La Nouvelle Femme
Formerly going by the title of “Montessori,” Léa Todorov moved into production on her feature debut this past April in Rome, Italy. La Nouvelle Femme features Jasmine Trinca and Leïla Bekhti in a tale set in 1900 — a Parisian darling at the height of her fame must flee Paris in order to hide her daughter. Once in Rome, her life is turned upside down by a meeting with Maria Montessori, a woman doctor who has developed a method for teaching children with learning difficulties. Cinematographer Sébastien Goepfert teamed with Todorov. This was produced by Geko Films’ Grégoire Debailly (Shéhérazade).…...
Formerly going by the title of “Montessori,” Léa Todorov moved into production on her feature debut this past April in Rome, Italy. La Nouvelle Femme features Jasmine Trinca and Leïla Bekhti in a tale set in 1900 — a Parisian darling at the height of her fame must flee Paris in order to hide her daughter. Once in Rome, her life is turned upside down by a meeting with Maria Montessori, a woman doctor who has developed a method for teaching children with learning difficulties. Cinematographer Sébastien Goepfert teamed with Todorov. This was produced by Geko Films’ Grégoire Debailly (Shéhérazade).…...
- 1/10/2023
- by Eric Lavallée
- IONCINEMA.com
A gentle thrum of eroticism vibrates beneath this warm and unusual take on will they/won’t they romance from Leyla Bouzid right from the film’s opening moments when the camera gracefully but intently observes the naked form of Ahmed (Sami Outalbali) as he takes a shower. Although he is nude, this is shot in such a way that it seems sweet rather than intrusive by cinematographer Sébastien Goepfert, which sets the tone for a film that celebrates the joy and fears associated with youthful lust, while exploring ideas of internal cultural conflict, without making it feel tacky or like a diatribe.
Ahmed is first-generation French, the son of Algerian immigrants, and about to swap the working-class neighbourhood where he lives with his mum, dad and sister for the unfamiliar halls of the Sorbonne. Shy, in general, and even more so in the new environment, his first day in lectures on erotic Arabic.
Ahmed is first-generation French, the son of Algerian immigrants, and about to swap the working-class neighbourhood where he lives with his mum, dad and sister for the unfamiliar halls of the Sorbonne. Shy, in general, and even more so in the new environment, his first day in lectures on erotic Arabic.
- 5/2/2022
- by Amber Wilkinson
- eyeforfilm.co.uk
The first experience of lust often forms the basis of a coming-of-age story. Given that it’s a subgenre that is hardly underpopulated, in any given year, we tend to see quite a few of those awkward first fumblings, those early embarrassments, those clumsy hormonal attempts at seduction. But rarely are they outlined with the same sincerity and sweetness as in as the cooling influence of his reserve and cultural values meets the incoming weather front of a hot new passion.
The first thunderclap happens the moment Ahmed (“Sex Education’s” Sami Outalbali in a beautifully soulful performance) lays eyes on Farah (Zbeida Belhajamor) in the halls of the Sorbonne, where both are taking a course in comparative literature. It doesn’t help that the reading for the class, taught by Professor Morel (Aurélia Petit), is almost exclusively early Arabic erotic poetry, in which Ahmed, the French-born son of Algerian immigrants,...
The first thunderclap happens the moment Ahmed (“Sex Education’s” Sami Outalbali in a beautifully soulful performance) lays eyes on Farah (Zbeida Belhajamor) in the halls of the Sorbonne, where both are taking a course in comparative literature. It doesn’t help that the reading for the class, taught by Professor Morel (Aurélia Petit), is almost exclusively early Arabic erotic poetry, in which Ahmed, the French-born son of Algerian immigrants,...
- 11/8/2021
- by Jessica Kiang
- Variety Film + TV
The visual assurance of “You Will Die at Twenty” is the most immediately notable element of Sudanese director Amjad Abu Alala’s accomplished feature debut. Beautifully composed and boasting the kind of sensitivity to light sources and color tonalities usually ascribed to top photographers, the film lovingly depicts the remote east-central region of Sudan as a quasi-magical place of sand, sky and the colors of the Nile. The story, about a young man raised to believe an unfortunate event at his birth has condemned him to die at 20, generally has an equally clear-cut quality, simple in the telling yet matched to the pictorial tenor. Some may find a clash between its fable-like guilelessness and other moments when the outside world’s cynicism breaks in, yet the film remains a touching, nonjudgmental depiction of people circumscribed by superstition. Festival play is assured.
This pocket of Sudan is both life-giving, situated between...
This pocket of Sudan is both life-giving, situated between...
- 9/4/2019
- by Jay Weissberg
- Variety Film + TV
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