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Yvonne Furneaux, the glamorous actress who had memorable performances in Michelangelo Antonioni’s Le Amiche, Federico Fellini’s La Dolce Vita and Roman Polanski’s Repulsion, has died. She was 98.

Furneaux died July 5 at her home in North Hampton, New Hampshire, of complications from a stroke, her son, Nicholas Natteau, told The Hollywood Reporter.

She also was the female lead in the Hammer horror film The Mummy (1959), starring Peter Cushing and Christopher Lee. Though she considered the project less than ideal, she said she ultimately learned from those actors that “if you don’t take a film like The Mummy seriously and put your heart and soul into it, then you can bring it down,” she explained in Mark A. Miller’s 2010 book, Christopher Lee and Peter Cushing and Horror Cinema.

She starred in Italian, French, German and Spanish films during her career.

In Le Amiche (1955), a hit at the...

Paul Vecchiali’s moody, labyrinthine The Strangler suggests the visual style of Jacques Demy’s Model Shop coupled with the psychosexual fervor of Michael Powell’s Peeping Tom. Or maybe it’s more accurate to say that it’s a queer version of Jean-Pierre Melville’s Le Samouraï by way of the story machinations of Claude Chabrol’s The Champagne Murders. Either way, it’s clear that Vecchiali’s interests are cinephilic in nature, and that this 1970 psychological thriller was his self-conscious attempt during the waning years of the Nouvelle Vague to take the movement’s genre-defying sensibilities in a new direction.

Throughout, Vecchiali is concerned less with plot than with mood and setting, which he largely establishes by showing people moving around colorful apartments and through the bustling streets of Paris. Take Anna (Eva Simonet), who rushes to a television station fearing for her safety after Simon (Julien Guiomar...

NYC Weekend Watch is our weekly round-up of repertory offerings.

Roxy Cinema

Dressed to Kill and Chabrol’s The Champagne Murders have 35mm showings; Mary Bronstein’s Yeast, starring a young Greta Gerwig, screens on Friday.

Film Forum

A Jeanne Moreau retrospective brings films by Antonioni, Fassbinder, Truffaut, Welles and more; Lou Ye’s Suzhou River and Una Vita Difficile continue showing in a 4K restorations while The 5,000 Fingers of Dr. T plays this Sunday.

Museum of the Moving Image

A series on snubs brings films by David Lynch, Todd Haynes, the Safdies, and Rebecca Hall.

Film at Lincoln Center

Claire Denis’ masterful first feature Chocolat has been restored in 4K and continues its run.

IFC Center

Fight Club, Cruel Intentions, and Jaws have screenings, while Body of Evidence plays on 35mm.

The post NYC Weekend Watch: Dressed to Kill, La Notte, Safe & More first appeared on The Film Stage.

Cinema is a kind of uber-art form that’s made up of a multitude of other forms of art including writing, directing, acting, drawing, design, photography and fashion. As such, film is, as all cinema aficionados know, a highly collaborative venture.

One of the most consistently fascinating collaborations in cinema is that of the director and actor.

This article will examine some of the great director & actor teams. It’s important to note that this piece is not intended as a film history survey detailing all the generally revered collaborations.

There is a wealth of information and study available on such duos as John Ford & John Wayne, Howard Hawks & John Wayne, Elia Kazan & Marlon Brando, Akira Kurosawa & Toshiro Mifune, Alfred Hitchcock & James Stewart, Ingmar Bergman & Max Von Sydow, Federico Fellini & Giulietta Masina/Marcello Mastroianni, Billy Wilder & Jack Lemmon, Francis Ford Coppola & Al Pacino, Woody Allen & Diane Keaton, Martin Scorsese & Robert DeNiro...

Claude Chabrol, who died Sunday, Sept. 12 at 80, was a founder of the New Wave and a giant of French cinema. This interview, which took place during the 1970 New York Film Festival, shows him at midpoint in his life, just as he had emerged from a period of neglect and was making some of his best films.

Claude Chabrol's "This Man Must Die" is advertised as a thriller, but I found it more of a macabre study of human behavior. There's no doubt as to the villain's identity, and little doubt that he will die (although how he dies is left deliciously ambiguous).

Unlike previous masters of thrillers like Hitchcock, Chabrol goes for mood and tone more than for plot. You get the notion that his killings and revenges are choreographed for a terribly observant camera and an ear that hears the slightest change in human speech.

For this reason,...