The Cnc is also throwing its weight behind films put forward by Ursula Meier, Robert Guédiguian, Philippe Faucon, Tony Gatlif, Mona Achache and the duo composed of Alain Gagnol and Jean-Loup Felicioli. Seven projects were selected during the 5th and final session of the Cnc’s second advance on receipts 2019 committee. Standing out amongst these is Le temps d’aimer which will be Katell Quillévéré’s fourth feature film following on from 2010’s Love Like Poison (screened in Cannes’ Directors’ Fortnight 2010 and the winner of the Prix Jean Vigo), Suzanne and Heal The Living (unveiled in Venice’s Orizzonti line-up in 2016 before participating in Toronto’s Platform competition). Written by the filmmaker alongside Gilles Taurand, the story kicks off in 1947. Madeleine, a waitress in a hotel restaurant and the mother of a small...
Heal The Living (Reparer les vivants) will screen at Plaza Frontenac Cinema (Lindbergh Blvd. and Clayton Rd, Frontenac, Mo 63131) as part of this year’s St. Louis International Film Festival. Showings are Thursday, Nov. 9 at 6:40pm (purchase tickets Here) and Friday, Nov. 10 at 9:30pm (purchase tickets Here).
Three narrative threads built around the issue of organ transplantation – parents facing with the accidental death of their teen-aged son, the medical staff of a transplant team, and a middle-aged female musician dying of heart failure – are woven together in French director Katell Quillevere’s medical drama Heal The Living (Reparer les vivants). This is the third and most polished of her films, her previous works being Suzanne and Love Like Poison.
In part, Heal The Living is a medical procedural, like countless television or movie dramas, but what sets it apart is its fuller emotional portrait of the patients and...
Three narrative threads built around the issue of organ transplantation – parents facing with the accidental death of their teen-aged son, the medical staff of a transplant team, and a middle-aged female musician dying of heart failure – are woven together in French director Katell Quillevere’s medical drama Heal The Living (Reparer les vivants). This is the third and most polished of her films, her previous works being Suzanne and Love Like Poison.
In part, Heal The Living is a medical procedural, like countless television or movie dramas, but what sets it apart is its fuller emotional portrait of the patients and...
- 11/9/2017
- by Cate Marquis
- WeAreMovieGeeks.com
Katell Quillévéré’s polished mosaic of interconnected lives is intelligently acted and visually arresting but its cardiac-transplant storyline is a little glib
Katell Quillévéré’s first two pictures, Love Like Poison and Suzanne, established her as a film-maker of delicacy and grace; this third feature is based on the novel by Maylis de Kerangal, adapted by the director with veteran screenwriter Gilles Taurand.
It is every bit as beautifully made and intelligently acted as you might expect, with some wonderful visual imagery at the very beginning. Yet I was disappointed. The organ donation storyline is a readymade trope, bringing together disparate life stories; it creates its own internal narrative economy of donor and recipient. But it’s a rather Hollywoodised high concept, reminiscent of Alejandro González Iñárittu’s 21 Grams or even, frankly, a slushy romantic weepie from 2000 starring Minnie Driver called Return to Me. Those films had the idea of infringing the donor anonymity rules,...
Katell Quillévéré’s first two pictures, Love Like Poison and Suzanne, established her as a film-maker of delicacy and grace; this third feature is based on the novel by Maylis de Kerangal, adapted by the director with veteran screenwriter Gilles Taurand.
It is every bit as beautifully made and intelligently acted as you might expect, with some wonderful visual imagery at the very beginning. Yet I was disappointed. The organ donation storyline is a readymade trope, bringing together disparate life stories; it creates its own internal narrative economy of donor and recipient. But it’s a rather Hollywoodised high concept, reminiscent of Alejandro González Iñárittu’s 21 Grams or even, frankly, a slushy romantic weepie from 2000 starring Minnie Driver called Return to Me. Those films had the idea of infringing the donor anonymity rules,...
- 4/26/2017
- by Peter Bradshaw
- The Guardian - Film News
The director on the pressures of adapting a much-loved novel, and why it’s better being a female film-maker in France
Born in 1980 in Abidjan, Côte d’Ivoire and raised in France, the writer and director Katell Quillévéré made her feature film-making debut in 2010 with an intimate coming-of-age picture, Love Like Poison. She followed this with Suzanne (2013), a sweeping social-realist study of a woman’s life and choices. Her latest film, Heal the Living, which traces the journey of a heart from donor to transplant recipient, is an adaptation of the International Booker prize-nominated Mend the Living by Maylis de Kerangal.
Who or what first got you passionate about cinema?
I didn’t come from a cinephile background. My family would go to the movies about three or four times a year. I discovered cinema when I was 16 or 17, when I watched a TV programme about all the movies of Maurice Pialat.
Born in 1980 in Abidjan, Côte d’Ivoire and raised in France, the writer and director Katell Quillévéré made her feature film-making debut in 2010 with an intimate coming-of-age picture, Love Like Poison. She followed this with Suzanne (2013), a sweeping social-realist study of a woman’s life and choices. Her latest film, Heal the Living, which traces the journey of a heart from donor to transplant recipient, is an adaptation of the International Booker prize-nominated Mend the Living by Maylis de Kerangal.
Who or what first got you passionate about cinema?
I didn’t come from a cinephile background. My family would go to the movies about three or four times a year. I discovered cinema when I was 16 or 17, when I watched a TV programme about all the movies of Maurice Pialat.
- 4/16/2017
- by Interview by Wendy Ide
- The Guardian - Film News
Katell Quillévéré is a rising star writer/director in French cinema. With only three feature films under her belt, she's gaining quite a bit of critical acclaim ever since her coming-of-age debut film Love Like Poison in 2010. Her second film Suzanne, a true masterpiece, starring two of the biggest names in French cinema now -- Sarah Forestier and Adele Haenel -- put her in the league of other great contemporary women directors such as Mia Hansen-Løve, Céline Sciamma and Alice Rohwacher. Quillévéré's strength is in her ability to make all of her characters shine. Her new film Heal the Living (original title: Réparer les vivants) is a big leap in terms of cinematic filmmaking and the most mature one to date. I got a chance to...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 4/12/2017
- Screen Anarchy
An actress/filmmaker who could easily call the impractical venue/annually gem-filled gift-giving Cannes sidebar a home away from home, Ronit Elkabetz, who has seen a pair of her films play in the section, will now serve as jury president for the Cannes’ Critics’ Week (May 14th to the 22nd). Filmmaker Katell Quillévéré (Love Like Poison), Peter Suschitzky (regular Cronenberg Dp and has The Tale of Tales coming out), Andréa Picard (the mastermind behind Tiff’s Wavelengths) and THR critic Boyd van Hoeij will share jury duties and hand out a trio of awards. Last year, it was It Follows and The Tribe that were the break out film of the section. Our Nicholas Bell recently remarked that Elkabetz “owns every frame” of Gett: The Trial of Viviane Amsalem. Line-up will be released on April 20th.
- 3/24/2015
- by Eric Lavallee
- IONCINEMA.com
★★☆☆☆French filmmaker Katell Quillévéré's second offering, Suzanne (2013), is an ambitious attempt to present a good twenty-five years (or perhaps, in greater detail, a decade) of her titular lead character's life into a single ninety-minute feature. Following on from the coming-of-age trials of her debut, Love Like Poison (2010), Suzanne charts the stilted maturation of a flawed young woman. That Quillévéré manages to create an impressively touching dénouement to her latest offering is certainly praise-worthy. What comes before that is, regrettably, somewhat inconsistent with regards to how much it is possible to fully connect with and commit to her selfish heroine.
- 4/14/2014
- by CineVue UK
- CineVue
An enthralling family drama about a teenage mother's destructive relationship with a charming criminal
"Suzanne takes you down… and you know that she's half crazy… " Nina Simone's rendition of Leonard Cohen's classic makes a fitting end-credits theme for this enthralling, award-winning second feature from the director of Love Like Poison. Sara Forestier is the eponymous force of nature (and teenage mother) whose reckless independence takes her away from her sister and her father and into a self-destructive relationship with a charismatic law-breaker.
Covering more than two decades in its economic running time (years pass between scenes), this intelligent, insightful gem presents a series of snapshots of a disintegrating family, blending acute social vision with heartbreaking intimacy, cementing Quillévéré's reputation as one of France's most remarkable young film-makers.
Rating: 4/5
DramaMark Kermode
theguardian.com © 2014 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content...
"Suzanne takes you down… and you know that she's half crazy… " Nina Simone's rendition of Leonard Cohen's classic makes a fitting end-credits theme for this enthralling, award-winning second feature from the director of Love Like Poison. Sara Forestier is the eponymous force of nature (and teenage mother) whose reckless independence takes her away from her sister and her father and into a self-destructive relationship with a charismatic law-breaker.
Covering more than two decades in its economic running time (years pass between scenes), this intelligent, insightful gem presents a series of snapshots of a disintegrating family, blending acute social vision with heartbreaking intimacy, cementing Quillévéré's reputation as one of France's most remarkable young film-makers.
Rating: 4/5
DramaMark Kermode
theguardian.com © 2014 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content...
- 3/16/2014
- by Mark Kermode
- The Guardian - Film News
The Rocket | Under The Skin | The Zero Theorem | Suzanne | Veronica Mars | Need For Speed | Plot For Peace
The Rocket (12A)
(Kim Mordaunt, 2013, Aus/Thai/Laos) Sitthiphon Disamoe, Loungnam Kaosainam, Thep Phongam, Bunsri Yindi. 96 mins
Children are often the best ambassadors for world cinema and so it proves here, in a Laos-set tale that's sympathetic but never condescending. The story centres on a displaced boy burdened by a perceived "curse". But it's told with documentary-like conviction and distinctly local details, from James Brown-worshipping war vets to the unexploded ordnance littering the landscape.
Under The Skin (15)
(Jonathan Glazer, 2013, UK) Scarlett Johansson, Paul Brannigan. Krystof Hádek. 108 mins
Glazer's delectably mystifying sci-fi makes Glasgow look like another planet – as seen through the eyes of Johansson's alien seductress, on the prowl for unsuspecting males. It sounds like a highbrow Species, but the imagery and sustained strangeness put it in a realm of its own.
The Zero Theorem (15)
(Terry Gilliam,...
The Rocket (12A)
(Kim Mordaunt, 2013, Aus/Thai/Laos) Sitthiphon Disamoe, Loungnam Kaosainam, Thep Phongam, Bunsri Yindi. 96 mins
Children are often the best ambassadors for world cinema and so it proves here, in a Laos-set tale that's sympathetic but never condescending. The story centres on a displaced boy burdened by a perceived "curse". But it's told with documentary-like conviction and distinctly local details, from James Brown-worshipping war vets to the unexploded ordnance littering the landscape.
Under The Skin (15)
(Jonathan Glazer, 2013, UK) Scarlett Johansson, Paul Brannigan. Krystof Hádek. 108 mins
Glazer's delectably mystifying sci-fi makes Glasgow look like another planet – as seen through the eyes of Johansson's alien seductress, on the prowl for unsuspecting males. It sounds like a highbrow Species, but the imagery and sustained strangeness put it in a realm of its own.
The Zero Theorem (15)
(Terry Gilliam,...
- 3/15/2014
- by Steve Rose
- The Guardian - Film News
French female director Katell Quillévéré follows her celebrated debut, Love like Poison, with an intimate family drama, Suzanne. The drama, which had its Nordic premiere at the Göteborg International Film Festival, tells the story of a working class family consisting of a widowed father (François Damiens) raising his two daughters, Suzanne (Sara Forestier) and Maria (Adéle Haenel).
The film opens with the two girls as young children, with one sister lying to take her sister’s side. It’s the perfect example of the bond between the sisters, and sets the precedence for the rest of this piece. Fast forward years later and now the girls are teenagers. Suzanne reveals to her father she is pregnant and that she is keeping the baby because she feels like it. Before the audience have the chance to think about what has just happened, an ellipsis occurs and little Charlie is born and...
The film opens with the two girls as young children, with one sister lying to take her sister’s side. It’s the perfect example of the bond between the sisters, and sets the precedence for the rest of this piece. Fast forward years later and now the girls are teenagers. Suzanne reveals to her father she is pregnant and that she is keeping the baby because she feels like it. Before the audience have the chance to think about what has just happened, an ellipsis occurs and little Charlie is born and...
- 3/14/2014
- by Marie Ferrer
- HeyUGuys.co.uk
What:
The 19th European Union Film Festival in India brings a unique collection of European films, this time showcasing different aspects of youth and the young.
When:
28 February-11 March 2014
Entry:
Free.
Venue:
British Council Division
17 Kasturba Gandhi Marg
New Delhi 110001
About the Program:
Schedule of the film screening:
Killing Bono, 28 February 6 Pm
114 mins/United Kingdom
Sneakers, 01 March 6 Pm
(110 mins/Bulgaria)
Bright Vision, 01 March 8 Pm
119 mins/ Ireland
Love me or Leave me, 02 March 6 Pm
95 mins / Slovakia
Hope is a strange place, 02 March 8 Pm
115 mins/ Portugal
Love like Poison, 03 March 6 Pm
92 mins/ France
Garbage Prince, 04 March 6 Pm
100 mins/ Finland
Aching Hearts, 04 March 8 Pm
125 mins/ Denmark
Fresh Air, 05 March 6 Pm
109 mins/ Hungary
Lessons of a Dream, 05 March 8 Pm
113 mins/ Germany
Don’t Be Afraid, 06 March 6 Pm
90 mins/ Spain
You Am I, 06 March 8 Pm
90 mins/ Lithuania
Easy, 09 March 6 Pm
97 mins/ Italy
The Brides, 09 March 8 Pm
123 mins/ Greece
Breathing, 10 March 6 Pm
93 mins/ Austria
On The Sky,...
The 19th European Union Film Festival in India brings a unique collection of European films, this time showcasing different aspects of youth and the young.
When:
28 February-11 March 2014
Entry:
Free.
Venue:
British Council Division
17 Kasturba Gandhi Marg
New Delhi 110001
About the Program:
Schedule of the film screening:
Killing Bono, 28 February 6 Pm
114 mins/United Kingdom
Sneakers, 01 March 6 Pm
(110 mins/Bulgaria)
Bright Vision, 01 March 8 Pm
119 mins/ Ireland
Love me or Leave me, 02 March 6 Pm
95 mins / Slovakia
Hope is a strange place, 02 March 8 Pm
115 mins/ Portugal
Love like Poison, 03 March 6 Pm
92 mins/ France
Garbage Prince, 04 March 6 Pm
100 mins/ Finland
Aching Hearts, 04 March 8 Pm
125 mins/ Denmark
Fresh Air, 05 March 6 Pm
109 mins/ Hungary
Lessons of a Dream, 05 March 8 Pm
113 mins/ Germany
Don’t Be Afraid, 06 March 6 Pm
90 mins/ Spain
You Am I, 06 March 8 Pm
90 mins/ Lithuania
Easy, 09 March 6 Pm
97 mins/ Italy
The Brides, 09 March 8 Pm
123 mins/ Greece
Breathing, 10 March 6 Pm
93 mins/ Austria
On The Sky,...
- 2/27/2014
- by NewsDesk
- DearCinema.com
Suzanne – Katell Quillévéré
Section: Critics’ Week
Buzz: I know her debut feature, Love Like Poison, left a lot to be desired for many, but based solely on the strength of her short film With All My Might, Quillévéré deserves at least three strikes before being ousted from the ‘must see whatever she does’ list. Critics Week opening films actually have a fairly solid track record, so look for this to potentially be one of this year’s out-of-nowhere breakout hits.
The Gist: Suzanne and Maria are sisters who are extremely close. They have a happy childhood despite the absence of their mother, who passed away when they were still little girls. Nicolas, their, at times clumsy, but loving father runs the household the very best he can, until the day that Suzanne gets pregnant. Little Charly arrives and the family gets bigger. Years go by, Suzanne meets Julien, a bit of a bad boy,...
Section: Critics’ Week
Buzz: I know her debut feature, Love Like Poison, left a lot to be desired for many, but based solely on the strength of her short film With All My Might, Quillévéré deserves at least three strikes before being ousted from the ‘must see whatever she does’ list. Critics Week opening films actually have a fairly solid track record, so look for this to potentially be one of this year’s out-of-nowhere breakout hits.
The Gist: Suzanne and Maria are sisters who are extremely close. They have a happy childhood despite the absence of their mother, who passed away when they were still little girls. Nicolas, their, at times clumsy, but loving father runs the household the very best he can, until the day that Suzanne gets pregnant. Little Charly arrives and the family gets bigger. Years go by, Suzanne meets Julien, a bit of a bad boy,...
- 5/15/2013
- by Blake Williams
- IONCINEMA.com
The 52nd Cannes International Critics' Week has unveiled its full lineup. Among the 11 features screening in the sidebar is David Lowery's acclaimed Sundance drama "Ain't Them Bodies Saints," screening out of competition. Katell Quillevere, whose debut feature "Love Like Poison" played in the 2010 Directors' Fortnight, will be back this year to open the sidebar with "Suzanne," starring Sara Forestier. Other highlights include Yann Gonzalez's sex comedy "Encounters After Midnight," Quebec filmmaker Sebastien Pilote's rural family drama "The Dismantling," and Agustin Toscano and Ezequiel Radusky's social comedy "The Owners." Read More: Soderbergh, Payne, Polanski and the Coens Lead 2013 Cannes Film Festival Lineup "Tabu" writer-director (and former film critic) Miguel Gomes heads the Cannes Critics's Week jury this year. The jury, comprised of four film journalists, will vote for one of the seven films playing in the competition. The 52nd International Critics' Week runs May...
- 4/22/2013
- by Nigel M Smith
- Indiewire
Paris -- The 52nd Cannes’ International Critics’ Week unveiled its lineup Monday afternoon during a webcast released from its Paris headquarters. Among the 11 features screening in the sidebar, which showcases first and second films, are writer-director David Lowery’s Sundance hit Ain’t Them Bodies Saints, playing out of competition, and opening night French film Suzanne, starring Sara Forestier (The Names of Love) and directed by Katell Quillevere, whose debut feature Love Like Poison premiered in the 2010 Directors’ Fortnight. The seven-film competition will be presided over by jury president Miguel Gomes (Tabu) and will include five first-time features spanning
read more...
read more...
- 4/21/2013
- by Jordan Mintzer
- The Hollywood Reporter - Movie News
The 17th edition of the International Film Festival of Kerala (Iffk) has announced its lineup. The festival will run from 7th to 14th December, 2012 in Thiruvananthapuram, Kerala.
Some of the highlights of the lineup are festival favourites of the year Amour, Chitrangada, Samhita, The Sapphires, Drapchi, Miss Lovely, Me and You, Celluloid Man, and Baandhon.
Fourteen films will screen in the Competition section while seven contemporary films will be screened in “Indian Cinema Now” section.
Complete list of films:
Competition Films
Fourteen feature films from Asia, Africa and Latin America will compete for the coveted “Suvarna Chakoram” (Golden Crow Pheasant) and other awards.
Always Brando by Ridha Behi (Tunisia)
Inheritors of the Earth by T V Chandran (India)
A Terminal Trust by by Masayuki Suo (Japan)
Shutter by Joy Mathew (India)
Today by Alain Gomis (Senegal-France)
The Repentant by Merzak Allouache (Algeria)
Sta. Niña by Manny Palo (Philippines)
Present Tense...
Some of the highlights of the lineup are festival favourites of the year Amour, Chitrangada, Samhita, The Sapphires, Drapchi, Miss Lovely, Me and You, Celluloid Man, and Baandhon.
Fourteen films will screen in the Competition section while seven contemporary films will be screened in “Indian Cinema Now” section.
Complete list of films:
Competition Films
Fourteen feature films from Asia, Africa and Latin America will compete for the coveted “Suvarna Chakoram” (Golden Crow Pheasant) and other awards.
Always Brando by Ridha Behi (Tunisia)
Inheritors of the Earth by T V Chandran (India)
A Terminal Trust by by Masayuki Suo (Japan)
Shutter by Joy Mathew (India)
Today by Alain Gomis (Senegal-France)
The Repentant by Merzak Allouache (Algeria)
Sta. Niña by Manny Palo (Philippines)
Present Tense...
- 11/2/2012
- by NewsDesk
- DearCinema.com
From today through February 1, we're partnering with the My French Film Festival to show you ten recently released French features (first and second films) and ten French shorts. Presented by Unifrance, the festival invites you to award points to the films you like at the main site — and these points count, as six prizes will be awarded (three for features, three for shorts): the Internet Users Prize, Social Networks Prize and International Press Prize.
Outside of both competitions, we've also got a few extra presentations. The online festival was a hit around the world last year and you won't want to miss this second edition.
A few quick notes on the films, starting with the features:
Rebecca Zlotowski's Belle épine (Dear Prudence), winner of the prestigious Prix Louis Delluc for Best First Film, is "closer to a sobering character study than a classical youth film," finds Chris Cabin in Slant.
Outside of both competitions, we've also got a few extra presentations. The online festival was a hit around the world last year and you won't want to miss this second edition.
A few quick notes on the films, starting with the features:
Rebecca Zlotowski's Belle épine (Dear Prudence), winner of the prestigious Prix Louis Delluc for Best First Film, is "closer to a sobering character study than a classical youth film," finds Chris Cabin in Slant.
- 1/11/2012
- MUBI
The first of several top ten film lists from the writers of WhatCulture!
We’ve reached the end of another calendar year, with what could, for once, be an interesting awards season just around the corner. While many of the big contenders for the BAFTAs and Oscars have yet to see the light of day in cinemas, it’s as good a time as any for me to look back on the year that was. And while we have had to endure many a stinker from Messrs. Bay, Snyder and Marshall, and see a number of good directors come unstuck (Ron Howard and Terence Davies spring to mind), there has overall been much to celebrate.
The Coen Brothers kicked things off optimistically with True Grit; while a semi-skimmed effort by their standards, it is far superior to the original. Wake Wood showed that the reborn Hammer is here to stay,...
We’ve reached the end of another calendar year, with what could, for once, be an interesting awards season just around the corner. While many of the big contenders for the BAFTAs and Oscars have yet to see the light of day in cinemas, it’s as good a time as any for me to look back on the year that was. And while we have had to endure many a stinker from Messrs. Bay, Snyder and Marshall, and see a number of good directors come unstuck (Ron Howard and Terence Davies spring to mind), there has overall been much to celebrate.
The Coen Brothers kicked things off optimistically with True Grit; while a semi-skimmed effort by their standards, it is far superior to the original. Wake Wood showed that the reborn Hammer is here to stay,...
- 1/1/2012
- by Daniel Mumby
- Obsessed with Film
Despite the UK Film Council's golden age, 2011 was very much a mixed bag of events
In some ways, 2011 was the strangest year in living memory for British cinema. The UK Film Council was officially wound up at the end of March, a showy act from this coalition government, annulling a Labour creation on the grounds of high salaries and cronyism, but transferring much of its budget and responsibilities to the British Film Institute. And this at a time when the Film Council was having a golden age: a bag of Oscars for The King's Speech and a feeling that it had fostered real talent. Something was going very right for British cinema. Lynne Ramsey's We Need to Talk About Kevin premiered at Cannes; Steve McQueen's Shame and Andrea Arnold's Wuthering Heights made waves at Venice.
Two film-makers from Iran showed that cinema was able to address...
In some ways, 2011 was the strangest year in living memory for British cinema. The UK Film Council was officially wound up at the end of March, a showy act from this coalition government, annulling a Labour creation on the grounds of high salaries and cronyism, but transferring much of its budget and responsibilities to the British Film Institute. And this at a time when the Film Council was having a golden age: a bag of Oscars for The King's Speech and a feeling that it had fostered real talent. Something was going very right for British cinema. Lynne Ramsey's We Need to Talk About Kevin premiered at Cannes; Steve McQueen's Shame and Andrea Arnold's Wuthering Heights made waves at Venice.
Two film-makers from Iran showed that cinema was able to address...
- 12/5/2011
- by Peter Bradshaw
- The Guardian - Film News
A quiet highlight of last year's Cannes Film Festival, Love Like Poison (2010) is the debut feature of Katell Quillévéré and sees the director delving into a meaty concoction of Catholicism, domestic discontentment and the temptations of young love, but does so in the most subtle and gentle of ways, teasing out the drama rather than throwing it in your face.
(...)...
(...)...
- 7/26/2011
- by Daniel Green
- CineVue
Cannes 2011 is in full swing and it seems rather odd to post this clip from a movie which screened at the festival back in 2010 but it really shows how long some of these movies take to be seen in the rest of the world after debuting at the prestigious Cannes Film Festival. Love Like Poison is directed by Katell Quillévéré and stars Clara Augarde, Lio, Michel Galabru, Stefano Cassetti, Thierry Neuvic and Youen Leboulanger-Gourvil. It’s available to view in cinemas now.
A coming-of-age drama which skillfully combines sexual frankness with a captivating sense of innocence, first-time director Katell Quillévéré’s charming Love Like Poison was a surprise, yet deserved, critical hit at the 2010 Cannes Film Festival.
Anna, a young teenager, comes home from her Catholic boarding school for the holidays and discovers her father has left. Her mother is devastated and confined in the company of the local priest,...
A coming-of-age drama which skillfully combines sexual frankness with a captivating sense of innocence, first-time director Katell Quillévéré’s charming Love Like Poison was a surprise, yet deserved, critical hit at the 2010 Cannes Film Festival.
Anna, a young teenager, comes home from her Catholic boarding school for the holidays and discovers her father has left. Her mother is devastated and confined in the company of the local priest,...
- 5/16/2011
- by David Sztypuljak
- HeyUGuys.co.uk
Attack The Block (15)
(Joe Cornish, 2011, UK) John Boyega, Nick Frost, Jodie Whittaker. 88 mins
More Critters than Cloverfield, this alien-invasion movie is modest in scale and ambition but makes up for it in local flavour. The setting is south London – Brit cinema's default "ghetto" location, bruv – where sharp-toothed ETs come to regret messing with the hoodies, who team up with their recent victim and the upstairs drug dealer to defend their manor. It's no Shaun Of The Dead, but it's up-to-date and fitfully entertaining, and there's at least some social grit beneath the down-with-the-kids comedy.
A Screaming Man (PG)
(Mahamat-Saleh Haroun, 2010, Cha/Fra/Bel) Youssouf Djaoro, Dioucounda Koma, Emile Abssolo M'Bo. 91 mins
Saying a great deal with few resources, this skillful Chadian drama finds weighty moral, global and generational concerns in the story of a swimming pool attendant and his son.
Love Like Poison (15)
(Katell Quillévéré, 2010, Fra) Clara Augarde, Lio, Stefano Cassetti.
(Joe Cornish, 2011, UK) John Boyega, Nick Frost, Jodie Whittaker. 88 mins
More Critters than Cloverfield, this alien-invasion movie is modest in scale and ambition but makes up for it in local flavour. The setting is south London – Brit cinema's default "ghetto" location, bruv – where sharp-toothed ETs come to regret messing with the hoodies, who team up with their recent victim and the upstairs drug dealer to defend their manor. It's no Shaun Of The Dead, but it's up-to-date and fitfully entertaining, and there's at least some social grit beneath the down-with-the-kids comedy.
A Screaming Man (PG)
(Mahamat-Saleh Haroun, 2010, Cha/Fra/Bel) Youssouf Djaoro, Dioucounda Koma, Emile Abssolo M'Bo. 91 mins
Saying a great deal with few resources, this skillful Chadian drama finds weighty moral, global and generational concerns in the story of a swimming pool attendant and his son.
Love Like Poison (15)
(Katell Quillévéré, 2010, Fra) Clara Augarde, Lio, Stefano Cassetti.
- 5/13/2011
- by Steve Rose
- The Guardian - Film News
Rating: 3 out of 5 stars
Coming of age stories have been a staple of cinema for nearly as long as the medium has been in existence. Exploring themes of budding sexuality, immerging adulthood and familiarity with life, love and death, all through the often-confused mind of a teenager, these films seek to analyse the difficulties of growing up.
Love Like Poison, French writer/director Katell Quillévéré’s first feature length film, attempts to slot into this subgenre of dramatic cinema whilst also critiquing the overbearing influence of the Catholic Church. To non-French/non-Catholic audiences the film loses an element of its impact through this overarching theme of Catholicism as an important aspect of everyday life. However, it does succeed in offering an insightful glimpse into growing up in a small French town.
On a limited theatrical release in the UK from today, Love Like Poison is reviewed below.
Anna (Clara Augarde...
Coming of age stories have been a staple of cinema for nearly as long as the medium has been in existence. Exploring themes of budding sexuality, immerging adulthood and familiarity with life, love and death, all through the often-confused mind of a teenager, these films seek to analyse the difficulties of growing up.
Love Like Poison, French writer/director Katell Quillévéré’s first feature length film, attempts to slot into this subgenre of dramatic cinema whilst also critiquing the overbearing influence of the Catholic Church. To non-French/non-Catholic audiences the film loses an element of its impact through this overarching theme of Catholicism as an important aspect of everyday life. However, it does succeed in offering an insightful glimpse into growing up in a small French town.
On a limited theatrical release in the UK from today, Love Like Poison is reviewed below.
Anna (Clara Augarde...
- 5/13/2011
- by Stuart Cummins
- Obsessed with Film
A bittersweet French gem from last year's Cannes festival gets a welcome UK release
Writer-director Katell Quillévéré, with her first feature, reveals herself to be a supremely natural film-maker; her movie speaks of Catholicism, nascent sexuality and la France profonde – and the characters she creates are subtly but richly sympathetic. This is a coming-of-age movie that is touching, funny, desperately sad and has a spiritual dimension that comes to its mysterious and satisfying fruition at the very end, with an inspired choral arrangement of Radiohead's Creep over the final credits.
Love Like Poison (the title is taken from a Serge Gainsbourg song) centres on a crisis with many facets. Anna, played by Clara Augarde, is a floweringly beautiful 14-year-old girl who comes home from her boarding school for the summer to find that her father, Paul (Thierry Neuvic), has left the family home for another woman. Her mother, Jeanne (Lio), now conceives a miserable,...
Writer-director Katell Quillévéré, with her first feature, reveals herself to be a supremely natural film-maker; her movie speaks of Catholicism, nascent sexuality and la France profonde – and the characters she creates are subtly but richly sympathetic. This is a coming-of-age movie that is touching, funny, desperately sad and has a spiritual dimension that comes to its mysterious and satisfying fruition at the very end, with an inspired choral arrangement of Radiohead's Creep over the final credits.
Love Like Poison (the title is taken from a Serge Gainsbourg song) centres on a crisis with many facets. Anna, played by Clara Augarde, is a floweringly beautiful 14-year-old girl who comes home from her boarding school for the summer to find that her father, Paul (Thierry Neuvic), has left the family home for another woman. Her mother, Jeanne (Lio), now conceives a miserable,...
- 5/12/2011
- by Peter Bradshaw
- The Guardian - Film News
A bittersweet French gem from last year's Cannes festival gets a welcome UK release
Writer-director Katell Quillévéré, with her first feature, reveals herself to be a supremely natural film-maker; her movie speaks of Catholicism, nascent sexuality and la France profonde – and the characters she creates are subtly but richly sympathetic. This is a coming-of-age movie that is touching, funny, desperately sad and has a spiritual dimension that comes to its mysterious and satisfying fruition at the very end, with an inspired choral arrangement of Radiohead's Creep over the final credits.
Love Like Poison (the title is taken from a Serge Gainsbourg song) centres on a crisis with many facets. Anna, played by Clara Augarde, is a floweringly beautiful 14-year-old girl who comes home from her boarding school for the summer to find that her father, Paul (Thierry Neuvic), has left the family home for another woman. Her mother, Jeanne (Lio), now conceives a miserable,...
Writer-director Katell Quillévéré, with her first feature, reveals herself to be a supremely natural film-maker; her movie speaks of Catholicism, nascent sexuality and la France profonde – and the characters she creates are subtly but richly sympathetic. This is a coming-of-age movie that is touching, funny, desperately sad and has a spiritual dimension that comes to its mysterious and satisfying fruition at the very end, with an inspired choral arrangement of Radiohead's Creep over the final credits.
Love Like Poison (the title is taken from a Serge Gainsbourg song) centres on a crisis with many facets. Anna, played by Clara Augarde, is a floweringly beautiful 14-year-old girl who comes home from her boarding school for the summer to find that her father, Paul (Thierry Neuvic), has left the family home for another woman. Her mother, Jeanne (Lio), now conceives a miserable,...
- 5/12/2011
- by Peter Bradshaw
- The Guardian - Film News
A bittersweet French gem from last year's Cannes festival gets a welcome UK release
Writer-director Katell Quillévéré, with her first feature, reveals herself to be a supremely natural film-maker; her movie speaks of Catholicism, nascent sexuality and la France profonde – and the characters she creates are subtly but richly sympathetic. This is a coming-of-age movie that is touching, funny, desperately sad and has a spiritual dimension that comes to its mysterious and satisfying fruition at the very end, with an inspired choral arrangement of Radiohead's Creep over the final credits.
Love Like Poison (the title is taken from a Serge Gainsbourg song) centres on a crisis with many facets. Anna, played by Clara Augarde, is a floweringly beautiful 14-year-old girl who comes home from her boarding school for the summer to find that her father, Paul (Thierry Neuvic), has left the family home for another woman. Her mother, Jeanne (Lio), now conceives a miserable,...
Writer-director Katell Quillévéré, with her first feature, reveals herself to be a supremely natural film-maker; her movie speaks of Catholicism, nascent sexuality and la France profonde – and the characters she creates are subtly but richly sympathetic. This is a coming-of-age movie that is touching, funny, desperately sad and has a spiritual dimension that comes to its mysterious and satisfying fruition at the very end, with an inspired choral arrangement of Radiohead's Creep over the final credits.
Love Like Poison (the title is taken from a Serge Gainsbourg song) centres on a crisis with many facets. Anna, played by Clara Augarde, is a floweringly beautiful 14-year-old girl who comes home from her boarding school for the summer to find that her father, Paul (Thierry Neuvic), has left the family home for another woman. Her mother, Jeanne (Lio), now conceives a miserable,...
- 5/12/2011
- by Peter Bradshaw
- The Guardian - Film News
Love Like Poison / Un Poison Violent
Director: Katell Quillévéré
Written by Katell Quillévéré
2010, France
With a title borrowed from Serge Gainsbourg, it should be no great surprise that Katell Quillévéré’s feature debut Love Like Poison combines subversiveness with musical eclecticism and a touch of bawdy humour. Quillévéré isn’t trying to pick up the mantle of Claude Chabrol — this is a coming-of-age drama set in rural Brittany and punctuated with some unexpected English folk songs. Even if you’ve had your fill of adolescent angst, narcotic experiments and clandestine gropings, the fearless performance here of young Clara Augarde is reason enough to watch.
The story begins in church, with 14-year-old Anna (Augarde), being distracted during Holy Communion by winsome choirboy Pierre (Youen Leboulanger-Gourvil) giving her the eye. This is the first of several occasions in the film, when Anna’s behaviour during a religious service doesn’t meet the...
Director: Katell Quillévéré
Written by Katell Quillévéré
2010, France
With a title borrowed from Serge Gainsbourg, it should be no great surprise that Katell Quillévéré’s feature debut Love Like Poison combines subversiveness with musical eclecticism and a touch of bawdy humour. Quillévéré isn’t trying to pick up the mantle of Claude Chabrol — this is a coming-of-age drama set in rural Brittany and punctuated with some unexpected English folk songs. Even if you’ve had your fill of adolescent angst, narcotic experiments and clandestine gropings, the fearless performance here of young Clara Augarde is reason enough to watch.
The story begins in church, with 14-year-old Anna (Augarde), being distracted during Holy Communion by winsome choirboy Pierre (Youen Leboulanger-Gourvil) giving her the eye. This is the first of several occasions in the film, when Anna’s behaviour during a religious service doesn’t meet the...
- 5/9/2011
- by Susannah
- SoundOnSight
Acclaimed by the Cannes elite last year, French coming-of-age drama Love Like Poison arrives on screens this side of the Channel next month. There's a new trailer online. It's kinda lovely and you can feast your eyes on it below.Love Like Poison is the story of teenager Anna (Clara Augarde). She's a boarder at a Catholic school who heads home for the holidays to discover her dad has left for good. With mum seeking consolation in the company of the local priest, Anna forms a bond with her granddad (Michel Galabru) and a local lad called Pierre (Youen Leboulanger-Gourvil), a tender rite of passage that pretty much melted hearts on the Croisette last summer.It's the first feature for Katell Quillévéré, clearly a name to look out for in French filmmaking. The film's title - a riff on a Serge Gainsbourg song - tells you all you need to...
- 4/19/2011
- EmpireOnline
A remarkable documentary by rising British director Lucy Walker offers terrifying insights into an issue many people think is a political dead letter – nuclear war. Plus the best of the rest
Countdown to Zero (dir Lucy Walker) ★ Star pick
Lucy Walker is fast becoming one of Britain's most remarkable, and remarkably prolific, film-makers. It has hardly been a month since she was on the Oscar red-carpet as an Academy Award nominee for her fascinating documentary Waste Land. Now she gives us an extraordinary and quite terrifying documentary about a subject that most of us think is a political dead letter: nukes.
You might believe that worrying about nuclear war went out in the 1980s with Norman Tebbit and Katharine Hamnett T-shirts. Wrong. Walker talks to a range of interviewees including Mikhail Gorbachev and Tony Blair – who appears to rediscover his leftist youth with a plea to reduce nuclear weapons to...
Countdown to Zero (dir Lucy Walker) ★ Star pick
Lucy Walker is fast becoming one of Britain's most remarkable, and remarkably prolific, film-makers. It has hardly been a month since she was on the Oscar red-carpet as an Academy Award nominee for her fascinating documentary Waste Land. Now she gives us an extraordinary and quite terrifying documentary about a subject that most of us think is a political dead letter: nukes.
You might believe that worrying about nuclear war went out in the 1980s with Norman Tebbit and Katharine Hamnett T-shirts. Wrong. Walker talks to a range of interviewees including Mikhail Gorbachev and Tony Blair – who appears to rediscover his leftist youth with a plea to reduce nuclear weapons to...
- 4/6/2011
- by Peter Bradshaw
- The Guardian - Film News
The French insistence on regarding cinema as art has helped produced formidable women directors. But is the next generation the most wide-ranging yet?
There's a feeling out there that France may be on the verge of another new wave: not of the politically radical 1950s kind, but one in which young, driven, women film-makers will be at the fore. Names being mentioned are Mia Hansen-Løve, Rebecca Zlotowski and Katell Quillévéré; their films have already electrified France and are beginning to spread elsewhere.
Of course, on one level, there is nothing unusual about French women film directors. From Agnès Varda to Claire Denis, Coline Serreau to Agnès Jaoui, women have been able to make their presence felt in French cinema. Nt Binh, film critic for the film magazine Positif, says: "It's not a wave but a deluge, one that has been going on for more than 50 years."
In fact, it all...
There's a feeling out there that France may be on the verge of another new wave: not of the politically radical 1950s kind, but one in which young, driven, women film-makers will be at the fore. Names being mentioned are Mia Hansen-Løve, Rebecca Zlotowski and Katell Quillévéré; their films have already electrified France and are beginning to spread elsewhere.
Of course, on one level, there is nothing unusual about French women film directors. From Agnès Varda to Claire Denis, Coline Serreau to Agnès Jaoui, women have been able to make their presence felt in French cinema. Nt Binh, film critic for the film magazine Positif, says: "It's not a wave but a deluge, one that has been going on for more than 50 years."
In fact, it all...
- 3/25/2011
- by Agnès Poirier
- The Guardian - Film News
Who is she?
A 31-year-old French director whose film debut, Love Like Poison, was a critics' favourite at Cannes last year, where it featured in the Directors' Fortnight.
Brilliant title, what's that all about?
It's borrowed from a Serge Gainsbourg song. In the film, 14-year-old Anna (Clara Augarde) is soon to be confirmed, but has doubts and is falling in love with a boy from the village.
Loss of innocence, sexual awakening – hardly original, is it?
Maybe not – but as coming-of-age stories go, this is pretty atypical. It's sensitive and beautifully written, but also juicily rebellious. Quillévéré lost her faith around the same age and you ought to see the bloodless bishop she has officiating at the confirmation scene – like a lizard in a mitre, lecturing blank-faced teenagers on idolatry and the sins of the flesh.
So the church takes a kicking?
Yes, but there's a sympathetic local priest who is having his own wobbles.
A 31-year-old French director whose film debut, Love Like Poison, was a critics' favourite at Cannes last year, where it featured in the Directors' Fortnight.
Brilliant title, what's that all about?
It's borrowed from a Serge Gainsbourg song. In the film, 14-year-old Anna (Clara Augarde) is soon to be confirmed, but has doubts and is falling in love with a boy from the village.
Loss of innocence, sexual awakening – hardly original, is it?
Maybe not – but as coming-of-age stories go, this is pretty atypical. It's sensitive and beautifully written, but also juicily rebellious. Quillévéré lost her faith around the same age and you ought to see the bloodless bishop she has officiating at the confirmation scene – like a lizard in a mitre, lecturing blank-faced teenagers on idolatry and the sins of the flesh.
So the church takes a kicking?
Yes, but there's a sympathetic local priest who is having his own wobbles.
- 3/18/2011
- by Cath Clarke
- The Guardian - Film News
David from Victim of the Time with one last report from the 54th BFI London Film Festival.
Craig gave you a packed wrap-up earlier today, but I couldn't let you go without getting in another word myself. I caught near to 50 films during the past month (give or take a couple I, er, nodded off during), and I'm happy to say there were an abundance of highs and a general lack of lows - maybe I just chose well, or maybe the programmers did. My standout film remains Kelly Reichardt's menacing Meek's Cutoff (review), while the festival practically brimmed over with stunning female performances, from Michelle Williams' two-hander in Meek's and Blue Valentine (capsule), to Jeong-hee Lee's damaged optimism in Poetry (Nat's review), to Lesley Manville's jittering sorrow in Another Year (capsule). Huge thanks to Nathaniel for hosting Craig and I, huge thanks to the festival for...
Craig gave you a packed wrap-up earlier today, but I couldn't let you go without getting in another word myself. I caught near to 50 films during the past month (give or take a couple I, er, nodded off during), and I'm happy to say there were an abundance of highs and a general lack of lows - maybe I just chose well, or maybe the programmers did. My standout film remains Kelly Reichardt's menacing Meek's Cutoff (review), while the festival practically brimmed over with stunning female performances, from Michelle Williams' two-hander in Meek's and Blue Valentine (capsule), to Jeong-hee Lee's damaged optimism in Poetry (Nat's review), to Lesley Manville's jittering sorrow in Another Year (capsule). Huge thanks to Nathaniel for hosting Craig and I, huge thanks to the festival for...
- 10/29/2010
- by Dave
- FilmExperience
• Bill Stamets and Roger Ebert
The 46th Chicago International Film Festival will play this year at one central location, on the many screens of the AMC River East 21, 322 E. Illinois. A festivalgoers and filmmakers' lounge will be open during festival hours at the Lucky Strike on the second level. Tickets can be ordered online at Ciff's website, which also organizes the films by title, director and country. Tickets also at AMC; sold out films have Rush Lines. More capsules will be added here.
"127 Hours" (USA)A tour de force by James Franco and Danny Boyle ("Slumdog Millionaire"). Many are familiar with the true story, and just as many probably thought it could never be filmed. Boyle succeeds. A climber named Aron Ralston went climbing by himself in remote canyons, and was trapped deep in a crevice when a falling rock pinned his arm. He had limited food and water, no...
The 46th Chicago International Film Festival will play this year at one central location, on the many screens of the AMC River East 21, 322 E. Illinois. A festivalgoers and filmmakers' lounge will be open during festival hours at the Lucky Strike on the second level. Tickets can be ordered online at Ciff's website, which also organizes the films by title, director and country. Tickets also at AMC; sold out films have Rush Lines. More capsules will be added here.
"127 Hours" (USA)A tour de force by James Franco and Danny Boyle ("Slumdog Millionaire"). Many are familiar with the true story, and just as many probably thought it could never be filmed. Boyle succeeds. A climber named Aron Ralston went climbing by himself in remote canyons, and was trapped deep in a crevice when a falling rock pinned his arm. He had limited food and water, no...
- 10/16/2010
- by Roger Ebert
- blogs.suntimes.com/ebert
The full line up for the 54th BFI London Film Festival was announced in the Odeon, Leicester Square this morning, with a number of highly anticipated films set to light up the capital this October.
The festival runs from the 13th to the 28th of October and will begin with Mark Romanek’s adaptation of Kazuo Ishiguro’s haunting masterpiece Never Let Me Go, and will close with Danny Boyle’s 127 Hours which stars James Franco.
Announcing the roster were Artistic Director Sandra Hebron and the Director of the British Film Institute, Amanda Nevill.
HeyUGuys will be all over the festival this year, it looks like it will be one to remember.
Click here to view the full calendar
The 54Th BFI London Film Festival Programme Launch
London, Wednesday 8 September: The programme for the 54th BFI London Film Festival, launched today by Artistic Director Sandra Hebron, showcases an array of...
The festival runs from the 13th to the 28th of October and will begin with Mark Romanek’s adaptation of Kazuo Ishiguro’s haunting masterpiece Never Let Me Go, and will close with Danny Boyle’s 127 Hours which stars James Franco.
Announcing the roster were Artistic Director Sandra Hebron and the Director of the British Film Institute, Amanda Nevill.
HeyUGuys will be all over the festival this year, it looks like it will be one to remember.
Click here to view the full calendar
The 54Th BFI London Film Festival Programme Launch
London, Wednesday 8 September: The programme for the 54th BFI London Film Festival, launched today by Artistic Director Sandra Hebron, showcases an array of...
- 9/8/2010
- by Jon Lyus
- HeyUGuys.co.uk
It’s almost time. Time for what you ask? For taking count of the number of film trailers in 2010 to use this same version of Radiohead’s “Creep.”
The first was the trailer for David Fincher’s The Social Network (the international version of which actually used the uncut version of the song complete with that pesky f word) and here we have it again, this time accompanying the trailer for Katell Quillévéré’s award winning Un Poison Violent (Love Like Poison).
The story centres on Anna (Clara Augarde), a fourteen year-old girl who comes home for boarding school for her summer holidays to find that her family life is disintegrating. Among the pressures of her confirmation, her father leaving and a romantic interest, Anna comes to question her faith.
It’s a beautiful trailer, made that much more poignant by the music selection, and there’s also something interesting...
The first was the trailer for David Fincher’s The Social Network (the international version of which actually used the uncut version of the song complete with that pesky f word) and here we have it again, this time accompanying the trailer for Katell Quillévéré’s award winning Un Poison Violent (Love Like Poison).
The story centres on Anna (Clara Augarde), a fourteen year-old girl who comes home for boarding school for her summer holidays to find that her family life is disintegrating. Among the pressures of her confirmation, her father leaving and a romantic interest, Anna comes to question her faith.
It’s a beautiful trailer, made that much more poignant by the music selection, and there’s also something interesting...
- 7/20/2010
- QuietEarth.us
London -- U.K. indie distributor Artificial Eye has snapped up U.K. rights to a quartet of titles which unspooled during this year's Festival de Cannes shindig including Xavier Beauvois' "Of Gods And Men."
Beauvois' drama picked up the Grand Prix du Jury this year.
Artificial Eye will also rollout Abbas Kiarostami's Juliette Binoche starrer "Certified Copy," coming of age drama "Love Like Poison," directed by Katell Quillevere and Jorge Michel Grau's visceral portrayal of a cannibal family "We Are What We Are" in U.K. theaters over this year and into 2011.
Beauvois' drama picked up the Grand Prix du Jury this year.
Artificial Eye will also rollout Abbas Kiarostami's Juliette Binoche starrer "Certified Copy," coming of age drama "Love Like Poison," directed by Katell Quillevere and Jorge Michel Grau's visceral portrayal of a cannibal family "We Are What We Are" in U.K. theaters over this year and into 2011.
- 6/1/2010
- by By Stuart Kemp
- The Hollywood Reporter - Movie News
Mike Leigh shone, Woody Allen hit cruise control and there was a lot of nonsense about teens: Peter Bradshaw picks his highlights so far
As Cannes passed its first weekend, the first big auteur made his appearance: British director Mike Leigh, with his new film Another Year, a characteristically muted, bittersweet tale, starring Jim Broadbent, Ruth Sheen and Lesley Manville. It is composed in the distinctively stylised Leigh idiom, which, after you have taken time to acclimatise, discloses a hugely involving and subtle story; I was utterly immersed by the final credits.
Sheen plays Gerri, a psychotherapist; her husband, Tom (Broadbent), is an engineer. Both are nearing retirement and gently content with their careers, their marriage and the way their lives have turned out. But despite, or perhaps because of the gentle glow of happiness they radiate, their home is a magnet for unhappy souls. Chief among these is their...
As Cannes passed its first weekend, the first big auteur made his appearance: British director Mike Leigh, with his new film Another Year, a characteristically muted, bittersweet tale, starring Jim Broadbent, Ruth Sheen and Lesley Manville. It is composed in the distinctively stylised Leigh idiom, which, after you have taken time to acclimatise, discloses a hugely involving and subtle story; I was utterly immersed by the final credits.
Sheen plays Gerri, a psychotherapist; her husband, Tom (Broadbent), is an engineer. Both are nearing retirement and gently content with their careers, their marriage and the way their lives have turned out. But despite, or perhaps because of the gentle glow of happiness they radiate, their home is a magnet for unhappy souls. Chief among these is their...
- 5/17/2010
- by Peter Bradshaw
- The Guardian - Film News
Un poison violent (translates into Love Like Poison) is Jean Vigo prize wining screenplay - your typical French family drama big on dialogue, not interested in style. Helmer Katell Quillévéré presented her directorial debut in the Quinzaine last night and I couldn't help think back to last year's Bruno Dumont film Hadewijch - both films take certain aspects of religion and cross it with female adolescence. - Un poison violent (translates into Love Like Poison) is Jean Vigo prize wining screenplay - your typical French family drama big on dialogue, not interested in style. Helmer Katell Quillévéré presented her directorial debut in the Quinzaine last night and I couldn't help think back to last year's Bruno Dumont film Hadewijch - both films take certain aspects of religion and cross it with female adolescence. Apologies for the lack of video clarity in the first portion,...
- 5/15/2010
- IONCINEMA.com
Un poison violent (translates into Love Like Poison) is Jean Vigo prize wining screenplay - your typical French family drama big on dialogue, not interested in style. Helmer Katell Quillévéré presented her directorial debut in the Quinzaine last night and I couldn't help think back to last year's Bruno Dumont film Hadewijch - both films take certain aspects of religion and cross it with female adolescence. Apologies for the lack of video clarity in the first portion, but if you stick around you'll see some familiar faces among the cast - including Stefano Cassetti of Roberto Succo fame. Clara Augarde the red head teen and film's centerpiece, does a formidable job.
- 5/15/2010
- IONCINEMA.com
If You Are Not Logged Into IMDbPRO You May Not Be Able To Work All These Links. Films Distribution has Chongking Blues in Competition, Cleveland vs. Wall Street and Illegal, Olivier Masset-Depasse's Belgian-French-Luxembourgian co-production and Love Like Poison (also called Poison Violent), the debut feature of young French female director Katell Quillevere are featured among the 22 features in Directors Fortnight. This is Katell Quillevere's first feature. French singer Lio co-stars with young Gallic talent in the story about a 14-year-old girl getting ready for her confirmation ceremony. It is being sold by Films Distribution. In 1997 Nicolas Brigaud-Robert and…...
- 5/13/2010
- Sydney's Buzz
With three in the Director's Fortnight and one in the Main Comp for good measure, Films Distribution are making a significant contribution to Cannes this year – my money is on Katell Quillevere's Un Poison Violent (see pic above) but Wang Xiaoshuai, Jean-Stéphane Bron's doc on white collar crimes that hinder the working man and an immigrant tale gone wrong portrait from Olivier Masset-Depasse could make this a great year for the distributor. Something to look forward to in the near future: Yann Samuell's next effort. - With three in the Director's Fortnight and one in the Main Comp for good measure, Films Distribution are making a significant contribution to Cannes this year – my money is on Katell Quillevere's Un Poison Violent (see pic above) but Wang Xiaoshuai, Jean-Stéphane Bron's doc on white collar crimes that hinder the working man and an immigrant...
- 5/12/2010
- IONCINEMA.com
With three in the Director's Fortnight and one in the Main Comp for good measure, Films Distribution are making a significant contribution to Cannes this year – my money is on Katell Quillevere's Un Poison Violent (see pic above) but Wang Xiaoshuai, Jean-Stéphane Bron's doc on white collar crimes that hinder the working man and an immigrant tale gone wrong portrait from Olivier Masset-Depasse could make this a great year for the distributor. Something to look forward to in the near future: Yann Samuell's next effort. Chongqing Blues (Rizhao Chongqing) by Wang Xiaoshuai - Completed Cleveland Vs Wall Street by Jean-Stéphane Bron - Completed Illegal by Olivier Masset-depasse - Completed L'amour Fou by Pierre Thoretton - Completed With Love... From The Age Of Reason (L'ÂGE De Raison) by Yann Samuell - Completed A Cat In Paris (Une Vie De Chat) by Alain Gagnol - Production Family Tree (L'arbre Et La FORÊT...
- 5/11/2010
- IONCINEMA.com
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