Drôle d'endroit pour une rencontre (1988) - News Poster

News

Deneuve is César Award Record-Tier; Stewart Among Rare Anglophone Nominees in Last Four Decades

Catherine Deneuve: César Award Besst Actress Record-Tier (photo: Catherine Deneuve in 'In the Courtyard / Dans la cour') (See previous post: "Kristen Stewart and Catherine Deneuve Make César Award History.") Catherine Deneuve has received 12 Best Actress César nominations to date. Deneuve's nods were for the following movies (year of film's release): Pierre Salvadori's In the Courtyard / Dans la Cour (2014). Emmanuelle Bercot's On My Way / Elle s'en va (2013). François Ozon's Potiche (2010). Nicole Garcia's Place Vendôme (1998). André Téchiné's Thieves / Les voleurs (1996). André Téchiné's My Favorite Season / Ma saison préférée (1993). Régis Wargnier's Indochine (1992). François Dupeyron's Strange Place for an Encounter / Drôle d'endroit pour une rencontre (1988). Jean-Pierre Mocky's Agent trouble (1987). André Téchiné's Hotel America / Hôtel des Amériques (1981). François Truffaut's The Last Metro / Le dernier métro (1980). Jean-Paul Rappeneau's Le sauvage (1975). Additionally, Catherine Deneuve was nominated in the Best Supporting Actress category
See full article at Alt Film Guide »

Potiche – review

A delightful screwball comedy sees Catherine Deneuve blossom from 70s provincial housewife to rising political star

The French word potiche means a vase or vessel, often gaudily decorated and mostly of ornamental use. Until François Ozon's latest film, I wasn't aware of the word's derogatory meaning, to describe a woman with no real power or purpose, but after this film's success, I suspect the vernacular will have to alter to accommodate the irony of Catherine Deneuve's fine comic performance in the titular role.

You could say Luis Buñuel cast Deneuve as some kind of "potiche" as Séverine in Belle de Jour in 1967 and it has been impossible ever since for the male viewer to look at this prolific actress as anything other than a symbol of female potency, even as a sort of erotic threat. Ozon is surely trading on this iconography for a film that is a blend of boulevard farce,
See full article at The Guardian - Film News »

See also

Showtimes | External Sites