5 items from 2014
Michel Gondry had a Tin Drum moment on the red carpet for his Mood Indigo*, starring Audrey Tautou and Romain Duris with Gad Elmaleh, Omar Sy, Aïssa Maïga and Charlotte Le Bon. Boris Vian transformed into Günter Grass with a Volker Schlöndorff image stuck in and out of Gondry's head ending up in Is The Man Who Is Tall Happy? An Animated Conversation With Noam Chomsky and out of a faucet in Mood Indigo. Tautou and Duris walked the red carpet in 2013 at The Paris Theatre - she for Claude Miller's Thérèse Desqueyroux and he for Régis Roinsard's Populaire.
Audrey Tautou at Mood Indigo New York premiere: "I was really intrigued by the imagination and phantasy of this universe." Photo: Anne-Katrin Titze
David Byrne, »
- Anne-Katrin Titze
Actress, director and screenwriter Nicole Garcia is to preside over the Jury for this year’s Caméra d’or award for the best debut film at Cannes.
Garcia, who has presented a total of seven films at Cannes as both actress and director, first came to attention in Bertrand Tavernier’s Let Joy Reign Supreme in 1975 and subsequently worked with directors Henri Verneuil (Body of My Enemy, 1976) and Laurent Heynemann (The Question, 1977).
In 1979, her performance in Philippe de Broca’s Practice Makes Perfect earned her popular acclaim and a César award for best supporting actress. She went on to work with the greats of French cinema including Alain Resnais (My American Uncle, 1980), Bertrand Blier (Stepfather, 1981), Claude Lelouch (Bolero: Dance of Life, 1981), Pierre Schoendoerffer (A Captain’s Honor, 1982), Claude Sautet (Waiter!, 1983) and Claude Miller (Little Lili, 2003).
She made her behind-the-camera debut with Every Other Weekend in 1990, followed by The Favorite Son in 1994. She has directed seven films, of »
- email@example.com (Michael Rosser)
Paris — France’s Nicole Garcia, a well-regarded actress-turned-director who has worked with many of French cinemas greats, will serve as president of the Cannes Festival’s Camera d’or Award jury.
Created in 1978, the Camera d’or prizes the best feature debut at the Festival, whether the Official Selection (Competition, Out of Competition, or Un Certain Regard), Directors’ Fortnight or Critics’ Week.
Past plaudits have gone to Jim Jarmusch (“Stranger Than Paradise”), Mira Nair (“Salaam Bombay!”), Jaco Van Dormael (“Toto the Heroe”), Naomi Kawase (“Suzake”), Bahman Ghobadi (“A Time For Drunken Horses”) and Steve McQueen (“Hunger”).
Often selecting films from directors who came into Cannes as virtual unknowns outside their country of origin – Mexico’s Michael Rowe, with “Leap Year,” for example – winners very often count among the select group of Cannes arthouse movies which garner bountiful sales in Cannes’ follow-up, though prices paid for winning titles is now another matter. »
- John Hopewell and Elsa Keslassy
We French pride ourselves at being great at many things: Cooking elaborate meals, cultivating ridiculously expensive wine, making love while speaking with a thick accent English-speakers find inexplicably sexy, for example. But if there’s one aspect of French culture that’s particularly brag-worthy, it’s our films.
From the invention of the cinematograph by the Lumière Brothers to the New Wave, French cinema has established itself as one of the most revered in the world, perhaps second only to Hollywood in its influence over the rest of the world. Most filmgoers have seen or at least heard of such landmark works as Breathless, The 400 Blows, Grand Illusion or La Femme Nikita. As such, this list will focus on French films that, due to lack of media coverage, poor international distribution or their own unconventional nature, are not as well-known as the aforementioned ones but are just »
- Thomas Ricard
Moving into family-autobiography terrain after her 2008 biopic “Sagan,” Diane Kurys depicts an episode from her parents’ lives just after World War II in “For a Woman.” This drama of covert political and romantic intrigue has the kind of respectable if slightly soap-operatic historical and narrative juice that’s traditionally been a winning formula for upmarket Gallic cinema. Somewhat pedestrian packaging and one less-than-committed central performance won’t help this fairly engrossing pic achieve the sleeper status of a similar endeavor like Claude Miller’s “A Secret.” Still, prospects remain reasonably solid for multiformat niche biz in various territories, with Film Movement launching U.S. theatrical release May 2 in New York.
A framing device features a dour Sylvie Testud as Kurys’ alter ego, Anne, a veteran filmmaker who joins sister Tania (Julie Ferrier) at their ailing father’s deathbed in 1991, then finds old letters he’d kept, which she reads and »
- Dennis Harvey
5 items from 2014
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