The wedding comedy stars Christian Clavier and Sylvie Testud.
Snd has found distribution matches across the globe for Julien Hervé’s wedding comedy Ooh La La!, signing deals in several territories as the title gets its market premiere at EFM.
The feature film arm of France’s M6 broadcasting group has sold the film to Sphere in Canada, to Weltkino for Germany and Austria, to Kinoswiat in Poland, Vertigo in Hungary, Blitz for the Balkans, All Media for Cis and SKeye for in-flight entertainment. The sales follow Snd’s previous deals to Belga in Benelux, Tri Pictures in Spain, Nos...
Snd has found distribution matches across the globe for Julien Hervé’s wedding comedy Ooh La La!, signing deals in several territories as the title gets its market premiere at EFM.
The feature film arm of France’s M6 broadcasting group has sold the film to Sphere in Canada, to Weltkino for Germany and Austria, to Kinoswiat in Poland, Vertigo in Hungary, Blitz for the Balkans, All Media for Cis and SKeye for in-flight entertainment. The sales follow Snd’s previous deals to Belga in Benelux, Tri Pictures in Spain, Nos...
- 2/18/2023
- by Rebecca Leffler
- ScreenDaily
French sales company’s titles include ’The Book of Wonders’, ‘The Baby’ and ’The Braid’.
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French sales company Snd has revealed a first look image and fresh production details for Princes Of The Desert, Eric Barbier’s adventure film starring Alexandra Lamy, and has unveiled details of its extensive AFM slate.
Grammy-nominated singer-songwriter Mika is behind the soundtrack for Princes of the Desert which was previously titled Tehu. Lamy, whose credits include Rolling To You, replaces the previously announced Charlotte Gainsbourg in the film.
The film, produced by Snd alongside Vertigo Productions, follows a young Berber boy who...
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French sales company Snd has revealed a first look image and fresh production details for Princes Of The Desert, Eric Barbier’s adventure film starring Alexandra Lamy, and has unveiled details of its extensive AFM slate.
Grammy-nominated singer-songwriter Mika is behind the soundtrack for Princes of the Desert which was previously titled Tehu. Lamy, whose credits include Rolling To You, replaces the previously announced Charlotte Gainsbourg in the film.
The film, produced by Snd alongside Vertigo Productions, follows a young Berber boy who...
- 10/27/2022
- by Rebecca Leffler
- ScreenDaily
Snd has closed a flurry of sales across its slate, including the animated feature “The Jungle Bunch: World Tour,” the French comedy “Ooh La la,” and the international melodrama “The Braid.”
Produced by leading animation studio Tat Productions, “The Jungle Bunch: World Tour” is the sequel to the animated feature hit “The Jungle Bunch – The 3D Movie” which was one of the highest grossing French productions worldwide in 2017 and sold to over 70 territories. The spinoff movies expand on the popular animated series “The Jungle Bunch” which follows the adventures of a group of misfit animals on a mission to protect their kingdom.
In “The Jungle Bunch: World Tour,” a mysterious super-villain covers the jungle with a toxic pink foam that explodes on contact with water, prompting the heroic animals to set off on a race-against-time journey around the world to find an antidote before the start of the rainy season.
Produced by leading animation studio Tat Productions, “The Jungle Bunch: World Tour” is the sequel to the animated feature hit “The Jungle Bunch – The 3D Movie” which was one of the highest grossing French productions worldwide in 2017 and sold to over 70 territories. The spinoff movies expand on the popular animated series “The Jungle Bunch” which follows the adventures of a group of misfit animals on a mission to protect their kingdom.
In “The Jungle Bunch: World Tour,” a mysterious super-villain covers the jungle with a toxic pink foam that explodes on contact with water, prompting the heroic animals to set off on a race-against-time journey around the world to find an antidote before the start of the rainy season.
- 6/10/2022
- by Elsa Keslassy
- Variety Film + TV
Claude Lelouch on influencing Terrence Malick: "I'm happy that you say so." Photo: Anne-Katrin Titze
When I spoke with Claude Lelouch at his hotel in New York less than two years ago, he believed that The Best Years Of A Life (Les Plus Belles Années D'Une Vie), starring Jean-Louis Trintignant, Anouk Aimée, and Monica Bellucci would be his last.
Now he has La Vertu Des Impondérables with Elsa Zylberstein (Un + une with Jean Dujardin and Christopher Lambert), Marianne Denicourt, Ary Abittan, and Stéphane De Groodt (Israel Horovitz's My Old Lady) in the works.
Claude Lelouch: "In Un Homme Et Une Femme (A Man And A Woman), when Anouk Aimée arrives at the end on the train platform, she didn't know Jean-Louis Trintignant would be there."
In 1966, Un Homme Et Une Femme won the Cannes Palme d'Or, and in 1967 won the Best Foreign Language Film Oscar, and Claude Lelouch took Best Writing,...
When I spoke with Claude Lelouch at his hotel in New York less than two years ago, he believed that The Best Years Of A Life (Les Plus Belles Années D'Une Vie), starring Jean-Louis Trintignant, Anouk Aimée, and Monica Bellucci would be his last.
Now he has La Vertu Des Impondérables with Elsa Zylberstein (Un + une with Jean Dujardin and Christopher Lambert), Marianne Denicourt, Ary Abittan, and Stéphane De Groodt (Israel Horovitz's My Old Lady) in the works.
Claude Lelouch: "In Un Homme Et Une Femme (A Man And A Woman), when Anouk Aimée arrives at the end on the train platform, she didn't know Jean-Louis Trintignant would be there."
In 1966, Un Homme Et Une Femme won the Cannes Palme d'Or, and in 1967 won the Best Foreign Language Film Oscar, and Claude Lelouch took Best Writing,...
- 6/7/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
The film has finished shooting, with editing about to begin.
Claude Lelouch, who hits the red carpet today with Out Of Competition title The Best Years Of Life starring Anouk Aimée and Jean-Louis Trintignant, has revealed fresh details about his next film La Vertu De L’Impondérable.
“It’s shot and I head into the editing suite next week to complete it,” Lelouch told Screen.
“It’s a musical comedy and my response to [Damien] Chazelle’s La La Land, which I really loved.”
Lelouch said it arose from his belief suffering can be a life-affirming experience.
“It revolves around an...
Claude Lelouch, who hits the red carpet today with Out Of Competition title The Best Years Of Life starring Anouk Aimée and Jean-Louis Trintignant, has revealed fresh details about his next film La Vertu De L’Impondérable.
“It’s shot and I head into the editing suite next week to complete it,” Lelouch told Screen.
“It’s a musical comedy and my response to [Damien] Chazelle’s La La Land, which I really loved.”
Lelouch said it arose from his belief suffering can be a life-affirming experience.
“It revolves around an...
- 5/18/2019
- by Melanie Goodfellow
- ScreenDaily
The late Jacques Rivette knocks us silly with a breathtaking meditation on what it means to be an artist, and what art demands of those that believe in it. A woman roped into posing nude for a famed but insecure painter, undergoes several intense days of compliant collaboration. Rivette’s unforced style gives the impression of life as it is being lived; his commitment is matched by that of actors Michel Piccoli, Jane Birkin and Emmanuelle Béart.
La belle noiseuse
Blu-ray
Cohen Media Group
1991 / Color / 1:37 flat full frame / 238 min. / The Beautiful Troublemaker / Street Date May 8, 2018 / 30.99
Starring: Michel Piccoli, Jane Birkin, Emmanuelle Béart, Marianne Denicourt, David Bursztein, Gilles Arbona, Marie Belluc.
Cinematography: William Lubtchansky
Film Editor: Nicole Lubtchansky
Paintings by (and ‘as the hands of the painter’): Bernard Dufour
Production design: Emmanuel de Chauvigny
Written by Pascal Bonitzer, Christine Laurent, Jacques Rivette from a story by Balzac
Produced by Martine Marignac,...
La belle noiseuse
Blu-ray
Cohen Media Group
1991 / Color / 1:37 flat full frame / 238 min. / The Beautiful Troublemaker / Street Date May 8, 2018 / 30.99
Starring: Michel Piccoli, Jane Birkin, Emmanuelle Béart, Marianne Denicourt, David Bursztein, Gilles Arbona, Marie Belluc.
Cinematography: William Lubtchansky
Film Editor: Nicole Lubtchansky
Paintings by (and ‘as the hands of the painter’): Bernard Dufour
Production design: Emmanuel de Chauvigny
Written by Pascal Bonitzer, Christine Laurent, Jacques Rivette from a story by Balzac
Produced by Martine Marignac,...
- 5/12/2018
- by Glenn Erickson
- Trailers from Hell
Au Beaune Pain: Lelouch Continues with Frivolous Comedy Spackle
Somewhere along the way Palme d’Or and Oscar winning auteur Claude Lelouch (1966’s A Man and a Woman) morphed into the Garry Marshall of French film, churning out vapid comedy vehicles sporting a glitzy array of notable Gallic stars. Whenever the slide began, his tendencies to overstuff his narratives with zany layers of (often inconsequential) tangential sub-plotting began years ago, look no further than his 1986 sequel to his most famous film, A Man and a Woman: 20 Years Later for longstanding evidence of the change. His later period reflects the stamp of various muses, such as actress Audrey Dana, and now, frequent co-author Valerie Perrin. With 2013’s We Love You, You Bastard and 2015’s Un + Une, Lelouch has become completely divorced from his illustrious past filmography, a chasm only widened by his latest venture, Everybody’s Life, once more featuring Johnny Hallyday and Jean Dujardin amongst a cavalcade of a cast, all whirling through this odd kitchen sink array of miscellaneous characters all inclined to converse about their Zodiac signs as they fall in and out of romantic love or obsessive yearning during a a year’s time in Beaune, France.
As an annual jazz festival gets underway, a slew of characters intersect and coverage in the provincial town of Beaune in the Burgundy region. A judge (Eric Dupond-Moretti) must contend with the news of Clementine’s (Beatrice Dalle) retirement, a local prostitute whose company has brought him great joy since the death of his wife. Meanwhile, his colleague Nathalie (Julie Ferrier) falls out of a window after finding her husband (Gerard Darmon) with another man, sharing an ambulance with a hypochondriac singer (Mathilde Seigner) who believes she is having a heart attack following a performance at the festival. At the same time, a tawdry court case has drawn together another subsection of the community, including the troubled alcoholic Antoine (Christophe Lambert), currently facing the dissolution of his own marriage with his disconsolate wife (Marianne Denicourt) betwixt legal troubles. And as famed singer Johnny Hallyday faces a problem with a slippery doppelganger (who has a tryst with an unhappily married Comtesse played by Elsa Zylberstein, married to Vincent Perez), which causes some confusion with local cop Jean (Jean Dujardin), the marriage between former beauty queen (Nadia Fares) and Stephane (Stephane De Groodt) is also on the rocks. Meanwhile, the local hospital has decided to engage a new policy wherein patients must be put at ease through sexually provocative jokes, which brings a chummy nurse (Deborah Francois) into contact with several patients.
If Max Ophuls had wanted to make La Ronde (1950) into a relationship farce (to be fair, Roger Vadim kind of did this with his remake) set to light jazz, it might look something like Everybody’s Life. However, Lelouch feels as if he filmed his illustrious cast in a number of amusing scenarios and pasted the end results together as he saw fit, clipping it into a semblance of repeated scenarios with revolving characters, all who end up professing their love, being destroyed by it, or simply moving on to another chapter. However, the film is neither subtle nor diverse in its repetitive techniques, and for as entertaining as it is to see Hallyday and Dujardin horse around as they take selfies, the frivolousness quickly gets wearying, particularly by its grand framed finale, where we return to the court room a year later after the film’s beginning, with Lelouch stuffing all his characters, whether it makes sense or not, into the same room.
Gregoire Lacroix assists Perrin, Pierre Uytterhoeven (who co-wrote A Man and a Woman) and Lelouch in this adaptation from his own prose, but Everybody’s Life drifts aimlessly, as if besotted by the presence of its own unlucky in love characters all experiencing the same approximation of discontent. Most of these formulas are tedious, if not forgettable, with a glaring bright spot from Beatrice Dalle as a prostitute who wants nothing more to do with sex or men and relish the retirement she deserves. If somewhat less ungainly than rom-com Un+Une and the loopy We Love You, You Bastard, this isn’t a return to form or an ascension to new heights for Lelouch, try as it might to ‘experiment’ with traditional narrative form.
Reviewed on April 24th at the 2017 Colcoa French Film Festival – Opening Night Film. 113 Mins.
★★½/☆☆☆☆☆
The post Everybody’s Life | 2017 Colcoa French Film Festival Review appeared first on Ioncinema.com.
Somewhere along the way Palme d’Or and Oscar winning auteur Claude Lelouch (1966’s A Man and a Woman) morphed into the Garry Marshall of French film, churning out vapid comedy vehicles sporting a glitzy array of notable Gallic stars. Whenever the slide began, his tendencies to overstuff his narratives with zany layers of (often inconsequential) tangential sub-plotting began years ago, look no further than his 1986 sequel to his most famous film, A Man and a Woman: 20 Years Later for longstanding evidence of the change. His later period reflects the stamp of various muses, such as actress Audrey Dana, and now, frequent co-author Valerie Perrin. With 2013’s We Love You, You Bastard and 2015’s Un + Une, Lelouch has become completely divorced from his illustrious past filmography, a chasm only widened by his latest venture, Everybody’s Life, once more featuring Johnny Hallyday and Jean Dujardin amongst a cavalcade of a cast, all whirling through this odd kitchen sink array of miscellaneous characters all inclined to converse about their Zodiac signs as they fall in and out of romantic love or obsessive yearning during a a year’s time in Beaune, France.
As an annual jazz festival gets underway, a slew of characters intersect and coverage in the provincial town of Beaune in the Burgundy region. A judge (Eric Dupond-Moretti) must contend with the news of Clementine’s (Beatrice Dalle) retirement, a local prostitute whose company has brought him great joy since the death of his wife. Meanwhile, his colleague Nathalie (Julie Ferrier) falls out of a window after finding her husband (Gerard Darmon) with another man, sharing an ambulance with a hypochondriac singer (Mathilde Seigner) who believes she is having a heart attack following a performance at the festival. At the same time, a tawdry court case has drawn together another subsection of the community, including the troubled alcoholic Antoine (Christophe Lambert), currently facing the dissolution of his own marriage with his disconsolate wife (Marianne Denicourt) betwixt legal troubles. And as famed singer Johnny Hallyday faces a problem with a slippery doppelganger (who has a tryst with an unhappily married Comtesse played by Elsa Zylberstein, married to Vincent Perez), which causes some confusion with local cop Jean (Jean Dujardin), the marriage between former beauty queen (Nadia Fares) and Stephane (Stephane De Groodt) is also on the rocks. Meanwhile, the local hospital has decided to engage a new policy wherein patients must be put at ease through sexually provocative jokes, which brings a chummy nurse (Deborah Francois) into contact with several patients.
If Max Ophuls had wanted to make La Ronde (1950) into a relationship farce (to be fair, Roger Vadim kind of did this with his remake) set to light jazz, it might look something like Everybody’s Life. However, Lelouch feels as if he filmed his illustrious cast in a number of amusing scenarios and pasted the end results together as he saw fit, clipping it into a semblance of repeated scenarios with revolving characters, all who end up professing their love, being destroyed by it, or simply moving on to another chapter. However, the film is neither subtle nor diverse in its repetitive techniques, and for as entertaining as it is to see Hallyday and Dujardin horse around as they take selfies, the frivolousness quickly gets wearying, particularly by its grand framed finale, where we return to the court room a year later after the film’s beginning, with Lelouch stuffing all his characters, whether it makes sense or not, into the same room.
Gregoire Lacroix assists Perrin, Pierre Uytterhoeven (who co-wrote A Man and a Woman) and Lelouch in this adaptation from his own prose, but Everybody’s Life drifts aimlessly, as if besotted by the presence of its own unlucky in love characters all experiencing the same approximation of discontent. Most of these formulas are tedious, if not forgettable, with a glaring bright spot from Beatrice Dalle as a prostitute who wants nothing more to do with sex or men and relish the retirement she deserves. If somewhat less ungainly than rom-com Un+Une and the loopy We Love You, You Bastard, this isn’t a return to form or an ascension to new heights for Lelouch, try as it might to ‘experiment’ with traditional narrative form.
Reviewed on April 24th at the 2017 Colcoa French Film Festival – Opening Night Film. 113 Mins.
★★½/☆☆☆☆☆
The post Everybody’s Life | 2017 Colcoa French Film Festival Review appeared first on Ioncinema.com.
- 4/28/2017
- by Nicholas Bell
- IONCINEMA.com
A country doctor struggles to come to terms with his own illness in a bittersweet French drama
Jean-Pierre (François Cluzet), a doctor in rural France, is forced to concede that he needs help after he is diagnosed with an inoperable brain tumour. However, despite his resistance to the idea of relinquishing control, he finds himself warming to the new doctor, Nathalie (Marianne Denicourt). The chemistry between Cluzet and Denicourt is the element that elevates this workmanlike and slightly episodic portrait of the day-to-day grind of life in a country medical practice. There are a couple of moments that feel a little overwritten – Jean-Pierre launches into a Herzogian rant about the barbarity of nature over his morning coffee – but mostly, this is a persuasively low-key drama featuring substantial, complex central characters.
Continue reading...
Jean-Pierre (François Cluzet), a doctor in rural France, is forced to concede that he needs help after he is diagnosed with an inoperable brain tumour. However, despite his resistance to the idea of relinquishing control, he finds himself warming to the new doctor, Nathalie (Marianne Denicourt). The chemistry between Cluzet and Denicourt is the element that elevates this workmanlike and slightly episodic portrait of the day-to-day grind of life in a country medical practice. There are a couple of moments that feel a little overwritten – Jean-Pierre launches into a Herzogian rant about the barbarity of nature over his morning coffee – but mostly, this is a persuasively low-key drama featuring substantial, complex central characters.
Continue reading...
- 1/15/2017
- by Wendy Ide
- The Guardian - Film News
Author: Luke Channell
Thomas Lilti’s Irreplaceable sees him turn the spotlight on a pair of doctors once again, following his critically successful sophomore feature Hippocrate. Lilti’s focus is hardly surprising considering he started his career working as a medical professional before becoming a filmmaker. Irreplaceable revolves around middle-aged country doctor Jean-Pierre Werner (François Cluzet) and his trying relationship with inexperienced new work colleague Nathalie Delezia (Marianne Denicourt). Despite a somewhat pedestrian narrative, Irreplaceable gets by on the strength of its fantastic lead performances.
The film begins on a sombre note, Jean-Pierre is diagnosed with an inoperable brain tumour. After working devoutly as his rural community’s Gp for years, Jean-Pierre has established a firm routine and become attached to his many regular patients. So, when newly-trained city doctor Nathalie arrives to help ease Jean-Pierre’s workload, conflicts inevitably ensue as the two share contrasting viewpoints on life and...
Thomas Lilti’s Irreplaceable sees him turn the spotlight on a pair of doctors once again, following his critically successful sophomore feature Hippocrate. Lilti’s focus is hardly surprising considering he started his career working as a medical professional before becoming a filmmaker. Irreplaceable revolves around middle-aged country doctor Jean-Pierre Werner (François Cluzet) and his trying relationship with inexperienced new work colleague Nathalie Delezia (Marianne Denicourt). Despite a somewhat pedestrian narrative, Irreplaceable gets by on the strength of its fantastic lead performances.
The film begins on a sombre note, Jean-Pierre is diagnosed with an inoperable brain tumour. After working devoutly as his rural community’s Gp for years, Jean-Pierre has established a firm routine and become attached to his many regular patients. So, when newly-trained city doctor Nathalie arrives to help ease Jean-Pierre’s workload, conflicts inevitably ensue as the two share contrasting viewpoints on life and...
- 1/13/2017
- by Luke Channell
- HeyUGuys.co.uk
Hints of All Creatures Great and Small suffuse this engaging tale of a rural medic forced to take on a younger female assistant after he is diagnosed with cancer
There’s something a bit televisual to this French movie about a well-respected country doctor with cancer who is advised to take on a student assistant to lighten his workload during chemo. Naturally, this assistant is an attractive woman with whom he has a prickly relationship. When their car pulls into various barnyards, scattering geese, I could almost hear the theme music to the BBC’s All Creatures Great and Small. But, despite some cliches, it’s a warm and good-natured piece of work, featuring an attractive, humane lead performance by François Cluzet as Dr Jean-Pierre Werner, like a younger and more restrained Dustin Hoffman. Marianne Denicourt is Nathalie, a former nurse who is taking a midlife retraining course as a...
There’s something a bit televisual to this French movie about a well-respected country doctor with cancer who is advised to take on a student assistant to lighten his workload during chemo. Naturally, this assistant is an attractive woman with whom he has a prickly relationship. When their car pulls into various barnyards, scattering geese, I could almost hear the theme music to the BBC’s All Creatures Great and Small. But, despite some cliches, it’s a warm and good-natured piece of work, featuring an attractive, humane lead performance by François Cluzet as Dr Jean-Pierre Werner, like a younger and more restrained Dustin Hoffman. Marianne Denicourt is Nathalie, a former nurse who is taking a midlife retraining course as a...
- 1/12/2017
- by Peter Bradshaw
- The Guardian - Film News
Wes Anderson's adaptation of Roald Dahl's Fantastic Mr. Fox, co-written with Noah Baumbach, will be presented by Anne-Katrin Titze
The Blue Room director Mathieu Amalric and his co-star Stéphanie Cléau, will take part in a Q&A to kick off the CinéSalon programme Mathieu Amalric: Renaissance Man at the French Institute Alliance Française in New York. Other highlights include Julian Schnabel's The Diving Bell And The Butterfly, Arnaud Desplechin's My Sex Life…or How I Get Into an Argument, with Emmanuelle Devos, Jeanne Balibar and Marianne Denicourt, which is Desplechin's complement to My Golden Days (Trois Souvenirs De Ma Jeunesse), and Fantastic Mr. Fox with the voices of Meryl Streep and George Clooney dubbed in French by Isabelle Huppert and Mathieu Amalric, who was also featured in Wes Anderson's The Grand Budapest Hotel.
Mathieu Amalric is the French Fantastic Mr. Fox Photo: Anne-Katrin Titze...
The Blue Room director Mathieu Amalric and his co-star Stéphanie Cléau, will take part in a Q&A to kick off the CinéSalon programme Mathieu Amalric: Renaissance Man at the French Institute Alliance Française in New York. Other highlights include Julian Schnabel's The Diving Bell And The Butterfly, Arnaud Desplechin's My Sex Life…or How I Get Into an Argument, with Emmanuelle Devos, Jeanne Balibar and Marianne Denicourt, which is Desplechin's complement to My Golden Days (Trois Souvenirs De Ma Jeunesse), and Fantastic Mr. Fox with the voices of Meryl Streep and George Clooney dubbed in French by Isabelle Huppert and Mathieu Amalric, who was also featured in Wes Anderson's The Grand Budapest Hotel.
Mathieu Amalric is the French Fantastic Mr. Fox Photo: Anne-Katrin Titze...
- 10/24/2015
- by Anne-Katrin Titze
- eyeforfilm.co.uk
It was a battle of Yves Saint Laurent biopics at the Césars (the French Oscars, if you will) this year as both the French foreign language Oscar submission "Saint Laurent" (leader of the pack with 10 nods) and "Yves Saint Laurent" picked up a ton of mentions. Oscar players that popped up include "Two Days, One Night" star Marion Cotillard and animated feature "Song of the Sea." Foreign film Oscar nominee "Timbuktu" also had a major showing. And of course, in the Césars' foreign category, films like "Boyhood," "The Grand Budapest Hotel" and "12 Years a Slave" are duking it out. Check out the full list of nominees below, and remember to keep track of it all at The Circuit. Best Film "Les Combattants" "Eastern Boys" "La Famille Bélier" "Saint Laurent" "Hippocrate" "Sils Maria" "Timbuktu" Best Director Céline Sciamma, "Bande De Filles" Thomas Cailley, "Les Combattants" Robin Campillo, "Eastern Boys" Thomas Lilti,...
- 1/28/2015
- by Kristopher Tapley
- Hitfix
Designer biopic leads the pack with 10 nominations; Kristen Stewart, Marion Cotillard and Juliette Binoche in the running for actress awards.Scroll down for full list of nominees
Bertrand Bonello’s Saint Laurent and Olivier Assays’ Sils Maria are the hot favourites in France’s 40th annual Cesar awards.
France’s Academy of Cinema Arts and Sciences unveiled the nominations for this year’s César Awards at its traditional news conference at Le Fouquet’s restaurant on the Champs Elysées on Friday morning.
Biopic Saint Laurent - exploring fashion designer Yves Saint Laurent’s life from 1967 to 1976 - led the pack with 10 nominations including best film, best director for Bonello, best actor for Gaspard Ulliel and best supporting actor for Louis Garrel.
Jalil Lespert’s rival biopic, Yves Saint Laurent, secured seven nominations. While it missed out in the best film and director categories, it scored nods with Pierre Niney for best actor, Charlotte Le Bon for best...
Bertrand Bonello’s Saint Laurent and Olivier Assays’ Sils Maria are the hot favourites in France’s 40th annual Cesar awards.
France’s Academy of Cinema Arts and Sciences unveiled the nominations for this year’s César Awards at its traditional news conference at Le Fouquet’s restaurant on the Champs Elysées on Friday morning.
Biopic Saint Laurent - exploring fashion designer Yves Saint Laurent’s life from 1967 to 1976 - led the pack with 10 nominations including best film, best director for Bonello, best actor for Gaspard Ulliel and best supporting actor for Louis Garrel.
Jalil Lespert’s rival biopic, Yves Saint Laurent, secured seven nominations. While it missed out in the best film and director categories, it scored nods with Pierre Niney for best actor, Charlotte Le Bon for best...
- 1/28/2015
- ScreenDaily
Update, 2:25 Am Pt: Last year’s dueling Yves Saint Laurent biopics each picked up several nominations this morning for France’s César Awards. Bertrand Bonello’s Saint Laurent, the country’s entry for the Foreign Language Oscar, leads the pack with 10 mentions, followed by Thomas Cailley’s Directors’ Fortnight title Les Combattants with nine, and Oscar nominee Timbuktu with eight. Yves Saint Laurent, from helmer Jalil Lespert, took seven nods. Otherwise, there are a number of usual suspects in the batch including Best Actress Oscar nominee Marion Cotillard for Two Days, One Night, as well as Juliette Binoche for Olivier Assayas’ Sils Maria. In something of a departure — and a first — for the French Académie, they nominated American actress Kristen Stewart for her supporting turn in that Cannes competition entry. (Adrien Brody won the Best Actor prize in 2003 for The Pianist.) There are also six nominations for late 2014 release La Famille Bélier.
- 1/28/2015
- by Nancy Tartaglione
- Deadline
The French Cinema Now revival screening of Arnaud Desplechin’s rarely (if ever) seen first feature film Life of the Dead (La vie des morts, 1991) was a welcome meditation on the presence of the oak in the acorn. It proved to be a perfect companion piece to A Christmas Tale for prefiguring many of the themes and methods expressed more fully in Desplechin’s critically-acclaimed recent work, including a family gathering pulled into the gravitational field of the death horizon via an attempted suicide.
Where Life of the Dead differs from A Christmas Tale is that the family has gathered for a death watch, instead of a competitive if not hopeful negotiation to save the life of their matriarch. But the intrafamilial hatred is amusingly familiar in retrospect, including the embittered daughter Pascale (Marianne Denicourt) trying to rule the family brood through sheer animus if not animosity and Emmanuelle Devos...
Where Life of the Dead differs from A Christmas Tale is that the family has gathered for a death watch, instead of a competitive if not hopeful negotiation to save the life of their matriarch. But the intrafamilial hatred is amusingly familiar in retrospect, including the embittered daughter Pascale (Marianne Denicourt) trying to rule the family brood through sheer animus if not animosity and Emmanuelle Devos...
- 10/12/2008
- by Michael Guillen
- Screen Anarchy
PARIS -- Raoul Ruiz will return to his Chilean roots with Livre a Rendre (A Book of Influence), Elezevir Films, the French co-producers of the 3.2 million ($3.8 million) French-Italian-Spanish-Romanian project, said Friday. The film, which starts in 1932 with a chance encounter between a Chilean pilot and a 10-year-old boy, explores a theme close to writer-director Ruiz's heart. A former political activist, Ruiz fled his native Chile in 1973 to seek exile in Paris. The project unfolds over decades to span the horrors of World War II, in which the pilot participates, to the atrocities of the Pinochet era. It will star Bernard Giraudeau, who played in Ruiz's That Day, Spanish actress Marisa Paredes and French actors Gregoire Colin and Marianne Denicourt. The European co-production, which has received funding from film finance body Eurimages, will be shot in France and Romania starting March 2004. Co-producers include Denis Carot and Marie Masmonteil for Paris-based Elzevir Films; Spanish producer Marta Esteban, who recently set up new production company Impossible Films; Paulo Maria Spina of Italy's Revolver; and Ion Marinescu of Romania's Atlantis Film.
- 11/28/2003
- The Hollywood Reporter - Movie News
CANNES -- Based loosely on Balzac's story ''The Unknown Masterpiece,'' Jacques Rivette's ''La Belle Noiseuse'' (The Beautiful Troublemaker), winner of the Grand Prix award here, sketches the crisis of a famous painter who can't finish the canvas of a painting he started 10 years ago -- titled, of course, ''La Belle Noiseuse.''
Running at a slow-paced four hours in length, it's drama, drained of catharsis, will warm the bones of only Rivette fans and dedicated avant-garde enthusiasts.
As the story goes, the painter Edouard Frenhofer (Michel Piccoli) abandoned Paris for an isolated retreat in the south of France, where he lives with his wife Liz (Jane Birkin) and receives occasional visits from his chemist friend Porbus. One day, Nicolas, a young painter and admirer of Frenhofer, pays a visit to the house, together with his girlfriend, Marianne.
From that point on it's a game of one-upmanship as Frenhofer becomes interested in finishing his ''masterpiece, '' this time however with the attractive young Marianne as his model instead of his wife Liz. Like the four protagonists in ''Who's Afraid of Virginia Woolf?'' a rather serene landscape at the outset degenerates toward the end into souls stripped of tranquility and primed for tragedy.
All of which might have gone down rather easily as a film, save that this is Rivette. Lines are delivered in monotone without passion while the camera picks up people in languid movement, like chess players feeling each other out as they jockey for position on the board.
If Rivette wasn't a perfectionist on moving his actors around against precisely chosen backgrounds -- thus creating images that generally please the eye -- ''La Belle Noiseuse'' might have petered out entirely by the midway point. And for those who harbor a curiosity over just who might be the real painter dabbing away at the canvas -- it's Bernard Dufour, whose credit is a hand ''acting'' out some of the best scenes in the picture.
LA BELLE NOISEUSE
(France-Switzerland)
Pierre Grise Prods., FR3 Films Prods. (France), George Reinhart Prods. (Switzerland)
Producers Pierre Grise, George Reinhart
Director Jacques Rivette
Screenwriters Jacques Rivette, Pascal Bonitzer,
Christine Laurent, Bernard Dufour
Based on ''The Unknown Masterpiece''Balzac
Director of photography Willy Lubtchansky
Art director Emmanuel de Chauvigny
Editor Nicole Lubtchansky
Color
Starring: Michel Piccoli, Jane Birkin, Emmanuelle Beart, Marianne Denicourt, David Bursztein, Gilles Arbona
Running time -- 240 minutes
(c) The Hollywood Reporter...
Running at a slow-paced four hours in length, it's drama, drained of catharsis, will warm the bones of only Rivette fans and dedicated avant-garde enthusiasts.
As the story goes, the painter Edouard Frenhofer (Michel Piccoli) abandoned Paris for an isolated retreat in the south of France, where he lives with his wife Liz (Jane Birkin) and receives occasional visits from his chemist friend Porbus. One day, Nicolas, a young painter and admirer of Frenhofer, pays a visit to the house, together with his girlfriend, Marianne.
From that point on it's a game of one-upmanship as Frenhofer becomes interested in finishing his ''masterpiece, '' this time however with the attractive young Marianne as his model instead of his wife Liz. Like the four protagonists in ''Who's Afraid of Virginia Woolf?'' a rather serene landscape at the outset degenerates toward the end into souls stripped of tranquility and primed for tragedy.
All of which might have gone down rather easily as a film, save that this is Rivette. Lines are delivered in monotone without passion while the camera picks up people in languid movement, like chess players feeling each other out as they jockey for position on the board.
If Rivette wasn't a perfectionist on moving his actors around against precisely chosen backgrounds -- thus creating images that generally please the eye -- ''La Belle Noiseuse'' might have petered out entirely by the midway point. And for those who harbor a curiosity over just who might be the real painter dabbing away at the canvas -- it's Bernard Dufour, whose credit is a hand ''acting'' out some of the best scenes in the picture.
LA BELLE NOISEUSE
(France-Switzerland)
Pierre Grise Prods., FR3 Films Prods. (France), George Reinhart Prods. (Switzerland)
Producers Pierre Grise, George Reinhart
Director Jacques Rivette
Screenwriters Jacques Rivette, Pascal Bonitzer,
Christine Laurent, Bernard Dufour
Based on ''The Unknown Masterpiece''Balzac
Director of photography Willy Lubtchansky
Art director Emmanuel de Chauvigny
Editor Nicole Lubtchansky
Color
Starring: Michel Piccoli, Jane Birkin, Emmanuelle Beart, Marianne Denicourt, David Bursztein, Gilles Arbona
Running time -- 240 minutes
(c) The Hollywood Reporter...
- 5/21/1991
- The Hollywood Reporter - Movie News
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