Blockbuster docu-series “Magellan’s Extraordinary Odyssey,” action thriller “The Devil’s Leap” and the Vincent Elbaz-led detective tale “Everybody Lies” were among distributor Clpb Rights’ hottest titles at this year’s Unifrance Rendez-Vous in Paris, with the three projects closing broadcast deals in key territories.
Executive produced by François Bertrand of Camera Lucida, listing Arte France, Belgica Films, Minimal Films, Serena Productions and co-producers, and directed by François de Riberolles, the epic miniseries “Magellan’s Extraordinary Odyssey” retraces the 16th century expedition that saw Fernando Magellan and an ever-dwindling number of sailors complete the first-ever trip around the world.
Boasting visuals from illustrator Ugo Bienvenu and sound design from Oscar winners Samy Bardet and Nicolas Becker (“Sound of Metal”), the program pulled in more than 1 million primetime viewers when it was broadcast on Arte last November, and has since sold to Rtbf (Belgium), Movistar (Spain), Axess TV (Sweden), Rts...
Executive produced by François Bertrand of Camera Lucida, listing Arte France, Belgica Films, Minimal Films, Serena Productions and co-producers, and directed by François de Riberolles, the epic miniseries “Magellan’s Extraordinary Odyssey” retraces the 16th century expedition that saw Fernando Magellan and an ever-dwindling number of sailors complete the first-ever trip around the world.
Boasting visuals from illustrator Ugo Bienvenu and sound design from Oscar winners Samy Bardet and Nicolas Becker (“Sound of Metal”), the program pulled in more than 1 million primetime viewers when it was broadcast on Arte last November, and has since sold to Rtbf (Belgium), Movistar (Spain), Axess TV (Sweden), Rts...
- 1/16/2023
- by Ben Croll
- Variety Film + TV
Throughout the course of his career, John Carpenter has directed horror movies that have redefined the genre in several ways. His 1978 horror classic, "Halloween" is nothing less than a full-blown pop culture phenomenon, and his lesser-known films, such as "Prince of Darkness," is still being discovered by horror-heads. Carpenter's legacy obviously extends beyond his filmmaking, as he is also a composer with a penchant for creating original soundtracks meant to enhance the source material. Despite being a man of many talents, Carpenter's love for horror seeps into everything he makes, be it hypnotic tales of terror or fast-paced action pieces with horror elements.
So, when exactly did Carpenter discover his affinity towards the genre? The director has been inspired by a string of classic horror writers, as his work has often been adaptations of the works of John W. Campbell, H.P. Lovecraft, and Stephen King. The Lovecraftian influence is evident...
So, when exactly did Carpenter discover his affinity towards the genre? The director has been inspired by a string of classic horror writers, as his work has often been adaptations of the works of John W. Campbell, H.P. Lovecraft, and Stephen King. The Lovecraftian influence is evident...
- 11/5/2022
- by Debopriyaa Dutta
- Slash Film
You have to wonder whether Holliday Grainger misses the corsets. It’s been five years since the star of Strike last wore the punishing vintage garment; an eternity really, given that she spent the better part of a decade bound into one playing frothy aristocrats in shows such as The Borgias and haughty royalty in films like Anna Karenina. “I’ve worn so many I think my bloody liver is bruised,” she cackles, a trace of her native Manchester accent peeping through the negative space of her vowels. The short answer, then, is no. She does not miss the corsets.
These days, Grainger is about comfort. The actor calls me from bed one afternoon, her hair pulled back from her high-boned, full-moon face, which is bare. Not celebrity bare (meaning concealer and mascara) but actually bare. She’s in workout clothes and her rosy cheeks are rosier than usual. I...
These days, Grainger is about comfort. The actor calls me from bed one afternoon, her hair pulled back from her high-boned, full-moon face, which is bare. Not celebrity bare (meaning concealer and mascara) but actually bare. She’s in workout clothes and her rosy cheeks are rosier than usual. I...
- 9/4/2022
- by Annabel Nugent
- The Independent - TV
Paul Verhoeven (“Basic Instinct”), whose latest films “Benedetta” and “Elle” competed at Cannes, is set to make a Hollywood comeback with “Young Sinner,” an erotic political thriller which he’s developing with “RoboCop’s” co-writer Edward Neumeier.
Verhoeven and Neumeier recently spoke about the project during an interview with Movie Maker. The Dutch filmmaker said “Young Sinner” “will be an innovative version of movies like ‘Fatal Attraction’ and ‘Basic Instinct.'” He added that he wanted the movie to have as little special effects as possible and “more explosive” than other thrillers he has directed before.
Neumeier, who previously teamed with Verhoeven on “RoboCop” and “Starship Troopers,” said “Young Sinner” will be a political thriller set in Washington D.C. and will revolve around a “young staffer who works for a powerful Senator, is drawn into a web of international intrigue and danger.” He said there will “also be a little sex” in the movie.
Verhoeven and Neumeier recently spoke about the project during an interview with Movie Maker. The Dutch filmmaker said “Young Sinner” “will be an innovative version of movies like ‘Fatal Attraction’ and ‘Basic Instinct.'” He added that he wanted the movie to have as little special effects as possible and “more explosive” than other thrillers he has directed before.
Neumeier, who previously teamed with Verhoeven on “RoboCop” and “Starship Troopers,” said “Young Sinner” will be a political thriller set in Washington D.C. and will revolve around a “young staffer who works for a powerful Senator, is drawn into a web of international intrigue and danger.” He said there will “also be a little sex” in the movie.
- 12/7/2021
- by Elsa Keslassy
- Variety Film + TV
“Our memory is a more perfect world than the universe,” wrote Guy de Maupassant. “It gives back life to those who no longer exist.”
The world as we know it no longer exists in Kelsey Egan’s melancholy début feature. We drift down across a scorched white desert to find the glasshouse, adrift in a little island of green, set apart from the world and seemingly adrift in time. There, mother (a magnificently coiffured Adrienne Pearce) presides over her tight-knit family unit: older girls Bea (Jessica Alexander) and Evie (Anja Taljaard); young Daisy (Kitty Harris) and boy Gabe (Brent Vermeulen). The latter struggles with a significant cognitive disability caused by early childhood exposure to the airborne pathogen known as the Shred, which damages the memory. As we get to know this family, however, we will learn that Gabe’s difficulties do not mean he’s unintelligent – indeed, he sometimes understands what’s going on.
The world as we know it no longer exists in Kelsey Egan’s melancholy début feature. We drift down across a scorched white desert to find the glasshouse, adrift in a little island of green, set apart from the world and seemingly adrift in time. There, mother (a magnificently coiffured Adrienne Pearce) presides over her tight-knit family unit: older girls Bea (Jessica Alexander) and Evie (Anja Taljaard); young Daisy (Kitty Harris) and boy Gabe (Brent Vermeulen). The latter struggles with a significant cognitive disability caused by early childhood exposure to the airborne pathogen known as the Shred, which damages the memory. As we get to know this family, however, we will learn that Gabe’s difficulties do not mean he’s unintelligent – indeed, he sometimes understands what’s going on.
- 8/16/2021
- by Jennie Kermode
- eyeforfilm.co.uk
Paul Verhoeven, the acclaimed director of “RoboCop” and “Starship Troopers,” is working on a French-language TV series based on Guy de Maupassant’s “Bel Ami” novel, which will be produced by Saïd Ben Saïd.
Deadline reported that Verhoeven will serve as showrunner and direct all eight episodes of the series, which will offer a contemporary spin on the novel, according to Ben Saïd. The original “Bel Ami” novel, published in 1885, centered on a corrupt journalist in Paris who rose to power by manipulating a series of powerful and wealthy women. The series will be written by Dutch screenwriter Gerard Soeteman, who collaborated with Verhoeven on films such as “Black Book” and “Turkish Delight.” Which broadcaster would eventually air the series is still being discussed, and filming is expected to begin in France in summer 2021, according to Ben Saïd.
Ben Saïd, through a representative, confirmed his Deadline comments on the project to IndieWire.
Deadline reported that Verhoeven will serve as showrunner and direct all eight episodes of the series, which will offer a contemporary spin on the novel, according to Ben Saïd. The original “Bel Ami” novel, published in 1885, centered on a corrupt journalist in Paris who rose to power by manipulating a series of powerful and wealthy women. The series will be written by Dutch screenwriter Gerard Soeteman, who collaborated with Verhoeven on films such as “Black Book” and “Turkish Delight.” Which broadcaster would eventually air the series is still being discussed, and filming is expected to begin in France in summer 2021, according to Ben Saïd.
Ben Saïd, through a representative, confirmed his Deadline comments on the project to IndieWire.
- 5/12/2020
- by Tyler Hersko
- Indiewire
Paul Verhoeven is lining up a French-language series based on Guy de Maupassant’s classic novel Bel Ami, according to producer Saïd Ben Saïd.
Verhoeven will serve as showrunner and director of all eight episodes of the series, which will be a contemporary adaptation of the novel set in the TV world. It is being written by Dutch screenwriter Gerard Soeteman, who previously collaborated with Verhoeven on features including Black Book and Turkish Delight.
Producer Ben Saïd, whose credits include Verhoeven’s Oscar-nominated Elle, told Deadline that a broadcaster for the series was “under discussion.” The project is aiming to shoot summer 2021 in France.
Ben Saïd also confirmed that Benedetta, Verhoeven’s upcoming erotic feature about a 17th century nun who suffers from disturbing religious visions, has pushed back its planned release to 2021. The film had been widely tipped for a bow at Cannes 2020 before the festival was forced to...
Verhoeven will serve as showrunner and director of all eight episodes of the series, which will be a contemporary adaptation of the novel set in the TV world. It is being written by Dutch screenwriter Gerard Soeteman, who previously collaborated with Verhoeven on features including Black Book and Turkish Delight.
Producer Ben Saïd, whose credits include Verhoeven’s Oscar-nominated Elle, told Deadline that a broadcaster for the series was “under discussion.” The project is aiming to shoot summer 2021 in France.
Ben Saïd also confirmed that Benedetta, Verhoeven’s upcoming erotic feature about a 17th century nun who suffers from disturbing religious visions, has pushed back its planned release to 2021. The film had been widely tipped for a bow at Cannes 2020 before the festival was forced to...
- 5/12/2020
- by Tom Grater
- Deadline Film + TV
Verhoeven unites with long-time collaborator Gerard Soeteman on contemporary adaptation.
Dutch director Paul Verhoeven is gearing up to shoot a contemporary, French-language TV adaptation of Guy de Maupassant’s 19th century classic Bel Ami next summer, Paris-based producer Saïd Ben Saïd of Sbs Productions has announced.
Set against the backdrop of the newspaper world in Paris in the late 19th Century, the original storyline revolves around the rise of unscrupulous, philandering journalist Georges Duroy.
“The shoot is scheduled for the summer of 2021. It’s a Sbs Production and it will be the first series that we are going to produce.
Dutch director Paul Verhoeven is gearing up to shoot a contemporary, French-language TV adaptation of Guy de Maupassant’s 19th century classic Bel Ami next summer, Paris-based producer Saïd Ben Saïd of Sbs Productions has announced.
Set against the backdrop of the newspaper world in Paris in the late 19th Century, the original storyline revolves around the rise of unscrupulous, philandering journalist Georges Duroy.
“The shoot is scheduled for the summer of 2021. It’s a Sbs Production and it will be the first series that we are going to produce.
- 5/11/2020
- by 1100388¦Melanie Goodfellow¦0¦
- ScreenDaily
SandalwoodThe actor said in an interview that his inbox is flooded with new scripts and the lockdown has given him time to read and pick out the best.Digital NativeDigital NativeKannada actor Rishi is making the best use of the lockdown period by reading new scripts. The actor said that he has been offered several scripts in the past and his inbox is flooded with new scripts; therefore, this is the best time to read and pick out the best. The actor pointed out that reading the script gives him better insights than story narrations and he is able to choose the right one. He added that he has earmarked some scripts which he will take up after the lockdown ends. In an interview with Cinema Express, Rishi has been quoted as saying, “I usually get a narration over the phone, but I prefer a written script, a brief synopsis,...
- 4/27/2020
- by Vidya
- The News Minute
Lorcan Finnegan’s science-fiction thriller “Vivarium” with Jesse Eisenberg and Imogen Poots, Jérémy Clapin’s fantasy-filled animated feature “I Lost My Body,” and Hlynur Pálmason’s Icelandic drama “A White, White Day” are among the 11 films set to compete at Critics’ Week, the section dedicated to first and second films that runs parallel with the Cannes Film Festival.
“Vivarium,” described by Critics’ Week’s artistic director Charles Tesson as reminiscent of “The Twilight Zone” and “The Truman Show,” follows a young couple (Eisenberg and Poots) who have just moved into a new housing development and find themselves in a maze of identical homes and a surreal world.
“A White, White Day” marks Pálmason’s follow up to his 2017 feature debut, “Winter Brothers,” which won three prizes at Locarno, followed by a healthy festival run. “A White, White Day” stars Ingvar Eggert Sigurðsson (“Fantastic Beasts: The Crimes of Grindelwald”) as an...
“Vivarium,” described by Critics’ Week’s artistic director Charles Tesson as reminiscent of “The Twilight Zone” and “The Truman Show,” follows a young couple (Eisenberg and Poots) who have just moved into a new housing development and find themselves in a maze of identical homes and a surreal world.
“A White, White Day” marks Pálmason’s follow up to his 2017 feature debut, “Winter Brothers,” which won three prizes at Locarno, followed by a healthy festival run. “A White, White Day” stars Ingvar Eggert Sigurðsson (“Fantastic Beasts: The Crimes of Grindelwald”) as an...
- 4/22/2019
- by Elsa Keslassy
- Variety Film + TV
László Nemes (looking at Martin Scorsese) on the stiff collar worn by Írisz in Sunset, costumes by Györgyi Szakács: "And it goes down with the film." Photo: Anne-Katrin Titze
Sunset (Napszállta) is cinema at its astute and enchanting finest. Max Ophüls and Jean Renoir may come to mind and the scene in the shoe department of Romanze in Moll, Helmut Käutner's take on Guy De Maupassant. In a similar mode to the way László Nemes chained us to the back of the neck of Géza Röhrig's Saul Ausländer in his groundbreaking, Oscar-winning Son Of Saul (also shot by Mátyás Erdély), he attaches us firmly to his Sunset heroine Írisz Leiter (Juli Jakab), a young woman who returns, after years of apprenticeship in Trieste, to her native Budapest in hopes of working as a milliner at the famous Leiter department store her deceased parents used to own.
László...
Sunset (Napszállta) is cinema at its astute and enchanting finest. Max Ophüls and Jean Renoir may come to mind and the scene in the shoe department of Romanze in Moll, Helmut Käutner's take on Guy De Maupassant. In a similar mode to the way László Nemes chained us to the back of the neck of Géza Röhrig's Saul Ausländer in his groundbreaking, Oscar-winning Son Of Saul (also shot by Mátyás Erdély), he attaches us firmly to his Sunset heroine Írisz Leiter (Juli Jakab), a young woman who returns, after years of apprenticeship in Trieste, to her native Budapest in hopes of working as a milliner at the famous Leiter department store her deceased parents used to own.
László...
- 3/14/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Wash Westmoreland on the influence of Orson Welles's Citizen Kane: "Willy basically raps this poem about Colette and we have this big table and, oh, wouldn't it be great if everyone just started dancing on the table." Photo: Anne-Katrin Titze
Max Ophüls' The Earrings Of Madame De…, starring Danielle Darrieux, Charles Boyer, and Vittorio De Sica, Guy de Maupassant, the Eiffel Tower, Orson Welles's Citizen Kane, and François Truffaut, the reflected relationship between Dominic West's Willy and Keira Knightley's Colette, and the influence of Kiyoshi Kurosawa's Cure on Earthquake Bird, starring Alicia Vikander, Riley Keough, and Jack Huston, adapted from Susanna Jones's novel - all come up in the final instalment of my conversation with Colette director Wash Westmoreland at Le Parker Meridien in New York.
Wash Westmoreland on Willy (Dominic West) taking credit for Colette's (Keira Knightley) work: "Like in West Side Story,...
Max Ophüls' The Earrings Of Madame De…, starring Danielle Darrieux, Charles Boyer, and Vittorio De Sica, Guy de Maupassant, the Eiffel Tower, Orson Welles's Citizen Kane, and François Truffaut, the reflected relationship between Dominic West's Willy and Keira Knightley's Colette, and the influence of Kiyoshi Kurosawa's Cure on Earthquake Bird, starring Alicia Vikander, Riley Keough, and Jack Huston, adapted from Susanna Jones's novel - all come up in the final instalment of my conversation with Colette director Wash Westmoreland at Le Parker Meridien in New York.
Wash Westmoreland on Willy (Dominic West) taking credit for Colette's (Keira Knightley) work: "Like in West Side Story,...
- 12/26/2018
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Paris-based independant company Cineteve is on board to produce a flurry of ambitious series, including the political comedy “Parlement,” the border-crime thriller “Nine,” the French revolution western “Cagliostro” and the spy thriller “Gaston.”
All four projects are being spearheaded by Cineteve’s founder Fabienne Servan-Schreiber, and Thomas Saignes who joined the company less than a year ago to develop and produce high-profile international drama.
“Parlement” is a half-hour comedy series about the European Parliament written by Noé Debré, whose credits include Jacques Audiard’s Palme d’Or winning “Dheepan.”
The series centers around an aimless 20-something man who works at the European Parliament in the midst of a post-Brexit chaos and sets off to take his fate in his own hands. Cineteve is partnering up with Studio Hamburg’s CineCentrum and All3’s 7Stories to produce the series which is now in advanced development. A French commissioning partner will soon be announced.
All four projects are being spearheaded by Cineteve’s founder Fabienne Servan-Schreiber, and Thomas Saignes who joined the company less than a year ago to develop and produce high-profile international drama.
“Parlement” is a half-hour comedy series about the European Parliament written by Noé Debré, whose credits include Jacques Audiard’s Palme d’Or winning “Dheepan.”
The series centers around an aimless 20-something man who works at the European Parliament in the midst of a post-Brexit chaos and sets off to take his fate in his own hands. Cineteve is partnering up with Studio Hamburg’s CineCentrum and All3’s 7Stories to produce the series which is now in advanced development. A French commissioning partner will soon be announced.
- 10/16/2018
- by Elsa Keslassy
- Variety Film + TV
“It’s been a pleasure,” Mariano Llinás politely informs us between Episodes 4 and 5 of this film’s 320-minute, thorny third part, before he hits the road in his blue Volvo and leaves La Flor’s loyal viewers in his rear-view mirror. After the sizable, solitary Part 2, Part 3 is formed in fits and starts, a crucial and challenging Episode 4 followed-up by flash fictions, a further two curiosities that anticlimactically conclude the 14-hour La Flor. For the first time, the viewer re-enters the film with the knowledge that, in however-many hundred minutes that remain, La Flor, at last, will cut to black—and indeed there is something stress-inducing involved in watching our showman-storyteller Mariano Llinás carry his project across the finish line. Even an abrupt, unresolved ending is still an ending, and in spite of all evidence to the contrary, a viewer at the beginning of Part 3 would wonder if the sum...
- 8/12/2018
- MUBI
This atmospheric film adaptation of Guy de Maupassant’s novel explores the bleak lot of an heiress in 19th-century France
Based on a novel by Guy de Maupassant and sharing themes (male treachery, suffering) as well as a title with Mikio Naruse’s 1963 drama, Stéphane Brizé’s gorgeous period piece explores the bleak lot of an aristocratic heiress in 19th-century France. Shot in boxy 1.33:1 ratio, and kissed by flickering candlelight, this a world so persuasively realised that you can almost smell the damp that rises, along with the debt. We follow Jeanne (Judith Chemla) from the clear-eyed hopefulness of youth to late middle age; it’s a performance that is so compelling that we forgive the film its fairly dispiriting trajectory and portrayal of a woman who often seems little more than a helpless chattel.
Continue reading...
Based on a novel by Guy de Maupassant and sharing themes (male treachery, suffering) as well as a title with Mikio Naruse’s 1963 drama, Stéphane Brizé’s gorgeous period piece explores the bleak lot of an aristocratic heiress in 19th-century France. Shot in boxy 1.33:1 ratio, and kissed by flickering candlelight, this a world so persuasively realised that you can almost smell the damp that rises, along with the debt. We follow Jeanne (Judith Chemla) from the clear-eyed hopefulness of youth to late middle age; it’s a performance that is so compelling that we forgive the film its fairly dispiriting trajectory and portrayal of a woman who often seems little more than a helpless chattel.
Continue reading...
- 1/14/2018
- by Wendy Ide
- The Guardian - Film News
Stéphane Brizé’s period drama trots along like a reliable chestnut mare, tugging steadily behind it the tale of a sensitive heiress who marries a rotter
Adapted from an 1883 novel by Guy de Maupassant, this period drama feels as if it was designed to delight the palates of Franco-cinephiles with a thing for gauzy frocks, polite literary feminism and boxy aspect ratios.
In the hands of director Stéphane Brizé (The Measure of a Man), the film trots along like a reliable chestnut mare, tugging behind it at steady if somewhat soporific pace the tale of a sensitive heiress, Jeanne (endearing Judith Chemla), who marries a rotter with a fancier title (Swann Arlaud). As the years pass, loved and less loved ones die, farms and estate holdings are sold off and children make bad investments that ruin fortunes, all heaping more unhappiness on our resilient heroine.
Continue reading...
Adapted from an 1883 novel by Guy de Maupassant, this period drama feels as if it was designed to delight the palates of Franco-cinephiles with a thing for gauzy frocks, polite literary feminism and boxy aspect ratios.
In the hands of director Stéphane Brizé (The Measure of a Man), the film trots along like a reliable chestnut mare, tugging behind it at steady if somewhat soporific pace the tale of a sensitive heiress, Jeanne (endearing Judith Chemla), who marries a rotter with a fancier title (Swann Arlaud). As the years pass, loved and less loved ones die, farms and estate holdings are sold off and children make bad investments that ruin fortunes, all heaping more unhappiness on our resilient heroine.
Continue reading...
- 1/12/2018
- by Leslie Felperin
- The Guardian - Film News
Author: Linda Marric
Adapted by Stéphane Brizé (The Measure Of A Man, Not Here To Be Loved) from Guy de Maupassant’s seminal 1883 novel of the same name, Une Vie (A Woman’s Life) is a beautifully constructed costume drama, which despite being set in the 19th century, manages to be as fresh and as current as any social drama worth its salt. Staring Judith Chemla in the principal role, A Woman’s Life is able to break out of the rigidity of its time by offering a story which is as gut-wrenching in its storytelling as it is brilliantly relatable in its social realist aesthetic.
Chelma is Joanne, the daughter of wealthy landowners in rural France who until now has lived an idyllic countryside life with her parents, the Baron and Baroness Le Perthuis des Vauds. Not wishing to be separated from them, Joanne agrees to marry Julien de...
Adapted by Stéphane Brizé (The Measure Of A Man, Not Here To Be Loved) from Guy de Maupassant’s seminal 1883 novel of the same name, Une Vie (A Woman’s Life) is a beautifully constructed costume drama, which despite being set in the 19th century, manages to be as fresh and as current as any social drama worth its salt. Staring Judith Chemla in the principal role, A Woman’s Life is able to break out of the rigidity of its time by offering a story which is as gut-wrenching in its storytelling as it is brilliantly relatable in its social realist aesthetic.
Chelma is Joanne, the daughter of wealthy landowners in rural France who until now has lived an idyllic countryside life with her parents, the Baron and Baroness Le Perthuis des Vauds. Not wishing to be separated from them, Joanne agrees to marry Julien de...
- 1/11/2018
- by Linda Marric
- HeyUGuys.co.uk
French film actor best known for Madame de … and La Ronde
There are few actors who embodied many people’s idea of a French woman of the world more than Danielle Darrieux, who has died aged 100. Starting as an ingenue in the 1930s, she grew into a sophisticate in the 40s and 50s, and retained a dignified and magical presence in films into the new century.
The outstanding examples of her art were the three films Darrieux made with the German-born Max Ophüls when she was in her 30s. In La Ronde (1950), she played the married woman who is seduced by a student (Daniel Gélin). The second and best of the three adapted tales by Guy de Maupassant in Le Plaisir (House of Pleasure, 1952) is La Maison Tellier, in which Darrieux played one of a group of prostitutes paying an annual holiday visit to the country. But it was the...
There are few actors who embodied many people’s idea of a French woman of the world more than Danielle Darrieux, who has died aged 100. Starting as an ingenue in the 1930s, she grew into a sophisticate in the 40s and 50s, and retained a dignified and magical presence in films into the new century.
The outstanding examples of her art were the three films Darrieux made with the German-born Max Ophüls when she was in her 30s. In La Ronde (1950), she played the married woman who is seduced by a student (Daniel Gélin). The second and best of the three adapted tales by Guy de Maupassant in Le Plaisir (House of Pleasure, 1952) is La Maison Tellier, in which Darrieux played one of a group of prostitutes paying an annual holiday visit to the country. But it was the...
- 10/19/2017
- by Ronald Bergan
- The Guardian - Film News
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.
After the Storm (Hirokazu Kore-eda)
Can our children pick and choose the personality traits they inherit, or are they doomed to obtain our lesser qualities? These are the hard questions being meditated on in After the Storm, a sobering, transcendent tale of a divorced man’s efforts to nudge back into his son’s life. Beautifully shot by regular cinematographer Yutaka Yamasaki, it marks a welcome and quite brilliant...
After the Storm (Hirokazu Kore-eda)
Can our children pick and choose the personality traits they inherit, or are they doomed to obtain our lesser qualities? These are the hard questions being meditated on in After the Storm, a sobering, transcendent tale of a divorced man’s efforts to nudge back into his son’s life. Beautifully shot by regular cinematographer Yutaka Yamasaki, it marks a welcome and quite brilliant...
- 8/11/2017
- by Jordan Raup
- The Film Stage
That bad boy of (mostly) French cinema Walerian Borowczyk has been converting doubters into fans for sixty years, even though his pictures were never easy to see. Before he took a headlong leap into soft-core epics, he made some of the most creative and influential short films of his time — and they eventually became more erotic as well.
The Walerian Borowczyk Short Film Collection
Blu-ray
Olive Films
1959-1984 / B&W and Color / 1:66, 1:78 and 1:37 flat Academy / 144 min. / Street Date April 25, 2017 / available through the Olive Films website / 24.95
Directed by Walerian Borowczyk
This release brings back memories of traveling short subject shows, usually several reels’ worth of experimental films that would tour college campuses. Even in High School I’d drag my girlfriend to the University of Riverside, where huge crowds looking for the ‘In’ place to be would stare in attention at hours of abstract visuals, expressing their approval...
The Walerian Borowczyk Short Film Collection
Blu-ray
Olive Films
1959-1984 / B&W and Color / 1:66, 1:78 and 1:37 flat Academy / 144 min. / Street Date April 25, 2017 / available through the Olive Films website / 24.95
Directed by Walerian Borowczyk
This release brings back memories of traveling short subject shows, usually several reels’ worth of experimental films that would tour college campuses. Even in High School I’d drag my girlfriend to the University of Riverside, where huge crowds looking for the ‘In’ place to be would stare in attention at hours of abstract visuals, expressing their approval...
- 5/13/2017
- by Glenn Erickson
- Trailers from Hell
The “literary costume drama” is one of cinema’s most tried and true genres in the broader film world. From seemingly the inception of the medium to today, the tactile world of grand costumes and baroque examinations of love in a bygone time have been the breeding ground for some of the most exciting and formally inventive films of all time. However, it’s also become an often stuffy and cliche-ridden genre that finds few ways to break new ground.
But then comes A Woman’s Life. The newest film from French director Stephane Brize, Life takes the stilted trappings of the literary costume drama, and grounds them in ways one rarely sees. An adaptation of the beloved Guy de Maupassant novel Une Vie, Brize’s picture introduces us to Jeanne, a young woman in rural, 19th-century Normandy who meets and marries a Viscount Julien de Lamare. However, almost instantaneously things begin to unravel,...
But then comes A Woman’s Life. The newest film from French director Stephane Brize, Life takes the stilted trappings of the literary costume drama, and grounds them in ways one rarely sees. An adaptation of the beloved Guy de Maupassant novel Une Vie, Brize’s picture introduces us to Jeanne, a young woman in rural, 19th-century Normandy who meets and marries a Viscount Julien de Lamare. However, almost instantaneously things begin to unravel,...
- 5/7/2017
- by Joshua Brunsting
- CriterionCast
The rare period piece that feels observed rather than pretended, Stéphane Brizé’s “A Woman’s Life” finds the prolific French filmmaker applying his ruggedly naturalistic style — used to great effect in last year’s blue-collar drama, “The Measure of a Man” — to some very different source material. Adapted from Guy de Maupassant’s 1883 debut novel, Brizé’s latest is less a well-furnished historical saga than it is a selective simulation of life in the middle of the 19th Century; de Maupassant may have died before the invention of narrative cinema, but it’s easy enough to imagine him watching this doggedly matter-of-fact drama without the slightest bit of confusion. Merchant Ivory fans might find themselves feeling restless, but anyone who appreciated the quotidian rigor of Terence Davies’ “A Quiet Passion” will find a lot to love about this epic of asceticism.
Spanning decades with the speed of a pebble...
Spanning decades with the speed of a pebble...
- 5/6/2017
- by David Ehrlich
- Indiewire
If you like your coming of age stories set in 19th century rural Normandy, Stéphane Brizé ‘s “A Woman’s Life” is just the film for your very specific tastes.
The drama, an adaptation of Guy de Maupassant’s classic novel “Une Vie,” explores the troubles of a woman named Jeanne (Judith Chemla), who faces falling in love under the restrictive social and moral codes of the time. Brizé shot “A Woman’s Life” in the tight 4:3 Academy ratio, a very apt visual symbol of his heroine’s constricted life. All in all, it’s a stark departure from his last film, Cannes award-winner “The Measure of a Man.”
Read More: ‘Risk’ Takes On Julian Assange: The Dramatic Story Behind Laura Poitras’ Oscar Follow-Up
Brizé recently spoke to Film Comment about what drew him to the source material.
“I was fascinated by discovering the vision of the world...
The drama, an adaptation of Guy de Maupassant’s classic novel “Une Vie,” explores the troubles of a woman named Jeanne (Judith Chemla), who faces falling in love under the restrictive social and moral codes of the time. Brizé shot “A Woman’s Life” in the tight 4:3 Academy ratio, a very apt visual symbol of his heroine’s constricted life. All in all, it’s a stark departure from his last film, Cannes award-winner “The Measure of a Man.”
Read More: ‘Risk’ Takes On Julian Assange: The Dramatic Story Behind Laura Poitras’ Oscar Follow-Up
Brizé recently spoke to Film Comment about what drew him to the source material.
“I was fascinated by discovering the vision of the world...
- 5/5/2017
- by Allison Picurro
- Indiewire
When a Potiche Ascends the Stairs: Brizé’s Winning, Textured de Maupassant Adaptation
Although cinematic adaptations of French writer Guy de Maupassant still occur with some regularity, few contemporary Gallic auteurs have successfully tackled the naturalist who was a protégé of Flaubert and a contemporary of Zola.
Continue reading...
Although cinematic adaptations of French writer Guy de Maupassant still occur with some regularity, few contemporary Gallic auteurs have successfully tackled the naturalist who was a protégé of Flaubert and a contemporary of Zola.
Continue reading...
- 5/5/2017
- by Nicholas Bell
- IONCINEMA.com
When a Potiche Ascends the Stairs: Brizé’s Winning, Textured de Maupassant Adaptation
Although cinematic adaptations of French writer Guy de Maupassant still occur with some regularity, few contemporary Gallic auteurs have successfully tackled the naturalist who was a protégé of Flaubert and a contemporary of Zola. Frequent adaptations of his famed short story “Boule de Suif” and Bel-Ami are resurrected regularly, and his stories have inspired auteurs like Robert Wise, Jean-Luc Godard, Marcel Ophüls, and Jean Renoir. However, de Maupassant’s seminal first novel, Une Vie (1883), has been adapted several times outside of France, while previously its most definitive mounting was the 1958 End of Desire headlined by Maria Schell.
For his seventh feature, Stephane Brizé persuasively reflects the subjugation of women’s agency with the fragmented A Woman’s Life, and is perhaps the most auspicious transformation of the author since the handsome productions of the 1950s with this astute period piece featuring an exquisite ensemble of character actors.
After returning from convent school, Jeanne (Judith Chemla) takes joy in assisting her father (Jean-Pierre Darroussin) in the garden and perambulating with her mother (Yolande Moreau), a woman who spends most of her free time scrolling through the contents of letters she received throughout her life. With only the young family maid Rosalie (Nina Meurisse) as a friend and confidante, Jeanne soon finds herself courted by the handsome Viscount Julien de Lamare (Swann Arlaud). Swept into what she’s made to believe is romance, the marriage soon sours when Rosalie is found to be with child after having been raped by Julien. Thus begins Jeanne’s initiation into a world more harrowing than she had anticipated as her ideals and dignity are slowly stripped away.
Judith Chemla, who has starred as a supporting player in a number of period productions for noted auteurs (Tavernier, Techine) comes to the fore as the passive, frustrated center of Brizé’s film. Oblivious to the tendencies and behaviors of those around her, A Woman’s Life gently ushers her from a frivolous young woman of privilege to an increasingly fraught wife forced to contend with a debauched husband.
Brizé’s film has all the potential of a tawdry soap opera, and yet is distilled into fragmented reflections of her escapist tendencies. As we rush through defining moments of her life, time slows as Jeanne disappears into the bright, sunshiny memories which brought her to such a brooding standstill. Chemla is tasked with revealing Jeanne’s persona through inscrutable moments, an object acted upon despite meager efforts to gain control of her life. When escape presents itself upon learning of her own pregnancy at the same time as her husband’s philandering with Rosalie, her own mother confirms her fate by forcing Jeanne to forgive rather than return home.
Yolande Moreau gives a subversively droll performance as a cold maternal figure who has several major secrets of her own. As her counterpart, Jean-Pierre Darroussin nearly disappears within the period garb as Jeanne’s mild mannered father, while a mousy Swann Arlaud is sufficiently unpalatable as her cheating husband. Clotilde Hesme surfaces in a brief subplot which yields shockingly violent results, while rising young actor Finnegan Oldfield (Nocturama; Les Cowboys) shows up in the third act as Jeanne’s selfish teenage son, the specter haunting her golden years and sending her into protracted anguish.
Much like Brizé’s last lauded feature, 2015’s The Measure of a Man, the narrative revolves around distilled, refracted moments informing its protagonist’s mind frame, a person once again trapped by economic necessity in an unfavorable role which whittles away at their resolve.
Collaborating once more with scribe Florence Vignon (who scripted his superb 2009 film Mademoiselle Chambon), they achieve a striking portrait of a woman of certain means as equally weighted down by her expectations and limited control. Brizé also taps Dp Antoine Heberle (who worked on Chambon and A Few Hours of Spring, as well as Ozon’s Under the Sand) who transforms the film into a constant visual juxtaposition of stark, contrasting palettes, ranging from the brooding grays of Jeanne’s present to the golden, sparkling vivaciousness of happy times she can never return to. With stunning finality, a drastic situation boils down to bittersweet reality— “Life is never as good or as bad as you think it is.”
★★★★/☆☆☆☆☆
The post A Woman’s Life | Review appeared first on Ioncinema.com.
Although cinematic adaptations of French writer Guy de Maupassant still occur with some regularity, few contemporary Gallic auteurs have successfully tackled the naturalist who was a protégé of Flaubert and a contemporary of Zola. Frequent adaptations of his famed short story “Boule de Suif” and Bel-Ami are resurrected regularly, and his stories have inspired auteurs like Robert Wise, Jean-Luc Godard, Marcel Ophüls, and Jean Renoir. However, de Maupassant’s seminal first novel, Une Vie (1883), has been adapted several times outside of France, while previously its most definitive mounting was the 1958 End of Desire headlined by Maria Schell.
For his seventh feature, Stephane Brizé persuasively reflects the subjugation of women’s agency with the fragmented A Woman’s Life, and is perhaps the most auspicious transformation of the author since the handsome productions of the 1950s with this astute period piece featuring an exquisite ensemble of character actors.
After returning from convent school, Jeanne (Judith Chemla) takes joy in assisting her father (Jean-Pierre Darroussin) in the garden and perambulating with her mother (Yolande Moreau), a woman who spends most of her free time scrolling through the contents of letters she received throughout her life. With only the young family maid Rosalie (Nina Meurisse) as a friend and confidante, Jeanne soon finds herself courted by the handsome Viscount Julien de Lamare (Swann Arlaud). Swept into what she’s made to believe is romance, the marriage soon sours when Rosalie is found to be with child after having been raped by Julien. Thus begins Jeanne’s initiation into a world more harrowing than she had anticipated as her ideals and dignity are slowly stripped away.
Judith Chemla, who has starred as a supporting player in a number of period productions for noted auteurs (Tavernier, Techine) comes to the fore as the passive, frustrated center of Brizé’s film. Oblivious to the tendencies and behaviors of those around her, A Woman’s Life gently ushers her from a frivolous young woman of privilege to an increasingly fraught wife forced to contend with a debauched husband.
Brizé’s film has all the potential of a tawdry soap opera, and yet is distilled into fragmented reflections of her escapist tendencies. As we rush through defining moments of her life, time slows as Jeanne disappears into the bright, sunshiny memories which brought her to such a brooding standstill. Chemla is tasked with revealing Jeanne’s persona through inscrutable moments, an object acted upon despite meager efforts to gain control of her life. When escape presents itself upon learning of her own pregnancy at the same time as her husband’s philandering with Rosalie, her own mother confirms her fate by forcing Jeanne to forgive rather than return home.
Yolande Moreau gives a subversively droll performance as a cold maternal figure who has several major secrets of her own. As her counterpart, Jean-Pierre Darroussin nearly disappears within the period garb as Jeanne’s mild mannered father, while a mousy Swann Arlaud is sufficiently unpalatable as her cheating husband. Clotilde Hesme surfaces in a brief subplot which yields shockingly violent results, while rising young actor Finnegan Oldfield (Nocturama; Les Cowboys) shows up in the third act as Jeanne’s selfish teenage son, the specter haunting her golden years and sending her into protracted anguish.
Much like Brizé’s last lauded feature, 2015’s The Measure of a Man, the narrative revolves around distilled, refracted moments informing its protagonist’s mind frame, a person once again trapped by economic necessity in an unfavorable role which whittles away at their resolve.
Collaborating once more with scribe Florence Vignon (who scripted his superb 2009 film Mademoiselle Chambon), they achieve a striking portrait of a woman of certain means as equally weighted down by her expectations and limited control. Brizé also taps Dp Antoine Heberle (who worked on Chambon and A Few Hours of Spring, as well as Ozon’s Under the Sand) who transforms the film into a constant visual juxtaposition of stark, contrasting palettes, ranging from the brooding grays of Jeanne’s present to the golden, sparkling vivaciousness of happy times she can never return to. With stunning finality, a drastic situation boils down to bittersweet reality— “Life is never as good or as bad as you think it is.”
★★★★/☆☆☆☆☆
The post A Woman’s Life | Review appeared first on Ioncinema.com.
- 5/5/2017
- by Nicholas Bell
- IONCINEMA.com
Welcome back to the Weekend Warrior, your weekly look at the new movies hitting theaters this weekend, as well as other cool events and things to check out.
Guardians of the Galaxy, Vol. 2 Kicks Off the Summer With a Sci-Fi Action-Comedy
After three weeks of dominating the box office, Universal’s The Fate of the Furious is going to have to give way to a new movie, and that’s because the first weekend of May means that it’s officially...The Summer Movie Season!!!!
Just like the last couple years, the summer movie season is kicking off with a new movie from Marvel Studios, and their sequel Guardians Of The Galaxy, Vol. 2 (Marvel Studios/Disney), reunites Chris Pratt as Starlord, Zoe Saldana as Gamora, Dave Bautista’s Drax, Michael Rooker’s Yondu with the voices of Vin Diesel and Bradley Cooper as Groot and Rocket Racoon, for the next...
Guardians of the Galaxy, Vol. 2 Kicks Off the Summer With a Sci-Fi Action-Comedy
After three weeks of dominating the box office, Universal’s The Fate of the Furious is going to have to give way to a new movie, and that’s because the first weekend of May means that it’s officially...The Summer Movie Season!!!!
Just like the last couple years, the summer movie season is kicking off with a new movie from Marvel Studios, and their sequel Guardians Of The Galaxy, Vol. 2 (Marvel Studios/Disney), reunites Chris Pratt as Starlord, Zoe Saldana as Gamora, Dave Bautista’s Drax, Michael Rooker’s Yondu with the voices of Vin Diesel and Bradley Cooper as Groot and Rocket Racoon, for the next...
- 5/4/2017
- by Edward Douglas
- LRMonline.com
Like one of Aesop’s fables, A Woman’s Life presents its moral at the end, via the very last line of dialogue. “You see, my lady,” a servant tells her mistress, “life is never as good or as bad as you think.” Guy De Maupassant concluded his first novel, Une Vie (1883)—from which this film was adapted—in the very same way, and perhaps the sentiment feels more apropos in its original context, as shaped by its heroine’s internal monologue. On screen, however, life mostly appears to be far more cruel than a woman (or anybody else) could possibly deserve, with but a single glimmer of hope in the final seconds proffered as balance. Cinematic miserabilism doesn’t get much more insistent or oppressive than this, and while A Woman’s Life has its champions—Fipresci, the international critics’ association, voted it the best film in competition ...
- 5/3/2017
- by Mike D'Angelo
- avclub.com
Following a fall festival premiere at Venice, a U.S. trailer has arrived for A Woman’s Life (Une Vie), the latest drama from Stéphane Brizé (The Measure of a Man), which Kino Lorber will release this May. Shot in the aesthetically-pleasing 4:3 aspect ratio (where are my Ida fans at?!), cinematographer Antoine Héberlé‘s intimate portraits are on full display amidst a delicate and ominous trailer that hints at the film’s crueler side.
We said in our review from Venice, “This is the kind of thing Lars Von Trier usual does very well. Take a complex, apparently fragile, and slightly naïve female lead; put her through the ringer; and let the audience mull over whether she’s a character who is inherently weak or strong. You sense Brizé is attempting something similar but his Jeanne is a blank canvas; a brick wall; a vaguely soggy piece of tarpaulin,...
We said in our review from Venice, “This is the kind of thing Lars Von Trier usual does very well. Take a complex, apparently fragile, and slightly naïve female lead; put her through the ringer; and let the audience mull over whether she’s a character who is inherently weak or strong. You sense Brizé is attempting something similar but his Jeanne is a blank canvas; a brick wall; a vaguely soggy piece of tarpaulin,...
- 3/29/2017
- by Mike Mazzanti
- The Film Stage
Making his move from editor (Citizen Kane, The Devil and Daniel Webster, and The Magnificent Ambersons) to director in the early 1940s, Robert Wise wasted little time jumping into a variety of arguably B-grade pictures (like the Val Lewton sequel The Curse of the Cat People, the Guy de Maupassant adaptation Mademoiselle Fifi, and back again to Lewton for the marvelous Robert Louis Stevenson tale The Body Snatchers).
Continue reading...
Continue reading...
- 3/28/2017
- by Nicholas Bell
- IONCINEMA.com
Guillaume Gallienne and Guillaume Canet are Paul Cézanne and Émile Zola in Danièle Thompson's Cézanne Et Moi
Where else can you find Édouard Manet (Nicolas Gob), Camille Pissarro (Romain Cottard), Guy de Maupassant (Félicien Juttner), Baptistin Baille (Pierre Yvon), Auguste Renoir (Alexandre Kouchner), Ambroise Vollard (Laurent Stocker), Francisco Oller (Pablo Cisneros), Achille Empéraire (Romain Lancry), Père Tanguy (Christian Hecq), Frédéric Bazille (Patrice Tepasso), the great Sabine Azéma as Paul Cézanne's mother, and Glasgow's own Freya Mavor (Joann Sfar's The Lady In The Car With Glasses And A Gun) as the mother to Zola's children - all in one film?
Danièle Thompson on Jean-Marie Dreujou: "He's a wonderful cinematographer." Photo: Anne-Katrin Titze
Déborah François (of Régis Roinsard's Populaire) is Hortense, Cézanne's wife, Alice Pol is Zola's wife Alexandrine, and his mother Émilie is played by Isabelle Candelier. Back and forth in time we jump, from...
Where else can you find Édouard Manet (Nicolas Gob), Camille Pissarro (Romain Cottard), Guy de Maupassant (Félicien Juttner), Baptistin Baille (Pierre Yvon), Auguste Renoir (Alexandre Kouchner), Ambroise Vollard (Laurent Stocker), Francisco Oller (Pablo Cisneros), Achille Empéraire (Romain Lancry), Père Tanguy (Christian Hecq), Frédéric Bazille (Patrice Tepasso), the great Sabine Azéma as Paul Cézanne's mother, and Glasgow's own Freya Mavor (Joann Sfar's The Lady In The Car With Glasses And A Gun) as the mother to Zola's children - all in one film?
Danièle Thompson on Jean-Marie Dreujou: "He's a wonderful cinematographer." Photo: Anne-Katrin Titze
Déborah François (of Régis Roinsard's Populaire) is Hortense, Cézanne's wife, Alice Pol is Zola's wife Alexandrine, and his mother Émilie is played by Isabelle Candelier. Back and forth in time we jump, from...
- 3/24/2017
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Marcel Pagnols’ Marseille Trilogy, Alfred Hitchcock’s “The Lodger: A Story of the London Fog” and Nicholas Ray’s “They Live by Night” are among the new titles joining the Criterion Collection this June. In addition, Kenji Mizoguchi’s “Ugetsu” and Sam Peckinpah’s “Straw Dogs” are being upgraded in new Blu-ray editions. More information below.
Read More: The Criterion Collection Announces May Titles: ‘Ghost World,’ ‘Dheepan,’ ‘Jeanne Dielman’ and More
“Ugetsu”
“Having refined his craft in the silent era, Kenji Mizoguchi was an elder statesman of Japanese cinema-fiercely revered by Akira Kurosawa and other younger directors-by the time he made ‘Ugetsu.’ And with this exquisite ghost story, a fatalistic wartime tragedy derived from stories by Akinari Ueda and Guy de Maupassant, he created a touchstone of his art, his long takes and sweeping camera guiding the viewer through a delirious narrative about two villagers whose pursuit of fame and...
Read More: The Criterion Collection Announces May Titles: ‘Ghost World,’ ‘Dheepan,’ ‘Jeanne Dielman’ and More
“Ugetsu”
“Having refined his craft in the silent era, Kenji Mizoguchi was an elder statesman of Japanese cinema-fiercely revered by Akira Kurosawa and other younger directors-by the time he made ‘Ugetsu.’ And with this exquisite ghost story, a fatalistic wartime tragedy derived from stories by Akinari Ueda and Guy de Maupassant, he created a touchstone of his art, his long takes and sweeping camera guiding the viewer through a delirious narrative about two villagers whose pursuit of fame and...
- 3/15/2017
- by Michael Nordine
- Indiewire
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
Jean-Luc Godard has directed more than 100 films, but for completists there’s been one title that’s unavailable … until it showed up on YouTube this week. “Une Femme Coquette,” a no-budget short made in 1955 when Godard was 24, was posted on February 15 by user David Heslin, and discovered by our friends over at The A.V. Club.
Read More: That Movie About Jean-Luc Godard’s Second Marriage is Misguided
The film, based on a Guy De Maupassant short story, was Godard’s first shot at a narrative. It’s often listed as lost by biographers, and the find is tremendously significant for French New Wave enthusiasts. There are also several easter eggs in the work for Godard fans: the director cameos two minutes in, the story is later re-adapted in Godard’s 1966 film “Masculin Féminin,” and the work itself is credited to his film-critic pseudonym, Hans Lucas.
Just five years after shooting “Une Femme Coquette,...
Read More: That Movie About Jean-Luc Godard’s Second Marriage is Misguided
The film, based on a Guy De Maupassant short story, was Godard’s first shot at a narrative. It’s often listed as lost by biographers, and the find is tremendously significant for French New Wave enthusiasts. There are also several easter eggs in the work for Godard fans: the director cameos two minutes in, the story is later re-adapted in Godard’s 1966 film “Masculin Féminin,” and the work itself is credited to his film-critic pseudonym, Hans Lucas.
Just five years after shooting “Une Femme Coquette,...
- 2/18/2017
- by William Earl
- Indiewire
After his César- and Cannes-winning drama The Measure of a Man finally landed in U.S. theaters just a few months ago, director Stéphane Brizé is back with a new feature. A Woman’s Life (translated from Une Vie) is an adaptation of the Guy de Maupassant novel which tracks the turbulent life of a woman in the 19th century. The first trailer has now arrived, which shows of the gorgeous cinematography in 1.33:1 ratio. While it’s set for a release in France this November, hopefully it gets the attention of U.S. distributors.
We said in our review, “Misery is constant and humor is fleeting in the world of A Woman’s Life (Une Vie), an emotionally overcast period drama from French filmmaker Stéphane Brizé (The Measure of a Man). Shot in square-shaped academy ratio, it recalls — in a certain aesthetic and thematic light — the Danish Dogme films of the mid ‘90s,...
We said in our review, “Misery is constant and humor is fleeting in the world of A Woman’s Life (Une Vie), an emotionally overcast period drama from French filmmaker Stéphane Brizé (The Measure of a Man). Shot in square-shaped academy ratio, it recalls — in a certain aesthetic and thematic light — the Danish Dogme films of the mid ‘90s,...
- 9/27/2016
- by Jordan Raup
- The Film Stage
★★★☆☆ Following hot on the heels of the Cannes prize winner The Measure of a Man, French director Stéphane Brizé returns with his adaptation of Guy de Maupassant's first novel, A Woman's Life. The woman in question is Jeanne (Judith Chemla), the only daughter of wealthy aristocracy. Her father is the Baron (Jean-Pierre Darroussin) and Baroness (Yolande Moreau) Le Perthuis des Vauds. They pass their time at the chateaux undertaking humble pursuits, tending the vegetable garden and playing backgammon, while Jeanne finds friendship with her maid Rosalie (Nina Meurisse).
- 9/6/2016
- by CineVue
- CineVue
Misery is constant and humor is fleeting in the world of A Woman’s Life (Une Vie), an emotionally overcast period drama from French filmmaker Stéphane Brizé (The Measure of a Man). Shot in square-shaped academy ratio, it recalls — in a certain aesthetic and thematic light — the Danish Dogme films of the mid ‘90s, but without the pitch-black misanthropic wit that made that collective famous. Based on Guy de Maupassant’s 1883 novel of the same name (Tolstoy apparently loved it), it follows the endlessly unfortunate life of Jeanne Le Perthuis des Vaud, heiress to the fortune of a wealthy farming family in France in the 19th Century.
Judith Chemla stars as our doomed heroine, at first a wistful young pixie living in the family château who spends her days frolicking around and contemplating rain and skies and the like. Her blissful bourgeois existence is rocked, however, when she is wed...
Judith Chemla stars as our doomed heroine, at first a wistful young pixie living in the family château who spends her days frolicking around and contemplating rain and skies and the like. Her blissful bourgeois existence is rocked, however, when she is wed...
- 9/6/2016
- by Rory O'Connor
- The Film Stage
The Film Society of Lincoln Center has announced the lineup for the Revivals section, taking place during the 54th New York Film Festival (Nyff). The Revivals section showcases masterpieces from renowned filmmakers whose diverse and eclectic works have been digitally remastered, restored, and preserved with the assistance of generous partners.
Read More: Ava DuVernay’s Netflix Documentary ‘The 13th’ Will Open 54th New York Film Festival
Some of the films in the lineup include plenty of Nyff debuts returning once again: Gillo Pontecorvo’s “The Battle of Algiers,” which was the the Nyff Opening Night selection in 1967, Robert Bresson’s “L’argent,” and Barbara Kopple’s “Harlan County USA.” Also included are a program of Jacques Rivette’s early short films, Edward Yang’s second feature “Taipei Story,” Kenji Mizoguchi’s “Ugetsu,” and Marlon Brando’s solo directorial effort “One-Eyed Jacks.”
The Nyff previously announced three of the films screening...
Read More: Ava DuVernay’s Netflix Documentary ‘The 13th’ Will Open 54th New York Film Festival
Some of the films in the lineup include plenty of Nyff debuts returning once again: Gillo Pontecorvo’s “The Battle of Algiers,” which was the the Nyff Opening Night selection in 1967, Robert Bresson’s “L’argent,” and Barbara Kopple’s “Harlan County USA.” Also included are a program of Jacques Rivette’s early short films, Edward Yang’s second feature “Taipei Story,” Kenji Mizoguchi’s “Ugetsu,” and Marlon Brando’s solo directorial effort “One-Eyed Jacks.”
The Nyff previously announced three of the films screening...
- 8/4/2016
- by Vikram Murthi
- Indiewire
As much as we’re excited for the already enticing line-up for the 2016 New York Film Festival, their Revivals slate is always a place where one can discover a number of classics or revisit favorite films. This year is no different as they have newly restored films from Robert Bresson, Edward Yang, Jacques Rivette, Marlon Brando, Kenji Mizoguchi, and more. Check out the line-up below and return for our coverage this fall. If you don’t live in New York City, there’s a good chance a number of these restorations will travel in the coming months (or year) as well as get the home video treatment.
L’argent
Directed by Robert Bresson
1983, France, 83m
Robert Bresson’s final film, an adaptation of Tolstoy’s story The Forged Coupon, is simultaneously bleak and luminous, and sharp enough to cut diamonds. The story of a counterfeit bill’s passage from hand...
L’argent
Directed by Robert Bresson
1983, France, 83m
Robert Bresson’s final film, an adaptation of Tolstoy’s story The Forged Coupon, is simultaneously bleak and luminous, and sharp enough to cut diamonds. The story of a counterfeit bill’s passage from hand...
- 8/4/2016
- by Jordan Raup
- The Film Stage
Exclusive: Eriq Ebouaney and Sandrine Bonnaire to co-star in asylum seeker love story.
MK2 Films has taken on world sales of Chadian director Mahamat-Saleh Haroun’s [pictured] upcoming drama A Season In France.
Eriq Ebouaney and Sandrine Bonnaire have signed to co-star in the film revolving around the relationship between an asylum seeker and a French woman.
Ebouaney – who was recently seen in Bastille Day – plays Abbas, a widower and teacher from the war-torn Central African Republic seeking asylum in France. Awaiting a decision on his application, he works in a food market on the outskirts of Paris to support his two young children.
Bonnaire will play Carole, a French woman who falls in love with Abbas and offers him a home.
Florence Stern of Paris-based Pili Films is producing the film, which is due to shoot in Paris and Northern France this October.
The production marks Haroun’s first feature shot in France after dramas set in...
MK2 Films has taken on world sales of Chadian director Mahamat-Saleh Haroun’s [pictured] upcoming drama A Season In France.
Eriq Ebouaney and Sandrine Bonnaire have signed to co-star in the film revolving around the relationship between an asylum seeker and a French woman.
Ebouaney – who was recently seen in Bastille Day – plays Abbas, a widower and teacher from the war-torn Central African Republic seeking asylum in France. Awaiting a decision on his application, he works in a food market on the outskirts of Paris to support his two young children.
Bonnaire will play Carole, a French woman who falls in love with Abbas and offers him a home.
Florence Stern of Paris-based Pili Films is producing the film, which is due to shoot in Paris and Northern France this October.
The production marks Haroun’s first feature shot in France after dramas set in...
- 7/4/2016
- ScreenDaily
Cad, bounder, dastard... look those words up in an old casting directory and you'll probably find a picture of George Sanders. Albert Lewin's best movie is a class-act period piece with terrific acting from Sanders, Angela Lansbury, Ann Dvorak, John Carradine, Warren William and many more, and a powerful '40s picture that most people haven't discovered, now handsomely restored. The Private Affairs of Bel Ami Blu-ray Olive Films 1947 / B&W / 1:37 flat Academy / 112 min. / Street Date May 24, 2016 / available through the Olive Films website / 29.95 Starring George Sanders, Angela Lansbury, Ann Dvorak, John Carradine, Warren William, Susan Douglas, Albert Bassermann, Frances Dee, Marie Wilson, Katherine Emery, Richard Fraser. Cinematography Russell Metty Film Editor Joseph Albrecht Original Music Darius Milhaud Assistant Director Robert Aldrich Production Design Gordon Wiles Written by from the novel by Guy de Maupassant Produced by David L. Loew Written Directed by Albert Lewin
Reviewed by Glenn Erickson...
Reviewed by Glenn Erickson...
- 5/14/2016
- by Glenn Erickson
- Trailers from Hell
Exclusive: Verohoeven’s next film will be a Second World War French resistance movie.
Maverick Dutch director Paul Verhoeven, whose Elle starring Isabelle Huppert screens in Competition at Cannes, is planning a Second World War French resistance movie.
Lyon 1943 (working title) will be set over a period of several months during 1943. Verhoeven is developing the project, still in its early stages, with Said Ben Said, his producer on Elle.
“(Gestapo officer) Klaus Barbie will be there, (resistance leader) Jean Moulin will be there but the movie is not a biopic of Jean Moulin,” said the director of RoboCop and Black Book, whose erotic thriller Basic Instinct opened the Cannes Film Festival in 1992.
Barbie, head of the Gestapo in Lyon, oversaw the torture of Moulin, who died in very murky circumstances in French captivity in July 1943. Verhoeven said he was working with a French historian to try to establish what happened during this “very complicated and confused” period...
Maverick Dutch director Paul Verhoeven, whose Elle starring Isabelle Huppert screens in Competition at Cannes, is planning a Second World War French resistance movie.
Lyon 1943 (working title) will be set over a period of several months during 1943. Verhoeven is developing the project, still in its early stages, with Said Ben Said, his producer on Elle.
“(Gestapo officer) Klaus Barbie will be there, (resistance leader) Jean Moulin will be there but the movie is not a biopic of Jean Moulin,” said the director of RoboCop and Black Book, whose erotic thriller Basic Instinct opened the Cannes Film Festival in 1992.
Barbie, head of the Gestapo in Lyon, oversaw the torture of Moulin, who died in very murky circumstances in French captivity in July 1943. Verhoeven said he was working with a French historian to try to establish what happened during this “very complicated and confused” period...
- 5/11/2016
- by geoffrey@macnab.demon.co.uk (Geoffrey Macnab)
- ScreenDaily
Among the crown jewels of Scream Factory’s ever-growing library of classic horror titles on Blu-ray (and some not-so-classic) are their Vincent Price Collection boxed sets, collecting many of the icon’s greatest films including most of the Roger Corman “Poe cycle”, as well as other goodness like the Dr. Phibes movies and the brilliant Witchfinder General. Not only do these collections celebrate one of the greatest icons the genre has ever known, but also honor a kind of old-school horror of which we don’t see enough anymore.
But by the recently released Vincent Price Collection III, the third collection of Price movies on Blu-ray, Scream Factory has had to dig up some fairly esoteric titles, not all of which can be considered horror. Unfortunately, Theater of Blood is still nowhere to be found on Blu-ray and Kino Lorber has the rights for anthologies like Tales of Terror and Twice Told Tales,...
But by the recently released Vincent Price Collection III, the third collection of Price movies on Blu-ray, Scream Factory has had to dig up some fairly esoteric titles, not all of which can be considered horror. Unfortunately, Theater of Blood is still nowhere to be found on Blu-ray and Kino Lorber has the rights for anthologies like Tales of Terror and Twice Told Tales,...
- 3/8/2016
- by Patrick Bromley
- DailyDead
Shout Factory opens the crypt once more, for the last remaining UA and Aip fright movies starring our favorite gentleman of horror. The label lays on the extras, with Steve Haberman commentaries and episodes of Science Fiction Theater. Now where are the Vincent Price cooking shows? The Vincent Price Collection III Master of the World, The Tower of London, Diary of a Madman, An Evening with Edgar Allan Poe, Cry of the Banshee Blu-ray Scream (Shout!) Factory 1961-72 / B&W + Color / 1:85 & 1:66 widescreen / 420 min. / Street Date February 16, 2016 / 69.97 Starring Vincent Price Directed by William Witney, Roger Corman, Reginald Le Borg, Kenneth Johnson, Gordon Hessler.
Reviewed by Glenn Erickson
Scream Factory now brings us Part Three of its Vincent Price collection, pretty much emptying the closet over at MGM. Not counting his twilight feature The Whales of August every Vincent Price film under the MGM banner will soon be out on Blu-ray.
Reviewed by Glenn Erickson
Scream Factory now brings us Part Three of its Vincent Price collection, pretty much emptying the closet over at MGM. Not counting his twilight feature The Whales of August every Vincent Price film under the MGM banner will soon be out on Blu-ray.
- 2/27/2016
- by Glenn Erickson
- Trailers from Hell
On February 16th, Scream Factory will release their third home media celebration of a cinematic legend with The Vincent Price Collection III, and we've been provided with three copies of the four-disc Blu-ray set to give away.
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Prize Details: (3) Winners will receive (1) Blu-ray copy of The Vincent Price Collection III.
How to Enter: For a chance to win, email contest@dailydead.com with the subject "The Vincent Price Collection III Contest”. Be sure to include your name and mailing address.
Entry Details: The contest will end at 12:01am Est on February 19th. This contest is only open to those who are eighteen years of age or older that live in the United States. Only one entry per household will be accepted.
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Previous Press Release: On February 16, 2016, collectors, classic film aficionados and horror enthusiasts will relish the 4-Disc Blu-ray™ release of Scream Factory’s The Vincent Price Collection III.
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Prize Details: (3) Winners will receive (1) Blu-ray copy of The Vincent Price Collection III.
How to Enter: For a chance to win, email contest@dailydead.com with the subject "The Vincent Price Collection III Contest”. Be sure to include your name and mailing address.
Entry Details: The contest will end at 12:01am Est on February 19th. This contest is only open to those who are eighteen years of age or older that live in the United States. Only one entry per household will be accepted.
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Previous Press Release: On February 16, 2016, collectors, classic film aficionados and horror enthusiasts will relish the 4-Disc Blu-ray™ release of Scream Factory’s The Vincent Price Collection III.
- 2/13/2016
- by Derek Anderson
- DailyDead
On February 16th, Scream Factory will release their third celebration of a cinematic legend with The Vincent Price Collection III on Blu-ray. Ahead of the collection's release, we have high-definition clips and trailers from the four-disc tribute.
Previous Press Release: On February 16, 2016, collectors, classic film aficionados and horror enthusiasts will relish the 4-Disc Blu-ray™ release of Scream Factory’s The Vincent Price Collection III. This extraordinary collector’s set is an essential collection for every movie library and brings together Five Vincent Price masterpiece classics, featuring the first-ever Blu-ray movie presentation of Master Of The World (1961), Tower Of London (1962), Diary Of A Madman (1963), An Evening Of Edgar Allan Poe (1970) and Cry Of The Banshee (1970). Packed with a bevy of chilling bonus content including new interview with producer/director Roger Corman and writer/producer/director Kenneth Johnson, new audio commentary with actor David Frankham, film historians, original theatrical trailers, archival materials,...
Previous Press Release: On February 16, 2016, collectors, classic film aficionados and horror enthusiasts will relish the 4-Disc Blu-ray™ release of Scream Factory’s The Vincent Price Collection III. This extraordinary collector’s set is an essential collection for every movie library and brings together Five Vincent Price masterpiece classics, featuring the first-ever Blu-ray movie presentation of Master Of The World (1961), Tower Of London (1962), Diary Of A Madman (1963), An Evening Of Edgar Allan Poe (1970) and Cry Of The Banshee (1970). Packed with a bevy of chilling bonus content including new interview with producer/director Roger Corman and writer/producer/director Kenneth Johnson, new audio commentary with actor David Frankham, film historians, original theatrical trailers, archival materials,...
- 2/12/2016
- by Derek Anderson
- DailyDead
Company to launch black comedy - also starring Gerard Depardieu and Romain Duris - at Rendez-vous with French Cinema; Stéphane Brizé, Gael Garcia Bernal titles also on slate.
MK2 Films has acquired sales of Serge Bozon’s black comedy Mrs. Hyde, starring Isabelle Huppert in a role inspired by Robert Louis Stevenson’s 19th century classic The Strange Case of Dr Jekyll and Mr Hyde.
Gerard Depardieu and Romain Duris will also star.
Huppert is set to play a timid physics high school teacher, despised by her pupils and colleagues alike, whose life is changed forever after she is struck by lightning and wakes up with powerful and dangerous new capabilities.
“We are thrilled to represent this extraordinary new voice in French cinema that Serge Bozon has embodied since he began making films,” said MK2.
“We anticipate that, with this adaptation of a world-renowned story and simply the best possible French actors, he will be...
MK2 Films has acquired sales of Serge Bozon’s black comedy Mrs. Hyde, starring Isabelle Huppert in a role inspired by Robert Louis Stevenson’s 19th century classic The Strange Case of Dr Jekyll and Mr Hyde.
Gerard Depardieu and Romain Duris will also star.
Huppert is set to play a timid physics high school teacher, despised by her pupils and colleagues alike, whose life is changed forever after she is struck by lightning and wakes up with powerful and dangerous new capabilities.
“We are thrilled to represent this extraordinary new voice in French cinema that Serge Bozon has embodied since he began making films,” said MK2.
“We anticipate that, with this adaptation of a world-renowned story and simply the best possible French actors, he will be...
- 1/13/2016
- ScreenDaily
Une Vie
Director: Stéphane Brizé
Writers: Stéphane Brizé, Florence Vignon
Following his critically acclaimed The Measure of Man, which took home a Best Actor award for Vincent Lacoste at 2015, Stéphane Brizé has quickly moved onto his next project, an adaptation of Guy de Maupassant with Une Vie (One Life). Once again, Brizé re-teams with co-writer Vignon (Mademoiselle Chambon, A Few Hours of Spring) to adapt a tale centered on a hypersensitive woman unaccustomed the world’ cruelty. In essence, this sounds quite similar to Measure, but from a feminine perspective. Brizé often fleshes out characters and scenarios set within the confines of the working class, often to very eloquent effect. While Lacoste (who has starred in his last three features) is not returning this time, Brizé casts notables such as Yolande Moreau, Jean-Pierre Darroussin and Jalil Lespert.
Cast: Yolande Moreau, Jean-Pierre Darroussin, Jalil Lespert
Production Co./Producers:Ts Productions’ Milena Poylo and Gilles Sacuto,...
Director: Stéphane Brizé
Writers: Stéphane Brizé, Florence Vignon
Following his critically acclaimed The Measure of Man, which took home a Best Actor award for Vincent Lacoste at 2015, Stéphane Brizé has quickly moved onto his next project, an adaptation of Guy de Maupassant with Une Vie (One Life). Once again, Brizé re-teams with co-writer Vignon (Mademoiselle Chambon, A Few Hours of Spring) to adapt a tale centered on a hypersensitive woman unaccustomed the world’ cruelty. In essence, this sounds quite similar to Measure, but from a feminine perspective. Brizé often fleshes out characters and scenarios set within the confines of the working class, often to very eloquent effect. While Lacoste (who has starred in his last three features) is not returning this time, Brizé casts notables such as Yolande Moreau, Jean-Pierre Darroussin and Jalil Lespert.
Cast: Yolande Moreau, Jean-Pierre Darroussin, Jalil Lespert
Production Co./Producers:Ts Productions’ Milena Poylo and Gilles Sacuto,...
- 1/12/2016
- by Nicholas Bell
- IONCINEMA.com
David Bowie in 'The Hunger' with Catherine Deneuve. David Bowie movies: Iconic singer memorable as fast-aging vampire in 'The Hunger,' Nikola Tesla in 'The Prestige' Singer and sometime actor David Bowie, one of the iconic figures of the English-language music scene of the second half of the 20th century, died of cancer yesterday, Jan. 10, '16. Bowie (born David Robert Jones in the London suburb of Brixton) had turned 69 on Jan. 8. His son, filmmaker Duncan Jones (Moon), has confirmed Bowie's death on Twitter. Bowie was seen in only a couple of dozen movies during his four-decade show business career. Among his most memorable film roles were those in the titles listed below. The Man Who Fell to Earth Directed by Nicolas Roeg (Walkabout, Don't Look Now) from a screenplay by Paul Mayersberg (based on a novel by Walter Tevis), The Man Who Fell to Earth...
- 1/11/2016
- by Andre Soares
- Alt Film Guide
Vincent Price fans have seen Scream Factory distribute two collections honoring the horror legend, and now they're about to witness a third. On February 16th, Scream Factory will release The Vincent Price Collection III, a four-disc tribute to Price containing five of his films and an abundance of bonus features:
Press Release: On February 16, 2016, collectors, classic film aficionados and horror enthusiasts will relish the 4-Disc Blu-ray™ release of Scream Factory’s The Vincent Price Collection III. This extraordinary collector’s set is an essential collection for every movie library and brings together Five Vincent Price masterpiece classics, featuring the first-ever Blu-ray movie presentation of Master Of The World (1961), Tower Of London (1962), Diary Of A Madman (1963), An Evening Of Edgar Allan Poe (1970) and Cry Of The Banshee (1970). Packed with a bevy of chilling bonus content including new interview with producer/director Roger Corman and writer/producer/director Kenneth Johnson, new audio commentary with actor David Frankham,...
Press Release: On February 16, 2016, collectors, classic film aficionados and horror enthusiasts will relish the 4-Disc Blu-ray™ release of Scream Factory’s The Vincent Price Collection III. This extraordinary collector’s set is an essential collection for every movie library and brings together Five Vincent Price masterpiece classics, featuring the first-ever Blu-ray movie presentation of Master Of The World (1961), Tower Of London (1962), Diary Of A Madman (1963), An Evening Of Edgar Allan Poe (1970) and Cry Of The Banshee (1970). Packed with a bevy of chilling bonus content including new interview with producer/director Roger Corman and writer/producer/director Kenneth Johnson, new audio commentary with actor David Frankham,...
- 1/8/2016
- by Derek Anderson
- DailyDead
By Hank Reineke
On the eve of the November 1963 release of Twice Told Tales, the British actor Sebastian Cabot would tell a reporter from the Copley News Service, “They’ve been after me to do more of the horror pictures with Vincent Price. I wouldn’t mind that a bit, though I must say I wouldn’t want to do them exclusively.” He intimated that he and his co-star had discussed a possible future pairing in “a light comedy” motion-picture. Alas, it was not to be; the two actors would not work together again. Cabot, of course, would soldier on and enjoy success as both a television personality and a recognizable voice-over actor. Following the passing of Boris Karloff in 1969, Vincent Price would reign as the big-screen’s uncontested “King of Horror.” Cabot’s estimation of Price as an actor “extremely adept” at light-comedy was incisive. Throughout his long and fabled career,...
On the eve of the November 1963 release of Twice Told Tales, the British actor Sebastian Cabot would tell a reporter from the Copley News Service, “They’ve been after me to do more of the horror pictures with Vincent Price. I wouldn’t mind that a bit, though I must say I wouldn’t want to do them exclusively.” He intimated that he and his co-star had discussed a possible future pairing in “a light comedy” motion-picture. Alas, it was not to be; the two actors would not work together again. Cabot, of course, would soldier on and enjoy success as both a television personality and a recognizable voice-over actor. Following the passing of Boris Karloff in 1969, Vincent Price would reign as the big-screen’s uncontested “King of Horror.” Cabot’s estimation of Price as an actor “extremely adept” at light-comedy was incisive. Throughout his long and fabled career,...
- 12/3/2015
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
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