Alanté Kavaité’s third film The Islanders, about a woman taking care of a group of elderly people on a remote island off the coast of France, has been acquired by Elle Driver, which will start selling the film at the EFM.
The Islanders is now in post. It stars Nadia Tereszkiewicz with Dali Bensallah, Daphné Pataki and veteran talents Miou-Miou and Patrick Chesnais. Tereszkiewicz won the Cesar breakout award in 2023 for roles in Forever Young and The Red Island. Bensallah’s credits include Athena.
Kavaité’s credits include the coming-of-age story The Summer Of Sangaile, for which she won...
The Islanders is now in post. It stars Nadia Tereszkiewicz with Dali Bensallah, Daphné Pataki and veteran talents Miou-Miou and Patrick Chesnais. Tereszkiewicz won the Cesar breakout award in 2023 for roles in Forever Young and The Red Island. Bensallah’s credits include Athena.
Kavaité’s credits include the coming-of-age story The Summer Of Sangaile, for which she won...
- 2/9/2024
- ScreenDaily
The recent retrospective of Juliet Berto’s acting work at the Brooklyn Academy of Music presents an artist who occupied the forefront of both formal and ideological reimaginings of the medium during her lifetime. An icon of the French New Wave for her roles in landmark films by Jacques Rivette and Jean-Luc Godard, she also regularly lent her presence to works of radical leftist filmmaking from directors such as Robert Kramer and Marin Karmitz. Neige, Berto’s 1981 directorial debut made in collaboration with her partner Jean-Henri Roger, bears the influence of these artists and synthesizes them into something entirely its own, a playful and unpretentious work that nonetheless retains a fierce political anger.
The title of the film—which translates to Snow in English—refers to heroin, the drug around which much of the plot revolves. Berto stars as Anita, a bartender in Paris’s racy Pigalle district whose committed...
The title of the film—which translates to Snow in English—refers to heroin, the drug around which much of the plot revolves. Berto stars as Anita, a bartender in Paris’s racy Pigalle district whose committed...
- 6/18/2023
- by Brad Hanford
- Slant Magazine
The director also stars in the film, alongside Virginie Efira, Laetitia Casta, Mathieu Kassovitz, Nathalie Baye, Patrick Chesnais and Gilles Cohen. A Trésor Films production sold by Pathé. Final stretch for the shoot of Lui by Guillaume Canet, his 7th feature film as a director after Anything You Say, Tell No One, Little White Lies, Blood Ties (out of competition in Cannes in 2013), Rock’n Roll and Little White Lies 2.The cast includes the director himself (seen recently in La Belle Époque and In the Name of the Land), Belgian actress Virginie Efira (currently in French cinemas in Night Shift,...
Damien Chazelle given Carte Blanche to present influential French film.
Colcoa and the Franco-American Cultural Fund also announced the Focus on a Filmmaker programme in addition to a line up of French classics consisting of predominantly digitally restored films.
The programme will take place at the DGA in Hollywood from April 24-May 2 as part of Colcoa’s 21st anniversary.
Oscar contender and La La Land director Damien Chazelle [pictured] has selected Leo Carax’s The Lovers On The Bridge (1991) starring Juliette Binoche and Denis Lavant as an influential film.
This Carte Blanche screening will be presented in association with Rialto Pictures, with the support of the French Embassy in the Us and l’Institut Francais.
Colcoa will honour writer-director Stéphane Brizé on April 27, with a special presentation of Not Here To Be Loved (2005) starring Patrick Chesnais, Anne Consigny, and George Wilson.
The Festival will also host the West Coast premiere of Brizé’s new film A Woman’s Life...
Colcoa and the Franco-American Cultural Fund also announced the Focus on a Filmmaker programme in addition to a line up of French classics consisting of predominantly digitally restored films.
The programme will take place at the DGA in Hollywood from April 24-May 2 as part of Colcoa’s 21st anniversary.
Oscar contender and La La Land director Damien Chazelle [pictured] has selected Leo Carax’s The Lovers On The Bridge (1991) starring Juliette Binoche and Denis Lavant as an influential film.
This Carte Blanche screening will be presented in association with Rialto Pictures, with the support of the French Embassy in the Us and l’Institut Francais.
Colcoa will honour writer-director Stéphane Brizé on April 27, with a special presentation of Not Here To Be Loved (2005) starring Patrick Chesnais, Anne Consigny, and George Wilson.
The Festival will also host the West Coast premiere of Brizé’s new film A Woman’s Life...
- 2/23/2017
- ScreenDaily
By Fred Blosser
Stories about domineering fathers and neglected offspring are at least as old as the Bible and Shakespeare. Gilles Legrand’s “You Will Be My Son” (2012) is a worthy addition to the genre.
Paul de Marseul (Niels Arestrup) is distressed to learn that his friend Francois Amelot (Patrick Chesnais) has been diagnosed with pancreatic cancer. Paul is the wealthy owner of a French vineyard, and Francois has served for more than 30 years as his estate manager: “a fancy name for winemaker,” Francois comments. When Francois announces that he’s too weak from his illness to begin the new production season, Paul’s son Martin (Lorant Deutsch) steps up, eager to take on the responsibility. He handles sales for the company, and he knows Francois’ routine through years of observation. But Paul has no faith in Martin’s abilities as a vintner, and the two men moreover have a strained personal relationship.
Stories about domineering fathers and neglected offspring are at least as old as the Bible and Shakespeare. Gilles Legrand’s “You Will Be My Son” (2012) is a worthy addition to the genre.
Paul de Marseul (Niels Arestrup) is distressed to learn that his friend Francois Amelot (Patrick Chesnais) has been diagnosed with pancreatic cancer. Paul is the wealthy owner of a French vineyard, and Francois has served for more than 30 years as his estate manager: “a fancy name for winemaker,” Francois comments. When Francois announces that he’s too weak from his illness to begin the new production season, Paul’s son Martin (Lorant Deutsch) steps up, eager to take on the responsibility. He handles sales for the company, and he knows Francois’ routine through years of observation. But Paul has no faith in Martin’s abilities as a vintner, and the two men moreover have a strained personal relationship.
- 11/26/2014
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
At a beautiful vineyard in Southern France, wine-maker Paul de Marseul (Niels Arestrup) is looking for an heir worthy of taking over the family business. He is unsure that his son Martin (Lorant Deutsch), who still lives on the property with his wife, is up to the task. When his estate manager Francois Amelot (Patrick Chesnais) falls ill and receives a terminal diagnosis from his doctor, Francois’ son Philippe (Nicolas Bidet) comes home to say goodbye to his father and inadvertently attracts the attention of Paul with his wine-making skills. Paul becomes obsessed with grooming Philippe to be his successor and the son he always wanted while also pushing Martin away emotionally and questioning his manhood.
Read more...
Read more...
- 6/27/2014
- by Rachel Kolb
- JustPressPlay.net
Marion Vernoux’s Bright Days Ahead (Les Baux Jours) offers us a meditation on the turning points of life in the shape of a typical melodic French drama. The director’s interruption of the introductory montage of Caroline (Fanny Ardant) cut up by the bold white font of the cast credits with sharp angles, and the ominous score, opens the film with a sense of biting tension. It gives the impression that the comedy could be swept aside as darker undertones swirl beneath the surface, creating dangerous undercurrents that threaten to pull the film’s leading protagonist beneath the surface, and therein our latest experience of a light-hearted French drama.
But Vernoux knows how to offset pathos with comedy, and this approach is an effective prelude for Caroline, whose journey will be one, as is the tendency in this kind of story to learn that her life is not to be dismissed,...
But Vernoux knows how to offset pathos with comedy, and this approach is an effective prelude for Caroline, whose journey will be one, as is the tendency in this kind of story to learn that her life is not to be dismissed,...
- 6/19/2014
- by Paul Risker
- HeyUGuys.co.uk
Marion Vernoux’s Bright Days Ahead (Les Baux Jours) offers us a meditation on the turning points of life in the shape of a typical melodic French drama. The director’s interruption of the introductory montage of Caroline (Fanny Ardant) cut up by the bold white font of the cast credits with sharp angles, and the ominous score, opens the film with a sense of biting tension. It gives the impression that the comedy could be swept aside as darker undertones swirl beneath the surface, creating dangerous undercurrents that threaten to pull the film’s leading protagonist beneath the surface, and therein our latest experience of a light-hearted French drama.
But Vernoux knows how to offset pathos with comedy, and this approach is an effective prelude for Caroline, whose journey will be one, as is the tendency in this kind of story to learn that her life is not to be dismissed,...
But Vernoux knows how to offset pathos with comedy, and this approach is an effective prelude for Caroline, whose journey will be one, as is the tendency in this kind of story to learn that her life is not to be dismissed,...
- 6/19/2014
- by Paul Risker
- HeyUGuys.co.uk
Chicago – We are victims of our own circumstances, says the old adage. We are also prone to transitions, some caused by decisions we make, others thrust upon us through life itself. In a fascinating new French film, Fanny Ardant embraces a character transforming through such circumstance, and trying to understand what aging means to her in “Bright Days Ahead.”
Rating: 4.0/5.0
The title is a clever device, because it also is the name an activities center for senior citizens – think computer classes, yoga, acting – that Ardant’s character has signed up at, through a gift from her daughters. It is through that symbolically named place that her transition begins, from one life as a respected professional, wife and mother to an individual learning about rejuvenating her nerve endings. The film is blissfully French in atmosphere and attitude, in addition to being a showcase for the delicate beauty and truth of the lead actress.
Rating: 4.0/5.0
The title is a clever device, because it also is the name an activities center for senior citizens – think computer classes, yoga, acting – that Ardant’s character has signed up at, through a gift from her daughters. It is through that symbolically named place that her transition begins, from one life as a respected professional, wife and mother to an individual learning about rejuvenating her nerve endings. The film is blissfully French in atmosphere and attitude, in addition to being a showcase for the delicate beauty and truth of the lead actress.
- 5/13/2014
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Bright Days Ahead
Written by Fanny Chesnel and Marion Vernoux
Directed by Marion Vernoux
France, 2013
The opening credits to the new French film Bright Days Ahead, so named for the senior club the lead character joins in the opening scenes offer a sense of the urgency that the film itself isn’t interested in matching. Director Marion Vernoux cuts between the credits, presented in a stylish and large font, and Fanny Ardant’s protagonist, and does so quickly. The movie that follows these credits, which are dealt with briskly, is more laid-back in its style and presentation. While fast pacing isn’t a requirement for quality filmmaking, the imbalance is hard not to notice, as it’s unclear what Vernoux’s choice belies. Did she mean to throw the audience off guard from the outset? Was it simply a case of her wanting to spend as little time as possible on non-story matters?...
Written by Fanny Chesnel and Marion Vernoux
Directed by Marion Vernoux
France, 2013
The opening credits to the new French film Bright Days Ahead, so named for the senior club the lead character joins in the opening scenes offer a sense of the urgency that the film itself isn’t interested in matching. Director Marion Vernoux cuts between the credits, presented in a stylish and large font, and Fanny Ardant’s protagonist, and does so quickly. The movie that follows these credits, which are dealt with briskly, is more laid-back in its style and presentation. While fast pacing isn’t a requirement for quality filmmaking, the imbalance is hard not to notice, as it’s unclear what Vernoux’s choice belies. Did she mean to throw the audience off guard from the outset? Was it simply a case of her wanting to spend as little time as possible on non-story matters?...
- 5/9/2014
- by Josh Spiegel
- SoundOnSight
In the past year, Caroline (Fanny Ardant) has lost her best friend to breast cancer, quit her job as a successful dentist, and fallen into a depression. Hoping to help their mother find a new purpose in life, Caroline’s daughters buy her a trial package to Bright Days Ahead, a local senior’s educational center. She finally agrees to give it a try and finds herself attracted to a much younger computer teacher Julien (Laurent Lafitte), and despite the age difference, the attraction is mutual. They start an affair, using extra classes at Bright Days Ahead as Caroline’s cover, and they spend their afternoons together smoking weed, eating cookies in bed, and having sex. When people around town start to notice the affair, Caroline has to make a choice between the womanizing Julien and her devoted husband Philippe (Patrick Chesnais).
Read more...
Read more...
- 5/7/2014
- by Rachel Kolb
- JustPressPlay.net
A Promise
Not Rated, 1 Hr., 35 Mins.
Director Patrice Leconte seems to have cribbed from the Merchant Ivory playbook for a lukewarm tale of repressed desire set in 1912 Germany, where a young engineer (Richard Madden) comes between his sickly boss (Alan Rickman) and his wife (Rebecca Hall). It’s well made but drearily familiar, what with its stolen glances and pleas of “No, we mustn’t!” (Also available on VOD) B- —Chris Nashawaty
New Release
Blue Ruin
R, 1 Hr., 32 Mins.
Revenge is a dish best served cold, and the same can go for revenge movies. Looking more like a middle manager than Charles Bronson,...
Not Rated, 1 Hr., 35 Mins.
Director Patrice Leconte seems to have cribbed from the Merchant Ivory playbook for a lukewarm tale of repressed desire set in 1912 Germany, where a young engineer (Richard Madden) comes between his sickly boss (Alan Rickman) and his wife (Rebecca Hall). It’s well made but drearily familiar, what with its stolen glances and pleas of “No, we mustn’t!” (Also available on VOD) B- —Chris Nashawaty
New Release
Blue Ruin
R, 1 Hr., 32 Mins.
Revenge is a dish best served cold, and the same can go for revenge movies. Looking more like a middle manager than Charles Bronson,...
- 4/23/2014
- by EW staff
- EW - Inside Movies
The 13th Tribeca Film Festival has announced its complete lineup for next month’s New York celebration, which runs April 16-27. Culled from more than 6,000 submissions, Tribeca 2014 includes 55 world premieres, 37 first-time filmmakers, and 22 female directors. Half the slate had been announced on Tuesday, with Spotlight, Midnight, and Storyscapes films unveiled today, as well as special screenings. “Spotlight and special screenings are an especially dynamic aspect of this year’s program, both in range of styles and stories,” said Genna Terranova, Tribeca’s director of programming. “Many films feature real-life personalities who’ve accomplished extraordinary feats, while in other films we...
- 3/6/2014
- by Jeff Labrecque
- EW - Inside Movies
Tribeca Film Festival 2014 world premieres include Every Secret Thing, Miss Meadows and Zombeavers.
Spotlight features 31 films comprising 22 narratives and nine documentaries, of which 20 receive world premieres. The Midnight section will open with Preservation and includes the Efm buzz title Zombeavers.
Special Screenings include 6, a work-in-progress documentary by The Cove director Louie Psihoyos. The transmedia Storyscapes line-up returns for the second year. As previously announced, the festival will open on April 16 with the Nas documentary Time Is Illmatic and runs through April 27.
“Spotlight and Special screenings are an especially dynamic aspect of this year’s programme, both in range of styles and stories,” said director of programming Genna Terranova, “Many films feature real-life personalities who’ve accomplished extraordinary feats, while in other films we see personal relationships at pivotal moments of transition. We look forward to sharing these engaging stories with audiences.”
“Whether they made us laugh, squirm, or plain scared the heck out of us, each of the...
Spotlight features 31 films comprising 22 narratives and nine documentaries, of which 20 receive world premieres. The Midnight section will open with Preservation and includes the Efm buzz title Zombeavers.
Special Screenings include 6, a work-in-progress documentary by The Cove director Louie Psihoyos. The transmedia Storyscapes line-up returns for the second year. As previously announced, the festival will open on April 16 with the Nas documentary Time Is Illmatic and runs through April 27.
“Spotlight and Special screenings are an especially dynamic aspect of this year’s programme, both in range of styles and stories,” said director of programming Genna Terranova, “Many films feature real-life personalities who’ve accomplished extraordinary feats, while in other films we see personal relationships at pivotal moments of transition. We look forward to sharing these engaging stories with audiences.”
“Whether they made us laugh, squirm, or plain scared the heck out of us, each of the...
- 3/6/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Tribeca Film Festival 2014 world premieres include Every Secret Thing, Miss Meadows and Zombeavers.
Spotlight features 31 films comprising 22 narratives and nine documentaries, of which 20 receive world premieres. The Midnight section will open with Preservation and includes the Efm buzz title Zombeavers.
Special Screenings include 6, a work-in-progress documentary by The Cove director Louie Psihoyos. The transmedia Storyscapes line-up returns for the second year. As previously announced, the festival will open on April 16 with the Nas documentary Time Is Illmatic and runs through April 27.
“Spotlight and Special screenings are an especially dynamic aspect of this year’s programme, both in range of styles and stories,” said director of programming Genna Terranova, “Many films feature real-life personalities who’ve accomplished extraordinary feats, while in other films we see personal relationships at pivotal moments of transition. We look forward to sharing these engaging stories with audiences.”
“Whether they made us laugh, squirm, or plain scared the heck out of us, each of the...
Spotlight features 31 films comprising 22 narratives and nine documentaries, of which 20 receive world premieres. The Midnight section will open with Preservation and includes the Efm buzz title Zombeavers.
Special Screenings include 6, a work-in-progress documentary by The Cove director Louie Psihoyos. The transmedia Storyscapes line-up returns for the second year. As previously announced, the festival will open on April 16 with the Nas documentary Time Is Illmatic and runs through April 27.
“Spotlight and Special screenings are an especially dynamic aspect of this year’s programme, both in range of styles and stories,” said director of programming Genna Terranova, “Many films feature real-life personalities who’ve accomplished extraordinary feats, while in other films we see personal relationships at pivotal moments of transition. We look forward to sharing these engaging stories with audiences.”
“Whether they made us laugh, squirm, or plain scared the heck out of us, each of the...
- 3/6/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Tribeca Film acquired U.S. rights to the Marion Vernoux-directed Bright Days Ahead, which gets its North American preem tonight at Toronto after being released in France earlier this year. The Vernoux-scripted adaptation of the Franny Chesnel novel A Young Girl With Gray Hair stars Fanny Ardant, along with Laurent Lafitte, Patrick Chesnais, Jean-Francois Stevenin, and Marie Riviere. Pic’s a co-production between Les Films du Kiosque and 27.11 Production. A retiree finally gets the chance to take care of her children and husband and she is bored to tears in no time. She’s invited to her neighborhood’s senior club and finds mischief there and a break from obligation and conformity.
- 9/13/2013
- by MIKE FLEMING JR
- Deadline
Toronto – Tribeca Film has snagged the U.S. rights to Marion Vernoux’s Les beaux jours (Bright Days Ahead) ahead of the North American bow for the French film on Friday night in Toronto. The Fanny Ardant and Laurent Lafitte starrer about a love affair between a man and a woman twice his age had an earlier theatrical release in France. Toronto: THR's Behind the Lens Interviews "Bright Days Ahead is the kind of engaging adult drama we rarely get to see," said Geoffrey Gilmore, chief creative officer at Tribeca Enterprises, in a statement Friday. Patrick Chesnais, Jean-Francois Stevenin, and
read more...
read more...
- 9/13/2013
- by Etan Vlessing
- The Hollywood Reporter - Movie News
The Great Santini with a pinch of Straw Dogs in French wine country, Gilles Legrand’s You Will Be My Son recalls the “A” pictures Hollywood has basically stopped making. Whether Legrand’s alternately compelling and clichéd drama of father-son struggles achieves the greatness of the aforementioned films is another matter. Paul de Merseul (Niels Arestrup) is a revered French vintner, lording over his estate with kingly resolve. His mousy heir apparent, son Martin (Lorànt Deutsch), is an object of constant disdain for Paul―so when head winemaker François (Patrick Chesnais) falls ill and his handsome son Philippe (Nicolas Bridet) arrives to help, the stars align for Paul to have a new second-in-command. Further complic...
- 8/14/2013
- Village Voice
The Meek Shall Inherit: Legrand’s Familial Conflict a Seething, Elegant Drama
French director Gilles Legrand, (though perhaps better known as a producer on titles for Jean-Pierre Jeunet and Patrice Leconte) scores an uncomfortably vicious drama with his third feature, concerning a father’s hated for his heir with You Will Be My Son. Operating like the patriarchal flipside of a the main motif behind a 2007 Isabelle Huppert vehicle, L’amour Cache, Legrand twists the discomfort unrelentingly, which may strike many as over the top or even melodramatic. But the patriarchal poison on display here, while perhaps just a titch predictable, is nonetheless as elegantly made as the fine wines that fuel the narrative.
Paul de Marseul (Niels Arestrup) is a successful winemaker, whose vineyard may not be the most financially stable, but who has an uncanny ability to make (and detect) fine wines. However, his son and only heir to the business,...
French director Gilles Legrand, (though perhaps better known as a producer on titles for Jean-Pierre Jeunet and Patrice Leconte) scores an uncomfortably vicious drama with his third feature, concerning a father’s hated for his heir with You Will Be My Son. Operating like the patriarchal flipside of a the main motif behind a 2007 Isabelle Huppert vehicle, L’amour Cache, Legrand twists the discomfort unrelentingly, which may strike many as over the top or even melodramatic. But the patriarchal poison on display here, while perhaps just a titch predictable, is nonetheless as elegantly made as the fine wines that fuel the narrative.
Paul de Marseul (Niels Arestrup) is a successful winemaker, whose vineyard may not be the most financially stable, but who has an uncanny ability to make (and detect) fine wines. However, his son and only heir to the business,...
- 8/12/2013
- by Nicholas Bell
- IONCINEMA.com
★★★☆☆ The third feature from French director Gilles Legrand, You Will Be My Son (Tu seras mon fils, 2011) sees the inimitable Niels Arestrup take the role of Paul de Marseul, a successful winemaker in Saint-Emilion, Bordeaux. With ample support from co-stars Lorànt Deutsch and Nicolas Bridet as his respective son and heir, Legrand has concocted a sharp, fruity family inheritance drama that he duly leaves to ferment ahead of the great uncorking. Whilst those with a receptive palette will find much to savour, what could have been the cinematic equivalent of a sprightly white or an intense red ends up more of a middling rose.
Disheartened by the notion of his 'weak' son Martin (a rodent-like Deutsch) taking over the family business, Paul faces further complication when his friend and business partner François (Patrick Chesnais) is diagnosed with terminal pancreatic cancer. Paul doesn't believe his son to have inherited the qualities...
Disheartened by the notion of his 'weak' son Martin (a rodent-like Deutsch) taking over the family business, Paul faces further complication when his friend and business partner François (Patrick Chesnais) is diagnosed with terminal pancreatic cancer. Paul doesn't believe his son to have inherited the qualities...
- 4/30/2013
- by CineVue UK
- CineVue
Title: You Will Be My Son (Tu seras mon fils) Cohen Media Group Director: Gilles Legrand Screenwriter: Gilles Legrand, Delphine de Vigan Cast: Niels Arestrup, Lorant Deutsch, Patrick Chesnais, Nicolas Bridet Screened at: Review 2, NYC, 2/12/13 Opens: March 29, 2013 It’s only natural for fathers and mothers to want their sons and daughters to choose work similar to their own; that is, if the work done by the older generation is meaningful to society, enjoyable to themselves, and of course lucrative. A lawyer with an independent office, a doctor with her own practice, will want their children to take over their offices when retirement or death ensues. There’s an [ Read More ]
The post You Will Be My Son Movie Review appeared first on Shockya.com.
The post You Will Be My Son Movie Review appeared first on Shockya.com.
- 2/13/2013
- by Harvey Karten
- ShockYa
Gilles Legrand's soapy drama is all a bit absurd, but its absurdity is handled with some style
This film may be preposterous and soap-operatic, but director Gilles Legrand hammers it home with some storytelling gusto, and there's a richly enjoyable central performance from Niels Arestrup, the only possible actor for this role. Its story concerns a French chateau andvineyard ruled over by mercurial old wine-lover Paul de Marseul (Arestrup). Afraid of death, Paul is increasingly contemptuous of his own son Martin (Lorànt Deutsch), a milksop – so he thinks – with no passion for wine. Instead, Paul conceives a capricious, fatherly love for Philippe (Nicolas Bridet), the son of his estate manager François (Patrick Chesnais), because Philippe has a natural flair for the business. It's all a bit absurd, but Legrand handles the absurdity with some style, and there is something clever in making an apparently minor character responsible for a major narrative flourish.
This film may be preposterous and soap-operatic, but director Gilles Legrand hammers it home with some storytelling gusto, and there's a richly enjoyable central performance from Niels Arestrup, the only possible actor for this role. Its story concerns a French chateau andvineyard ruled over by mercurial old wine-lover Paul de Marseul (Arestrup). Afraid of death, Paul is increasingly contemptuous of his own son Martin (Lorànt Deutsch), a milksop – so he thinks – with no passion for wine. Instead, Paul conceives a capricious, fatherly love for Philippe (Nicolas Bridet), the son of his estate manager François (Patrick Chesnais), because Philippe has a natural flair for the business. It's all a bit absurd, but Legrand handles the absurdity with some style, and there is something clever in making an apparently minor character responsible for a major narrative flourish.
- 12/7/2012
- by Peter Bradshaw
- The Guardian - Film News
Skyfall (12A)
(Sam Mendes, 2012, UK/Us) Daniel Craig, Javier Bardem, Judi Dench, 143 mins
It starts with a bang, but ends with a poignant whimper. This is supposedly a smarter Bond, you see, giving you first-class action and breathtaking imagery, but also a Freudian look into the secret agent's psyche. A pity, then, that the plot is utter nonsense. Bardem's Joker-ish baddie isn't interested in world domination; he has a personal score to settle, and an unfeasibly cunning plan…
Elena (12A)
(Andrey Zvyagintsev, 2011, Rus) Nadezhda Markina, Andrey Smirnov. 109 mins
The Return director finds form with a penetrating look at class resentment in money-obsessed modern Russia, perfect conditions for a noir-ish drama. Markina is magnificent as a hard-up divorcee, who does what she has to when her wealthy partner begins to ail.
Room 237 (15)
(Rodney Ascher, 2012, Us) 102 mins
This investigation into the myriad interpretations of Kubrick's The Shining goes far deeper than anyone needed,...
(Sam Mendes, 2012, UK/Us) Daniel Craig, Javier Bardem, Judi Dench, 143 mins
It starts with a bang, but ends with a poignant whimper. This is supposedly a smarter Bond, you see, giving you first-class action and breathtaking imagery, but also a Freudian look into the secret agent's psyche. A pity, then, that the plot is utter nonsense. Bardem's Joker-ish baddie isn't interested in world domination; he has a personal score to settle, and an unfeasibly cunning plan…
Elena (12A)
(Andrey Zvyagintsev, 2011, Rus) Nadezhda Markina, Andrey Smirnov. 109 mins
The Return director finds form with a penetrating look at class resentment in money-obsessed modern Russia, perfect conditions for a noir-ish drama. Markina is magnificent as a hard-up divorcee, who does what she has to when her wealthy partner begins to ail.
Room 237 (15)
(Rodney Ascher, 2012, Us) 102 mins
This investigation into the myriad interpretations of Kubrick's The Shining goes far deeper than anyone needed,...
- 10/26/2012
- by Steve Rose
- The Guardian - Film News
DVD Playhouse—March 2011
By
Allen Gardner
127 Hours (20th Century Fox) Harrowing true story of Aron Ralston (James Franco, in another fine turn), an extreme outdoorsman who finds himself trapped in a remote Utah canyon, his arm pinned between two boulders, with no help nearby, no communication to the outside world, and dim prospects for survival, to say the least. Director Danny Boyle manages to prove again that he’s one of the finest filmmakers working today by making a subject that is seemingly uncinematic a true example of pure cinema. Inventive, breathtaking, funny, and horrifying, often all at once. Amber Tamblyn and Kate Mara make a memorable, brief appearance as hikers who connect with Ralston during his journey. Also available on Blu-ray disc. Bonuses: Commentary by Boyle, producer Christian Colson, co-writer Simon Beaufoy; Deleted scenes; Featurettes. Widescreen. Dolby and DTS-hd 5.1 surround.
Amarcord (Criterion) Federico Fellini’s Oscar-winning, autobiographical classic might...
By
Allen Gardner
127 Hours (20th Century Fox) Harrowing true story of Aron Ralston (James Franco, in another fine turn), an extreme outdoorsman who finds himself trapped in a remote Utah canyon, his arm pinned between two boulders, with no help nearby, no communication to the outside world, and dim prospects for survival, to say the least. Director Danny Boyle manages to prove again that he’s one of the finest filmmakers working today by making a subject that is seemingly uncinematic a true example of pure cinema. Inventive, breathtaking, funny, and horrifying, often all at once. Amber Tamblyn and Kate Mara make a memorable, brief appearance as hikers who connect with Ralston during his journey. Also available on Blu-ray disc. Bonuses: Commentary by Boyle, producer Christian Colson, co-writer Simon Beaufoy; Deleted scenes; Featurettes. Widescreen. Dolby and DTS-hd 5.1 surround.
Amarcord (Criterion) Federico Fellini’s Oscar-winning, autobiographical classic might...
- 3/1/2011
- by The Hollywood Interview.com
- The Hollywood Interview
PARIS -- French director Daniele Thompson will follow up her 2006 hit "Avenue Montaigne" with "Le Code a Change", set to star a flock of famous French faces, producer Thelma Films said Monday.
Despite its title, which in English means, "The Code Has Changed", Thompson will stick to her winning formula of a Paris-based ensemble dramedy featuring the creme de la creme of Gallic talent and focusing on the lives of wealthy Parisians.
Co-produced by Alain Terzian's Alter Films, "Code" stars Karin Viard, Danny Boon, Marina Fois, Marina Hands, Emmanuelle Seigner, Patrick Bruel, Patrick Chesnais, Pierre Arditi and Laurent Stocker.
Keeping with family tradition, Thompson's son Christopher, co-writer of "Montaigne", will co-star in the pic.
The story brings together a potpourri of personalities from the Parisian upper class for a humorous, emotionally charged dinner that unveils deceiving appearances and uncovered truths.
After penning the scripts for French films "La Grande Vadrouille" (1966) and "The Adventures of Rabbi Jacob" (1973) alongside her father Gerard Oury, "Montaigne" will be Thompson's fourth turn in the director's chair.
Despite its title, which in English means, "The Code Has Changed", Thompson will stick to her winning formula of a Paris-based ensemble dramedy featuring the creme de la creme of Gallic talent and focusing on the lives of wealthy Parisians.
Co-produced by Alain Terzian's Alter Films, "Code" stars Karin Viard, Danny Boon, Marina Fois, Marina Hands, Emmanuelle Seigner, Patrick Bruel, Patrick Chesnais, Pierre Arditi and Laurent Stocker.
Keeping with family tradition, Thompson's son Christopher, co-writer of "Montaigne", will co-star in the pic.
The story brings together a potpourri of personalities from the Parisian upper class for a humorous, emotionally charged dinner that unveils deceiving appearances and uncovered truths.
After penning the scripts for French films "La Grande Vadrouille" (1966) and "The Adventures of Rabbi Jacob" (1973) alongside her father Gerard Oury, "Montaigne" will be Thompson's fourth turn in the director's chair.
- 2/26/2008
- The Hollywood Reporter - Movie News
- Founded in 1988, the European Film Academy currently unites 1,700 European film professionals with the common aim of promoting Europe's film culture. Here are this year's noms.... European Film 2006 Breakfast On Pluto; Ireland/UK Directed by Neil Jordan Produced by Parallel Film Productions Ltd./Number 9 Films Grbavica; Austria/Bosnia-Herzegovina/Germany/Croatia Directed by Jasmila Zbanic Produced by Coop99 Filmproduktion Gmbh/Deblokada/Noirfilm/Jadran Film Das Leben Der Anderen (The Lives Of Others); Germany Directed by Florian Henckel Von Donnersmarck Produced by Wiedemann & Berg Filmproduktion/Bayerischer Rundfunk/Arte/Creado Film The Road To Guantanamo; UK Directed by Michael Winterbottom And Mat Whitecross Produced by Revolution Films Ltd. Volver; Spain Directed by Pedro Almodovar Produced by El Deseo D.A., S.L.U. The Wind That Shakes The Barley; UK/Ireland/Germany/Italy/Spain Directed By Ken Loach Produced By Sixteen Films/Matador Pictures/Regent Capital/UK Film Council/Bord Scannan Na
- 11/6/2006
- IONCINEMA.com
Few films have depicted sexual obsession with the degree of vividness and humor that "Post Coitum, Animal Triste" demonstrates. The tale of a 40-year-old woman and her affair with a younger man, Brigitte Rouan's feature is a perfect example of the French cinema's dominance when it comes to exploring affairs of the heart.
Previously showcased at Cannes, it screened as part of the New York Film Festival.
Director Rouan also plays the central role of Diane, a happily married woman with a loving husband, two children and a fulfilling job at a publishing house. Her life is turned upside down when she begins an affair with a young, handsome and virile engineer named Emilio (Boris Terral). Throwing caution to the wind, she becomes utterly obsessed, rejoicing in a newfound sexuality that brings her to heights of ecstasy. At one point in this sometimes fanciful film, she is depicted as literally walking on air.
Meanwhile, her husband, Philippe (Patrick Chesnais), begins to realize what's going on; in a subplot that wittily comments on the main action of the film, he's serving as the lawyer for a woman who stabbed her husband to death with a fork because he was cheating on her.
When Emilio abruptly ends the affair, the story takes a different turn, as Diane lengthily and dramatically unravels. The lighthearted film then takes on the dimensions of Greek tragedy.
Rouan is more successful when she is delineating her character's sexual blossoming than her dramatic disintegration, but the first half of the film provides such giddy highs that one is willing to overlook its more routine resolution.
The film is in equal measures witty, touching and funny, and as an actress, Rouan demonstrates an emotional and physical daring that is highly impressive. The supporting characters are equally well-limned; Emilio and Philippe, excellently played by Terral and Chesnais, respectively, are fully drawn, complex characters rather than the stereotypes that a lesser film would have presented.
POST COITUM, ANIMAL TRISTE
Ognon Pictures, Pinou Film
in association with Canal Plus
Director:Brigitte Rouan
Screenplay:Brigitte Rouan, Santiago Amigorena, Jean-Louis Richard, Guy Zilberstein, Philippe Le Guay
Producer:Humbert Balsan
Photography:Pierre Dupoey, Arnaud Leguy, Bruno Mistretta
Editor:Laurent Rouan
Color/stereo
Cast:
Diane Clovier:Brigitte Rouan
Philippe Clovier:Patrick Chesnais
Emilio:Boris Terral
Francoise Narou:Nils Tavernier
Weyoman-Lebeau:Jean-Louis Richard
Madame Lepluche:Francoise Arnoul
Running time -- 97 minutes
No MPAA rating...
Previously showcased at Cannes, it screened as part of the New York Film Festival.
Director Rouan also plays the central role of Diane, a happily married woman with a loving husband, two children and a fulfilling job at a publishing house. Her life is turned upside down when she begins an affair with a young, handsome and virile engineer named Emilio (Boris Terral). Throwing caution to the wind, she becomes utterly obsessed, rejoicing in a newfound sexuality that brings her to heights of ecstasy. At one point in this sometimes fanciful film, she is depicted as literally walking on air.
Meanwhile, her husband, Philippe (Patrick Chesnais), begins to realize what's going on; in a subplot that wittily comments on the main action of the film, he's serving as the lawyer for a woman who stabbed her husband to death with a fork because he was cheating on her.
When Emilio abruptly ends the affair, the story takes a different turn, as Diane lengthily and dramatically unravels. The lighthearted film then takes on the dimensions of Greek tragedy.
Rouan is more successful when she is delineating her character's sexual blossoming than her dramatic disintegration, but the first half of the film provides such giddy highs that one is willing to overlook its more routine resolution.
The film is in equal measures witty, touching and funny, and as an actress, Rouan demonstrates an emotional and physical daring that is highly impressive. The supporting characters are equally well-limned; Emilio and Philippe, excellently played by Terral and Chesnais, respectively, are fully drawn, complex characters rather than the stereotypes that a lesser film would have presented.
POST COITUM, ANIMAL TRISTE
Ognon Pictures, Pinou Film
in association with Canal Plus
Director:Brigitte Rouan
Screenplay:Brigitte Rouan, Santiago Amigorena, Jean-Louis Richard, Guy Zilberstein, Philippe Le Guay
Producer:Humbert Balsan
Photography:Pierre Dupoey, Arnaud Leguy, Bruno Mistretta
Editor:Laurent Rouan
Color/stereo
Cast:
Diane Clovier:Brigitte Rouan
Philippe Clovier:Patrick Chesnais
Emilio:Boris Terral
Francoise Narou:Nils Tavernier
Weyoman-Lebeau:Jean-Louis Richard
Madame Lepluche:Francoise Arnoul
Running time -- 97 minutes
No MPAA rating...
- 9/30/1997
- The Hollywood Reporter - Movie News
Dominated by co-writer and director Brigitte Rouan's courageous lead performance as a 40-year-old married woman embarking on a wildly liberating but dangerous affair with a man half her age, "Post-Coitum, Animal Triste" is a compelling, expertly fleshed-out drama.
The first of three new French films in the "Cannes 50" celebration of the world's most famous film festival, "Post-Coitum" screens tonight at the Academy's Samuel Goldwyn Theater in Beverly Hills. The unwieldy but appropriate title aside, Rouan's fine subtitled feature should spruce up many a festival lineup. Alas, its chances of regular domestic distribution are iffy at best.
We're introduced in the first scene to Diane (Rouan), a publisher's editor writhing in emotional and physical agony over a scuttled relationship. Although the film ultimately takes us through the stormy waters of Diane's post-affair journey into near catastrophe, Rouan backtracks to revel in the raw passions and naughty behavior that sweep up the wife and mother when she surrenders to the advances of gorgeous, attentive Emilio (Boris Terral).
A hydraulic engineer who works primarily in the Third World, Emilio is the roommate of Diane's most promising author, Francois (Nils Tavernier). Stymied by writer's block, Francois relies on Diane for professional help, and it's through him that she first encounters Emilio. In a jarring disruption to the lightly comic first act, an older woman (Francoise Arnoul) murders her aging husband by stabbing him in the neck with a fork.
The lawyer defending Arnoul's character is Diane's husband Philippe (Patrick Chesnais), who soon suspects his wife of having an affair but does not directly confront her. Quiet and decent, he connects on a personal level with his client and comes to understand her motives for ending 40 years of marriage with violence.
With a sly approach, Rouan and her co-writers eventually create a satisfying cinematic tragicomedy devoted to the sadness of those experiencing loss of love. It's an occasionally rough viewing experience and also quite sexy but nothing less than truthful and timelessly relevant.
The film is a showcase for Rouan's prodigious thespian talents as she moves from girlish abandon to anger to self-destruction. In scene after scene, she captures the extreme exaltation and naked misery of a modern woman who falls in love only "once every 15 years."
POST-COITUM, ANIMAL TRISTE
An Ognon Pictures-Pinou Film co-production
A film by Brigitte Rouan
Director Brigitte Rouan
Writers Brigitte Rouan, Santiago Amigorena,
Jean-Louis Richard, Guy Zilberstein,
Philippe Le Guay
Producer Humbert Balsan
Cinematographers Pierre Dupouey,
Arnaud Leguy, Bruno Mistretta
Editor Laurent Rouan
Art director Roland Deville
Costumes Florence Emir, Marika Ingrato
Color/stereo
Cast:
Diane Clovier Brigitte Rouan
Philippe Clovier Patrick Chesnais
Emilio Boris Terral
Francois Nils Tavernier
Mme. Lepluche Francoise Arnoul
Running time -- 97 minutes
No MPAA rating...
The first of three new French films in the "Cannes 50" celebration of the world's most famous film festival, "Post-Coitum" screens tonight at the Academy's Samuel Goldwyn Theater in Beverly Hills. The unwieldy but appropriate title aside, Rouan's fine subtitled feature should spruce up many a festival lineup. Alas, its chances of regular domestic distribution are iffy at best.
We're introduced in the first scene to Diane (Rouan), a publisher's editor writhing in emotional and physical agony over a scuttled relationship. Although the film ultimately takes us through the stormy waters of Diane's post-affair journey into near catastrophe, Rouan backtracks to revel in the raw passions and naughty behavior that sweep up the wife and mother when she surrenders to the advances of gorgeous, attentive Emilio (Boris Terral).
A hydraulic engineer who works primarily in the Third World, Emilio is the roommate of Diane's most promising author, Francois (Nils Tavernier). Stymied by writer's block, Francois relies on Diane for professional help, and it's through him that she first encounters Emilio. In a jarring disruption to the lightly comic first act, an older woman (Francoise Arnoul) murders her aging husband by stabbing him in the neck with a fork.
The lawyer defending Arnoul's character is Diane's husband Philippe (Patrick Chesnais), who soon suspects his wife of having an affair but does not directly confront her. Quiet and decent, he connects on a personal level with his client and comes to understand her motives for ending 40 years of marriage with violence.
With a sly approach, Rouan and her co-writers eventually create a satisfying cinematic tragicomedy devoted to the sadness of those experiencing loss of love. It's an occasionally rough viewing experience and also quite sexy but nothing less than truthful and timelessly relevant.
The film is a showcase for Rouan's prodigious thespian talents as she moves from girlish abandon to anger to self-destruction. In scene after scene, she captures the extreme exaltation and naked misery of a modern woman who falls in love only "once every 15 years."
POST-COITUM, ANIMAL TRISTE
An Ognon Pictures-Pinou Film co-production
A film by Brigitte Rouan
Director Brigitte Rouan
Writers Brigitte Rouan, Santiago Amigorena,
Jean-Louis Richard, Guy Zilberstein,
Philippe Le Guay
Producer Humbert Balsan
Cinematographers Pierre Dupouey,
Arnaud Leguy, Bruno Mistretta
Editor Laurent Rouan
Art director Roland Deville
Costumes Florence Emir, Marika Ingrato
Color/stereo
Cast:
Diane Clovier Brigitte Rouan
Philippe Clovier Patrick Chesnais
Emilio Boris Terral
Francois Nils Tavernier
Mme. Lepluche Francoise Arnoul
Running time -- 97 minutes
No MPAA rating...
- 6/18/1997
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.