Non-English-language movies stormed the Oscars this year, with five films taking home statuettes — the most ever in one ceremony.
Justine Triet and Arthur Harari’s Best Screenplay Academy Award for French-language courtroom drama Anatomy of a Fall followed three past non-English-language winners: Bong Joon-ho’s Parasite (2019), Pedro Almodóvar’s Talk To Her (2002) and A Man and a Woman by Claude Lelouch and Pierre Uytterhoeven (1966).
The Best Sound Academy Award for Jonathan Glazer’s German-language Holocaust drama The Zone of Interest marked a first for a non-English-language film. The pic also clinched Best International Feature Film.
Related: ‘Oppenheimer’, ‘The Zone Of Interest’ & ‘Poor Things’ Wins Cap Good Night For Brits At The Oscars
The Best Animation Oscar for The Boy and the Heron marked a second Academy Award for Japanese animation maestro Hayao Miyazaki, who took co-directing credits with Toshio Suzuki.
Miyazaki previously triumphed in the category in its second year...
Justine Triet and Arthur Harari’s Best Screenplay Academy Award for French-language courtroom drama Anatomy of a Fall followed three past non-English-language winners: Bong Joon-ho’s Parasite (2019), Pedro Almodóvar’s Talk To Her (2002) and A Man and a Woman by Claude Lelouch and Pierre Uytterhoeven (1966).
The Best Sound Academy Award for Jonathan Glazer’s German-language Holocaust drama The Zone of Interest marked a first for a non-English-language film. The pic also clinched Best International Feature Film.
Related: ‘Oppenheimer’, ‘The Zone Of Interest’ & ‘Poor Things’ Wins Cap Good Night For Brits At The Oscars
The Best Animation Oscar for The Boy and the Heron marked a second Academy Award for Japanese animation maestro Hayao Miyazaki, who took co-directing credits with Toshio Suzuki.
Miyazaki previously triumphed in the category in its second year...
- 3/11/2024
- by Melanie Goodfellow
- Deadline Film + TV
When the 2020 Oscar for original screenplay went to South Korea’s “Parasite” scribes, some were surprised, but they should not have been; the Academy has long been open to foreign-language contenders in all categories. As early as 1947, when the writing categories were a bit different, the Italian screenwriters Sergio Amidei and Federico Fellini nabbed a nomination for “Open City,” as did French scribe Jacques Prévert for “Children of Paradise.”
While during the 1940s and 1950s, barely a handful of foreign-language films reached the nomination stage for writing awards, by the 1960s, every year saw at least one non-English-speaking nominee, and some years, a whopping three. 1962 marked the first Oscar win for international scribes, with Ennio de Concini, Alfredo Gianetti and Pietro Germi claiming it for “Divorce Italian Style.” And in 1966, French screenwriters Claude Lelouch and Pierre Uytterhoeven nabbed a statuette for “A Man and a Woman.”
Although foreign-language writers continued...
While during the 1940s and 1950s, barely a handful of foreign-language films reached the nomination stage for writing awards, by the 1960s, every year saw at least one non-English-speaking nominee, and some years, a whopping three. 1962 marked the first Oscar win for international scribes, with Ennio de Concini, Alfredo Gianetti and Pietro Germi claiming it for “Divorce Italian Style.” And in 1966, French screenwriters Claude Lelouch and Pierre Uytterhoeven nabbed a statuette for “A Man and a Woman.”
Although foreign-language writers continued...
- 12/16/2022
- by Alissa Simon
- Variety Film + TV
“Parasite” had a big weekend, winning Best Original Screenplay at the Writers Guild of America Awards on Saturday and the BAFTAs on Sunday for Bong Joon Ho and Han Jin Won, setting it up nicely to claim the corresponding Oscar next weekend. Should that happen, the South Korean hit would be the sixth foreign language film to do so.
The first five are:
1. Switzerland’s “Marie-Louise” (1945), written by Richard Schweizer
2. France’s “The Red Ballon” (1956), written by Albert Lamorisse
3. Italy’s “Divorce Italian Style” (1962), written by Ennio de Concini, Alfredo Giannetti and Pietro Germi
4. France’s “A Man and a Woman” (1966), written by Claude Lelouch and Pierre Uytterhoeven
5. Spain’s “Talk to Her” (2002), written by Pedro Almodovar
Of these, “A Man and a Woman” is the only one to also take home Best International Feature Film, formerly known as Best Foreign Language Film, which “Parasite” is basically a lock to win.
The first five are:
1. Switzerland’s “Marie-Louise” (1945), written by Richard Schweizer
2. France’s “The Red Ballon” (1956), written by Albert Lamorisse
3. Italy’s “Divorce Italian Style” (1962), written by Ennio de Concini, Alfredo Giannetti and Pietro Germi
4. France’s “A Man and a Woman” (1966), written by Claude Lelouch and Pierre Uytterhoeven
5. Spain’s “Talk to Her” (2002), written by Pedro Almodovar
Of these, “A Man and a Woman” is the only one to also take home Best International Feature Film, formerly known as Best Foreign Language Film, which “Parasite” is basically a lock to win.
- 2/3/2020
- by Joyce Eng
- Gold Derby
Claude Lelouch on influencing Terrence Malick: "I'm happy that you say so." Photo: Anne-Katrin Titze
When I spoke with Claude Lelouch at his hotel in New York less than two years ago, he believed that The Best Years Of A Life (Les Plus Belles Années D'Une Vie), starring Jean-Louis Trintignant, Anouk Aimée, and Monica Bellucci would be his last.
Now he has La Vertu Des Impondérables with Elsa Zylberstein (Un + une with Jean Dujardin and Christopher Lambert), Marianne Denicourt, Ary Abittan, and Stéphane De Groodt (Israel Horovitz's My Old Lady) in the works.
Claude Lelouch: "In Un Homme Et Une Femme (A Man And A Woman), when Anouk Aimée arrives at the end on the train platform, she didn't know Jean-Louis Trintignant would be there."
In 1966, Un Homme Et Une Femme won the Cannes Palme d'Or, and in 1967 won the Best Foreign Language Film Oscar, and Claude Lelouch took Best Writing,...
When I spoke with Claude Lelouch at his hotel in New York less than two years ago, he believed that The Best Years Of A Life (Les Plus Belles Années D'Une Vie), starring Jean-Louis Trintignant, Anouk Aimée, and Monica Bellucci would be his last.
Now he has La Vertu Des Impondérables with Elsa Zylberstein (Un + une with Jean Dujardin and Christopher Lambert), Marianne Denicourt, Ary Abittan, and Stéphane De Groodt (Israel Horovitz's My Old Lady) in the works.
Claude Lelouch: "In Un Homme Et Une Femme (A Man And A Woman), when Anouk Aimée arrives at the end on the train platform, she didn't know Jean-Louis Trintignant would be there."
In 1966, Un Homme Et Une Femme won the Cannes Palme d'Or, and in 1967 won the Best Foreign Language Film Oscar, and Claude Lelouch took Best Writing,...
- 6/7/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Claude Lelouch on Howard Hawks's Bringing Up Baby and his own La Bonne Année as films to watch to cheer you up: "Very good choices!" Photo: Anne-Katrin Titze
The Cannes Film Festival is gearing up for tomorrow's opening night screening of Arnaud Desplechin's Ismael’s Ghosts (Les Fantômes D'Ismaël) starring Mathieu Amalric, Charlotte Gainsbourg and Marion Cotillard with Louis Garrel and Alba Rohrwacher, and a score by Grégoire Hetzel. Claude Lelouch with Un Homme Et Une Femme, starring Anouk Aimée and Jean-Louis Trintignant, in 1966 had won Palme d'Or honours and with Pierre Uytterhoeven, a Best Screenplay Oscar.
Mr and Mrs Gallois (Charles Denner and Judith Magre) with Simon (Jean‑Louis Trintignant) in Le Voyou: "One must learn how to detect cheaters."
Driving with Fanny Ardant, Dominique Pinon, and Audrey Dana in Roman De Gare, Abbas Kiarostami and cars, Un + Une in India with Jean Dujardin and Elsa Zylberstein,...
The Cannes Film Festival is gearing up for tomorrow's opening night screening of Arnaud Desplechin's Ismael’s Ghosts (Les Fantômes D'Ismaël) starring Mathieu Amalric, Charlotte Gainsbourg and Marion Cotillard with Louis Garrel and Alba Rohrwacher, and a score by Grégoire Hetzel. Claude Lelouch with Un Homme Et Une Femme, starring Anouk Aimée and Jean-Louis Trintignant, in 1966 had won Palme d'Or honours and with Pierre Uytterhoeven, a Best Screenplay Oscar.
Mr and Mrs Gallois (Charles Denner and Judith Magre) with Simon (Jean‑Louis Trintignant) in Le Voyou: "One must learn how to detect cheaters."
Driving with Fanny Ardant, Dominique Pinon, and Audrey Dana in Roman De Gare, Abbas Kiarostami and cars, Un + Une in India with Jean Dujardin and Elsa Zylberstein,...
- 5/16/2017
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Au Beaune Pain: Lelouch Continues with Frivolous Comedy Spackle
Somewhere along the way Palme d’Or and Oscar winning auteur Claude Lelouch (1966’s A Man and a Woman) morphed into the Garry Marshall of French film, churning out vapid comedy vehicles sporting a glitzy array of notable Gallic stars. Whenever the slide began, his tendencies to overstuff his narratives with zany layers of (often inconsequential) tangential sub-plotting began years ago, look no further than his 1986 sequel to his most famous film, A Man and a Woman: 20 Years Later for longstanding evidence of the change. His later period reflects the stamp of various muses, such as actress Audrey Dana, and now, frequent co-author Valerie Perrin. With 2013’s We Love You, You Bastard and 2015’s Un + Une, Lelouch has become completely divorced from his illustrious past filmography, a chasm only widened by his latest venture, Everybody’s Life, once more featuring Johnny Hallyday and Jean Dujardin amongst a cavalcade of a cast, all whirling through this odd kitchen sink array of miscellaneous characters all inclined to converse about their Zodiac signs as they fall in and out of romantic love or obsessive yearning during a a year’s time in Beaune, France.
As an annual jazz festival gets underway, a slew of characters intersect and coverage in the provincial town of Beaune in the Burgundy region. A judge (Eric Dupond-Moretti) must contend with the news of Clementine’s (Beatrice Dalle) retirement, a local prostitute whose company has brought him great joy since the death of his wife. Meanwhile, his colleague Nathalie (Julie Ferrier) falls out of a window after finding her husband (Gerard Darmon) with another man, sharing an ambulance with a hypochondriac singer (Mathilde Seigner) who believes she is having a heart attack following a performance at the festival. At the same time, a tawdry court case has drawn together another subsection of the community, including the troubled alcoholic Antoine (Christophe Lambert), currently facing the dissolution of his own marriage with his disconsolate wife (Marianne Denicourt) betwixt legal troubles. And as famed singer Johnny Hallyday faces a problem with a slippery doppelganger (who has a tryst with an unhappily married Comtesse played by Elsa Zylberstein, married to Vincent Perez), which causes some confusion with local cop Jean (Jean Dujardin), the marriage between former beauty queen (Nadia Fares) and Stephane (Stephane De Groodt) is also on the rocks. Meanwhile, the local hospital has decided to engage a new policy wherein patients must be put at ease through sexually provocative jokes, which brings a chummy nurse (Deborah Francois) into contact with several patients.
If Max Ophuls had wanted to make La Ronde (1950) into a relationship farce (to be fair, Roger Vadim kind of did this with his remake) set to light jazz, it might look something like Everybody’s Life. However, Lelouch feels as if he filmed his illustrious cast in a number of amusing scenarios and pasted the end results together as he saw fit, clipping it into a semblance of repeated scenarios with revolving characters, all who end up professing their love, being destroyed by it, or simply moving on to another chapter. However, the film is neither subtle nor diverse in its repetitive techniques, and for as entertaining as it is to see Hallyday and Dujardin horse around as they take selfies, the frivolousness quickly gets wearying, particularly by its grand framed finale, where we return to the court room a year later after the film’s beginning, with Lelouch stuffing all his characters, whether it makes sense or not, into the same room.
Gregoire Lacroix assists Perrin, Pierre Uytterhoeven (who co-wrote A Man and a Woman) and Lelouch in this adaptation from his own prose, but Everybody’s Life drifts aimlessly, as if besotted by the presence of its own unlucky in love characters all experiencing the same approximation of discontent. Most of these formulas are tedious, if not forgettable, with a glaring bright spot from Beatrice Dalle as a prostitute who wants nothing more to do with sex or men and relish the retirement she deserves. If somewhat less ungainly than rom-com Un+Une and the loopy We Love You, You Bastard, this isn’t a return to form or an ascension to new heights for Lelouch, try as it might to ‘experiment’ with traditional narrative form.
Reviewed on April 24th at the 2017 Colcoa French Film Festival – Opening Night Film. 113 Mins.
★★½/☆☆☆☆☆
The post Everybody’s Life | 2017 Colcoa French Film Festival Review appeared first on Ioncinema.com.
Somewhere along the way Palme d’Or and Oscar winning auteur Claude Lelouch (1966’s A Man and a Woman) morphed into the Garry Marshall of French film, churning out vapid comedy vehicles sporting a glitzy array of notable Gallic stars. Whenever the slide began, his tendencies to overstuff his narratives with zany layers of (often inconsequential) tangential sub-plotting began years ago, look no further than his 1986 sequel to his most famous film, A Man and a Woman: 20 Years Later for longstanding evidence of the change. His later period reflects the stamp of various muses, such as actress Audrey Dana, and now, frequent co-author Valerie Perrin. With 2013’s We Love You, You Bastard and 2015’s Un + Une, Lelouch has become completely divorced from his illustrious past filmography, a chasm only widened by his latest venture, Everybody’s Life, once more featuring Johnny Hallyday and Jean Dujardin amongst a cavalcade of a cast, all whirling through this odd kitchen sink array of miscellaneous characters all inclined to converse about their Zodiac signs as they fall in and out of romantic love or obsessive yearning during a a year’s time in Beaune, France.
As an annual jazz festival gets underway, a slew of characters intersect and coverage in the provincial town of Beaune in the Burgundy region. A judge (Eric Dupond-Moretti) must contend with the news of Clementine’s (Beatrice Dalle) retirement, a local prostitute whose company has brought him great joy since the death of his wife. Meanwhile, his colleague Nathalie (Julie Ferrier) falls out of a window after finding her husband (Gerard Darmon) with another man, sharing an ambulance with a hypochondriac singer (Mathilde Seigner) who believes she is having a heart attack following a performance at the festival. At the same time, a tawdry court case has drawn together another subsection of the community, including the troubled alcoholic Antoine (Christophe Lambert), currently facing the dissolution of his own marriage with his disconsolate wife (Marianne Denicourt) betwixt legal troubles. And as famed singer Johnny Hallyday faces a problem with a slippery doppelganger (who has a tryst with an unhappily married Comtesse played by Elsa Zylberstein, married to Vincent Perez), which causes some confusion with local cop Jean (Jean Dujardin), the marriage between former beauty queen (Nadia Fares) and Stephane (Stephane De Groodt) is also on the rocks. Meanwhile, the local hospital has decided to engage a new policy wherein patients must be put at ease through sexually provocative jokes, which brings a chummy nurse (Deborah Francois) into contact with several patients.
If Max Ophuls had wanted to make La Ronde (1950) into a relationship farce (to be fair, Roger Vadim kind of did this with his remake) set to light jazz, it might look something like Everybody’s Life. However, Lelouch feels as if he filmed his illustrious cast in a number of amusing scenarios and pasted the end results together as he saw fit, clipping it into a semblance of repeated scenarios with revolving characters, all who end up professing their love, being destroyed by it, or simply moving on to another chapter. However, the film is neither subtle nor diverse in its repetitive techniques, and for as entertaining as it is to see Hallyday and Dujardin horse around as they take selfies, the frivolousness quickly gets wearying, particularly by its grand framed finale, where we return to the court room a year later after the film’s beginning, with Lelouch stuffing all his characters, whether it makes sense or not, into the same room.
Gregoire Lacroix assists Perrin, Pierre Uytterhoeven (who co-wrote A Man and a Woman) and Lelouch in this adaptation from his own prose, but Everybody’s Life drifts aimlessly, as if besotted by the presence of its own unlucky in love characters all experiencing the same approximation of discontent. Most of these formulas are tedious, if not forgettable, with a glaring bright spot from Beatrice Dalle as a prostitute who wants nothing more to do with sex or men and relish the retirement she deserves. If somewhat less ungainly than rom-com Un+Une and the loopy We Love You, You Bastard, this isn’t a return to form or an ascension to new heights for Lelouch, try as it might to ‘experiment’ with traditional narrative form.
Reviewed on April 24th at the 2017 Colcoa French Film Festival – Opening Night Film. 113 Mins.
★★½/☆☆☆☆☆
The post Everybody’s Life | 2017 Colcoa French Film Festival Review appeared first on Ioncinema.com.
- 4/28/2017
- by Nicholas Bell
- IONCINEMA.com
A Man and a Woman (Un homme et une femme)
Written by Pierre Uytterhoeven
Directed by Claude Lelouch
France, 1966
In a driving scene roughly thirty minutes into A Man and a Woman, the host on a station playing from the car radio says, “I can tell you right away that the weather forecast is rainy. There’ll be rain all over France.” He’s certainly not wrong, as Claude Lelouch’s Cannes prize-winner might be the drizzliest film ever made, with light rain, or at least overcast skies, pervading as backdrop for most of its exterior scenes; even those without have either snow or the dimming light of dusk to encourage its characters to bundle up. It’s a film where the warmth of an emerging romance happens amid perpetual chill – Baby, It’s Cold Outside was apparently not a working title.
A widowed man (Jean-Louis Trintignant) and a widowed...
Written by Pierre Uytterhoeven
Directed by Claude Lelouch
France, 1966
In a driving scene roughly thirty minutes into A Man and a Woman, the host on a station playing from the car radio says, “I can tell you right away that the weather forecast is rainy. There’ll be rain all over France.” He’s certainly not wrong, as Claude Lelouch’s Cannes prize-winner might be the drizzliest film ever made, with light rain, or at least overcast skies, pervading as backdrop for most of its exterior scenes; even those without have either snow or the dimming light of dusk to encourage its characters to bundle up. It’s a film where the warmth of an emerging romance happens amid perpetual chill – Baby, It’s Cold Outside was apparently not a working title.
A widowed man (Jean-Louis Trintignant) and a widowed...
- 5/31/2014
- by Josh Slater-Williams
- SoundOnSight
A Man and a Woman: Anouk Aimée to attend New York City screening of Claude Lelouch classic co-starring Jean-Louis Trintignant AMaaW, Lelouch's romantic drama starring Aimée (by then a two-decade veteran in films) and Jean-Louis Trintignant (who had been around since the early '50s), will be presented by the Academy of Motion Picture Arts and Sciences in partnership with To Save and Project: The 10th MoMA International Festival of Film Preservation. The 1966 Cannes Film Festival Palme d'Or winner and Best Foreign Language Film Academy Award winner will be screened on Monday, October 15, at 7 p.m. at the Academy Theater at Lighthouse International at 111 East 59th Street in New York City. (Please scroll down for more information.) Aimée, who was nominated for a Best Actress Oscar for her performance as a widow in love with race-car driver Trintignant, is scheduled to attend the screening. A new print of the film,...
- 10/4/2012
- by Andre Soares
- Alt Film Guide
PARIS -- French screenwriters union the UGS will celebrate Jacques Prevert's birthday Feb. 4 as it awards its second annual Jacques Prevert Script Prize for best French screenplay, the UGS said Thursday.
Gallic director Daniele Thompson will preside over the ceremony at Paris' Orangerie restaurant.
Thompson's 2008 jury includes fellow screenwriters Pascal Kane, Olivier Lorelle, Loraine Levy, Juliette Sales, Jerome Soubeyrand, Gilles Taurand, Anne Louise Trividic, Pierre Uytterhoeven and Philippe Vuaillat.
This year, the winner in the best original screenplay category will see 4,000 copies of his script printed and distributed at newstands around the country as a supplement to the screenwriters' magazine "La Gazette des Scenaristes".
Last year's award for best original screenplay went to Christopher Turpin and Laurent Tuel for Tuel's "Jean-Philippe", while the best adaptation award went to Michel Hazanavicius' "OSS 117: Cairo, Nest of Spies".
Gallic director Daniele Thompson will preside over the ceremony at Paris' Orangerie restaurant.
Thompson's 2008 jury includes fellow screenwriters Pascal Kane, Olivier Lorelle, Loraine Levy, Juliette Sales, Jerome Soubeyrand, Gilles Taurand, Anne Louise Trividic, Pierre Uytterhoeven and Philippe Vuaillat.
This year, the winner in the best original screenplay category will see 4,000 copies of his script printed and distributed at newstands around the country as a supplement to the screenwriters' magazine "La Gazette des Scenaristes".
Last year's award for best original screenplay went to Christopher Turpin and Laurent Tuel for Tuel's "Jean-Philippe", while the best adaptation award went to Michel Hazanavicius' "OSS 117: Cairo, Nest of Spies".
- 1/11/2008
- The Hollywood Reporter - Movie News
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