Marie is a young woman with a troubled past. Her passion is painting, but she never had any formal training. Living in the South of France, she takes whatever work she can get to make ends ... See full summary »
Marcelline is an actress. Forty, single and childless, she begins rehearsals for Turgenev's A MONTH IN THE COUNTRY. Denis, the director, admires her greatly and promises he'll make her ... See full summary »
Valeria Bruni Tedeschi
Valeria Bruni Tedeschi,
As a man leaves his wife and daughter, a series of brief conversations, observed gestures, chance encounters and impulsive acts, tell the story of the relationships that flounder and thrive in the wake of this decision.
Anna has just left Paul who, annihilated by the separation, moves back with his father in Paris. His younger brother Jonathan, a casual student, still lives in his father's apartment and ... See full summary »
Three days in a man's life, three crucial days in his long existence. Day one. Autumn 1948, Port Said. It is Hassan's first day at work but a telegram arrives and he has to set sail across ... See full summary »
1968 and 1969 in Paris: during and after the student and trade union revolt. François is 20, a poet, dodging military service. He takes to the barricades, but won't throw a Molotov cocktail... See full summary »
L'Astragale is a 2015 French drama film directed by Brigitte Sy. It is the second film adaptation of the 1965 semi-autobiographical novel L'Astragale by Albertine Sarrazin, after Guy Casaril's L'Astragale.
A stunning film, both visually and musically. What a wonderful use of "Asturias" in the funeral scene. The Bruni Tedeschis were certainly brought up to appreciate beauty. The director-cum- star is on record as saying she didn't like to think of the film as autobiographical. How, when the film set is her childhood home and life so full of parallels? *possible spoiler* Castello Castagneto Po, bought and renovated by her father, was sold to a Saudi in 2009 after her brother died of AIDS. The only time the grand edifice was opened to the public is in this film. The credits conspicuously omit to name the film set. (But do hang in there and watch them all: if not, you'd miss the most joyous tribute to tomato soup I've ever had the pleasure of seeing.) That said, of course Louise is a caricature. A brave one.
Some critics called "Un château en Italie" self-indulgent, suggesting Bruni Tedeschi was asking for sympathy in scenes like the one where her mother lists the costs of their pile of bricks, or the auction. I beg to differ. She's just telling it the way it is. What more can one ask of a good movie? It gives us a glimpse into a closed world, the most colourful and entertaining one I've seen since Il Gattopardo. (There are a few contemporary documentaries, but Warren Buffet's granddaughter was cut off for her part in Jamie Johnson's "Born Rich". Nobody's going to repeat that any time soon.) On the other hand, great wealth is a wet dream to the public. We see the castles. We don't see the financial and human costs. Bruni Tedeschi questions the golden calf. She not only dares to depict her milieu - she even got her mother to help. Although they were the in-laws of the French president at the time. She must have seen the reactions coming; she'd been there after "Il est plus facile pour un chameau". How did her wealthy peer group react? Perhaps worse... What should she be doing, in the opinion of those critics? The done thing is either to do good and talk about it, American style; or to shut up, European style. She fits neither cliché: she makes films about money and the complex effects it has on people, but not about the doing good. There is a foundation fighting AIDS named after her brother, and she adopted a kid from Africa. Please keep those movies coming, signora!
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