilience, legacy, homelessness, pride, prejudice, power, relationships, and bureaucracy. One film in particular added another layer: desperation – the kind that pushes a person past the point of reason.

Photo courtesy of Palm Springs International Film Festival.

That film was Dead Man’s Wire, a true‑crime thriller directed by Gus Van Sant (Good Will Hunting), starring Bill Skarsgård and Dacre Montgomery, with Al Pacino in a small but influential role.

The film dramatizes a real 1977 hostage crisis in Indianapolis, one of the most shocking and televised standoffs of its time. It shows what happened when a distressed man, Tony Kiritsis, took a mortgage company executive hostage and wired a sawed-off shotgun to the man’s neck – a device rigged to fire if anyone tried to intervene. Any sudden movement would kill him. The film keeps you on the edge of your seat, and it certainly kept the hostage on his.

Kiritsis, a frustrated landowner facing foreclosure, stormed into Meridian Mortgage Company believing the business had sabotaged his development deal and pushed him into financial ruin.

The 63‑hour standoff ended in a live televised press conference, something almost unheard of at the time.

Bill Skarsgård delivers an intense, unsettling performance as Kiritsis, portraying him not as a monster, but as a man spiraling under pressure. The film blends period detail with a modern sense of psychological tension.

Ultimately, Dead Man’s Wire exposes the thin line between grievance and violence, and what can happen when someone feels pushed too far – even though Kiritsis took things far beyond any acceptable boundary.

You can understand his frustration, yet you’re appalled by the extreme lengths he went to in an attempt to “set things right.” The film leaves you thinking about the volatile mix of frustration, powerlessness, and fear, and how easily those forces can ignite.

It circles back to the same question that ran through other films I saw this year: what happens when people feel they’ve run out of options, and who pays the price when they break?

**The Plaza Theatre** is where the movie screening took place. After its 34-million dollar renovation.

Director Gus Van Sant was here for a Q&A after the screening.

Best of the Fest:

https://www.psfilmfest.org/film-festival-2026/festival-events/best-of-fest-2026

Film Reviews

PSIFF: Dreams

Dreams offers a revealing look at the imbalances that often exist in relationships. Sometimes those dynamics work, and sometimes they don’t, depending on the nature and scale of the disparity.

Photo courtesy of The Palm Springs International Film Festival – 2026.

In this film, the imbalance is extreme: a wealthy philanthropist becomes involved with a much younger ballet dancer who is also an undocumented immigrant. The power gap is enormous, and the story explores what happens when one person holds far more control than the other. It raises uncomfortable questions about fairness, agency, and the blurry line between generosity and possession.

The movie stars Jessica Chastain (who won an Oscar for The Eyes of Tammy Faye) and Isaac Hernández, the acclaimed Mexican ballet dancer. After performing with the San Francisco Ballet, Dutch National Ballet, and English National Ballet, Hernández became a principal dancer at American Ballet Theatre in 2025. He is superb in his first acting role, and Chastain, as always, delivers a nuanced, magnetic performance.

What stayed with me most was the reminder that even the most beautiful connections can fracture when one person holds all the power. Dreams captures that tension with a quiet intensity that’s hard to shake, leaving you thinking about the relationships we choose, the ones we fall into, and the ones we outgrow, and how power shapes them all.

Dreams is expected to be released into theatres nationwide in a few weeks from now.

Film Synopsis (taken from the website): after their prize-winning collaboration, Memory (PSIFF 2024), director Michel Franco and actress Jessica Chastain reunite for this intimate love story/chilly drama that goes to places that a love story shouldn’t—and that plays as a powerful metaphor for the relationship between the U.S. and Mexico. Chastain plays Jennifer, a wealthy American philanthropist who funds the Mexican ballet school where prodigy Fernando (Isaac Hernández) trains. She also takes him as her lover and keeps him in her home in Mexico. But when Fernando crosses the border illegally and arrives unannounced at Jennifer’s luxury San Francisco mansion, the relationship imbalances show in an ominous light.

Director/Writer/Producer Michel Franco was here in person for Q&A after the screening for his very thought-provoking feature.

https://www.psfilmfest.org/film-festival-2026/film-finder

Film Reviews

PSIFF: Kim Novak’s Vertigo

Do you ever wonder what became of some of Hollywood’s biggest stars? Are they still alive? What are they doing now? Even if they were before your time, their stories still echo through film history.

Courtesy of the Palm Springs International Film Festival.

I grew up watching old movies with my dad, so I’ve always had a soft spot for the stars of earlier eras. Today, it feels like younger generations don’t have the same connection to these films, which makes discovering a great documentary about them even more special.

I love documentaries about interesting, multi‑faceted people. Some are actors, some are not.

I saw Bombshell: The Hedy Lamarr Story, about the famous actress and brilliant inventor who co‑patented a “Secret Communication System” during WWII that used frequency hopping – the basis for modern Wi‑Fi, Bluetooth, and GPS. Her scientific contributions weren’t recognized until later in life. I think it’s because of her that I was able to navigate my way from Vancouver to Palm Springs in my vehicle – so I thank her for that.

Another amazing documentary is My Mom Jayne, about Jayne Mansfield – directed by her daughter, actress Mariska Hargitay, who was only 3 years old and survived in the backseat of the car that took her mother’s life. Who knew that Mansfield was a highly intelligent and musically gifted polyglot, fluent in five languages (English, German, Italian, Spanish, Hungarian), a classical pianist and violinist, who performed on The Ed Sullivan Show, and a self-proclaimed genius with a reported IQ of 160+? When she was in Hollywood, the studio was more interested in her physical measurements than her IQ.

Which brings me to the U.S. premiere of a documentary I just saw at the Palm Springs International Film Festival called Kim Novak’s Vertigo.

Like Lamarr and Mansfield, Kim Novak was far more complex than the studio system allowed her to be. Unlike them, she’s very much alive.

For those not familiar with the name, Novak was a major Hollywood star in the 1950s, and for a few years she was Columbia Pictures’ top box‑office draw. She was Columbia’s answer to Marilyn Monroe, and the studio groomed her as their glamorous blonde star. She headlined major films like Picnic (1955), The Man with the Golden Arm (1955), and Pal Joey (1957).

She became iconic for Hitchcock’s *Vertigo (1958), which is now considered one of the greatest films ever made. In fact, her dual role is still studied in film schools.

She stepped away from Hollywood in the mid‑1960s, saying she wanted to protect her sense of self and avoid the pressures that had consumed other stars of her era.

This poignant film, directed by Alexandre O. Philippe (who was in attendance and whose childhood memory includes the same wallpaper seen in Vertigo), shows Novak looking back on her life as an actress, poet, and painter in an intimate portrait. Novak left at the top of her game. She bought a beautiful home, sight unseen – perched on a cliff overlooking the ocean. She now lives a secluded life surrounded by many animals. She’s 92. She’s an extraordinary painter (link below).

She recently received The Golden Lion for lifetime achievement at the Venice International Film Festival.

In the end, what moved me most was seeing a woman who chose peace over fame, art over applause, and authenticity over expectation. Her story lingers quietly, like a final frame that stays with you long after the credits roll.

It made me wonder how many other stars from Hollywood’s golden age have stories we’ve never heard.

If you’ve seen any great documentaries about classic film icons, I’d love to hear your recommendations.

*Vertigo – Here’s the official synopsis:

As the mysterious Madeline (and her doppelgänger Judy) in Alfred Hitchcock’s Vertigo, Kim Novak delivered one of the most mesmerizing and enigmatic performances in Hollywood history – cementing her legacy as one of her generation’s most independent and iconic talents. Shortly thereafter, she left it all behind to pursue a quieter, more purposeful life in the Pacific Northwest. It’s here that filmmaker Alexandre O. Philippe finds her: at home, ready to share the swirling, singular memories of her life as an actress, poet, painter, and person. This intimate portrait of artistic resilience and personal reflection is a stream-of-consciousness stunner.

Director Alexandre O. Philippe was in attendance for a Q&A after the screening.

https://www.psfilmfest.org/film-festival-2026/film-finder

https://www.kimnovakartist.com/

Film Reviews, THINKAboutit

PSIFF: Natchez

An excellent and eye opening documentary about a charming city in Mississippi, once home to more millionaires than anywhere in the U.S. Natchez is the home of modern Southern hospitality. Lots of history here, y’all.

Photo courtesy of Palm Springs International Film Festival – 2026

I’ve always loved the dreamy architecture and manicured gardens of the American South. When I visited a friend living in Savannah, Georgia, I made sure to take a homes‑and‑gardens tour. Same in Charleston, South Carolina. I admired the 18th‑century Creole cottages in New Orleans and the Spanish‑influenced wrought iron that defines the French Quarter, especially those lacy balconies. It all takes you back to a bygone era.

Natchez is famous for its breathtaking antebellum mansions -grand, columned estates that seem frozen in time. The history of this place is rich, as rich as the labour of the enslaved people who built it brick by brick. It’s kind of like Beauty and the Beast: if you’re going to tell a story, at least tell the whole story.

There’s a truth the city doesn’t always make visible, even as the beauty of these homes draws visitors from around the world.

To walk through Natchez is to feel both the elegance and the weight of that past existing side by side. The film intentionally captures this beauty in a way that feels nostalgic, almost seductive – the South as many want to remember it. But it also shows how the city’s prosperity was built on exploitation, and how that legacy still shapes its present.

A community deeply divided over how to tell its own story, with some wanting to preserve the romantic myth, others demanding truth and accountability.

Natchez wasn’t just a pretty river town; it was once one of the wealthiest cities in the United States because of cotton. The entire local economy revolved around it. Before the Civil War, the region’s rich soil and access to the Mississippi River made it a prime location for large plantations, and cotton became the engine that drove everything. But that prosperity came at a devastating human cost. The cotton industry in Natchez depended on the forced labour of enslaved people who planted, tended, and harvested the crops under harsh conditions. Their labour created the wealth that built the grand homes the city is now known for. That’s the part Natchez often glosses over – the beauty of the architecture is inseparable from the exploitation that funded it.

Many of the families who open their doors for tours do so for practical reasons as much as pride. Maintaining these enormous homes with their aging foundations, sprawling gardens, and intricate architectural details is extraordinarily expensive, and tourism helps keep them standing. But it’s not just about money. For many locals, sharing these homes is a way of preserving a story they’ve inherited, even if that story includes chapters the city has long been reluctant to confront. The tours become a kind of living archive: part preservation, part performance, and part economic necessity.

I think as long as you can at least acknowledge the past, you can enjoy the present.

* Antebellum literally means before the war – in the U.S., it refers specifically to the period before the Civil War. In architecture and tourism, it’s still widely used to describe homes, estates, and design styles from that era. In places like Natchez, the term is often used to highlight beauty while downplaying the brutal labour by what they refer to as workers (actually, slaves chained by ankle, wrists and neck) that made that beauty possible.

https://www.psfilmfest.org/film-festival-2026/film-finder

Film Reviews

PSIFF: TOW

Rose Byrne is one of those rare performers who seems to have no weak spots, and the more you look at her career, the clearer that becomes.

Courtesy of Palm Springs International Film Festival – 2026.

She can move between drama and comedy with ease, as witnessed in movies such as “Bridesmaids” and “If I Had Legs, I’d Kick You.”

I just saw “Tow” at the Palm Springs International Film Festival. “Tow” is based on the very real story of Amanda Ogle, an unhoused Seattle woman living in her aging Toyota Camry. The movie premiered at the 2025 Tribeca Film Festival, and stars Byrne as the main character.

The story is based on Ogle’s real 2017 ordeal, when her car, containing all of her belongings, was stolen, recovered, and then towed. She spent over a year fighting the system to get it back. The car was not just her transportation, it was her home.

Byrne did a powerful performance in portraying Ogle’s battle against bureaucracy. She not only starred in it, she also produced the film, showing how personally invested she was in getting the story out there. The film was shot in just 19 days on a very small budget, which Byrne said added to its raw, realistic feel.

This movie really makes you think about how unfair the system can be. It was unnerving to watch the struggle to get the car back. Bureaucracy doesn’t bend for people who fall outside its assumptions of things like a home address, job, savings and ability to take time off to go to court.

Ogle had to deal with a maze of agencies that don’t talk to each other. They included the police, the towing company, municipal courts, city departments and storage facilities. She had to live in a woman’s shelter while doing so. At least there was that.

When the car was eventually recovered by police, instead of being returned to her, it was impounded. And because she was unhoused and had no stable address or resources, she couldn’t easily navigate the system to get it back. The towing company presented her with a bill of $21,634 for storage and fees over time, which of course, she could not pay. The system creates the problem, then makes it nearly impossible to fix.

This wasn’t a case of someone ignoring a ticket – it was a person trapped in a system that treated her car as property but ignored the fact that it was also her shelter.

Rose Byrne has said she was drawn to the project because Amanda’s story exposes how ordinary people can be crushed by systems that are supposedly neutral. And let’s also say that her appearance does not fit the typical stereotype, challenging our assumptions about “what homelessness looks like.”

The emotional undercurrent is the quiet realization that someone’s entire life can be uprooted because of a dramatic mistake. With a “there but for the grace of God go I” kind of feeling.

Homelessness has reached levels in the U.S. that are hard to ignore, and one of the most striking, and often invisible parts of the crisis is the rise in people living in their cars.

The festival is on until January 12^th, 2026. For films and available tickets:

https://www.psfilmfest.org/film-festival-2026/film-finder

Art & Culture, Film Reviews

Elvis, Rocky and Me: The Carol Connors Story.

The world premiere of a remarkable documentary was last night – part of the Palm Springs International Film Festival. I, and the audience, loved Elvis, Rocky and Me: The Carol Connors Story.

Carol (and her boxing gloves) with Screenwriter: Dahlia Heyman and Director/Producer/Screenwriter: Alex Rotaru

The documentary is based on her blockbuster memoir by the same name (the audiobook was recently nominated for a Grammy). Watching this documentary felt like opening a time capsule packed with charisma, chaos, and the unmistakable spark of a woman who refuses to dim.

Carol Connors is the kind of dynamo who could write a hit, charm a legend, and still get herself kicked out of a studio by Dionne Warwick – all before lunch.

To know her, is to love her – say all of Carol’s friends.

I heard the name before, but admittedly I didn’t know a lot about Carol Connors, other than she dated Elvis Presley (after he co-starred with Ann-Margret in “Viva Las Vegas”), co-wrote the iconic Rocky theme song (minimalist but powerful lyrics to “Gonna Fly Now” – which was nominated for an Academy Award) and had a #1 hit single (“To Know Him Is to Love Him”) recorded by The Teddy Bears, which became a major hit, reaching number one on the Billboard Hot 100 in late 1958, where it stayed for three weeks and launched producer Phil Spector’s career. It went on to have several renditions after that – my favorite sung by Dolly Parton, Linda Ronstadt and EmmyLou Harris (their version became a #1 country hit and was featured on their Grammy-winning album “Trio“).

I guess that alone seems like enough right? However, there’s so much more that I wasn’t sure where to begin writing this post because…

Before the documentary even begins, you realize Carol Connors didn’t just witness pop culture history…she helped write it, one hook, one heartbreak, and one heavyweight anthem at a time.

I did a bit of research beforehand, but had no idea of the scope of her legacy. Some people live a life. Carol Connors lived a soundtrack. One that starts with Phil Spector, flirts with Elvis Presley, and punches its way into the Oscars with Rocky.

With **Kathy Garver** (from *Family Affair,* an author and voice for Carol’s memoir audio book – see links of where to buy below.

The documentary is interspersed with interviews on major talk shows and snippets of conversations she’s had with Hugh Hefner, Mike Tyson and O.J. Simpson.

Believe me, I’m still not giving too much away. Remember the legendary Shelby Cobra roadster designed by Carroll Shelby? Connors wrote “Hey Little Cobra.” Here’s the fun part: she didn’t just write it about the car – she wrote it for Carroll Shelby himself, after he told her that if she wrote him a hit, he’d give her a Cobra. And he actually did. The song became a major hit, reaching No. 4 on the Billboard Hot 100.

Only Carol Connors could turn a conversation with Carroll Shelby into a chart‑topping hit, and drive away in the car she wrote about.

At the end of the documentary, there was a Q&A followed by Carol singing a song called “You Loved My Night Away“that she wrote (music & lyrics) on the day Elvis Presley died. They stayed friends up until the end. She still has a beautiful voice and the song is also beautiful.

What a glamorous, fabulous life.

Director/Producer: Alex Rotaru

Executive Producer: Julian Warshaw.

Screenwriters: Dahlia Heyman, Alex Rotaru

Cast: Carol Connors, Bill Conti, Talia Shire, Mike Tyson, Diane Warren, Dionne Warwick, Barbi Benton, Irwin Winkler.

The Film Festival is on until January 12^th, 2026. Film Finder and Tickets:

https://www.psfilmfest.org/film-festival-2026/film-finder/elvis-rocky-and-me-the-carol-connors-story

https://www.psfilmfest.org/film-festival-2026/film-finder

*You can buy Carol Connors’ memoir Elvis, Rocky and Me from major online retailers like Amazon, Walmart, and Target, or directly from the publisher BearManor Media, with options for paperback, hardcover, and Kindle e-book, plus an audiobook narrated by Kathy Garver.

Film Reviews

VIFF: The Secret Agent

This film was a special presentation as part of the Vancouver International Film Festival (VIFF). In Portuguese with English subtitles, most of the story is set in Recife, Brazil, which was the main reason I wanted to see this movie. I spent a year living in Brazil with very fond memories of Recife.

I took this from the balcony of our hotel room in Recife. The beach was amazing. The carts along the beach were unlike anything I’ve seen before – people selling everything from suntan lotion and seafood to hard liquor.

I loved the locals for their vibrant spirit, warmth, and deep love for life – a cultural energy that pulses through everything from their music and food to their festivals and everyday interactions. It’s infectious. It can be referred to as “alegria”– a kind of joyful resilience that’s woven into the national identity, despite facing economic and political challenges.

However, I have one not very fond memory of the kind of corruption that I had only heard about. My late husband was waiting for me in the car outside a store in Rio while I quickly went inside to purchase a few postcards. A police officer came by and said he wasn’t allowed to wait there and immediately issued a ticket for $1,000 usd. I called the concierge of the Copacabana Palace Hotel where we were staying, to find out if he could talk to the officer and reduce the ticket. The concierge ended up coming to where we were and after some back & forth with the officer, the ticket was then reduced to about $400 – which I believe the concierge and the cop ended up splitting between them. He said “you realize that we have families right?”

Then there was the time when my young Portuguese instructor was escorted to her bank by an officer and told to withdraw all her money – at gunpoint. This was real life – not a movie.

“The Secret Agent” synopsis from the VIFF guide:

Having run afoul of an influential bureaucrat working inside of Brazil’s military dictatorship circa 1977, Marcelo (Narcos’ Wagner Moura) decamps to Recife to live under an assumed name and reconnect with his young son. Bedding in with a cadre of political dissidents and refugees while finding work in the state identification archives, the former university researcher comes to understand precisely how insidious and all-encompassing the country’s corruption has become.

GWWBK: The movie overall was interesting, but way too long. “The Secret Agent” clocks in at nearly 3 hours, with a runtime of 2 hours and 52 minutes. That extended length gives director Kleber Mendonça Filho room to explore the film’s layered themes of political paranoia, memory, and identity in meticulous detail.

Too meticulous if you ask me. I made my Secret Exit at around the 2 hr mark.

Note to self: 1) Always check the length of the film. 2) Don’t go see a film based on the fact they you’ve either visited or lived where it was filmed (btw, in this film you won’t see anything like the photo I posted here along the beautiful beach). 3) Do more research.

Best Director, Best Actor, Cannes 2025; Oscar Submission: Brazil

Missed it at VIFF? Catch it at the VIFF Centre after the festival.

Film Reviews

VIFF: JAY KELLY

Oh, what to say about this movie which is a musing on fame, regret, and identity.

You know that I tend to see movies that I hope to write a good review about.

This one is marketed as a bittersweet comedy about a good looking world-famous actor, not unlike George Clooney. Oh my, it is George Clooney! Clooney plays a fading movie star in “Jay Kelly”, which is ironic, because by the end I felt like I was fading too.

Not to worry – my little review won’t hurt his career. And I like Clooney in other things, just not this one.

The film tries to be profound by showing a movie star questioning his fame, but ends up feeling like a celebrity’s therapy session we didn’t ask to attend. I don’t always know a lot in advance about the movies I choose to see at festivals. The title might initially intrigue me and I might like the actors and know a bit about the story, but what I’m seeing a lot of is dysfunctional family drama in almost every movie no matter what the storyline is. It gets tiring.

With Adam Sandler, Laura Dern, and a European road trip, it had all the ingredients for charm. Instead it lacked spontaneity, realism and failed to captivate. Humour is all about surprise….and this one, at least for me, held no surprises. Imagine “Eat Pray Love” without the eating, praying, or loving. Or “Marriage Story” without the story.

The film is directed by Noah Baumbach – known for introspective dramas such as “Marriage Story” and “White Noise.”

Director’s Statement: “Jay Kelly: is about a man looking back at his life and reflecting on the choices, the sacrifices, the successes, the mistakes he’s made. When is it too late to change the course of our lives? Jay Kelly is an actor and as such the movie is about identity. How we perform ourselves. Who are we as parents, children, friends, professionals? Are we good? Are we bad? What is the gap between who we’ve decided we are and who we might actually be? What makes a life? Jay Kelly is about what it means to be yourself.

This is the last weekend for VIFF. You can enjoy movies all year long though at the Viff Centre.

https://viff.org/

Film Reviews

VIFF: THE ART OF ADVENTURE

Chasing the Unknown…

This exceptional documentary, with original 1957 restored footage, captures the essence of mid-century exploration in its purest form. Two men, one outfitted range rover and a lust for adventure through untamed landscapes, offers a rare glimpse into a world before greed and chaos upset everything. It’s a film that doesn’t just show you some wild places, it invites you to feel it.

The men in question are renowned Canadian wildlife artist and naturalist, Robert Bateman, and Bristol Foster, a prominent biologist and the first director of BC’s Ecological Reserves Program. What makes it even more special is that these men are lifelong friends.

I think this film will appeal to anyone who loves travel and adventure in general. It will especially appeal to those, who like me, have been to Africa and were lucky enough to see wildlife in their natural habitat and meet local people such as the Maasai with their rich culture, pastoral lifestyle, and deep connection to the land in Kenya and Tanzania.

Although the difference here is that these men traveled to Africa at a time when it was very unusual to see foreign people, especially Caucasians. And they took chances off the beaten path. Young and fearless, but extremely smart and capable. They’re lucky they avoided any harm along the way, sometimes coming close to possible disaster.

The Range Rover (aka “the Grizzly Torque”) ran 30,000 kilometres across Africa, India, Southeast Asia, and Australia.

Foster made sure to acquaint himself beforehand on every aspect of fixing the vehicle. Bateman sketched animals and people along the way and painted a mural of every place they visited along the Grizzly Torque.

With Robert Bateman who is 95 years old now.

Director Alison Reid (the woman who loves giraffes), Robert Bateman and Bristol Foster were there for a Q&A after the showing. I went with a friend who knew the Bateman family from growing up in Ontario. She told me that when Bateman was a teacher, he would take the kids on nature walks and she credits him with having given her a love of nature.

From the VIFF guide:

Through in-depth interviews with friends and family and the original 16mm film footage of their incredible journey, Reid shows how the trip expanded the pair’s knowledge of the physical world while deepening their spiritual and emotional connection to it.

A heartwarming, inspirational love letter to the adventure of life itself.

The October 12 screening is a Relaxed Screening. For Tickets:

https://viff.org/

Film Reviews

VIFF: Nouvelle Vague

ALL YOU NEED TO MAKE A MOVIE IS A GIRL AND A GUN – Jean-Luc Godard. Paris, 1959.

There are some things I will never understand. This movie may be one of them. But some things I cannot fully make sense of will still stand stand out as being innovative, artistic and surreal. This movie was the opening film at VIFF…about a film…that’s a bit vague (for lack of a better word). Visually it is stunning, filmed in all black and white. It’s also a true story and the original film Breathless went on to win several awards.

Nouvelle Vague stands for French New Wave, which was an influential film movement in France from the late 1950’s to the early 1960’s that rejected traditional filmmaking conventions through experimental techniques like jump cuts, location shooting, and handheld cameras. A direct response against the formulaic and studio-controlled films of the time, which focused on strong, easy-to-follow narratives. This type of filmmaking is a “go with whatever flow” method and has a kind of film noir imaging – creating a more immediate and spontaneous feel.

The low-budget, documentary-style approach of this film speaks to me, because now I don’t feel so bad about my trial and error, guerrilla-style, unprofessional YouTube (~~not telling you about it right now~~) channel where I am director, etc.

Directed by Richard Linklater (included in Time Magazine’s 100 most influential people in the world), it is fresh and compelling. It follows the true story of Swiss intellectual Jean-Luc Godard as he makes a movie starring American starlet Jean Seberg (who speaks French with an American accent) and boxer Jean Paul Belmondo.

The primary pioneers of the French New Wave were film critics and future directors François Truffaut, Jean-Luc Godard, Éric Rohmer, Claude Chabrol, and Jacques Rivette.

He’ll write it as they make it. A bout de souffle… Breathless… will change everything (from the VIFF guide).

Don’t think about getting any clarity in this one and forget about continuity – it is what it is! Love it or hate it – it will leave you feeling a little breathless. See original trailer below:

https://www.youtube.com/watch?v=iAuqDI4EAl4