Update: Xavier Giannoli’s Illusions Perdues (Lost Illusions) leads nominations for the 2022 César Awards, France’s equivalent to the Oscar. The Venice premiere scored 15 mentions, followed by Leos Carax’s Annette, which opened the Cannes Film Festival last year and has 11 nominations. They are followed by Valérie Lemercier’s Aline, the musical dramedy inspired by the life of Céline Dion which also debuted in Cannes and has 10 nods. (Scroll down for the full list of nominations.)
Interestingly, the three films that France shortlisted for the International Feature Academy Award race came in on the lower end. Cédric Jiminez’s Bac Nord (The Stronghold) took seven nominations, while Audrey Diwan’s Venice Golden Lion winner Happening settles for four, tying Cannes Palme d’Or winner Titane.
The latter was France’s eventual entry to the Oscars, but did not make the shortlist. It was also shut out of the Best Film category at the Césars today.
Interestingly, the three films that France shortlisted for the International Feature Academy Award race came in on the lower end. Cédric Jiminez’s Bac Nord (The Stronghold) took seven nominations, while Audrey Diwan’s Venice Golden Lion winner Happening settles for four, tying Cannes Palme d’Or winner Titane.
The latter was France’s eventual entry to the Oscars, but did not make the shortlist. It was also shut out of the Best Film category at the Césars today.
- 1/26/2022
- by Nancy Tartaglione
- Deadline Film + TV
Sing the Body Apoplectic: Giannoli Pays Thanks to the Music
French director Xavier Giannoli borrows an obscure piece of American pop culture for his latest feature, Marguerite, a 1920s Parisian high society dramedy based loosely on the life and career of New England socialite Florence Foster Jenkins. Oblivious to her glaring lack of talent, the wealthy soprano was the source of rampant ridicule, her folly reaching an unmitigated apotheosis following a sold-out Carnegie Hall performance in an instance of truth being stranger than fiction. Resting beautifully on the masterful shoulders of Catherine Frot, an oft-Cesar nominated actress who hasn’t had the deserving international acclaim she’s due, the film’s success hinges delicately on her performance, even with a cadre of supporting players otherwise subjugated to empathetic cliché or predictably reprehensible conduct.
Marguerite Dumont (Frot) has staged a benefit concert at her home, a sprawling chateau outside of Paris.
French director Xavier Giannoli borrows an obscure piece of American pop culture for his latest feature, Marguerite, a 1920s Parisian high society dramedy based loosely on the life and career of New England socialite Florence Foster Jenkins. Oblivious to her glaring lack of talent, the wealthy soprano was the source of rampant ridicule, her folly reaching an unmitigated apotheosis following a sold-out Carnegie Hall performance in an instance of truth being stranger than fiction. Resting beautifully on the masterful shoulders of Catherine Frot, an oft-Cesar nominated actress who hasn’t had the deserving international acclaim she’s due, the film’s success hinges delicately on her performance, even with a cadre of supporting players otherwise subjugated to empathetic cliché or predictably reprehensible conduct.
Marguerite Dumont (Frot) has staged a benefit concert at her home, a sprawling chateau outside of Paris.
- 3/7/2016
- by Nicholas Bell
- IONCINEMA.com
Big winners also included Oscar nominee Mustang and local box office hit Margurite.
Philippe Faucon’s contemporary immigrant drama Fatima won best film at France’s César ceremony in Paris on Friday, beating hot favourites Marguerite, My Golden Years, and Oscar nominee Mustang as well as Palme d’Or winner Dheepan.
The picture — based on the semi-autobiographical works of Fatima Elayoubi about an illiterate North African woman adapting to life in France — also won Césars for best upcoming actress for Zita Hanot and best adaptation for Faucon.
As was the case last year, when Abderrahmane Sissako’s timely exploration of Islamic extremism of Timbuktu swept the board, the votes of 4,276-strong César academy appear to have been influenced in part by events in France, which like many countries across Europe is preoccupied with immigration and the reality of its ethnic minorities.
Other winners on Friday night included foreign language Oscar nominee Mustang and local box office hit [link...
Philippe Faucon’s contemporary immigrant drama Fatima won best film at France’s César ceremony in Paris on Friday, beating hot favourites Marguerite, My Golden Years, and Oscar nominee Mustang as well as Palme d’Or winner Dheepan.
The picture — based on the semi-autobiographical works of Fatima Elayoubi about an illiterate North African woman adapting to life in France — also won Césars for best upcoming actress for Zita Hanot and best adaptation for Faucon.
As was the case last year, when Abderrahmane Sissako’s timely exploration of Islamic extremism of Timbuktu swept the board, the votes of 4,276-strong César academy appear to have been influenced in part by events in France, which like many countries across Europe is preoccupied with immigration and the reality of its ethnic minorities.
Other winners on Friday night included foreign language Oscar nominee Mustang and local box office hit [link...
- 2/27/2016
- ScreenDaily
This is a talk given by French director of photography Caroline Champetier at the La Roche-sur-Yon International Film Festival in October 2012, originally published in two parts on the festival’s site (www.fif-85.com). This translation is being published with their kind permission. This year's festival will take place from October 16-21, Kelly Reichardt will be the guest of honor. Many thanks to Emmanuel Burdeau, programmer of the festival, Jordan Mintzer and Caroline Champetier.
Caroline Champetier: I’ve always tried to take a step back from what I’m doing. The more I work, however, the less I’m able to deal with this exercise. I just finished production on Claude Lanzmann’s The Last of the Unjust and have barely said goodbye to David Teboul, a young director who I worked with on Cinq avenue Marceau (2002), a film I think very highly of and that’s about Yves Saint Laurent’s last collection.
Caroline Champetier: I’ve always tried to take a step back from what I’m doing. The more I work, however, the less I’m able to deal with this exercise. I just finished production on Claude Lanzmann’s The Last of the Unjust and have barely said goodbye to David Teboul, a young director who I worked with on Cinq avenue Marceau (2002), a film I think very highly of and that’s about Yves Saint Laurent’s last collection.
- 9/20/2013
- by Ted Fendt
- MUBI
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