GME News
Now through April 11th, Jean-Pierre Melville’s 1967 French noir LE SAMOURAÏ plays at Film Forum in a new 4K restoration, created from the original 35mm negative by Pathé and The Criterion Collection at L’Immagine Ritrovata. GME distributes Melville’s earlier gangster film, BOB LE FLAMBEUR, on DSL, DVD, and Blu-Ray to the North American university market.
Read MoreA brand new 4K restoration of Jean-Luc Godard’s ALPHAVILLE (1965), made from the original 35mm negative by Studiocanal at Hiventy with the support of the CNC, opened at the IFC Center on December 15th and will play there through December 28th. GME distributes ALPHAVILLE to the North American university market as a Blu-Ray, DVD, and DSL file.
Read MoreAt this year’s New York Film Festival, presented by Film at Lincoln Center and playing in New York City from September 9th to October 15th, 2023, films by Man Ray and Abel Gance will screen in the Revivals section, which spotlights “important works from renowned filmmakers that have been digitally remastered, restored, and preserved with the assistance of generous partners.” GME distributes on DVD, with Re:Voir Video, to the North American university market, Ray’s RETURN TO REASON and EMAK-BAKIA in the eight-film collection CINÉMA DADA. GME is also proud to distribute Gance’s LA ROUE on DVD, to the North American university market, in conjunction with Flicker Alley. GME additionally distributes Gance’s J’ACCUSE (1919) on DVD with the same label.
Read MoreThis month, films by Rose Lowder and Jean-Luc Godard are playing at the Toronto International Film Festival! GME distributes, to the North American university market, five films by Lowder (spanning 1978 to 1995) in a collection titled BOUQUET D’IMAGES. GME also distributes, on Blu-Ray, DVD, and DSL, Godard’s 1965 wonder ALPHAVILLE.
Read MoreLooking ahead to the fall semester, GME would like to remind you of some of our popular titles that can be utilized for thematic teaching purposes, while also preparing you for a selection of new titles from Kino Lorber, Re:voir, Index Edition, Edition Filmmuseum, and others, soon to be released as downloadable DSL files and Disk/DSL bundles through GME Streamline.
Read More“Masterpiece of masterpieces!” (Jonathan Rosenbaum), LAST YEAR AT MARIENBAD (France, 1961), directed by Alain Resnais, with a screenplay by Alain Robbe-Grillet, “is a sustained mood, an empty allegory, a choreographed moment outside time, and a shocking intimation of perfection.” (J. Hoberman). A hypnotically beautiful puzzle box of a film, LAST YEAR AT MARIENBAD is one of the most influential in the history of cinema.
Read MoreGERMAINE DULAC: CINEMATIC SENSATIONS AT THE HOUSE OF DREAMS presents nearly 30 films by Germaine Dulac, feminist, socialist and avant-garde pioneer of the 1920s. The two most famous, the impressionist LA SOURIANTE MADAME BEUDET (1923), with its heroine with modern tastes confined to a bourgeois marriage, and LA COQUILLE ET LE CLERGYMAN (1927), the first surrealist film in history, conceived as an essay on the rhythm, have durably transformed the cinematographic landscape.
Read MoreThe French New Wave of the 1950s and ’60s radically transformed the language of cinema. While its leading figures are widely recognized—over the years, Jean-Luc Godard, François Truffaut, Eric Rohmer, Jacques Rivette, Claude Chabrol, Agnès Varda, Alain Resnais, Jacques Demy, and Chris Marker have all had retrospectives at MoMA and beyond—there were many other New Wave filmmakers whose work has remained largely unsung.
Read MoreWe continue our GME Streamline releases with key films from the Kino Lorber collection, in this instance heralding seminal filmmakers and their movies from the French New Wave era: Jean-Pierre Melville’s BOB LE FLAMBEUR (1956), Jean-Luc Godard’s ALPHAVILLE (1965), and Alain Resnais’s LAST YEAR AT MARIENBAD (1961).
Read More“Philippe Garrel, a prodigy of the French cinema (whose work was first included in the New York Film Festival in 1970, when he was twenty-two), has developed a spare method, a self-imposed classicism of dramatic intimacy… [THE SALT OF TEARS] rises very high with its fusion of brusque candor and unspoken yearnings…feels like a revisitation of the austerities, aspirations, and humiliations of an earlier age, a return to primordial experiences and artistic ambitions… The film also happens to have one of the best dance scenes in the recent cinema.”
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