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The Argentinian-born star on silent movie success, her husband Michel Hazanavicius and the trouble with signing autographs
When Bérénice Bejo was young, her sister sat her down and told her: "Bérénice, I love you. But you take up too much room." This was not a hint about bodyweight. The sisterly advice was more to do with Bejo's roving arms, a tendency to flail when she spoke. She was, and still is, a great gesticulator.
"It's the Argentinian in me, I get enthusiastic, I use my body," the 36-year-old tells me, the day after her new film, The Past, has premiered at the Cannes film festival.
Born in Argentina, Bejo grew up in Paris and is best known for charming audiences around the world as Peppy Miller in the Oscar-winning black-and-white movie The Artist. We're having tea on the roof of a seafront hotel, where the view of Cannes's yacht-filled harbour »
- Tom Lamont
Cannes — Confirming its status as one of the major revelations of year’s Cannes Festival, Abdellatif Kechiche’s “Blue is the Warmest Color” took the nod Saturday from the Fipresci Intl. Federation of Film Critics as the best film in Cannes Festival’s Competition.
The plaudit goes to a film whose “explosively graphic lesbian sex scenes,” in the words of Variety Justin Chang, do not overshadow for Chang and the films’ other many admirers at Cannes “Blue’s” huge achievement as an emotional epic depicting over three hours a girl’s discovery of her sexuality and her multi-faceted love relationship with another woman over the space of years.
Review: ‘Blue Is the Warmest Color’
Leads Adele Exarchopoulos and Lea Seydoux are also being talked up on the Croisette as front-runners for Cannes’ best actress prize, announced Sunday.
Fipresci plaudits go to one outstanding film in Cannes Competition, another in Un »
- John Hopewell
Cannes, France -- After two weeks, 20 films and parade after parade down the red carpet, the Cannes Film Festival has not produced a clear-cut frontrunner for the Palme d'Or.
The prestigious award, given to the best film in competition, will be handed out Sunday night, decided upon by a jury headed by Steven Spielberg. And while this year's festival has boasted a cinematic feast, no single film is believed to have clearly set itself apart from the pack.
At least half a dozen films seem to have a realistic chance of winning Cannes' top prize, including the Coen brothers' 1960s folk tale "Inside Llewyn Davis," Paolo Sorrentino's rollicking Roman party "The Great Beauty," Asghar Farhadi's domestic drama "The Past," James Gray's 1920s Ellis Island melodrama "The Immigrant" and Abdellatif Kechiche's lesbian coming-of-age tale "Blue is the Warmest Color."
Consensus is always hard to come by in Cannes, »
There are a couple of well-established paths to Broadway for a new play. “Blue Highway” isn’t taking any of them.
The new work by David Marlett (pictured at left) is being developed simultaneously as a play and as an indie film, with Off Broadway vet Mitchell Maxwell shepherding a Rialto staging he hopes to get up by the fall, and Hollywood-based Richard Middleton (“The Artist”) (pictured at right) pulling together a movie version he aims to start filming next spring.
Both the legit production and the film will draw from the same funding pool, currently being raised, of around $4 million. Producers hope at least $500,000 of that will come via crowdfunding.
They even talk about a potential documentary to chronicle to story’s road to stage and screen, plus the possibility of casting overlap for the four leads of the play and of the film (although they acknowledge the latter’s a longshot).
- Gordon Cox
Baby Boy, the partially-sighted poodle who appears in “Behind the Candelabra,” has been named the top dog of the Cannes Film Festival as winner of the Palm Dog award.
Judged by film critics, the prize is not an official part of the festival, but is independently-awarded like other prizes such as the Queer Palm. In the film, Liberace and Scott Thorson, played by Matt Damon, are brought together when they care for the ailing poodle. The pianist had several dogs at his kitschy Las Vegas mansion.
Though Baby Boy was not able to attend the Friday ceremony, he will receive a Creature Clothes trophy collar.
Judge Peter Bradshaw of The Guardian newspaper told the Associated Press that it also “has been a year of canine suffering and pain, »
- Pat Saperstein
Being a month late to my usual "April Fool's" predictions has caused me a lot of behind-the-scenes strife. Trying to stare into the open future through a crystal ball when things are actually happening in the present overseas (i.e. Cannes) is incredibly ineffective. Next year I must be more prompt and buy a plane ticket. I have made a few adjustments on the charts mostly in regards to more research on American Hustle and Saving Mr Banks but also in regards to Cannes hits like All is Lost and Philomena (I know, I know -- it didn't show but it still had a great week!).
Carey sings in "Inside Lleywn Davis". The last time she sang onscreen ("Shame") critics fell madly in love but mysteriously zero awards traction happened.
A note of caution to everyone taking each word out of Cannes like its holy scrit. Cannes can »
- NATHANIEL R
Returning to Cannes following her international breakthrough performance in 2011's awards juggernaut "The Artist," directed by her husband Michel Hazanavicius, Oscar nominee Bérénice Bejo returned the Croisette this year with another film to sure to return her to the forefront of awards talk -- Asghar Farhadi's follow-up to his Oscar-winning "A Separation," "The Past." Shot over a whopping four months in Paris following two months of intense rehearsals, "The Past," Farhadi's first film shot outside of his native Iran, centers on Ahmad (Ali Mosaffa), who after returning to Paris from Tehran in order to finalize his divorce to Marie (Bejo), discovers all is not well at home with his soon to be ex and her rebellious daughter (Pauline Burlet). In trying to bring the two together, Ahmad uncovers a secret from the past that could threaten to keep the pair at odds for life. Read More: Cannes: Asghar Farhadi »
- Nigel M Smith
Hollywood's finest and most familiar faces - from Jessica Chastain to Jessica Biel - have flocked to the South of France for the Cannes Film Festival. (Did we mention Jennifer Lawrence, Leonardo DiCaprio and Emma Watson, too?) But the true stars of the festival have yet to show up. Meet the ginger-colored cats who steal scenes from Oscar Isaac, Carey Mulligan and Justin Timberlake in the Coen brothers' latest film, Inside Llewyn Davis. (Fun fact: It took six felines to fill the role of the cat who follows Isaac around 1961 New York in the film.) Not surprisingly, the four-legged stars were quite the divas. »
- Dana Kennedy
I just spent 108 minutes catching up with Jesse and Celine. We've met them twice Before... and I spent the first 2/3rds of the movie grinning like a damn fool I was so happy to be marinating in their always passionate detour-filled conversations. It's too early to say how much I loved the movie (though I did) but it got me to thinking what an achievement this series is and got me to thinking of true movie magic and how much of it we've had lately. So while so many of my fellow critics enjoy their mad rush through Auteursville at Cannes tonight I'm remembering the time I fell in love with this movie...
...and that one
...and that one
...and that one.
Here's my ten favorite movies of the 'Teens (2010-2019) ... so far of course
the bonafide masterpieces -it'd be tough to imagine them not being on the decade best »
- NATHANIEL R
Régis Roinsard’s Populaire is being marketed as a romantic comedy, and so it is, but it’s also a buddy comedy of sorts, featuring a girl and her trusty typewriter. As colorful and perky as its tenacious blonde protagonist, Populaire is a sumptuously crafted and cheerful event likely to beguile the same audiences who adored Michel Hazanavicius’ The Artist. If there’s nothing particularly [...] »
- Nathan Bartlebaugh
Spc and Farhadi have collaborated successfully before. Spc released Farhadi’s Iranian film “A Separation,” which won the Academy Award for best foreign language film in 2012.
Paris-based Memento films produced the project. »
- Rachel Abrams
At 8:30am Friday morning, I got it. What Cannes is truly all about. You get something in theory, and then there’s the moment you get it through experience. Asghar Farhadi’s “The Past” had just begun, and I thought back to what a friend said was the real reason to attend Cannes: because you see the best films in the world. Literally, according to one of the money men in James Toback’s new documentary about Cannes, “Seduced and Abandoned” – more on that later – half of the year’s supply of big films debuts at the festival. Farhadi won the Oscar for best foreign film with his last, “A Separation,” and as the new film began, the audience just relaxed into their seats as the film, with its first shot, took over. It’s a wonderful feeling when you realize you are in very, very, very good hands. »
- Tom Christie
Cannes Film Festival 2013 highlight? (Photo: Bérénice Bejo, Tahar Rahim in Asghar Farhadi’s The Past) So far, what’s the most memorable event at the 2013 Cannes Film Festival? Perhaps the screening of Asghar Farhadi’s Palme d’Or competitor The Past, starring The Artist‘s Bérénice Bejo (replacing Marion Cotillard) and A Prophet‘s Tahar Rahim? Variety‘s Justin Chang called Farhadi’s follow-up to his Oscar-winning A Separation "an exquisitely sculpted family melodrama in which the end of a marriage is merely the beginning of something else, an indelible tapestry of carefully engineered revelations and deeper human truths." (Scroll down to check out The Bling Ring cast Cannes 2013 photos.) Or perhaps Joel and Ethan Coen’s Inside Llewyn Davies, which impressed The Independent film critic Geoffrey Macnab with "the sure-footed way the Coens combine comedy, music and brooding film noir elements"? Or maybe the fact that Carey Mulligan had »
- Andre Soares
Every year, American audiences get what feels like 3 million films thrown at them that are about American people living in America. On the flip side, we've gotten to see roughly one Iranian film that explores Iranian culture: Asghar Farhadi.s tense familial drama A Separation, which won the Academy Award for Best Foreign Language Film last year and also earned a Best Original Screenplay nomination. And now American cinemas will see a 100% increase in films about Iranian men living in France. Deadline reports Sony Pictures Classics picked up the U.S. rights to Farhadi.s next film, the multi-leveled drama The Past after its Friday screening at Cannes, where the film is considered an early contender for the coveted Palme d.Or award. It stars Berenice Bejo, whose performance in The Artist earned her a Best Supporting Actress Oscar nomination, and Tahar Rahim, who was in the Oscar-nominated French film »
Cannes, France — The magic and glamour of Cannes can be hard to spot on a day when rain is lashing the palm trees, roiling the gray Mediterranean and pooling in puddles along the Croisette.
But the world's leading film festival can transform careers – something no one knows that better than actors Berenice Bejo and Tahar Rahim, stars of director Asghar Farhadi's festival entry "The Past."
Bejo shimmered on-screen in Cannes two years ago in "The Artist," her director husband Michel Hazanavicius' vivacious silent homage to Hollywood's Golden Age. It went on to win five Academy Awards, including best picture.
Cannes exposure helped boost both performers onto the international stage. While once most European actors could choose between stay at home and playing Hollywood villains, »
If you had gone to see every single one of the acclaimed movies from Iran that have played in the U.S. since the mid-’90s — the lyrically subdued Abbas Kiarostami films, like Through the Olive Trees and Taste of Cherry, that were hailed at the time as minimalist masterpieces; the feminist political parable The Circle; scrappy fables like The White Balloon, Children of Heaven, and A Time for Drunken Horses; the enchantingly colorful woven rug of a movie Gabbeh — it would be perfectly reasonable for you to come away from that experience thinking that Iran is a land of »
- Owen Gleiberman
Harvey Weinstein previewed some of his company's most anticipated upcoming releases at the Cannes Film Festival on Friday. He's made a habit of such previews, doing the same in 2012 for the Oscar-winning films "Django Unchained" and "Silver Linings Playbook." Last year, Weinstein said, was "as good as any year at Miramax" – the first film company run by Weinstein and his brother Bob.
Nicole Kidman, a jury member at the festival, was on hand to introduce footage of "Grace of Monaco," in which she stars as Kelly after wedding Prince Rainier III (played by Tim Roth). It looks to be the kind of grand, alluring performance that often leads to an Oscar nomination.
"She has to go to a jury meeting to hopefully decide which of »
Harvey Weinstein took advantage of Cannes' many attendees to gather some of them together in order to tease TWC's upcoming films and get a head start on the next round of Awards season. That has been the modus operandi of The Weinstein in recent years, which had held more intimate affairs at swanky flats off the Croisette and today opted for a make-shift screening room (after obligatory cocktails and hors d'oeuvres in an adjoining room). "The last four years have been amazing with movies like 'The King's Speech,' 'Django Unchained,' 'Silver Linings Playbook,' 'The Artist' -- we've reached new heights," said Harvey Weinstein, squeezed into a dapper tux. "Last year was as good as any year at Miramax. Our international business keeps building as well." With a packed room of about a couple hundred press, festival programmers and special guests, Weinstein thanked »
- Brian Brooks
Asghar Farhadi may have left his native Iran to shoot a picture in Paris starring Berenice Bejo, but in all the ways that count, “The Past” couldn’t feel closer to home. Like 2011′s Oscar-winning “A Separation,” this is an exquisitely sculpted family melodrama in which the end of a marriage is merely the beginning of something else, an indelible tapestry of carefully engineered revelations and deeper human truths. If Farhadi’s sense of narrative construction is almost too incisive at times, costing the drama some focus and credibility in the final reels, he nonetheless maintains a microscopic attention to character, performance and theme that will make this powerfully acted picture a very classy specialty-division prospect.
Few filmmakers today can honestly claim to be working in the Renoir humanist tradition, but “The Past” is the veritable embodiment of the central “Rules of the Game” maxim that everyone has their reasons. »
- Justin Chang
Ahmad (Ali Mosaffa) has made the trip from Iran to Paris for the first time in four years to finally sign divorce papers, officially ending his marriage to Marie (Berenice Bejo) at her request. Upon his arrival at the airport, Marie sees him through a thick pane of glass. She smiles, he shrugs. The airline has lost his bag and will have to send it to him the following day. They communicate by mouthing words and using hand gestures. One understands the other, but the metaphor is quite clear. At this moment in the film we know nothing about these two people. They could be happily married and he returning home from a business trip and she simply picking him up, but writer/director Asghar Farhadi and cinematographer Mahmoud Kalari's visual representation of the invisible barrier between the two weighs heavy on the rest of the film. Farhadi's The »
- Brad Brevet
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