5 items from 2015
Classical music fans have learned to anticipate the infamous hammer blows that fall at the end of Gustav Mahler’s Sixth Symphony, waiting with bated breath for the percussionist, who stands with giant mallet raised, to deliver the tragic strokes of fate: one, two and (if the orchestra is so inclined) a third and final crippling boom to smite whatever hope remained. The bastard son of a celebrated symphony conductor, 13-year-old Victor knows nothing about classical music at the outset of Alix Delaporte’s “The Last Hammer Blow,” but fate has already been plenty cruel in his short time on earth. Art-film aficionados may assume they can tell where the narrative is headed in this modest French drama, and yet the curiously noncommercial film defiantly resists sentimentality while teasing whether tragedy will strike again as the headstrong teen attempts to reconnect with his estranged father.
It would have been so »
- Peter Debruge
The Paris Film Office was set up in 2002 as part of the Mission Cinema project launched the same year. Both are integrated within the city council, the Mairie de Paris. Their goal is to provide a one-stop shop for French and foreign professionals that will handle all logistical aspects required for shooting in the French capital — which is not only one of the world’s most highly filmed cities but also one of the busiest, meaning that shooting there requires careful preparation. Two permits are required for filming in Paris: one issued by the Paris Film Office and one by the Préfecture de Police, the city’s police authority.
Since its launch, the Paris Film Office has inked agreements to improve filming conditions in the capital and set up a bilingual website to help French and international productions to prepare shoots. The site provides images of key locations and information »
- Martin Dale
The art decoration of “Eva & Leon” is sublime, its impact immediate in the measured static shots of Eva’s chic and huge arrondissement Paris flat, classical in the carefully contrasting tones of white, gray, blue and salmon, setting off of furniture, curtains, drapes, sofas, cushions, gray and walls, high ceilings. A life-size flamingo stands by the mantelpiece. But such luxury is not enough. Eva, 35 (Clotilde Hesme), svelte, a dandy, an flaneur, cultured, immature, no children, absent mother, recluse father, termigant sis, lives a privileged life few can dream of, at least seriously. But, as the film suggests, she needs Leon, 10, an orphan who has escaped from his reception miles away outside France to try to find his birth-mother, to give her life an emotional anchor. Emilie Cherpitel’s film portrays their growing relationship of an odd couple. Distributed in France and sold abroad by Pyramide, one of Europe’s top arthouse production-distribution-sales companies, »
- John Hopewell
Paris –Pathe’s “Daddy or Mommy,” Wild Bunch’s “Do Not Disturb” and The Other Angle’s “Discount” will compete next week for one of Europe’s most valuable non-official crowns: the UniFrance Paris Rendez-vous Most Popular New Comedy.
Also in the running: Gaumont’s “I Kissed a Girl,” Kinology’s “Caprices,” EuropaCorp’s “Bis” and “Buddy Guards,” Studiocanal’s “Chic!”, Versatile’s “A trois, on y va,” “Valentin, Valentin,” from Sbs Productions, and TF1.’s Intl.’s “Boomerang.”
Having punched a robust first five-day $3.7 million through Jan. 4, Patrice Leconte’s “Do Not Disturb” opens Paris’ 17th UniFrance Rendez-vous with French Cinema, Europe’s biggest film mart after Cannes, Berlin, Venice, San Sebastian and Locarno.
Running Jan. 15-19, and screening an announced 86 French movies, 47 market premieres per UniFrance, the Rendez-vous will unveil a score-or-so of new comedies. With Rdv buzz helping to galvanize boffo sales and even double –or sometimes »
- John Hopewell and Elsa Keslassy
French director Catherine Corsini isn’t very well known in the Us, though many should be familiar with her 2009 title Leaving, which headlined Kristin Scott Thomas. She’s premiered at Cannes on four occasions, last in 2012 in Un Certain Regard with Three Worlds (which happens to be one of her weaker efforts—Corsini played in the Main Comp in 2001 with La Repetition). Her latest, La belle saison (The Beautiful Summer), is set in 1971, and concerns the budding relationship between two women from very different walks of life, something which throws both their lives into turmoil (which sounds an awful lot like post-war Diane Kurys material). Corsini (who often features striking actresses in her work, including Catherine Frot, Scott Thomas, and Clotilde Hesme) snags Cecile de France as one part of this duo, not to mention the always engaging Noemie Lvovsky. »
- Nicholas Bell
5 items from 2015
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners