In 1947, ten years before becoming an actor, Philippe Garrel’s father, Maurice, joined a company of puppeteers. That piece of history is like a well of inspiration in The Plough, Garrel’s latest cinematic family affair and a film as effortless as they come. It stars all three of Philippe’s children––Louie, Lena, and Esther––as brother and sisters; the patriarch role is filled by Louie’s godfather, Aurélien Recoing, whose own father worked alongside Maurice all those years ago. The grandmother is played by Francine Bergé––no relation, but maybe the performance of the lot. A briskly charming, bracingly anachronistic, sometimes achingly sensual film, it tracks the company in their late halcyon days as well as the siblings’ strained attempts to keep things going once their father dies.
Curiously, The Plough is Garrel’s first color film since A Burning Hot Summer, a maligned work from 2011 that was,...
Curiously, The Plough is Garrel’s first color film since A Burning Hot Summer, a maligned work from 2011 that was,...
- 3/9/2023
- by Rory O'Connor
- The Film Stage
2023 truly begins taking shape with next month’s Berlinale, which will run from February 16 to February 26 and feature more than a few of our most-anticipated films this year. Among them are Christian Petzold’s Afire (Roter Himmel), starring new muse Paula Beer; Hong Sangsoo’s In Water, which will appear in the Encounters section; and Philippe Garrel’s The Plough, once known as La lune crevée starring his three children Louis, Esther, and Lena, and (judging from the still) his first color feature since 2011’s A Burning Hot Summer. Meanwhile: Angela Schanelec will return with Music, and––six years after the wonderful Person to Person––it’s nice spotting a new feature from Dustin Guy Defa, The Adults.
Find the lineup below and head back next month for our coverage of the festival headed by Kristen Stewart’s jury.
Competition
20,000 Species of Bees (Estibaliz Urresola Solaguren)
The Shadowless Tower (Zhang...
Find the lineup below and head back next month for our coverage of the festival headed by Kristen Stewart’s jury.
Competition
20,000 Species of Bees (Estibaliz Urresola Solaguren)
The Shadowless Tower (Zhang...
- 1/23/2023
- by Leonard Pearce
- The Film Stage
Last July, Garth Brooks was forced to make a last-minute cancellation of his show at Nashville’s Nissan Stadium when dangerous weather conditions rolled through just before he was supposed to go onstage.
The possibility of rain and storms hung in the air for the country star’s first of two rescheduled Stadium Tour dates on Friday, but Brooks wasn’t going to be thwarted this time.
“I’ve never seen rain like that,” Brooks told the crowd in Nashville at the beginning of his set. “Thank you for giving us a second chance!
The possibility of rain and storms hung in the air for the country star’s first of two rescheduled Stadium Tour dates on Friday, but Brooks wasn’t going to be thwarted this time.
“I’ve never seen rain like that,” Brooks told the crowd in Nashville at the beginning of his set. “Thank you for giving us a second chance!
- 4/16/2022
- by Jon Freeman
- Rollingstone.com
Pandemic? What pandemic? That seemed to be the vibe among the 68,000 people at Garth Brooks’ concert at Allegiant Stadium in Las Vegas on Saturday night, the first major stadium concert anywhere in the U.S. since the arrival of Covid-19.
Social distancing? Nope. Masks? Maybe a few wore them. Heck, Brooks even shared M&m’s with the crowd at one point.
While there is certainly some trepidation about a mass indoor gathering right now — especially with the emergence of the more transmissible delta variant — the semblance of normalcy outweighed everything else on Saturday night.
Social distancing? Nope. Masks? Maybe a few wore them. Heck, Brooks even shared M&m’s with the crowd at one point.
While there is certainly some trepidation about a mass indoor gathering right now — especially with the emergence of the more transmissible delta variant — the semblance of normalcy outweighed everything else on Saturday night.
- 7/11/2021
- by Mark Gray
- Rollingstone.com
Each year it is a pleasure to introduce the ten actors who make up the European Film Promotion‘s Shooting Stars, and this year is no different. The initiative, to celebrate and promote the best in European acting talent, is dear to the heart of HeyUGuys, and we’ll be continuing our partnership this year with in-depth interviews with each of the 2021 cohort.
This year will, as expected, be slightly different from previous years. The ten emerging actors will be presented as part of a three-day online programme, a week before the 71st Berlinale commences. The digital event, held on the 23rd to the 25th of February, will be an online experience where we’ll be able to sit down and learn a little more about what makes these ten people the ones to watch.
Each of the actors were chosen by a carefully selected jury from a list of...
This year will, as expected, be slightly different from previous years. The ten emerging actors will be presented as part of a three-day online programme, a week before the 71st Berlinale commences. The digital event, held on the 23rd to the 25th of February, will be an online experience where we’ll be able to sit down and learn a little more about what makes these ten people the ones to watch.
Each of the actors were chosen by a carefully selected jury from a list of...
- 1/12/2021
- by Jon Lyus
- HeyUGuys.co.uk
Not every pandemic-era awards show can reinvent the wheel, or try to, just for the sake of quarantine creativity points. And so “The Billboard Music Awards” occupied a unique space in the recent history of prime-time awards shows, by proceeding almost exactly as it probably would’ve if there had been a live audience in the Dolby Theatre. Apart from a few quick jokes or allusions to Covid-19 conditions, the only real sign that there was anything unusual about the 2020 BBMAs was the lack of any applause.
Well, except during Garth Brooks’ medley, which weirdly arrived with its own incongruous crowd roar, as the country superstar lifted his chin and pointed and played to the upper decks, as he always does, even getting the phantoms up there to sing along with “Friends in Low Places.” Had some of Brooks’ fan club snuck into the Dolby’s upper balcony just for his segment?...
Well, except during Garth Brooks’ medley, which weirdly arrived with its own incongruous crowd roar, as the country superstar lifted his chin and pointed and played to the upper decks, as he always does, even getting the phantoms up there to sing along with “Friends in Low Places.” Had some of Brooks’ fan club snuck into the Dolby’s upper balcony just for his segment?...
- 10/15/2020
- by Chris Willman
- Variety Film + TV
Le sel des larmes
2020 will see the premiere of the 27th feature by French auteur Philippe Garrel with The Salt of Tears, which reunites him with scribes Jean-Claude Carriere and Arlette Langmann. Dp Renato Berta (who lensed Garrel’s last two feature) is on board, as is producer Edouard Weil (who previously produced A Burning Hot Summer and Frontier of Dawn for the director). Garrel’s youthful cast consists of Louise Chevillotte (who made her debut in Lover for a Day and has since starred in Nadav Lapid’s Synonyms and Verhoeven’s upcoming Benedetta), Oulaya Amamra (Cesar winner for 2017’s Divines), Souheila Yacoub, Andre Wilms and newcomer Logann Antuofermo.…...
2020 will see the premiere of the 27th feature by French auteur Philippe Garrel with The Salt of Tears, which reunites him with scribes Jean-Claude Carriere and Arlette Langmann. Dp Renato Berta (who lensed Garrel’s last two feature) is on board, as is producer Edouard Weil (who previously produced A Burning Hot Summer and Frontier of Dawn for the director). Garrel’s youthful cast consists of Louise Chevillotte (who made her debut in Lover for a Day and has since starred in Nadav Lapid’s Synonyms and Verhoeven’s upcoming Benedetta), Oulaya Amamra (Cesar winner for 2017’s Divines), Souheila Yacoub, Andre Wilms and newcomer Logann Antuofermo.…...
- 1/3/2020
- by Nicholas Bell
- IONCINEMA.com
With a seemingly endless amount of streaming options—not only the titles at our disposal, but services themselves–each week we highlight the noteworthy titles that have recently hit platforms. Check out this week’s selections below and an archive of past round-ups here.
A Burning Hot Summer (Philippe Garrel)
What makes Philippe Garrel’s films so distinct is their blend of autobiographical pain and silent-film mise-en-scène–a failed relationship or revolution rendered not so much through the increasingly dialogue-heavy scripts of his films, but the placement of bodies, gestures, and, furthermore, the dreams that contain and emerge from them. Yet while A Burning Hot Summer may be the only film he’s made in the 21st century not shot in black-and-white, once the senior Maurice Garrel (in his final role) appears as an apparition in his grandson’s hospital bed-bound vision, the personal and the fantastical have formed their most natural relationship.
A Burning Hot Summer (Philippe Garrel)
What makes Philippe Garrel’s films so distinct is their blend of autobiographical pain and silent-film mise-en-scène–a failed relationship or revolution rendered not so much through the increasingly dialogue-heavy scripts of his films, but the placement of bodies, gestures, and, furthermore, the dreams that contain and emerge from them. Yet while A Burning Hot Summer may be the only film he’s made in the 21st century not shot in black-and-white, once the senior Maurice Garrel (in his final role) appears as an apparition in his grandson’s hospital bed-bound vision, the personal and the fantastical have formed their most natural relationship.
- 8/30/2019
- by Jordan Raup
- The Film Stage
Close-Up is a feature that spotlights films now playing on Mubi. Philippe Garrel's A Burning Hot Summer (2011) is showing June 22 - July 22, 2018 in many countries around the world.There is a moment in Philippe Garrel's A Burning Hot Summer which stands out. Three characters attend a party. Frédéric (Louis Garrel), a painter, and Paul (Jérôme Robart), a budding writer, sit together discussing their work. “I’ll base a character on you one day…you won’t recognize yourself,” Paul suggests. Frédéric responds: “maybe I’ll be better…better than in real life.” In the next room, Frédéric’s wife Angèle (Monica Bellucci) dances with a number of partners to ‘Truth Begins’ by Dirty Pretty Things. Garrel’s camera, normally restrained, breaks free, loosely tracking Angèle’s path from one partner to another, only to be obstructed by the movements of other dancers as the foreground becomes increasingly abstracted by...
- 7/10/2018
- MUBI
Photo by Darren HughesThe Unknown Girl opens with a handheld close up of Dr. Jenny (Adèle Haenel) examining a patient. “Listen,” she says, handing her stethoscope to Julien (Olivier Bonnaud), a medical student who is interning at her clinic. Never ones to shy away from a glaring metaphor, Jean-Pierre and Luc Dardenne announce in that brief exchange their film’s driving thematic and formal concerns. When Jenny later learns that her decision to not allow a late-night visitor into the clinic might have contributed to the young woman’s death, she puts her skills and training to new purpose: listening for clues that might help solve the murder.The Unknown Girl differs from the Dardennes’ previous fiction films only in its more obviously generic plotting. This seems to have contributed to the uncharacteristically mixed reviews that greeted the film at its 2016 Cannes premiere, where it was faulted for failing to...
- 8/29/2017
- MUBI
Philippe Garrel’s In The Shadow of Women is his Jacques Rivette film: a work of masks, intrigues, labyrinthine deceptions and power games...but applied to the most intimate of relationships. So too is it thus a 69 minute long miracle of economy: We will see the meanings of these frames later. As Garrel says in his press conference: "For me, In The Shadow of Women is a film about the equality of men and women in as far as cinema can achieve this."And insofar as it is a meditation on equality between men and women, it too is also in dialogue with cinema itself.“...a history of cinema as communication between man and woman.” – Garrel, New York 2015 A good alternate title would be: Now, how do we get from point A to point B? “I also use images from my dreams. I am looking for a form of oneirism...
- 1/25/2016
- by Neil Bahadur
- MUBI
Philippe Garrel. Photo by Darren Hughes.There’s no exact equivalent in film history for Philippe Garrel’s “family cinema,” as he calls it here. To immerse oneself in his work is to watch Garrel and those he loves (parents, partners, children) be transformed by age and experience, while their passions and preoccupations—that particular Garrelian amour fou—persist.After several decades during which Garrel’s films saw limited distribution and exhibition in North America, he's now experiencing something of a revival. Over the span of three days at the Toronto International Film Festival I enjoyed an impromptu Garrel family retrospective. In the Cinematheque program, Tiff debuted its recently-commissioned 35mm print of Jacques Rozier’s first film, Adieu Philippine (1962), which features a middle-aged Maurice Garrel in a supporting role. Actua 1 (1968), Philippe Garrel’s long-lost short documentary of the May ’68 protests, screened in the Wavelengths section, also in a new print.
- 1/13/2016
- by Darren Hughes
- MUBI
The Cannes Film festival was an exceptional edition for French films this year. A focus on the rising generation of French actors and directors that have been highlighted in Cannes and will most certainly be the stars of tomorrow was compiled by Unifrance chief Isabelle Giordano.
They are a force to be reckoned with. Unifrance films is ready to bet that you will certainly hear about these ten talented people. They represent the French cinema of today and will soon be on the screens worldwide.
Emmanuelle Bercot
An actress and a director, Emmanuelle Bercot began by enrolling at the Cours Florent drama school and taking dancing lessons after her baccalaureate. She graduated from Femis in 1998, after winning the Prix du Jury at the Cannes Film Festival for her short film "Les Vacances," in 1997. After her first few roles in the films of Jean-François Richet and Michel Deville, her career as an actress took off when Claude Miller gave her one of the main roles in "La Classe de neige" (1998). The following year, she made the headlines with the medium-length film she directed called "La Puce," presented in the selection of Un Certain Regard at Cannes. This film tells of the love affair between a 35-year-old man and a 14-year-old girl, played by Isild Le Besco.
Her first feature-length film, "Clément" (2001), is about the life of a troubled woman who has one adventure after another with various men until she meets a 14-yearold boy. Her second film, "Backstage" (2004), continues to explore teenage angst through a relationship between a hit singer and a young obsessional fan. She earned her first critical and public acclaim with "On My Way" (2013), the third film written by the director for Catherine Deneuve, in which the star plays a woman who has decided to leave everything behind and hit the road in France.
She was indisputably the most talked about person during the Cannes Film Festival 2015, both as an actress and a director. Thierry Frémaux surprised everyone by announcing that "Standing Tall," Emmanuelle Bercot’s fourth feature-length film would open the 68th Cannes Film Festival. Emmanuelle Bercot says that she has rediscovered the social fiber of her beginnings with this tale of juvenile delinquency. After the enthusiastic and unanimous reception of her film, she won the Best Actress Award for her role as a woman under the influence of love in the film "Mon Roi" by Maïwenn, with whom she co-wrote the script for "Polisse," which won the Prix du Jury at the Cannes Film Festival in 2012
Thomas Bidegain
Thomas Bidegain may well be one of the best known French screenwriters in the profession today, but it took him ten years to achieve this status. His career path in film is anything but ordinary. He started out in the 1990s by distributing and producing independent American films: "Ice Storm" by Ang Lee and "Chasing Sleep" by Michael Walker. He came back to France and joined MK2 where he became director of distribution. In 1999, he returned to production for "Why Not." In 2007, he told the story of his attempt to stop smoking in "Arrêter de fumer tue," a personal diary that was turned into a documentary, then a book.
In the meantime, he began screenwriting and worked on several projects. In 2009, he wrote the screenplay for Jacques Audiard’s film, "A Prophet," alongside Nicolas Peufaillit and Abdel Raouf Dafri, which won the Grand Prix du Jury in 2009. He participated in Audiard’s next film, "Rust and Bone" and "Our Children" by Joachim Lafosse. He was also the co-writer for "Saint Laurent" by Bertrand Bonello. Winning a César for the best original script and a César for the best adaptation, he presented "Cowboys" at the Quinzaine des Réalisateurs in Cannes this year, his first film as a director. He is also co-writer of "Ni le ciel ni la terre" by Clément Cogitore, presented during the Semaine de la Critique, as well as co-writer of the script for Jacques Audiard’s latest film, "Dheepan," which won the Palme d’Or.
Louise Bourgoin
Louise Bourgoin attended the Ecole des Beaux Arts for five years, during which she began her career as a model. After she graduated from art school in 2004, she radically changed direction and became a presenter on cable TV. She was Miss Météo in Le Grand Journal on Canal + from 2006 to 2008. Her slot became essential viewing and attracted a wide audience, including the attention of the film industry.
She began her acting career in "The Girl from Monaco" by Anne Fontaine, and her performance earned her a César nomination for Most Promising Actress. This recognition led to a whole series of roles and launched her career in film. She headed the bill of several films in 2010 ("White as Snow" by Christophe Blanc, "Sweet Valentine" by Emma Luchini, and "Black Heaven" by Gilles Marchand). The same year, Luc Besson selected her for the leading role in "The Extraordinary Adventures of Adèle Blanc-Sec."
Since then, Louise Bourgoin has played in film after film, and has taken her first steps in the international scene with her part in the American film "The Love Punch" by Joel Hopkins. She attracted attention at the Cannes Film Festival this year with her unusual role in Laurent Larivière’s first film, "I Am a Soldier," presented at Un Certain Regard.
Anaïs Demoustier
Her passion for acting started at a very young age and rapidly pushed her to take drama classes. She auditioned, when still a teenager, and got her first role alongside Isabelle Huppert in "Time of the Wolf" by Michael Haneke. After this, her career was launched and she played in a series of films among which "L’Année suivante" by Isabelle Czajka, "Hellphone" by James Huth, "The Beautiful Person" by Christophe Honoré, "Sois sage" by Juliette Garcias, "Sweet Evil" by Olivier Coussemacq, "Dear Prudene" by Rebecca Zlotowski, "Snows of Kilimanjaro" by Robert Guédiguian, "Thérèse Desqueyroux" by Claude Miller, "Quai d’Orsay" by Bertrand Tavernier, "Paris Follies" by Marc Fitoussi, etc.
A filmography rich of 30 films for an actress who isn’t 30 years old yet. In 2014, the press talked about the blooming of Anaïs Demoustier because her face and poise became essential to cinema. Present in "Bird People" by Pascale Ferran, "Caprices" by Emmanuel Mouret, "À trois on y va" by Jérôme Bonnell and "The New Girlfriend" by François Ozon, she is Marguerite in the last Valérie Donzelli’s film, "Marguerite et Julien" screened in Official selection in Cannes.
Louis Garrel
The son of actress Brigitte Sy and the director Philippe Garrel, he began his career in film thanks to his father, who started filming him at the age of six in "Emergency Kisses," alongside his mother and his grandfather, Maurice Garrel. He went onto study drama at the Conservatoire National d’Art Dramatique. He made his real cinema debut in 2001 in the film "Ceci est mon corps" by Rodolphe Marconi. Two years later, he played opposite Michael Pitt and the future Bond girl, Eva Green, in "The Dreamers" by Bernardo Bertolucci.
He then starred in another of his father’s films, "Regular Lovers". His performance earned him the César for the Most Promising Actor in 2005. Since then, he has played alongside the greatest, such as Isabelle Huppert in "Ma mère" by Christophe Honoré. This marked the beginning of a long collaboration between the filmmaker and the actor. They worked together in the film "In Paris" with Romain Duris, then in 2007 in "Love Songs" with Ludivine Sagnier, in "The Beautiful Person" with Léa Seydoux, in "Making Plans" for Lena with Chiara Mostroianni and, finally, in " Beloved" with Catherine Deneuve. He also topped the bill with Valéria Bruni Tedeschi in "Actresses," whom he worked with again in 2013 in "A Castle in Italy."
In 2010, he directed a short film, "The Little Tailor," in which he directed Léa Seydoux. He performed once again in one of his father’s films, "A Burning Hot Summer," followed by "Jealousy." In 2014, he starred in Bertrand Bonello’s film "Saint Laurent," a role which led to another César nomination, but this time in the best supporting role category. His first feature-length film, "Two Friends," presented at a Certain Regard, was applauded by the critics. He also starred in "Mon Roi," Maïwenn’s fourth feature-length film, alongside Emmanuelle and Vincent Cassel, presented as part of the official selection.
Guillaume Gouix
After studying at the Conservatoire in Marseille and the Ecole Régionale d’Acteur de Cannes, Guillaume Gouix began his career in television. He played the male lead in "The Lion Cubs," by Claire Doyon, in 2003. Noted for his performance, especially the highly physical aspect of it and his intense gaze, he then played a series of supporting roles as a young hoodlum in "Les Mauvais joueurs" by Frédéric Balekdjian and in "Chacun sa nuit," by Jean-Marc Barr and Pascal Arnold. He featured in the 2007 war film "Intimate Enemies" by Florent Emilio Siri, thus confirming his taste for complex characters.
The following year, he was applauded for his performance in the film "Behind the Walls" by Christian Faure. In 2010, he starred in "22 Bullets" by Richard Berry and in 2011, he established his reputation with roles in "Nobody Else But You" by Gérald Hustache-Mathieu, "Et soudain, tout le monde me manque" by Jennifer Devoldere, and "Jimmy Rivière," Teddy Lussi-Modeste’s film debut.
He also appeared in "Midnight in Paris" by Woody Allen. He more recently starred in "Attila Marcel," by Sylvain Chomet, in which he played the lead role, in "French Women" by Audrey Dana, and "The Connection" by Cédric Jimenez with Jean Dujardin and Gilles Lelouche. He performed in three films presented at Cannes this year ("Les Anarchistes" by Elie Wajeman, which opened the Semaine de la Critique, "La Vie en grand" by Mathieu Vadepied, which closed the week, and in "Enragés" by Eric Hannezo, screened at the Cinéma de la Plage). He also directed his first short film "Alexis Ivanovitch, vous êtes mon héros" in 2011 and will soon start on a feature-length film, which is currently being written. He will be topping the bill in 2015 with "Braqueurs," a thriller by Julien Leclercq.
Ariane Labed
Born in Greece to French parents, Ariane Labed has always navigated between her two countries. She studied drama at the University of Provence and began her acting career treading the boards. After setting up a company combining dance and theater, Ariane Labed returned to live in Greece where she played at the National Theater of Athens. 2010 was the year of her first film, "Attenberg," directed by Athiná-Rachél Tsangári. "Alps" by Yorgos Lanthi-mos, the following year, confirmed the talent of this strangely charming actress. Two years later, she starred in "Before Midnight" by Richard Linklater where she played the role of Anna. The follow-up to "Before Sunrise" and "Before Sunset," this third part of the saga was a great success, making Labed known to a wider audience.
In 2014, she played a young sailor in "Fidelio, Alice’s Odyssey," who is torn between faithfulness and her desire to live her life. Winning the best actress award at the Locarno Film Festival and nominated for a César, the French actress gives a brilliant performance in Lucie Borleteau’s first feature-length film. She joined Yorgos Lanthimos in Cannes in 2015, where he won the Prix du Jury for his film "The Lobster."
Vincent Macaigne
Vincent Macaigne is the leading light in young French cinema. He joined the Conservatoire National Supérieur d’Art Dramatique in Paris in 1999, appearing on stage and assuming the role of director. His free adaptations of the great classics of literature and drama earned him public and critical acclaim. He directed "The Idiot" by Dostoïevski and presented "Au moins j’aurai laissé un beau cadavre in Avignon," inspired by Hamlet. He also rapidly made a name for himself in demanding art-house films. In 2001, he was seen for the first time in "Replay" by Catherine Corsini. In 2007, he starred in "On War" by Bertrand Bonello and in 2010, in "A Burning Hot Summer" by Philippe Garrel.
Since 2011, Vincent Macaigne’s presence in short, medium and full-length films has gradually increased. Faithful to his directors, he has starred in several of their films. As is the case with his friend Guillaume Brac, who directed him in "Le Naufragé," "Tonnerre" and "Un monde sans femmes." He was awarded the Grand Prix and the Prix Télérama at the Clermont-Ferrand International Short Film Festival, and the Prix Lutin for Best Actor in this film. Under the direction of Vincent Mariette, he played in "Les Lézards" then "Fool Circle." In 2013, we find the funny and touching thirty-something in "La fille du 14 juillet" by Antonin Peretjatko, "Age of Panic" by Justine Triet, and "2 Autumns, 3 Winters" by Sébastien Betbeder.
He was discovered by the general public at the 2013 Cannes Film Festival. Considered a figurehead of the revival of French cinema, Vincent has drawn the attention of the Cahiers du Cinéma, and even the British newspaper The Observer, which referred to him as the “new Gérard Depardieu”. In 2011, he directed "What We’ll Leave Behind," a very well-received medium-length film which won the Grand Prix at the Clermont-Ferrand Festival. He also starred in Mia Hansen-løve’s 2014 film "Eden." He plays one of the main roles in the actor Louis Garrel’s first feature-length film, "Two Friends," presented during the Semaine de la Critique. He also featured in his 2011 film, La Règle de trois.
Vimala Pons
From the Conservatoire National Supérieur d’Art Dramatique, where she attended drama classes even though she wanted to be a screenwriter, to circus tents, Vimala Pons is an acrobat in all senses of the word. The 29-year-old actress has established her physical and poetic presence in French art-house films. She began her career in film with Albert Dupontel in "Enfermés dehors" in 2006. She then starred in "Eden Log" by Franck Vestiel in 2007, then in "Granny’s Funeral" by Bruno Podalydès in 2012.
Since then, we have seen her cross France in a little blue dress in "La Fille du 14 juillet," (she plays the girl) by Antonin Peretjatko, and changing into a lioness in "Métamorphoses," by Christophe Honoré. The impetuous muse of French independent film, Vimala Pons played in "Vincent" by Thomas Salvador this year. The actress has made a name for herself in 2015, in particular with "Comme un avion" by Bruno Podalydès, "Je suis à vous tout de suite" by Baya Kasmi, "La vie très privée de Monsieur Sim" by Michel Leclerc, and "L’Ombre des femmes" by Philippe Garrel (presented at the Quinzaine des Réalisateurs this year in Cannes). She has also begun an international career, with a leading role in Paul Verhoeven’s latest film, "Elle."
Alice Winocour
The director Alice Winocour started out at Femis. After going into law, she returned to film and won three prizes for her short film "Kitchen: Prix TV5" for the best French-language short film, best international short film and the Silver Bear at the Festival of Nations (Ebensee). For "Magic Paris," she was awarded the jury prize at the St. Petersburg International Documentary, Short Film and Animated Film Festival.
She continued her career by writing the script for the film "Ordinary," by Vladimir Perisic. At the Cannes Film Festival 2012, Alice Winocour made a marked entry in the international arena with a film by a woman about women and the unchanging way of looking at them. In the film "Augustine," we are told the story of a professor and his patient, played by Vincent Lindon and Soko respectively. In 2015, she brought out her second feature-length film, "Maryland," which was screened in the Un Certain Regard section at the 68th Cannes Film Festival. She is also the co-writer of "Mustang," by Denis Gamze Ergüven, presented at the Quinzaine des Réalisateurs.
They are a force to be reckoned with. Unifrance films is ready to bet that you will certainly hear about these ten talented people. They represent the French cinema of today and will soon be on the screens worldwide.
Emmanuelle Bercot
An actress and a director, Emmanuelle Bercot began by enrolling at the Cours Florent drama school and taking dancing lessons after her baccalaureate. She graduated from Femis in 1998, after winning the Prix du Jury at the Cannes Film Festival for her short film "Les Vacances," in 1997. After her first few roles in the films of Jean-François Richet and Michel Deville, her career as an actress took off when Claude Miller gave her one of the main roles in "La Classe de neige" (1998). The following year, she made the headlines with the medium-length film she directed called "La Puce," presented in the selection of Un Certain Regard at Cannes. This film tells of the love affair between a 35-year-old man and a 14-year-old girl, played by Isild Le Besco.
Her first feature-length film, "Clément" (2001), is about the life of a troubled woman who has one adventure after another with various men until she meets a 14-yearold boy. Her second film, "Backstage" (2004), continues to explore teenage angst through a relationship between a hit singer and a young obsessional fan. She earned her first critical and public acclaim with "On My Way" (2013), the third film written by the director for Catherine Deneuve, in which the star plays a woman who has decided to leave everything behind and hit the road in France.
She was indisputably the most talked about person during the Cannes Film Festival 2015, both as an actress and a director. Thierry Frémaux surprised everyone by announcing that "Standing Tall," Emmanuelle Bercot’s fourth feature-length film would open the 68th Cannes Film Festival. Emmanuelle Bercot says that she has rediscovered the social fiber of her beginnings with this tale of juvenile delinquency. After the enthusiastic and unanimous reception of her film, she won the Best Actress Award for her role as a woman under the influence of love in the film "Mon Roi" by Maïwenn, with whom she co-wrote the script for "Polisse," which won the Prix du Jury at the Cannes Film Festival in 2012
Thomas Bidegain
Thomas Bidegain may well be one of the best known French screenwriters in the profession today, but it took him ten years to achieve this status. His career path in film is anything but ordinary. He started out in the 1990s by distributing and producing independent American films: "Ice Storm" by Ang Lee and "Chasing Sleep" by Michael Walker. He came back to France and joined MK2 where he became director of distribution. In 1999, he returned to production for "Why Not." In 2007, he told the story of his attempt to stop smoking in "Arrêter de fumer tue," a personal diary that was turned into a documentary, then a book.
In the meantime, he began screenwriting and worked on several projects. In 2009, he wrote the screenplay for Jacques Audiard’s film, "A Prophet," alongside Nicolas Peufaillit and Abdel Raouf Dafri, which won the Grand Prix du Jury in 2009. He participated in Audiard’s next film, "Rust and Bone" and "Our Children" by Joachim Lafosse. He was also the co-writer for "Saint Laurent" by Bertrand Bonello. Winning a César for the best original script and a César for the best adaptation, he presented "Cowboys" at the Quinzaine des Réalisateurs in Cannes this year, his first film as a director. He is also co-writer of "Ni le ciel ni la terre" by Clément Cogitore, presented during the Semaine de la Critique, as well as co-writer of the script for Jacques Audiard’s latest film, "Dheepan," which won the Palme d’Or.
Louise Bourgoin
Louise Bourgoin attended the Ecole des Beaux Arts for five years, during which she began her career as a model. After she graduated from art school in 2004, she radically changed direction and became a presenter on cable TV. She was Miss Météo in Le Grand Journal on Canal + from 2006 to 2008. Her slot became essential viewing and attracted a wide audience, including the attention of the film industry.
She began her acting career in "The Girl from Monaco" by Anne Fontaine, and her performance earned her a César nomination for Most Promising Actress. This recognition led to a whole series of roles and launched her career in film. She headed the bill of several films in 2010 ("White as Snow" by Christophe Blanc, "Sweet Valentine" by Emma Luchini, and "Black Heaven" by Gilles Marchand). The same year, Luc Besson selected her for the leading role in "The Extraordinary Adventures of Adèle Blanc-Sec."
Since then, Louise Bourgoin has played in film after film, and has taken her first steps in the international scene with her part in the American film "The Love Punch" by Joel Hopkins. She attracted attention at the Cannes Film Festival this year with her unusual role in Laurent Larivière’s first film, "I Am a Soldier," presented at Un Certain Regard.
Anaïs Demoustier
Her passion for acting started at a very young age and rapidly pushed her to take drama classes. She auditioned, when still a teenager, and got her first role alongside Isabelle Huppert in "Time of the Wolf" by Michael Haneke. After this, her career was launched and she played in a series of films among which "L’Année suivante" by Isabelle Czajka, "Hellphone" by James Huth, "The Beautiful Person" by Christophe Honoré, "Sois sage" by Juliette Garcias, "Sweet Evil" by Olivier Coussemacq, "Dear Prudene" by Rebecca Zlotowski, "Snows of Kilimanjaro" by Robert Guédiguian, "Thérèse Desqueyroux" by Claude Miller, "Quai d’Orsay" by Bertrand Tavernier, "Paris Follies" by Marc Fitoussi, etc.
A filmography rich of 30 films for an actress who isn’t 30 years old yet. In 2014, the press talked about the blooming of Anaïs Demoustier because her face and poise became essential to cinema. Present in "Bird People" by Pascale Ferran, "Caprices" by Emmanuel Mouret, "À trois on y va" by Jérôme Bonnell and "The New Girlfriend" by François Ozon, she is Marguerite in the last Valérie Donzelli’s film, "Marguerite et Julien" screened in Official selection in Cannes.
Louis Garrel
The son of actress Brigitte Sy and the director Philippe Garrel, he began his career in film thanks to his father, who started filming him at the age of six in "Emergency Kisses," alongside his mother and his grandfather, Maurice Garrel. He went onto study drama at the Conservatoire National d’Art Dramatique. He made his real cinema debut in 2001 in the film "Ceci est mon corps" by Rodolphe Marconi. Two years later, he played opposite Michael Pitt and the future Bond girl, Eva Green, in "The Dreamers" by Bernardo Bertolucci.
He then starred in another of his father’s films, "Regular Lovers". His performance earned him the César for the Most Promising Actor in 2005. Since then, he has played alongside the greatest, such as Isabelle Huppert in "Ma mère" by Christophe Honoré. This marked the beginning of a long collaboration between the filmmaker and the actor. They worked together in the film "In Paris" with Romain Duris, then in 2007 in "Love Songs" with Ludivine Sagnier, in "The Beautiful Person" with Léa Seydoux, in "Making Plans" for Lena with Chiara Mostroianni and, finally, in " Beloved" with Catherine Deneuve. He also topped the bill with Valéria Bruni Tedeschi in "Actresses," whom he worked with again in 2013 in "A Castle in Italy."
In 2010, he directed a short film, "The Little Tailor," in which he directed Léa Seydoux. He performed once again in one of his father’s films, "A Burning Hot Summer," followed by "Jealousy." In 2014, he starred in Bertrand Bonello’s film "Saint Laurent," a role which led to another César nomination, but this time in the best supporting role category. His first feature-length film, "Two Friends," presented at a Certain Regard, was applauded by the critics. He also starred in "Mon Roi," Maïwenn’s fourth feature-length film, alongside Emmanuelle and Vincent Cassel, presented as part of the official selection.
Guillaume Gouix
After studying at the Conservatoire in Marseille and the Ecole Régionale d’Acteur de Cannes, Guillaume Gouix began his career in television. He played the male lead in "The Lion Cubs," by Claire Doyon, in 2003. Noted for his performance, especially the highly physical aspect of it and his intense gaze, he then played a series of supporting roles as a young hoodlum in "Les Mauvais joueurs" by Frédéric Balekdjian and in "Chacun sa nuit," by Jean-Marc Barr and Pascal Arnold. He featured in the 2007 war film "Intimate Enemies" by Florent Emilio Siri, thus confirming his taste for complex characters.
The following year, he was applauded for his performance in the film "Behind the Walls" by Christian Faure. In 2010, he starred in "22 Bullets" by Richard Berry and in 2011, he established his reputation with roles in "Nobody Else But You" by Gérald Hustache-Mathieu, "Et soudain, tout le monde me manque" by Jennifer Devoldere, and "Jimmy Rivière," Teddy Lussi-Modeste’s film debut.
He also appeared in "Midnight in Paris" by Woody Allen. He more recently starred in "Attila Marcel," by Sylvain Chomet, in which he played the lead role, in "French Women" by Audrey Dana, and "The Connection" by Cédric Jimenez with Jean Dujardin and Gilles Lelouche. He performed in three films presented at Cannes this year ("Les Anarchistes" by Elie Wajeman, which opened the Semaine de la Critique, "La Vie en grand" by Mathieu Vadepied, which closed the week, and in "Enragés" by Eric Hannezo, screened at the Cinéma de la Plage). He also directed his first short film "Alexis Ivanovitch, vous êtes mon héros" in 2011 and will soon start on a feature-length film, which is currently being written. He will be topping the bill in 2015 with "Braqueurs," a thriller by Julien Leclercq.
Ariane Labed
Born in Greece to French parents, Ariane Labed has always navigated between her two countries. She studied drama at the University of Provence and began her acting career treading the boards. After setting up a company combining dance and theater, Ariane Labed returned to live in Greece where she played at the National Theater of Athens. 2010 was the year of her first film, "Attenberg," directed by Athiná-Rachél Tsangári. "Alps" by Yorgos Lanthi-mos, the following year, confirmed the talent of this strangely charming actress. Two years later, she starred in "Before Midnight" by Richard Linklater where she played the role of Anna. The follow-up to "Before Sunrise" and "Before Sunset," this third part of the saga was a great success, making Labed known to a wider audience.
In 2014, she played a young sailor in "Fidelio, Alice’s Odyssey," who is torn between faithfulness and her desire to live her life. Winning the best actress award at the Locarno Film Festival and nominated for a César, the French actress gives a brilliant performance in Lucie Borleteau’s first feature-length film. She joined Yorgos Lanthimos in Cannes in 2015, where he won the Prix du Jury for his film "The Lobster."
Vincent Macaigne
Vincent Macaigne is the leading light in young French cinema. He joined the Conservatoire National Supérieur d’Art Dramatique in Paris in 1999, appearing on stage and assuming the role of director. His free adaptations of the great classics of literature and drama earned him public and critical acclaim. He directed "The Idiot" by Dostoïevski and presented "Au moins j’aurai laissé un beau cadavre in Avignon," inspired by Hamlet. He also rapidly made a name for himself in demanding art-house films. In 2001, he was seen for the first time in "Replay" by Catherine Corsini. In 2007, he starred in "On War" by Bertrand Bonello and in 2010, in "A Burning Hot Summer" by Philippe Garrel.
Since 2011, Vincent Macaigne’s presence in short, medium and full-length films has gradually increased. Faithful to his directors, he has starred in several of their films. As is the case with his friend Guillaume Brac, who directed him in "Le Naufragé," "Tonnerre" and "Un monde sans femmes." He was awarded the Grand Prix and the Prix Télérama at the Clermont-Ferrand International Short Film Festival, and the Prix Lutin for Best Actor in this film. Under the direction of Vincent Mariette, he played in "Les Lézards" then "Fool Circle." In 2013, we find the funny and touching thirty-something in "La fille du 14 juillet" by Antonin Peretjatko, "Age of Panic" by Justine Triet, and "2 Autumns, 3 Winters" by Sébastien Betbeder.
He was discovered by the general public at the 2013 Cannes Film Festival. Considered a figurehead of the revival of French cinema, Vincent has drawn the attention of the Cahiers du Cinéma, and even the British newspaper The Observer, which referred to him as the “new Gérard Depardieu”. In 2011, he directed "What We’ll Leave Behind," a very well-received medium-length film which won the Grand Prix at the Clermont-Ferrand Festival. He also starred in Mia Hansen-løve’s 2014 film "Eden." He plays one of the main roles in the actor Louis Garrel’s first feature-length film, "Two Friends," presented during the Semaine de la Critique. He also featured in his 2011 film, La Règle de trois.
Vimala Pons
From the Conservatoire National Supérieur d’Art Dramatique, where she attended drama classes even though she wanted to be a screenwriter, to circus tents, Vimala Pons is an acrobat in all senses of the word. The 29-year-old actress has established her physical and poetic presence in French art-house films. She began her career in film with Albert Dupontel in "Enfermés dehors" in 2006. She then starred in "Eden Log" by Franck Vestiel in 2007, then in "Granny’s Funeral" by Bruno Podalydès in 2012.
Since then, we have seen her cross France in a little blue dress in "La Fille du 14 juillet," (she plays the girl) by Antonin Peretjatko, and changing into a lioness in "Métamorphoses," by Christophe Honoré. The impetuous muse of French independent film, Vimala Pons played in "Vincent" by Thomas Salvador this year. The actress has made a name for herself in 2015, in particular with "Comme un avion" by Bruno Podalydès, "Je suis à vous tout de suite" by Baya Kasmi, "La vie très privée de Monsieur Sim" by Michel Leclerc, and "L’Ombre des femmes" by Philippe Garrel (presented at the Quinzaine des Réalisateurs this year in Cannes). She has also begun an international career, with a leading role in Paul Verhoeven’s latest film, "Elle."
Alice Winocour
The director Alice Winocour started out at Femis. After going into law, she returned to film and won three prizes for her short film "Kitchen: Prix TV5" for the best French-language short film, best international short film and the Silver Bear at the Festival of Nations (Ebensee). For "Magic Paris," she was awarded the jury prize at the St. Petersburg International Documentary, Short Film and Animated Film Festival.
She continued her career by writing the script for the film "Ordinary," by Vladimir Perisic. At the Cannes Film Festival 2012, Alice Winocour made a marked entry in the international arena with a film by a woman about women and the unchanging way of looking at them. In the film "Augustine," we are told the story of a professor and his patient, played by Vincent Lindon and Soko respectively. In 2015, she brought out her second feature-length film, "Maryland," which was screened in the Un Certain Regard section at the 68th Cannes Film Festival. She is also the co-writer of "Mustang," by Denis Gamze Ergüven, presented at the Quinzaine des Réalisateurs.
- 7/5/2015
- by Sydney Levine
- Sydney's Buzz
In this weekend’s specialty box-office debuts, IFC Films hopes to replicate the critical and commercial success of Michael Winterbottom’s first amusing little travelogue/talker of a feature, The Trip, with a semi-sequel, The Trip To Italy. The second Trip again stars Steve Coogan and Rob Brydon; the entertainingly garrulous pair on yet another jaunt across restaurants, countryside and philosophy. The latest Trip will bow in NYC and La this weekend after a successful Australian run earlier this summer (or their winter).
Frank, a British-Irish-American drama from Magnolia Pictures featuring Michael Fassbender that had runs at Sundance and SXSW, bows in only one U.S. theater this weekend. Frank centers on an eccentric band, giving Fassy fans a chance to hear the Oscar-nominated actor sing, albeit from behind a mask (he’s not bad, actually).
Other notable new films include Philippe Garrel‘s Jealousy, which Distrib Films will expand...
Frank, a British-Irish-American drama from Magnolia Pictures featuring Michael Fassbender that had runs at Sundance and SXSW, bows in only one U.S. theater this weekend. Frank centers on an eccentric band, giving Fassy fans a chance to hear the Oscar-nominated actor sing, albeit from behind a mask (he’s not bad, actually).
Other notable new films include Philippe Garrel‘s Jealousy, which Distrib Films will expand...
- 8/15/2014
- by Brian Brooks
- Deadline
Cold Day in the Park: Garrel’s Green Monster in Black and White
Director Philippe Garrel returns to his prized black and white format for a somewhat cohesive narrative exploring the titular emotion, Jealousy. Reuniting with son Louis Garrel, the film is informed by several familial experiences, whereby the young Garrel is actually reenacting moments from his own grandfather’s life. As meta as this promises to be, as is customary with Garrel, a focus on sharply observed and seemingly banal incidents are threaded together to somewhat clinical, disconnected effect, as if to experimentally dismantle the passionate fury fueling familial and romantic relationships. The end result is a mixed bag of visually articulate highpoints amidst of sea of stagnant moments.
A teary woman, Clothilde (Rebecca Covenant), begs her spouse Louis, (Louis Garrel) not to leave as their daughter Charlotte (Olga Milshtein) watches through a key hole. It’s the end of their relationship,...
Director Philippe Garrel returns to his prized black and white format for a somewhat cohesive narrative exploring the titular emotion, Jealousy. Reuniting with son Louis Garrel, the film is informed by several familial experiences, whereby the young Garrel is actually reenacting moments from his own grandfather’s life. As meta as this promises to be, as is customary with Garrel, a focus on sharply observed and seemingly banal incidents are threaded together to somewhat clinical, disconnected effect, as if to experimentally dismantle the passionate fury fueling familial and romantic relationships. The end result is a mixed bag of visually articulate highpoints amidst of sea of stagnant moments.
A teary woman, Clothilde (Rebecca Covenant), begs her spouse Louis, (Louis Garrel) not to leave as their daughter Charlotte (Olga Milshtein) watches through a key hole. It’s the end of their relationship,...
- 8/14/2014
- by Nicholas Bell
- IONCINEMA.com
The first entry in a new and on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin.
***
When asked about the central dance scene in Regular Lovers (Les amants réguliers, 2005), director Philippe Garrel testified that, as he and his closest co-workers get older, they more naturally collaborate – in order to get things done more efficiently, creatively and pleasantly. So did Garrel plot every camera move, choreograph every gesture, set the entire mise en scène of this dance, or any of the similar scenes in his films of the 21st century? It’s unlikely. This is not the awesome, choreographic, one-man mastery of a Max Ophüls, but a collectively shaped vibration or wave: actors, cinematographer, off-screen advisers, director, all mucking in together to capture a particular swirl of sensations and associations clustered around the motif of dance.
The songs, we imagine, are chosen (or at least vetted) by Garrel:...
***
When asked about the central dance scene in Regular Lovers (Les amants réguliers, 2005), director Philippe Garrel testified that, as he and his closest co-workers get older, they more naturally collaborate – in order to get things done more efficiently, creatively and pleasantly. So did Garrel plot every camera move, choreograph every gesture, set the entire mise en scène of this dance, or any of the similar scenes in his films of the 21st century? It’s unlikely. This is not the awesome, choreographic, one-man mastery of a Max Ophüls, but a collectively shaped vibration or wave: actors, cinematographer, off-screen advisers, director, all mucking in together to capture a particular swirl of sensations and associations clustered around the motif of dance.
The songs, we imagine, are chosen (or at least vetted) by Garrel:...
- 1/21/2014
- by Cristina Álvarez López & Adrian Martin
- MUBI
Photo © 2013 Wild Bunch - Alcatraz Movies - Arte France Cinema - Pandora Film Produktion.
Bastards [Les salauds] begins, like Garrel's Un été brûlant, at night, with a suicide. An explanation for the gesture will never come, although, through the film's near imperceptible ellipses, it comes close. A film of profoundly somber gloam, of loneliness and anger and even stifled madness, of complicity and solitude, its sadness is almost absolute.
A torrid string connects a cast predominantly made up from Claire Denis' family of actors: Vincent Lindon, Michel Subor, Alex Descas, Grégoire Colin. There are so many of them that they stand out as coming from somewhere before, some shared place, and their figures seem at once human and also something more so, grander, archetypal. (Lola Créton creates a similar effect in a small role with such a brief but so recognizable presence that it both reaches outside the story, as well as expanding something within.
Bastards [Les salauds] begins, like Garrel's Un été brûlant, at night, with a suicide. An explanation for the gesture will never come, although, through the film's near imperceptible ellipses, it comes close. A film of profoundly somber gloam, of loneliness and anger and even stifled madness, of complicity and solitude, its sadness is almost absolute.
A torrid string connects a cast predominantly made up from Claire Denis' family of actors: Vincent Lindon, Michel Subor, Alex Descas, Grégoire Colin. There are so many of them that they stand out as coming from somewhere before, some shared place, and their figures seem at once human and also something more so, grander, archetypal. (Lola Créton creates a similar effect in a small role with such a brief but so recognizable presence that it both reaches outside the story, as well as expanding something within.
- 10/11/2013
- by Daniel Kasman
- MUBI
It's been two years on the dot since Maurice Garrel and his grandson Louis were last paired on screen in the criminally misunderstood Un été brûlant, an elaborate treatise on authenticity and imitation, as well as on experience and its reluctance to be imparted. In the film's final scene, Philippe Garrel bestows a generous gift on the medium as such when Maurice's ghost visits the dying youth in a hospital room to tell stories about his involvement in the Resistance and miraculous survival on the battlefield. The actor died shortly before the film was completed. Basking in the bright sunshine, the old man, all pigment spots and with an incessant tick, is playing the part of a dead man, all the while professing his love of life.
La jalousie (Jealousy) finds Louis Garrel back in the hospital where he lies motionless, oxygen mask over his face, recovering from a failed suicide attempt.
La jalousie (Jealousy) finds Louis Garrel back in the hospital where he lies motionless, oxygen mask over his face, recovering from a failed suicide attempt.
- 10/3/2013
- by Boris Nelepo
- MUBI
★★★☆☆ Following the dreadful A Burning Hot Summer which showed in competition in 2011, Philippe Garrel returns to the Lido with Jealousy (La Jalousie, 2013), a modest relationship drama of love and betrayal. Garrel casts his son in the lead role of Louis, a struggling actor who we see splitting with his girlfriend and the mother of his young daughter, Charlotte (the excellent Olga Milshtein). He enters a new relationship with Claudia (Anna Mouglalis), also an actress, but someone whose work has dried up and whose luck seems to be up. As Louis rehearses for a play, Claudia becomes insecure - not entirely without reason.
Louis is a man who finds it easy to attract women - a mother in the cinema where he takes his daughter to watch kid's films gives him her telephone number - and has form when it comes to betrayal. However, he does love Claudia and so when...
Louis is a man who finds it easy to attract women - a mother in the cinema where he takes his daughter to watch kid's films gives him her telephone number - and has form when it comes to betrayal. However, he does love Claudia and so when...
- 9/7/2013
- by CineVue UK
- CineVue
Bastards [Les Salauds] (Claire Denis, France)
Un Certain Regard
Bastards [Les salauds] begins, like Garrel's A Burning Hot Summer, at night, with a suicide. An explanation for the gesture will never come, although, through the film's near imperceptible ellipses, it comes close. A film of profoundly somber gloam, of loneliness and anger and even stifled madness, of complicity and solitude, its sadness is almost absolute.
A torrid string connects a cast predominantly made up from Claire Denis' family of actors: Vincent Lindon, Michel Subor, Alex Descas, Grégoire Colin. There are so many of them that they stand out as coming from somewhere before, some shared place, and their figures seem at once human and also something more so, grander, archetypal. (Lola Créton creates a similar effect in a small role with such a brief but so recognizable presence that it both reaches outside the story, as well as expanding something within.) The string...
Un Certain Regard
Bastards [Les salauds] begins, like Garrel's A Burning Hot Summer, at night, with a suicide. An explanation for the gesture will never come, although, through the film's near imperceptible ellipses, it comes close. A film of profoundly somber gloam, of loneliness and anger and even stifled madness, of complicity and solitude, its sadness is almost absolute.
A torrid string connects a cast predominantly made up from Claire Denis' family of actors: Vincent Lindon, Michel Subor, Alex Descas, Grégoire Colin. There are so many of them that they stand out as coming from somewhere before, some shared place, and their figures seem at once human and also something more so, grander, archetypal. (Lola Créton creates a similar effect in a small role with such a brief but so recognizable presence that it both reaches outside the story, as well as expanding something within.) The string...
- 5/24/2013
- by Daniel Kasman
- MUBI
Looking back at 2012 on what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2012—in theaters or at a festival—and creatively pair it with an old film they also saw in 2012 to create a unique double feature.
All the contributors were asked to write a paragraph explaining their 2012 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How would you program some...
All the contributors were asked to write a paragraph explaining their 2012 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How would you program some...
- 1/9/2013
- by Daniel Kasman
- MUBI
Love is a tricky thing. Everyday, people fall in and out of love. Films document this emotion quite effectively, French films in particular. One such piece of cinema is A Burning Hot Summer, a movie about relationships that thrive and others that suffer. It is a film with heart, harsh realism and layered performances. Premiered at the 68th Venice International Film Festival and now out on DVD, this is the perfect movie to watch when you’re in the mood for a cinematic experience which mirrors reality.
Angele (Monica Belucci) and Frederic (Louis Garrel) are an attractive French couple living in Rome. One summer, they have their friends stay with them, Elisabeth (Celine Sallette) and Paul (Jerome Robart). While the two couples spend the summer together, trouble strikes paradise. Angele starts to fall out of love with Frederic and this shift in feelings affects everyone in the house.
Read more.
Angele (Monica Belucci) and Frederic (Louis Garrel) are an attractive French couple living in Rome. One summer, they have their friends stay with them, Elisabeth (Celine Sallette) and Paul (Jerome Robart). While the two couples spend the summer together, trouble strikes paradise. Angele starts to fall out of love with Frederic and this shift in feelings affects everyone in the house.
Read more.
- 12/2/2012
- by Randall Unger
- JustPressPlay.net
by Vadim Rizov
French auteur Philippe Garrel's work has always been a tough sell. He began in experimental cinema in the '60s, personally processing his first short, and only gradually worked his way towards narrative. His American "breakthrough"—2005's Regular Lovers, four decades into his career—is a nearly three-hour, black-and-white, Academy-ratio portrait of May '68's discontented survivors. Rather than trying to convince the unconverted through synopsis and laudatory adjectives, I'd suggest just watching this abbreviated clip of French kids dancing to The Kinks' "This Time Tomorrow":
It's an ebullient moment out of time: young men and women momentarily freed of revolutionary rhetoric and responsibility, interrupted only by shots of Philippe's son Louis balefully staring down fun he refuses to join in. In Regular Lovers, Louis relived his father's youth. In the new drama A Burning Hot Summer, Garrel the younger is now embodying dad's late...
French auteur Philippe Garrel's work has always been a tough sell. He began in experimental cinema in the '60s, personally processing his first short, and only gradually worked his way towards narrative. His American "breakthrough"—2005's Regular Lovers, four decades into his career—is a nearly three-hour, black-and-white, Academy-ratio portrait of May '68's discontented survivors. Rather than trying to convince the unconverted through synopsis and laudatory adjectives, I'd suggest just watching this abbreviated clip of French kids dancing to The Kinks' "This Time Tomorrow":
It's an ebullient moment out of time: young men and women momentarily freed of revolutionary rhetoric and responsibility, interrupted only by shots of Philippe's son Louis balefully staring down fun he refuses to join in. In Regular Lovers, Louis relived his father's youth. In the new drama A Burning Hot Summer, Garrel the younger is now embodying dad's late...
- 11/13/2012
- GreenCine Daily
A Burning Hot Summer features another of Philippe Garrel's unforgettable dance sequences. (Who can forget "This Time Tomorrow" in Les amants réguliers?) Here the song is Dirty Pretty Things' "Truth Begins," the actors include Monica Bellucci and Louis Garrel and it is photographed in vibrant color by the great Willy Kurant (Masculin Féminin, Under the Sun of Satan, Pootie Tang).
Garrel's new film is being released in the U.S. from IFC Films this Friday exclusively at the IFC Center in Manhattan, and is available nationwide in the U.S. on demand via Sundance Selects, plus digital outlets iTunes, Amazon Streaming, SundanceNOW, Xbox and PS3....
Garrel's new film is being released in the U.S. from IFC Films this Friday exclusively at the IFC Center in Manhattan, and is available nationwide in the U.S. on demand via Sundance Selects, plus digital outlets iTunes, Amazon Streaming, SundanceNOW, Xbox and PS3....
- 6/28/2012
- MUBI
This is a reprint of our review from the Venice Film Festival.
There are certain cliches associated with European cinema -- they're not necessarily always accurate, but they do exist. Ask a layman -- a well educated, smart, nice person who might not be quite as subtitle-happy as you or I -- what they imagine they might see in, say, an average French film, and a number of things might come up. Characters who are constantly having extra-marital affairs, for instance. A vaguely homoerotic relationship between two friends. Unbroken four-to-five minute takes. Dialogue talking about 'the revolution.' An actress, perhaps Monica Bellucci, taking her clothes off within the first 45 seconds.
If you were to take this layman's thoughts and turn them into a screenplay, you'd end up with "A Burning Hot Summer," the latest from Venice Film Festival favorite Philippe Garrel. Ostensibly, it's a film about male friendship: Paul...
There are certain cliches associated with European cinema -- they're not necessarily always accurate, but they do exist. Ask a layman -- a well educated, smart, nice person who might not be quite as subtitle-happy as you or I -- what they imagine they might see in, say, an average French film, and a number of things might come up. Characters who are constantly having extra-marital affairs, for instance. A vaguely homoerotic relationship between two friends. Unbroken four-to-five minute takes. Dialogue talking about 'the revolution.' An actress, perhaps Monica Bellucci, taking her clothes off within the first 45 seconds.
If you were to take this layman's thoughts and turn them into a screenplay, you'd end up with "A Burning Hot Summer," the latest from Venice Film Festival favorite Philippe Garrel. Ostensibly, it's a film about male friendship: Paul...
- 6/28/2012
- by Oliver Lyttelton
- The Playlist
Michel Piccoli, We Have a Pope
Nanni Moretti's Habemus Papam / We Have a Pope was the top movie of 2011 according to the Cahiers du Cinéma editors and film critics. The Cahiers du Cinéma list is available in the December print edition of the French magazine.
A Vatican-set satire about a newly elected, psychologically fragile pope (European Film Award Lifetime Achievement winner Michel Piccoli) and his therapist (Moretti himself), earlier this year We Have a Pope won six awards from the Italian National Syndicate of Film Journalists, including Best Director and Best Producer (there's no Best Film category). Margherita Buy co-stars as another psychotherapist.
Tied in second place were Manoel de Oliveira's Portuguese drama O Estranho Caso de Angélica / The Strange Case of Angelica, about a photographer (Ricardo Trêpa) who becomes obsessed with the dead daughter (Pilar López de Ayala) of a wealthy hotel owner, and Terrence Malick's The Tree of Life,...
Nanni Moretti's Habemus Papam / We Have a Pope was the top movie of 2011 according to the Cahiers du Cinéma editors and film critics. The Cahiers du Cinéma list is available in the December print edition of the French magazine.
A Vatican-set satire about a newly elected, psychologically fragile pope (European Film Award Lifetime Achievement winner Michel Piccoli) and his therapist (Moretti himself), earlier this year We Have a Pope won six awards from the Italian National Syndicate of Film Journalists, including Best Director and Best Producer (there's no Best Film category). Margherita Buy co-stars as another psychotherapist.
Tied in second place were Manoel de Oliveira's Portuguese drama O Estranho Caso de Angélica / The Strange Case of Angelica, about a photographer (Ricardo Trêpa) who becomes obsessed with the dead daughter (Pilar López de Ayala) of a wealthy hotel owner, and Terrence Malick's The Tree of Life,...
- 12/11/2011
- by Andre Soares
- Alt Film Guide
"Un été brûlant"" (aka "That Burning Summer") is the 2011 French-language drama, directed by Philippe Garrel, starring Monica Bellucci, Louis Garrel, Céline Sallette and Jérôme Robart, following a stormy relationship between an actress and a painter.
Lensed in Rome and Paris, the feature is the second collaboration between Garrel and the French production company Rectangle Productions, receiving co-production support from Italy's Faro Film and Switzerland's Prince Film.
Click the images to enlarge and Sneak Peek "Un été brûlant"...
Lensed in Rome and Paris, the feature is the second collaboration between Garrel and the French production company Rectangle Productions, receiving co-production support from Italy's Faro Film and Switzerland's Prince Film.
Click the images to enlarge and Sneak Peek "Un été brûlant"...
- 10/20/2011
- by Michael Stevens
- SneakPeek
* Fans of steamy French cinema may have expected a film titled Un Été Brûlant (A Scorching Summer) starring Monica Bellucci and Louis Garrel to be a hot, sexually charged affair. Not so, says French auteur Phillippe Garrel. "Part of the reason I cast my son Louis and my father Maurice, is that I can't stand sex scenes. So this is my excuse, I can't film my family in a love scene it would be too weird."...
- 9/5/2011
- The Independent - Film
In the rare instances I’m not for a Philippe Garrel film, I don’t not like the Philippe Garrel film—it’s that I don’t feel it as strongly as I should. He is a unique filmmaker in this regard; he photographs emotions, delicate tenors, trembling moments, people walking on precipices, singular, stunning happinesses and spiritual dejection of an utterly unique kind. And all are fragile, very fragile—the slightest push can knock a film like Un été brûlant into collapse. This is the risk, so powerful when gambled and won, that is undertaken by earnestness and a certain, highly personal and sensitive belief in what cinema can express.
For this film, it is miscast; the central couple played by Monica Bellucci and Louis Garrel, the latter of which who was used so well in his father’s Regular Lovers, have faces here devoid of expression, sinking their bourgeois,...
For this film, it is miscast; the central couple played by Monica Bellucci and Louis Garrel, the latter of which who was used so well in his father’s Regular Lovers, have faces here devoid of expression, sinking their bourgeois,...
- 9/5/2011
- MUBI
The Berlin Film Festival begins today and in typical Ioncinema.com fashion, I've decided to unveil my predictions for the 2011 edition of the Cannes Film Festival. I've taken the liberty at breaking down the predictions by what should logically fit into what sections: Main Comp, Ucr and the Director's Fortnight sidebar. In the Main Competition category, we should see an increase in the number of titles selected (perhaps hovering around the twenty mark. We can cross out films such as Haneke's latest, Kamen Kalev's The Island, Raymond Depardon's Journal de France, Andrei Zvyagintsev's (2007's Banishment) latest and I wouldn't be surprised if Walter Salles' On the Road isn't completed on time -- and in what should be a vintage year for the festival, these no-shows won't matter. A pair that remain in limbo are the alreasy completed David Cronenberg's A Dangerous Method and Pawel Pawlikowski...
- 2/10/2011
- IONCINEMA.com
We've got what appears to be screen caps for Philippe Garrel's That Summer (Un Été Brûlant) (which was in our Top 100 Most Anticipated List at #73) and which would by all logic, will be ready and preem in for Cannes this May. The pic stars Louis Garrel (who I recently saw in Ferdinando Cito Filomarino's excellent short film Diarchy, alongside Riccardo Scamarcio and Alba Rohrwacher), Monica Bellucci and Céline Sallette (last pic below). Co-written by Garrel, Marc Chodolenko and Caroline Deruas, Un Été Brûlant recounts the torments of a painter whose actress wife has left him. It begins on a hot summer's night, a sports car crashes headlong into a tree. The previous year... Paul meets the painter Frédéric through a mutual friend. Frédéric lives in Italy with Angèle, the actress with whom he is deeply in love. While working as an extra, Paul befriends an assistant - Roland and falls in love with Elisabeth,...
- 2/4/2011
- IONCINEMA.com
#73. Un Été Brûlant Director: Philippe GarrelWriter(s): Garrel, Marc Chodolenko and Caroline DeruasProducers: Edouard Weil (In the Beginning)Distributor: Rights Available. The Gist: Un Été Brûlant recounts the torments of a painter whose actress wife has left him. The film will open with the suicide of the male protagonist in a car accident and look back in flashback at their stormy romantic relationship.....(more) Cast: Monica Bellucci and Louis Garrel. List Worthy Reasons...: For the record. I don't care much for Garrel's work and in his lengthy filmography, I've only seen his last three. I do enjoy difficult, French films especially dramas that tackle a strained relationship and told in reverse order. If done right, it picks up the slight changes in the dynamic of the relationship, those cues will be done with very little dialogue in this film. Release Date/Status?: Cannes fest premiere followed by...
- 1/12/2011
- IONCINEMA.com
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