Father of My Children (2009) - News Poster


'Things to Come' Review: Isabelle Huppert Lends Midas Touch to Mid-Life Crisis

'Things to Come' Review: Isabelle Huppert Lends Midas Touch to Mid-Life Crisis
Isabelle Huppert is stirring Oscar talk (and she damn well should) for the potent provocation of her acting in Elle, directed by Dutch wildman Paul Verhoeven. But to see her in Things to Come, as a character who is the polar opposite of the powerhouse she plays in that story of rape and revenge, is to cement Huppert's reputation as one of the best actresses on the planet. Written and directed by Mia Hansen-Love (Eden), the film gives the legendary French star the role of Nathalie, a Paris philosophy professor whose academic husband,
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Can Philosophy Save Your Life? An Interview with Mia Hansen-Løve

  • MUBI
One of the greatest anxieties that any couple can have is the possibility of one day separating from each other. With each “I love you” comes an expectation that this love will be forever. It is easy for couples to imagine others separating but is much more difficult to imagine this happening to themselves. Separation is all the harder to imagine—and is especially difficult to handle—once has reached a certain age and has built a life with their spouse. One builds this life according to certain habits and creates an imaginary wall around relationships, but with the wall destroyed one might feel profoundly lost. Mia Hansen-Løve’s film Things to Come deals closely with the struggles of separation for a middle-aged woman. For Hansen-Løve, it seems that one can deal with and potentially overcome the pain of separation if they know the issue and propose a proper method for dealing with it.
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Contest: Chicago, experience Things To Come early and for free

Awards season is here, which means it’s time to trade in the cinematic junk food of the summer months in favor of some more nourishing arthouse fare. To extend the metaphor, there’s certainly plenty to chew on in Things To Come, the new film from French director Mia Hansen-Løve (Father Of My Children, Goodbye First Love, Eden). Starring the incomparable Isabelle Huppert as Nathalie, a philosophy professor who thinks she’s got her life all figured out, until her husband announces that he’s leaving her. Singlehood is both terrifying and thrilling for Nathalie, who’s left to figure out who she is after 25 years of marriage.

Things To Come is coming to Chicago on Friday, December 16 after a limited run in New York and L.A. But we’re giving readers of The A.V. Club the chance to see the movie early, on Tuesday ...
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History remembers its name, begins Crusade series 'Knightfall' to keep 'Vikings' company

  • Hitfix
History remembers its name, begins Crusade series 'Knightfall' to keep 'Vikings' company
For years, it seemed the History Channel was lost in the weeds. Despite changing their name to History, their shows were more “mindless reality TV binge watch” and less “did I just accidentally learn something?” An intellectual wasteland, Ancient Aliens was the closest you could find to an edutainment series on the channel from 2010 to 2013. Then along came Vikings, and everything changed. Vikings premiered to 6 million viewers — and while not 100% historically accurate, it was head and shoulders above History’S other offerings at the time. The success opened the door to programming like the limited-series Barbarians Rising and the recent remake of Roots. But until now, Vikings has been the lone History historical series, adrift in a sea of Mountain Men and Swamp People. This solitude ends when Knightfall joins the line-up. A new series from Jeremy Renner’s (yes, Hawkeye) and Don Handfield’s production company The Combine and Midnight Radio, Knightfall will follow the Vikings model of blending history and drama, only this time during the fall of the Knights Templar. One of the most mysterious and powerful orders of the Middle Ages, the Knights Templar were a military group entrusted with the keeping of the Holy Grail and — according to legend — knew secrets about the Church that could bring it to its knees. But they were also an order of men, with all the messy politicking and “mean-girling” that entails. Knightfall promises to go deep into the inner circle of the Knights Templar’s clandestine world. Not just the battles in the Holy Land, but the battles on the home front. Not everyone loved the Templars, leading to clashes with both the King of France and Pope Boniface VIII. The latter of which would end in the disbanding the order on Friday the 13th, which is why the date is considered unlucky even now. Oh, look! The show hasn’t even started, and you’re already learning something. Production for Knightfall begins this summer in Croatia and the Czech Republic. Tom Cullen (Downton Abbey) was previously announced to star as Landry, a former warrior and current leader of the Knights Templar. But now the cast is fully in place and ready to return to the 12th century. From the press release: [Starring] Bobby Schofield (Black Sea, Our World War) as Parsifal, a young man of ordinary birth who will join the Knights Templar seeking revenge, but ultimately finds a higher purpose; Sabrina Bartlett (DaVinci’s Demons, Poldark) as Princess Isabella, Queen Joan and King Philip's daughter, her upcoming wedding stands to forge a powerful political alliance for France; Julian Ovenden (Downton Abbey, Person of Interest, The Colony) as De Nogaret, King Philip’s Machiavellian lawyer and right hand man; Sarah-Sofie Boussnina (The Bridge, The Absent One) as Adelina, as a child she was rescued in the Holy Land by the Templar Knights, but now in her early 20s, she lives on the streets of Paris as a thief; Padraic Delaney (The Wind That Shakes the Barley, The Tudors) as Gawain, once the greatest swordsman of the Templar Order whose role with them is at a crossroads; Simon Merrells (Spartacus, Dominion ) as Tancrede, a veteran sergeant fanatically devoted to the Templar Knight cause and Olivia Ross (War and Peace, Blowing Louder than the Wind , Father of My Children) as Queen Joan of Navarre, Queen of France and Queen Regnant of Navarre, a devoted mother, warrior, and a formidable diplomat and strategist. We’re entering a new era. One in which History retakes the torch. It was up to Comedy Central, of all places, to keep the learning fires alive with Drunk History and Another Period. But now the original is back, and hopefully better than ever.
See full article at Hitfix »

Interview: Filmmaker Mia Hansen-Løve on How to Tell Honest Stories

"Only in filmmaking do you have time limitation in certain stages of production, while you would never restrain a painter, or a musician, or a novelist from taking the time he needs..." At Berlinale in February, I had the honor of meeting and interviewing the very talented French filmmaker Mia Hansen-Løve. I first became a big fan of Mia Hansen-Løve after catching her film Father of My Children at the Cannes Film Festival in 2009, and I've followed her career closely ever since. I most recently loved her film Eden, we featured it recently on our 19 Best Movies You Didn't See list. Her latest film, Things to Come (also called L'avenir), stars Isabelle Huppert as a woman dealing with major changes in her life. After following her for so long it was a major moment in my own career to sit down and talk with her about making great films. Mia Hansen-Løve
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The Best Films at the 2016 Berlin International Film Festival

With the 2016 Berlin International Film Festival wrapping up this week, we’ve highlighted our five favorite films from the slate. Make sure to stay tuned in the coming months as we learn about distribution news for the titles. Check out our favorites below, followed by our complete coverage, and one can see the winners here.

Creepy (Kiyoshi Kurosawa)

One has to appreciate Kiyoshi Kurosawa’s winking self-awareness in calling his new feature Creepy. It’s as if the Coen brothers released a film entitled Snarky, or Eli Roth named his next stomach-churner Gory. Kurosawa, who’s still best known for Cure (1997) and Pulse (2001), two rare outstanding examples of the highly variable J-Horror genre, instills a sense of creepiness into virtually anything he does, regardless of subject matter. His latest, which sees him return to the realm of horror after excursions into more arthouse territory, certainly lives up to its name
See full article at The Film Stage »

Berlinale 2016: Things to Come Review

  • HeyUGuys
Ever since Mia Hansen Love made her debut with Tout est Pardonné (2007) at the age of just 26, it always felt like she was on the verge of something truly special. She followed it up with Father of My Children (2009) before releasing Goodbye First Love (2011) – accomplished endeavours certainly, but nothing truly

The post Berlinale 2016: Things to Come Review appeared first on HeyUGuys.
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Berlin: Isabelle Huppert’s ‘Things to Come’ Bought by Sundance Selects

Sundance Selects bought U.S. rights to Mia Hansen-Love’s French drama “Things to Come,” four days after its world premiere at the Berlin Film Festival.

Things to Come” stars Isabelle Huppert as a married philosophy professor whose life revolves around her books, her students and her overbearing mother. When her husband leaves her and her mother passes away, she begins a new life alone except for her cat.

Things to Come” is the third collaboration between Sundance Selects and Hansen-Love following “The Father of My Children” and “Goodbye First Love.”

Charles Gilbert is the producer. It’s a CG Cinema production in co-production with Canal+, Arte France, Pro-Cirep, Cnc and Hessen Film Fund in association with Cofinova 12 and Cineimage 10.

Variety‘s Guy Lodge said in his Berlin review: “Following widespread distribution for the dazzling but younger-skewing ‘Eden,’ the arthouse future for Hansen-Love’s latest is surely a bright one.
See full article at Variety - Film News »

Sundance Selects Acquires Domestic Rights to ‘Things to Come’

  • The Wrap
Sundance Selects has acquired the domestic rights to Mia Hansen-Love’s “Things to Come,” the distribution company announced Monday. The film starring Isabelle Huppert had its world premiere at the Berlin Film Festival. The acquisition marks the third Hansen-Love film Sundance Selects has released, following “The Father of my Children” and “Goodbye First Love.” “Things to Come” follows a married philosophy professor whose life revolves around books. When her husband leaves her and her mother passes away, she is left alone with a life full of possibilities. Also Read: IFC Films, Sundance Selects Promotes Lisa Schwartz to Co-President “Anchored by a deeply moving performance.
See full article at The Wrap »

Sundance Selects Acquires Berlin Pic ‘Things To Come’

Sundance Selects acquired U.S. rights to Things To Come, director Mia Hansen-Love’s film that stars Isabelle Huppert. The deal followed the film’s Berlin Film Festival premiere. This is Sundance Selects’ second collaboration with Films du Losange on Hansen-Love's films. It is also the third film directed by Hansen-Love the company will release following The Father Of My Children and Goodbye First Love. Things To Come tells the story of a married philosophy professor whose…
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[Berlin Review] Things to Come

The twists and turns of fate and the ways in which individuals react to them constitute the central preoccupations of Mia Hansen-Løve’s cinema. Her exceptional second feature, Father of My Children, observed a film producer’s escalating desperation in the face of snowballing debt, and then considered the impact of his unexpected suicide on the family he left behind. Her disappointing follow-ups, Goodbye First Love and Eden, charted the progressive dissolution of its protagonists’ idealism over a period of several years – a teenage couple’s fanciful notions of love and a DJ’s chimeric aspirations of success, respectively. Considering the largely universal relatability of the former and the fact that the latter represented a fictionalization of her own brother’s / co-writer’s path as a DJ, the tremendous accomplishment of Things to Come, which centers on the emotional tribulations of a woman in late middle-age, suggests that the 35-year-old
See full article at The Film Stage »

Top 100 Most Anticipated Foreign Films of 2016: #5. Mia Hansen-Løve’s Things to Come

Things to Come

Director: Mia Hansen-Løve

Writer: Mia Hansen-Løve

With four features under her belt, French director Mia Hansen-Løve has become a prolific auteur, following the success of titles such as The Father of My Children (2009), Goodbye First Love (2011) and Eden (2014). For her latest feature, she’s tapped Isabelle Huppert to star in Things to Come (formerly known as L’avenir), where in the prolific actress stars as Nathalie, a philosophy professor who has been married for years to a man in the same profession. One day, her husband announces his love for a younger woman and his plans to move in her with, while Nathalie’s mother dies in the same timeframe. Love’s intention, as indicated by the original title, was an ironic commentary about a woman forced to start a new, unexpected life while heading into her last decades. Of note, Huppert starred as Love’s mother
See full article at IONCINEMA.com »

New Films From Mia Hansen-Løve, Thomas Vinterberg, Lav Diaz, and More Will Premiere at Berlin 2016

As if new films from the Coens and Jeff Nichols weren’t enough, the 2016 Berlin Film Festival has further expanded their line-up, adding some of our most-anticipated films of the year. Mia Hansen-Løve, following up her incredible, sadly overlooked drama Eden, will premiere the Isabelle Huppert-led Things to Come, while Thomas Vinterberg, Lav Diaz, André Téchiné, and many more will stop by with their new features. Check out the new additions below, followed by some previously announced films, notably John Michael McDonagh‘s War on Everyone.


Cartas da guerra (Letters from War)


By Ivo M. Ferreira (Na Escama do Dragão)

With Miguel Nunes, Margarida Vila-Nova

World premiere

Ejhdeha Vared Mishavad! (A Dragon Arrives!)


By Mani Haghighi (Modest Reception, Men at Work)

With Amir Jadidi, Homayoun Ghanizadeh, Ehsan Goudarzi, Kiana Tajammol

International premiere

Fuocoammare (Fire at Sea) – documentary

Italy / France

By Gianfranco Rosi (Sacro Gra, El Sicario
See full article at The Film Stage »

Berlin Film Festival Adds Nine Films to Competition Lineup

Berlin Film Festival Adds Nine Films to Competition Lineup
London — The Berlin Film Festival has added another nine titles to its competition lineup, including Thomas Vinterberg’s “The Commune,” Danis Tanovic’s “Death in Sarajevo,” Andre Techine’s “Being 17” and Mia Hansen-Love’s “Things to Come.”

Danish helmer Vinterberg is best known for “The Celebration,” which was BAFTA and Golden Globes nominated, and won Cannes’ Jury Prize, and “The Hunt,” which picked up nominations at the Globes, BAFTAs and Oscars.

“The Commune,” whose ensemble cast is lead by Trine Dyrholm and Ulrich Thomsen, centers on the clash between personal desires, solidarity and tolerance in a commune in the 70s. TrustNordisk is handling international sales.

Bosnian director Tanovic is best known for “No Man’s Land,” which won best screenplay at Cannes, and a Golden Globe and an Oscar for best foreign-language film. “Death in Sarajevo,” which is being sold by The Match Factory, is based on a play, “Hotel Europe,
See full article at Variety - Film News »

Eden review – like Flaubert remixed at 130bpm

Mia Hansen-Løve recreates the heady rush of 90s Paris clubland in an evocative essay on youth and experience

Oh, to have been young and French at the dawn of the Parisian house music scene, when Daft Punk were but a glint on a robot’s headpiece. Eden is a fictionalised account of those days from Mia Hansen-Løve, based on the experiences of her brother and co-writer Sven Hansen-Løve, a DJ and scenester reincarnated here as Paul (Félix de Givry). Much more expansive than Hansen-Løve’s previous pieces (Father of My Children, Goodbye First Love), Eden spans 20 years and depicts a life as exalted as the title suggests. Even viewers not initiated in techno and garage arcana are likely to yield to the swimmy rush mustered by the film and its bustling soundtrack.

Related: Eden: 'There was no film that took club culture seriously'

Continue reading...
See full article at The Guardian - Film News »

A Cannes Opener: 2016 Cannes Film Festival Predictions

A furious slew of titles in the works would seem to prophesize a robust main competition slate for Cannes 2016. Though our initial list will eventually be pruned down as the year progresses (Berlin may snag something in here, especially if their 2016 lineup looks anything like their landmark selection from this past January), we’re confident that we will be seeing another round of heavy hitting auteurs unveiling their latest bits on the Croisette.

Absent from the main competition in 2015 were the Romanians (Muntean and Porumboiu were assigned to Un Certain Regard) and any trace of Latin filmmakers. The 2016 edition looks to make up for lost ground. For the Romanians, a couple heavy hitting titans from the New Wave will be ready. Cristi Puiu, who previously won Ucr in 2005 with The Death of Mr. Lazarescu should hopefully be getting a competition invite for Sierra Nevada. Meanwhile, previous Palme d’Or winner
See full article at IONCINEMA.com »

Interview: Félix de Givry on Mia Hansen-Løve's 'Eden' and the Lost Paradise of Electronic Music

Inspired and co-written by director Mia Hansen-løve's brother, Sven Hansen-løve, "Eden" serves to document the origins of the electronic music scene in France, from which mega starts like Daft Punk emerged. This intimate portrayal takes the frivolous image of the DJ and turns on its head to deliver a casually elegant, humanistic, and musically intoxicating tale about the trials and errors in one man’s life.

Carried by its start Félix de Givry, who plays a fictionalized version of Sven, the story expands over a decade of heartbreak, drug abuse, disappointments, and personal realizations that transform a boy who fell in love with the innovation of underground tunes into a man who has to accept that a different path might more suiting.

With only two feature films in his resume De Givry is relatively a new face in the international scene, but he is certainly on the rise and developing many more projects besides his acting career. His relationship with both Mia and Sven influenced his performance profoundly and that is reflected with sincerity on the screen.

Our conversation started like most discussing the intricacies of making the film, and evolved into a very enjoyable chat that reveal how much of film buff De Givry is and his diverse interests within the industry.

Aguilar: This is a very sensitive portrayal of a DJ beyond what we might expect when we think of the profession these days. What was your approach to the character and to the movie in general?

Félix de Givry: I met Mia very early on in the process of making this movie. We met one and a half years before shooting and because the movie was so hard to finance we spent a lot of time together talking about it. The film was originally designed to be two features films or a four-hour film. She did it almost like "Carlos," the Olivier Assayas film, which is two parts. When I read the script it was a huge, huge project. During this time we talked about the character, but we also talked about so many different things that we became very close and so the approach to the character was very natural in a way. By the time we started shooting it was like we had already made the film together and it was just a matter of shooting it. Mia has such a subtle approach to everything. I always felt like I was in her hands, and that's how the character is. He is someone who left his life in the hands of someone else and didn't really decide over it.

Aguilar: Was it more difficult or touchy for both of you and Sven since it's such a personal story inspired by his reality at some point?

Félix de Givry: We always felt there was a third person. There is this boundary between fiction and reality which is, for me, something vital. That's how she feels she is able to survive. It's like two mirrors looking at each other, which creates this sort of infinity. That's why she keeps making films about things that surround her. Her next film is loosely based on her mom, "Father of My Children" was based on her previous producer. They are always about something close to her. There is a strange relationship between all of this and I think that also allows the film to be very sincere. Either you get it and get drawn into the film or you don't get it and it won't be a attractive film for you because there is not really a plot or a climax, but I think that's what's interesting. It would have been greater as a four-hour film. This film is a shrunken version of the four-hour film. "Boyhood" is three hours, imagine if "Boyhood" was one hour an a half. It wouldn't have the same effect.

Aguilar: Did you learn anything about yourself by playing someone so complex?

Félix de Givry: it's funny because I learned as much from the character's life and the events in it as from the experience of making the movie. It's not really about what mistakes to avoid or a particular event or love story - even though it is kind of scary not to be able to have a family, kids, and have many regrets -but it's really about the overall experience. I also discovered that I have a passion for cinema and making this film made it grow even bigger. It made be more intellectually involved in movies, which was very important when making the film. The other thing I learned about was the connection between human beings, between Mia, her brother, and I. This is something not directly connected to the movie, but I leaned a lot about evolving in the middle of colorful characters and crazy people [Laughs]. Also because the movie was hard to finance there was a lot of pressure and financial issues. It was really an experience..

Aguilar: Seems like you were part of the film beyond just being the lead actor

Félix de Givry: Yes, I even helped the producer find some more money. [Laughs]

Aguilar: What was your experience with this type of music before the film? Did you ever DJ or was an entire new world for you?

Félix de Givry: I was a little bit more connected to electronic music than most people my age. I used to organized some parties in Paris, and so I had this sort of relationship with it, but not directly with the roots of electronic music or the beginning of it. I wasn't really aware of what happened in the 90s because it's not a very documented era. It was really underground. Traditional media was not talking about it, and there was no social media yet. It's sort of strange because it happened I'm between the 80s and the 2000s. I think this underground scene of raves could only exist at that time. I can't imagine it today. I went to a rave party in Paris a few weeks ago, which was illegal, but the next day I saw people posting pictures on Facebook. It's not really secret anymore.

Aguilar: Back then you had to actually go to the gig to hear the music, you couldn't just download it.

Félix de Givry: Exactly. Also, to create this music, which is different than now with the internet, you had to go and dig into stores and find the music. The DJ's job was something different back then. I learned all that for the movie. I had this intuition or this idea that it was different but I had to go deeper. When I was a teenager electronic music was already huge. It's been huge for maybe the last 15 years or at least the last decade. I'm 22 so it was definitely very huge when I was a teenager. I was not aware that the French people that were involved in the beginning of electronic music were so few people. In your subconscious you have this idea that it was always something big. But if you talk about it with Sven or his friends, they'll tell you that it was about 100 people that were going to the same events and going to same record stores. Daft Punk were not international superstars, it was a little, little scene. I learned about this through making the movie.

Aguilar: What I gather from your character is that he grows up with these group of people, and then some of them, like Daft Punk, blow up, but he never does. It seems like after several trials he has to regroup and look for something else. I wouldn't say is about lost dreams but maybe there is some of that in it?

Félix de Givry: The thing is that I don't think he really wanted it to happen. Like I said, there is this sort of boundary between real life and the film. There is this sort of difference between Sven and the character, but I think Sven's real dream is to be a writer. His real dream wasn't music, music came on his path and was something like a ready-to-eat cake that was in front of him. But now he is starting to get into his real dream of writing and being committed to write. I think if he went that much into music it was because it was easy at first. You earn money easily, it's exciting, and you are in the middle of something great, but maybe it was the wrong path. I don't think he is jealous of Daft Punk or that there is a rivalry, because he never wanted to be that big in music. For me the thing that illustrates that the most is that he never really produced music. You can be big as a DJ, but if you really want to be big, like all the big names from back then or now, you have to produce. These are people who have produced songs that became hits, and people are going to see them to the clubs because they know they are going to play the hits they produced. I think Sven was a witness of that era but not really an actor or a player in it. Now he is starting to get into his real path which is writing. The four-hour version of the movie delved even more into his writing.

Aguilar: How does Mia work? Is there room for any improvisation in a film like this or does it all have to go by the script?

Félix de Givry: It's a lot like it is on the script, but she is very open to suggestions. She really knows what she wants and she does a lot of takes, like in between 20 and 30 takes. This is also because is the first project that she didn't shoot on film. It was like "Whoo! I can do as many takes as I want" [Laughs]. But even then it was still a bit limited because of a new law in France regarding working overtime, so she was still kind of cut short by that. She was very precise, but at the same time, as I told you, we trusted each other so much that everything was always soft and gentle. We never really had a fight. The shooting was very physical, Mia and I were there every day. There were a lot of night shoots, and it was very tough as it took a few months to shoot. It was a tough film. I don't know if you've ever met Mia, but she very skinny and sweet, you don't know how she handles all that. She definitely knows what she wants, an it was a very pleasant experience, especially because we became very good friends through this process. Maybe we'll make another film together.

Aguilar: What does the title "Eden" mean to you? I know it comes from the pamphlet that was distributed in this raves, but it really could encompass many elements of the film.

Félix de Givry: Eden is a lost paradise, for me that's the most coherent meaning. I think it's even funnier that it's also the title of the pamphlet they created at that time while living it. The pamphlet is one of the only things that documents this time because there are interviews. Sven did interviews with Daft Punk. If you really read it - I've read all the issues thought there are only around 10 of them - you realize they were direct witnesses of what was happening. It's kind of crazy that they called it "Eden" as if they already knew that it was a lost paradise, that it wouldn't last. They predicted this lost paradise.

Aguilar: What are you doing next now that "Eden" is finally coming out here in the U.S? Does that open more doors?

Félix de Givry: In France I refused a lot of films because I only want to work on great films, and there are not that many great films. I'm taking to an American director and to an Israeli director about two indie films. I think that's the type of films I want to do. I'm also doing two short films in October and November. But I also have my company in France with some friends, we have a music label, we are producing films, and we are creating a clothing line as well. We are very busy, the music label is doing quite well. We produce music videos and short films as well.

Aguilar: Seems very fitting that you were involved in music while being part of a film like this

Félix de Givry: There is actually some of the music I've produced in the film. But we are also developing our first feature film by a French director who is a friend. I'm sort of in between right now. I want to act in other films but only if they are good. I became quite good friends with Josh Mond of BorderLine Films who directed "James White." He works with Antonio Campos and Sean Durkin in this sort of collective way. I think they are very interesting. I would like to do what they do but in France.

Aguilar: Would you like to direct? Is that part of your future plans?

Félix de Givry: Yes! [Laughs], I'm really in the middle of a time crisis right now between being a producer and an artist. I started to realize this in "Eden," because I was so involved in the film. I was not a producer but it was almost like if I was also a producer. Then I thought to myself, "Yeah but I'm also considered talent, I'm not really on the producing side." It's all blurry in my head right now, I don't know where I'm gonna go. I would love to do a film with the Coen brothers, as an actor that kind of a dream. Although I was kind of disappointment with their jury choices at Cannes.

Aguilar: Where you there?

Félix de Givry: I was at Cannes for two days for a Louis Garrel, a French actor who directed a film. The film is called "Les Deux Amis" it was part of the Critics' Week. He is the son of Philippe Garrel.

Aguilar: What was your favorite film at Cannes?

Félix de Givry: I didn't see a lot but I saw "The Lobster" and I liked it. Have you seen it?

Aguilar: I haven't but I really like his films. "Dogtooth" is fantastic.

Félix de Givry: It's sort of absurd. We are producing a film in September that's sort of like that,absurd reality, which is more real than surreal. The elements are assumed like a reality. I think there is an interesting approach there, whereas most absurd films are fantasies. I also saw Joachim Trier's film "Louder Than Bombs," I love his films.

Aguilar: It seems like a great number of international directors are making films in English

Félix de Givry: Yeah it's kind of the trend, to be an indie Norwegian director and then you do a film with Jesse Eisenberg. All these directors have the same passion for the same American actors like Jesse Eisenberg. I know Mia really likes him, or Greta. Did you see or hear anything good about other films at Cannes?

Aguilar: I heard good things about "Son of Saul," and I was surprised that the Jacques Audiard film "Dheepan" won.

Félix de Givry: I was surprised too. The jury's choices were strange.

Aguilar: I mean he is a great director and he'd never won before, maybe that's why.

Félix de Givry: He is a good director but he is not the greatest.

Aguilar: Well he seems to be very well regarded in France, but maybe you'll be at Cannes soon with a film.

Félix de Givry: I hope [Laughs]

Eden” opens today in L.A. at The Nuart and in NYC at the Lincoln Plaza Cinemas and the IFC Center
See full article at Sydney's Buzz »

Mia Hansen-Løve On 'Eden,' Her Epic (and Very Personal) Love Letter to House Music

Mia Hansen-Løve On 'Eden,' Her Epic (and Very Personal) Love Letter to House Music
Read More: Review: 'Eden' is a Refreshing Spin on the History of Electronic Music With only four features to her name, French director Mia Hansen-Løve has emerged as one of the strongest filmmakers working in France today. Her last two features, "Goodbye First Love" and "The Father of My Children," were both very well-received and won her awards at the Cannes and Locarno film festivals. But it's "Eden," her fourth feature, that's poised to attract her largest audience yet purely based on its subject matter: the history of the French electronic music scene -- otherwise referred to as "house music." Based on the career path of her brother Sven, who co-wrote the film with his sister, "Eden" tracks 20 years in the life of Paul (Felix de Givry), a French DJ struggling to make a career for himself as the industry explodes around him. Indiewire caught up with Hansen-Løve
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Eden Trailer Makes Visual Music Out of the Life of French DJs

Mia Hansen-Løve's Eden is a love letter to the DJ-electonic music boom that hit France in the 1990s, and here's our latest look at the wild, emotionally turbulent way of life that the rave scene propagated amongst those who got swept up in the groove. I caught Eden at last year's New York Film Festival and like Hansen-Løve's previous films, including the deeply moving film-distribution drama The Father of My Children, it's central concept is time itself. The main character, who is based on the writer-director's brother, who co-wrote the film and is a well-known DJ, spends most of his life spinning records, taking drugs, and tripping through a series of romances, including one with Greta Gerwig's charming American in Paris, but above all, the director evinces a wise understanding of the cyclical nature of life and relationships. The trailer makes Gerwig's presence seem far more central to
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Official Us Trailer for Mia Hansen-Løve's House Music Film 'Eden'

This is a must watch trailer for one of my favorite films, a drama called Eden, made by filmmaker Mia Hansen-Løve (of Father of My Children, Goodbye First Love) about a French house music DJ named Paul Vallée. The film has played at film festivals all over the world, from Toronto to New York to London to Rome to AFI, and is now hitting theaters this June. This trailer is a must watch because it's a beautiful way to sell this film, with quotes and the right music (Daft Punk!), everything is perfect. I wrote a really glowing review of Eden from Tiff last year, and I'm happy to support it and happy to see it get a release here in the Us. It's a long film, not for everyone, but it has some very deep layers to it briefly hinted at in the new trailer. Enjoy! Here's the official
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