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Mon oncle

Essays

Jul 1, 1990 Jacques Tati’s radiant comedy charms first by its fresh simplicity and later by the depth and richness of its technique.

Mon oncle

Essays

Jan 5, 2004 Jacques Tati’s second tale about the whimsical wanderer Monsieur Hulot, this classic comedy presents a world in which characters are defined solely by their actions.

Dec 14, 2017 In his Oscar-winning comedy Mon oncle, playing next week in Waterville, Maine, Jacques Tati explores the chaos of mechanized modern life.

Apr 19, 2009 More than fifty years after he first appeared on-screen, it seems that Monsieur Hulot has finally quit smoking. And not voluntarily. In accordance with a 1991 law prohibiting tobacco advertising in subway stations and on buses, the Paris Public Transport...

April in Tativille

Production Notes

Apr 22, 2009 Some of you might have seen the news item on our website regarding the Jacques Tati “centennial-plus” and the exhibits around Paris paying homage to the inventive filmmaker. I had the good fortune to be in the City of Lights...

Apr 6, 2009 Paris is turning into Tativille starting tomorrow, April 8, until August 2, with the Cinémathèque française’s appropriately large-scale retrospective of the famously ambitious French filmmaking legend’s work, “Jacques Tati, deux temps, trois movements.” Curated by Stéphane Goudet and Macha Makeïeff,...

Jul 7, 2008 Every decade since 1984 the Toronto International Film Festival has conducted a poll of film scholars, critics, and directors to determine the ten best movies in the history of Canadian cinema. This top-ten list has changed somewhat over the years,...

Happy Black Friday

On the Channel

Nov 25, 2016 Just in time for Black Friday, two cinematic masters playfully pillory consumerism for our weekly double feature: Yasujiro Ozu’s Good Morning (1959) and Jacques Tati's Mon oncle (1958). But these wildly different virtuosos mount opposite attacks, Ozu sweetly funny in...

Nov 4, 2014 In cinema history, there truly is no gag like a Tati gag.

Oct 30, 2014 Tati’s witty visual comedy also functioned as satire of a rapidly modernizing postwar France.

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