Emmanuel Mouret on the César award-winning costumes by Pierre-Jean Larroque and production design by David Faivre: "The sets could be a bit like a screen for the silhouettes." Photo: Anne-Katrin Titze
Cécile de France, who has one of the most charismatic smiles in French cinema, shines as Madame de La Pommeraye in Lady J (Mademoiselle De Joncquières aka The Art Of Seduction), Emmanuel Mouret's fresh take on an episode from Diderot's Jacques the Fatalist, the same one Robert Bresson so brilliantly turned into his 1945 film Les dames Du Bois De Boulogne.
Madame de Joncquières (Natalia Dontcheva) with Madame de La Pommeraye (Cécile de France) and Mademoiselle de Joncquières (Alice Isaaz) with the Marquis des Arcis (Edouard Baer)
In particular the scenes with her friend, Lucienne (played beautifully by Laure Calamy), are a standout of acting on at least three levels. Their conversations function like a palimpsest, questioning with the slightest winks,...
Cécile de France, who has one of the most charismatic smiles in French cinema, shines as Madame de La Pommeraye in Lady J (Mademoiselle De Joncquières aka The Art Of Seduction), Emmanuel Mouret's fresh take on an episode from Diderot's Jacques the Fatalist, the same one Robert Bresson so brilliantly turned into his 1945 film Les dames Du Bois De Boulogne.
Madame de Joncquières (Natalia Dontcheva) with Madame de La Pommeraye (Cécile de France) and Mademoiselle de Joncquières (Alice Isaaz) with the Marquis des Arcis (Edouard Baer)
In particular the scenes with her friend, Lucienne (played beautifully by Laure Calamy), are a standout of acting on at least three levels. Their conversations function like a palimpsest, questioning with the slightest winks,...
- 3/6/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Like a crafty Casanova who masks his true intentions while assiduously charming his latest prey, “Mademoiselle de Joncquieres” takes a stealthy and slow-burn approach before fully revealing its true colors as a shrewdly choreographed roundelay of scheming, seduction and revenge in the spirit of “Les Liaisons Dangereuses.” Freely adapted from the same section of Denis Diderot’s “Jacques le Fataliste” that inspired Robert Bresson’s “Les dames du bois de Boulogne” — but, unlike Bresson’s modernized 1945 version (co-scripted with Jean Cocteau), set in the same 18th-century period as Diderot’s original — writer-director Emmanuel Mouret’s exquisitely mounted and beautifully photographed film begins as a leisurely paced dramedy of manners, brimming with archly clever bons mots and politely tamped passions. But then things take a darker turn, and the movie becomes all the more enjoyable as elegantly nasty fun with serious mortal stakes.
During the regency of Louis Xv, Madame de...
During the regency of Louis Xv, Madame de...
- 9/27/2018
- by Joe Leydon
- Variety Film + TV
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