Garrel denies all of the accusations that were published in Mediapart.
French New Wave filmmaker and 2023 Berlin Silver Bear-winning director Philippe Garrel has been accused of sexual assault by several women with whom he has worked in his films.
In an investigation conducted by France’s Mediapart, Anna Mouglalis and Clotilde Hesme are among five actresses who allege the 75 year-old director made unwanted advances or offered roles in exchange for sexual favours, all in a professional context.
Garrel maintains his innocence and no official charges have been filed in French courts
The director told Mediapart he has “never kissed a...
French New Wave filmmaker and 2023 Berlin Silver Bear-winning director Philippe Garrel has been accused of sexual assault by several women with whom he has worked in his films.
In an investigation conducted by France’s Mediapart, Anna Mouglalis and Clotilde Hesme are among five actresses who allege the 75 year-old director made unwanted advances or offered roles in exchange for sexual favours, all in a professional context.
Garrel maintains his innocence and no official charges have been filed in French courts
The director told Mediapart he has “never kissed a...
- 8/30/2023
- by Rebecca Leffler
- ScreenDaily
In Front of Your Face (2021).When it comes to autofiction in contemporary cinema, a few directors are producing works that are as piercingly candid as those of Hong Sang-soo. Curiously though, family life has occupied the outer margins of the purview of Hong’s films. “For some reason, I get the impression that Moon-ho [from Woman is the Future of Man (2004)] fears that he might die if he goes home,” says Kim Hye-ri in a 2005 interview with Hong Sang-soo for Cine21. Observing the absence of the familial in his works, she remarks that Hong’s male characters seem to dread going home. “[Characters] have to leave their homes in order for my stories to begin,” Hong responds. He goes on to share his ethical concern when it comes to writing characters based on people he knows in real life, and that he is not ready to use his own family as a source material in his films just yet.
- 5/8/2022
- MUBI
Custody (also know as Jusqu’à la garde) posits the viewer in the fiery of domestic violence by way of its broken family of four. Having previously worked with filmmaker Xavier Legrand on the short Just Before Losing Everything (Avant que de tout perdre) certainly gave a certain nimbleness and insight to players Léa Drucker and Denis Ménochet in addressing full-on desperation found in separation. A riveting and tension-filled watch that I likened to a heated cage fight a la Kramer vs. Kramer, Legrand’s beginnings in cinema began with supporting acting gigs namely in Philippe Garrel’s Regular Lovers.
Legrand won two…...
Legrand won two…...
- 4/24/2018
- by Eric Lavallée
- IONCINEMA.com
Jean Seberg in Les hautes solitudes. Courtesy of The Film Desk.It is a raw experience. No title, no credits of any sort. No soundtrack—although I defy anyone to watch it in absolute silence and not “hear” something, at some point, in their head. Just a series of “moving images” (for once the currently fashionable artworld term is correct), portraits in black-and-white, mostly trained on faces, or the upper parts of several bodies. There is no make-up, only minimal lighting and staging, and no post-production effects or clean-up whatsoever. The on-screen participants include Nico, Tina Aumont, Laurent Terzieff. And, most extensively, Jean Seberg—which may come as a shock to viewers not entirely au fait with the biography of the film’s director, Philippe Garrel. “Garrel’s camera sees Seberg honestly,” wrote David Ehrenstein in his book Film: The Front Line 1984, “as if discovering her for the first time,...
- 2/22/2017
- MUBI
Another piece of the Cannes puzzle has fallen into place. As expected, Philippe Garrel’s L’Ombre Des Femmes has secured a berth at the festival — although not amongst the Official Selection that’s to be unveiled tomorrow. Rather, it has been chosen as the opening night film of Directors’ Fortnight, the parallel section that is organized by the Société des Réalisateurs Français. Garrell, whose credits include Les Amants Réguliers and La Frontière De L’Aube, here works with…...
- 4/15/2015
- Deadline
The first entry in a new and on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin.
***
When asked about the central dance scene in Regular Lovers (Les amants réguliers, 2005), director Philippe Garrel testified that, as he and his closest co-workers get older, they more naturally collaborate – in order to get things done more efficiently, creatively and pleasantly. So did Garrel plot every camera move, choreograph every gesture, set the entire mise en scène of this dance, or any of the similar scenes in his films of the 21st century? It’s unlikely. This is not the awesome, choreographic, one-man mastery of a Max Ophüls, but a collectively shaped vibration or wave: actors, cinematographer, off-screen advisers, director, all mucking in together to capture a particular swirl of sensations and associations clustered around the motif of dance.
The songs, we imagine, are chosen (or at least vetted) by Garrel:...
***
When asked about the central dance scene in Regular Lovers (Les amants réguliers, 2005), director Philippe Garrel testified that, as he and his closest co-workers get older, they more naturally collaborate – in order to get things done more efficiently, creatively and pleasantly. So did Garrel plot every camera move, choreograph every gesture, set the entire mise en scène of this dance, or any of the similar scenes in his films of the 21st century? It’s unlikely. This is not the awesome, choreographic, one-man mastery of a Max Ophüls, but a collectively shaped vibration or wave: actors, cinematographer, off-screen advisers, director, all mucking in together to capture a particular swirl of sensations and associations clustered around the motif of dance.
The songs, we imagine, are chosen (or at least vetted) by Garrel:...
- 1/21/2014
- by Cristina Álvarez López & Adrian Martin
- MUBI
It's been two years on the dot since Maurice Garrel and his grandson Louis were last paired on screen in the criminally misunderstood Un été brûlant, an elaborate treatise on authenticity and imitation, as well as on experience and its reluctance to be imparted. In the film's final scene, Philippe Garrel bestows a generous gift on the medium as such when Maurice's ghost visits the dying youth in a hospital room to tell stories about his involvement in the Resistance and miraculous survival on the battlefield. The actor died shortly before the film was completed. Basking in the bright sunshine, the old man, all pigment spots and with an incessant tick, is playing the part of a dead man, all the while professing his love of life.
La jalousie (Jealousy) finds Louis Garrel back in the hospital where he lies motionless, oxygen mask over his face, recovering from a failed suicide attempt.
La jalousie (Jealousy) finds Louis Garrel back in the hospital where he lies motionless, oxygen mask over his face, recovering from a failed suicide attempt.
- 10/3/2013
- by Boris Nelepo
- MUBI
Olivier Assayas seems to be dramatising his own youth with this beautiful-looking account of the soixante-huitard aftermath – but politics give way too easily to nostalgia
In contemporary French and European cinema, the events of May 1968 live stubbornly on – intensely debated and treasured and re-mythologised. A whiff of tear gas is a madeleine. For wasn't it cinema itself, and the attempted sacking of the Cinématheque Française chief Henri Langlois, that helped spark the Paris uprising? Philippe Garrel's Les Amants Réguliers, or Regular Lovers (2005), showed a young poet, played by the director's son Louis, taking to the barricades in 1968. Louis Garrel played something similar in Bernardo Bertolucci's soixante-huitard swoon, The Dreamers (2003). Before that, Louis Malle's Milou En Mai, or May Fools (1990) starred Michel Piccoli as the provincial Milou, whose family estate in May 1968 is on the verge of being dismembered by history itself.
Olivier Assayas's Après Mai, or After May,...
In contemporary French and European cinema, the events of May 1968 live stubbornly on – intensely debated and treasured and re-mythologised. A whiff of tear gas is a madeleine. For wasn't it cinema itself, and the attempted sacking of the Cinématheque Française chief Henri Langlois, that helped spark the Paris uprising? Philippe Garrel's Les Amants Réguliers, or Regular Lovers (2005), showed a young poet, played by the director's son Louis, taking to the barricades in 1968. Louis Garrel played something similar in Bernardo Bertolucci's soixante-huitard swoon, The Dreamers (2003). Before that, Louis Malle's Milou En Mai, or May Fools (1990) starred Michel Piccoli as the provincial Milou, whose family estate in May 1968 is on the verge of being dismembered by history itself.
Olivier Assayas's Après Mai, or After May,...
- 5/23/2013
- by Peter Bradshaw
- The Guardian - Film News
A Burning Hot Summer features another of Philippe Garrel's unforgettable dance sequences. (Who can forget "This Time Tomorrow" in Les amants réguliers?) Here the song is Dirty Pretty Things' "Truth Begins," the actors include Monica Bellucci and Louis Garrel and it is photographed in vibrant color by the great Willy Kurant (Masculin Féminin, Under the Sun of Satan, Pootie Tang).
Garrel's new film is being released in the U.S. from IFC Films this Friday exclusively at the IFC Center in Manhattan, and is available nationwide in the U.S. on demand via Sundance Selects, plus digital outlets iTunes, Amazon Streaming, SundanceNOW, Xbox and PS3....
Garrel's new film is being released in the U.S. from IFC Films this Friday exclusively at the IFC Center in Manhattan, and is available nationwide in the U.S. on demand via Sundance Selects, plus digital outlets iTunes, Amazon Streaming, SundanceNOW, Xbox and PS3....
- 6/28/2012
- MUBI
Philippe Garrel's Les amants réguliers (dear Mubi, please don't use the horrific English title) came back to my mind while watching the news (including CNN) about the Middle East and Syria. Having friends somewhere far can make you watch television and look for the news. This is when remembering Les Amants réguliers brought back a nagging question: how can a film become newsreels? Newsreels of the past. A documentary report of things that were never filmed. Looking at some photos of Paris in May '68, you can see these young boys and girls, these gestures, these actions...but who ever filmed what they did just after or before the demonstration? The way they loved and doubted? The way they really lived to change the world? There are so many so-called historical films, from Gladiator to Days of Glory or Saving Private Ryan, but never a feeling that one is...
- 10/16/2011
- MUBI
Olivier Assayas' Carlos (the 5 1/2 long verison) and Xavier Beauvois' Cannes winner Of Gods and Men would appear to be the frontrunners in this year's 8 nominated films for the Louis-Delluc prize. The annual Best French Film award that commenced operations back in 1937, when Jean Renoir's Les Bas-fonds claimed the inaugural prize will announce the winners for Best Film and Best First Film on December 17th. Best Feature Noms: Carlos - Olivier Assayas The Ghost Writer - Roman Polanski Mysteries of Lisbon - Raoul Ruiz Of Gods and Men - Xavier Beauvois On Tour - Mathieu Amalric The Princess of Montpensier - Bertrand Tavernier White Material - Claire Denis Young Girls in Black - Jean-Paul Civeyrac Delluc prize for first-time director: A Violent Poison - Katell Quillevere An Ordinary Execution - Marc Dugain Belle Epine - Rebecca Zlotowski Domaine - Patric Chiha Gainsbourg - Joann Sfar La Vie au Ranch...
- 11/24/2010
- IONCINEMA.com
Avant-garde French cinematographer at the heart of the new wave
For 45 years, the French cinematographer William Lubtchansky, who has died of heart disease aged 72, put his talents at the disposal of the most challenging, intellectually inquiring, uncompromisingly brilliant film directors who emerged with the French new wave. Lubtchansky worked with Jean-Luc Godard (six times), although they fell out, made up and fell out again; the husband and wife team of Jean-Marie Straub and Danièle Huillet (11 times); and Jacques Rivette (14 times).
Although these directors differed in their approaches and sensibilities, they were united in their irreverent, generally unsentimental treatment of character, their existential attitude to society and to human behaviour, and their experiments with filmic space and time. They questioned cinema itself by drawing attention to the conventions used in film-making and quoting from the other arts. They presented an alternative to Hollywood by consciously breaking its conventions while at the...
For 45 years, the French cinematographer William Lubtchansky, who has died of heart disease aged 72, put his talents at the disposal of the most challenging, intellectually inquiring, uncompromisingly brilliant film directors who emerged with the French new wave. Lubtchansky worked with Jean-Luc Godard (six times), although they fell out, made up and fell out again; the husband and wife team of Jean-Marie Straub and Danièle Huillet (11 times); and Jacques Rivette (14 times).
Although these directors differed in their approaches and sensibilities, they were united in their irreverent, generally unsentimental treatment of character, their existential attitude to society and to human behaviour, and their experiments with filmic space and time. They questioned cinema itself by drawing attention to the conventions used in film-making and quoting from the other arts. They presented an alternative to Hollywood by consciously breaking its conventions while at the...
- 5/12/2010
- by Ronald Bergan
- The Guardian - Film News
PARIS -- Pascale Ferran's Lady Chatterley walked away with the prize for French film of the year at a ceremony for the Prix Louis-Delluc 2006 on Monday.
Le Pressentiment, directed by actor-turned-director Jean-Pierre Darroussin, was declared best first film. The coveted honor, named for one of France's original filmmakers/critics and nicknamed the Goncourt du cinema, was awarded to Ferran and to Darroussin by the jury and its president Gilles Jacob at famed Paris restaurant Fouquet's.
The Prix Louis-Delluc, given since 1937, is typically an early forecast of accolades to come as the French awards season kicks off.
Lady Chatterley, based on the second version of D.H. Lawrence's controversial novel, is distributed by Ad Vitam and stars Marina Hands as Lady Constance Chatterley.
The film is being sold internationally by Films Distribution, which also boasts last year's Prix Louis-Delluc winner, Philippe's Garrel's Regular Lovers, among its library titles.
Competition for this year's prize included: Bled Number One by Rabah Ameur-Zaimeche, who won the award for best first film in 2002 for his "Wesh Wesh, Qu'est-ce qui se passe?"; Coeurs by Alain Resnais, who has previously taken home the award in 1966 for La Guerre est Finie, in 1993 for Smoking-No Smoking and in 1997 for On Connait la Chanson; Flandres by Bruno Dumont; Jardins en Automne by Otar Iosseliani, winner of the prize in 1999 for Adieu, Plancher des Vaches; and Quand J'etais Chanteur by Xavier Giannoli.
Le Pressentiment, directed by actor-turned-director Jean-Pierre Darroussin, was declared best first film. The coveted honor, named for one of France's original filmmakers/critics and nicknamed the Goncourt du cinema, was awarded to Ferran and to Darroussin by the jury and its president Gilles Jacob at famed Paris restaurant Fouquet's.
The Prix Louis-Delluc, given since 1937, is typically an early forecast of accolades to come as the French awards season kicks off.
Lady Chatterley, based on the second version of D.H. Lawrence's controversial novel, is distributed by Ad Vitam and stars Marina Hands as Lady Constance Chatterley.
The film is being sold internationally by Films Distribution, which also boasts last year's Prix Louis-Delluc winner, Philippe's Garrel's Regular Lovers, among its library titles.
Competition for this year's prize included: Bled Number One by Rabah Ameur-Zaimeche, who won the award for best first film in 2002 for his "Wesh Wesh, Qu'est-ce qui se passe?"; Coeurs by Alain Resnais, who has previously taken home the award in 1966 for La Guerre est Finie, in 1993 for Smoking-No Smoking and in 1997 for On Connait la Chanson; Flandres by Bruno Dumont; Jardins en Automne by Otar Iosseliani, winner of the prize in 1999 for Adieu, Plancher des Vaches; and Quand J'etais Chanteur by Xavier Giannoli.
- 12/18/2006
- The Hollywood Reporter - Movie News
COLOGNE, Germany -- Philippe Garrel's Nouvelle Vague tribute Les Amants Reguliers (Regular Lovers) has secured the European Film Academy's Fipresci (film critics) award, while Pierre Pell and Stephane Rozenbaum won the award for artistic contribution for their design of Michel Gondry's The Science Of Sleep, the EFA said Tuesday.
Garrel's Reguliers already has picked up several awards, including a Silver Lion in Venice as well as a best actor Cesar for the film's star (and the director's son) Louis Garrel.
A black-and-white feature partly set during the student riots in Paris in 1968, Regular Lovers is a throwback to an earlier age of French cinema.
Calling Garrel the "younger brother of (Jean-Luc) Godard," Fipresci president Andrei Plakhov praised Les Amants Reguliers for its "sophisticated cinematographic style ... (Garrel's) films are like fake detective stories, where mystery lies, not in the plot but in the style."
The inaugural EFA artistic contribution award went to the production team behind the cardboard dreamscapes and robotic toy horses in Gondry's whimsical The Science of Sleep.
The prizes will be presented Dec.
Garrel's Reguliers already has picked up several awards, including a Silver Lion in Venice as well as a best actor Cesar for the film's star (and the director's son) Louis Garrel.
A black-and-white feature partly set during the student riots in Paris in 1968, Regular Lovers is a throwback to an earlier age of French cinema.
Calling Garrel the "younger brother of (Jean-Luc) Godard," Fipresci president Andrei Plakhov praised Les Amants Reguliers for its "sophisticated cinematographic style ... (Garrel's) films are like fake detective stories, where mystery lies, not in the plot but in the style."
The inaugural EFA artistic contribution award went to the production team behind the cardboard dreamscapes and robotic toy horses in Gondry's whimsical The Science of Sleep.
The prizes will be presented Dec.
- 11/28/2006
- The Hollywood Reporter - Movie News
Taiwanese director Ang Lee was honored with the coveted Golden Lion award for his latest movie Brokeback Mountain at the climax of the 62nd Venice Film Festival in Italy on Saturday. The Crouching Tiger, Hidden Dragon movie-maker's adaptation of an E. Annie Proulx's novella, which tells the story of a gay love affair between two cowboys, played by Jake Gyllenhaal and Heath Ledger, was chosen by the jury as best film. Accepting the golden lion at the Veneto canal city, Lee enthused, "(My film is) a great American love story. I'm so glad it's prevailed here and was received so warmly here." This year's festival was triumphant for the French, with Paris-born director Philippe Garrel picking up the Silver Lion prize for directing Les Amants Reguliers (The Regular Lovers), which also won in the Outstanding Technical Contribution category. Isabelle Huppert was given a Special Lion for her career, which has spanned four decades. Meanwhile, George Clooney's second outing as a director - Good Night, And Good Luck, was named Best Screenplay and Best Actor for leading man David Strathairn.
- 9/12/2005
- WENN
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