Arthur Rambo
Originally pegged as a 2020 hopeful, Palme d’Or winner Laurent Cantet might be part of a huge wave of former winners competing in 2021’s Cannes edition. For his eighth feature, Arthur Rambo, produced by Marie-Ange Luciani and lensed by Pierre Milon, Cantet recruits Bpm actor Antoine Reinartz, Rabah Nait Oufella and Sofian Khammes for his leads. Cantet won the Palme d’Or in 2008 for The Class and returned to Cannes in Un Certain Regard as part of the omnibus 7 Days in Havana in 2012 and again to the sidebar in 2017 with his last feature, The Workshop.…...
Originally pegged as a 2020 hopeful, Palme d’Or winner Laurent Cantet might be part of a huge wave of former winners competing in 2021’s Cannes edition. For his eighth feature, Arthur Rambo, produced by Marie-Ange Luciani and lensed by Pierre Milon, Cantet recruits Bpm actor Antoine Reinartz, Rabah Nait Oufella and Sofian Khammes for his leads. Cantet won the Palme d’Or in 2008 for The Class and returned to Cannes in Un Certain Regard as part of the omnibus 7 Days in Havana in 2012 and again to the sidebar in 2017 with his last feature, The Workshop.…...
- 1/5/2021
- by Nicholas Bell
- IONCINEMA.com
Arthur Rambo
Palme d’Or winner Laurent Cantet unites with some new collaborators for his eighth feature, Arthur Rambo, produced by Marie-Ange Luciani (of Robin Campillo’s Eastern Boys; Bpm) and lensed by Pierre Milon and The Workshop). Cantet recruits Bpm actor Antoine Reinartz, Raw, Nocturama and The Class actor Rabah Nait Oufella and Sofian Khammes (Chouf; The World is Yours) for his leads. Cantet won the Palme d’Or in 2008 for The Class and returned to Cannes in Un Certain Regard as part of the omnibus 7 Days in Havana in 2012 and again to the sidebar in 2017 with his last feature, The Workshop.…...
Palme d’Or winner Laurent Cantet unites with some new collaborators for his eighth feature, Arthur Rambo, produced by Marie-Ange Luciani (of Robin Campillo’s Eastern Boys; Bpm) and lensed by Pierre Milon and The Workshop). Cantet recruits Bpm actor Antoine Reinartz, Raw, Nocturama and The Class actor Rabah Nait Oufella and Sofian Khammes (Chouf; The World is Yours) for his leads. Cantet won the Palme d’Or in 2008 for The Class and returned to Cannes in Un Certain Regard as part of the omnibus 7 Days in Havana in 2012 and again to the sidebar in 2017 with his last feature, The Workshop.…...
- 1/1/2020
- by Nicholas Bell
- IONCINEMA.com
The regular major-festival presence of the films of Robert Guédiguian is a curious, if not wholly unwelcome, anomaly. Amid punchier, more provocative, more aesthetically challenging arthouse titles, his work moves to the calmer rhythms of classical naturalism, in which each new title feels more like a new chapter in a career-spanning novel — or a book of interconnected short stories, perhaps — about life and love and social class in the suburbs of Marseille.
Working with the same troupe of excellent actors he has cast in differing permutations through the years, most notably his wife Ariane Ascaride who stars in their twentieth collaboration here, and occupying the same compassionately observed, elegiac register that his mid-to-late middle-age titles have tended to embrace, “Gloria Mundi” is, again, a contemporary, intergenerational, socially conscientious, bittersweet family drama set in the southern French port city. And, at least until an ending marred by some scrappy filmmaking as...
Working with the same troupe of excellent actors he has cast in differing permutations through the years, most notably his wife Ariane Ascaride who stars in their twentieth collaboration here, and occupying the same compassionately observed, elegiac register that his mid-to-late middle-age titles have tended to embrace, “Gloria Mundi” is, again, a contemporary, intergenerational, socially conscientious, bittersweet family drama set in the southern French port city. And, at least until an ending marred by some scrappy filmmaking as...
- 9/6/2019
- by Jessica Kiang
- Variety Film + TV
Laurent Cantet has been a bit absent in the international cinema scene ever since winning the Palme d’Or for 2008’s The Class. It’s not for a lack of trying, of course. He’s released two feature since then (Foxfire and Return to Ithaca), but they just didn’t catch on the way his best movies (Time Out, Human Resources) have in the past. He’s now back at Cannes in the Un Certain Regard section with The Workshop, (L’Atelier), which has Cantet’s gift of mixing social relevance through wordy dialogue with nail-biting tension, and is as relevant as anything playing at the festival. The tension takes time to build, but when it finally explodes, it brings a whiplash one never sees coming.
Its characters, all high school students off for the summer, attend a workshop for fictional writing headed by well-known French novelist Olivia (Marina Foïs). The multiculturalism is,...
Its characters, all high school students off for the summer, attend a workshop for fictional writing headed by well-known French novelist Olivia (Marina Foïs). The multiculturalism is,...
- 5/25/2017
- by The Film Stage
- The Film Stage
★★☆☆☆ Having bagged the prestigious Palme d'Or prize for his last film, 2008's vérité high school drama The Class, award-winning French director Laurent Cantet returns to selected UK cinemas this week with his new feature, Foxfire (2012). Based on Joyce Carol Oates' novel of the same name, it shares some themes with the director's previous piece, but trades modern France for 1950s America. In place of surly Parisian students, the tale presents an unruly gang of young proto-feminists in patriarchal upstate New York, but sadly fails to craft any particular drama of note, despite it seeming inevitable from the outset.
The pacing plays a decisive role in this aforementioned issue, with Cantet's latest getting off to an engaging start before becoming listless, particularly during the second act; this is hardly helped by a cast of characters that lacks depth outside of the ringleader. It's the sparky 'Legs' (an excellent Raven Adamson...
The pacing plays a decisive role in this aforementioned issue, with Cantet's latest getting off to an engaging start before becoming listless, particularly during the second act; this is hardly helped by a cast of characters that lacks depth outside of the ringleader. It's the sparky 'Legs' (an excellent Raven Adamson...
- 8/8/2013
- by CineVue UK
- CineVue
Speed Racer Release Date: Jan. 30
Director: Laurent Cantet
Writers: François Bégaudeau, Robin Campillo, Laurent Cantet
Cinematographer: Pierre Milon
Starring: François Bégaudeau,
Studio/Run Time: Sony Pictures Classics, 128 mins.
The schoolroom drama—one teacher versus a room full of wild adolescents—has been so debased by Hollywood that the mention of another one, even if it arrives from Europe, causes both of my knees to jerk. These films document the existence of a mythical maverick who can fight an ineffective education system and inspire hoodlums to greatness. But I’m pleased to discover that The Class, like the real world, has no use for such fairy tales.
Director: Laurent Cantet
Writers: François Bégaudeau, Robin Campillo, Laurent Cantet
Cinematographer: Pierre Milon
Starring: François Bégaudeau,
Studio/Run Time: Sony Pictures Classics, 128 mins.
The schoolroom drama—one teacher versus a room full of wild adolescents—has been so debased by Hollywood that the mention of another one, even if it arrives from Europe, causes both of my knees to jerk. These films document the existence of a mythical maverick who can fight an ineffective education system and inspire hoodlums to greatness. But I’m pleased to discover that The Class, like the real world, has no use for such fairy tales.
- 1/28/2009
- Pastemagazine.com
Cannes Film Festival, In Competition
CANNES -- Laurent Canet's camera never leaves a French high school as he takes a raw look at a school year through the eyes of a single teacher in "Class" (whose French title "Entre les Murs" or "Between the Walls" accurately captures the self-imposed quarantine). This yields a highly dramatic and candid look at the challenges facing a nation that prides itself on its egalitarianism yet is now being confronted with a multi-ethnic citizenry that does not always embrace its hallowed traditions. While the film probably limits itself to French-speakers and Francophiles, the issues are clearly universal to all multicultural societies.
The film is based on a novel by Francois Begaudeau, written from his own experiences as a teacher. He also contributes to the screenplay and plays the key role of a French language teacher, so we can be pretty certain the film stays true its subject. Canet also shot in a classroom using three cameras so he was able to shoot continuously for up to 20 minutes, giving the film a documentary flavor.
While Begaudeau's teacher struggles to get his young charges to focus on French verbs, they interrupt to question why in his examples he always uses "white" names or whether the required reading has any relevancy to their lives.
Many students come from abroad; some have parents who are undocumented immigrants. They kid a lot, some of it good-natured but much of it comes closer to mockery. Their intolerance stems from attitudes about how other students look and behave, where they are from and how they speak.
As the year goes by, the students and Begaudeau's fellow teachers come into sharper focus. One student from Mali (played by Franck Keita) increasingly upsets the class with his attitude and anger. Like many, he isn't clear what school can offer him. He is sullen and retreats into rage, possibly to disguise his own fear of failure. Then the teacher himself makes a fateful miscalculation.
What works so well here is that none of the drama feels the least bit imposed. It evolves naturally from class assignments, the teacher's own free-form style and the distinctly individual personalities of these young people thrown together by chance. While it may lack the narrative drive of films from the past such as "Blackboard Jungle", it also contains nothing contrived or gimmicky. This is probably one of the most realistic high school movies ever made.
Production companies: Haut et Court
Cast: Francois Begaudeau, Franck Keita, Wei Huang, Nassim Amrabt, Atouma Dioumassy.
Director: Laurent Canet.
Screenwriters: Laurent Canet, Robin Campillo, Francois Begaudeau.
Based on the novel by: Francois Begaudeau
Producers: Caroline Benjo, Carol Scotta, Barbara Letellier, Simon Arnal
Director of photography: Pierre Milon, Catherine Pujol, Georgi Lazarevski.
Production designer: Sabine Barthelemy, Helene Bellanger.
Costume designer: Marie Le Garrec.
Editor: Robin Camillo.
Sales: Memento Films International.
No rating, 128 minutes.
CANNES -- Laurent Canet's camera never leaves a French high school as he takes a raw look at a school year through the eyes of a single teacher in "Class" (whose French title "Entre les Murs" or "Between the Walls" accurately captures the self-imposed quarantine). This yields a highly dramatic and candid look at the challenges facing a nation that prides itself on its egalitarianism yet is now being confronted with a multi-ethnic citizenry that does not always embrace its hallowed traditions. While the film probably limits itself to French-speakers and Francophiles, the issues are clearly universal to all multicultural societies.
The film is based on a novel by Francois Begaudeau, written from his own experiences as a teacher. He also contributes to the screenplay and plays the key role of a French language teacher, so we can be pretty certain the film stays true its subject. Canet also shot in a classroom using three cameras so he was able to shoot continuously for up to 20 minutes, giving the film a documentary flavor.
While Begaudeau's teacher struggles to get his young charges to focus on French verbs, they interrupt to question why in his examples he always uses "white" names or whether the required reading has any relevancy to their lives.
Many students come from abroad; some have parents who are undocumented immigrants. They kid a lot, some of it good-natured but much of it comes closer to mockery. Their intolerance stems from attitudes about how other students look and behave, where they are from and how they speak.
As the year goes by, the students and Begaudeau's fellow teachers come into sharper focus. One student from Mali (played by Franck Keita) increasingly upsets the class with his attitude and anger. Like many, he isn't clear what school can offer him. He is sullen and retreats into rage, possibly to disguise his own fear of failure. Then the teacher himself makes a fateful miscalculation.
What works so well here is that none of the drama feels the least bit imposed. It evolves naturally from class assignments, the teacher's own free-form style and the distinctly individual personalities of these young people thrown together by chance. While it may lack the narrative drive of films from the past such as "Blackboard Jungle", it also contains nothing contrived or gimmicky. This is probably one of the most realistic high school movies ever made.
Production companies: Haut et Court
Cast: Francois Begaudeau, Franck Keita, Wei Huang, Nassim Amrabt, Atouma Dioumassy.
Director: Laurent Canet.
Screenwriters: Laurent Canet, Robin Campillo, Francois Begaudeau.
Based on the novel by: Francois Begaudeau
Producers: Caroline Benjo, Carol Scotta, Barbara Letellier, Simon Arnal
Director of photography: Pierre Milon, Catherine Pujol, Georgi Lazarevski.
Production designer: Sabine Barthelemy, Helene Bellanger.
Costume designer: Marie Le Garrec.
Editor: Robin Camillo.
Sales: Memento Films International.
No rating, 128 minutes.
- 5/24/2008
- The Hollywood Reporter - Movie News
Celluloid Dreams
NEW YORK -- This latest entry in the durable medical thriller genre is an ultimately underwhelming exercise that boasts more style than substance.
The directorial debut of French screenwriter Gilles Marchand, "Who Killed Bambi?" effectively creates a menacing atmosphere within the gleaming white halls of the hospital in which it is set, but its story line and characterizations lack the sufficient originality to lift the film above its many better predecessors. It is currently being shown as part of the "Rendez-vous With French Cinema 2004" series at New York's Walter Reade Theater.
The title refers to the plucky central character Isabelle (Sophie Quinton), a new student nurse in the surgical unit of a large hospital. The handsome surgeon Dr. Philippe (Laurent Lucas) gives the nickname to her after she displays the odd habit of passing out right in front of him.
Puzzled by this strange physical phenomenon, Isabelle becomes suspicious of the doctor, who, as she and we soon learn, has the disturbing habit of fondling the nude bodies of his unconscious female patients. It isn't long before Isabelle begins to suspect him of even more nefarious deeds and the proverbial deadly game of cat and mouse ensues.
Marchand, the co-screenwriter of such acclaimed efforts as "Human Resources" and "With a Friend Like Harry" (the latter's director, Dominik Moll, is credited here as "technical consultant"), has unfortunately failed to infuse the proceedings with a depth or originality comparable to those efforts, with the result that the most memorable aspect of this film is its pristine visuals (the superb widescreen cinematography is by Pierre Milon).
The arrogant Dr. Philippe is such an obvious bad guy from the start that little suspense is generated; even more damagingly, his villainy, as personified by Lucas' one-dimensional performance, is tedious. Nor is Isabelle, despite her big doe eyes, a compelling heroine, and the supporting characters, including her loving boyfriend and older nurse cousin, are even less interesting.
Too often the director, clearly eager to impress, tries to ratchet up the suspense with the usual tricks of sudden noises or appearances, to little avail. Ultimately, the most original aspect of "Who Killed Bambi?" is its provocative title.
NEW YORK -- This latest entry in the durable medical thriller genre is an ultimately underwhelming exercise that boasts more style than substance.
The directorial debut of French screenwriter Gilles Marchand, "Who Killed Bambi?" effectively creates a menacing atmosphere within the gleaming white halls of the hospital in which it is set, but its story line and characterizations lack the sufficient originality to lift the film above its many better predecessors. It is currently being shown as part of the "Rendez-vous With French Cinema 2004" series at New York's Walter Reade Theater.
The title refers to the plucky central character Isabelle (Sophie Quinton), a new student nurse in the surgical unit of a large hospital. The handsome surgeon Dr. Philippe (Laurent Lucas) gives the nickname to her after she displays the odd habit of passing out right in front of him.
Puzzled by this strange physical phenomenon, Isabelle becomes suspicious of the doctor, who, as she and we soon learn, has the disturbing habit of fondling the nude bodies of his unconscious female patients. It isn't long before Isabelle begins to suspect him of even more nefarious deeds and the proverbial deadly game of cat and mouse ensues.
Marchand, the co-screenwriter of such acclaimed efforts as "Human Resources" and "With a Friend Like Harry" (the latter's director, Dominik Moll, is credited here as "technical consultant"), has unfortunately failed to infuse the proceedings with a depth or originality comparable to those efforts, with the result that the most memorable aspect of this film is its pristine visuals (the superb widescreen cinematography is by Pierre Milon).
The arrogant Dr. Philippe is such an obvious bad guy from the start that little suspense is generated; even more damagingly, his villainy, as personified by Lucas' one-dimensional performance, is tedious. Nor is Isabelle, despite her big doe eyes, a compelling heroine, and the supporting characters, including her loving boyfriend and older nurse cousin, are even less interesting.
Too often the director, clearly eager to impress, tries to ratchet up the suspense with the usual tricks of sudden noises or appearances, to little avail. Ultimately, the most original aspect of "Who Killed Bambi?" is its provocative title.
Celluloid Dreams
NEW YORK -- This latest entry in the durable medical thriller genre is an ultimately underwhelming exercise that boasts more style than substance.
The directorial debut of French screenwriter Gilles Marchand, "Who Killed Bambi?" effectively creates a menacing atmosphere within the gleaming white halls of the hospital in which it is set, but its story line and characterizations lack the sufficient originality to lift the film above its many better predecessors. It is currently being shown as part of the "Rendez-vous With French Cinema 2004" series at New York's Walter Reade Theater.
The title refers to the plucky central character Isabelle (Sophie Quinton), a new student nurse in the surgical unit of a large hospital. The handsome surgeon Dr. Philippe Laurent Lucas) gives the nickname to her after she displays the odd habit of passing out right in front of him.
Puzzled by this strange physical phenomenon, Isabelle becomes suspicious of the doctor, who, as she and we soon learn, has the disturbing habit of fondling the nude bodies of his unconscious female patients. It isn't long before Isabelle begins to suspect him of even more nefarious deeds and the proverbial deadly game of cat and mouse ensues.
Marchand, the co-screenwriter of such acclaimed efforts as "Human Resources" and "With a Friend Like Harry" (the latter's director, Dominik Moll, is credited here as "technical consultant"), has unfortunately failed to infuse the proceedings with a depth or originality comparable to those efforts, with the result that the most memorable aspect of this film is its pristine visuals (the superb widescreen cinematography is by Pierre Milon).
The arrogant Dr. Philippe is such an obvious bad guy from the start that little suspense is generated; even more damagingly, his villainy, as personified by Lucas' one-dimensional performance, is tedious. Nor is Isabelle, despite her big doe eyes, a compelling heroine, and the supporting characters, including her loving boyfriend and older nurse cousin, are even less interesting.
Too often the director, clearly eager to impress, tries to ratchet up the suspense with the usual tricks of sudden noises or appearances, to little avail. Ultimately, the most original aspect of "Who Killed Bambi?" is its provocative title.
NEW YORK -- This latest entry in the durable medical thriller genre is an ultimately underwhelming exercise that boasts more style than substance.
The directorial debut of French screenwriter Gilles Marchand, "Who Killed Bambi?" effectively creates a menacing atmosphere within the gleaming white halls of the hospital in which it is set, but its story line and characterizations lack the sufficient originality to lift the film above its many better predecessors. It is currently being shown as part of the "Rendez-vous With French Cinema 2004" series at New York's Walter Reade Theater.
The title refers to the plucky central character Isabelle (Sophie Quinton), a new student nurse in the surgical unit of a large hospital. The handsome surgeon Dr. Philippe Laurent Lucas) gives the nickname to her after she displays the odd habit of passing out right in front of him.
Puzzled by this strange physical phenomenon, Isabelle becomes suspicious of the doctor, who, as she and we soon learn, has the disturbing habit of fondling the nude bodies of his unconscious female patients. It isn't long before Isabelle begins to suspect him of even more nefarious deeds and the proverbial deadly game of cat and mouse ensues.
Marchand, the co-screenwriter of such acclaimed efforts as "Human Resources" and "With a Friend Like Harry" (the latter's director, Dominik Moll, is credited here as "technical consultant"), has unfortunately failed to infuse the proceedings with a depth or originality comparable to those efforts, with the result that the most memorable aspect of this film is its pristine visuals (the superb widescreen cinematography is by Pierre Milon).
The arrogant Dr. Philippe is such an obvious bad guy from the start that little suspense is generated; even more damagingly, his villainy, as personified by Lucas' one-dimensional performance, is tedious. Nor is Isabelle, despite her big doe eyes, a compelling heroine, and the supporting characters, including her loving boyfriend and older nurse cousin, are even less interesting.
Too often the director, clearly eager to impress, tries to ratchet up the suspense with the usual tricks of sudden noises or appearances, to little avail. Ultimately, the most original aspect of "Who Killed Bambi?" is its provocative title.
- 3/24/2004
- The Hollywood Reporter - Movie News
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