Close-Up is a column that spotlights films now playing on Mubi. Eric Rohmer's Triple Agent (2004) is showing January 11 - February 9, 2017.Eric Rohmer’s penultimate feature, Triple Agent, is relatively neglected within his oeuvre. Released in 2004, one hardly ever sees it among best-of-00s or even best-of-2004 lists, even though it is certainly one of the great director’s most fascinating and remarkable films.Based on a true story, Triple Agent focuses on an expatriate couple living in late 1930s Paris, right before the outbreak of the Second World War. The husband, Gen. Fyodor Voronin (Serge Renko), is an ex-White Army officer exiled from Russia, working at a White Army veterans organization. The wife, Arsinoé (Katerina Didaskalou) is a painter, originally from Greece, who concerns herself mostly with her art. The two are lovingly devoted to one another, but the election of the Front populaire, a communist-leaning political group in France,...
- 1/13/2017
- MUBI
Sneak Peek footage and images from the R-rated 'Marie Antoinette' romantic feature "Farewell, My Queen ("Les Adieux à la reine") directed by Benoît Jacquot, based on the novel of the same name by author Chantal Thomas.
The film is an eyewitness account of France's doomed Queen 'Marie Antoinette' (Diane Kruger), as seen through the eyes of an infatuated, female servant, 'Sidonie Laborde' (Léa Seydoux) :
"...in 1789, on the eve of the 'French Revolution', the court at the 'Palace of Versailles' still live their routines, relatively unconcerned by the increasing turmoil in Paris a distance away.
"When news about the storming of the 'Bastille' reaches the Court, most aristocrats and servants desert the Palace, fearing that the government is falling.
"They abandon the Royal Family. But 'Sidonie Laborde', a young servant who is the Queen's reader, has a crush on the monarch and refuses to flee.
"She...
The film is an eyewitness account of France's doomed Queen 'Marie Antoinette' (Diane Kruger), as seen through the eyes of an infatuated, female servant, 'Sidonie Laborde' (Léa Seydoux) :
"...in 1789, on the eve of the 'French Revolution', the court at the 'Palace of Versailles' still live their routines, relatively unconcerned by the increasing turmoil in Paris a distance away.
"When news about the storming of the 'Bastille' reaches the Court, most aristocrats and servants desert the Palace, fearing that the government is falling.
"They abandon the Royal Family. But 'Sidonie Laborde', a young servant who is the Queen's reader, has a crush on the monarch and refuses to flee.
"She...
- 7/27/2013
- by Michael Stevens
- SneakPeek
Sneak Peek new images from the dramatic period feature "Farewell, My Queen ("Les Adieux à la reine") directed by Benoît Jacquot, based on the novel of the same name by author Chantal Thomas.
The film is an eyewitness account of France's doomed Queen 'Marie Antoinette' (Diane Kruger), as seen through the eyes of an infatuated, female servant, 'Sidonie Laborde' (Léa Seydoux) :
"...in 1789, on the eve of the 'French Revolution', the court at the 'Palace of Versailles' still live their routines, relatively unconcerned by the increasing turmoil in Paris a distance away.
"When news about the storming of the 'Bastille' reaches the Court, most aristocrats and servants desert the Palace, fearing that the government is falling.
"They abandon the Royal Family. But 'Sidonie Laborde', a young servant who is the Queen's reader, has a crush on the monarch and refuses to flee.
"She feels secure under the protection...
The film is an eyewitness account of France's doomed Queen 'Marie Antoinette' (Diane Kruger), as seen through the eyes of an infatuated, female servant, 'Sidonie Laborde' (Léa Seydoux) :
"...in 1789, on the eve of the 'French Revolution', the court at the 'Palace of Versailles' still live their routines, relatively unconcerned by the increasing turmoil in Paris a distance away.
"When news about the storming of the 'Bastille' reaches the Court, most aristocrats and servants desert the Palace, fearing that the government is falling.
"They abandon the Royal Family. But 'Sidonie Laborde', a young servant who is the Queen's reader, has a crush on the monarch and refuses to flee.
"She feels secure under the protection...
- 9/28/2012
- by M. Stevens
- SneakPeek
Sneak Peek actress Diane Kruger in the new dramatic feature "Farewell, My Queen ("Les Adieux à la reine") directed by Benoît Jacquot, based on the novel of the same name by author Chantal Thomas.
The film is an eyewitness account of France's Queen 'Marie Antoinette' (Kruger), before she falls under the guillotine, as seen through the eyes of a young female servant, 'Sidonie Laborde' (Léa Seydoux) :
"...in 1789, on the eve of the 'French Revolution', the court at the 'Palace of Versailles' still live their routines, relatively unconcerned by the increasing turmoil in Paris a distance away. When news about the storming of the 'Bastille' reaches the Court, most aristocrats and servants desert the Palace, fearing that the government is falling. They abandon the Royal Family.
But 'Sidonie Laborde', a young servant who is the Queen's reader, has a crush on her and refuses to flee.
"She feels...
The film is an eyewitness account of France's Queen 'Marie Antoinette' (Kruger), before she falls under the guillotine, as seen through the eyes of a young female servant, 'Sidonie Laborde' (Léa Seydoux) :
"...in 1789, on the eve of the 'French Revolution', the court at the 'Palace of Versailles' still live their routines, relatively unconcerned by the increasing turmoil in Paris a distance away. When news about the storming of the 'Bastille' reaches the Court, most aristocrats and servants desert the Palace, fearing that the government is falling. They abandon the Royal Family.
But 'Sidonie Laborde', a young servant who is the Queen's reader, has a crush on her and refuses to flee.
"She feels...
- 9/20/2012
- by M. Stevens
- SneakPeek
Title: Goodbye First Love Director: Mia Hansen-Love Starring: Lola Créton, Sebastian Urzendowsky, Magne-Havard Brekke, Valérie Bonneton, Serge Renko, Ozay Fecht, Max Ricat There’s no one way to tell a love story. Often, romances are recounted on the big screen out of order, to present the happiest of times and the low points without explicitly distinguishing the two. Cinematic examples range from Annie Hall to 500 Days of Summer to Peter and Vandy, and many, many more. That tactic effectively captures what makes the relationship work, the spark and the connection, by citing instances of true delight and weaving them into a grander universe in which these two people exist just [ Read More ]...
- 4/19/2012
- by abe
- ShockYa
In conjunction with La Furia Umana, Notebook is very happy to present Ted Fendt's original English translation of Luc Moullet's "Le masque et la part de Dieu," on the films of Eric Rohmer. Moullet's original French can be found at La Furia Umana.
Cecil summed up the difference between him and his brother, William DeMille, like this: “I show a thousand camels and you show one camel and you psychoanalyze it.” Eric Rohmer is a lot more like William than Cecil, minus Freud.
What is fascinating, foremost, in his work is his obstinacy to not go beyond his only or main subject, often summed up, in a somewhat misleading way, by its title: Béatrice Romand wants a good marriage, or, at least, to help her friend have one (A Tale of Autumn), Brialy wants to caress Claire’s Knee (meaning, to be sure that she is practically consenting), Lucchini,...
Cecil summed up the difference between him and his brother, William DeMille, like this: “I show a thousand camels and you show one camel and you psychoanalyze it.” Eric Rohmer is a lot more like William than Cecil, minus Freud.
What is fascinating, foremost, in his work is his obstinacy to not go beyond his only or main subject, often summed up, in a somewhat misleading way, by its title: Béatrice Romand wants a good marriage, or, at least, to help her friend have one (A Tale of Autumn), Brialy wants to caress Claire’s Knee (meaning, to be sure that she is practically consenting), Lucchini,...
- 1/3/2012
- MUBI
#9. Goodbye First Love Director: Mia Hansen-Løve Cast: Lola Créton, Sebastian Urzendowsky, Magne Brekke, Valérie Bonneton, Serge Renko Distributor: IFC Films Buzz: Mia Hansen-Løve likely needs no introduction. Her first two features premiered in Cannes and left noticeable imprints and a healthy following on her tail. Releasing a new film for the first time as an anticipated director (IFC Films made a rare rights grab during production), the pressure is definitely hot and heavy. Picked up pretty decent word after its Locarno unveiling, the trajectory for this budding superstar is still aimed due north. The Gist: The detailed story of a young girl's first love - and there's probably no need to take bets on how it ends up. Typical of Hansen-Løve, though, it'll be the blissful structural shape that'll make this a complex and emotional punch in the gut. Tiff Schedule: Friday September 9 Scotiabank Theatre 3 6:45pmSaturday September 10 AMC 3 3:...
- 9/3/2011
- IONCINEMA.com
Rezo Prods.
BERLIN -- Yes, it's true: Eric Rohmer, an icon of auteurist filmmaking, has indeed made a spy movie. Cineastes needn't be alarmed, however, as "Triple Agent" betrays none of his deeply felt humanistic concerns. This is most definitely an Eric Rohmer film. While containing the duplicity, intrigue and betrayal of any espionage thriller, Rohmer portrays all this through the private lives and conversations of the spy and his spouse.
Seen from this angle, "Triple Agent" becomes a provocative piece about identity and loyalty. When a man moves through society in such a matter that he means to deliberately deceive and confuse all around him, how can even he know who he is? That is the central question in a film in which the master does not attempt to unravel that mystery. To ask the question is enough. Well into his sixth decade of filmmaking, the French writer-director can still produce a film that will please art house audiences.
Set in Paris and a country house during the late 1930s as Europe lurches toward catastrophe, the film focuses on a former military officer in the czar's army who directs White Russian Army activities in Paris. Suave Fiodor (Serge Renko) and his elegant, Greek-born wife Arsinoe (Katerina Didaskalou) make an attractive couple as they host cocktail parties and move in political circles, where gossip and political dispute occupy one and all.
Fiodor makes no effort to disguise the fact he is a spy. But no one knows for sure which side he is on. Is he a White Russian, as he proclaims? Is he a Soviet double agent? Or, as his wife greatly fears, is he actually a Nazi?
The couple and their communist neighbors meet frequently to discuss the international situation. Fascists have made Spain into a testing group for the forces of the left and the right, while Stalin has put the exportation of communism on the back burner to devote greater time to fighting fascism. All of which means that the White Russian and his Red neighbors sometimes come close to political agreement. Could they be spying on Fiodor?
When his wife becomes ill, Fiodor suddenly proposes that they return to Russia, where medical treatment is top-notch. He even says he has an offer from the Soviets to switch sides. But then, no one, not even his wife, can tell who or what he might not sacrifice to further his own secret goals.
Supposedly based on a mysterious episode in prewar Paris, "Triple Agent" is a sly study in living a lie, where everything that is said and, perhaps more importantly, everything that is not said is delicately weighed by the grand deceiver.
As with all of Rohmer's films, there is much talk and little action. Period production values are established through a few interior sets, a country home, streets with antique cars and extras in costumes. Black-and-white newsreel footage marks the turbulent global events that make up the film's backdrop.
BERLIN -- Yes, it's true: Eric Rohmer, an icon of auteurist filmmaking, has indeed made a spy movie. Cineastes needn't be alarmed, however, as "Triple Agent" betrays none of his deeply felt humanistic concerns. This is most definitely an Eric Rohmer film. While containing the duplicity, intrigue and betrayal of any espionage thriller, Rohmer portrays all this through the private lives and conversations of the spy and his spouse.
Seen from this angle, "Triple Agent" becomes a provocative piece about identity and loyalty. When a man moves through society in such a matter that he means to deliberately deceive and confuse all around him, how can even he know who he is? That is the central question in a film in which the master does not attempt to unravel that mystery. To ask the question is enough. Well into his sixth decade of filmmaking, the French writer-director can still produce a film that will please art house audiences.
Set in Paris and a country house during the late 1930s as Europe lurches toward catastrophe, the film focuses on a former military officer in the czar's army who directs White Russian Army activities in Paris. Suave Fiodor (Serge Renko) and his elegant, Greek-born wife Arsinoe (Katerina Didaskalou) make an attractive couple as they host cocktail parties and move in political circles, where gossip and political dispute occupy one and all.
Fiodor makes no effort to disguise the fact he is a spy. But no one knows for sure which side he is on. Is he a White Russian, as he proclaims? Is he a Soviet double agent? Or, as his wife greatly fears, is he actually a Nazi?
The couple and their communist neighbors meet frequently to discuss the international situation. Fascists have made Spain into a testing group for the forces of the left and the right, while Stalin has put the exportation of communism on the back burner to devote greater time to fighting fascism. All of which means that the White Russian and his Red neighbors sometimes come close to political agreement. Could they be spying on Fiodor?
When his wife becomes ill, Fiodor suddenly proposes that they return to Russia, where medical treatment is top-notch. He even says he has an offer from the Soviets to switch sides. But then, no one, not even his wife, can tell who or what he might not sacrifice to further his own secret goals.
Supposedly based on a mysterious episode in prewar Paris, "Triple Agent" is a sly study in living a lie, where everything that is said and, perhaps more importantly, everything that is not said is delicately weighed by the grand deceiver.
As with all of Rohmer's films, there is much talk and little action. Period production values are established through a few interior sets, a country home, streets with antique cars and extras in costumes. Black-and-white newsreel footage marks the turbulent global events that make up the film's backdrop.
Rezo Prods.
BERLIN -- Yes, it's true: Eric Rohmer, an icon of auteurist filmmaking, has indeed made a spy movie. Cineastes needn't be alarmed, however, as "Triple Agent" betrays none of his deeply felt humanistic concerns. This is most definitely an Eric Rohmer film. While containing the duplicity, intrigue and betrayal of any espionage thriller, Rohmer portrays all this through the private lives and conversations of the spy and his spouse.
Seen from this angle, "Triple Agent" becomes a provocative piece about identity and loyalty. When a man moves through society in such a matter that he means to deliberately deceive and confuse all around him, how can even he know who he is? That is the central question in a film in which the master does not attempt to unravel that mystery. To ask the question is enough. Well into his sixth decade of filmmaking, the French writer-director can still produce a film that will please art house audiences.
Set in Paris and a country house during the late 1930s as Europe lurches toward catastrophe, the film focuses on a former military officer in the czar's army who directs White Russian Army activities in Paris. Suave Fiodor (Serge Renko) and his elegant, Greek-born wife Arsinoe (Katerina Didaskalou) make an attractive couple as they host cocktail parties and move in political circles, where gossip and political dispute occupy one and all.
Fiodor makes no effort to disguise the fact he is a spy. But no one knows for sure which side he is on. Is he a White Russian, as he proclaims? Is he a Soviet double agent? Or, as his wife greatly fears, is he actually a Nazi?
The couple and their communist neighbors meet frequently to discuss the international situation. Fascists have made Spain into a testing group for the forces of the left and the right, while Stalin has put the exportation of communism on the back burner to devote greater time to fighting fascism. All of which means that the White Russian and his Red neighbors sometimes come close to political agreement. Could they be spying on Fiodor?
When his wife becomes ill, Fiodor suddenly proposes that they return to Russia, where medical treatment is top-notch. He even says he has an offer from the Soviets to switch sides. But then, no one, not even his wife, can tell who or what he might not sacrifice to further his own secret goals.
Supposedly based on a mysterious episode in prewar Paris, "Triple Agent" is a sly study in living a lie, where everything that is said and, perhaps more importantly, everything that is not said is delicately weighed by the grand deceiver.
As with all of Rohmer's films, there is much talk and little action. Period production values are established through a few interior sets, a country home, streets with antique cars and extras in costumes. Black-and-white newsreel footage marks the turbulent global events that make up the film's backdrop.
BERLIN -- Yes, it's true: Eric Rohmer, an icon of auteurist filmmaking, has indeed made a spy movie. Cineastes needn't be alarmed, however, as "Triple Agent" betrays none of his deeply felt humanistic concerns. This is most definitely an Eric Rohmer film. While containing the duplicity, intrigue and betrayal of any espionage thriller, Rohmer portrays all this through the private lives and conversations of the spy and his spouse.
Seen from this angle, "Triple Agent" becomes a provocative piece about identity and loyalty. When a man moves through society in such a matter that he means to deliberately deceive and confuse all around him, how can even he know who he is? That is the central question in a film in which the master does not attempt to unravel that mystery. To ask the question is enough. Well into his sixth decade of filmmaking, the French writer-director can still produce a film that will please art house audiences.
Set in Paris and a country house during the late 1930s as Europe lurches toward catastrophe, the film focuses on a former military officer in the czar's army who directs White Russian Army activities in Paris. Suave Fiodor (Serge Renko) and his elegant, Greek-born wife Arsinoe (Katerina Didaskalou) make an attractive couple as they host cocktail parties and move in political circles, where gossip and political dispute occupy one and all.
Fiodor makes no effort to disguise the fact he is a spy. But no one knows for sure which side he is on. Is he a White Russian, as he proclaims? Is he a Soviet double agent? Or, as his wife greatly fears, is he actually a Nazi?
The couple and their communist neighbors meet frequently to discuss the international situation. Fascists have made Spain into a testing group for the forces of the left and the right, while Stalin has put the exportation of communism on the back burner to devote greater time to fighting fascism. All of which means that the White Russian and his Red neighbors sometimes come close to political agreement. Could they be spying on Fiodor?
When his wife becomes ill, Fiodor suddenly proposes that they return to Russia, where medical treatment is top-notch. He even says he has an offer from the Soviets to switch sides. But then, no one, not even his wife, can tell who or what he might not sacrifice to further his own secret goals.
Supposedly based on a mysterious episode in prewar Paris, "Triple Agent" is a sly study in living a lie, where everything that is said and, perhaps more importantly, everything that is not said is delicately weighed by the grand deceiver.
As with all of Rohmer's films, there is much talk and little action. Period production values are established through a few interior sets, a country home, streets with antique cars and extras in costumes. Black-and-white newsreel footage marks the turbulent global events that make up the film's backdrop.
- 2/23/2004
- The Hollywood Reporter - Movie News
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