French sales outfit Ginger & Fed has boarded Fabien Gorgeart’s comedy drama What Is Love? (C’est Quoi l’Amour?) starring Laure Calamy and Vincent Macaigne as a long-divorced couple attempting to annul their Catholic marriage at the Vatican.
Ginger & Fed, the theatrical sales arm of French group Federation run by Sabine Chemaly, will kick off sales for the film at the American Film Market.
Lyes Salem, Melanie Thierry, Celeste Brunnquell and Saül Benchetrit round out the cast of the feature, which is shooting now and produced by Petit Film and Deuxième Lign.
Described by Chemaly as“a comedy...
Ginger & Fed, the theatrical sales arm of French group Federation run by Sabine Chemaly, will kick off sales for the film at the American Film Market.
Lyes Salem, Melanie Thierry, Celeste Brunnquell and Saül Benchetrit round out the cast of the feature, which is shooting now and produced by Petit Film and Deuxième Lign.
Described by Chemaly as“a comedy...
- 10/29/2024
- ScreenDaily
Mallory Wanecque, the breakout actor of “The Worst Ones” who headlines Cannes competition title “Beating Hearts,” is starring alongside Sami Bouajila (“Through the Fire”) in “Vultures,” a thriller directed by Peter Dourountzis (“Rascal”).
Produced by Mediawan-owned 24-25 Films (“Black Box”), “Vultures” is represented internationally by Ginger & Fed, the new international film sales arm of Federation Studios headed by former TF1 Studio boss Sabine Chemaly. The cast is completed by Sami Bouajila (“Through the Fire”), Jean-Pierre Darroussin (“All Your Faces”), Pierre Lottin (“The Night of the 12th”) and Valerie Donzelli (“Declaration of War”).
“Vultures” will be delivered during the second quarter of 2025. Bouajila stars as Samuel, a journalist who partners with his intern daughter Ava to cover the brutal murder of a young girl that lead them to a male supremacist group headed by the enigmatic Nemesis. The movie marks Dourountzis’ follow-up to “Rascal,” an edgy film starring Pierre Deladonchamps as an outsider-turned-killer.
Produced by Mediawan-owned 24-25 Films (“Black Box”), “Vultures” is represented internationally by Ginger & Fed, the new international film sales arm of Federation Studios headed by former TF1 Studio boss Sabine Chemaly. The cast is completed by Sami Bouajila (“Through the Fire”), Jean-Pierre Darroussin (“All Your Faces”), Pierre Lottin (“The Night of the 12th”) and Valerie Donzelli (“Declaration of War”).
“Vultures” will be delivered during the second quarter of 2025. Bouajila stars as Samuel, a journalist who partners with his intern daughter Ava to cover the brutal murder of a young girl that lead them to a male supremacist group headed by the enigmatic Nemesis. The movie marks Dourountzis’ follow-up to “Rascal,” an edgy film starring Pierre Deladonchamps as an outsider-turned-killer.
- 5/17/2024
- by Elsa Keslassy
- Variety Film + TV
Blandine Lenoir’s completed family drama Juliette In Spring, starring Izia Higelin, has sold to key buyers including Palace Films for Australia and New Zealand, Polyfilm in Austria, Pandora in Germany, Surstey in Spain, and Cineworx in Switzerland for Indie Sales.
The film, based on Camille Jourdy’s graphic novel, is about a woman who returns to her hometown to spend time with her family as buried memories, unspoken truths and long-buried secrets bubble up to the surface in what Indie Sales calls “a sweet, tender and sometimes extravagant family portrait.”
Jean-Pierre Darroussin, Noémie Lvovsky and Sophie Guillemin co-star in...
The film, based on Camille Jourdy’s graphic novel, is about a woman who returns to her hometown to spend time with her family as buried memories, unspoken truths and long-buried secrets bubble up to the surface in what Indie Sales calls “a sweet, tender and sometimes extravagant family portrait.”
Jean-Pierre Darroussin, Noémie Lvovsky and Sophie Guillemin co-star in...
- 5/14/2024
- ScreenDaily
Unifrance and Film at Lincoln Center have unveiled the lineup for the 29th Rendez-Vous with French Cinema, a festival celebrating contemporary French film running from Feb. 29-March 10.
Thomas Cailley’s “The Animal Kingdom” will screen as the 2024 Opening Night Selection in its New York premiere. The film, which was nominated for 12 Cesar Awards, tells the story of an infection that mutates humans into animal hybrids.
“It is a great honor to open this year’s edition with the French critical and box-office hit ‘The Animal Kingdom’ with director Thomas Cailley in attendance,” said Daniela Elstner, executive director of Unifrance.
Elstner continued, “This remarkable film along with this year’s selection is a great example of the vitality and diversity of French cinema today. A mix of new and established filmmakers together with the stellar presence of actress Marion Cotillard indeed make for a rich 29th edition of this year’s Rendez-Vous With French Cinema.
Thomas Cailley’s “The Animal Kingdom” will screen as the 2024 Opening Night Selection in its New York premiere. The film, which was nominated for 12 Cesar Awards, tells the story of an infection that mutates humans into animal hybrids.
“It is a great honor to open this year’s edition with the French critical and box-office hit ‘The Animal Kingdom’ with director Thomas Cailley in attendance,” said Daniela Elstner, executive director of Unifrance.
Elstner continued, “This remarkable film along with this year’s selection is a great example of the vitality and diversity of French cinema today. A mix of new and established filmmakers together with the stellar presence of actress Marion Cotillard indeed make for a rich 29th edition of this year’s Rendez-Vous With French Cinema.
- 1/25/2024
- by Jaden Thompson
- Variety Film + TV
Graphic novel adaptation stars stars Cesar-winning actress Izia Higelin
Indie Sales has boarded Blandine Lenoir’s fourth feature Juliette In Spring and will launch sales at Unifrance’s Rendez-Vous in Paris which takes place from January 16-23.
The film, based on Camille Jourdy’s graphic novel, follows a thirty-something woman who returns to her hometown to spend time with her family as buried memories, unspoken truths and long-buried secrets bubble up to the surface in what Indie Sales calls “a sweet, tender and sometimes extravagant family portrait.”
The film stars Cesar-winning actress Izia Higelin in the titular role alongside a...
Indie Sales has boarded Blandine Lenoir’s fourth feature Juliette In Spring and will launch sales at Unifrance’s Rendez-Vous in Paris which takes place from January 16-23.
The film, based on Camille Jourdy’s graphic novel, follows a thirty-something woman who returns to her hometown to spend time with her family as buried memories, unspoken truths and long-buried secrets bubble up to the surface in what Indie Sales calls “a sweet, tender and sometimes extravagant family portrait.”
The film stars Cesar-winning actress Izia Higelin in the titular role alongside a...
- 1/5/2024
- by Rebecca Leffler
- ScreenDaily
It is a paradox worthy of Zeno himself that significant dumbing-down is necessary in order to make tales of extraordinary genius comprehensible to us lay audiences. But in her own attempt at grandly unifying these opposing poles, French director Anna Novion splits the difference so often she delivers in “Marguerite’s Theorem,” a movie riddled with cliché that plunges right past comprehensible into painfully, pedantically predictable — even to those of us who stumble when subtracting one two-digit number from another. Its heroine loves math because through it she can “put order on infinity,” but “Marguerite’s Theorem” is proof as incontrovertible as Andrew Wiles’ 1994 Fermat solution, that one can have too much order.
Marguerite Hoffman is a tacitly spectrum-coded PhD student at France’s École Normale Supérieure, which is legendary in science circles for churning out geniuses at a rate it might take one of its graduates to compute. As one of...
Marguerite Hoffman is a tacitly spectrum-coded PhD student at France’s École Normale Supérieure, which is legendary in science circles for churning out geniuses at a rate it might take one of its graduates to compute. As one of...
- 6/15/2023
- by Jessica Kiang
- Variety Film + TV
Anna Novion’s Marguerite's Theorem (Le théorème de Marguerite), co-written with Agnès Feuvre, Marie-Stéphane Imbert, and Mathieu Robin, stars Ella Rumpf (Julia Ducournau’s Raw) as Marguerite Hoffmann, PhD student of mathematics at the prestigious École Normale Supérieure in Paris and Jean-Pierre Darroussin (unforgettable since Cédric Kahn’s Red Lights) as her professor, Laurent Werner. The film had its world premiere at the 2023 Cannes Film Festival.
Maths formulae written in chalk and with urgency on a blackboard, followed by a quick edit to the most serious face of a scientist or two have been the fodder of spy movies for the past century. Alfred Hitchcock in Torn Curtain made it particularly tongue-in-cheek and sexy with Paul Newman’s Cold War quest traversing East Germany in 1966.
Marguerite’s Theorem is decidedly not a thriller with secret agents, but the profile of a 25-year-old obsessed with maths, who, in a world dominated by men,...
Maths formulae written in chalk and with urgency on a blackboard, followed by a quick edit to the most serious face of a scientist or two have been the fodder of spy movies for the past century. Alfred Hitchcock in Torn Curtain made it particularly tongue-in-cheek and sexy with Paul Newman’s Cold War quest traversing East Germany in 1966.
Marguerite’s Theorem is decidedly not a thriller with secret agents, but the profile of a 25-year-old obsessed with maths, who, in a world dominated by men,...
- 5/23/2023
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Pyramide seals deals on Cannes Competition title ‘Last Summer’; boards Wang Bing trilogy (exclusive)
Catherine Breillat’s erotic drama is a remake of May el-Toukhy’s Queen Of Hearts.
Paris-based Pyramide International has closed deals in key territories for Catherine Breillat’s erotic thriller Last Summer ahead of the film’s world premiere in Competition at Cannes later this month.
Pyramide has sold the film to September Films in Benelux, Potential Films in Australia and New Zealand, Nk Contents in South Korea, Xenix Film in Switzerland, Hooray Films in Taiwan, Estinfilm in the Baltics and Nashe Kino in Russia.
Last Summer stars Léa Drucker as a lawyer who develops a relationship with her 17-year-old...
Paris-based Pyramide International has closed deals in key territories for Catherine Breillat’s erotic thriller Last Summer ahead of the film’s world premiere in Competition at Cannes later this month.
Pyramide has sold the film to September Films in Benelux, Potential Films in Australia and New Zealand, Nk Contents in South Korea, Xenix Film in Switzerland, Hooray Films in Taiwan, Estinfilm in the Baltics and Nashe Kino in Russia.
Last Summer stars Léa Drucker as a lawyer who develops a relationship with her 17-year-old...
- 5/3/2023
- by Rebecca Leffler
- ScreenDaily
Paris-based sales company beefs up slate ahead of Berlinale market.
Paris-based sales company Pyramide International has boarded Anna Novion’s Le Théorème de Marguerite and Marie Garel-Weiss’s Sur La Branche and will kick off pre-sales for the French dramas at the upcoming EFM.
Novion’s Le Théorème de Marguerite stars Ella Rumpf as the titular character, a brilliant mathematics student at France’s top university the Ecole Normale Supérieure. On the day of her thesis presentation, a mistake shakes up all the certainty in her planned-out life and she decides to quit everything and start afresh.
Rumpf notably starred...
Paris-based sales company Pyramide International has boarded Anna Novion’s Le Théorème de Marguerite and Marie Garel-Weiss’s Sur La Branche and will kick off pre-sales for the French dramas at the upcoming EFM.
Novion’s Le Théorème de Marguerite stars Ella Rumpf as the titular character, a brilliant mathematics student at France’s top university the Ecole Normale Supérieure. On the day of her thesis presentation, a mistake shakes up all the certainty in her planned-out life and she decides to quit everything and start afresh.
Rumpf notably starred...
- 2/13/2023
- by Rebecca Leffler
- ScreenDaily
With 2017’s “This Is Our Land,” director Lucas Belvaux examined the ways in which far right movements attract, recruit and reformat new converts, curdling contemporary anxieties for acrid political goals. With his follow-up, “Home Front,” the Franco-Belgian auteur explores the roots of those prejudices. The film, which was part of Cannes’ selection last year, is screening this week at UniFrance’s Rendez-Vous with French Cinema in Paris (Jan. 13-15).
Adapted by Belvaux from Laurent Mauvignier 2009 novel “The Wound,” the film follows two working-class cousins as they fulfil their colonial military duties in 1960s Algeria and as they nurse their scars and traumas in Burgundy of 2003. While the more cerebral Rabut has tried to forge ahead, his cousin Bernard remains a livewire, looking for any provocation to snap back into violence. Local draw Catherine Frot rounds out the cast.
Synecdoche and Artemis Productions are producing. The Party Film Sales in partnership...
Adapted by Belvaux from Laurent Mauvignier 2009 novel “The Wound,” the film follows two working-class cousins as they fulfil their colonial military duties in 1960s Algeria and as they nurse their scars and traumas in Burgundy of 2003. While the more cerebral Rabut has tried to forge ahead, his cousin Bernard remains a livewire, looking for any provocation to snap back into violence. Local draw Catherine Frot rounds out the cast.
Synecdoche and Artemis Productions are producing. The Party Film Sales in partnership...
- 1/10/2021
- by Ben Croll
- Variety Film + TV
Red carpet rage, walkouts and black humour mark fractious 45th edition of French Oscars.
The French film industry’s attitude towards sexual abuse and gender equality was in the spotlight like never before as Roman Polanski was feted with best director for An Officer And A Spy (J’Accuse) at the César awards on Friday night.
The ceremony at the Salle Pleyel concert hall in central Paris was a fractious, politically-charged event.
It took place just days after César Academy president Alain Terzian and the entire board of the association overseeing the awards resigned amid criticism over a lack of transparency,...
The French film industry’s attitude towards sexual abuse and gender equality was in the spotlight like never before as Roman Polanski was feted with best director for An Officer And A Spy (J’Accuse) at the César awards on Friday night.
The ceremony at the Salle Pleyel concert hall in central Paris was a fractious, politically-charged event.
It took place just days after César Academy president Alain Terzian and the entire board of the association overseeing the awards resigned amid criticism over a lack of transparency,...
- 2/29/2020
- by 1100380¦Melanie Goodfellow¦0¦
- ScreenDaily
Des hommes
Belgium’s Lucas Belvaux has assembled one of his highest profile casts in some time with his latest feature Des hommes (Home Front), which reunites him with his Une Trilogy (2002) stars Catherine Frot and Jean-Pierre Darroussin who will be joined by Gerard Depardieu and Yoann Zimmer. Produced by David Frenkel and Patrick Quinet, Belvaux employs Bruno Dumont’s recent favored Dp Guillaume Deffontaines to lens. Belvaux, a five-time Cesar nominee competed in Cannes with his 2006 title The Right of the Weakest.…...
Belgium’s Lucas Belvaux has assembled one of his highest profile casts in some time with his latest feature Des hommes (Home Front), which reunites him with his Une Trilogy (2002) stars Catherine Frot and Jean-Pierre Darroussin who will be joined by Gerard Depardieu and Yoann Zimmer. Produced by David Frenkel and Patrick Quinet, Belvaux employs Bruno Dumont’s recent favored Dp Guillaume Deffontaines to lens. Belvaux, a five-time Cesar nominee competed in Cannes with his 2006 title The Right of the Weakest.…...
- 1/1/2020
- by Nicholas Bell
- IONCINEMA.com
The regular major-festival presence of the films of Robert Guédiguian is a curious, if not wholly unwelcome, anomaly. Amid punchier, more provocative, more aesthetically challenging arthouse titles, his work moves to the calmer rhythms of classical naturalism, in which each new title feels more like a new chapter in a career-spanning novel — or a book of interconnected short stories, perhaps — about life and love and social class in the suburbs of Marseille.
Working with the same troupe of excellent actors he has cast in differing permutations through the years, most notably his wife Ariane Ascaride who stars in their twentieth collaboration here, and occupying the same compassionately observed, elegiac register that his mid-to-late middle-age titles have tended to embrace, “Gloria Mundi” is, again, a contemporary, intergenerational, socially conscientious, bittersweet family drama set in the southern French port city. And, at least until an ending marred by some scrappy filmmaking as...
Working with the same troupe of excellent actors he has cast in differing permutations through the years, most notably his wife Ariane Ascaride who stars in their twentieth collaboration here, and occupying the same compassionately observed, elegiac register that his mid-to-late middle-age titles have tended to embrace, “Gloria Mundi” is, again, a contemporary, intergenerational, socially conscientious, bittersweet family drama set in the southern French port city. And, at least until an ending marred by some scrappy filmmaking as...
- 9/6/2019
- by Jessica Kiang
- Variety Film + TV
Promise At Dawn (La promesse de l’aube) Menemsha Films Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten Director: Eric Barbier Screenwriters: Eric Barbier, Romain Gary, Marie Eynard Cast: Pierre Niney, Charlotte Gainsbourg, Didier Bourdon, Jean-Pierre Darroussin, Catherine McCormack, Finnegan Oldfield Screened at: Critics’ link, NYC, 8/31/19 Opens: September 6, 2019 at […]
The post Promise at Dawn Movie Review appeared first on Shockya.com.
The post Promise at Dawn Movie Review appeared first on Shockya.com.
- 9/4/2019
- by Harvey Karten
- ShockYa
The most lauded of titles on this year’s MyFrenchFilmFestival, UniFrance’s online showcase featured by over 50 Ott services around the world, may not be a film but a drama series.
With four seasons aired, and a milestone in world sales on a French TV show, slow-boiling espionage series ‘Le Bureau des légendes’ (“The Bureau”) is tracking to become a French modern classic, its admirers say..
“This series is the best ever made in France,” trumpeted French newspaper Le Figaro.
A Canal Plus Création Originale produced by The Oligarchs Productions (Top) and Federation Entertainment Ent., which handles international sales, the series was created by screenwriter-director Eric Rochant whose “The Patriots,” with Yvan Attal as a Mossad operative, was selected for main competition at the 1994 Cannes Festival.
First released on Canal Plus in April 2015, Season 4 concluded last November. MyFrenchFilmFestival is screening Episodes 1 and 2 of Season 1 in its New Horizons showcase, out of competition.
With four seasons aired, and a milestone in world sales on a French TV show, slow-boiling espionage series ‘Le Bureau des légendes’ (“The Bureau”) is tracking to become a French modern classic, its admirers say..
“This series is the best ever made in France,” trumpeted French newspaper Le Figaro.
A Canal Plus Création Originale produced by The Oligarchs Productions (Top) and Federation Entertainment Ent., which handles international sales, the series was created by screenwriter-director Eric Rochant whose “The Patriots,” with Yvan Attal as a Mossad operative, was selected for main competition at the 1994 Cannes Festival.
First released on Canal Plus in April 2015, Season 4 concluded last November. MyFrenchFilmFestival is screening Episodes 1 and 2 of Season 1 in its New Horizons showcase, out of competition.
- 2/16/2019
- by Emilio Mayorga
- Variety Film + TV
Paris-based company will also begin selling Robert Guédiguian’s ‘Gloria Mundi’.
Paris-based sales company mk2 will kick off sales on Manele Labidi’s Tunisia-set comedy-drama Arab Blues, starring Golshifteh Farahani, at the Unifrance Rendez-vous with French Cinema in Paris (Jan 17-21).
Farahani, whose recent credits include Girls Of The Sun and Paterson, plays a psychoanalyst who opens up a practice in a working-class suburb of the Tunisian capital Tunis not long after the country’s 2011 revolution and attempts to treat a procession of colourful clients.
“It is a sophisticated comedy in the way it offers a fascinating window into modern Tunisia at a crossroads,...
Paris-based sales company mk2 will kick off sales on Manele Labidi’s Tunisia-set comedy-drama Arab Blues, starring Golshifteh Farahani, at the Unifrance Rendez-vous with French Cinema in Paris (Jan 17-21).
Farahani, whose recent credits include Girls Of The Sun and Paterson, plays a psychoanalyst who opens up a practice in a working-class suburb of the Tunisian capital Tunis not long after the country’s 2011 revolution and attempts to treat a procession of colourful clients.
“It is a sophisticated comedy in the way it offers a fascinating window into modern Tunisia at a crossroads,...
- 1/17/2019
- by Melanie Goodfellow
- ScreenDaily
Siblings reunite and re-evaluate their lives and relationships in this self-regarding variation on a theme
Robert Guédiguian has returned to Marseille, with its bright, fresh sunshine and the Mediterranean’s habitual dazzling blue. It never seems to rain in his Marseille – maybe to compensate for the bad psychological weather.
Again, Guédiguian has assembled his family-repertory cast of veterans. Ariane Ascaride, Jean-Pierre Darroussin and Gérard Meylan play middle-aged siblings Angèle, Joseph and Armand, who are uneasily reunited when their widowed father suffers a stroke, and they have to work out how they feel about each other and about their hometown.
Robert Guédiguian has returned to Marseille, with its bright, fresh sunshine and the Mediterranean’s habitual dazzling blue. It never seems to rain in his Marseille – maybe to compensate for the bad psychological weather.
Again, Guédiguian has assembled his family-repertory cast of veterans. Ariane Ascaride, Jean-Pierre Darroussin and Gérard Meylan play middle-aged siblings Angèle, Joseph and Armand, who are uneasily reunited when their widowed father suffers a stroke, and they have to work out how they feel about each other and about their hometown.
- 1/11/2019
- by Peter Bradshaw
- The Guardian - Film News
Stars: Virginie Ledoyen, Cyprien Fouquet, Jean-Pierre Darroussin, László Szabó, Smaïl Mekki | Written and Directed by Olivier Assayas
This 1994 film from Olivier Assayas (known recently for Clouds of Sils Maria and Personal Shopper) ends ambiguously, with a blank piece of paper. It’s an image that aptly sums up this intriguing yet frustrating film as a whole: a work of countless questions and precious few answers, as esoteric as something from the 1970s period of its setting. It’s like a Michelangelo Antonioni art piece, except shot by John Cassavetes. If we’re meant to come away feeling as ill-informed as its teenage antiheroes then I guess Cold Water has succeeded as art.
The production design and the film stock produces a stunning evocation of the early ‘70s. We’re never told the time period explicitly – we just know. Early on, Assayas shoots with handheld immediacy, employing close-ups and deliberately awkward framing,...
This 1994 film from Olivier Assayas (known recently for Clouds of Sils Maria and Personal Shopper) ends ambiguously, with a blank piece of paper. It’s an image that aptly sums up this intriguing yet frustrating film as a whole: a work of countless questions and precious few answers, as esoteric as something from the 1970s period of its setting. It’s like a Michelangelo Antonioni art piece, except shot by John Cassavetes. If we’re meant to come away feeling as ill-informed as its teenage antiheroes then I guess Cold Water has succeeded as art.
The production design and the film stock produces a stunning evocation of the early ‘70s. We’re never told the time period explicitly – we just know. Early on, Assayas shoots with handheld immediacy, employing close-ups and deliberately awkward framing,...
- 9/11/2018
- by Rupert Harvey
- Nerdly
This is the Pure Movies review of A Woman's Life, directed by Stéphane Brizé and starring Judith Chemla, Jean-Pierre Darroussin and Yolande Moreau. Eschewing the overt staginess of many a period drama in favour of something looser and more earthy, Stéphane Brizé’s A Woman’s Life is a strikingly moody tone poem. Tethered to a nuanced and heartbreaking turn by Judith Chemla, the film documents the scant peaks and agonising troughs of Jeanne de Perthuis des Vauds’ life. It’s a bleak and rarely comfortable watch, but it taps into a level of emotional intimacy that one doesn’t immediately associate with its genre.
- 2/18/2018
- by admin
- Pure Movies
Three middle-aged siblings find themselves in their titular childhood home after their father has had a stroke in The House by the Sea (La Villa), another workmanlike and working-class story against the backdrop of the Marseille area that has the gentle rhythms and knowing ways of most of French filmmaker Robert Guediguian’s output. It also again stars his regular actors, including Ariane Ascaride, Jean-Pierre Darroussin and Gerard Meylan, which provides the kind of continuity that allows the director to throw in a flashback to 30-odd years earlier by just editing in a piece of his 1985 film Ki Lo Sa.
...
...
- 9/2/2017
- by Boyd van Hoeij
- The Hollywood Reporter - Movie News
Ahead of this month’s premiere of the third season of “The Bureau,” Sundance Now has shared a new trailer exclusively with IndieWire. Set within the Dgse (General Directorate for External Security), the French procedural first premiered two years ago. Watch the trailer below.
Read More: Netflix Is Finally Canceling Shows, and Network Executives Admit Why They’re Thrilled By This News
Here’s the synopsis: “Within the French secret service operates a clandestine branch of undercover agents. Dispatched to key locations around the world and living under false identities for years at a time, their mission is to seek out and identify potential sources. In order to fulfill their mission, their false identities must be totally undetectable and highly elaborate. These fabricated identities are called ‘legends.’
“Creating them takes months of work, maintaining them takes discipline. All this and more lies deep in the heart of the most confidential...
Read More: Netflix Is Finally Canceling Shows, and Network Executives Admit Why They’re Thrilled By This News
Here’s the synopsis: “Within the French secret service operates a clandestine branch of undercover agents. Dispatched to key locations around the world and living under false identities for years at a time, their mission is to seek out and identify potential sources. In order to fulfill their mission, their false identities must be totally undetectable and highly elaborate. These fabricated identities are called ‘legends.’
“Creating them takes months of work, maintaining them takes discipline. All this and more lies deep in the heart of the most confidential...
- 6/10/2017
- by Michael Nordine
- Indiewire
The rare period piece that feels observed rather than pretended, Stéphane Brizé’s “A Woman’s Life” finds the prolific French filmmaker applying his ruggedly naturalistic style — used to great effect in last year’s blue-collar drama, “The Measure of a Man” — to some very different source material. Adapted from Guy de Maupassant’s 1883 debut novel, Brizé’s latest is less a well-furnished historical saga than it is a selective simulation of life in the middle of the 19th Century; de Maupassant may have died before the invention of narrative cinema, but it’s easy enough to imagine him watching this doggedly matter-of-fact drama without the slightest bit of confusion. Merchant Ivory fans might find themselves feeling restless, but anyone who appreciated the quotidian rigor of Terence Davies’ “A Quiet Passion” will find a lot to love about this epic of asceticism.
Spanning decades with the speed of a pebble...
Spanning decades with the speed of a pebble...
- 5/6/2017
- by David Ehrlich
- Indiewire
When a Potiche Ascends the Stairs: Brizé’s Winning, Textured de Maupassant Adaptation
Although cinematic adaptations of French writer Guy de Maupassant still occur with some regularity, few contemporary Gallic auteurs have successfully tackled the naturalist who was a protégé of Flaubert and a contemporary of Zola. Frequent adaptations of his famed short story “Boule de Suif” and Bel-Ami are resurrected regularly, and his stories have inspired auteurs like Robert Wise, Jean-Luc Godard, Marcel Ophüls, and Jean Renoir. However, de Maupassant’s seminal first novel, Une Vie (1883), has been adapted several times outside of France, while previously its most definitive mounting was the 1958 End of Desire headlined by Maria Schell.
For his seventh feature, Stephane Brizé persuasively reflects the subjugation of women’s agency with the fragmented A Woman’s Life, and is perhaps the most auspicious transformation of the author since the handsome productions of the 1950s with this astute period piece featuring an exquisite ensemble of character actors.
After returning from convent school, Jeanne (Judith Chemla) takes joy in assisting her father (Jean-Pierre Darroussin) in the garden and perambulating with her mother (Yolande Moreau), a woman who spends most of her free time scrolling through the contents of letters she received throughout her life. With only the young family maid Rosalie (Nina Meurisse) as a friend and confidante, Jeanne soon finds herself courted by the handsome Viscount Julien de Lamare (Swann Arlaud). Swept into what she’s made to believe is romance, the marriage soon sours when Rosalie is found to be with child after having been raped by Julien. Thus begins Jeanne’s initiation into a world more harrowing than she had anticipated as her ideals and dignity are slowly stripped away.
Judith Chemla, who has starred as a supporting player in a number of period productions for noted auteurs (Tavernier, Techine) comes to the fore as the passive, frustrated center of Brizé’s film. Oblivious to the tendencies and behaviors of those around her, A Woman’s Life gently ushers her from a frivolous young woman of privilege to an increasingly fraught wife forced to contend with a debauched husband.
Brizé’s film has all the potential of a tawdry soap opera, and yet is distilled into fragmented reflections of her escapist tendencies. As we rush through defining moments of her life, time slows as Jeanne disappears into the bright, sunshiny memories which brought her to such a brooding standstill. Chemla is tasked with revealing Jeanne’s persona through inscrutable moments, an object acted upon despite meager efforts to gain control of her life. When escape presents itself upon learning of her own pregnancy at the same time as her husband’s philandering with Rosalie, her own mother confirms her fate by forcing Jeanne to forgive rather than return home.
Yolande Moreau gives a subversively droll performance as a cold maternal figure who has several major secrets of her own. As her counterpart, Jean-Pierre Darroussin nearly disappears within the period garb as Jeanne’s mild mannered father, while a mousy Swann Arlaud is sufficiently unpalatable as her cheating husband. Clotilde Hesme surfaces in a brief subplot which yields shockingly violent results, while rising young actor Finnegan Oldfield (Nocturama; Les Cowboys) shows up in the third act as Jeanne’s selfish teenage son, the specter haunting her golden years and sending her into protracted anguish.
Much like Brizé’s last lauded feature, 2015’s The Measure of a Man, the narrative revolves around distilled, refracted moments informing its protagonist’s mind frame, a person once again trapped by economic necessity in an unfavorable role which whittles away at their resolve.
Collaborating once more with scribe Florence Vignon (who scripted his superb 2009 film Mademoiselle Chambon), they achieve a striking portrait of a woman of certain means as equally weighted down by her expectations and limited control. Brizé also taps Dp Antoine Heberle (who worked on Chambon and A Few Hours of Spring, as well as Ozon’s Under the Sand) who transforms the film into a constant visual juxtaposition of stark, contrasting palettes, ranging from the brooding grays of Jeanne’s present to the golden, sparkling vivaciousness of happy times she can never return to. With stunning finality, a drastic situation boils down to bittersweet reality— “Life is never as good or as bad as you think it is.”
★★★★/☆☆☆☆☆
The post A Woman’s Life | Review appeared first on Ioncinema.com.
Although cinematic adaptations of French writer Guy de Maupassant still occur with some regularity, few contemporary Gallic auteurs have successfully tackled the naturalist who was a protégé of Flaubert and a contemporary of Zola. Frequent adaptations of his famed short story “Boule de Suif” and Bel-Ami are resurrected regularly, and his stories have inspired auteurs like Robert Wise, Jean-Luc Godard, Marcel Ophüls, and Jean Renoir. However, de Maupassant’s seminal first novel, Une Vie (1883), has been adapted several times outside of France, while previously its most definitive mounting was the 1958 End of Desire headlined by Maria Schell.
For his seventh feature, Stephane Brizé persuasively reflects the subjugation of women’s agency with the fragmented A Woman’s Life, and is perhaps the most auspicious transformation of the author since the handsome productions of the 1950s with this astute period piece featuring an exquisite ensemble of character actors.
After returning from convent school, Jeanne (Judith Chemla) takes joy in assisting her father (Jean-Pierre Darroussin) in the garden and perambulating with her mother (Yolande Moreau), a woman who spends most of her free time scrolling through the contents of letters she received throughout her life. With only the young family maid Rosalie (Nina Meurisse) as a friend and confidante, Jeanne soon finds herself courted by the handsome Viscount Julien de Lamare (Swann Arlaud). Swept into what she’s made to believe is romance, the marriage soon sours when Rosalie is found to be with child after having been raped by Julien. Thus begins Jeanne’s initiation into a world more harrowing than she had anticipated as her ideals and dignity are slowly stripped away.
Judith Chemla, who has starred as a supporting player in a number of period productions for noted auteurs (Tavernier, Techine) comes to the fore as the passive, frustrated center of Brizé’s film. Oblivious to the tendencies and behaviors of those around her, A Woman’s Life gently ushers her from a frivolous young woman of privilege to an increasingly fraught wife forced to contend with a debauched husband.
Brizé’s film has all the potential of a tawdry soap opera, and yet is distilled into fragmented reflections of her escapist tendencies. As we rush through defining moments of her life, time slows as Jeanne disappears into the bright, sunshiny memories which brought her to such a brooding standstill. Chemla is tasked with revealing Jeanne’s persona through inscrutable moments, an object acted upon despite meager efforts to gain control of her life. When escape presents itself upon learning of her own pregnancy at the same time as her husband’s philandering with Rosalie, her own mother confirms her fate by forcing Jeanne to forgive rather than return home.
Yolande Moreau gives a subversively droll performance as a cold maternal figure who has several major secrets of her own. As her counterpart, Jean-Pierre Darroussin nearly disappears within the period garb as Jeanne’s mild mannered father, while a mousy Swann Arlaud is sufficiently unpalatable as her cheating husband. Clotilde Hesme surfaces in a brief subplot which yields shockingly violent results, while rising young actor Finnegan Oldfield (Nocturama; Les Cowboys) shows up in the third act as Jeanne’s selfish teenage son, the specter haunting her golden years and sending her into protracted anguish.
Much like Brizé’s last lauded feature, 2015’s The Measure of a Man, the narrative revolves around distilled, refracted moments informing its protagonist’s mind frame, a person once again trapped by economic necessity in an unfavorable role which whittles away at their resolve.
Collaborating once more with scribe Florence Vignon (who scripted his superb 2009 film Mademoiselle Chambon), they achieve a striking portrait of a woman of certain means as equally weighted down by her expectations and limited control. Brizé also taps Dp Antoine Heberle (who worked on Chambon and A Few Hours of Spring, as well as Ozon’s Under the Sand) who transforms the film into a constant visual juxtaposition of stark, contrasting palettes, ranging from the brooding grays of Jeanne’s present to the golden, sparkling vivaciousness of happy times she can never return to. With stunning finality, a drastic situation boils down to bittersweet reality— “Life is never as good or as bad as you think it is.”
★★★★/☆☆☆☆☆
The post A Woman’s Life | Review appeared first on Ioncinema.com.
- 5/5/2017
- by Nicholas Bell
- IONCINEMA.com
A Woman’S Life (Une vie) Kino Lorber Reviewed by: Harvey Karten, Shockya Grade: B+ Director: Stéphane Brizé Written by: Stéphane Brizé, Florence Vignon Cast: Judith Chemla, Jean-Pierre Darroussin, Yolande Moreau, Swann Arlaud, Nina Meuriss Screened at: Review 2, NYC, 4/25/17 Opens: May 5, 2017 Life is not as good or bad as you think. This […]
The post A Woman’s Life Movie Review: Life is not as good or bad as you think appeared first on Shockya.com.
The post A Woman’s Life Movie Review: Life is not as good or bad as you think appeared first on Shockya.com.
- 4/26/2017
- by Harvey Karten
- ShockYa
City of Lights: City of Angeles. The largest French film festival in the world and one of the largest festivals in L.A.!
Colcoa French Film Festival, “9 Days of Premieres in Hollywood” takes place April 24 to May 2 in the prestigious theaters of the Directors Guild of America on Sunset Boulevard in Hollywood (3 theaters (600, 160 and 37 seats), a 210 capacity lounge and a 1,500 capacity lobby).
Colcoa is the acronym of “City of Light, City of Angels” the original name of an event celebrating relationships between filmmakers from two capital cities of cinema. In 2015, the festival’s name was officially changed to Colcoa French Film Festival. Colcoa was founded in 1997 by The Franco-American Cultural Fund, a unique collaborative effort of the Directors Guild of America, the Motion Picture Association, the Writers Guild of America West, and France’s Society of Authors Composers and Publishers of Music (Sacem). Colcoa is also supported by l’Association...
Colcoa French Film Festival, “9 Days of Premieres in Hollywood” takes place April 24 to May 2 in the prestigious theaters of the Directors Guild of America on Sunset Boulevard in Hollywood (3 theaters (600, 160 and 37 seats), a 210 capacity lounge and a 1,500 capacity lobby).
Colcoa is the acronym of “City of Light, City of Angels” the original name of an event celebrating relationships between filmmakers from two capital cities of cinema. In 2015, the festival’s name was officially changed to Colcoa French Film Festival. Colcoa was founded in 1997 by The Franco-American Cultural Fund, a unique collaborative effort of the Directors Guild of America, the Motion Picture Association, the Writers Guild of America West, and France’s Society of Authors Composers and Publishers of Music (Sacem). Colcoa is also supported by l’Association...
- 4/20/2017
- by Sydney Levine
- Sydney's Buzz
★★★☆☆ Following hot on the heels of the Cannes prize winner The Measure of a Man, French director Stéphane Brizé returns with his adaptation of Guy de Maupassant's first novel, A Woman's Life. The woman in question is Jeanne (Judith Chemla), the only daughter of wealthy aristocracy. Her father is the Baron (Jean-Pierre Darroussin) and Baroness (Yolande Moreau) Le Perthuis des Vauds. They pass their time at the chateaux undertaking humble pursuits, tending the vegetable garden and playing backgammon, while Jeanne finds friendship with her maid Rosalie (Nina Meurisse).
- 9/6/2016
- by CineVue
- CineVue
Misery is constant and humor is fleeting in the world of A Woman’s Life (Une Vie), an emotionally overcast period drama from French filmmaker Stéphane Brizé (The Measure of a Man). Shot in square-shaped academy ratio, it recalls — in a certain aesthetic and thematic light — the Danish Dogme films of the mid ‘90s, but without the pitch-black misanthropic wit that made that collective famous. Based on Guy de Maupassant’s 1883 novel of the same name (Tolstoy apparently loved it), it follows the endlessly unfortunate life of Jeanne Le Perthuis des Vaud, heiress to the fortune of a wealthy farming family in France in the 19th Century.
Judith Chemla stars as our doomed heroine, at first a wistful young pixie living in the family château who spends her days frolicking around and contemplating rain and skies and the like. Her blissful bourgeois existence is rocked, however, when she is wed...
Judith Chemla stars as our doomed heroine, at first a wistful young pixie living in the family château who spends her days frolicking around and contemplating rain and skies and the like. Her blissful bourgeois existence is rocked, however, when she is wed...
- 9/6/2016
- by Rory O'Connor
- The Film Stage
Kyle Molzan: "If you ever meet Jerry Lewis, send him our movie!" Photo: Anne-Katrin Titze
Georges Simenon, Charles Laughton in Burgess Meredith's The Man On The Eiffel Tower, Cédric Kahn's Red Lights (Feux Rouges) with Carole Bouquet and Jean-Pierre Darroussin, The Day The Clown Cried, Jerry Lewis, Rainer Werner Fassbinder's In A Year With 13 Moons (In Einem Jahr Mit 13 Monden), Christian Petzold's Phoenix, John Cassavetes' A Woman Under The Influence, Kurt Weill, Brian Wilson and Moonriders were unearthed in my For the Plasma conversation with co-director Kyle Molzan.
Helen (Rosalie Lowe) having a meal
Keiichi Suzuki's score informs how we meander through the landscapes filmed dream-like by Christopher Messina (Dear Renzo). Charlie (Anabelle LeMieux) arrives at a house in Maine where a pal from the past, Helen (Rosalie Lowe), has a job monitoring forest fires and where she also miraculously predicts shifts in global finance.
Georges Simenon, Charles Laughton in Burgess Meredith's The Man On The Eiffel Tower, Cédric Kahn's Red Lights (Feux Rouges) with Carole Bouquet and Jean-Pierre Darroussin, The Day The Clown Cried, Jerry Lewis, Rainer Werner Fassbinder's In A Year With 13 Moons (In Einem Jahr Mit 13 Monden), Christian Petzold's Phoenix, John Cassavetes' A Woman Under The Influence, Kurt Weill, Brian Wilson and Moonriders were unearthed in my For the Plasma conversation with co-director Kyle Molzan.
Helen (Rosalie Lowe) having a meal
Keiichi Suzuki's score informs how we meander through the landscapes filmed dream-like by Christopher Messina (Dear Renzo). Charlie (Anabelle LeMieux) arrives at a house in Maine where a pal from the past, Helen (Rosalie Lowe), has a job monitoring forest fires and where she also miraculously predicts shifts in global finance.
- 7/20/2016
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Exclusive: Company also adds new films by Guédiguian, Moussaoui and Risuleo on eve of Cannes.
Paris-based MK2 Films will launch sales in Cannes on an upcoming bio-doc about 1960s icon Marianne Faithfull [pictured] by French actress and director Sandrine Bonnaire.
Simply entitled Faithfull, it will follow the singer’s life journey, from being discovered at the age of 17 in 1960s ‘Swinging London’; to her rock ‘n’ roll life with Rolling Stones frontman Mick Jagger; her battle with drugs and alcohol addiction and rebirth as a performer in later life.
Developed in close co-operation with Faithfull, it is set to feature interviews with Jagger, Salman Rushdie, Anselm Kiefer, Nick Cave and Damon Albarn.
It is Bonnaire’s second documentary after My Name Is Sabine, about her severely autistic sister, which premiered in Cannes Directors’ Fortnight in 2007. Paris-based Cinétéve is producing, with the backing of Arte, for a 2017 delivery.
New Talents: Moussaoui and Risuleo
The documentary is among four new...
Paris-based MK2 Films will launch sales in Cannes on an upcoming bio-doc about 1960s icon Marianne Faithfull [pictured] by French actress and director Sandrine Bonnaire.
Simply entitled Faithfull, it will follow the singer’s life journey, from being discovered at the age of 17 in 1960s ‘Swinging London’; to her rock ‘n’ roll life with Rolling Stones frontman Mick Jagger; her battle with drugs and alcohol addiction and rebirth as a performer in later life.
Developed in close co-operation with Faithfull, it is set to feature interviews with Jagger, Salman Rushdie, Anselm Kiefer, Nick Cave and Damon Albarn.
It is Bonnaire’s second documentary after My Name Is Sabine, about her severely autistic sister, which premiered in Cannes Directors’ Fortnight in 2007. Paris-based Cinétéve is producing, with the backing of Arte, for a 2017 delivery.
New Talents: Moussaoui and Risuleo
The documentary is among four new...
- 5/9/2016
- ScreenDaily
Une Vie
Director: Stéphane Brizé
Writers: Stéphane Brizé, Florence Vignon
Following his critically acclaimed The Measure of Man, which took home a Best Actor award for Vincent Lacoste at 2015, Stéphane Brizé has quickly moved onto his next project, an adaptation of Guy de Maupassant with Une Vie (One Life). Once again, Brizé re-teams with co-writer Vignon (Mademoiselle Chambon, A Few Hours of Spring) to adapt a tale centered on a hypersensitive woman unaccustomed the world’ cruelty. In essence, this sounds quite similar to Measure, but from a feminine perspective. Brizé often fleshes out characters and scenarios set within the confines of the working class, often to very eloquent effect. While Lacoste (who has starred in his last three features) is not returning this time, Brizé casts notables such as Yolande Moreau, Jean-Pierre Darroussin and Jalil Lespert.
Cast: Yolande Moreau, Jean-Pierre Darroussin, Jalil Lespert
Production Co./Producers:Ts Productions’ Milena Poylo and Gilles Sacuto,...
Director: Stéphane Brizé
Writers: Stéphane Brizé, Florence Vignon
Following his critically acclaimed The Measure of Man, which took home a Best Actor award for Vincent Lacoste at 2015, Stéphane Brizé has quickly moved onto his next project, an adaptation of Guy de Maupassant with Une Vie (One Life). Once again, Brizé re-teams with co-writer Vignon (Mademoiselle Chambon, A Few Hours of Spring) to adapt a tale centered on a hypersensitive woman unaccustomed the world’ cruelty. In essence, this sounds quite similar to Measure, but from a feminine perspective. Brizé often fleshes out characters and scenarios set within the confines of the working class, often to very eloquent effect. While Lacoste (who has starred in his last three features) is not returning this time, Brizé casts notables such as Yolande Moreau, Jean-Pierre Darroussin and Jalil Lespert.
Cast: Yolande Moreau, Jean-Pierre Darroussin, Jalil Lespert
Production Co./Producers:Ts Productions’ Milena Poylo and Gilles Sacuto,...
- 1/12/2016
- by Nicholas Bell
- IONCINEMA.com
The combination of Nicole Kidman and an iconic talking bear wasn.t so magical as Paddington opened in fourth spot in Australian cinemas last weekend.
The British comedy.s $1.4 million haul wasn.t terrible, and the total including previews and group bookings was an even more respectable $1.6 million.
But some exhibitors had higher expectations for the film which co-stars Kidman, Hugh Bonneville, Jim Broadbent, Sally Hawkins, Peter Capaldi and Ben Whishaw as the title character.s voice, given Nicole's publicity visit, positive reviews, the popularity of Michael Bond's books and the pedigree of the producer, Harry Potter's David Heyman.
In the battle for kids and family audiences Paddington is going head to head with Alexander and the Terrible, Horrible, No Good, Very Bad Day. The Disney comedy, which stars Steve Carell, Jennifer Garner and Ed Oxenbould, scored $1 million in its second frame (easing by just 13%) , propelling its total to $3.3 million.
The British comedy.s $1.4 million haul wasn.t terrible, and the total including previews and group bookings was an even more respectable $1.6 million.
But some exhibitors had higher expectations for the film which co-stars Kidman, Hugh Bonneville, Jim Broadbent, Sally Hawkins, Peter Capaldi and Ben Whishaw as the title character.s voice, given Nicole's publicity visit, positive reviews, the popularity of Michael Bond's books and the pedigree of the producer, Harry Potter's David Heyman.
In the battle for kids and family audiences Paddington is going head to head with Alexander and the Terrible, Horrible, No Good, Very Bad Day. The Disney comedy, which stars Steve Carell, Jennifer Garner and Ed Oxenbould, scored $1 million in its second frame (easing by just 13%) , propelling its total to $3.3 million.
- 12/15/2014
- by Don Groves
- IF.com.au
Some may disagree with me, but despite the San Francisco Bay Area's famed array of nearly-constant film festivals (more than there are weeks in the year), I rarely find it necessary to make hard choices when confronted with what's on at any time. This is decidedly not the case when I'm considering this November's line-up: there are overlaps that will confound even the most selective cinephile. The San Francisco Film Society is leading the list, with its three annual fall festivals devoted to a variety of national cinema. French Cinema Now screens 11 films from November 6th through the 9th, including the first-ever pairing of Isabelle Huppert and Jean-Pierre Darroussin (stop the presses!), Paris Follies; Marion Cotillard in her deliberately deglamorized turn as a downsized factory worker in the Dardenne brothers' Two Days One Night, the official Belgian entrant for the Foreign Language Film Oscar; and Olivier Assayas' latest, Clouds of.
- 11/6/2014
- by Meredith Brody
- Thompson on Hollywood
Other prize winners include ‘71, Catch Me Daddy and Lilting.
The 25th anniversary of Brittany’s Dinard British Film Festival gave its top prize, the Golden Hitchcock, to Guy Myhill’s The Goob. The prize comes with distribution assistance and direct support to the director, and promotion on the Cine + channels.
The jury was led by Catherine Deneuve and also included Emilia Fox, Jodie Whittaker, Kevin Macdonald, Penny Woolcock, Amira Casar, Rémy Bezançon, Jean-Pierre Daroussin, Suzanne Clément, Léa Drucker and Alexandre Mallet-Guy. A special mention went to Lenny Abrahamson’s Frank.
The Award for Best Cinematography, sponsored by Technicolor, went to Daniel Wolfe’s Catch Me Daddy, which also won the Allianz Award for best screenplay.
Hong Khaou’s Lilting won the Heartbeat Award Le Prix Coup de Coeur, awarded by l’association La Règle du Jeu.
The Audience Award, sponsored by Première, was awarded to Yann Demange’s ‘71.
The Best Short Film Award, chosen from submissions...
The 25th anniversary of Brittany’s Dinard British Film Festival gave its top prize, the Golden Hitchcock, to Guy Myhill’s The Goob. The prize comes with distribution assistance and direct support to the director, and promotion on the Cine + channels.
The jury was led by Catherine Deneuve and also included Emilia Fox, Jodie Whittaker, Kevin Macdonald, Penny Woolcock, Amira Casar, Rémy Bezançon, Jean-Pierre Daroussin, Suzanne Clément, Léa Drucker and Alexandre Mallet-Guy. A special mention went to Lenny Abrahamson’s Frank.
The Award for Best Cinematography, sponsored by Technicolor, went to Daniel Wolfe’s Catch Me Daddy, which also won the Allianz Award for best screenplay.
Hong Khaou’s Lilting won the Heartbeat Award Le Prix Coup de Coeur, awarded by l’association La Règle du Jeu.
The Audience Award, sponsored by Première, was awarded to Yann Demange’s ‘71.
The Best Short Film Award, chosen from submissions...
- 10/12/2014
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
Gustave Kervern and Catherine Deneuve in Pierre Salvadori's In The Courtyard The French Film Festival UK has unveiled its selection for its 22nd edition this November - with highlights featuring some of the brightest lights of French cinema, including Catherine Deneuve, Isabelle Huppert, Isabelle Carré, Jean Reno, Guillaume Canet, Mathieu Amalric, Albert Dupontel and Jean-Pierre Darroussin.
In locations across the country stretching from Inverness to London via Edinburgh and Glasgow, the event styles itself as “a celebration of Francophone cinema in all its guises.”
As well as an eclectic selection of contemporary titles from the past 12 months, the Festival will pay tribute to the late Alain Resnais who died earlier in the year, with screenings of a restored copy of his first feature Hiroshima Mon Amour with Oscar-nominated Emmanuelle Riva (from Amour) and Eiji Okadan, and the director’s last film Life of Riley (Aimer, boire, et chanter), his...
In locations across the country stretching from Inverness to London via Edinburgh and Glasgow, the event styles itself as “a celebration of Francophone cinema in all its guises.”
As well as an eclectic selection of contemporary titles from the past 12 months, the Festival will pay tribute to the late Alain Resnais who died earlier in the year, with screenings of a restored copy of his first feature Hiroshima Mon Amour with Oscar-nominated Emmanuelle Riva (from Amour) and Eiji Okadan, and the director’s last film Life of Riley (Aimer, boire, et chanter), his...
- 8/15/2014
- by Amber Wilkinson
- eyeforfilm.co.uk
Fanny Feast: Auteuil’s Underwhelming Trilogy Continues
The mid-section of his Pagnol tribute, Fanny promises to give us the female perspective in the crossed lover’s situation established in preceding chapter, Marius. But just as the opening portion revolved at needless length around an eponymous character who is given little more to do than moon over finding his dream job on a big boat, the next segment feels more of a weary inevitability of the morose narrative than rather than signaling a differing viewpoint.
While Alexandre Desplat’s score dips less uneasily into insistent whimsicality in this more serious minded portion, it’s still more of a sycophantic simper than anything adroitly engaging with the material at hand. One can assume the final segment, Cesar, will suffer from the same slights, but unfortunately Auteuil’s extreme respect (and unnecessary proximity) in his adaptation of Pagnol’s material is exactly what...
The mid-section of his Pagnol tribute, Fanny promises to give us the female perspective in the crossed lover’s situation established in preceding chapter, Marius. But just as the opening portion revolved at needless length around an eponymous character who is given little more to do than moon over finding his dream job on a big boat, the next segment feels more of a weary inevitability of the morose narrative than rather than signaling a differing viewpoint.
While Alexandre Desplat’s score dips less uneasily into insistent whimsicality in this more serious minded portion, it’s still more of a sycophantic simper than anything adroitly engaging with the material at hand. One can assume the final segment, Cesar, will suffer from the same slights, but unfortunately Auteuil’s extreme respect (and unnecessary proximity) in his adaptation of Pagnol’s material is exactly what...
- 7/15/2014
- by Nicholas Bell
- IONCINEMA.com
You’re Horrible, Marius: Auteuil’s Next Stop on the Pagnol Train
At the very least, actor Daniel Auteuil’s return to the director’s seat with the first chapter of his remake of Marcel Pagnol’s Marseille Trilogy, Marius (the original 1931 version was helmed by Alexander Korda) is less aggravating than the 2011 remake of another Pagnol title, The Well Digger’s Daughter, but that’s not saying much. Slight in every conceivable aspect, it’s the initial chapter in a continuing provincial trilogy of wayward love and strict adherence to social norms, here related without any kind of additional panache, a workmanlike homage to the vintage cinema Auteuil desperately wants to evoke.
In the Old Port of Marseille, Cesar (Daniel Auteuil) the crusty owner of Bar de la Marine, runs his humble business with the help of his son, Marius (Raphael Personnaz). While Marius moons for his one true love,...
At the very least, actor Daniel Auteuil’s return to the director’s seat with the first chapter of his remake of Marcel Pagnol’s Marseille Trilogy, Marius (the original 1931 version was helmed by Alexander Korda) is less aggravating than the 2011 remake of another Pagnol title, The Well Digger’s Daughter, but that’s not saying much. Slight in every conceivable aspect, it’s the initial chapter in a continuing provincial trilogy of wayward love and strict adherence to social norms, here related without any kind of additional panache, a workmanlike homage to the vintage cinema Auteuil desperately wants to evoke.
In the Old Port of Marseille, Cesar (Daniel Auteuil) the crusty owner of Bar de la Marine, runs his humble business with the help of his son, Marius (Raphael Personnaz). While Marius moons for his one true love,...
- 7/3/2014
- by Nicholas Bell
- IONCINEMA.com
Hovering around the twenty-one to twenty-four feature film mark with at least a quarter of those films belonging to first time filmmakers, the Quinzaine des Realisateurs (a.k.a Directors’ Fortnight) has in the past couple of years, counted on a healthy supply of French, Spanish and Belgium produced film items, and has been geared towards the offbeat genre items as with last year’s edition curated by Edouard Waintrop and co. To be unveiled on the 22nd, as we attempted with our Critics’ Week predix, Blake Williams, Nicholas Bell and I (Eric Lavallee) are thinking out loud and hedging our bets on what the section might look like or what the programmers might be looking at for 2014. Here is our predictions overview:
Alleluia
Six years after presenting Vinyan at the Venice Film Festival, Fabrice Du Welz finally returns with potentially not one, but a pair of works for the ’14 campaign.
Alleluia
Six years after presenting Vinyan at the Venice Film Festival, Fabrice Du Welz finally returns with potentially not one, but a pair of works for the ’14 campaign.
- 4/16/2014
- by IONCINEMA.com Contributing Writers
- IONCINEMA.com
Paris Follies
Director: Marc Fitoussi
Writer: Marc Fitoussi
Producer: Avenue B Productions
U.S. Distributor: Rights Available
Cast: Isabelle Huppert, Jean-Pierre Darroussin, Anais Demoustier, Michael Nyqvist, Marina Fois
Well, you can hardly have a proper list without an Isabelle Huppert vehicle, and her re-teaming with Marc Fitoussi (who directed her and daughter Lolita Chammah in 2010′s Copacabana, which premiered in Critics’ Week at Cannes) lands a spot on our list, though this sounds like the type of light-hearted melodrama that Huppert tends to avoid (though their previous work gave her a rare opportunity to be an effervescent air head). 2014 will be a light year for Huppert, as two delayed projects (Body Art with Luca Guadagnino apparently has been temporarily delayed while Joachim Trier’s Louder Than Bombs just got back on tracks) means we will have to wait till 2015 to see her in multiple titles. But we’re more than...
Director: Marc Fitoussi
Writer: Marc Fitoussi
Producer: Avenue B Productions
U.S. Distributor: Rights Available
Cast: Isabelle Huppert, Jean-Pierre Darroussin, Anais Demoustier, Michael Nyqvist, Marina Fois
Well, you can hardly have a proper list without an Isabelle Huppert vehicle, and her re-teaming with Marc Fitoussi (who directed her and daughter Lolita Chammah in 2010′s Copacabana, which premiered in Critics’ Week at Cannes) lands a spot on our list, though this sounds like the type of light-hearted melodrama that Huppert tends to avoid (though their previous work gave her a rare opportunity to be an effervescent air head). 2014 will be a light year for Huppert, as two delayed projects (Body Art with Luca Guadagnino apparently has been temporarily delayed while Joachim Trier’s Louder Than Bombs just got back on tracks) means we will have to wait till 2015 to see her in multiple titles. But we’re more than...
- 2/21/2014
- by Nicholas Bell
- IONCINEMA.com
The first two-thirds of this refilming of Marcel Pagnol's Marseilles trilogy have little of the originals' crackling, bawdy life
Actor-director Daniel Auteuil has been handed the prime gig/poisoned chalice of refilming Marcel Pagnol's Marseilles trilogy, two-thirds of which open in the UK this weekend. The beloved 1930s film treatments, artefacts of the early sound period, were largely stagebound yet possessed of a crackling, bawdy, close-to-the-source life. Auteuil has fashioned hidebound museum pieces that expand the backdrop with sun-dappled glimpses of port activity, while generally resisting any notes of modernity or change of emphasis. What modicum of cosy Sunday-afternoon pleasure they provide stems from the performers: Raphaël Personnaz (from Tavernier's The Princess of Montpensier) and Victoire Bélézy make a handsome couple as the barman Marius and his on-off sweetheart Fanny, while Auteuil and Jean-Pierre Darroussin are typically dependable as Marius's father and love rival respectively. Still, in...
Actor-director Daniel Auteuil has been handed the prime gig/poisoned chalice of refilming Marcel Pagnol's Marseilles trilogy, two-thirds of which open in the UK this weekend. The beloved 1930s film treatments, artefacts of the early sound period, were largely stagebound yet possessed of a crackling, bawdy, close-to-the-source life. Auteuil has fashioned hidebound museum pieces that expand the backdrop with sun-dappled glimpses of port activity, while generally resisting any notes of modernity or change of emphasis. What modicum of cosy Sunday-afternoon pleasure they provide stems from the performers: Raphaël Personnaz (from Tavernier's The Princess of Montpensier) and Victoire Bélézy make a handsome couple as the barman Marius and his on-off sweetheart Fanny, while Auteuil and Jean-Pierre Darroussin are typically dependable as Marius's father and love rival respectively. Still, in...
- 11/29/2013
- by Mike McCahill
- The Guardian - Film News
After a few weeks of negotiations Palace Films has finalised the contracts for 10 films from the Cannes Film Festival and market for release in 2014.
That wasn.t a record haul from Cannes for the distributor but general manager Nicolas Whatson rates it as .definitely one of the busiest markets in recent years..
As for the time it takes to finalise deals, Whatson observes, .Sometimes contracts not only take weeks, they can take months. On occasion Cannes deals are made on a handshake or on a napkin at 3am. Then the fun begins..
The upcoming slate is an eclectic mix of films from the UK, Italy, France and Latin America. Still Life stars Eddie Marsan and Downton Abbey.s Joanne Froggart in the poignant tale of a lonely council worker whose job is to find the next of kin of those who have passed away alone; from The Full Monty producer/director Uberto Pasolini.
That wasn.t a record haul from Cannes for the distributor but general manager Nicolas Whatson rates it as .definitely one of the busiest markets in recent years..
As for the time it takes to finalise deals, Whatson observes, .Sometimes contracts not only take weeks, they can take months. On occasion Cannes deals are made on a handshake or on a napkin at 3am. Then the fun begins..
The upcoming slate is an eclectic mix of films from the UK, Italy, France and Latin America. Still Life stars Eddie Marsan and Downton Abbey.s Joanne Froggart in the poignant tale of a lonely council worker whose job is to find the next of kin of those who have passed away alone; from The Full Monty producer/director Uberto Pasolini.
- 6/18/2013
- by Don Groves
- IF.com.au
The Sweeney (15)
(Nick Love, 2012, UK) Ray Winstone, Ben Drew, Hayley Atwell, Damian Lewis, 112 mins
The original TV cop show has been so updated here, it barely registers as the same product. But for all the steely modern cityscapes and pulsating action, this a 21st century cop thriller with 1970s values, both in terms of its shouty, louty, rule-bending lawmen (Winstone is a parody of himself) and its "hand in your badge" cop-movie cliches. And as for political correctness – leave it aaaaht!
Premium Rush (12A)
(David Koepp, 2012, Us) Joseph Gordon-Levitt, Dania Ramirez, Michael Shannon. 91 mins
This zippy-chase thriller puts you in the saddle of an ace New York cycle courier, seeking to deliver a mystery package that everyone's after. It's a carbon-neutral Speed.
To Rome With Love (12A)
(Woody Allen, 2012, Us/Ita/Spa) Jesse Eisenberg, Penélope Cruz, 112 mins
After the blip of Midnight In Paris, it's back to the usual late-period...
(Nick Love, 2012, UK) Ray Winstone, Ben Drew, Hayley Atwell, Damian Lewis, 112 mins
The original TV cop show has been so updated here, it barely registers as the same product. But for all the steely modern cityscapes and pulsating action, this a 21st century cop thriller with 1970s values, both in terms of its shouty, louty, rule-bending lawmen (Winstone is a parody of himself) and its "hand in your badge" cop-movie cliches. And as for political correctness – leave it aaaaht!
Premium Rush (12A)
(David Koepp, 2012, Us) Joseph Gordon-Levitt, Dania Ramirez, Michael Shannon. 91 mins
This zippy-chase thriller puts you in the saddle of an ace New York cycle courier, seeking to deliver a mystery package that everyone's after. It's a carbon-neutral Speed.
To Rome With Love (12A)
(Woody Allen, 2012, Us/Ita/Spa) Jesse Eisenberg, Penélope Cruz, 112 mins
After the blip of Midnight In Paris, it's back to the usual late-period...
- 9/14/2012
- by Steve Rose
- The Guardian - Film News
Aki Kaurismäki’s Le Havre is a charming and engrossing fable – a sort of Fractured Fairy Tale for adults – that interprets one of today’s most contentious political issues through the director’s distinctly eccentric prism. A strong Palme d’Or contender at Cannes in 2011, Le Havre relocates classic Kaurismäki production elements from Finland to a harbor town in northern France. And, not surprisingly, the veteran director finds this sleepy Britannic burg as rife with idiosyncrasy as any snowbound suburb of Helsinki. Under thick gray clouds, Kaurismäki’s diorama of quirky characters gradually meander their way to moments of epiphany and catharsis, while viewers marvel at the director’s mystical moments of compassionate humanity and playful cinematic homage.
The film takes us through a couple of weeks in the life of Marcel Marx (Andrè Wilms), an unremarkable 60-ish shoe shiner who eeks out a living at the town’s bustling train station.
The film takes us through a couple of weeks in the life of Marcel Marx (Andrè Wilms), an unremarkable 60-ish shoe shiner who eeks out a living at the town’s bustling train station.
- 8/7/2012
- by David Anderson
- IONCINEMA.com
by Vadim Rizov
Fatalist Finn Aki Kaurismäki's Le Havre is a comic-strip-colored take on France's inability to find a humane response to an illegal immigrant influx. The story follows the familiar contours of old-man-softened-by-young-boy sagas: shoeshiner Marcel Marx (André Wilms) helps stranded Gabonese youth Idrissa (Blondin Miguel) evade the law and make it to London. Soothing turquoise paint covers the walls, natural light floods the outdoors and Kaurismäki's usual taciturn deadpan comedy is swapped out for brisk dialogue bonding sessions. It's a change of pace for Kaurismäki, who—like the early work of aesthetic fellow traveler/friend Jim Jarmusch—prefers jokes that don't noticeably raise the surface temperature. Having effectively exhausted this mode into self-parody in his last feature (2006's Lights in the Dusk), Le Havre represents a major, much-needed artistic reset.
Marcel was a feckless unpublished writer in Kaurismäki's 1992 travesty of French artistic dissolution La Vie de Boheme.
Fatalist Finn Aki Kaurismäki's Le Havre is a comic-strip-colored take on France's inability to find a humane response to an illegal immigrant influx. The story follows the familiar contours of old-man-softened-by-young-boy sagas: shoeshiner Marcel Marx (André Wilms) helps stranded Gabonese youth Idrissa (Blondin Miguel) evade the law and make it to London. Soothing turquoise paint covers the walls, natural light floods the outdoors and Kaurismäki's usual taciturn deadpan comedy is swapped out for brisk dialogue bonding sessions. It's a change of pace for Kaurismäki, who—like the early work of aesthetic fellow traveler/friend Jim Jarmusch—prefers jokes that don't noticeably raise the surface temperature. Having effectively exhausted this mode into self-parody in his last feature (2006's Lights in the Dusk), Le Havre represents a major, much-needed artistic reset.
Marcel was a feckless unpublished writer in Kaurismäki's 1992 travesty of French artistic dissolution La Vie de Boheme.
- 7/31/2012
- GreenCine Daily
Le Havre from internationally acclaimed director Aki Kaurismäki comes to DVD and Blu Ray on 6 August, and to mark the release we’ve got 3 Blu-rays to give away!
Le Havre sees Finnish director Aki Kaurismäki (The Man Without a Past) tackle the subject of Northern Europe’s attitude to refugees from the developing world. His approach is dramatic, funny, heart-warming and, like his other work, beautifully offbeat. Featuring superb performances from its cast that includes André Wilms (La Vie de Bohème), Jean-Pierre Darroussin (Red Lights) and the young Blondin Miguel.
Marcel Marx (Wilms), a former author and a well-known Bohemian, has retreated into a voluntary exile in the port city of Le Havre, where he feels he has reached a closer rapport with the people serving them in the occupation of the honourable, but not too profitable, of a shoe-shiner. He has buried his dreams of a literary breakthrough and...
Le Havre sees Finnish director Aki Kaurismäki (The Man Without a Past) tackle the subject of Northern Europe’s attitude to refugees from the developing world. His approach is dramatic, funny, heart-warming and, like his other work, beautifully offbeat. Featuring superb performances from its cast that includes André Wilms (La Vie de Bohème), Jean-Pierre Darroussin (Red Lights) and the young Blondin Miguel.
Marcel Marx (Wilms), a former author and a well-known Bohemian, has retreated into a voluntary exile in the port city of Le Havre, where he feels he has reached a closer rapport with the people serving them in the occupation of the honourable, but not too profitable, of a shoe-shiner. He has buried his dreams of a literary breakthrough and...
- 7/27/2012
- by Competitions
- HeyUGuys.co.uk
The Well Digger’S Daughter (La fille du puisatier) Kino Lorber Reviewed for Shockya by Harvey Karten Grade: B+ Director: Daniel Auteuil Screenwriters: Marcel Pagnol, Daniel Auteuil Cast: Daniel Auteuil, Kad Merad, Sabine Azéma, Jean-Pierre Darroussin, Nicolas Duvauchelle Screened at: Broadway, NYC, 6/19/12 Opens: July 20, 2012While mature, general audiences might be suckers for sentimental movies with Hollywood endings, sometimes called “Hallmark” pictures, critics are often loath to give their kudos to the category. Perhaps this is because we journalists have seen a large number of movies and realize that the some of the best do show the mean sides of life. Though beautiful women sometimes marry virtual princes, realistic enough [ Read More ]...
- 6/22/2012
- by Harvey Karten
- ShockYa
Blu-ray & DVD Release Date: July 31, 2012
Price: DVD $29.95, Blu-ray $39.95
Studio: Criterion
André Wilms means business in Le Havre.
Le Havre (2011) is a surprisingly warm-hearted comedy film from the usually deadpan Finnish filmmaker Aki Kaurismäki (Leningrad Cowboys Go America).
In the French harbor city Le Havre, fate throws the young African refugee Idrissa (Blondin Miguel) into the path of Marcel Marx (André Wilms, La vie de bohème), a kindly, aging bohemian who shines shoes for a living. With inborn optimism and the support of most of his tight-knit community, Marcel stands up to the officials doggedly pursuing the African boy for deportation.
Tagged by Criterion as “a political fairy tale that exists somewhere between the reality of contemporary France and the classic French cinema of the past, especially the poetic realist works of Jean Duvivier and Marcel Carné,” the acclaimed Le Havre rang up some $620,000 at the U.S. box office since...
Price: DVD $29.95, Blu-ray $39.95
Studio: Criterion
André Wilms means business in Le Havre.
Le Havre (2011) is a surprisingly warm-hearted comedy film from the usually deadpan Finnish filmmaker Aki Kaurismäki (Leningrad Cowboys Go America).
In the French harbor city Le Havre, fate throws the young African refugee Idrissa (Blondin Miguel) into the path of Marcel Marx (André Wilms, La vie de bohème), a kindly, aging bohemian who shines shoes for a living. With inborn optimism and the support of most of his tight-knit community, Marcel stands up to the officials doggedly pursuing the African boy for deportation.
Tagged by Criterion as “a political fairy tale that exists somewhere between the reality of contemporary France and the classic French cinema of the past, especially the poetic realist works of Jean Duvivier and Marcel Carné,” the acclaimed Le Havre rang up some $620,000 at the U.S. box office since...
- 4/25/2012
- by Laurence
- Disc Dish
Headhunters (15)
(Morten Tyldum, 2011, Nor/Ger) Aksel Hennie, Synnøve Macody Lund, Nikolaj Coster-Waldau, Eivind Sander. 100 mins
It's a Scandinavian crime thriller, but for once, this isn't like The Killing or The Girl With The Dragon Tattoo. It's closer to the Coen brothers, with enough unpredictable plot turns, eccentric touches and morbid laughs to banish the Nordic darkness. There's something of Steve Buscemi about its hero, too: Hennie plays a slimy corporate headhunter/secret art thief who meets his match, loses his grip and literally ends up in the toilet as a result.
Le Havre (PG)
(Aki Kaurismäki, 2011, Fin/Fra/Ger) André Wilms, Kati Outinen, Jean-Pierre Darroussin. 93 mins
Applying his gentle, silent-comical approach to the tale of an illegal immigrant and his French protectors reaps rewards for Kaurismäki in a movie that's whimsical on the surface but built on firm foundations.
This Must Be The Place (15)
(Paolo Sorrentino, 2011, Us) Sean Penn, Frances McDormand,...
(Morten Tyldum, 2011, Nor/Ger) Aksel Hennie, Synnøve Macody Lund, Nikolaj Coster-Waldau, Eivind Sander. 100 mins
It's a Scandinavian crime thriller, but for once, this isn't like The Killing or The Girl With The Dragon Tattoo. It's closer to the Coen brothers, with enough unpredictable plot turns, eccentric touches and morbid laughs to banish the Nordic darkness. There's something of Steve Buscemi about its hero, too: Hennie plays a slimy corporate headhunter/secret art thief who meets his match, loses his grip and literally ends up in the toilet as a result.
Le Havre (PG)
(Aki Kaurismäki, 2011, Fin/Fra/Ger) André Wilms, Kati Outinen, Jean-Pierre Darroussin. 93 mins
Applying his gentle, silent-comical approach to the tale of an illegal immigrant and his French protectors reaps rewards for Kaurismäki in a movie that's whimsical on the surface but built on firm foundations.
This Must Be The Place (15)
(Paolo Sorrentino, 2011, Us) Sean Penn, Frances McDormand,...
- 4/6/2012
- by Steve Rose
- The Guardian - Film News
Guardian.co.uk/film are co-hosting a stream of Aki Kaurismäki's Le Havre, which will screen at the Curzon Soho and be available through Curzon on Demand from 18:40 this evening. Join us as we watch the film and liveblog a Q&A between Curzon's Ian Haydn Smith and evolutionary biologist and author Mark Pagel
9.28pm: Right ... the Q&A's finished. The audience in the Curzon are heading for the door. I can see them streaming through into the foyer and ... Yes! ... people are holding the door for each other. Mark's theory seems to be playing out.
Thanks very much for reading and joining the watch-a-long. Le Havre is available on Curzon on Demand here and via the Watch Now banner.
Keep your comments on the film coming below. You can also get into the debate on Twitter where we'll be under the #GuardianCurzon hashtag. Look out for news...
9.28pm: Right ... the Q&A's finished. The audience in the Curzon are heading for the door. I can see them streaming through into the foyer and ... Yes! ... people are holding the door for each other. Mark's theory seems to be playing out.
Thanks very much for reading and joining the watch-a-long. Le Havre is available on Curzon on Demand here and via the Watch Now banner.
Keep your comments on the film coming below. You can also get into the debate on Twitter where we'll be under the #GuardianCurzon hashtag. Look out for news...
- 4/6/2012
- by Henry Barnes
- The Guardian - Film News
Aki Kaurismaki is as offbeat as always, but this immigration-themed film gives him a new heartfelt urgency
The Finnish director Aki Kaurismäki has come to France for his latest film, making explicit his indebtedness to figures like Tati and Vigo. It is seductively funny, offbeat and warm-hearted, like the rest of his films, but with a new heartfelt urgency on the subject of northern Europe's attitude to desperate refugees from the developing world. The movie is set in the port city of Le Havre, maybe summoning a distant ghost of L'Atalante, and it has a solid, old-fashioned look; but for the contemporary theme, it could have been made at any time in the last 50 years. André Wilms is Marcel, a phlegmatic shoe-shine guy who plies his trade around the streets as best he can. He discovers a young boy called Idrissa (Blondin Miguel), an illegal immigrant on the run, and hides him from the authorities,...
The Finnish director Aki Kaurismäki has come to France for his latest film, making explicit his indebtedness to figures like Tati and Vigo. It is seductively funny, offbeat and warm-hearted, like the rest of his films, but with a new heartfelt urgency on the subject of northern Europe's attitude to desperate refugees from the developing world. The movie is set in the port city of Le Havre, maybe summoning a distant ghost of L'Atalante, and it has a solid, old-fashioned look; but for the contemporary theme, it could have been made at any time in the last 50 years. André Wilms is Marcel, a phlegmatic shoe-shine guy who plies his trade around the streets as best he can. He discovers a young boy called Idrissa (Blondin Miguel), an illegal immigrant on the run, and hides him from the authorities,...
- 4/6/2012
- by Peter Bradshaw
- The Guardian - Film News
From April 6, Cannes favourite Le Havre will be in cinemas. But for those who might prefer (and live in the UK or Ireland), you can stream it here via Curzon on Demand. Either way, be sure to tune in for our Q&A with top evolutionary theorist Mark Pagel next Friday night
Cannes 2011, on reflection, looks an absolutely vintage year. Not only did it introduce us to The Artist and Melancholia, The Tree of Life and Take Shelter, it also gave us The Skin I Live In, Footnote, Drive, The Kid on the Bike and Once Upon a Time in Anatolia.
And now we're approaching the release one of the films which Peter Bradshaw wrote about most warmly last May: Le Havre.
Reviewing the latest from Aki Kaurismäki – the deadpan Finnish film-maker behind I Hired A Contract Killer, The Match Factory Girl, Leningrad Cowboys Go America and The Man Without...
Cannes 2011, on reflection, looks an absolutely vintage year. Not only did it introduce us to The Artist and Melancholia, The Tree of Life and Take Shelter, it also gave us The Skin I Live In, Footnote, Drive, The Kid on the Bike and Once Upon a Time in Anatolia.
And now we're approaching the release one of the films which Peter Bradshaw wrote about most warmly last May: Le Havre.
Reviewing the latest from Aki Kaurismäki – the deadpan Finnish film-maker behind I Hired A Contract Killer, The Match Factory Girl, Leningrad Cowboys Go America and The Man Without...
- 3/29/2012
- The Guardian - Film News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.