Director Michel Hazanavicius and actress Bérénice Bejo, Oscar winner and Oscar nominee respectively for “The Artist,” will present individual Masterclasses at the 26th Sarajevo Film Festival this year. Also delivering Masterclasses are directors Michel Franco and Rithy Panh.
The Masterclasses, which like the rest of the festival are running online via ondemand.sff.ban, are organized in cooperation with Variety, and will be available worldwide via the Variety Streaming Room.
Hazanavicius shot his first feature-length film, “Mes Amis,” in 1999. In 2006, he directed his second feature, “Oss 117: Cairo, Nest of Spies,” and then, three years later, “Oss 17: Lost in Rio.”
In 2011, he made “The Artist,” the silent, black-and-white film starring Bejo and Jean Dujardin, which won five Academy Awards in 2012, including best film, director and actor for Dujardin, while Bejo was an Oscar nominee for supporting actress.
The film premiered at Cannes, as did Hazanavicius’ “The Players” and “Redoubtable.
The Masterclasses, which like the rest of the festival are running online via ondemand.sff.ban, are organized in cooperation with Variety, and will be available worldwide via the Variety Streaming Room.
Hazanavicius shot his first feature-length film, “Mes Amis,” in 1999. In 2006, he directed his second feature, “Oss 117: Cairo, Nest of Spies,” and then, three years later, “Oss 17: Lost in Rio.”
In 2011, he made “The Artist,” the silent, black-and-white film starring Bejo and Jean Dujardin, which won five Academy Awards in 2012, including best film, director and actor for Dujardin, while Bejo was an Oscar nominee for supporting actress.
The film premiered at Cannes, as did Hazanavicius’ “The Players” and “Redoubtable.
- 8/6/2020
- by Leo Barraclough
- Variety Film + TV
Last week I attended a round-table interview with some of the cast and producers of HBO’s award winning new series Game of Thrones. They were in town for the press launch of the Season 1 DVD/Blu-ray which actually hits stores today and we reviewed it Here. We are also giving away copies of the release Here.
In the lead up to the Season 2 Premier on April 1st, we will be posting the series of interviews to wet your appetites for what will surely be another monumental season.
First up is Nikolaj Coster-Waldau, the charismatic Danish actor who plays Jaime Lannister, a controversial character because of his incestuous relationship with his twin sister Cersei (Lena Headey). Like all Lannisters’ he’s a bit of a villain, but he has no care for the politics of the realm – he’d much rather be soldiering.
Please note the interview was from a...
In the lead up to the Season 2 Premier on April 1st, we will be posting the series of interviews to wet your appetites for what will surely be another monumental season.
First up is Nikolaj Coster-Waldau, the charismatic Danish actor who plays Jaime Lannister, a controversial character because of his incestuous relationship with his twin sister Cersei (Lena Headey). Like all Lannisters’ he’s a bit of a villain, but he has no care for the politics of the realm – he’d much rather be soldiering.
Please note the interview was from a...
- 3/5/2012
- by Emile K. Lewis
- Obsessed with Film
Playtime
It is tempting to compare "24 Hours in the Life of a Woman" to "The Hours" inasmuch as both films contemplate a day in the lives of three women in separate eras of the 20th century. Tempting but misleading. This is a thoroughly prosaic movie that struggles to draw a life lesson from three stories, none terribly compelling and each bathed in a superseriousness the film never earns.
"24 Hours" is tonight's opening-night film of the seventh annual City of Lights/City of Angels, a group of recent French films paying a visit to Los Angeles.
Based on a novella by Austrian poet, biographer and man of letters Stefan Zweig, the story has been turned by director Laurent Bouhnik into yet another cinematic essay on l'amour fou. Laurent, who adapted the book with Gilles Taurand, gets the movie under way in modern-day Nice. A teenage girl (Berenice Bejo), foolishly in love with an abusive man, takes refuge for a night with a retired diplomat (Michel Serrault). On impulse, he launches into the story that has troubled him all his life.
On a trip to this very city in 1935, he discovered his mother's infidelity. The young man is distraught, but an elegant widow (Agnes Jaoui) defends his mother by telling him a story of her own foolish infatuation with a Polish gambler in Monte Carlo in 1913. And so the film jumps between time periods, ostensibly to find a connection among these three stories, a connection that never materializes.
Decked out with fancy camera angles and leisure-class languor, neither of the historical interludes is engaging. Indeed, only the affair between the widow and suicidal gambler receives any dramatic examination. Seen so briefly, the addictions of all the movie's characters -- to gambling or unworthy lovers or past events -- overwhelm any sense of who these people are. And any deeper meanings Bouhnik hopes to achieve elude him entirely.
It is tempting to compare "24 Hours in the Life of a Woman" to "The Hours" inasmuch as both films contemplate a day in the lives of three women in separate eras of the 20th century. Tempting but misleading. This is a thoroughly prosaic movie that struggles to draw a life lesson from three stories, none terribly compelling and each bathed in a superseriousness the film never earns.
"24 Hours" is tonight's opening-night film of the seventh annual City of Lights/City of Angels, a group of recent French films paying a visit to Los Angeles.
Based on a novella by Austrian poet, biographer and man of letters Stefan Zweig, the story has been turned by director Laurent Bouhnik into yet another cinematic essay on l'amour fou. Laurent, who adapted the book with Gilles Taurand, gets the movie under way in modern-day Nice. A teenage girl (Berenice Bejo), foolishly in love with an abusive man, takes refuge for a night with a retired diplomat (Michel Serrault). On impulse, he launches into the story that has troubled him all his life.
On a trip to this very city in 1935, he discovered his mother's infidelity. The young man is distraught, but an elegant widow (Agnes Jaoui) defends his mother by telling him a story of her own foolish infatuation with a Polish gambler in Monte Carlo in 1913. And so the film jumps between time periods, ostensibly to find a connection among these three stories, a connection that never materializes.
Decked out with fancy camera angles and leisure-class languor, neither of the historical interludes is engaging. Indeed, only the affair between the widow and suicidal gambler receives any dramatic examination. Seen so briefly, the addictions of all the movie's characters -- to gambling or unworthy lovers or past events -- overwhelm any sense of who these people are. And any deeper meanings Bouhnik hopes to achieve elude him entirely.
The year and name of the title are purposely generic in this first feature of a planned decalogue from writer-director Laurent Bouhnik ("Zonzon"). Starring Vera Briole as the sweet, shy, single lead whose story is "to be continued" -- so we are promised at the abrupt ending -- "1999 Madeleine" screened in the recent City of Lights, City of Angels minifest of new French films at the Directors Guild of America.
Apart from some slow stretches when the humdrum lives of plain-dressing seamstress Madeleine (Briole) and her elegant but forgetful mother (Anouk Aimee) are stifling, bleak and depressing, Bouhnik's heroine has a number of experiences that keep one engaged. Not quite up to the level of Krzysztof Kieslowski, Bouhnik's main inspiration, "1999 Madeleine", for domestic foreign film fans, is primarily a showcase for the likable Briole in a role without much dialogue.
Taking out personal ads, taking judo lessons, taking all the disappointments of life to heart but not losing her sense of humor and will to succeed, Madeleine eventually throws herself at a married salesman (Manuel Blanc), with an awkward dinner scene that turns into a fight between the man and his wife. Later, Madeleine and he go to a bar, get drunk and go to bed, but the next day he's out the door quickly.
What will happen to Madeleine? "My life is fucked, but I'm not part of it" is one way she puts it. While believable and unromanticized, Bouhnik's vision of modern life in a universal suburban setting has surprising moments and darkly humorous flourishes. Perhaps his future works will have a more profound impact.
The filmmaker intends to continue the decade-long series with a film a year concentrating on one of a group of interrelating characters.
1999 MADELEINE
Playtime/Climax
Screenwriter-director: Laurent Bouhnik
Producers: Etienne Comar, Jean Cottin, Laurent Bouhnik
Director of photography: Gilles Henry
Production designer: Yvon Fustec
Editors: Laurent Bouhnik, Clemence Lafarge
Costume designer: Isa Millet
Music: Jerome Coullet
Color/stereo
Cast:
Madeleine: Vera Briole
Gabriel: Manuel Blanc
Monsieur Paul: Jean-Francois Gallotte
Eve: Anouk Aimee
Mathieu: Jean-Michel Fete
Marie: Aurelia Petit
Jacques: Samuel Jouy
Thomas: Serge Blumenthal
Running time -- 83 minutes
No MPAA rating...
Apart from some slow stretches when the humdrum lives of plain-dressing seamstress Madeleine (Briole) and her elegant but forgetful mother (Anouk Aimee) are stifling, bleak and depressing, Bouhnik's heroine has a number of experiences that keep one engaged. Not quite up to the level of Krzysztof Kieslowski, Bouhnik's main inspiration, "1999 Madeleine", for domestic foreign film fans, is primarily a showcase for the likable Briole in a role without much dialogue.
Taking out personal ads, taking judo lessons, taking all the disappointments of life to heart but not losing her sense of humor and will to succeed, Madeleine eventually throws herself at a married salesman (Manuel Blanc), with an awkward dinner scene that turns into a fight between the man and his wife. Later, Madeleine and he go to a bar, get drunk and go to bed, but the next day he's out the door quickly.
What will happen to Madeleine? "My life is fucked, but I'm not part of it" is one way she puts it. While believable and unromanticized, Bouhnik's vision of modern life in a universal suburban setting has surprising moments and darkly humorous flourishes. Perhaps his future works will have a more profound impact.
The filmmaker intends to continue the decade-long series with a film a year concentrating on one of a group of interrelating characters.
1999 MADELEINE
Playtime/Climax
Screenwriter-director: Laurent Bouhnik
Producers: Etienne Comar, Jean Cottin, Laurent Bouhnik
Director of photography: Gilles Henry
Production designer: Yvon Fustec
Editors: Laurent Bouhnik, Clemence Lafarge
Costume designer: Isa Millet
Music: Jerome Coullet
Color/stereo
Cast:
Madeleine: Vera Briole
Gabriel: Manuel Blanc
Monsieur Paul: Jean-Francois Gallotte
Eve: Anouk Aimee
Mathieu: Jean-Michel Fete
Marie: Aurelia Petit
Jacques: Samuel Jouy
Thomas: Serge Blumenthal
Running time -- 83 minutes
No MPAA rating...
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