8 items from 2017
UK art-house kingpin Curzon Artificial Eye has locked up a further four Cannes titles bringing its current haul from the festival to a mighty 10 movies.
New to the slate are Claire Denis’ Let The Sunshine In (Un Beau Soleil Interieur), joint winner of the Sacd award in Directors’ Fortnight, Laurent Cantet’s well-received The Workshop (L’Atelier), Léonor Serraille’s Camera d’Or winner Young Woman (Jeune Femme) and Rungano Nyoni’s striking Directors’ Fortnight entry I Am Not A Witch.
As previously announced the distributor has acquired Palme d’Or winner The Square, Grand Prix winner 120 Beats Per Minute, best screenplay winner The Killing Of A Sacred Deer, Fatih Akin’s Competition drama In The Fade (Aus Dem Nichts), for which Diane Kruger won the best actress prize, Michael Haneke’s Happy End and Francois Ozon’s L’Amant Double.
- email@example.com (Andreas Wiseman)
Claire Denis may not be the first Francophone auteur expected to turn in a romantic comedy, and her latest will disappoint those expecting Nancy Meyers a Paris. However, Let the Sunshine In (Un Beau Soleil Interieur) is a sophisticated, idiosyncratic, thoroughly modern interpretation of a French romantic farce, perceptive if not laugh-out-loud funny, featuring a top-form Juliette Binoche as a middle-aged divorcée wading through a series of exasperatingly self-centered men in search not just for love, but a partner with whom she can be herself.
Inspired by French critic and philosopher Roland Barthes’ A Lovers Discourse: Fragments, a work of agonizing self-reflexion on the nature of romantic relationships, Denis and novelist co-writer Christine Angot concoct a deadpan, occasionally very funny affair with touches of the self-examination of Woody Allen. Binoche plays Isabelle, an artist who lives in hope that she’ll find love again but continues, in her words, “running into a wall. »
- Ed Frankl
18 May 2017 3:30 AM, PDT | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »
Like a Judd Apatow thriller or a Michael Haneke kids flick, the concept of a Claire Denis comedy at first sounds like a contradiction in terms. After all, the 71-year-old French auteur, whose film Beau Travail remains one of the great works of the last few decades, has taken an especially grim turn as of late, with movies like Bastards, White Material and The Intruder exploring some of the darker sides of contemporary humanity.
So it comes as quite a surprise that Let the Sunshine In (Un beau soleil interieur), which stars a moody and moving Juliette Binoche as a »
- Jordan Mintzer
What does it say about the current appeal of Werner Herzog's fiction films when his star-studded 2015 period adventure, Queen of the Desert, hasn't been released until now? Between its premiere at the Berlin International Film Festival and its appearance in U.S. cinemas, the German director has released two documentaries—both stellar—and shown yet another fiction drama on the festival circuit, the truly bizarre Salt and Fire. Now in theatres, Herzog's first fictional feature film since his two-shot salvo of The Bad Lieutenant: Port of Call New Orleans and My Son, My Son, What Have You Done? in 2009 is certainly his most expansive drama for decades. With a cast of James Franco, Robert Pattinson, and Damian Lewis, all led by Nicole Kidman, Queen of the Desert adapts the true saga of Gertrude Bell, an utterly unique woman who at the turn of the last century plunged into the »
by Robert Balkovich
Today is International Women's Day. To honor this day, a look back at a great female directed film that was critically lauded at the time but tends to not get the legacy attention it deserves: Claire Denis' "White Material."
Set in an unnamed former French colony in Africa on the brink of violent civil war, White Material is not new territory for Denis – a French national who grew up in Cameroon, Burinka Faso, Somalia and Senegal – but it does represent a more searing look at the ways in which colonialism has completely uprooted the continent.
Our hero of the story is no hero at all »
- Robert Balkovich
“Isabelle who…?” It’s a question I’ve gotten more times than I’d care to count this Oscar season, as audiences discover the fearless star of Paul Verhoeven’s subversive French thriller “Elle” — who just added an Independent Spirit Award to the collection of accolades the role has earned. Still, it’s nothing to be ashamed of, if you count yourself among the cinephiles who are only now learning Mme Huppert’s name (pronounced “Hoo-pair”).
Just yesterday, the French film academy honored Huppert with her second César award — but even her compatriots are late to the party. She’s been nominated 16 times, but France takes the provocative — and extremely prolific — actress for granted. After all, she’s never not acting, whether it’s on stage (from “Medea” to “The Maids”) or screen (at a rate of two or three movies a year). When French audiences see “Elle,” in which »
- Peter Debruge
With final Academy Award voting coming to an end on Tuesday February 21st, it seems like a good time to champion what has been the most honored performance of the year, and which, if voters are looking in the right place, should be crowned on Oscar Sunday. The race for the Best Actress statuette has been fierce this awards season, but the one actress that has come out on top in more occasions than any other is Isabelle Huppert. For her role in Paul Verhoeven’s “Elle,” the revered French icon has earned her first-ever Oscar nomination, and there is no one that deserves to win more than she does. In case there is any doubt that Huppert is at the top of her craft and should be recognized, here are five reasons why “the greatest actress working today” should take home the coveted statuette.
She Gave the Best Performance »
- Carlos Aguilar
2017 just got a whole lot better. The last few years we’ve heard a handful of updates on what was thought to be Claire Denis‘ next film, High Life, an ambitious sci-fi drama starring Robert Pattinson. With shooting expecting to begin sometime this year, it looks like the project has been pushed back to make room for a smaller-scale feature from the White Material director, and one that’s just as enticing.
Juliette Binoche, Gérard Depardieu, and Xavier Beauvois will be leading the cast of Denis’ Les lunettes noir (translated to Dark Glasses), which kicks off a seven-week shoot in Paris and Guéret this month. Adapted from Roland Barthes‘ A Lover’s Discourse: Fragments, which deconstructs the language of love, the drama is expected to be completed in time for a fall premiere. [France 3/JulietteBinoche.net]
It’s still unclear in what form exactly Denis will adapt the material, which has already been »
- Jordan Raup
8 items from 2017
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