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1-20 of 52 items from 2016   « Prev | Next »


Catherine Deneuve Named the 2016 Recipient of the Lumière Award

22 June 2016 7:01 AM, PDT | Women and Hollywood | See recent Women and Hollywood news »

Catherine Deneuve will be honored with the 2016 Lumière Award at the Lumière Grand Lyon Film Festival in France, Variety reports.

Continue reading on Women and Hollywood »

»

- Laura Berger

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Daniel Battsek to head Film4 by Anne-Katrin Titze - 2016-06-22 12:49:15

22 June 2016 4:49 AM, PDT | eyeforfilm.co.uk | See recent eyeforfilm.co.uk news »

Daniel Battsek with Catherine Deneuve, Charles S Cohen and Clo Cohen Photo: Anne-Katrin Titze

Cohen Media Group president Daniel Battsek will leave his current role to become the director of Film4. He will replace David Kosse, who is joining Stx Entertainment. Disney brought Battsek to the Us in 2005 to run Miramax when Harvey Weinstein and Bob Weinstein left the company.

Les Cowboys director Thomas Bidegain Photo: Anne-Katrin Titze

Cohen Media's latest releases are Benoît Jacquot's penetrating Diary Of A Chambermaid starring Léa Seydoux with Vincent Lindon and Thomas Bidegain's soul searching Les Cowboys starring François Damiens, Finnegan Oldfield and John C Reilly.

Bidegain co-wrote Jacques Audiard's Dheepan, A Prophet, and Rust And Bone. He won the Michel d'Ornano Award at the Deauville American Film Festival for his directorial debut Les Cowboys following its world premiere at the Cannes Film Festival last year.

After three years at Cohen Media, »

- Anne-Katrin Titze

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Russ Tamblyn And George Chakiris At "West Side Story" Screening, L.A., June 29

21 June 2016 7:40 PM, PDT | Cinemaretro.com | See recent CinemaRetro news »

By Todd Garbarini

The Ahrya Fine Arts Theatre in Los Angeles will be presenting a 55th anniversary screening of Robert Wise’s Oscar-winning 1961 musical West Side Story. The 152-minute film will be screened on Wednesday, June 29, 2016 at 7:30 pm. Starring Natalie Wood, Richard Beymer, Russ Tamblyn and Rita Moreno, the screening is scheduled to precede appearances by George Chakiris who played Bernardo and Russ Tamblyn who played Riff.

From the press release:

Part of our Anniversary Classics series. For details, visit: laemmle.com/ac.

West Side Story (1961)

55th Anniversary Screening

One of the most honored and commercially successful of all movie musicals, West Side Story earned a near-record 10 Academy Awards in 1961.The film version of the groundbreaking stage musical that re-imagined Romeo and Juliet in contemporary New York City retained and deepened the play’s emotional impact by bringing together a show business all-star team. The show’s director and choreographer, »

- nospam@example.com (Cinema Retro)

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Qt’s AFI Commencement Speech, Almodóvar’s Inspirations, Nyaff 2016 Trailer & More

20 June 2016 2:59 PM, PDT | The Film Stage | See recent The Film Stage news »

Dailies is a round-up of essential film writing, news bits, videos, and other highlights from across the Internet. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.

Watch a clip from Quentin Tarantino‘s commencement speech at AFI this year:

Catherine Deneuve will receive the 2016 Lumière Award and Alejandro Jodorowsky will get the Locarno Film Festival’s Leopard of Honor.

At BFI, Pedro Almodóvar on 13 great Spanish films that inspired him, and watch a video on his use of circles:

Blancanieves is one of the peaks in recent Spanish cinema, but had the bad luck to be released a year after The Artist (2011), a silent film that triumphed the world over. Pablo Berger had in fact decided years earlier to film his personal take on the Brothers Grimm fairytale as a black-and-white silent; the result is heartrendingly beautiful. »

- The Film Stage

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Catherine Deneuve to Receive the 2016 Lumière Award

20 June 2016 3:58 AM, PDT | Variety - Film News | See recent Variety - Film News news »

Paris — Legendary French actress Catherine Deneuve will receive the 8th Lumière Award at France’s 2016 Lumière Grand Lyon Film Festival, a unique event which focuses near totally on film classics.

Clint Eastwood, Quentin Tarantino, Pedro Almodovar and Martin Scorsese figure among past recipients of the Lumière Award. They all travelled to Lyon to pick up the award, granted by Lyon’s Institut Lumière, run by French director Bertrand Tavernier and Cannes head Thierry Fremaux.

“This year’s Lumière Award goes to Catherine Deneuve for what she is, has done, says, acts, sings and delights from time immemorial and forever,” the Institut Lumière said Monday in a press statement.

“The face of French cinema,” according to Scorsese, Deneuve’s career is remarkable for its longevity, great films, the directors she has worked with, and the contrasting facets of a figure which confounds easy categorisation.

Deneuve began making films before France’s Nouvelle Vague, »

- John Hopewell and Elsa Keslassy

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Cannes Film Review: ‘Le Cancre’

30 May 2016 2:31 PM, PDT | Variety - Film News | See recent Variety - Film News news »

Although in English it sounds like a type of sore, “Le Cancre” in French means “the dunce”; either way, it’s an unfortunate title for this most unfortunate feature from the 86-year-old veteran French independent filmmaker Paul Vecchiali, who stars as a wealthy dying man looking back on his life — and particularly on the many women he’s loved. Tedious, self-regarding and often quite amateurishly staged, “Le Cancre” might have earned its Cannes berth out of respect for its director (whose “Please Give Generously” played Directors’ Fortnight in 2004). That’s a valid sentiment, but not one that is going to help the movie travel.

The film gets going with a home invasion in which Rodolphe (Vecchiali) finds himself threatened by a man in a ski mask. This turns out to be his son Laurent (Pascal Cervo), who in a lame reveal is shown to be merely demonstrating why his father »

- Ben Kenigsberg

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Susan Sarandon Wants to Direct Female-Friendly Porn in Her 80s

18 May 2016 7:15 PM, PDT | PEOPLE.com | See recent PEOPLE.com news »

For all the ladies out there dissatisfied with the quality of their porn, Susan Sarandon is coming to the rescue. According to The Guardian, Sarandon told The Times that she is interested in directing female-friendly adult films when she retires from acting - although it's difficult to tell how serious she was about the comments. "I have threatened, in my 80s, to direct porn," she reportedly told the newspaper from the Cannes Film Festival. "I haven't watched enough to know what the problems are. Most pornography is brutal and doesn't look pleasurable from a female point of view. So I've »

- Michael Miller, @write_miller

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Susan Sarandon Wants to Direct Female-Friendly Porn in Her 80s

18 May 2016 7:15 PM, PDT | PEOPLE.com | See recent PEOPLE.com news »

For all the ladies out there dissatisfied with the quality of their porn, Susan Sarandon is coming to the rescue. According to The Guardian, Sarandon told The Times that she is interested in directing female-friendly adult films when she retires from acting - although it's difficult to tell how serious she was about the comments. "I have threatened, in my 80s, to direct porn," she reportedly told the newspaper from the Cannes Film Festival. "I haven't watched enough to know what the problems are. Most pornography is brutal and doesn't look pleasurable from a female point of view. So I've »

- Michael Miller, @write_miller

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Cannes Film Review: ‘From the Land of the Moon’

15 May 2016 5:08 AM, PDT | Variety - Film News | See recent Variety - Film News news »

A film prone to cutting on an unfallen tear, “From the Land of the Moon” from French director Nicole Garcia is as syrupy a confection as ever dripped from the pen of Nicholas Sparks (though inspired by the novel “Mal di Pietre” by Milena Angus). Given a gloss of respectability by the tastefulness of Garcia’s style, the genteel photography from Christophe Beaucarne, an unobjectionable score from Daniel Pemberton and a performance of tremulous commitment from Marion Cotillard (as per), as well as by its ineffable Frenchness, that last quality might be enough to bring those who equate “French” with “artistic” to the yard. But even they may find themselves choking on this bonbon during a credibility-assassinating final act reveal.

Cotillard plays Gabrielle, who at the film’s opening is a (slightly unconvincingly) young woman in rural France, nursing a wild crush on the local village schoolteacher — understandable as he »

- Jessica Kiang

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Oberhausen on Mubi

5 May 2016 11:37 AM, PDT | MUBI | See recent MUBI news »

Mubi is partnering with the International Short Film Festival Oberhausen to exclusively bring you films directly from their International Competition section, currently in-progress in Germany.The festival is one of our favorites, a true showcase for outstanding short films. Founded in the 1950s, making it one of the oldest running festivals of its kind, it was the site of the 1962 "Oberhausen Manifesto," a battle cry for the creation of a new German cinema that presaged the arrival of Werner Herzog, Wim Wenders, and Rainer Werner Fassbinder. But the festival's focus is not just on Germany, but the world, and we're pleased to bring some of this year's best selections to our audience. These are the four films chosen by our curators, available on Mubi this month in over 250 countries around the globe.Elegance (Virpi Suutari, Finland), 6 MayThe "elegance" of the title refers not to the style of this Finnish documentary, »

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Cannes 2016: Full jury announced

25 April 2016 10:50 AM, PDT | The Hollywood News | See recent The Hollywood News news »

Today, the full jury for the 69th Cannes Film Festival was announced. The announcement comes after George Miller (Mad Max: Fury Road) was confirmed to head up the jury for this year’s festival, which kicks off in the south of France in just a couple of weeks.

Joining Miller are:

Arnaud Desplechin (Director, Writer – France), Kirsten Dunst (Actress – United States), Valeria Golino (Actress, Director, Writer, Producer – Italia), Mads Mikkelsen (Actor – Denmark), László Nemes (Director, Writer – Hungaria), Vanessa Paradis (Actress, Singer- France) ,Katayoon Shahabi (Producer – Iran), and Donald Sutherland (Actor – Canada).

Keep it Thn over the newxt few weeks for extensive Cannes coverage, which kicks off from May 11th, 2016.

Here’s the full press release.

Cannes has always sought to adopt a universal and international approach, and in tune with this tradition, George Miller will be surrounded by eight luminaries of world cinema, from Iran, Denmark, United States, Italia, France, »

- Paul Heath

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Cannes reveals Competition jury

25 April 2016 10:45 AM, PDT | ScreenDaily | See recent ScreenDaily news »

Donald Sutherland, Arnaud Desplechin, Vanessa Paradis among those to join president George Miller.

The 69th Cannes Film Festival jury, presided over by Mad Max director George Miller, will be made up of eight luminaries of world cinema, from Iran, Denmark, United States, Italy, France, Canada and Hungary.

The jury, made up of four women and four men, will comprise a collection of directors, actors and writers. They will decide on the prizes for the 21 films in Competition.

The jury:

George Miller – President

(Director, Writer, Producer – Australia)

Arnaud Desplechin (Director, Writer – France)

Kirsten Dunst (Actress– United States)

Valeria Golino (Actress, Director, Writer, Producer – Italia)

Mads Mikkelsen (Actor – Denmark)

László Nemes (Director, Writer – Hungaria)

Vanessa Paradis (Actress, Singer – France)

Katayoon Shahabi (Producer – Iran)

Donald Sutherland (Actor – Canada)

Arnaud Desplechin, Director, Writer (France)

Arnaud Desplechin became an official competitor at Cannes with The Sentinel, his first feature film. He then made My Sex Life… or How I Got »

- andreas.wiseman@screendaily.com (Andreas Wiseman)

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Cannes reveals 2016 jury

25 April 2016 10:45 AM, PDT | ScreenDaily | See recent ScreenDaily news »

Donald Sutherland, Arnaud Desplechin, Vanessa Paradis among those to join president George Miller.

The 69th Cannes Film Festival, presided over by Mad Max director George Miller, will comprise eight luminaries of world cinema, from Iran, Denmark, United States, Italy, France, Canada and Hungary.

The jury, made up of four women and four men, comprises directors, actors and writers.

The jury:

George Miller – President

(Director, Writer, Producer – Australia)

Arnaud Desplechin (Director, Writer – France)

Kirsten Dunst (Actress– United States)

Valeria Golino (Actress, Director, Writer, Producer – Italia)

Mads Mikkelsen (Actor – Denmark)

László Nemes (Director, Writer – Hungaria)

Vanessa Paradis (Actress, Singer – France)

Katayoon Shahabi (Producer – Iran)

Donald Sutherland (Actor – Canada)

Arnaud Desplechin, Director, Writer (France)

Arnaud Desplechin became an official competitor at Cannes with The Sentinel, his first feature film. He then made My Sex Life… or How I Got into an Argument, which introduced a new generation of actors. The artists in his films have regularly been awarded the most »

- andreas.wiseman@screendaily.com (Andreas Wiseman)

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Cannes 2016 Reveals Competition Jury With George Miller, Kirsten Dunst, Mads Mikkelsen & More

25 April 2016 10:06 AM, PDT | The Film Stage | See recent The Film Stage news »

We have what should now be the full line-up for the 2016 Cannes Film Festival, featuring many of our most-anticipated films of the year. Coming next in line is the announcement of the competition jury, which director George Miller will be presiding over, returning to Cannes after delivering one of the best films of the festival last year, Mad Max: Fury Road.

Made up of four women and five men, they include Arnaud Desplechin (returning after last year’s My Golden Days), Kristen Dunst, Italian actress Valeria Golino, Mad Mikkelsen (Cannes Best Actor winner for The Hunt), Grand Prix-winning Son of Saul director László Nemes, actress/singer Vanessa Paradis, Iranian producer Katayoon Shahabi, as well as actor Donald Sutherland. Check out their biographies below as we look forward to seeing what they award the Palme d’Or, and beyond.

Arnaud Desplechin, Director, Writer (France)

Arnaud Desplechin became an official competitor at Cannes with The Sentinel, »

- Jordan Raup

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French Director Jean-Paul Rappeneau Gets Colcoa Tribute

15 April 2016 10:00 AM, PDT | Variety - Film News | See recent Variety - Film News news »

For Jean-Paul Rappeneau, the Los Angeles-based Colcoa film festival offers a sort of reverse homecoming — one in which the French director, best known for directing Gerard Depardieu in “Cyrano de Bergerac,” brings his childhood home to California audiences.

With “Families,” Rappeneau reconstructs the impressive mansion in Auxerre, Burgundy, where he spent the first 17 years of his life. “Oddly enough, it didn’t belong to us” the director explains over a cup of coffee in Paris. “That house was sort of my mother’s dream. She dreamed of a life that she hadn’t led, in Paris or in the films of Jacques Demy, and my father, who was a man from the country who had become an engineer, rented it to satisfy her.”

Rappeneau has just returned from Moscow, where audiences made the connection between “Families” — in which a businessman (Mathieu Amalric) revisits the family estate, tied up in litigation after the patriarch’s death, »

- Peter Debruge

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Movie Review – The Brand New Testament (2015)

13 April 2016 7:05 AM, PDT | Flickeringmyth | See recent Flickeringmyth news »

The Brand New Testament, 2015.

Directed by Jaco Van Dormael.

Starring Pili Groyne, Benoit Poelvoorde, Catherine Deneuve and Yolande Moreau.

Synopsis:

God is alive and living in Brussels, but he’s not as you imagine him.  Bad tempered, scruffy and more than fond of a drink, he locks himself away in a vast office in front of his computer, where he invents laws and irritations to make life more difficult for us mere mortals.  He’s less than benevolent to his long-suffering wife and also has a young daughter, as well as the son that everybody knows about.  But when he pushes the girl too far, she gets her revenge by hacking into his computer so that everybody receives a text telling them their individual death date.  It’s a life changer, regardless of how long they’ve got left.  Or not.

We all know we’re going to die at some time – death, »

- Freda Cooper

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5th Panama International Film Festival Builds in Industry Events, Regional Lineup

7 April 2016 1:04 PM, PDT | Variety - Film News | See recent Variety - Film News news »

Panama City — Paddy Breathnach’s Cuban-set “Viva,” set in Havana’s drag nightclubs and selected as Ireland’s entry in this year’s foreign language film Oscar race, will open the fifth Panama International Film Festival (Iff Panama), which bows this Thursday, April 7.

Director Pituka Ortega Heilbron and artistic director Diana Sanchez consider this year’s edition the strongest to date, given the breadth of films slated, the range of guests, the record number of industry events and – key — the unprecedented number of films screening from Central America and the Caribbean.

“There are incredible films now coming out of this region,” says Heilbron. “We’re fortunate to have the perfect prerequisites for a coordinated and well-functioning festival, given the location of Panama City, its connectivity, infrastructure, hotels, access and support from the government, private sector and the local business sector.”

In a mere four years, Iff Panama has carved out »

- Martin Dale

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Standing Tall Movie Review

1 April 2016 10:08 PM, PDT | ShockYa | See recent ShockYa news »

Standing Tall (La Tête haute) Cohen Media Group Reviewed by: Harvey Karten, Shockya Grade: B+ Director:  Emmanuelle Bercot Written by: Emmanuelle Bercot, Marcia Romano Cast: Rod Paradot, Catherine Deneuve, Benoît Magimel, Sara Forestier, Raoul Fernandez, Aurore Broutin Screened at: Review 2, NYC, 3/23/16 Opens: April 1, 2016 Does France deal with troubled youths better than we in the States?  You’d have to ask someone who’s acquainted with juvenile detention here.  But Emmanuell Berot, whose “On My Way” deals with a woman who hits the road with a grandson she hardly knew, gives us a glowing picture of the Gallic way with wayward youths.  The adult prison she describes looks as  [ Read More ]

The post Standing Tall Movie Review appeared first on Shockya.com. »

- Harvey Karten

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'Standing Tall' Director Emmanuelle Bercot on Conveying Truthfulness Via a Newcomer & a Veteran Star

1 April 2016 6:14 PM, PDT | Sydney's Buzz | See recent Sydney's Buzz news »

Trouble youth fueled by the poison of resentment, as consequence of neglect, is a social problem ever-present around the world and in turn has been at the center of countless cinematic escapades. Yet, by constructing her study on the subject armed with honest notions of the teal obstacles faced by the affected young people and those desperately working to help them, French director Emmanuelle Bercot attained truthfulness grounded on a brutal and revelatory lead performance in her latest work “Standing Tall.” 

By combining the malleable talent of newcomer Rod Paradot, the elegant nuances of veteran star Catherine Deneuve , and a plot that is unafraid to go into the darkest and most unappealing shades of a violent delinquent’s life, Bercot eludes oversimplification and sugarcoated resolutions. She looks at a system that attempts to apply rational rules to matters that are charged with heartbreak, and in doing so questions society as a whole, parents, and the individual himself about the role each plays in shaping a child into the person he or she will become.

Standing Tall” was the Opening Night Film at the 2015 Cannes Film Festival and received 3 Caesar Awards this year all in acting categories, a clear testimony to the work of its accomplished director. 

Aguilar: Youth in trouble is a subject that we see recurrently in cinema, but in "Standing Tall," your approach is profoundly raw and realistic. Was there a particular case, story, or idea that you felt personally connected to or that served as catalyst for you to make this film? 

Emmanuelle Bercot: Actually there were two main things that really were reunited when I made this film. One is my interest in childhood in general and then also my interest in injustice. In this particular case there was also a more particular link because I have an uncle who works in this field. He works as one of the counselors at one of these camps for juvenile delinquents and it was through him that I really learned about what kind of work these people do, how much time they devote to it, and what their job is like in trying to do something for these kids. He also spoke to me very specifically, which is included in the film, about this idea of the trio. He also had worked with a young man for about ten years, so he had developed a relationship with him, and also, in that particular case, he was working with a woman who was a judge and who was at the point of retiring. Those three characters are the three that are reunited in this trio that appears in the film.

Aguilar: Were you able to interact and speak with people that have been part of this system in order to depict this facet of the French judicial system and how it affects young people? What sort research did you conduct to reach this authenticity? 

Emmanuelle Bercot: First of all, it was a subject that I really didn’t know anything about all. Most of what takes place in this particular field takes place behind close doors. It’s something that people don’t generally know about and don’t have any idea of what really takes place there. At first I was just reading tons and tons of books on the subject, and then through my uncle I was able to meet some people who work in the field including a judge and some counselors like himself. Talking to them I was able to develop what was basically the structure for my film. Once I had that idea in my head of what I wanted to do, I realized that in order to portray this world I had to portray it as truthfully as possible, so that somebody who was part of that world would know that this was really a truthful portrayal when they saw it. I did a lot of on-site visits. I spent a lot of time in juvenile courts. I spent time in several judges’ offices. I also visited some of those youth centers like the one portrayed in the film. It was over the course of several months. After that I was able to feel that I would be able to portray it in a way that would be honest.

Aguilar: Tell me about the process of creating the protagonist Malony with your lead actor Rod Paradot. This is an incredibly angry and often violent young men who is erratic, dangerous, but always vibrant.  

Emmanuelle Bercot: Normally what I like to do when I work with adolescents and non-professionals is to really choose them as close as possible to the character that they are going to portray. Unfortunately in this case I was not able to do that. I just could not find the kind of young adolescent that I was looking for to portray this person. In fact when I chose Rod Paradot, I was dealing with somebody that in his own personality is really quite different than the character he is playing on the screen. It really required a great deal of work on the set. I worked with him to elicit from him that level of anger and violence that was necessary for the character. It really required me to push him to the point where he went out of himself and beyond himself to become someone else. It’s very unusual to demand from a young actor, particularly a non-professional actor, something like this, to compose a character, to put it together, rather than just play a version of themselves. It was a lot of work on his part so that we could arrive at the character the way I wanted it to be portrayed.

Aguilar: You’ve worked with Catherine Deneuve previously and clearly know how to use her experience well, why did you feel this role as a judge was a fitting role for her?  She is a motherly judge who balancers her sympathy towards these kids on an emotional level and her duty to do what is best for them and society. 

Emmanuelle Bercot: I wrote this role specifically for Catherine and in many ways it reflects what she is like in reality. She has both the side of her that has a natural authority and at the same time she has another part of her that’s very maternal. I felt that this duality was what I really needed because this was the kind of humanity I wanted her to portray in the role of the judge. The role of the judge is actually rather difficult. In the film we don’t see anything about her personal life. We only see her through the prism of her job, so it’s very difficult to create a character without having any back-story. I knew that Catherine would be able to do that, but what she also then needed to know was how to use the right terminology and the right words so that she would actually sound like the judge that she was playing. Just like I did, she also did some observation in real judges’ offices and the courts so that she would become more familiar with what they sounded like and how they behave in those situations, so that it would give more credibility to her performance.

Aguilar: In your opinion what's the reasoning behind Malony’s behavior and his way of relating to those around him? Is it only the resentment and fear because of the constant abandonment or is there something more? 

Emmanuelle Bercot: Yes, most definitely. I certainly thought of both of those things and it’s one of the things that I think its very important to show. That’s why I had the film begin with him where you see him as he is being abandoned at a very young age. I think that most children in this position have come from very difficult backgrounds. They are brought into this system, which is to provide them with educational assistance and also to help raising them because here, as you can see, the mother is incapable of doing her job. She can’t raise him properly and she doesn’t really know how to ground him or to give him the structure that he needs in order to be able to relate to society. No child is born a delinquent. Delinquents are made. They are not born. From what I saw and what I’ve read I think that 95% of them are from families that are difficult families like this one and of those I think 100% of them are cases where the father is absent. There is no father figure present in their life, and as result they grow up with a sense of not having any protection, tools, or grip that is necessary to deal with their everyday life. I think that the fact that Malony in this case resorts to violence is because violence is often the only vocabulary that these young people know how to use in order to express what they are feeling.

Aguilar: Occasionally, it seems as if these children and their mothers who can't take proper care of them feel as if it's a battle between them and the system. Even if the authorities seek to do what's best, they seem to perceive the help as invasive. 

Emmanuelle Bercot: What I was trying to portray is not an “us against them” kind of situation between the system against the mothers and children. This is a system that really tries to be there for the child when the parent is unable to do it. I think education is a fundamental right for every child and when parents are unable to give the child that education then it’s the responsibility of society to step in, to take over the role, and to provide it. I think that in this case the system and everything that the system implemented and tried to do for Malony was really something for his own good. Of course he is going to feel like this is not something that’s good for him because it’s almost like a punishment for him. Eventually, he comes to realize that it’s not really a punishment but that what they are trying to do is something that will be helpful for him and will actually benefit him in the long run. It’s really the opposite of “us against them.” It’s the system with the child trying to give him what the parent cannot.

Aguilar: In a film like "Standing Tall" that emanates such a sense of truth and honest performances is there room for improvisation or is it all about an arduous rehearsal process to achieve the gravitas you are after? Every cast members provides an intense humanity. 

Emmanuelle Bercot: None of my actors are ever improvising, but also we never do any rehearsals.  I prefer to work with them directly on the set. We don’t rehearse but what I do is work individually with them while we are on the set. I’ve already spoken to you about how I worked with Rod to try to get this character out of him, which is very distant from what he is in real life. It’s about working with the actors in the moment and it does put a great deal of pressure on the director. It’s a lot of work because in addition to knowing where the camera is and where everyone is placed on set, you are also trying to direct the actors to get exactly what you want them to give you. I think that’s when your original choice of actors is a very important thing because you have to know that these actors are going to be able to give you what you are looking for. In this particular film for example, Sara Forestier, who plays the mother, plays a character that she pretty much created herself. That’s not the way she is in real life. On the other hand, in the the case of Benoît Magimel, his character is actually much closer to what he is really like in life. It’s less of a composed character or a created character on his part. Again, there is no improvisation, I have a very tightly written script and everything is said exactly the way it’s written, but the process of working during the takes is really one of refining the dialogue as it’s spoken so that it really conveys what it is that I wanted it to convey.

Aguilar: Tess, Malony’s girlfriend played by Diane Rouxel, is not the typical feminine figure that is often seem in films in the same vein. Why was it important to have someone completely opposite in personality be Malony's strongest ally? 

Emmanuelle Bercot: She is a rather atypical character, but I think that what we see in her is somebody who is a very balanced person, somebody who is very educated, and you'd look at her and think, “Why was she attracted to a guy like this? What is the attraction? And in many cases it’s inexplicable. That’s often the case. You don’t understand why people are attracted to each other. In this case it’s almost as if she is a person with a mission. She devotes herself to him almost like a saint trying to pull him out of this spiral that he is spinning down in. She really wants it to work. If you think about it she is the one who initiates contact with him. She is the one who wants him. She is the one who wants to keep the baby. She is the one calling the shots here. She is the stronger figure and she works hard to try to bring him out the spiral he is in. Of course, it may also have something to do with her own mother. Maybe on an unconscious level her attraction to him is a subconscious way of provoking her mother, who is one of the counselors at this place, because her mother plays a role in that particular structure.

Aguilar: Following the Cannes Film Festival, what was the reaction of the general French audience towards the film given the difficult and very current themes it deals with? On the other hand, how did people who work in the field and deal with this issues daily felt about it? 

Emmanuelle Bercot: The film was very well received in France and I think that for a difficult subject that's really exceptional. I think part of the attraction to the film was that it was showing an unknown world. Most people don’t know what goes on in the world of juvenile delinquency. It was exposure to something that was completely new. I think that by portraying the system as it really is and trying to show how it tries to help these young people, it enables you, as a citizen, to feel that this is something that you are proud that your government or your country is doing. Now you can discover how it works. I went to a lot of places that most people will never have an opportunity to go to, but through the film I was able to show what I saw in these places. I think that for a lot of people who saw the filmit changed the way they see delinquents. They come to understand what’s involved in how these young people become who they are. Also it helps them to understand what the system is trying to do for them. Many people have been affected by the film, especially by the paththat this young man’s life takes from the beginning till the end. 

To answer the second part of your question, about how people who work in the film received the film, there have been quite a number of screenings that were done specifically for groups like that. In fact, the Minister of Justice was actually present at a number of them and there were lots of discussions about what takes place in the film and what the system offers to young people. I think that overall they were very happy that finally some light was being shun on the work that’s being done - which for the most part goes unnoticed. It’s really something that people don’t know about, and this gave them a chance to see it. It was important. They were touched in many ways by the recognition that we gave them and their jobs. In many cases these are thankless jobs in which people are never recognized. The film also helped the families of these people that work in the field understand what it is that they do and what their jobs entail. What I’ve also heard is that whether is the judges, the counselors, or the social workers that work in the system, they were all unanimous in feeling that this really did show the daily reality of what they do.

"Standing Tall" opens in L.A. and NY on April 1st from Cohen Media Group 

»

- Carlos Aguilar

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The 20th Colcoa French Film Fest Kicks Off with ‘Monsieur Chocolat’

29 March 2016 7:00 PM, PDT | Variety - Film News | See recent Variety - Film News news »

The Colcoa French Film Festival (April 18-26) is celebrating its 20th year with its most ambitious program yet, bolstered by it’s first-ever TV competition, four world premieres, a special tribute to writer-director Jean-Paul Rappeneau, and the U.S. premiere of Nicolas Boukhrief’s home-grown terrorism thriller, “Made in France,” which was not theatrically released in France due to sensitivity following the Nov. 13 terrorist attacks in Paris.

L.A.’s annual French-language showcase, conveniently held under one roof at the DGA headquarters on Sunset Blvd. and designed as a promotional exchange between the French and U.S. film industries, will open with Roschdy Zem’s “Monsieur Chocolat,” about France’s most famous black circus performer during the Belle Epoque era, starring Omar Sy, who toplined the 2011 boxoffice smash, “The Untouchables.”

The closing offering will be Laurent Tirard’s “Up For Love,” a romantic comedy starring Oscar winner Jean Dujardin (“The Artist »

- Steve Chagollan

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