Jean-Claude Brisseau - News Poster


Paradis presides over Césars by Richard Mowe - 2018-01-12 13:28:42

Vanessa Paradis … tribute to Jeanne Moreau at the Césars Photo: Canal +

The 43rd edition of the Césars (the French Oscars) will have as its president the singer and actress Vanessa Paradis.

Vanessa Paradis … president of the Césars Photo: Richard Mowe

The ceremony on 2 March will be dedicated to the late Jeanne Moreau who will also feature on the poster for the occasion. Moreau died in July at the age of 89.

Paradis, who received a best female newcomer César at the age of 17 in the 15th edition for Jean-Claude Brisseau’s Noche Blanche, performed on stage at the 1995 Cannes Film Festival the celebrated Tourbillon de la vie number from Jules Et Jim in which she was joined by Moreau herself.

The actress will be seen shortly in Chien by Samuel Benchetrit, Le Grand Bain / The Deep End by Gilles Lellouche; Big Bang by Céclilia Rouad and Un Couteau Dans Le Coeur by Yann Gonzalez.
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WTFilms launches sales on lesbian rom-com 'Kiss Me!'

WTFilms launches sales on lesbian rom-com 'Kiss Me!'
Exclusive: French company also unveils first deals on Jean-Claude Brisseau’s erotic 3D drama Tempting Devils.

Paris-based genre specialist WTFilms has taken on international sales of mainstream, same-sex romantic comedy Kiss Me! (Embrasse Moi!) in which the protagonist falls for a woman with 76 ex-girlfriends and a crazy family.

The company will kick-off sales on the title, which is in post-production, at the Unifrance Rendez-vous with French Cinema this week.

French stand-up comedian Océanerosemarie – best known for her one woman show La Lesbienne Invisible – makes her directorial and big screen debut in the film.

She plays a happy-go-lucky osteopath who falls for the beautiful Cécile, an artist who has taken a personal vow of celibacy after a series of failed relationships.

Alice Pol plays Cécile. The actress’s other recent credits include Dany Boon’s latest comedy Raid Special Unit (Raid Dingue) in which she co-stars as a hopeless special police force recruit. That film is
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WTFilms takes Dominic Monaghan's 'Pet' to Cannes

Exclusive: Psychological thriller tells the story of a loner who imprisons a girl in a cage.

Paris-based genre specialist WTFilms has taken world sales on Spanish director Carles Torrens psychological thriller Pet, starring Dominic Monaghan as a creepy loner who goes to extreme lengths to woo a girl he is obsessed with.

Based on a Jeremy Slater, whose credits include the upcoming The Exorcist TV remake and Fantastic Four, the Us-set thriller premiered at SXSW in the Midnight section in March.

Lost and Lord Of The Rings star Monaghan co-stars as Seth, a loner who works in an animal shelter, who is obsessed with former classmate Holly, played by Ksenia Solo. After she spurns his advances he locks her up in one of the animal cages. But Holly is not your average victim, and starts turning tables on her assailant.

Torrens describes the film as “an ironic look at the ruthlessness of today’s dating scene young men
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Notebook's 6th Writers Poll: Fantasy Double Features of 2013

  • MUBI
Looking back over the year at what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2013—in theaters or at a festival—and creatively pair it with an old film they also saw in 2013 to create a unique double feature.

All the contributors were given the option to write some text explaining their 2013 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.

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DVD Review: 'The Girl from Nowhere'

  • CineVue
★★☆☆☆ Jean-Claude Brisseau's The Girl from Nowhere (La fille de nulle part, 2012) feels more like the work of a first-time director than a seasoned French auteur, partly due to its low budget and bloated, pseudo-intellectualist themes. The story opens with a quote from Hugo's Les Misérables, in what is the first of many literary, artistic and philosophical references. We then meet Michel Deviliers (played by Brisseau) who is penning his tome inspired by events during the French communist riots of 1968. He's disturbed by shouting outside, leading him to rescue a nubile blonde, Dora (Virginie Legeay), from being beaten up by a thug.

This self-proclaimed 'sorceress' ends up becoming Deviliers' attractive muse, helping him to finish his novel. That's when the 'bumps in the night' begin to occur, and a series of strange happenings start to draw the academic away from his work. Part supernatural thriller, part philosophical treatise, the general
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Rendez-Vous with French Cinema 2013

Jean-Claude Brisseau’s The Girl From Nowhere is an auteur work of relatively low-profile interest to the broader public, one of several such items in Lincoln Center’s annual Rendez-Vous With French Cinema series, which starts today. Brisseau’s career is firmly bifurcated, the second part beginning with 2002′s Secret Things — overheated soft-core with classical allusions — led to lawsuits and sentencing for sexual harassment of auditioning actresses. After two more films in this humid vein, The Girl From Nowhere stars Brisseau himself in an adamantly chaste mood. A man-mountain with a body somewhere between latter-day Gerard Depardieu and NFL coach Rob …
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Series Preview: Rendez-Vous with French Cinema

The 18th Edition of this New York tradition, Rendez-Vous with French Cinema unveils perhaps their most diverse line-up in years. This range includes grand and engaging entertainments such as Régis Roinsard's Populaire (Opening Night film with its stars Romain Duris and Deborah François attending), uncompromising auteurs such as Jean-Claude Brisseau and Damien Odoul, rising independent voices including Héléna Klotz and Shalimar Preuss, and master filmmakers François Ozon, Patrice Leconte, Raymond Depardon, Nicolas Philibert and the late Claude Miller. Here are some of the titles I had a privilege to have a sneak peek at:     RENOIRSilly me, I never made the connection between Renoir the painter and Jean Renoir the filmmaker all these years. Anyway, Renoir recounts the last days of Pierre-Auguste Renoir's life in...

[Read the whole post on]
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New York Rendez-Vous With French Cinema line-up announced

The 18th edition of New York's Rendez-Vous with French Cinema will open with Régis Roinsard’s Populaire on February 28.

The annual showcase, which runs until March 10 at The Film Society, the IFC Center and BAMcinémateke will also feature work by Jean-Claude Brisseau and Damien Odoul, rising independent voices including Héléna Klotz and Shalimar Preuss, and master filmmakers François Ozon, Patrice Leconte, Raymond Depardon, Nicolas Philibert and the late Claude Miller.

Film Society of Lincoln Center Director of Programming Robert Koehler said, "This year’s edition of Rendez-Vous with French Cinema offers another entertaining and informative look at the current state of cinema by the French, with a celebration of fresh and upcoming talent behind the camera and today's prominent directors as well as a healthy nod to the film artists of the past. It is a varied and rich collection of films by a diverse group of filmmakers and...
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Rotterdam 2013 Mubi Coverage Roundup

  • MUBI
Below you will find our total coverage of the 2012 International Film Festival Rotterdam by Daniel Kasman.

Above: Jean-Claude Brisseau's La fille de nulle part.

Trembling Disturbed

On Sergei Loznitsa's Letter, Peter Schreiner's Fata Morgana, Pedro Costa's Sweet Exorcist, and Filipa César's Cacheu

Two as One as Many

On Kira Muratova's Brief Encounters (1967) and Long Farewells (1971), Jean-Claude Brisseau's La fille de nulle part, and David Gatten's By Pain and Rhyme and Arabesques of Foraging.

Of Cinema, Pixels and Chinese Warfare

On Mary Helena Clark's Orpheus (Outtakes), Makino Takashi's 2012, and Johnnie To's Drug War

Graf Attack!: or The Possibility Space (The Cinema of Dominik Graf)

On Dominik Graf, including Die Katze (1988), Spieler (1990), Der Fahnder: Nachtwache (1990/1993], Die Sieger (1994), Denk ich an Deutschland - Das Wispern im Berg der Dinge (1997), München - Geheimnisse einer Stadt (2002), Der Felsen (2002), Die Freunde der Freunde (2002), Hotte im Paradies
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Rotterdam 2013. Two as One as Many

  • MUBI
Since I essentially dedicated my last dispatch to despair, I feel this one should be to tenderness.

Above: Kira Muratova's Brief Encounters (left) and Long Farewells (right).

Tender, like the night, are the first two feature films by Ukrainian auteur Kira Muratova, subject of a large retrospective here in Rotterdam. Brief Encounters (1967) and Long Farewells (1971) form a immanently sensitive, dreamy diptych about being two rather than one. Muratova's first feature stars the director herself as an energy-filled, can-do successful Soviet bureaucrat living in the city, and who is counterposed by a young girl from the country who comes to work for her as a maid. They both dream of their own beloved men—who turns out to be but one man, the same man, a surveyor “looking for silver,” shared between the two of them, for Muratova when he is in the city and for the younger girl when
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Waiting for the Whole Sky All Diamonds

  • MUBI
The first-ever manufacturer of light bulbs in Portugal, Manoel de Oliveira’s father died in 1932, nine years after Raul Brandão wrote a play called Gebo and the Shadow. In the year 2012 Oliveira turned the play into a film, making a grimy, dim oil lamp its legitimate character: elderly accountant Gebo burns the midnight oil in it as he plods away at his books. In an early scene, meanwhile, his wife lights the lanterns outside their house with a match. No one seems yet to have heard of electricity; the time setting is unclear; presumably, it’s the turn of the century.

Presumably. Oliveira’s Benilde, or The Virgin Mother (1975) opens with a title-card of this word to gradually lure us into a province of utter chronological disorder. This very same word has ever since been unchallenged as the most accurate description of the bizarre, atemporal effect that grows stronger in each subsequent Oliveira film.
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Leopard Prints: Digital Dreams at the 2012 Festival del Film Locarno

  • MUBI
This week's announcement that Olivier Père, former programmer of Cannes's Directors' Fortnight, will be stepping down from his post at the helm of the Festival del Film Locarno marks the end of brief but important era for this film festival, one of the longest-running in the world. In just three years, Père has helped to put the annual event back on the festival map, drawing an annual influx of celebrities and industry-types for red-carpet world premieres, jury prizes, and lifetime achievement awards. Perhaps more than ever in its sixty-six-year history, Locarno is an important station on the fall festival circuit, forecasting the slates of Toronto and New York and providing useful international gateway for cinema from all over the world.

This year's festival featured a characteristically dizzying mix of international festival ephemera, an Otto Preminger retrospective, and much-heralded appearances by the likes of Kylie Minogue, Alain Delon, and Harry Belafonte on the festival's main stage,
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Locarno Critics Notebook #3

Leviathan. You may have heard the title by now. By the time it screened to press, the film had already gained some momentous hype, and I’m pleased to report it does not disappoint. Often exhilarating, Véréna Peraval and Lucien Castaing-Taylor‘s creation is a unique viewing experience—loud, disorienting, frightening, exciting and visually awesome. The best film from the main competition, at the very least, Leviathan (above) offers the sort of sensory adventure that cinema can but rarely does offer. Using cheap GoPro digital cameras, the filmmakers show us images and perspectives we’ve never seen before. Apparently, Apichatpong Weerasethakul did not like the film for having been unable to sense the presence of the directors within the film, which is valid, but for me an interesting part of this often alien encounter. For many critics, this was the movie to root for on the night of the awards ceremony,
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French Film wins Golden Leopard at Locarno 2012

French Film wins Golden Leopard at Locarno 2012
Jean-Claude Brisseau’s La fille de nulle part (The Girl from Nowhere) won the Pardo d’oro or the Golden Leopard at the 65th Locarno Film Festival, which concluded on 11th August, 2012.

La fille de nulle part is a story of a lonely widower Michel, a retired math teacher who occupies his time writing an essay about the beliefs that shape daily life. One day he meets Dora, a young homeless woman, who shows up injured at his doorstep, and puts her up until she recovers. Her presence brings something new to Michel’s life, but gradually the apartment becomes the site of mysterious happenings.

The other awards presented are:

Premio speciale della giuria / Prize from the Cities of Ascona and Losone: Somebody Up There Likes Me by Bob Byington, United States.

Pardo per la migliore regia / Prize from the City and Region of Locarno (Best Director): Wo Hai
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Locarno Film Festival Announces 2012 Prize Winners; 'Girl From Nowhere' Takes Golden Leopard

Locarno Film Festival Announces 2012 Prize Winners; 'Girl From Nowhere' Takes Golden Leopard
The Locarno Film Festival announced the winners of its various competition sections ahead of an award ceremony at the festival's Piazza Grande tonight. The jury for the international competition, headed by Palme d'Or-winning Thai filmmaker Apichatpong Weerasethakul, awarded the venerable Golden Leopard prize to veteran French filmmaker Jean-Claude Brisseau for "La Fille De Nulle Part" ("The Girl From Nowhere"), a quasi-fictional film in which the director stars as a retired teacher who takes in a young woman to his Parisian home after she runs away from her partner. "The movie is about cinema and made with an economy of means," said Weerasethakul at a press conference with his fellow jury members. "It's not by an aging filmmaker but by a filmmaker who is young at heart." Sitting by his side, filmmaker Roger Avary, who was also on the jury, agreed. "We were delighted to see this film by an auteur who showed me all.
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Locarno Roars with a Slate of Hot Art House Superstars

While Cannes’ Quinzaine struggles to reframe its identity, its former artistic director Olivier Père continues to impress in his new job at the Locarno Film Festival. On Wednesday, he and his programming team unveiled a lineup that is absolutely salivatory, a who’s who for high-minded cinephiles. Perhaps most impressive of all, he has managed to once again nudge the festival’s selection aesthetic even deeper into esoteric ‘experimental’ territory without seeming all that radical. More than any other festival, Locarno is the home for the edgy projects that are too sophisticated for Cannes, whose cold shoulder to avant-garde narrative filmmaking becomes more glaring with each passing year. Check out the complete line-up at the bottom of this page.

In their International Competition, in which films compete for the increasingly prestigious Golden Leopard, we have a collaboration between João Pedro Rodrigues and his partner João Rui Guerra da Mata called
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The Noteworthy: Locarno, Mini Cinema, Hoberman on Siodmak and "Hitchcock Presents"

Above: David Lynch photographed by Richard Dumas, via everyday_i_show's gallery including Claire Denis, Haruki Murakami, Jim Jarmusch and more.


Joaquin Phoenix is poised to take cinema by storm with roles in the latest works from Paul Thomas Anderson and James Gray. Via The Playlist, pictured above is Phoenix on the set of Spike Jonze's next, as of yet untitled, feature. We lost two great performers in the past few days: Ernest Borgnine and Isuzu Yamada, both of whom passed away at the age of 95. David Hudson has rounded up some words on both over at Keyframe Daily.

The 2012 Locarno Film Festival has announced its lineup. Included are new films by Soi Cheang, Quentin Dupieux, João Pedro Rodrigues, Jean-Claude Brisseau, Bertrand Bonello, Heinz Emigholz, Jean-Paul Civeyrac, Jean-Marie Straub, and the aforementioned Leviathan. Also incredibly exciting is the retrospective on Otto Preminger, presenting the director's entire filmography.

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Gaspar Noé’s ‘Irreversible’ and ‘Enter the Void’: ‘Extremity’ or Corner?

Gaspar Noé’s ‘Irreversible’ and ‘Enter the Void’: ‘Extremity’ or Corner?
Gaspar Noé has made his mark in a cinema which has generally gone under the name ‘New French Extremism’, a body of films which mark French cinema’s attempts to rehabilitate itself after being virtually done in by Hollywood’s continued success in Europe. Some of the other directors held as belonging to this group are Francois Ozon, Catherine Breillat, Bruno Dumont, Patrice Chereau, Jean-Claude Brisseau and Leos Carrax. While the complex eco-system of French cinema has also been cited as the cause of this cinema – which has been deliberately transgressive and determined to break all taboos – a simpler explanation is that this body has arisen as a direct consequence of Hollywood’s (and America’s) cultural hegemony.

The relation between American cinema and French art cinema was a much friendlier one in the 1950s and 1960s when directors like Godard, Truffaut and Chabrol were even inspired by Hollywood. The Auteur Theory,
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Paulette Dubost Dead at 100: Worked with Jean Renoir, Jacques Tourneur, Julien Duvivier

Paulette Dubost Dead at 100: Worked with Jean Renoir, Jacques Tourneur, Julien Duvivier
Paulette Dubost, known as the "Dean of French Cinema," and an actress in films directed by Jean Renoir, Marcel L'Herbier, Jacques Tourneur, Julien Duvivier, Max Ophüls, Preston Sturges, François Truffaut, Louis Malle, and Marcel Carné, died of "natural causes" on Sept. 21 in the Parisian suburb of Longjumeau. The Paris-born Dubost had turned 100 years old on October 8, 2010. Dubost's show business career began at the age of seven, performing various duties at the Paris Opera. Following some stage training, her film debut took place in 1931 in Wilhelm Thiele's Le bal, which also marked the film debut of Danielle Darrieux (who's still around and still active). Ultimately, Dubost's film career was to span more than seven decades, during which time she was featured in over 140 movies. She is probably best remembered as the adulterous chambermaid Lisette in Jean Renoir's 1939 comedy-drama La règle du jeu / The Rules of the Game, considered by
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Tiff 2010 Top 10 New Faces: #9. Carole Brana

#9. Carole Brana - Red Nights Unless you caught this stunning beauty in her first acting gig, toplining Jean-Claude Brisseau's À l'aventure (2008), then Carole Brana is still a relative the acting world at least. I suppose she is one of the many models making the transition to acting and her status under the radar status is most likely not going to change anytime soon, but if she manages to tie down several supporting roles that hopefully don't throw her to the lions like her part in Julien Carbon and Laurent Courtiaud's Red Nights. A pretty face she definitely is – and one could say it was hard to stomach the sadism upon her character --pic above isn't even from the film. Euro directors looking for a future muse, a femme fatale or a pretty girl going against the type might want to check her out.
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