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Bercot to become the first female director to open San Sebastian.
Emmanuelle Bercot’s 150 Milligrams (La fille de Brest) is to receive its European premiere as the opening film of the 64th San Sebastian film festival (Sept 16-24) - making it the first film directed by a woman to open the festival since its launch in 1952.
Based on Irène Frachon’s autobiographical book Mediator 150mg, the film centres on a doctor who discovered the direct relationship between a drug and a number of suspicious deaths, and sets out to reveal the truth.
Danish actress Sidse Babett Knudsen (Borgen) and French actor Benoît Magimel (La Haine) star in the film, which will world premiere at Toronto before going on to play in competition for the Golden Shell at San Sebastian.
- email@example.com (Michael Rosser)
The second season order was confirmed via the series’ Twitter account Monday, which announced “The fight is not over. #MarseilleNetflix Season 2, coming soon”
Le combat n'est pas terminé. #MarseilleNetflix Saison 2, prochainement. pic.twitter.com/OqdFFIMACr
— Marseille (@MarseilleSerie) June 6, 2016
No indication is given of when season 2 will go into production nor its cast – though it would be strange if Depardieu and co-star Benoit Magimel, his antagonist in the series, did not re-up for season 2.
Starring Depardieu as an over-the-hill Marseille Mayor, Robert Taro, whose groomed heir-apparent (Magimel) suddenly declares political war as elections loom, “Marseille” was slammed by French national critics. “It’s an artistic rout, an industrial failure, undoubtedly [Netflix’s] first in-house dud,” wrote Pierre Langlais at Telerama.
International critical reception has looked largely negative or mixed though with exceptions and more general enthusiasm for Depardieu’s performance, »
- John Hopewell and Elsa Keslassy
Cannes: Underscoring the importance of the Cannes festival, both its market and selection, for foreign distributor buys, Antoine Zeind’s A-z Films has acquired three 2016 Cannes Competition films: Cristian Mungiu’s “Graduation,” Jean-Pierre and Luc Dardenne’s “The Unknown Girl” and Cristi Puiu’s “Sierra Nevada.”
Based out of Quebec, Zeind’s distribution-production company has also taken “The Red Turtle,” which world premieres in Un Certain Regard.
Wild Bunch sells, finances and sometimes co-produces three of these titles: “Graduation,” “Girl” and “The Red Turtle.” “Sierra Nevada” is repped by Elle Driver, a Wild Bunch company, a sign of A-z Films’ strong connection with France.
The latest from Mungiu, whose “4 Months, 3 Weeks and 2 Days” won Cannes’ 2007 Palme d’Or, the consecration of the so-called Romanian New Wave, “Graduation” is a father-daughter ethical drama turning on a small-town doctor’s ambitions for his clever daughter to win a scholarship outside Romania.
From Belgium’s Dardenne brothers, »
- John Hopewell
Marseille – Unspooling in Marseille’s spectacular, hilltop Palais du Pharo, built by Emperor Napoleon III for his wife, the first two episodes of Gerard Depardieu-starrer “Marseille,” Netflix’s first 100% European original series, world premiered Wednesday night to 10 seconds or so of polite applause, but no more, from a packed largely local audience.
That is the power of Netflix, a global reach central to a business model which Netflix chairman Reed Hastings and Ted Sarandos, Netflix chief content officer, explained at length to a select group of journalists hours before the “Marseille” premiere, talking at the city’s Sofitel Hotel, which offered magnificent views of Marseille’s Old Port.
Netflix has 30 scripted series in production and 12 films and will raise its »
- Emilio Mayorga
At a loss for what to watch this week? From new DVDs and Blu-rays, to what's new on Netflix and TV, we've got you covered.
TV Worth Watching
"The Good Wife" (Sunday on CBS at 9 p.m.)
This is it. The end of an era. After seven seasons of heartbreak (she'll always love you, Will!), headaches, incredibly sharp writing, and powerful performances from Julianna Margulies down to the many amazing guest stars, Alicia Florrick's story is coming to an end on May 8. The series finale, appropriately titled "End," was written by showrunners Robert and Michelle King, and directed by Robert King. Margulies told Entertainment Weekly the finale will be "satisfying, uplifting and sad." The showrunners have Not shot down that Josh Charles return rumor, so here's hoping for some kind of flashback/vision/cameo/thing. Also, here's hoping for more of this, from Alicia and Jason:
- Gina Carbone
Paris – Seen in an extended multi-scene promo, Netflix’s Gerard Depardieu-starrer “Marseille’ wowed an industry audience Wednesday at Series Mania, making good on its promise as one of the highlights of the high-profile Paris TV Fest.
That is no footnote for Netflix. Presented in Paris by Netflix’s Joris Evers, Netflix communications head, Europe, and French-film director Florent Emilio-Siri (“My Way”), “Marseille” director-showrunner in his first TV gig, when it bows worldwide May 5 “Marseille” will be not just France’s but Europe’s first Netflix original series to be made available to subscribers (Norway’s “Lilyhammer” and Denmark’s “Rita” were co-productions; ITV’s “Marcella” and Channel 4’s “Kiss Me First” early global acquisitions).
The Paris “Marseille” sneak peek comes one day after Netflix chairman-ceo Reed Hastings focused at Netflix’s April 19 first-quarter earnings on international original productions, developed locally, distributed globally, as “a powerful formulation that will »
- John Hopewell and Elsa Keslassy
Paris — TF1, France’s biggest broadcast network, will screen in primetime the first two episodes of “Marseille” on May 12, a week after all its eight segs are made available exclusively to subscribers in and outside France by Netflix.
The limited broadcast run is a pioneering deal for Europe, leveraging the huge anticipation in France sparked by “Marseille,” France and indeed Europe’s first Netflix original series to see the light of day, as well as the still huge primetime audiences commanded by incumbent TV players. TF1 annually accounts for over 90 of the 100 most seen shows in Europe, many being primetime dramas.
A teaser for “Marseille,” deal ensures that everyone in France will be able to watch the first two episodes during prime time. But if they then want to watch subsequent episodes, we hope they will sign up to Netflix to do so. Or some French viewers may be enticed »
- John Hopewell
“Odd Mom Out’s” Season 2 guest stars include Drew Barrymore and Blythe Danner. Also in today’s TV news roundup, Netflix has set premiere dates for the second season of “Marco Polo” and its new British historical drama “The Crown.”
The scripted comedy is based on Kargman’s novel “Momzillas,” which critiques New York’s outrageous Upper East Side ecosystem. Barrymore will play Jill (Kargman) and Andy’s (Andy Buckley) rude neighbor Meredith, and Danner will star as Jill’s mother, Sarah Kaplan.
“Odd Mom Out’s” sophomore season will see Jill attempting to reboot her career and Andy struggling to assume the Mr. Mom role in her absence. The new episodes premiere on June 20.
- Alyssa Sage
Netflix has released 2 new date announcement trailers for their original series The Crown and Marco Polo Season 2 and a full trailer for Bloodline Season 2. In addition Netflix has also released a cast shot from their upcoming new series Marseille, starring Gérard Depardieu.
You can check out the trailers and photo below.
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The Crown, the highly anticipated, new original series will premiere on Netflix, the world’s leading Internet TV network, to a global audience on Friday, November 4, 2016. The 10-episode series will be available in 4K.
The Crown reunites acclaimed writer Peter Morgan (The Queen, Frost/Nixon) with director Stephen Daldry (Billy Elliot, The Hours) and producer Andy Harries (The Queen). Based on the award-winning play, The Audience, The Crown tells the inside story »
- Kellvin Chavez
It has been a long journey, but at long last we have a return date for Marco Polo.
Netflix has announced that Season 2 of the adventure drama will release globally on July 1. The cast for the 10-episode sophomore run includes Lorenzo Richelmy (as Marco Polo), Michelle Yeoh (the Handmaiden), Benedict Wong (Kublai Khan), Joan Chen (Empress Chabi), Zhu Zhu (Kokachin), Tom Wu (Hundred Eyes), Olivia Cheng (Mei Lin), Claudia Kim (Khutulun), Rick Yune (Kaidu), Remy Hii (Prince Jingim), Mahesh Jadu (Ahmad) and Uli Latukefu (Byamba), among others.
Netflix also has released a teaser that touts a November 4 global release date for The Crown, »
With just a month to go before it premieres on Netflix, a new trailer has arrived online for the upcoming French political drama Marseille which stars Gérard Depardieu and Benoît Magimel; check it out below after the official synopsis…
As the municipal elections approach in Marseille, Robert Taro, the city’s Mayor for the last twenty years, prepares his last coup: push through the vote for the construction of a casino in the historic center of the Marina. Nothing has been left to chance, and his successor, Lucas Barrès, is already designated. But the latter’s all-consuming ambition and the secret interests of the city’s leaders, whether they come from its opulent villas or from the cities of the northern suburbs, impede the Mayor’s plans. The race for Mayor becomes a power struggle where no holds are barred. Only one question arises: how far will they go?
- Amie Cranswick
We have the new Marseille trailer, the latest series from the Netflix Originals stable which is all set to hit the global streaming service very soon. The series, which stars Gérard Depardieu, revolves around 2 opposing clans who are at each other’s throats over their destiny. Violence, corruption, sex, betrayal… It’s a war for power with no holds barred.
Marseille also stars Benoît Magimel (Lucas Barrès), Géraldine Pailhas (Rachel Taro), Nadia Farès (Vanessa d’Abrantès), Stéphane Caillard (Julia), Jean-René Privat (Cosini), Guillaume Arnault (Eric), Hedi Bouchenafa (Farid), Carolina Jurczak (Barbara), and Nassim Si Ahmed (Selim), and will arrive on Netflix on Thursday, 5th May simultaneously around the world.
We have the full Marseille trailer below, but first, here’s a more detailed look at the story.
As the municipal elections approach in Marseille, Robert Taro, the city’s Mayor for the last twenty years, prepares his last coup: push »
- Paul Heath
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
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
Not only is Netflix spending big on original programming; they are launching productions around the globe, as their audience has expanded far beyond U.S. borders. And this spring, their starry French drama "Marseille" will be unveiled. It looks like a French "House Of Cards," and that's just fine by me. Read More: Disruptors: How Netflix & Amazon Are Creating Greater Tumult In The Independent Film Industry Starring Gérard Depardieu, Benoît Magimel, Géraldine Pailhas, Nadia Farès, Stéphane Caillard, Jean-René Privat, Guillaume Arnault, Hedi Bouchenafa, Carolina Jurczak, and Nassim Si Ahmed, the story follows the struggle for power in the titular city between the old guard and the young upstarts. Here's the synopsis: As the municipal elections approach in Marseille, Robert Taro, the city's Mayor for the last twenty years, prepares his last coup: push through the vote for the construction of a casino in the...
- Kevin Jagernauth
Not only is Netflix spending big on original programming; they are launching productions around the globe, as their audience has expanded far beyond U.S. borders. And this spring, their starry French drama "Marseille" will be unveiled. It looks like a French "House Of Cards," and that's just fine by me. Read More: Disruptors: How Netflix & Amazon Are Creating Greater Tumult In The Independent Film Industry Starring Gérard Depardieu, Benoît Magimel, Géraldine Pailhas, Nadia Farès, Stéphane Caillard, Jean-René Privat, Guillaume Arnault, Hedi Bouchenafa, Carolina Jurczak, and Nassim Si Ahmed, the story follows the struggle for power in the titular city between the old guard and the young upstarts. Here's the synopsis: As the municipal elections approach in Marseille, Robert Taro, the city's Mayor for the last twenty years, prepares his last coup: push through the vote for the construction of a casino in the »
- Kevin Jagernauth
With Netflix launching in markets all over the globe, local productions shot in their native language are beginning to roll out with the first - the French-language drama "Marseille" - scoring a superb looking trailer today.
Gerard Depardieu, Benoit Magimel, Geraldine Pailhas, Nadia Fares, Stephane Caillard, Jean-Rene Privat, Guillaume Arnault, Hedi Bouchenafa, Carolina Jurczak, and Nassim Si Ahmed star in the film about the struggle for power in the titular city. It is set for a global release on May 5th.
- Garth Franklin
Emmanuelle Bercot's smile Photo: Anne-Katrin Titze
Emmanuelle Bercot's Cannes Film Festival opener, upright Standing Tall (La Tête Haute) starring Catherine Deneuve, Sara Forestier, with César winning performances by Rod Parodot and Benoît Magimel, co-written by Marcia Romano (Xavier Giannoli's collaborating writer on Marguerite), screened at Rendez-Vous with French Cinema in New York along with Maïwenn's My King (Mon Roi), in which Bercot shines with Vincent Cassel, Two Friends (Deux amis) director Louis Garrel and Isild Le Besco.
Malony with his mother Séverine (Sara Forestier): "He is not protected by the adult in his life…"
Abdellatif Kechiche's L'esquive (Games Of Love And Chance), Luc Dardenne and Jean-Pierre Dardenne's fairy tales, Sara Forestier in Katell Quillévéré's Suzanne, using a landscape to breathe, writing the story, the actors helping to create their characters, casting baby faces and being given a second chance entered into our conversation. »
- Anne-Katrin Titze
As we await news on what feature will open the 2016 Cannes Film Festival, last year’s opener will finally make its way to U.S. theaters next month. Standing Tall, which also picked up a few César Awards recently for Best Male Newcomer (Rod Paradot) and Best Supporting Actor (Benoit Magimel), comes from director Emmanuelle Bercot. Also starring Catherine Deneuve, it follows a troubled teen as he navigates life.
We said in our review, “Much like Dolan’s film Mommy, one of the strongest characteristics of La tête haute is its bipolarity of tone. Some may find the sporadic jumps from quiet to impassioned rather jarring, but anyone who has spent time around troubled teens knows how quickly a situation can shift from calm to hostile. Still, it only works so well here because Paradot executes these outbursts with a nuanced understanding of the adolescent mind and what makes teenagers tick. »
- Leonard Pearce
Last year, the thunder might've been stolen a bit by "Mad Max: Fury Road" which screened around the same time, but the official opening movie of the Cannes Film Festival was Emmanuelle Bercot's "Standing Tall." The picture picked up some good notices, and eventually earned nine César nominations, winning two in the recent awards ceremony for Most Promising Actor and Best Supporting Actor. And now the picture is coming stateside. Read More: Cannes Review: 'Standing Tall' Starring Catherine Deneuve Is An Affecting, Flawed Festival Opener Starring Rod Paradot, Catherine Deneuve, Benoît Magimel and Sara Forestier, the film tells the story of a juvenile delinquent, Malony, and his upbringing from childhood to adulthood, as a children's judge and social worker try to save him. Here's the official synopsis: Abandoned by his mother (Sara Forestier) at the age of 6, Malony (Rod Paradot) is constantly in and out of juvenile court. »
- Kevin Jagernauth
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