Stars: Emmanuelle Seigner, Tahar Rahim, Anne Dorval, Bouli Lanners | Written by Katell Quillévéré, Gilles Taurand | Directed by Katell Quillévéré
This French-Belgian drama initially allures with an opening sequence that sees teenager Simon Limbres (Gabin Verdet) climb out of his girlfriend’s window and head to the beach with his buddies for a pre-dawn surf. It’s a mesmerising sequence with a dreamlike quality, as Simon observes the magnificence of nature from beneath the waves. On the way home, Simon falls asleep in the passenger seat. He will never wake up. And we will not see filmmaking of this quality again for the next 100 minutes.
Simon’s mother, Marianne (Emmanuelle Seigner), arrives at the hospital, to be told that her son is brain-dead. A young doctor, Thomas (Tahar Rahim), explains the rareness of Simon’s condition: he won’t live, but he has a body full of organs which are ripe for donation.
This French-Belgian drama initially allures with an opening sequence that sees teenager Simon Limbres (Gabin Verdet) climb out of his girlfriend’s window and head to the beach with his buddies for a pre-dawn surf. It’s a mesmerising sequence with a dreamlike quality, as Simon observes the magnificence of nature from beneath the waves. On the way home, Simon falls asleep in the passenger seat. He will never wake up. And we will not see filmmaking of this quality again for the next 100 minutes.
Simon’s mother, Marianne (Emmanuelle Seigner), arrives at the hospital, to be told that her son is brain-dead. A young doctor, Thomas (Tahar Rahim), explains the rareness of Simon’s condition: he won’t live, but he has a body full of organs which are ripe for donation.
- 7/14/2017
- by Rupert Harvey
- Nerdly
Katell Quillévéré’s audacious feature follows a human heart from donor to recipient, stirring strong emotions and showing breathtaking visual skill
“Careful. No powerful emotions.” Claire (Anne Dorval) smiles wryly, undermining the brittle anxieties of her loved ones by gently mocking the cardiac disease that could shutter her life at any moment. The fiftysomething mother of two adult sons, Claire is the end point of the journey of the closest thing that this film has to a central character: the human heart that we follow from accident-victim donor to critically ill recipient.
And “no powerful emotions” is central to the approach that French director Katell Quillévéré adopts for her stunning third feature, an adaptation of last week’s 2017 Wellcome Book prize-winning novel Mend the Living by Maylis de Kerangal. No swampy melodrama or misery tourism here. Quillévéré favours uncluttered empathy over sentimentality. Her film-making is as clinical and precise as a scalpel incision,...
“Careful. No powerful emotions.” Claire (Anne Dorval) smiles wryly, undermining the brittle anxieties of her loved ones by gently mocking the cardiac disease that could shutter her life at any moment. The fiftysomething mother of two adult sons, Claire is the end point of the journey of the closest thing that this film has to a central character: the human heart that we follow from accident-victim donor to critically ill recipient.
And “no powerful emotions” is central to the approach that French director Katell Quillévéré adopts for her stunning third feature, an adaptation of last week’s 2017 Wellcome Book prize-winning novel Mend the Living by Maylis de Kerangal. No swampy melodrama or misery tourism here. Quillévéré favours uncluttered empathy over sentimentality. Her film-making is as clinical and precise as a scalpel incision,...
- 4/30/2017
- by Wendy Ide
- The Guardian - Film News
Katell Quillévéré’s polished mosaic of interconnected lives is intelligently acted and visually arresting but its cardiac-transplant storyline is a little glib
Katell Quillévéré’s first two pictures, Love Like Poison and Suzanne, established her as a film-maker of delicacy and grace; this third feature is based on the novel by Maylis de Kerangal, adapted by the director with veteran screenwriter Gilles Taurand.
It is every bit as beautifully made and intelligently acted as you might expect, with some wonderful visual imagery at the very beginning. Yet I was disappointed. The organ donation storyline is a readymade trope, bringing together disparate life stories; it creates its own internal narrative economy of donor and recipient. But it’s a rather Hollywoodised high concept, reminiscent of Alejandro González Iñárittu’s 21 Grams or even, frankly, a slushy romantic weepie from 2000 starring Minnie Driver called Return to Me. Those films had the idea of infringing the donor anonymity rules,...
Katell Quillévéré’s first two pictures, Love Like Poison and Suzanne, established her as a film-maker of delicacy and grace; this third feature is based on the novel by Maylis de Kerangal, adapted by the director with veteran screenwriter Gilles Taurand.
It is every bit as beautifully made and intelligently acted as you might expect, with some wonderful visual imagery at the very beginning. Yet I was disappointed. The organ donation storyline is a readymade trope, bringing together disparate life stories; it creates its own internal narrative economy of donor and recipient. But it’s a rather Hollywoodised high concept, reminiscent of Alejandro González Iñárittu’s 21 Grams or even, frankly, a slushy romantic weepie from 2000 starring Minnie Driver called Return to Me. Those films had the idea of infringing the donor anonymity rules,...
- 4/26/2017
- by Peter Bradshaw
- The Guardian - Film News
The director on the pressures of adapting a much-loved novel, and why it’s better being a female film-maker in France
Born in 1980 in Abidjan, Côte d’Ivoire and raised in France, the writer and director Katell Quillévéré made her feature film-making debut in 2010 with an intimate coming-of-age picture, Love Like Poison. She followed this with Suzanne (2013), a sweeping social-realist study of a woman’s life and choices. Her latest film, Heal the Living, which traces the journey of a heart from donor to transplant recipient, is an adaptation of the International Booker prize-nominated Mend the Living by Maylis de Kerangal.
Who or what first got you passionate about cinema?
I didn’t come from a cinephile background. My family would go to the movies about three or four times a year. I discovered cinema when I was 16 or 17, when I watched a TV programme about all the movies of Maurice Pialat.
Born in 1980 in Abidjan, Côte d’Ivoire and raised in France, the writer and director Katell Quillévéré made her feature film-making debut in 2010 with an intimate coming-of-age picture, Love Like Poison. She followed this with Suzanne (2013), a sweeping social-realist study of a woman’s life and choices. Her latest film, Heal the Living, which traces the journey of a heart from donor to transplant recipient, is an adaptation of the International Booker prize-nominated Mend the Living by Maylis de Kerangal.
Who or what first got you passionate about cinema?
I didn’t come from a cinephile background. My family would go to the movies about three or four times a year. I discovered cinema when I was 16 or 17, when I watched a TV programme about all the movies of Maurice Pialat.
- 4/16/2017
- by Interview by Wendy Ide
- The Guardian - Film News
"We can try to figure out what Simon would have wanted." Cohen Media Group has debuted an official Us trailer for the French indie drama Heal the Living, based on the book of the same name (Réparer les vivants) by Maylis De Kerangal. The film stars Tahar Rahim (from A Prophet and The Past) as Thomas Rémige, a doctor who is tasked with caring for a young teenage surfer boy who is in a coma after a car crash. The story follows the lives of three different people, and how they connect after a horrific accident. The cast includes Emmanuelle Seigner, Anne Dorval, Bouli Lanners, Kool Shen, Monia Chokri, and Alice Taglioni. The film already played at film festivals last fall, and opens this month. This has some stunning cinematography, and it looks like a tender, emotional film about grief. This trailer totally got my attention. Here's the official Us...
- 4/11/2017
- by Alex Billington
- firstshowing.net
Heal The Living (Réparer les vivantes) Director: Katell Quillévéré Written by: Katell Quillévéré, Gilles Taurand from the novel “The Heart” by Maylis de Kerangal Cast: Tahar Rahim, Emmanuelle Seigner, Anne Dorval, Bouli Lanners, Kool Shen, Monia Chokri, Alive Taglioni Opens: April 14, 2017 “We’re all connected” sounds like a tagline for a phone company and […]
The post Heal The Living Review: We are all connected. appeared first on Shockya.com.
The post Heal The Living Review: We are all connected. appeared first on Shockya.com.
- 3/30/2017
- by Harvey Karten
- ShockYa
Katell Quillévéré on Steven Spielberg's E.T. - The Extra Terrestrial: "For me it was something from my childhood ..." Photo: Anne-Katrin Titze
The danger of living is lurking at every corner at the start of Katell Quillévéré's medical thriller Heal The Living (Réparer Les Vivants), co-written with Gilles Taurand, based on a novel by Maylis De Kerangal, starring Emmanuelle Seigner, Kool Shen (Catherine Breillat's Abus De Faiblesse with Isabelle Huppert), Tahar Rahim, Gabin Verdet, Théo Choldbi, and Finnegan Oldfield (Thomas Bidegain's Les Cowboys).
I first met Katell Quillévéré when she was presenting her film Suzanne, which stars Sara Forestier, Adèle Haenel, François Damiens, and Paul Hamy. Katell also participated, along with Julie Gayet, Axelle Ropert, Isabelle Giordano, Rebecca Zlotowski, Stacie Passon, Ry Russo-Young, Deborah Kampmeier, and Justine Triet, in activities at the French Institute Alliance Française on International Women’s Day during the 2014 Rendez-Vous with French Cinema in New York.
The danger of living is lurking at every corner at the start of Katell Quillévéré's medical thriller Heal The Living (Réparer Les Vivants), co-written with Gilles Taurand, based on a novel by Maylis De Kerangal, starring Emmanuelle Seigner, Kool Shen (Catherine Breillat's Abus De Faiblesse with Isabelle Huppert), Tahar Rahim, Gabin Verdet, Théo Choldbi, and Finnegan Oldfield (Thomas Bidegain's Les Cowboys).
I first met Katell Quillévéré when she was presenting her film Suzanne, which stars Sara Forestier, Adèle Haenel, François Damiens, and Paul Hamy. Katell also participated, along with Julie Gayet, Axelle Ropert, Isabelle Giordano, Rebecca Zlotowski, Stacie Passon, Ry Russo-Young, Deborah Kampmeier, and Justine Triet, in activities at the French Institute Alliance Française on International Women’s Day during the 2014 Rendez-Vous with French Cinema in New York.
- 3/7/2017
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Keep up with the wild and wooly world of indie film acquisitions with our weekly Rundown of everything that’s been picked up around the globe. Check out last week’s Rundown here.
– Exclusive: Zeitgeist Films has announced that it has acquired “Harold and Lillian: A Hollywood Love Story,” a documentary about two fascinating (and unsung) heroes of 60+ years of Hollywood history. Directed by Daniel Raim and executive produced by Danny DeVito, the film had its premiere in the Cannes Classics section of the Festival.
The film will open in the first quarter of 2017 with a national rollout to follow.
– Open Road Films has acquired all North American rights to the romantic comedy “Home Again,” which will star Reese Witherspoon. The film was written by Hallie Meyers-Shyer and will be directed by Meyers-Shyer in her directorial debut. Nancy Meyers is producing alongside Black Bicycle Entertainment’s Erika Olde, who also financed the film.
– Exclusive: Zeitgeist Films has announced that it has acquired “Harold and Lillian: A Hollywood Love Story,” a documentary about two fascinating (and unsung) heroes of 60+ years of Hollywood history. Directed by Daniel Raim and executive produced by Danny DeVito, the film had its premiere in the Cannes Classics section of the Festival.
The film will open in the first quarter of 2017 with a national rollout to follow.
– Open Road Films has acquired all North American rights to the romantic comedy “Home Again,” which will star Reese Witherspoon. The film was written by Hallie Meyers-Shyer and will be directed by Meyers-Shyer in her directorial debut. Nancy Meyers is producing alongside Black Bicycle Entertainment’s Erika Olde, who also financed the film.
- 9/23/2016
- by Kate Erbland
- Indiewire
Director/co-writer’s Katell Quillévéré's feature drama Heal the Living was just acquired in Toronto by Cohen Media Group for a Spring 2017 release. The film, which just had its North American premiere at the film festival, is based on Maylis de Kerangal's Booker Prize-longlisted novel “Réparer les vivants (Mend the Living).” The story follows three seemingly unrelated stories and weaves them together: A French teenager takes a road trip to the sea with friends to go…...
- 9/16/2016
- Deadline
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