Synopsis
A movie for people who love movies.
A committed film director struggles to complete his movie while coping with a myriad of crises, personal and professional, among the cast and crew.
A committed film director struggles to complete his movie while coping with a myriad of crises, personal and professional, among the cast and crew.
戏中戏, 幽灵王国, 日以继夜, 白天不懂夜的黑, 美国之夜, 사랑의 묵시록, Natteffekt, Effetto Notte, La noche americana, 日以作夜, Die amerikanische Nacht, Effetto notte, A Noite Americana, Американская ночь, Американська ніч, Americká noc, Amerikkalainen yö, Amerikan Gecesi, Американска нощ, Amerikai éjszaka, 아메리카의 밤, Αμερικάνικη Νύχτα, Dag som natt, Noc amerykańska, アメリカの夜, La nit americana
“I’d dump a guy for a film but never a film for a guy!”
charming, genuine, and brave enough to tell the three essential truths about filmmaking:
- movies are more important than life
- everyone in the cast and crew is boning each other
- cats cannot act
I love movies about movies and I love being on a set so much. I miss the energy, and the busyness, and the hustling unpreparedness! I loved how unfocused this movie was– no singular plot, no central character to follow, just a series of dramas surrounding a single production. It feels like a Christopher Guest movie with the dial turned way down. Love it!
The best film about making a film! Is one of the only ones who understand that filmmaking is in equal parts a dream and nightmare, maintaining the union of the cast by lies, ego and last-minute rewritings.
Jean-Pierre Léaud is neurotic, Jacqueline Bisset is brilliant and all the other characters are one step away from a nervous breakdown. Five stars and a stress headache well earned.
100/100
Sorry, Jean-Luc Godard. You've been topped for best movie about movies.
Francois Truffaut's Day for Night is a fantastically dazzling masterpiece of cinema. A glorious celebration and condemnation of the joys and faults of filmmaking. It's also a genius satire, taking all of the troubles and woes of filmmaking and making a somewhat sarcastic remark about them. Truffaut has made a big mark on satirical cinema with this piece, and honestly it's probably far too complex for me to properly dissect at this moment.
Being a film within a film, Day for Night doesn't try to take itself too seriously. It reminds the audience that, while cinema is a glorious form of art in itself, it's still simply fictionalized…
"No one's private life runs smoothly. That only happens in the movies.”
making a movie looks like the most stressful thing in the world but somehow the most amazing thing in the world at the same and i think that’s pretty neat
“i’d drop a guy for a film. i’d never drop a film for a guy!”
no 👏 truer 👏 words 👏 have 👏 ever 👏 been 👏 spoken.
Cmon guys lets stop kidding ourselves, Timothee Chalamet is just a wannabe Jean-Pierre Leaud 😒🙄
françois truffaut playing the director of the movie within the movie that he directed!!!! jean-pierre léaud serving looks and being a comedic king!!!! truffaut receiving the package of books about film he ordered and tearing it open with glee!!! his dream about stealing citizen kane promo stills from the cinema as a kid!!! the drama and scandal of working on a film set!!!
movie magic! so much to love!
I was kinda losing my interest and ion for cinema over the past couple weeks, but watching Day for Night for the first time yesterday really restored my love, and possibly invigorated it more than ever.
Watching it for the third time this weekend reaffirmed that this is what I want to do with my life (even though films like Meet Pamela aren't made anymore). This is what it's all leading up to, this is my ion, this is my love, this is cinema.
Thus, Day for Night is the film with the biggest impact on my life, which is actually kinda funny, since I only saw it yesterday.
So after this film was released, Jean-Luc Goddard (everyone's favorite French new wave asshat) wrote a letter to Truffaut accusing him of selling out and saying that since the film had appeal to the masses it had no inherit value. And if that doesn't sound the pretentious guy in your film class who hasn't watched an English language feature in 4 years but has no actual talent then I don't know what is.
if you’re looking for a cinematic representation of me post-vaccine, look no further than the scene in this film in which jean-pierre léaud, after locking himself in his hotel room all day to stew in the melancholy of amour non réciproque, emerges in a white nightgown, looking like a pale victorian child, slowly walks up to the rest of the film crew, one hand extended in supplication, and asks if somebody will please lend him some money so he can go to the whorehouse.