Cannes film festival
Playing themselves, film icons gaze into the looking-glass in this unconvincing and tiresome piece of cine-narcissism
A peculiar and tiresome piece of cine-narcissism here from Christophe Honoré, based on an insufferably twee kind of cinephilia – yet rescued, slightly, by the down-to-earth drollery of Catherine Deneuve, who is playing herself.
Chiara Mastroianni, the Franco-Italian actor and Deneuve’s daughter, is of course very well known for her startling likeness to her father: the film icon Marcello Mastroianni. We see her here also playing herself and acting in what is evidently supposed to be a homage to Anita Ekberg’s Trevi fountain scene from Fellini’s La Dolce Vita, in which Marcello famously starred. She feels haunted by her father and has a dream in which her face turns into Marcello’s in the bathroom mirror; actually, it is not much of a change. She confesses how unhappy she...
Playing themselves, film icons gaze into the looking-glass in this unconvincing and tiresome piece of cine-narcissism
A peculiar and tiresome piece of cine-narcissism here from Christophe Honoré, based on an insufferably twee kind of cinephilia – yet rescued, slightly, by the down-to-earth drollery of Catherine Deneuve, who is playing herself.
Chiara Mastroianni, the Franco-Italian actor and Deneuve’s daughter, is of course very well known for her startling likeness to her father: the film icon Marcello Mastroianni. We see her here also playing herself and acting in what is evidently supposed to be a homage to Anita Ekberg’s Trevi fountain scene from Fellini’s La Dolce Vita, in which Marcello famously starred. She feels haunted by her father and has a dream in which her face turns into Marcello’s in the bathroom mirror; actually, it is not much of a change. She confesses how unhappy she...
- 5/22/2024
- by Peter Bradshaw
- The Guardian - Film News
Now a Cannes veteran, French filmmaker Christophe Honoré has returned to the Competition with the world premiere of Marcello Mio, his French-Italian comedy that stars longtime collaborator Chiara Mastroianni — who, in the film, adopts the persona and appearance of her late father, Marcello Mastroianni. The movie received applause that lasted a touch over eight minutes during its unveiling this evening.
Marcello Mio taps into the younger Mastroianni’s complex reality of being the daughter of cinema icons Marcello Mastroianni and Catherine Deneuve.
In a fantasy scenario, Chiara hits a crisis point and begins to dress, speak and breathe like her late father, the legendary star of such films as La Dolce Vita, 81/2 and Marriage Italian Style. Those around her, including Deneuve, Fabrice Luchini, Melvil Poupaud, Benjamin Biolay, Nicole Garica and Hugh Skinner, who also play part-real, part-fictionalized versions of themselves in Marcello Mio, begin to believe it and start to call her “Marcello.
Marcello Mio taps into the younger Mastroianni’s complex reality of being the daughter of cinema icons Marcello Mastroianni and Catherine Deneuve.
In a fantasy scenario, Chiara hits a crisis point and begins to dress, speak and breathe like her late father, the legendary star of such films as La Dolce Vita, 81/2 and Marriage Italian Style. Those around her, including Deneuve, Fabrice Luchini, Melvil Poupaud, Benjamin Biolay, Nicole Garica and Hugh Skinner, who also play part-real, part-fictionalized versions of themselves in Marcello Mio, begin to believe it and start to call her “Marcello.
- 5/21/2024
- by Nancy Tartaglione and Nada Aboul Kheir
- Deadline Film + TV
Celebrities: they’re not just like us, exactly, but they’re human just the same. Which is why some of the current discourse around “nepo babies” must be a little wounding for showbiz scions nursing their own insecurities about their talent, their reputation and their place in the world — even if the prudent thing to do, from a PR perspective, is to openly check your privilege and move on. Yet whatever degree of sympathy one might feel for actor Chiara Mastroianni — the daughter of Catherine Deneuve and Marcello Mastroianni, a dazzling legacy to bear but perhaps not an easy one — largely evaporates by the end of “Marcello Mio,” a vastly indulgent but gossamer-weight bit of frippery from French writer-director Christophe Honoré, in which Mastroianni channels her late father to increasingly contrived comic effect.
So wink-wink it can barely see straight, so inside-baseball it’s practically buried under the pitcher’s mound,...
So wink-wink it can barely see straight, so inside-baseball it’s practically buried under the pitcher’s mound,...
- 5/21/2024
- by Guy Lodge
- Variety Film + TV
Talk about an identity crisis!
In a wonderfully funny and completely original comedy, French star Chiara Mastroianni in a bit of an existential crisis mode decides one day to morph into her very famous father, the late great Marcello Mastroianni. In a search for her own identity she discovers more about herself, her father, even her equally famous mother Catherine Deneuve who surprisingly consented to play herself and discover truths about her relationship with her ex-finacé (he died in 1996) that had never been made public.
Playing tonight in the official competition of the Cannes Film Festival, where the entire family has appeared many times as fictional characters, this time it hits close to home, but always with a light touch as Chiara drops her own persona and hits the town as if it were Marcello Mastroianni back in Fellini’s 8 1/2. Black suit, hat, moustache, large glasses — she’s all in.
In a wonderfully funny and completely original comedy, French star Chiara Mastroianni in a bit of an existential crisis mode decides one day to morph into her very famous father, the late great Marcello Mastroianni. In a search for her own identity she discovers more about herself, her father, even her equally famous mother Catherine Deneuve who surprisingly consented to play herself and discover truths about her relationship with her ex-finacé (he died in 1996) that had never been made public.
Playing tonight in the official competition of the Cannes Film Festival, where the entire family has appeared many times as fictional characters, this time it hits close to home, but always with a light touch as Chiara drops her own persona and hits the town as if it were Marcello Mastroianni back in Fellini’s 8 1/2. Black suit, hat, moustache, large glasses — she’s all in.
- 5/21/2024
- by Pete Hammond
- Deadline Film + TV
Of all the actors with claims to nepo baby aristocracy, few, if any, have the same pedigree as Chiara Mastroianni. An accomplished performer and winning star all on her own, the daughter of Catherine Deneuve and Marcello Mastroianni has that rare distinction of seeing both of her parents grace Cannes Film Festival posters, leaving a project that playfully interrogates that very heritage a near shoo-in for the festival spotlight. But that vaunted competition slot does little favors for Christophe Honoré’s slight and sketch-like “Marcello Mio,” which plays as an incisive photo-shoot concept in search of wider justification.
This fashion shoot concept isn’t hypothetical, as Honoré’s meta-movie doodle opens on the very same, finding Mastroianni decked out in full Anita Ekberg garb as she saunters into a pool before Paris’ Saint-Sulpice church reformatted as an ersatz Trevi Fountain. The visual folds in several layers, taking Marcello’s iconic turn in “La Dolce Vita,...
This fashion shoot concept isn’t hypothetical, as Honoré’s meta-movie doodle opens on the very same, finding Mastroianni decked out in full Anita Ekberg garb as she saunters into a pool before Paris’ Saint-Sulpice church reformatted as an ersatz Trevi Fountain. The visual folds in several layers, taking Marcello’s iconic turn in “La Dolce Vita,...
- 5/21/2024
- by Ben Croll
- Indiewire
At almost 50 years old, Saturday Night Live continues to be a cherished staple of the small screen. The sketch comedy series has, from the start, been a proving ground for some of the best comedians in the business. The pioneering program remains one of the most anticipated appointment series on television, too, because of its sharp satire, on-the-nose political impressions, hilarious shorts, and an exciting array of guest hosts. For many fans, it’s simply a can’t-miss whenever there’s a new episode. So is SNL new this weekend? Here are the details. Is SNL new this weekend? Yes! Saturday Night Live is new this weekend, with Jake Gyllenhaal hosting and Sabrina Carpenter as musical guest. This is the season finale. do you mind signing Marcello’s yearbook, Jake Gyllenhaal? #SNLFinale pic.twitter.com/IclfrXmE6j — Saturday Night Live – SNL (@nbcsnl) May 15, 2024 What else is on SNL‘s upcoming schedule?...
- 5/17/2024
- TV Insider
Italian auteur Pietro Marcello – whose 2019 film “Martin Eden” made a splash on the international art-house scene – is shooting “Duse,” a movie about legendary Italian stage diva Eleonora Duse. Valeria Bruni Tedeschi stars as Duse and Noémie Merlant (“Portrait of a Lady on Fire”) plays her daughter.
The Match Factory has acquired international rights to “Duse” and is kicking off sales on this buzzy biopic in Cannes. See an exclusive first-look image above.
Duse, who lived between 1858 and 1924, was considered by many the greatest actress of her time. She performed in many countries, most notably in plays by Gabriele D’Annunzio and Henrik Ibsen.
Marcello’s “Duse” will look at the latter part of her life when she is 60 “and her legendary career is now long over,” says the provided synopsis.
“But in the brutal years between the First World War and the rise of fascism, the Divina chooses to return to...
The Match Factory has acquired international rights to “Duse” and is kicking off sales on this buzzy biopic in Cannes. See an exclusive first-look image above.
Duse, who lived between 1858 and 1924, was considered by many the greatest actress of her time. She performed in many countries, most notably in plays by Gabriele D’Annunzio and Henrik Ibsen.
Marcello’s “Duse” will look at the latter part of her life when she is 60 “and her legendary career is now long over,” says the provided synopsis.
“But in the brutal years between the First World War and the rise of fascism, the Divina chooses to return to...
- 5/15/2024
- by Nick Vivarelli and Elsa Keslassy
- Variety Film + TV
Italian actress and screenwriter Paola Cortellesi’s directorial feature debut, There’s Still Tomorrow (C’è Ancora Domani), and Matteo Garrone’s Io Capitano lead nominations at this year’s David Di Donatello Awards.
There’s Still Tomorrow nabbed 19 noms, including best film while Io Capitano landed 15, including best director for Garrone. Trailing the leading two is Alice Rohrwacher’s latest film, La Chimera, starring Josh O’Connor. Other leading films are Rapito (11), Comandante (10), Il Sol Dell’avvenire (7), and Adagio (5).
The 69th David di Donatello Awards take place May 3. The live show will be broadcast on Rai 1 in Italy. This year’s hosts include Carlo Conti and Alessia Marcuzzi. The ceremony will take place at the legendary Cinecittà studios.
Check out the full list of nominees below:
Best Film
C’È Ancora DOMANIprodotto da Mario Gianani e Lorenzo Gangarossa per Wildside società del gruppo Fremantle; Vision Distribution società del gruppo Sky; in collaborazione...
There’s Still Tomorrow nabbed 19 noms, including best film while Io Capitano landed 15, including best director for Garrone. Trailing the leading two is Alice Rohrwacher’s latest film, La Chimera, starring Josh O’Connor. Other leading films are Rapito (11), Comandante (10), Il Sol Dell’avvenire (7), and Adagio (5).
The 69th David di Donatello Awards take place May 3. The live show will be broadcast on Rai 1 in Italy. This year’s hosts include Carlo Conti and Alessia Marcuzzi. The ceremony will take place at the legendary Cinecittà studios.
Check out the full list of nominees below:
Best Film
C’È Ancora DOMANIprodotto da Mario Gianani e Lorenzo Gangarossa per Wildside società del gruppo Fremantle; Vision Distribution società del gruppo Sky; in collaborazione...
- 4/3/2024
- by Zac Ntim
- Deadline Film + TV
Absorbing the breakthroughs of the French New Wave and the burgeoning New Hollywood era and applying them to the artier ends of Bernardo Bertolucci’s native Italian cinema, The Conformist presents a façade of overwhelming cinematic beauty only to reveal the rotten soul beneath its surface. Vittorio Storaro’s cinematography captures Rome and Paris with an Antonioniesque eye for architectural detail, swooning camera movements, and even instances of color timing so extreme that certain shots recall the hand-tinted process of early silent film.
The precision of The Conformist’s images, though, only exacerbates the detached, inhuman alienation of the film’s protagonist, Marcello (Jean-Louis Trintignant). He’s the last scion of a diminished aristocratic line whose exhausted wealth and status are symbolized by an expansive but dilapidated and mildewing family villa occupied by a mother (Milly) who copes with a loss of status with copious amounts of opiates (his father...
The precision of The Conformist’s images, though, only exacerbates the detached, inhuman alienation of the film’s protagonist, Marcello (Jean-Louis Trintignant). He’s the last scion of a diminished aristocratic line whose exhausted wealth and status are symbolized by an expansive but dilapidated and mildewing family villa occupied by a mother (Milly) who copes with a loss of status with copious amounts of opiates (his father...
- 12/11/2023
- by Jake Cole
- Slant Magazine
Benjamín Naishtat: 'We were always talking about Marcelo saying he never gets the main role and he's the best actor of his generation. We said, "Okay, let's write something for him".' Photo: Courtesy of San Sebastian Film Festival
Argentinian comedy Puan follows the life of a college philosophy professor in the wake of the sudden death of his mentor. Marcelo Pena finds himself suddenly vying for the position of department head with an ex-classmate, Rafael Sujarchuk (Leonardo Sbaraglia) fresh back from Germany with show-off streak - not to mention a film star girlfriend - at the same time as trying to navigate life in general. The film employs both physical and philosophical comedy to good effect, including iris shots, which close in on Marcello's face at the end of several scenes. Puan took both the Silver Shell for script and for Acting at San Sebastian and we...
Argentinian comedy Puan follows the life of a college philosophy professor in the wake of the sudden death of his mentor. Marcelo Pena finds himself suddenly vying for the position of department head with an ex-classmate, Rafael Sujarchuk (Leonardo Sbaraglia) fresh back from Germany with show-off streak - not to mention a film star girlfriend - at the same time as trying to navigate life in general. The film employs both physical and philosophical comedy to good effect, including iris shots, which close in on Marcello's face at the end of several scenes. Puan took both the Silver Shell for script and for Acting at San Sebastian and we...
- 10/6/2023
- by Amber Wilkinson
- eyeforfilm.co.uk
by Cláudio Alves
Whether documentary or fiction, Pietro Marcello's films always convey the quality of artworks lost somewhere between modernity and an undefined past. 2019's much-lauded Martin Eden took this aspect to its peak, evoking the palpable authenticity of Neorealist cinema while playing fast and loose with history in its design. That film's relationship with the past circumvents reactionary nostalgia. The anachronistic scenography suggests an atemporal milieu, breaching the porous membrane separating the narrative's period and the viewer's sense of now. This further underlined the piece's political gestures, turning retrospective into a direct address. In comparison, Scarlet represents a more conventional object though it shares many qualities with its predecessor.
Like Martin Eden, Scarlet is a literary adaptation looking back to Europe in the first half of the 20th century. The raw material is Alexander Grin's 1923 novella Scarlet Sails, once brought to the big screen by Soviet filmmaker Alexandr Ptushko.
Whether documentary or fiction, Pietro Marcello's films always convey the quality of artworks lost somewhere between modernity and an undefined past. 2019's much-lauded Martin Eden took this aspect to its peak, evoking the palpable authenticity of Neorealist cinema while playing fast and loose with history in its design. That film's relationship with the past circumvents reactionary nostalgia. The anachronistic scenography suggests an atemporal milieu, breaching the porous membrane separating the narrative's period and the viewer's sense of now. This further underlined the piece's political gestures, turning retrospective into a direct address. In comparison, Scarlet represents a more conventional object though it shares many qualities with its predecessor.
Like Martin Eden, Scarlet is a literary adaptation looking back to Europe in the first half of the 20th century. The raw material is Alexander Grin's 1923 novella Scarlet Sails, once brought to the big screen by Soviet filmmaker Alexandr Ptushko.
- 6/11/2023
- by Cláudio Alves
- FilmExperience
Come Sail Away: Marcello Runs Aground in Muddled Adaptation
Pietro Marcello returns to literature for inspiration in his third narrative feature (and French language debut), Scarlet (L’Envol), based on the 1923 novel Scarlet Sails by beloved Russian novelist Alexander Grin. Much like he did with Jack London’s Martin Eden (2019), utilizing the text loosely for his own unique vision, this is far removed from more traditional takes on Grin’s novel, like the 1961 Russian language version which hewed close to the original romantic fairy tale. Unfortunately, the liberties transposed upon the simplicity of Grin’s text results in an oddly disjointed take.…...
Pietro Marcello returns to literature for inspiration in his third narrative feature (and French language debut), Scarlet (L’Envol), based on the 1923 novel Scarlet Sails by beloved Russian novelist Alexander Grin. Much like he did with Jack London’s Martin Eden (2019), utilizing the text loosely for his own unique vision, this is far removed from more traditional takes on Grin’s novel, like the 1961 Russian language version which hewed close to the original romantic fairy tale. Unfortunately, the liberties transposed upon the simplicity of Grin’s text results in an oddly disjointed take.…...
- 6/9/2023
- by Nicholas Bell
- IONCINEMA.com
Editors note: This review originally was originally published on May 18, 2022 after its world premiere in the Directors’ Fortnight section of the Cannes Film Festival. Kino Lorber releases it in theaters Friday.
Italian director Pietro Marcello (Martin Eden) shifts his focus to France in Scarlet (L’Envol), a period drama in Directors’ Fortnight at the Cannes Film Festival. Set in the rural north after the First World War, it’s a decade-spanning story of family, small-town politics and — ultimately — romance.
When Raphaël (Raphaël Thiéry) returns from war, his wife has died, leaving their baby daughter, Juliette, in the care of farmer Adeline (Noémie Lvovsky). Adeline gives Raphaël lodgings and helps him gain work as a carpenter. Juliette grows up close to her father, but this unconventional family is ostracized by many in the community, sealing Juliette’s fate as something of a loner. But she’s also a happy dreamer. The...
Italian director Pietro Marcello (Martin Eden) shifts his focus to France in Scarlet (L’Envol), a period drama in Directors’ Fortnight at the Cannes Film Festival. Set in the rural north after the First World War, it’s a decade-spanning story of family, small-town politics and — ultimately — romance.
When Raphaël (Raphaël Thiéry) returns from war, his wife has died, leaving their baby daughter, Juliette, in the care of farmer Adeline (Noémie Lvovsky). Adeline gives Raphaël lodgings and helps him gain work as a carpenter. Juliette grows up close to her father, but this unconventional family is ostracized by many in the community, sealing Juliette’s fate as something of a loner. But she’s also a happy dreamer. The...
- 6/9/2023
- by Anna Smith
- Deadline Film + TV
Pietro Marcello with Anne-Katrin Titze on his Scarlet end credit thanks: “Renato Berta, in addition to being a friend, he is also a teacher. Thanks to Caroline Champetier we were able to shoot in 35mm. And finally Gianfranco Rosi, he’s an old friend.”
In the second instalment with Pietro Marcello on Scarlet (L'envol), his adaptation with Maurizio Braucci and Maud Ameline (Mikhaël Hers’ Amanda), in collaboration with Geneviève Brisac of the 1923 novel Scarlet Sails by Russian author Alexander Grin, we discuss the influence of Vittorio De Sica’s Miracle In Milan, the chance discovery of Louise Michel’s poetry, fathers as mothers, dethroning princes and knights in shining armour, being an archivist, Louis Garrel’s crocodile entrance, Pietro’s new project on the question what is war, and the end credit thanks in Scarlet to Renato Berta, Caroline Champetier and Gianfranco Rosi.
Raphaël (Raphaël Thiéry) with his daughter Juliette...
In the second instalment with Pietro Marcello on Scarlet (L'envol), his adaptation with Maurizio Braucci and Maud Ameline (Mikhaël Hers’ Amanda), in collaboration with Geneviève Brisac of the 1923 novel Scarlet Sails by Russian author Alexander Grin, we discuss the influence of Vittorio De Sica’s Miracle In Milan, the chance discovery of Louise Michel’s poetry, fathers as mothers, dethroning princes and knights in shining armour, being an archivist, Louis Garrel’s crocodile entrance, Pietro’s new project on the question what is war, and the end credit thanks in Scarlet to Renato Berta, Caroline Champetier and Gianfranco Rosi.
Raphaël (Raphaël Thiéry) with his daughter Juliette...
- 6/7/2023
- by Anne-Katrin Titze
- eyeforfilm.co.uk
As filmmaking gets further relegated to smaller screens, it’s a breath of fresh air to have a director like Pietro Marcello crafting cinema that is best experienced on a vast canvas. While the release of his stunning 2019 drama Martin Eden was unfortunately dampened by the pandemic, he’s now returned with the gorgeous fable Scarlet (aka L’Envol). Premiering just about a year ago at Cannes, the tale of a woman’s family and romantic journey in post-wwi France will now arrive in U.S. theaters starting this Friday. Starring Juliette Jouan, Raphaël Thierry, Louis Garrel, Noémie Lvovsky, Ernst Umhauer, François Négret, and Yolande Moreau.
While he stopped by NYC for last fall’s New York Film Festival premiere, I had the opportunity to speak with Marcello about his experience working in France, the silent film connections to Scarlet, how his latest work marked a transitional point for his career,...
While he stopped by NYC for last fall’s New York Film Festival premiere, I had the opportunity to speak with Marcello about his experience working in France, the silent film connections to Scarlet, how his latest work marked a transitional point for his career,...
- 6/6/2023
- by Jordan Raup
- The Film Stage
Almost exactly a year after it made its world premiere as the Opening Film of the 2022 Cannes Directors’ Fortnight, the trailer arrives for Italian director Pietro Marcello’s Scarlet (L’Envol). Marcello’s French-language debut follows his previous effort Martin Eden, which made waves on the festival circuit in 2020 (despite the pandemic). Kino Lorber will release Scarlet in New York theaters next month. An official synopsis reads: Shortly after World War I, veteran Raphaël (Raphaël Thiéry) returns home from the frontlines to find himself a widower, and father to an infant daughter. Raised by her father in rural Normandy, the child […]
The post Trailer Watch: Pietro Marcello’s Scarlet first appeared on Filmmaker Magazine.
The post Trailer Watch: Pietro Marcello’s Scarlet first appeared on Filmmaker Magazine.
- 5/8/2023
- by Filmmaker Staff
- Filmmaker Magazine-Director Interviews
Almost exactly a year after it made its world premiere as the Opening Film of the 2022 Cannes Directors’ Fortnight, the trailer arrives for Italian director Pietro Marcello’s Scarlet (L’Envol). Marcello’s French-language debut follows his previous effort Martin Eden, which made waves on the festival circuit in 2020 (despite the pandemic). Kino Lorber will release Scarlet in New York theaters next month. An official synopsis reads: Shortly after World War I, veteran Raphaël (Raphaël Thiéry) returns home from the frontlines to find himself a widower, and father to an infant daughter. Raised by her father in rural Normandy, the child […]
The post Trailer Watch: Pietro Marcello’s Scarlet first appeared on Filmmaker Magazine.
The post Trailer Watch: Pietro Marcello’s Scarlet first appeared on Filmmaker Magazine.
- 5/8/2023
- by Filmmaker Staff
- Filmmaker Magazine - Blog
Unless you were lucky enough to catch it on the 2019 festival circuit, the pandemic unfortunately led to most viewers seeing Pietro Marcello’s stunning drama Martin Eden at home. Thankfully his next feature, the gorgeous fable Scarlet (aka L’Envol), will be primed for theatrical viewing. The Cannes selection will get a U.S. release from Kino Lorber on June 9. An adaptation of Scarlet Sails by Alexander Grin, the tale of a woman’s family and romantic journey stars Juliette Jouan, Raphaël Thierry, Louis Garrel, Noémie Lvovsky, Ernst Umhauer, François Négret, and Yolande Moreau.
As David Katz said in his review, “In his previous film Martin Eden, and now with Scarlet, Pietro Marcello has found a novel way to depict artistic striving, closely tying it with the concept of labor. It’s also something that runs through Jim Jarmusch’s Paterson, about the poetry-penning bus driver of the same name:...
As David Katz said in his review, “In his previous film Martin Eden, and now with Scarlet, Pietro Marcello has found a novel way to depict artistic striving, closely tying it with the concept of labor. It’s also something that runs through Jim Jarmusch’s Paterson, about the poetry-penning bus driver of the same name:...
- 5/8/2023
- by Leonard Pearce
- The Film Stage
Italian director Pietro Marcello made a splash at the 2019 Venice Film Festival with the Jack London adaptation “Martin Eden.” That film about an idealistic man’s sentimental and moral education at the turn of the 20th century, distributed in the U.S. by Kino Lorber, more or less introduced the talents of heartthrob Luca Marinelli to Western audiences. Now, Marcello is partnering with the U.S. distributor once more, this time turning his camera on the story of a woman’s coming of age, with “Scarlet.” The cast includes Raphaël Thiéry, Louis Garrel, and newcomer Juliette Jouan. IndieWire shares the exclusive trailer for the film, which premiered at the 2022 Cannes Directors’ Fortnight, below.
Per the official synopsis, shortly after World War I, veteran Raphaël (Raphaël Thiéry) returns home from the frontlines to find himself a widower and father to an infant daughter. Raised by her father in rural Normandy, the...
Per the official synopsis, shortly after World War I, veteran Raphaël (Raphaël Thiéry) returns home from the frontlines to find himself a widower and father to an infant daughter. Raised by her father in rural Normandy, the...
- 5/8/2023
- by Ryan Lattanzio
- Indiewire
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