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The silent French film Au Bonheur Des Dames (1930 – aka Ladies’ Paradise) screens Saturday May 6th at 11am at The St. Louis Art Museum (Forest Park, 1 Fine Arts Dr, St. Louis, Mo). The film will be accompanied by Elsie Parker and The Poor People of Paris. Tickets for this event are $15 general admission and $10 for museum members. Tickets can be purchased in advance from Metrotix or by calling 314.534.1111.
Julien Duvivier’s final silent film is a modern retelling of Emile Zola’s panoramic chronicle of mid-19th-century Parisian society, centering on a small fabric shop struggling to survive in the shadow of a luxury department store. With expressionistic shades of Erich von Stroheim and G.W. Pabst, the film captures the rhythms of urban life and creates a stinging portrait of capitalist ruthlessness, class tensions, and sexual competition. Scott Foundas in the Village Voice calls the film “an orgy of pure cinema, »
- Tom Stockman
The French film Cezanne Et Moi (“Cezanne and I”) focuses on the real life-long, if sometimes stormy, friendship between a painter and an author. The “moi” in this historical drama is novelist Emile Zola, and the artist is, of course, post-Impressionist painter Paul Cezanne. One has to wonder why the filmmakers didn’t just title the film “Cezanne and Zola.” The title suggests that the story is told from Zola’s point-of-view but while it might favor Zola’s view-point a little, the film actually spends more screen time with Cezanne, wonderfully played by Guillaume Gallienne. Zola is played by French star Guillaume Canet, and the two Guillaumes are terrific in their scenes together
Strong acting, lush visuals, and historical »
- Cate Marquis
The “moi” in this lush, leisurely stroll through art history is Emile Zola (Guillaume Canet), a lifelong friend and sometime romantic rival of the painter Paul Cézanne (Guillaume Gallienne). A ribboning timeline weaves together flashbacks to school days with riotous nights of debauchery and an ultimate reversal in social standing. The film wears its luxuriant production design with the same satisfaction as the newly wealthy Zola does his brocade dressing gown. It’s a large canvas to cover, the parallel lives of these complicated, talented men, and the thin, hurried brushstrokes at times suggest a film that might have benefited from a tighter focus.
Continue reading »
- Wendy Ide
This account of the rivalry between Cézanne and Zola – played by Guillaumes Canet and Gallienne – is cinéma du papa with an edge
There is unexpected interest in this period-costume dual biopic of Émile Zola and Paul Cézanne, played by Guillaume Canet and Guillaume Gallienne: a drama about their lifelong, troubled friendship. With its sunkissed locations, frock coats and whiskers – and its incurious attitude to the women in these artists’ lives – it does look rather like a bit of stately cinéma du papa. Yet there is an edge and a mordancy to it.
Zola and Cézanne grow up together, and at first Cézanne looks like one of life’s winners: the son of a wealthy banker whose family money allows him to paint. Meanwhile, Zola scrabbles a living in Paris. But then Zola becomes rich and famous, and Cézanne becomes tortured with envious contempt. They are frenemies and frivals; their »
- Peter Bradshaw
Author: Stefan Pape
When presenting a biopic whereby the subject is an esteemed artist, there’s an even greater pressure to ensure the cinematic reimagining of their life is an aesthetically gratifying one, and auteur Daniéle Thompson’s does not disappoint, with an alluring, picturesque backdrop worthy of the great painter Paul Cézanne. Sadly, any such homage paid to the film’s supporting lead – the revered, naturalistic novelist Emile Zola – falls short, with a hackneyed screenplay that does not do justice to the great wordsmith, which comes as surprise since it’s penned by Thompson, who was once nominated for an Academy Award in such an area, for the 1975 release Cousin Cousine.
Set in the latter half of the 19th century, we study the caustic, lifelong friendship between Cézanne (Guillaume Gallienne) and Zola (Guillaume Canet), told through flashbacks, looking over their school years, up until their later ones. It had been a perpetually tumultuous affair, »
- Stefan Pape
Author: Stefan Pape
Back in January we were fortunate enough to spend a weekend in Paris, interviewing some of the biggest names in French cinema (Isabelle Huppert Ftw) – but none were quite as enjoyable to meet than Guillaume Gallienne. “Do you have a spare fag?” he asked when I walked in – in a near-perfect English accent I had perceived to be a piss-take, mimicking my dialect ahead of our time together. But it wasn’t, for Gallienne is a classically trained theatre act-or – part of La Comédie Francaise – who even spent time living in Britain. His English, at times, was even better than mine.
“I was in England between the ages 13-16, I took my O-Levels there in a boarding school in Hampshire,” he said. “I had English nannies before when I was young. One of them forbid me from running in the rain. Very strange. She found it very common, »
- Stefan Pape
By Jose Solís.
In Cézanne and I, director Danièle Thompson chronicles the ultimate bromance: the lifelong friendship between Emile Zola (Guillaume Canet) and Paul Cézanne (Guillaume Gallienne) who went from being schoolmates to becoming two of the most influential artists in history. In the film we see Zola’s literary work flourish, as Cézanne struggles to make a name for himself when his contemporaries fail to see the quality of his work and mock his technique. But rather than being a condescending story about “poor genius men”, the film addresses the terrifying idea that not everyone’s talents are meant to be recognized. I sat down with Gallienne and Thompson to discuss the themes in the film and the challenges of capturing the creative process onscreen.
Jose: Why did you want to make a film about Zola and Cézanne?
DANIÈLE Thompson: I was very intrigued by the fact I knew nothing about their relationship, »
Welcome back to the Weekend Warrior, your weekly look at the new movies hitting theaters this weekend, as well as other cool events and things to check out.
Three New Movies May Have Trouble Making Much of a Mark
After a couple impressive March weekends with one new box office record, and a couple impressive openings, we’re now into April, and of the new movies, there just doesn’t seem like anything can defeat last week’s powerful duo of DreamWorks Animation’s The Boss Baby--which exceeded all predictions with $49 million, taking the top spot from Beauty and the Beast. Ghost in the Shell didn’t even do as well as I thought it may, opening with just $19 million, those late reviews helping to kill its weekend.
- Edward Douglas
Daniele Thompson’s “Cézanne et Moi” follows the parallel paths of two of France’s most lauded artists: post-impressionist painter Paul Cézanne and novelist Émile Zola. The pair first met at school in Aix-en-Provence and continued to maintain their close relationship as they both became working artists in Paris (with varying success).
Often told through flashbacks, the film chronicles their shared artsy sensibilities and their very different circumstances in life — Zola grew up poor, while Cézanne struggled with his wealthy background — showing off a strong portrait of both the men and their unique bond.
But that doesn’t mean that their relationship was always an easy one, and our exclusive clip shows the often fraught friendship between the two unique men. Check it out below.
“Cezanne et Moi” is currently »
- Kate Erbland
While smart-house moviegoers can be discerning — see Fox Searchlight’s “Wilson” — the holocaust drama overcame modest reviews to score in wider initial release. The dearth of other product should help Focus to find bigger success ahead.
Read More: ‘The Zookeeper’s Wife’ Director Niki Caro Has a Plan for Fighting Hollywood’s Gender Gap
New openings finding niche interest were led by “David Lynch – The Art Life” (Janus) as smaller films continue to struggle.
At a time of dwindling movie ad revenue, streaming service Netflix took out two full-page ads for five films in both the New York Times and Los Angeles Times. They touted four Sundance debuts: “The Discovery” starring Robert Redford and Rooney Mara, which played limited theatrical dates with no grosses reported, »
- Tom Brueggemann
Films About Women Opening This Week“The Zookeeper’s Wife”
The real-life story of one working wife and mother who became a hero to hundreds during World War II. In 1939 Poland, Antonina Żabińska (Jessica Chastain) and her husband, Dr. Jan Żabiński (Johan Heldenbergh), have the Warsaw Zoo flourishing under his stewardship and her care. When their country is invaded by the Germans, Jan and Antonina are stunned and forced to report to the Reich’s newly appointed chief zoologist, Lutz Heck (Daniel Brühl). To fight back on their own terms, the Żabińskis covertly begin working with the Resistance and put into action plans to save lives out of what has become the Warsaw Ghetto, with Antonina putting herself and even her children at great risk. (Press materials)
Read Women and Hollywood’s interview with Niki Caro.
Find tickets and screening info here.
“Carrie Pilby”: Tiff
Carrie Pilby (Bel Powley) is a genius who graduated Harvard at 18. Convinced that the world is populated by oversexed hypocrites, she has a hard time making sense of life as it relates to morality, relationships, sex, and leaving her apartment. In an effort to coax Carrie out of her shell, her psychiatrist (Nathan Lane), makes a deceptively simple checklist of goals for her to achieve between Thanksgiving and the year’s end. Each goal brings Carrie closer to the understanding that humans, like books, can’t be judged by their covers. (Press materials)
Read Women and Hollywood’s interview with Susan Johnson
In the near future, Major (Scarlett Johansson) is the first of her kind — a human saved from a terrible crash, who is cyber-enhanced to be a perfect soldier devoted to stopping the world’s most dangerous criminals. When terrorism reaches a new level that includes the ability to hack into people’s minds and control them, Major is uniquely qualified to stop it. As she prepares to face a new enemy, Major discovers that she has been lied to: her life was not saved, it was stolen. She will stop at nothing to recover her past, find out who did this to her, and stop them before they do it to others. (Press materials)
Find tickets and screening info here
The Blackcoat’s Daughter (Also Available on DirecTV)
“The Blackcoat’s Daughter”
A deeply atmospheric and terrifying new horror film, “The Blackcoat’s Daughter” centers on Kat (Kiernan Shipka) and Rose (Lucy Boynton), two girls who are left alone at their prep school, Bramford, over winter break when their parents mysteriously fail to pick them up. While the girls experience increasingly strange and creepy occurrences at the isolated school, we cross cut to another story — that of Joan (Emma Roberts), a troubled young woman on the road, who, for unknown reasons, is determined to get to Bramford as fast as she can. As Joan gets closer to the school, Kat becomes plagued by progressively intense and horrifying visions, with Rose doing her best to help her new friend as she slips further and further into the grasp of an unseen evil force. (Press materials)
Despite the Falling Show — Written and Directed by Shamin Sarif (U.S. Premiere) (Also Available on VOD)
Moscow, 1959: Katya (Rebecca Ferguson) is young, beautiful — and a spy for the Americans. When she begins spying on Alexander (Sam Reid), an idealistic Communist politician, the last thing she expects is to fall in love with him. Her choice between love and duty leads to a nail-biting conclusion that Alexander can only unravel decades later in 1990s New York. His journey back to the snowbound streets of Moscow uncovers a love triangle and betrayals from those he trusted most. (Press materials)
Read Women and Hollywood’s Interview with Shamin Sarif.
Find screening info here.
“All This Panic” takes an intimate look at the interior lives of a group of teenage girls as they come of age in Brooklyn. A potent mix of vivid portraiture and vérité, we follow the girls as they navigate the ephemeral and fleeting transition between childhood and adulthood. Shot over a three-year period in a lush and cinematic style, “All This Panic” is a meditation on the mysterious, often painful, yet ultimately exhilarating period of a teen’s life. In a world where, as one teen remarks, “they want to see us, but they don’t want to hear us,” this film is comprised entirely of young women speaking to their own experiences. (Press materials)
Read Women and Hollywood’s interview with Jenny Gage.
In Waziristan, “one of the most dangerous places on earth,” Maria Toorpakai defies the Taliban — disguising herself as a boy, so she can play sports freely. But when she becomes a rising star, her true identity is revealed, bringing constant death threats on her and her family. Undeterred, they continue to rebel for their freedom. (Press materials)
Read Women and Hollywood’s interview with Erin Heidenreich.
Here Alone (Also Available on VOD)
Deep in New York’s upstate wilderness, Ann (Lucy Walters), a young woman in her late 20s, struggles to survive after a mysterious epidemic decimates society. On the constant brink of starvation, Ann leads an isolated and regimented life. Haunted by memories of her past, she also battles the current bloodthirsty threat that lurks just outside of the forest’s borders. When her food stores run dangerously low Ann must make the desperate journey into a nearby town to forage for any remaining food. During one of these raids, a chance encounter brings Olivia (Gina Piersanti), a teenage girl, and her injured stepfather, Chris (Adam David Thompson), into Ann’s life and regimen of survival. (Press materials)
Find screening info here.
The body of a homeless woman is found in an abandoned New Hampshire farmhouse. Beside the body lies a diary that documents a journey of starvation and the loss of sanity, but told with poignancy, beauty, humor, and spirituality. For nearly four months, Linda Bishop, a prisoner of her own mind, survived on apples and rain water, waiting for God to save her, during one of the coldest winters on record. As her story unfolds from different perspectives, including her own, we learn about our systemic failure to protect those who cannot protect themselves. (Press materials)
Find screening info here.
Films About Women Currently Playing“Prevenge”
I, Olga Hepnarová
Dig Two Graves (Also Available on VOD)
A Woman, a Part — Written and Directed by Elisabeth Subrin
Raw — Written and Directed by Julia Ducournau
The Dark Below
The Women’s Balcony — Written by Shlomit Nechama
Xx (Anthology) — Directed by Roxanne Benjamin, Sofia Carrillo, Karyn Kusama, Annie Clark (St. Vincent), and Jovanka Vuckovic; Co-Written by Roxanne Benjamin and Jovanka Vuckovic (Also Available on VOD)
Sophie and the Rising Sun — Written and Directed by Maggie Greenwald (Also Available on VOD)
The Lure — Directed by Agnieszka Smoczynska
20th Century Women
Films Directed by Women Opening This Week“David Lynch: The Art Life”
David Lynch takes us on an intimate journey through the formative years of his life. From his idyllic upbringing in small town America to the dark streets of Philadelphia, we follow Lynch as he traces the events that have helped to shape one of cinema’s most enigmatic directors. “David Lynch: The Art Life” infuses Lynch’s own art, music, and early films, shining a light into the dark corners of his unique world, and giving audiences a better understanding of the man and the artist. (Press materials)
Read Women and Hollywood’s interview with Olivia Neergaard-Holm.
For Here or to Go? — Directed by Rucha Humnabadkar
Young Silicon Valley software engineer Vivek Pandit (Ali Fazal) is poised to become a key hire at a promising healthcare startup, but when they realize his work visa has less than a year remaining, the offer disappears. Having learned the hard way about the flaws in his “it’s just paperwork” mentality, Vivek battles forces beyond his control to get his visa extended, whether at his existing company or a new job. Along the way, his eyes are opened to the similar struggles of his own roommates and those around him. American in mind and Indian at heart, this is a contemporary story of ambition and ambivalence fueled by one’s immigration status that characterizes the dilemma of modern cultural displacement. (Press materials)
Find screening info here.
The Prison — Written and Directed by Na Hyun
After a fatal accident, Yu-gon (Rae-won Kim), a former police inspector, is sentenced to hard time in a prison he once helped fill. Once inside, he discovers the entire penitentiary is no longer controlled by the guards, but by a vicious crime syndicate that breaks out at night, using their prison sentences as the perfect alibi to commit intricate heists. Looking for revenge against the system that placed him inside, Yu-gon joins the syndicate… but with every man out for himself, how long can the perfect crime last? (Press materials)
Find screening info here.
Cezanne and I — Written and Directed by Danièle Thompson
“Cezanne and I”
“Cezanne and I” traces the parallel paths of the lives, careers, and passionate friendship of post-impressionist painter Paul Cézanne (Guillaume Gallienne) and novelist Emile Zola (Guillaume Canet). The two boys grew up in Aix-en-Provence. Emile was fatherless and poor. Paul came from a wealthy family. As young men, dreaming of glory and beautiful women, they left the south to conquer the art scene in Paris. Soon Emile had it all, success, money, and the perfect wife, and embraced the very bourgeoisie he mocked in his books. Meanwhile, Cezanne rejected the Parisian scene to focus only on his work, ignored by his peers and the establishment. (Press materials)
Find screening info here.
Films Directed by Women Currently Playing“Karl Marx City”
Films Written by Women Opening This Week
Films Written by Women Currently Playing“Phillauri”
A Dog’s Purpose — Written by Cathryn Michon
The Red Turtle — Co-written by Pascale Ferran
TV Premieres This Week“Abortion: Stories Women Tell”
In 1973 the U.S. Supreme Court decision Roe v. Wade recognized the right of every woman in the United States to have an abortion. Since 2011, over half the states in the nation have significantly restricted access to abortions. In 2016, abortion remains one of the most divisive issues in America, especially in Missouri, where only one abortion clinic remains open, patients and their doctors must navigate a 72-hour waiting period, and each year sees more restrictions. Awarding-winning director and Missouri native Tracy Droz Tragos sheds new light on the contentious issue with a focus not on the debate, but rather on the women themselves — those struggling with unplanned pregnancies, the providers who show up at clinics to give medical care, as well as the activists on both sides of the issue hoping to sway decisions and lives. (Press materials)
Read Women and Hollywood’s interview with Tracy Droz Tragos.
VOD/DVD Releasing This Week“Rogue One: A Star Wars Story”: Disney
Lavender (DVD, April 1)
Rogue One: A Star Wars Story (DVD, April 4)
We Don’t Belong Here (VOD/DVD, April 4)
Women and Hollywood in the News
Aaron Sorkin, reportedly unaware of Hollywood’s diversity problem, had many chances to become aware (Washington Post)
Picks of the Week from Women and Hollywood
A Conversation with “The Zookeeper’s Wife” Director Niki Caro
MPAA Report 2016: 52% of Movie Audiences Are Women & Other Takeaways
On Women and Hollywood This WeekTomi Adeyemi: Adeyemi’s Instagram account
Guest Post: Supporting Women’s Voices in Independent Film
Joss Whedon May Direct Batgirl Standalone Film
23-Year-Old Author Tomi Adeyemi’s Debut Novel Acquired by Fox 2000
Women-Directed Features “Polina” and “The Drowning” Acquired
Janeane Garofalo to Make Broadway Debut in “Marvin’s Room”
Trailer Watch: Explorer Gertrude Bell Takes Center Stage in “Letters from Baghdad”
BAMcinématek to Present Anne-Marie Miéville Retrospective
Bentonville Film Fest to Open with Gaby Dellal’s “3 Generations”
Sarah Silverman to Host Political Comedy Talk Show for Hulu
“Queen of the Desert” Gets a U.S. Release Date and New Trailer
Trailer Watch: Frances McDormand Takes on the Police in “Three Billboards Outside Ebbing, Missouri”
Wtf of the Day: Aaron Sorkin Was Unaware of Hollywood’s Diversity Problem
Thea Sharrock Being Eyed to Direct “The One and Only Ivan”
What Happened to the Women Directors in Hollywood? Part 5: 2000–2017
Quote of the Day: Kate Winslet Talks Self-Acceptance & How to Rise Above Body Shaming
Trailer Watch: Netflix’s “Hot Girls Wanted: Turned On” Investigates the Porn Industry
Weekly Reads from Around the Internet
Hulu’s “Harlots” Takes a Modern View of 18th-Century Sex Work by Sophie Gilbert (The Atlantic)
Why Are So Many Female-Led Projects Called ‘Camp’? by Angelica Jade Bastién (Vulture)
Follow Women and Hollywood on Twitter @WomenaHollywood and Melissa Silverstein@melsil.
To contact Women and Hollywood, email email@example.com
Weekly Update for March 31: Women Centric, Directed, and Written Films Playing Near You was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »
- Rachel Montpelier
There is inherently a great risk that filmmakers face while crafting a drama about “great men.” Whether they are artists or politicians, innovators or explorers, there is an oft-irresistible urge to valorize the legend of the person and their accomplishments, rather than delve into their passions, motivations, and weaknesses. Danièle Thompson, director and writer of Cézanne et moi, certainly seems to invite these difficulties by telling the story of not one, but two great men.
Cézanne et moi explores the mercurial friendship of Paul Cézanne (Guillaume Gallienne), the legendary Post-Impressionist painter who heavily influenced some of the greatest 20th century artists like Picasso and Matisse, and Émile Zola (Guillaume Canet), the eponymous “I” and a highly respected novelist and poet of naturalism and political advocate. In grounding the movie in this very real and human relationship — and forgoing many of the more galling and hackneyed “struggles of the artist” conventions — Thompson avoids easy comparisons to, »
- The Film Stage
The Impressionist painters were to the French Academy what punk rockers were to the conservative pop-music establishment — wild, unruly artists who refused to conform to the standards of what passed for good taste — and yet, to watch a movie like “Cézanne et moi” is to be treated to one of those frou-frou French costume dramas in which Pathé specializes: an impeccably tasteful night at the art house for those who fail to see the contradiction in appropriating this once-scandalous chapter in art history as fodder for mousepads and screensavers.
The cinematic equivalent of calendar art, “Cézanne et moi” oh-so-politely recaps the lifelong relationship between Paul Cézanne (played by thoroughly nonthreatening French actor Guillaume Gallienne) and Émile Zola (the even blander Guillaume Canet, husband of Marianne Cotillard), as the two once-rowdy friends meet as children and grow to see their respective life paths diverge. While Zola “sells out” and becomes a celebrated novelist, »
- Peter Debruge
Intensive research has killed many a biopic, but Cézanne Et Moi, which recounts the tempestuous lifelong friendship between Paul Cézanne and Émile Zola, labors even more tediously than most to accommodate personal details, whether or not those details serve the narrative. Cézanne and Zola met in childhood—a moment that writer-director Danièle Thompson (Avenue Montaigne) makes cheesy by depicting them shaking hands and exchanging names in the immediate aftermath of a schoolyard brawl—and they spent their youth in the company of another fast friend, Baptistin Baille. The trio were known as “the inseparables,” and we know this, in the movie, because someone passes them on the street and shouts, essentially, “Yo, the inseparables!” (Though that’s not half as clumsy, exposition-wise, as Zola asking “Is Paul here?” at Cézanne’s house and being asked “Paul Cézanne?”) Trouble is, Baille didn’t go on to accomplish anything particularly notable, and »
- Mike D'Angelo
Guillaume Gallienne: "The script had all the elements, the love and trust of Danièle." Photo: Anne-Katrin Titze
Danièle Thompson's Cézanne Et Moi, starring Guillaume Gallienne as Paul Cézanne and Guillaume Canet as Émile Zola, had its New York premiere on Wednesday, hosted by Diane von Furstenberg and Barry Diller at The Whitby Hotel, where I had spoken to Wilson director Craig Johnson, screenwriter Daniel Clowes, Woody Harrelson, Laura Dern, Judy Greer and Isabella Amara.
The women in Cézanne's life were his mother Anne-Elisabeth (Sabine Azéma) and wife Hortense (Déborah François also in Claude Lelouch's latest Chacun sa vie). For Zola, his mother Émilie (Isabelle Candelier), wife Alexandrine (Alice Pol -Lelouch's Un + une), and mistress Jeanne (Freya Mavor). Guillaume Gallienne, who played Pierre Bergé in Jalil Lespert's Yves Saint Laurent gave some clarity into his vision of Cézanne, his relationship to Zola, and the women around them.
- Anne-Katrin Titze
Where else can you find Édouard Manet (Nicolas Gob), Camille Pissarro (Romain Cottard), Guy de Maupassant (Félicien Juttner), Baptistin Baille (Pierre Yvon), Auguste Renoir (Alexandre Kouchner), Ambroise Vollard (Laurent Stocker), Francisco Oller (Pablo Cisneros), Achille Empéraire (Romain Lancry), Père Tanguy (Christian Hecq), Frédéric Bazille (Patrice Tepasso), the great Sabine Azéma as Paul Cézanne's mother, and Glasgow's own Freya Mavor (Joann Sfar's The Lady In The Car With Glasses And A Gun) as the mother to Zola's children - all in one film?
Déborah François (of Régis Roinsard's Populaire) is Hortense, Cézanne's wife, Alice Pol is Zola's wife Alexandrine, and his mother Émilie is played by Isabelle Candelier. Back and forth in time we jump, from »
- Anne-Katrin Titze
The Ninth Annual Robert Classic French Film Festival — co-presented by Cinema St. Louis and the Webster University Film Series starts this Friday, March 10th. — The Classic French Film Festival celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1920s through the mid-1990s, offering a revealing overview of French cinema.
All films are screened at Webster University’s Moore Auditorium (470 East Lockwood).
The fest is annually highlighted by significant restorations, which this year includes films by two New Wave masters: Jacques Rivette’s first feature, “Paris Belongs to Us,” and François Truffaut’s cinephilic love letter, “Day for Night.” The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way, with both Alain Resnais’ “Last Year at Marienbad” and Robert Bresson’s “Au hasard Balthazar” screening from 35mm prints. Even more traditional, »
- Tom Stockman
Painting in cinema seems to be all the rage this spring. Following the trailer for the Canadian feature Maudie, the French biographical drama film Cézanne and I has just recently released a U.S. preview.
Directed by Danièle Thompson of Avenue Montagne and Change of Plans, the film portrays the true story about the friendship between 19th century novelist Émile Zola and painter Paul Cézanne when they first met as schoolmates. The two friends would eventually grow up in search for fame and glory, sparking a feudal rivalry.
On the shortlist for France’s Academy Award for Best Foreign Language Film pick, which would eventually go to Elle, Magnolia Pictures will release the film this April. Judging from the preview, it looks to be a well-composed story of heated friendship. Starring Guillaume Canet, Guillaume Gallienne, Alice Pol, Déborah François and Sabine Azéma, check out the trailer below.
- The Film Stage
"I'd like to paint as you write." Magnolia Pictures has debuted an official Us trailer for Danièle Thompson's biopic drama Cézanne Et Moi, also known as Cézanne and I, about a friendship between two artists. The film tells of the parallel paths between the lives and careers of post-impressionist painter Paul Cézanne and novelist Émile Zola, starting as school pals in Aix-en-Provence to working artists in Paris. Guillaume Gallienne plays Cézanne, and Guillaume Canet plays Zola, with a cast including Alice Pol, Déborah François, Isabelle Candelier, Sabine Azéma, Freya Mavor and Félicien Juttner. This didn't play at any film festivals, but it did already open in European cinemas last year. The film is described as a "polished period piece" that "boldly paints a picture of two 19th century masters." This looks quite good. Take a look. Here's the official Us trailer (+ poster) for Danièle Thompson's Cézanne Et Moi, »
- Alex Billington
The Ninth Annual Robert Classic French Film Festival — co-presented by Cinema St. Louis and the Webster University Film Series — celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1920s through the mid-1990s, offering a revealing overview of French cinema.
The fest is annually highlighted by significant restorations, which this year includes films by two New Wave masters: Jacques Rivette’s first feature, “Paris Belongs to Us,” and François Truffaut’s cinephilic love letter, “Day for Night.” The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way, with both Alain Resnais’ “Last Year at Marienbad” and Robert Bresson’s “Au hasard Balthazar” screening from 35mm prints. Even more traditional, we also offer a silent film with live music, and audiences are sure to delight in the Poor People of Paris »
- Tom Stockman
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