For most lay audiences, Martin Scorsese’s comments about the Marvel Cinematic Universe and the backlash against them will probably be the closest they ever get to experiencing or understanding film criticism and history. However, there’s far more to the wider critical world of cinema than mobsters taking on superheroes, and many of this world’s greatest titans are, sadly, leaving us. Like Anna Karina, the acclaimed Danish-French actress, singer, and director whose collaborations with Jean Luc Godard during the 1960s ushered in the “French New Wave” era and changed cinema forever.
According to the New York Times, Karina died at the age of 79 on Saturday in Paris. Franck Riester, the french cultural minister, confirmed the news in a tweet, while, per the NYT, Karina’s agent later acknowledged she had succumbed to a battle with cancer.
Son regard était le regard de la Nouvelle Vague. Il le restera à jamais. Chez Godard surtout, mais aussi Rivette ou Visconti, Anna Karina irradiait ; elle magnétisait le monde entier. Aujourd'hui, le cinéma français est orphelin. Il perd l'une de ses légendes. pic.twitter.com/HpYeAqATQZ
— Franck Riester @franckriester December 15, 2019
Thanks to movies like Le Petit Soldat, Bande à Part, Vivre Sa Vie, and many others, both Godard and Karina’s profiles exploded onto the international scene throughout the 1960s and beyond. The young actress even won the best actress award at the acclaimed Berlin International Film Festival in 1961 for her work in Une Femme Est Une Femme, in which she played a stripper who wanted to have a baby and raise it without a father or male figure in the picture.
After her initial explosion with Godard, Karina went on to star in, and direct, her own films throughout the 1970s and beyond. She also wrote several novels and tried her hands at a singing career.
While major studios have the resources to debut their theatrical releases early on digital and streaming platforms amid the nationwide shutdown of movie theaters due to coronavirus COVID-19 concerns, indie filmmakers are being left without an audience for their small films. Typically, film festivals give these indie films the exposure they need to build up an audience or critical acclaim.
But with film festivals cancelling left and right, indie films are the ones that suffer the most. However, Jay and Mark Duplass, who got their start in the indie filmmaking world, want to use their clout to support those indie filmmakers whose small films are left without a home.
Film festivals are more than a fancy place for high-profile filmmakers to debut their next awards contender. They’re an essential home for many indie films that otherwise wouldn’t get a chance to debut to big crowds. But with those crowds dispersed and shut up in their homes for the time being, indie filmmakers are being left with nowhere to show the small films that they worked on for years. They don’t have the resources to just drop their movies on digital platforms and even if they did, they’re more likely to get overlooked in favor of Bloodshot.
However, the Duplass brothers are attempting to lessen the financial blow that indie filmmakers are feeling by using their clout to elevate those small films. In an interview with IndieWire, Mark Duplass put out the call to indie films for a home, offering the resources of Duplass Productions to boost indie filmmakers’ works.
“[The streamers] are all doing their best overtime watching pretty much every movie that’s being submitted to them from the festivals that didn’t have their premieres. We as Duplass Brothers have also come forward to those people and said, ‘If you find a movie where you feel like ‘This is really great but it’s not there yet,’ bring it to us and we will help partner with you to make that movie what you feel like it needs to be for your service.”
While streaming platforms have been a godsend for many stuck inside, or the many people who can’t afford to go to the movie theater every week, Duplass said that not only independent filmmakers, but independent studios have been struggling to cope with the effects of the coronavirus pandemic.
“There are so many positives and negatives to where we’re at with the prominence of streamers, what they have done to places like IFC and Magnolia who’ve been around for years and who are an integral part of our ecosystem,” Duplass said. “They were really damaged by some of these acquisition prices at film festivals. We used to … sell our movies to these niche distributors, and we wouldn’t hammer them for too much money because if we did, they wouldn’t be...