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The English-language debut feature from Laurent Cantet, the award-winning French director of 2008 arthouse hit The Class, the 1950s-set Foxfire (2012) is a gripping character-led coming-of-age tale following in the footsteps of intense, engrossing dramas like Stand By Me and The Outsiders. To celebrate the home entertainment release of Foxfire, we've kindly been provided with Three brand new DVD copies of Cantet's teenage drama to give away to our fantastic readers, courtesy of leading UK distributors Artificial Eye. This is an exclusive competition for our Facebook and Twitter fans, so if you haven't already, 'Like' us at facebook.com/CineVueUK or follow us @CineVue before answering the question below.
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- CineVue UK
★★☆☆☆The second adaptation of Joyce Carol Oates' cult 1993 novel Foxfire: Confessions of a Girl Gang (the first starred a young Angelina Jolie), this time from Palme d'Or winner Laurent Cantet (The Class), returns the tale of a proto-feminist girl's club which goes horribly awry, back to its original fifties setting. It's convincingly-acted and admirably restrained, yet suffers from a hurried first act, before giving way to a long-winded, dramatically-sluggish remainder. A group of working-class teenagers in upstate New York come together in an attempt to wreak havoc upon the various males in their lives who have wronged them.
- CineVue UK
Nothing about F Scott Fizgerald's The Great Gatsby feels especially festive: it's all critical despair in stifling summer air, chilled mint juleps and crisp linen suits. Baz Luhrmann's The Great Gatsby (Warner, 12) is another matter: this luxurious pudding seems more at home in the run-up to Christmas (when it was originally slated for release in cinemas) than it did back in May. That may be because Luhrmann has never met a bauble, sparkler or strand of tinsel he didn't like: like all his films, this Gatsby is dressed and decorated to scrumptious excess.
Critics trotting out the tired "style over substance" epithet were missing the point. Style is substance in Luhrmann's universe, and as such, the film is rather effective in capturing the beautiful but damned »
- Guy Lodge
A gang of rebellious teenage girls fight for equality in 1950s upstate New York in this zesty adaptation of the landmark novel by Joyce Carol Oates. Having won the Palme d'Or at Cannes 2008 for another tale of alienated adolescents - The Class - and aided by an excellent young cast, director Laurent Cantet expertly recreates a world at the dawn of a sexual revolution. Previously filmed in 1996 with Angelina Jolie. »
Moodysson’s We Are The Best! wins audience award at Icelandic festival’s 10th anniversary.
Screening in Riff’s 12-film New Visions competition for first and second films, Still Life also won the festival’s Fipresci Prize. Director Pasolini was in attendance to accept the award during the closing ceremony at the Icelandic capital’s historic Gamla Bio theatre.
The competition jury, which consisted of Wide Management founder Loïc Magneron, author and political activist Luciana Castellina and former Icelandic president Vigdís Finnbogadóttir, said in a statement that it had unanimously agreed to give the first prize to Still Life “for its artistic quality, but also for the sensitivity and touching human message the director succeeds to underline”.
The Reykjavik International Film Festival is to open on Sept 25 with This Is Sanlitun by the Icelandic-Irish director Robert Douglas and will end Oct 6 with the Nordic premiere of Palme d’Or winner Blue Is The Warmest Colour.
Riff’s main award, the Golden Puffin, will be awarded to a film in the category New Visions, which screens debut and sophomore films of up and coming filmmakers.
The 12 films are:
Bethlehem, Yuval Adler Coldwater,Vincent Grashaw Free Fall, Stephan LacantLa Jaula De Oro, Diego Quemada-DiazLes Apaches, Thierry de Peretti The Lunchbox, Ritesh Batra Miss Violence, Alexandros Avranas One Shot, Robert OrhelSalvation Army, Abdellah Taïa Spaghetti Story, Ciro De Caro The Geographer »
- email@example.com (Michael Rosser)
Renoir, a tale of sunshine, oils and decorative nudity, has been selected as France's official submission for next year's best foreign film Oscar. A French-language film took the top prize last year with Michael Haneke's shattering death-bed drama Amour (although it was in fact an entry for Haneke's native Austria). This time around, the French tongue appears to be talking a different language.
Directed by Gilles Bourdos, Renoir is a period biopic set in the French Riviera in 1915 and charting the relationship between the impressionist painter Pierre-Auguste Renoir (Michel Bouquet), his film-maker son Jean (Vincent Rottiers) and a model (Christa Theret) who becomes a muse for both men. The film played at the 2012 Cannes film festival and became a moderate art-house hit in the Us. But the reviews have been middling. "A syrupy drizzle of prettiness covers this cloying movie, »
- Xan Brooks
Picture sold by Wild Bunch has enjoyed healthy international career, drawing 3 million cinemagoers worldwide.
Gilles Bourdos’ Renoir, revolving around the impressionist artist’s obsession with a young model who re-fired his passion for painting as an old man, has been selected as France’s 2014 Foreign Language Oscar candidate.
Based on the true story of the relationship between Pierre-Auguste Renoir and Andrée Heuschling, the sumptuously shot picture unfolds against the backdrop of the artist’s estate in the South of France during World War Two.
Heuschling would marry Renoir’s son, the film director Jean Renoir, appearing in a number of his early silent films but the picture mainly focuses on how the beautiful young woman enraptured the elderly artist.
The film, which premiered in Cannes’ Un Certain Regard in 2012, sold some 500,000 tickets at home and another 3 million internationally. It grossed more than $2m in the Us making it one of the most successful foreign language films there this »
Pic, which competed in Cannes’ Un Certain Regard in 2012, was released Stateside by Samuel Goldwyn Films in March. The period drama is one of this year’s highest-grossing French films at the U.S. box office so far, taking an estimated $2.2 million.
Set in The French Riviera in 1915, during Wwi, the film depicts the life of French impressionist master Auguste Renoir and the early years of his son, Jean, who became a cult French filmmaker.
- Elsa Keslassy
Compassionately conflicted views of gay male sexuality and inter-European immigration mesh to fascinating effect in “Eastern Boys,” Robin Campillo’s sleek, shape-shifting and intermittently stunning sophomore feature. Bearing all the formal refinement and discursive human interest one associates with Campillo’s regular collaborator Laurent Cantet, this tale of a middle-aged businessman who gets more than he bargained for when cruising in the Gare du Nord is by turns a frightening home-invasion drama, a tender love story and a tense hide-and-seek thriller, with far more control over these unsettling tonal slides than initially seems feasible. A popular winner in the Horizons sidebar at Venice, this highly unusual pic will be swiftly picked up by Lgbt fests and distribs, but less specialized arthouse exposure also beckons.
- Guy Lodge
The U.S. channel will premiere the series on Halloween night. Chicago-based distributor Music Box has skedded a VOD and DVD/Blu-Ray roll-out in January.
Repped in international markets by Zodiak Rights, “The Returned” was commissioned and co-developed by French paybox for nearly five years before being greenlit. France’s first fantasy series, “The Returned” was a gamble for the Gallic cabler but it proved a successful: It scored the highest ratings for a French-language skein. It also garnered healthy ratings on Channel 4 in the U.K..
A contempo twist of classic zombie skeins based on Robin Campillo’s “Les Revenants,” “The Returned” is set in a mysterious mountain town where a seemingly random collection of people attempt to regain their homes and reclaim their lives without realizing that they’ve been dead for years. »
- Elsa Keslassy
Bringing together film and TV talent on both sides of the camera, “The Returned” was created by Fabrice Gobert, whose debut feature, “Lights Out,” bowed at Cannes’ Un Certain Regard. It’s produced by Caroline Benjo, Jimmy Desmarais and Carole Scotta at Haut et Court, the company behind Laurent Cantet’s Palme d’Or-winning “The Class” and Audrey Tautou starrer.
Managed by Ed Arentz, Music Box Films will roll out the series on VOD platforms on Jan. 1 and DVD/Blu-Ray on Jan. 21, following its October bow on a major U.S. TV channel. The TV deal will be unveiled shortly.
- Elsa Keslassy
Fare is Fowl: Haywood-Carter’s Dire Return to Directing
Annette Haywood-Carter, perhaps best known for her 1996 directorial debut Foxfire, an adaption of a Joyce Carol Oates novel starring a nubile Angelina Jolie (which was remade in 2012 by Laurent Cantet), returns with her first directorial outing in thirteen years with Savannah, a based-on-a-true-story account of a 1920s hunter from the memoir Ward Allen: Savannah River Market Hunter. Locally produced, the figure in question seems to be a well-known local legend in Savannah, Georgia. However, the headscratchingly vague title should give you the first indication that some beautifully photographed landscape shots are the only aspect of interest in this bewilderingly bland exercise about a highly energetic hunter indisposed to frequent bouts of drinking, best known for rejecting his inheritance to (sometimes illegally) hunt with his black best friend forever at his side.
- Nicholas Bell
It's been a while since we've talked about Laurent Cantet's "Foxfire," and well, that's because there hasn't been much to talk about. While the movie marks the director's followup to his Palme d'Or-winning "The Class," when it premiered last year at Tiff, it didn't make much noise, and as far as we know, it's still without any U.S. distribution. But the movie has already opened across the pond, and as such, two clips from the movie have arrived. In adapting Joyce Carol Oates' celebrated novel, Cantet rounded up some newcomers—Claire Mazerolle, Kate Coseni and Madeleine Bisson—to lead the story of five teenagers from a small town in New York State in the 1950s who, out of their distrust of society, form a secret group called Foxfire to avenge the humiliations they have suffered at the hands of men. And if anything, these two scenes showcase »
- Kevin Jagernauth
This brilliantly acted drama about a 1950s New York girl gang works as both social history and political allegory
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Laurent Cantet started out 14 years ago as a kind of French Ken Loach, using a non-professional cast in the thoughtful leftwing Human Resources to deal with class and industrial relations in a provincial factory. He followed it up with Time Out (2001), about a middle-management executive who conceals his redundancy from his family, and The Class (2008), his Cannes prize-winning study of a year in a tough, racially mixed inner-city school in Paris. Both were also performed by non-professionals, though in between he made Heading South (2005), in which three prominent actresses played Americans visiting Haiti as sex tourists. In his confident, strangely gripping new film Foxfire, he's again working with a largely non-professional cast but this time in the recent American past.
Based on a novel by the prolific, »
- Philip French
Coogan's comic alter-ego goes big screen at last, but fear not: he's just as pathetically provincial and inadvertently offensive as he ever was – and just as consistently hilarious. A siege situation at Partridge's Norfolk radio station is the excuse to "open out" the scenario and explore the talk DJ's latent heroic side, but – as usual – the day is saved by Coogan's deft characterisation, some great writing and a love/hate fascination with Middle English mediocrity.
The Lone Ranger (12A)
Where Verbinski and Depp struck a great action-comedy balance with Pirates Of The Caribbean (and Rango), attempts »
- Steve Rose
Coming off the back of the Palme d’Or winning The Class – it’s safe to say there’s a little more attention and pressure on French filmmaker Laurent Cantet’s shoulders this time around as he presents his latest picture Foxfire, hitting cinema screens on August 9. Having won the most prestigious prize in world cinema back in 2008, we were rather excited about interviewing him.
Despite the pressure – which he discusses in this interview – fortunately he triumphs with Foxfire, a picture that depicts the rising of a group of young women rebelling against a sexist society. He also talks of his decision to make his first English speaking feature, and how he went about depicting a somewhat different 1950s America to what we have seen before on the big screen – while he also tells us if he has ever seen the 1996 adaptation (starring Angelina Jolie) of the famous Joyce Carol Oates novel. »
- Stefan Pape
The award-winning French director talks about the challenge of adapting Joyce Carol Oates' novel about a secret society of teenage girls
Five years ago, after winning the 2008 Palme d'Or for his fourth feature film, The Class, Laurent Cantet was unexpectedly elevated to an elite group of international film-makers. In his previous three features, Cantet had shown himself an able, interesting director, but not necessarily an attention-grabbing one. He had earned a reputation, through films such as Human Resources and Time Out, as France's answer to Ken Loach: an earnest director motivated by his conscience, but who wore his political commitments lightly. The Class, however, changed all that: shot in Cantet's characteristic low-key faux-documentary manner, it struck a chord in France with its portrait of a teacher's struggle with a roomful of stroppy teenagers in contemporary Paris, and propelled him into the big league.
After a world premiere almost »
- Andrew Pulver
Adapted from Joyce Carol Oates' teen-empowerment novel, Laurent Cantet's follow up to the Palme d'Or-winner The Class excavates the mindset of another group of awkward, rebellious teenagers, this time in smalltown America in the 1950s. Foxfire is the name given to a secret society of high-school girls determined to fight back against sexual abuse and day-to-day sexism; they are led by the charismatic Legs (Raven Adamson), and include the beefy Goldie (Claire Mazerolle), boy-mad Rita (Madeleine Bisson), and serious-minded Maddy (Katie Coseni), through whose narrative voice we see events proceed. Cantet extracts faultless performances from his cast, most of whom are on a film set for the first time, and evokes the period effortlessly. At well over two hours, Foxfire never feels long; though it unravels »
- Andrew Pulver
Catch up with the last seven days in the world of film
Sly appeared to label his erstwhile Expendables co-star "greedy and lazy" on Twitter, after negotiations broke down over Willis's role in the third installment in the 80s throwback action series.
The reason? According to the Hollywood Reporter, Bruce walked away from Expendables 3 after Stallone refused his demands for a $1m a day wage. He had been offered $3m for four days work, but wanted another million on top, according to a "source with knowledge of the situation".
Shortly after that news broke, it was announced that none other than Harrison Ford would be taking Willis's place. As Ben Child observed, the signing seems like a major step up for the action series, »
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