Please don’t stop the music: Anne Fontaine isn’t done with it just yet.
Following “Boléro” — world premiering at International Film Festival Rotterdam — the noted director is developing another melodic project.
“It’s about a character who was a star at 10 years old. He had a ‘magic’ voice, but then he suddenly lost it. Years later, he is ready to come back. It’s a comedy, based on something real,” she says. Admitting that this time, she will swap classical compositions for popular tunes.
“I like songs: they are in our blood. We hear them and remember we lost a lover when they were playing. They mark our lives. There will be so much music [in this film]. And all these amazing voices, including a real-life singer making her film debut.”
New project will combine “cruelty and humor.”
“Our destiny might be cruel, but we are still able to laugh about it.
Following “Boléro” — world premiering at International Film Festival Rotterdam — the noted director is developing another melodic project.
“It’s about a character who was a star at 10 years old. He had a ‘magic’ voice, but then he suddenly lost it. Years later, he is ready to come back. It’s a comedy, based on something real,” she says. Admitting that this time, she will swap classical compositions for popular tunes.
“I like songs: they are in our blood. We hear them and remember we lost a lover when they were playing. They mark our lives. There will be so much music [in this film]. And all these amazing voices, including a real-life singer making her film debut.”
New project will combine “cruelty and humor.”
“Our destiny might be cruel, but we are still able to laugh about it.
- 1/29/2024
- by Marta Balaga
- Variety Film + TV
Buenos Aires — Mario Vargas Llosa, the great Peruvian novelist, once wrote that reality in Latin America is too compelling to ever be ignored in its fiction. Yet, as WWII raged, Jorge Luis Borges, perhaps the greatest of Argentine writers, pointedly published “Ficciones,” fantasy tales, often philosophical speculation given narrative form.
If this year’s Pci Film Directors Assn, showcase at Ventana Sur is anything to go by, some young Argentine filmmakers are having it both ways, creating films which straddle the fiction-reality divide, or enroll fabrication and myth to large effect. Their films, sneak peaked in brief extracts or teaser trailers at the Pci’s annual Work in Progress showcase during Ventana Sur, and underscored the diversity of Argentine filmmaking, a cause championed by Pci and its around 100 directors, and an indication of the depth of talent of Argentine filmmaking.
“7h 35” is a case in point. The feature debut of Javier Van de Couter,...
If this year’s Pci Film Directors Assn, showcase at Ventana Sur is anything to go by, some young Argentine filmmakers are having it both ways, creating films which straddle the fiction-reality divide, or enroll fabrication and myth to large effect. Their films, sneak peaked in brief extracts or teaser trailers at the Pci’s annual Work in Progress showcase during Ventana Sur, and underscored the diversity of Argentine filmmaking, a cause championed by Pci and its around 100 directors, and an indication of the depth of talent of Argentine filmmaking.
“7h 35” is a case in point. The feature debut of Javier Van de Couter,...
- 12/19/2018
- by John Hopewell
- Variety Film + TV
Ravel: Concerto for Piano & Orchestra in G major; Concerto in D major for the Left Hand; Fauré: Ballade in F-sharp minor, Op. 19 Yuja Wang/Zurich Tonhalle Orchestra/Lionel Bringuier (Deutsche Grammophon) Complete Piano Works of Ravel: Sérénade grotesque; Menuet antique; Pavane pour une Infante défunte; Jeux d'eau; Sonatine; Miroirs; Gaspard de la nuit; Menuet sur le nom de Haydn; Valses Nobles et Sentimentales; Prélude; À la manière de…Borodine; À la manière de…Chabrier; Le Tombeau de Couperin; Menuet in C-sharp minor; La Valse; Casella: À la manière de…Ravel; Honegger: Hommage à Ravel; Briggs: Encore avec Ravel; Plate: Erinnerung au Maurice Ravel; Mason: Galoches en d'aoút Hinrich Alpers (Honens) Ravel: Miroirs; Pavane pour une infante defunte; Gaspard de la nuit Carlo Grante (Music & Arts)
The promo mailings have recently yielded a new crop of Ravel recordings. None displace my favorites, but all are interesting and worth discussing.
The promo mailings have recently yielded a new crop of Ravel recordings. None displace my favorites, but all are interesting and worth discussing.
- 11/27/2015
- by SteveHoltje
- www.culturecatch.com
By its title you might believe that Amour is a big screen “hearts and flowers” romance concerning a couple embarking on a relationship. That’s partly correct, but this is no “cue the violins” heart-tugger. It’s a lot tougher than that. A lot. It is about a couple who have been together for decades who now must face their greatest challenge. Director Michael Haneke may be best known for Funny Games in which a couple were menaced by a couple of sadistic home invaders (Haneke also did an English language version). In his new film, the invader is more cruel and heartless than any of those thugs. You could say this new villain is time itself. And this film illustrates the adage attributed to the great Bette Davis, “Old age isn’t for sissies”.
Amour ‘s first shot (after a brief title flash-forward) is from a stage looking out...
Amour ‘s first shot (after a brief title flash-forward) is from a stage looking out...
- 2/1/2013
- by Jim Batts
- WeAreMovieGeeks.com
Title: Amour Sony Pictures Classics Reviewed for Shockya by Harvey Karten. Grade: B. Director: Michael Haneke. Screenwriter: Michael Haneke Cast: Jean-Louis Trintignant, Emmanuelle Riva, Isabelle Huppert, Alexandre Tharaud, William Shimell, Ramon Agirre, Rita Blanco Screened at: Critics’ DVD, 11/30/12 Opens: December 19, 2012 “Would you like to live to 100?” asks 70-year-old Dan to his septuagenarian friend Paul. “Don’t ask me,” replies Paul. “Ask the guy who’s 99.” “Amour” poses the question at an earlier age, drawing up the experiences of a couple in their eighties, one of whom has expressed a desire to put an end to her suffering. In our youth-crazed culture, one in which young people generally [ Read More ]
The post Amour Movie Review appeared first on Shockya.com.
The post Amour Movie Review appeared first on Shockya.com.
- 11/30/2012
- by Harvey Karten
- ShockYa
Michael Haneke's effortlessly graceful picture will come to be seen as one of the greatest films about the confrontation of death and ageing
"In this world nothing can be said to be certain, except death and taxes," said Benjamin Franklin. The latter part of this assertion, however, is currently being challenged by some famous companies such as Google, Amazon and Starbucks and a good many familiar TV faces, while the unavoidability of death is a matter frequently evaded by euphemism and clouded by sentimentality. Austrian film-maker Michael Haneke has often been open to the charge of obscurity, ambivalence and obliquity, but no one has ever accused him of suggesting that life is other than a vale of tears best endured by honesty, love, unremitting work and a frank recognition of its essentially tragic nature.
These qualities are to the forefront in his bracing new film, Amour, in which a...
"In this world nothing can be said to be certain, except death and taxes," said Benjamin Franklin. The latter part of this assertion, however, is currently being challenged by some famous companies such as Google, Amazon and Starbucks and a good many familiar TV faces, while the unavoidability of death is a matter frequently evaded by euphemism and clouded by sentimentality. Austrian film-maker Michael Haneke has often been open to the charge of obscurity, ambivalence and obliquity, but no one has ever accused him of suggesting that life is other than a vale of tears best endured by honesty, love, unremitting work and a frank recognition of its essentially tragic nature.
These qualities are to the forefront in his bracing new film, Amour, in which a...
- 11/19/2012
- by Philip French
- The Guardian - Film News
Amour
Written by Michael Haneke
Directed by Michael Haneke
Germany, 2012
Rightful winner of the Palme d’Or award at this year’s Cannes Film Festival, Michael Haneke’s Amour not only flawlessly brings about a heartbreaking depiction of the somber facets that galvanizes life’s digression, but from a cinematic triumph, harks back onto screen the fundamental unities that make up the neoclassical drama: unity of time, space and action. Amour follows George (Jean-Louis Trintignant ) and Anne (Emmanuelle Riva). Both in their eighties, retired music instructors, they primarily live a cultivated life in their upscale England apartment, of which the film firmly resides. One day as George and Anne have breakfast, Anne becomes unresponsive and blank. Escaping pleads from her husband, George quickly gets dressed to find his wife regular again and unaware of the event that just occurred.
From this onset, Haneke transcends the film onto Anne’s complete and merciless downfall.
Written by Michael Haneke
Directed by Michael Haneke
Germany, 2012
Rightful winner of the Palme d’Or award at this year’s Cannes Film Festival, Michael Haneke’s Amour not only flawlessly brings about a heartbreaking depiction of the somber facets that galvanizes life’s digression, but from a cinematic triumph, harks back onto screen the fundamental unities that make up the neoclassical drama: unity of time, space and action. Amour follows George (Jean-Louis Trintignant ) and Anne (Emmanuelle Riva). Both in their eighties, retired music instructors, they primarily live a cultivated life in their upscale England apartment, of which the film firmly resides. One day as George and Anne have breakfast, Anne becomes unresponsive and blank. Escaping pleads from her husband, George quickly gets dressed to find his wife regular again and unaware of the event that just occurred.
From this onset, Haneke transcends the film onto Anne’s complete and merciless downfall.
- 10/14/2012
- by Christopher Clemente
- SoundOnSight
The Oscar race for Best Foreign Language Film is particularly exciting this year. We have more contenders than ever (71!) and so many strong films that the Academy's always controversial foreign language branch will undoubtedly piss various contingencies off when they announce the finalist list and then the nominees. They could lessen the size of the outcry each year if only their finalist list were 12 films long. It's so strange that they make it small enough (9 films) that those films which miss the nomination are in the minority and, thus, look particularly snubbed... numerically speaking. I've already raved about the Pinoy movie "Bwakaw", and here are two other worthy candidates for this annual honor. Don't miss them if you get a chance to see them
Amour (Austria)
“Ladies and Gentlemen, people die. That’s all you need to know.” This line, a recurring catchphrase from aging chanteuse Kiki (Justin Bond) in...
Amour (Austria)
“Ladies and Gentlemen, people die. That’s all you need to know.” This line, a recurring catchphrase from aging chanteuse Kiki (Justin Bond) in...
- 10/13/2012
- by NATHANIEL R
- FilmExperience
An elderly couple, Georges (Jean-Louis Trintignant, on-screen for the first time in years) and Anne (Emmanuelle Riva), is introduced to us at their routine family outing to The Théâtre des Champs Elysées. Both retired music teachers, they lead a comfortable lifestyle in a magnificent Paris apartment, among the shelves full of books on their apparent favorite, Franz Schubert, until one day, Anne stops reacting to her husband’s comments, and spills her breakfast tea. From that moment on, they have to share their home with affliction.
Those of you who have seen at least a couple of features from the unequivocally great Michael Haneke should be able to envision his latest, Amour, shot by shot before even laying eyes on it. It is detached, cerebral filmmaking at its finest: without skipping a beat, the director soberly captures the psychological and physiological landscape as it undergoes severe changes. Distilling Haneke’s...
Those of you who have seen at least a couple of features from the unequivocally great Michael Haneke should be able to envision his latest, Amour, shot by shot before even laying eyes on it. It is detached, cerebral filmmaking at its finest: without skipping a beat, the director soberly captures the psychological and physiological landscape as it undergoes severe changes. Distilling Haneke’s...
- 5/28/2012
- MUBI
Michael Haneke's new film, a study of the effects of ageing and dementia on a blissful married couple, is intelligent film-making of the highest order
Michael Haneke's new film in the Cannes competition is everything that could have been expected from him and more: a moving, terrifying and uncompromising drama of extraordinary intimacy and intelligence. Amour asks the question of what will, in Larkin's words, survive of us – and what the word means as we approach the end of our lives. Haneke begins the movie with a flash-forward sequence which impresses on our minds and retinas a devastating memento mori motif, governing how we react to everything that succeeds it.
Jean-Louis Trintignant and Emmanuelle Riva give breathtaking performances as Georges and Anne, retired music teachers in their 80s, living in a handsomely furnished, book-lined Paris apartment with a baby grand piano. They are happy, affectionate, loving; active and content.
Michael Haneke's new film in the Cannes competition is everything that could have been expected from him and more: a moving, terrifying and uncompromising drama of extraordinary intimacy and intelligence. Amour asks the question of what will, in Larkin's words, survive of us – and what the word means as we approach the end of our lives. Haneke begins the movie with a flash-forward sequence which impresses on our minds and retinas a devastating memento mori motif, governing how we react to everything that succeeds it.
Jean-Louis Trintignant and Emmanuelle Riva give breathtaking performances as Georges and Anne, retired music teachers in their 80s, living in a handsomely furnished, book-lined Paris apartment with a baby grand piano. They are happy, affectionate, loving; active and content.
- 5/21/2012
- by Peter Bradshaw
- The Guardian - Film News
Michael Haneke’s most intimate film in nearly a quarter-century, “Amour” relates the tragic final months in a relationship with at least six decades’ worth of history, as a concerned French husband cares for his increasingly irritable wife in the wake of two debilitating strokes. Considering Haneke’s confrontational past, this poignantly acted, uncommonly tender two-hander makes a doubly powerful statement about man’s capacity for dignity and sensitivity when confronted with the inevitable cruelty of nature. Acquired by Sony Pictures Classics before Cannes, this autumnal heart-breaker should serve arthouse-goers well — not for first dates, but for those who’ve long since lost count.
With the exception of a single early scene in which retired music teachers Georges (Jean-Louis Trintignant) and Anne (Emmanuelle Riva) attend the concert of a former pupil, “Amour” takes place entirely within the protective cocoon of their Parisian apartment, where the couple lives comfortably surrounded by books,...
With the exception of a single early scene in which retired music teachers Georges (Jean-Louis Trintignant) and Anne (Emmanuelle Riva) attend the concert of a former pupil, “Amour” takes place entirely within the protective cocoon of their Parisian apartment, where the couple lives comfortably surrounded by books,...
- 5/20/2012
- by Peter Debruge
- Variety Film + TV
Emmanuelle Riva, Michael Haneke‘s Amour / Love Michael Haneke took home the Palme d’Or for The White Ribbon three years ago. This year, Haneke may be taking home a second Palme d’Or for Amour, which has received enthusiastic praise following its screening earlier today at the Cannes Film Festival. Starring veterans Jean-Louis Trintignant (The Conformist, Red) and Emmanuelle Riva (Hiroshima Mon Amour; Leon Morin, Priest) as an elderly couple facing illness and death as the biggest challenges to their love, Amour has been described as Haneke’s masterpiece. Or, in some cases, his latest masterpiece. Written by Haneke himself, Amour also features The Piano Teacher‘s Isabelle Huppert, Certified Copy‘s William Shimell, and Alexandre Tharaud. Amour opens in France in October. It’ll surely be released some time this year in the Us for awards-season consideration; Sony Pictures Classics has acquired the North American distribution rights. [Check out the French-language Amour trailer.] "Michael Haneke...
- 5/20/2012
- by Andre Soares
- Alt Film Guide
Michael Haneke makes it clear from the opening of the film exactly where he's going in "Amour." Kicking off with a literal bang, a team of police officers force open the door of a flat in France, and with masks over their mouths, they walk around the apartment, open the windows and finally find what they're looking for. A dead body, respectfully surrounded by flowers, lays in a bed. And in pure Haneke fashion, this is when he throws up the title card for "Amour," a movie that is, to put it simply, two hours of a woman dying.
Yes, "Amour" is as unrelenting and unflinching as you might expect from the provocateur, but there is tenderness within that marks a bit of a new direction for the helmer. Our introduction to Georges (Jean-Louis Trintignant) and Anne (Emmanuelle Riva) finds them during happier times. The couple attend a concert performance...
Yes, "Amour" is as unrelenting and unflinching as you might expect from the provocateur, but there is tenderness within that marks a bit of a new direction for the helmer. Our introduction to Georges (Jean-Louis Trintignant) and Anne (Emmanuelle Riva) finds them during happier times. The couple attend a concert performance...
- 5/20/2012
- by Kevin Jagernauth
- The Playlist
Earlier all we had was a French language trailer for Michael Haneke's Cannes Film Festival entry Amour (Love), but today I have the English subtitled version so the non-French-speaking members of the audience can be in on what's going on. Amour has already been picked up by Sony Pictures Classics, who will release the film later this year. It will play for press this Sunday, May 20, at the Cannes Film Festival, after which I will be have my review online. The film stars Emmanuelle Riva and Jean-Louis Trintignant as a pair of cultivated, retired music teachers and their daughter (Isabelle Huppert), who is also a musician, lives abroad with her family. One day, Anne has an attack, after which the couple's bond of love is severely tested. Alexandre Tharaud also stars. Here's the trailer.
- 5/16/2012
- by Brad Brevet
- Rope of Silicon
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