Welcome to the All-New Hope Lies at 24 Frames Per Second. This is the biggest revamp of the site in the ten years or so that Hope Lies has been online.
I present to you a new focus. Rather than be a catch-all, broad website on cinema I’m going to be focussing specifically on French film. Over the years Hope Lies has become known for its interest in this particular area, with Mark Kermode even praising our niche in his 2013 bestseller Hatchet Job. it is with that in mind that I’m pulling things in and focussing purely on the cinema of France from hereon out. While the contemporary will get a look in, I’ll be concerned mainly with the historic.
In recent months I’ve found myself asking questions such as “Does the internet really need another opinion on mother!?” I think the answer is “No”, but it could probably do with a director profile on a filmmaker like Jacques Rozier. I would rather focus my attention on the unsung and unspoken of. My somewhat ambitious aim is for Hope Lies at 24 Frames Per Second to to become the preeminent English language website dedicated to writing on French Cinema.
There’s a lot of content ready to be published on the site in the coming days. I’ve chosen to refresh and republish a number of articles from the old Hope Lies first, to get the ball rolling, so to speak, with this interspersed with brand-new content. Regular features abound, with each new month bringing with it a Director-Of-The-Month, while the Cahiers Notes exploring some of the greats of French cinema via their own favourite films. The inaugural Cahiers Notes will be a piece on Jacques Rivette’s relationship with Kenji Mizoguchi’s The Life Of Oharu, which is often said to be the late French director’s favourite film.
Regarding the “old” Hope Lies; all of the existing content remains online, but it won’t be housed here. Googling “Hope Lies” and a specific subject ought to bring just about anything up, but for more casual browsing please visit our old WordPress site or Medium.