Adjani has denied she evaded paying tax on a €2m gift and of pretending to live in Portugal for two years.
Acclaimed French actress Isabelle Adjani has been given a two-year suspended prison sentence and fined €250,000 after being found guilty of aggravated tax fraud and money laundering by a Paris court on Thursday (December 14).
Adjani’s lawyer Olivier Pardo confirmed to Screen late Thursday that her defence team had officially filed an appeal that is now making its way through the Paris courts.
Adjani has consistently maintained her innocence in the face of charges that include evading taxes on a...
Acclaimed French actress Isabelle Adjani has been given a two-year suspended prison sentence and fined €250,000 after being found guilty of aggravated tax fraud and money laundering by a Paris court on Thursday (December 14).
Adjani’s lawyer Olivier Pardo confirmed to Screen late Thursday that her defence team had officially filed an appeal that is now making its way through the Paris courts.
Adjani has consistently maintained her innocence in the face of charges that include evading taxes on a...
- 12/14/2023
- by Rebecca Leffler
- ScreenDaily
Plot: The marriage of Mark and Anna crumbles, leading to a series of intense arguments, gross-out body horror, brutal murders, and possibly an apocalyptic scenario.
Review: Director Andrzej Żuławski’s 1981 horror film Possession was never a movie that was destined to be embraced by mainstream audiences, but there has always been an audience out there for the film – it has just had difficulty reaching the viewers that would get the most out of watching it. In the United Kingdom, the film was banned as a video nasty. For the U.S. release, forty minutes were whittled out of its 124 minute running time. Home video releases have come along and then gone out of print, and the DVDs and Blu-rays are going for prices some collectors probably aren’t willing to pay for something they’re not familiar with. But now Possession is streaming on the Shudder service, which may be...
Review: Director Andrzej Żuławski’s 1981 horror film Possession was never a movie that was destined to be embraced by mainstream audiences, but there has always been an audience out there for the film – it has just had difficulty reaching the viewers that would get the most out of watching it. In the United Kingdom, the film was banned as a video nasty. For the U.S. release, forty minutes were whittled out of its 124 minute running time. Home video releases have come along and then gone out of print, and the DVDs and Blu-rays are going for prices some collectors probably aren’t willing to pay for something they’re not familiar with. But now Possession is streaming on the Shudder service, which may be...
- 1/10/2023
- by Cody Hamman
- JoBlo.com
Bertrand Blier’s edgy romp about a pair of ne’er-do-well petty-crooks will go too far for many viewers — they’re antisocially chauvinistic in some really outrageous ways. Are they jolly adventurers or just terminally obnoxious? The twisted social comedy really needs its talented cast: Gérard Depardieu, Patrick Dewaere, Miou-Miou, Jeanne Moreau, Brigitte Fossey, and a very young Isabelle Huppert. The new presentation includes a commentary by Richard Peña.
Going Places
Blu-ray
Cohen Film Collection / Kino Lorber
1974 / Color / 1:66 widescreen / 118 min. / Les valseuses / Street Date October 11, 2022 / Available from Kino Lorber / 29.95
Starring: Gérard Depardieu, Patrick Dewaere, Miou-Miou, Jeanne Moreau, Brigitte Fossey, Jacques Chailleux, Isabelle Huppert, Thierry Lhermitte.
Cinematography: Bruno Nuytten
Production Designers: Jean-Jacques Caziot, Françoise Hardy
Film Editor: Kénout Peltier
Original Music:
Written by Bertrand Blier and Philippe Dumarçay from the novel by Bertrand Blier <smaStéphane Grappellill>
Produced by Paul Claudon
Directed by Bertrand Blier
The freedom of the screen that came with...
Going Places
Blu-ray
Cohen Film Collection / Kino Lorber
1974 / Color / 1:66 widescreen / 118 min. / Les valseuses / Street Date October 11, 2022 / Available from Kino Lorber / 29.95
Starring: Gérard Depardieu, Patrick Dewaere, Miou-Miou, Jeanne Moreau, Brigitte Fossey, Jacques Chailleux, Isabelle Huppert, Thierry Lhermitte.
Cinematography: Bruno Nuytten
Production Designers: Jean-Jacques Caziot, Françoise Hardy
Film Editor: Kénout Peltier
Original Music:
Written by Bertrand Blier and Philippe Dumarçay from the novel by Bertrand Blier <smaStéphane Grappellill>
Produced by Paul Claudon
Directed by Bertrand Blier
The freedom of the screen that came with...
- 11/12/2022
- by Glenn Erickson
- Trailers from Hell
Camille ClaudelIt seems impossible to talk about Isabelle Adjani without mentioning her eyes. Round, blue, and prone to tears, Adjani’s eyes are filled with a heartbreaking expressiveness reminiscent of the actresses of the silent film era. A series collecting some of Adjani’s most memorable performances, now playing at New York’s French Institute Alliance Française, is titled (obviously) “Magnetic Gaze.” The 10-film series offers a sampling of her work, from her breakthrough as the title character in François Truffaut’s The Story of Adèle H. (1975), a haunting portrait of l’amour fou, to her most recent role in—of all things—an action comedy, Romain Gavras’s The World is Yours (2018). Adjani is extra. She works a close-up with an intensity few actresses can surpass. When she tears up, so do we. While “Magnetic Gaze” is missing some canonical Adjani films the collection here shows the actress at her most emotionally volatile.
- 9/17/2019
- MUBI
Celebrated French cinematographer Pierre Lhomme has passed away aged 89.
The veteran DoP was well known for a string of French classics including Jean-Pierre Melville’s Army Of Shadows (1969), Jean Eustache’s The Mother And The Whore (1973), Bruno Nuytten’s Camille Claudelle (1988) and Gerard Depardieu pic Cyrano De Bergerac (1990).
Lhomme’s career as a cinematographer spanned five decades, beginning in 1953. He was nominated for seven Cesar Awards, winning two for Cyrano De Bergerac and Camille Claudelle. The former also saw him garner a BAFTA win and a technical grand prize at Cannes.
Lhomme also worked with directors Chris Marker, Robert Bresson, Patrice Chéreauon and on several Merchant-Ivory features, including the James Ivory-directed Quartet, Maurice, Jefferson In Paris and Le Divorce, which was his last credit in 2003.
According to the Lumiere Institute in France, Lhomme died yesterday.
Grande tristesse. Pierre Lhomme s’est éteint hier à 89 ans. Il était le cinema français. Formé à Louis Lumière, engagé dans les combats de son temps et de son métier, il a été aussi aux côtés du @festlumiere dès 2009. @afcinema_com pic.twitter.com/5lULCMmIzi
— Institut Lumière (@InstitutLumiere) July 5, 2019...
The veteran DoP was well known for a string of French classics including Jean-Pierre Melville’s Army Of Shadows (1969), Jean Eustache’s The Mother And The Whore (1973), Bruno Nuytten’s Camille Claudelle (1988) and Gerard Depardieu pic Cyrano De Bergerac (1990).
Lhomme’s career as a cinematographer spanned five decades, beginning in 1953. He was nominated for seven Cesar Awards, winning two for Cyrano De Bergerac and Camille Claudelle. The former also saw him garner a BAFTA win and a technical grand prize at Cannes.
Lhomme also worked with directors Chris Marker, Robert Bresson, Patrice Chéreauon and on several Merchant-Ivory features, including the James Ivory-directed Quartet, Maurice, Jefferson In Paris and Le Divorce, which was his last credit in 2003.
According to the Lumiere Institute in France, Lhomme died yesterday.
Grande tristesse. Pierre Lhomme s’est éteint hier à 89 ans. Il était le cinema français. Formé à Louis Lumière, engagé dans les combats de son temps et de son métier, il a été aussi aux côtés du @festlumiere dès 2009. @afcinema_com pic.twitter.com/5lULCMmIzi
— Institut Lumière (@InstitutLumiere) July 5, 2019...
- 7/5/2019
- by Andreas Wiseman
- Deadline Film + TV
Pierre Lhomme, the French cinematographer behind such films as Army of Shadows, The Mother and the Whore, Camille Claudel and Cyrano de Bergerac, has died. He was 89.
Lhomme died July 4 in Arles, France, the French Society of Cinematographers told The Hollywood Reporter.
Lhomme received a César award in 1989 for his work on Camille Claudel, which was directed by former cameraman Bruno Nuytten. He received a second César in 1991 for Jean-Paul Rappeneau’s Cyrano de Bergerac, which also won a technical prize at Cannes.
Among his 60-odd credits are films by Chris Marker (Le Joli Mai, which Lhomme co-directed, and A bientôt,...
Lhomme died July 4 in Arles, France, the French Society of Cinematographers told The Hollywood Reporter.
Lhomme received a César award in 1989 for his work on Camille Claudel, which was directed by former cameraman Bruno Nuytten. He received a second César in 1991 for Jean-Paul Rappeneau’s Cyrano de Bergerac, which also won a technical prize at Cannes.
Among his 60-odd credits are films by Chris Marker (Le Joli Mai, which Lhomme co-directed, and A bientôt,...
Pierre Lhomme, the French cinematographer behind films like Army of Shadows, The Mother and the Whore, Camille Claudel and Cyrano de Bergerac, has died.
His death was first reported in a tweet from the Institut Lumière in Lyon. He was 89.
Lhomme received a César award in 1989 for his work on Camille Claudel, which was directed by former cameraman Bruno Nuytten. He received a second César in 1991 for Jean-Paul Rappeneau’s Cyrano de Bergerac, which also won a technical prize at Cannes.
Among his 60-odd credits are films by Chris Marker (Le Joli Mai, which Lhomme co-directed, and A bientôt, j’...
His death was first reported in a tweet from the Institut Lumière in Lyon. He was 89.
Lhomme received a César award in 1989 for his work on Camille Claudel, which was directed by former cameraman Bruno Nuytten. He received a second César in 1991 for Jean-Paul Rappeneau’s Cyrano de Bergerac, which also won a technical prize at Cannes.
Among his 60-odd credits are films by Chris Marker (Le Joli Mai, which Lhomme co-directed, and A bientôt, j’...
Isabelle Adjani, the Oscar-nominated star of François Truffaut’s “The Story of Adele H.” and Bruno Nuytten’s “Camille Claudel,” presided over the Cannes jury in 1997, the year of the festival’s 50th anniversary.
Heading the panel is “a very intense experience and at times a difficult mission when it comes to judging the work of other artists, and defending your emotions and ideas against those of other jury members,” says Adjani, who is a fan of incoming president Cate Blanchett. Adjani reportedly clashed with directors Mike Leigh and Nanni Moretti in choosing the winner of the 1997 Palme d’Or, with the jury eventually deciding to give the award to two films, Shohei Imamura’s “The Eel” and Abbas Kiarostami’s “Taste of Cherry.”
“The film world continues to be dominated by men,” says Adjani, one of the first and few French stars to have publicly voiced her support for the #MeToo movement.
Heading the panel is “a very intense experience and at times a difficult mission when it comes to judging the work of other artists, and defending your emotions and ideas against those of other jury members,” says Adjani, who is a fan of incoming president Cate Blanchett. Adjani reportedly clashed with directors Mike Leigh and Nanni Moretti in choosing the winner of the 1997 Palme d’Or, with the jury eventually deciding to give the award to two films, Shohei Imamura’s “The Eel” and Abbas Kiarostami’s “Taste of Cherry.”
“The film world continues to be dominated by men,” says Adjani, one of the first and few French stars to have publicly voiced her support for the #MeToo movement.
- 5/2/2018
- by Elsa Keslassy
- Variety Film + TV
It’s one thing to make a movie about an artist and his art; it is a whole other thing to make a movie about an artist mostly just doing his art. That is the central focus of Rodin, a film concerning the famed sculptor Auguste Rodin (Vincent Lindon) that all but sucks away the drama in favor of scenes of the artist creating his work. Some of these sequences do in fact work, especially when director Jacques Doillon is trying to recreate the time period when Rodin was struggling to make the sculpture of Balzac. Authorities aren’t happy that he has painted him as an overweight figure, which he was, and demand a skinnier version. The eureka moment is his ingenious idea of plastering a robe on the statue. It’s the film’s finest scene, making one feel as if they were in the room that day when that time-capsule-worthy moment happened.
- 5/27/2017
- by The Film Stage
- The Film Stage
2016 movies Things to Come (pictured) and Elle have earned French cinema icon Isabelle Huppert her – surprisingly – first National Society of Film Critics Best Actress Award. 2016 Movies: Isabelle Huppert & 'Moonlight' among National Society of Film Critics' top picks Earlier today (Jan. 7), the National Society of Film Critics announced their top 2016 movies and performances. Somewhat surprisingly, this year's Nsfc list – which generally contains more offbeat entries than those of other U.S.-based critics groups – is quite similar to their counterparts', most of which came out last December. No, that doesn't mean the National Society of Film Critics has opted for the crowd-pleasing route. Instead, this awards season U.S. critics have not infrequently gone for even less mainstream entries than usual. Examples, among either the Nsfc winners or runners-up, include Isabelle Huppert in Elle, Moonlight, Toni Erdmann, Casey Affleck in Manchester by the Sea, and Lily Gladstone in Certain Women. French...
- 1/8/2017
- by Mont. Steve
- Alt Film Guide
When the Night Has Come: Grandrieux Laments Lost Love
Seven years have passed since provocateur Philippe Grandrieux’s 2008 film Un Lac, and he remains somewhat of an acquired taste, though considering the subject matter, Malgré la nuit (Despite the Night) is surprisingly less galvanizing than his early features. The narrative, should we indeed call it thus, couldn’t be more simple, roughly concerning a British bloke returning to Paris to reconnect with his lost love. His reasons for leaving or returning aren’t apparently of importance once he disappears into a sort of Parisian ether, where passionate memories are pierced by a current state of abject degradation upon reconnecting with his troubled object of affection. The take away is more of a cerebral, extrasensory experience, existing as a diluted nightmare where pleasure and punishment are doled out in equal measure, which is hardly a surprise for those accustomed to Grandrieux’s filmography.
Seven years have passed since provocateur Philippe Grandrieux’s 2008 film Un Lac, and he remains somewhat of an acquired taste, though considering the subject matter, Malgré la nuit (Despite the Night) is surprisingly less galvanizing than his early features. The narrative, should we indeed call it thus, couldn’t be more simple, roughly concerning a British bloke returning to Paris to reconnect with his lost love. His reasons for leaving or returning aren’t apparently of importance once he disappears into a sort of Parisian ether, where passionate memories are pierced by a current state of abject degradation upon reconnecting with his troubled object of affection. The take away is more of a cerebral, extrasensory experience, existing as a diluted nightmare where pleasure and punishment are doled out in equal measure, which is hardly a surprise for those accustomed to Grandrieux’s filmography.
- 2/25/2016
- by Nicholas Bell
- IONCINEMA.com
Special Mention: Dead Ringers
Directed by David Cronenberg
Written by David Cronenberg and Norman Snider
Canada, 1988
Genre: Thriller / Drama
Dead Ringers is one of David Cronenberg’s masterpieces, and Jeremy Irons gives the most highly accomplished performance of his entire career – times two. This is the story of Beverly and Elliot Mantle (both played by Irons), identical twins who, since birth, have been inseparable. Together, they work as gynecologists in their own clinic, and literally share everything between them, including the women they work and sleep with. Jealousy comes between the two when Beverly falls in love with a new patient and decides he no longer wants to share his lady friend with Elliot. The twins, who have always existed together as one, have trouble adapting and soon turn against one another. Unlike the director’s previous films, the biological horror in Dead Ringers is entirely conveyed through the psychological...
Directed by David Cronenberg
Written by David Cronenberg and Norman Snider
Canada, 1988
Genre: Thriller / Drama
Dead Ringers is one of David Cronenberg’s masterpieces, and Jeremy Irons gives the most highly accomplished performance of his entire career – times two. This is the story of Beverly and Elliot Mantle (both played by Irons), identical twins who, since birth, have been inseparable. Together, they work as gynecologists in their own clinic, and literally share everything between them, including the women they work and sleep with. Jealousy comes between the two when Beverly falls in love with a new patient and decides he no longer wants to share his lady friend with Elliot. The twins, who have always existed together as one, have trouble adapting and soon turn against one another. Unlike the director’s previous films, the biological horror in Dead Ringers is entirely conveyed through the psychological...
- 10/29/2015
- by Ricky Fernandes
- SoundOnSight
Cohen Media Group presents a double feature of two mid-period films from French auteur Alain Resnais, both significant titles overlooked on a resume of important and notable works. The first is 1983’s Love is a Bed of Roses, featuring revolving cast members who would frequent other titles from the director throughout the remainder of that decade, and also represents his first collaboration with actress/wife Sabine Azema, who would appear in nearly every one of his remaining film productions. The second is the superb 1984 film Love Unto Death, an existential portrait of love and death as fluid states of mind.
The playful Life is a Bed of Roses premiered at the Venice Film Festival and nabbed Cesar nominations for Azema as Best Supporting Actress and for production designer Jacques Saulnier. Penned by Jean Gruault (who wrote Resnais’ previous feature, 1980’s superior Mon Oncle D’Amerique), it’s a non-linear film divided into three distinct parts,...
The playful Life is a Bed of Roses premiered at the Venice Film Festival and nabbed Cesar nominations for Azema as Best Supporting Actress and for production designer Jacques Saulnier. Penned by Jean Gruault (who wrote Resnais’ previous feature, 1980’s superior Mon Oncle D’Amerique), it’s a non-linear film divided into three distinct parts,...
- 8/4/2015
- by Nicholas Bell
- IONCINEMA.com
You no doubt know of a crazy local or two that mills around your town in a daze, occasionally causing disturbances, but otherwise remains fairly harmless. If you stop to think about it, it’s possible that they may have had an entirely different life with a past rich with fame, fortune and family, but sadly, their final warped reality is often the result of something as tragic as mental illness. In the case of François Truffaut‘s true to life telling of French literary master Victor Hugo’s increasingly demented daughter’s obsessive breakdown in The Story of Adèle H., the vagabond fate stems from haughty infatuation and swiftly disintegrates into detached delirium not unlike those familiar empty faces asking for bus fare or something to eat on your local street corner.
The Story of Adèle H. followed Truffaut’s Best Foreign Picture winning Day For Night, gleaning its...
The Story of Adèle H. followed Truffaut’s Best Foreign Picture winning Day For Night, gleaning its...
- 6/16/2015
- by Jordan M. Smith
- IONCINEMA.com
By Fred Blosser
I approached the 2013 Blu-Ray edition of André Téchiné’s “The Bronte Sisters” (1979) with mild interest, which was mostly piqued by the powerhouse casting of the three leading young actresses of 1970s French cinema -- Isabelle Adjani, Isabelle Huppert, and Marie-France Pisier -- as Emily, Anne, and Charlotte Bronte. Imagine a 2014 U.S. film teaming Scarlett Johanssen, Jennifer Lawrence and Shailene Woodley. With vague memories of “Devotion,” Hollywood’s melodramatic 1946 Bronte biopic, I was doubtful that the film itself would be particularly compelling. But I was pleasantly surprised. Relating the formative events in the lives of the three sisters and their brother Branwell (Pascal Greggory) in straightforward, episodic form, Téchiné’s interpretation is first-rate: excellently acted, emotionally moving, and visually striking with starkly beautiful cinematography by Bruno Nuytten on the Yorkshire moors where the Bronte siblings lived their sadly short lives.
In a new documentary about the making of the film,...
I approached the 2013 Blu-Ray edition of André Téchiné’s “The Bronte Sisters” (1979) with mild interest, which was mostly piqued by the powerhouse casting of the three leading young actresses of 1970s French cinema -- Isabelle Adjani, Isabelle Huppert, and Marie-France Pisier -- as Emily, Anne, and Charlotte Bronte. Imagine a 2014 U.S. film teaming Scarlett Johanssen, Jennifer Lawrence and Shailene Woodley. With vague memories of “Devotion,” Hollywood’s melodramatic 1946 Bronte biopic, I was doubtful that the film itself would be particularly compelling. But I was pleasantly surprised. Relating the formative events in the lives of the three sisters and their brother Branwell (Pascal Greggory) in straightforward, episodic form, Téchiné’s interpretation is first-rate: excellently acted, emotionally moving, and visually striking with starkly beautiful cinematography by Bruno Nuytten on the Yorkshire moors where the Bronte siblings lived their sadly short lives.
In a new documentary about the making of the film,...
- 8/20/2014
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Many are perhaps familiar with Isabelle Adjani’s much hailed Oscar nominated performance as the turn of the century French sculptress Camille Claudel in the 1988 Bruno Nuytten sensation, an artist whose unfortunate demise overshadowed her work. When director Bruno Dumont announced his latest film, Camille Claudel, 1915, (a 2013 Berlin Film Festival entry) which would mark the first time the auteur utilizes a notable actor, here in the form of Juliette Binoche, it marked an intriguing change of pace for a director known for oblique and sometimes distractingly philosophical works where the sacred and profane seethe incongruously until sparks of surprising violence puncture the ambiance.
What’s perhaps more surprising is Dumont’s end result here, an elegiac look at a brief moment in time where Claudel was only two years into a nearly thirty year internment in an insane asylum. Without a doubt, the success lies primarily with a formidable performance from Binoche,...
What’s perhaps more surprising is Dumont’s end result here, an elegiac look at a brief moment in time where Claudel was only two years into a nearly thirty year internment in an insane asylum. Without a doubt, the success lies primarily with a formidable performance from Binoche,...
- 3/25/2014
- by Nicholas Bell
- IONCINEMA.com
Every year, we here at Sound On Sight celebrate the month of October with 31 Days of Horror; and every year, I update the list of my favourite horror films ever made. Last year, I released a list that included 150 picks. This year, I’ll be upgrading the list, making minor alterations, changing the rankings, adding new entries, and possibly removing a few titles. I’ve also decided to publish each post backwards this time for one reason: the new additions appear lower on my list, whereas my top 50 haven’t changed much, except for maybe in ranking. Enjoy!
Special Mention:
Michael Jackson’s groundbreaking dance routines and unique vocals have influenced generations of musicians, dancers, and entertainers. He was one of entertainment’s greatest icons, and like most gifted individuals, he was always pushing boundaries, reinventing himself, and testing his limits. One of his biggest accomplishments was Thriller, a 14-minute...
Special Mention:
Michael Jackson’s groundbreaking dance routines and unique vocals have influenced generations of musicians, dancers, and entertainers. He was one of entertainment’s greatest icons, and like most gifted individuals, he was always pushing boundaries, reinventing himself, and testing his limits. One of his biggest accomplishments was Thriller, a 14-minute...
- 10/17/2013
- by Ricky
- SoundOnSight
New Release
Kill Your Darlings
R, 1 Hr., 40 Mins.
This shocking drama about the earliest days of the Beats is the rare art biopic that sees the dark roots of creativity. In 1943, Allen Ginsberg (Daniel Radcliffe) enters Columbia University and is drawn into the orbit of the floridly brilliant and damaged Lucien Carr (Dane DeHaan). Radcliffe, in a superb performance, captures Ginsberg’s playfully stern poetic passion, Ben Foster nails the aristocratic young rotter William Burroughs, and DeHaan is inspired as a bohemian-turned-killer. A- —Owen Gleiberman
As I Lay Dying
R, 1 Hr., 49 Mins.
James Franco directed this adaptation of the William Faulkner novel,...
Kill Your Darlings
R, 1 Hr., 40 Mins.
This shocking drama about the earliest days of the Beats is the rare art biopic that sees the dark roots of creativity. In 1943, Allen Ginsberg (Daniel Radcliffe) enters Columbia University and is drawn into the orbit of the floridly brilliant and damaged Lucien Carr (Dane DeHaan). Radcliffe, in a superb performance, captures Ginsberg’s playfully stern poetic passion, Ben Foster nails the aristocratic young rotter William Burroughs, and DeHaan is inspired as a bohemian-turned-killer. A- —Owen Gleiberman
As I Lay Dying
R, 1 Hr., 49 Mins.
James Franco directed this adaptation of the William Faulkner novel,...
- 10/16/2013
- by EW staff
- EW - Inside Movies
Snake Pit Soliloquy: Dumont’s Brief Vignette Profoundly Effective
Many are perhaps familiar with Isabelle Adjani’s much hailed Oscar nominated performance as the turn of the century French sculptress Camille Claudel in the 1988 Bruno Nuytten sensation, an artist whose unfortunate demise overshadowed her work. When director Bruno Dumont announced his latest film, Camille Claudel, 1915, which would mark the first time the auteur utilizes a notable actor, here in the form of Juliette Binoche, it marked an intriguing change of pace for a director known for oblique and sometimes distractingly philosophical works where the sacred and profane seethe incongruously until sparks of surprising violence puncture the ambiance. What’s perhaps more surprising is Dumont’s end result here, an elegiac look at a brief moment in time where Claudel was only two years into a nearly thirty year internment in an insane asylum. Without a doubt, the success lies primarily...
Many are perhaps familiar with Isabelle Adjani’s much hailed Oscar nominated performance as the turn of the century French sculptress Camille Claudel in the 1988 Bruno Nuytten sensation, an artist whose unfortunate demise overshadowed her work. When director Bruno Dumont announced his latest film, Camille Claudel, 1915, which would mark the first time the auteur utilizes a notable actor, here in the form of Juliette Binoche, it marked an intriguing change of pace for a director known for oblique and sometimes distractingly philosophical works where the sacred and profane seethe incongruously until sparks of surprising violence puncture the ambiance. What’s perhaps more surprising is Dumont’s end result here, an elegiac look at a brief moment in time where Claudel was only two years into a nearly thirty year internment in an insane asylum. Without a doubt, the success lies primarily...
- 10/14/2013
- by Nicholas Bell
- IONCINEMA.com
This is a talk given by French director of photography Caroline Champetier at the La Roche-sur-Yon International Film Festival in October 2012, originally published in two parts on the festival’s site (www.fif-85.com). This translation is being published with their kind permission. This year's festival will take place from October 16-21, Kelly Reichardt will be the guest of honor. Many thanks to Emmanuel Burdeau, programmer of the festival, Jordan Mintzer and Caroline Champetier.
Caroline Champetier: I’ve always tried to take a step back from what I’m doing. The more I work, however, the less I’m able to deal with this exercise. I just finished production on Claude Lanzmann’s The Last of the Unjust and have barely said goodbye to David Teboul, a young director who I worked with on Cinq avenue Marceau (2002), a film I think very highly of and that’s about Yves Saint Laurent’s last collection.
Caroline Champetier: I’ve always tried to take a step back from what I’m doing. The more I work, however, the less I’m able to deal with this exercise. I just finished production on Claude Lanzmann’s The Last of the Unjust and have barely said goodbye to David Teboul, a young director who I worked with on Cinq avenue Marceau (2002), a film I think very highly of and that’s about Yves Saint Laurent’s last collection.
- 9/20/2013
- by Ted Fendt
- MUBI
Deauville -- The 39th American Film Festival handed out its awards, with Night Moves taking the top honors. The Grand Prix was awarded to director Kelly Reichardt for her domestic terrorism thriller. Reichardt could not attend the festival but gave an acceptance speech by Skype from her home in New York. Story: Director Bong Joon-Ho Shoots Down Reports of Cut to 'Snowpiercer' In a rare move, the jury -- presided over by president Vincent Lindon and jurors Lou Doillon, Jean Echenoz, Helene Fillieres, Xavier Giannoli, Famke Janssen, Pierre Lescure, Bruno Nuytten and Rebecca Zlotowski -- decided to hand out two Prix du Jury. The first went
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- 9/7/2013
- by Rhonda Richford
- The Hollywood Reporter - Movie News
Bong Joon Ho’s Snowpiercer will close the 39th annual Deauville American Film Festival, set to run from Aug 30-Sept 8.
Festival organisers also announced that Kids director Larry Clark will receive a tribute and be the subject of a complete retrospective.
Alexander Moors’ Blue Caprice and Kelly Reichardt’s Night Moves have been added to the competition line-up.
Famke Janssen has joined the jury, which is presided over by Vincent Lindon and includes Lou Doillon, Jean Echenoz, Helene Fillieres, Xavier Giannoli, Pierre Lescure, Bruno Nuytten and Rebecca Zlotowsk.
The Premieres roster includes Lee Daniels’ The Butler, Lovelace, Pain & Gain, Parkland, Sunlight Jr, The Frozen Ground, The Necessary Death Of Charlie Countryman, The Wait and Upstream Color.
Festival organisers also announced that Kids director Larry Clark will receive a tribute and be the subject of a complete retrospective.
Alexander Moors’ Blue Caprice and Kelly Reichardt’s Night Moves have been added to the competition line-up.
Famke Janssen has joined the jury, which is presided over by Vincent Lindon and includes Lou Doillon, Jean Echenoz, Helene Fillieres, Xavier Giannoli, Pierre Lescure, Bruno Nuytten and Rebecca Zlotowsk.
The Premieres roster includes Lee Daniels’ The Butler, Lovelace, Pain & Gain, Parkland, Sunlight Jr, The Frozen Ground, The Necessary Death Of Charlie Countryman, The Wait and Upstream Color.
- 8/20/2013
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Throughout the month of October, Editor-in-Chief and resident Horror expert Ricky D, will be posting a list of his favorite Horror films of all time. The list will be posted in six parts. Click here to see every entry.
As with all lists, this is personal and nobody will agree with every choice – and if you do, that would be incredibly disturbing. It was almost impossible for me to rank them in order, but I tried and eventually gave up.
****
50: Thundercrack!
Directed by Curt McDowell
Written by George Kuchar
1975, USA
Thunderstruck! is by far the most obscure film you will find on this list. It is without a doubt one of the true landmarks of Underground cinema. With a screenplay by veteran underground film maker George Kuchar (story and characters by Mark Ellinger) and directed Curt McDowell (than student of Kuchar),
Thundercrack! is a work of a crazed genius.
As with all lists, this is personal and nobody will agree with every choice – and if you do, that would be incredibly disturbing. It was almost impossible for me to rank them in order, but I tried and eventually gave up.
****
50: Thundercrack!
Directed by Curt McDowell
Written by George Kuchar
1975, USA
Thunderstruck! is by far the most obscure film you will find on this list. It is without a doubt one of the true landmarks of Underground cinema. With a screenplay by veteran underground film maker George Kuchar (story and characters by Mark Ellinger) and directed Curt McDowell (than student of Kuchar),
Thundercrack! is a work of a crazed genius.
- 10/27/2012
- by Ricky
- SoundOnSight
Jean Dujardin kissing Oscar statuette Best Actor Oscar winner Jean Dujardin kisses his Oscar statuette at the Governors Ball 2012. For his performance as a fading silent-film star in Michel Hazanavicius' The Artist, Dujardin became the first Frenchman to win an Oscar in the acting categories: Charles Boyer, Maurice Chevalier, and Gérard Depardieu had all been nominated before, but none of them had ever won. (Photo: © A.M.P.A.S.) The list of Frenchwomen who either won or were nominated for Oscars in the acting categories is much more extensive. The French-born, American-raised Claudette Colbert was the Best Actress of 1934 for Frank Capra's comedy It Happened One Night. The other French Best Actress Oscar winners are Simone Signoret for Jack Clayton's 1959 British drama Room at the Top and Marion Cotillard for Olivier Dahan's French-language Edith Piaf biopic La Vie en Rose. Additionally, Juliette Binoche was a...
- 3/6/2012
- by Andre Soares
- Alt Film Guide
"The tragic destiny of the sculptor Camille Claudel will be the focus of Bruno Dumont's seventh feature, which will start shooting next February in Saint-Rémy-de-Provence," reports Fabien Lemercier at Cineuropa, where he notes that "the project has just been selected by Arte France Cinéma which will support it through co-production and pre-acquisitions. For the first time in his career, the director of Outside Satan (unveiled on the Croisette in May) and two-time winner of the Grand Prize at Cannes (in 1999 with Humanity and in 2006 for Flanders) has cast a star: Juliette Binoche (set to be seen next year in Malgorzata Szumowska's Elles, David Cronenberg's Cosmopolis, Sylvie Testud's The Life of Another and Marion Lainé's A Monkey on My Shoulder)."
Lemercier reminds us that when Isabelle Adjani played Claudel for Bruno Nuytten in 1988, she scored a Silver Bear in Berlin, a César and an Oscar nomination. And...
Lemercier reminds us that when Isabelle Adjani played Claudel for Bruno Nuytten in 1988, she scored a Silver Bear in Berlin, a César and an Oscar nomination. And...
- 11/25/2011
- MUBI
For the horror buff, Fall is the best time of the year. The air is crisp, the leaves are falling and a feeling of death hangs on the air. Here at Sound on Sight we have some of the biggest horror fans you can find. We are continually showcasing the best of genre cinema, so we’ve decided to put our horror knowledge and passion to the test in a horror watching contest. Each week in October, Ricky D, James Merolla and Justine Smith will post a list of the horror films they have watched. By the end of the month, the person who has seen the most films wins. Prize Tbd.
Ricky D (5 viewings) Total of 76 viewings
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Purchase
Spirits Of The Dead (Histoires extraordinaires)
Directed by Federico Fellini (segment Toby Dammit), Louis Malle (segment William Wilson), Roger Vadim (segment Metzengerstein)
France, 1968
First thing to notice is the three directors: Federico Fellini,...
Ricky D (5 viewings) Total of 76 viewings
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Purchase
Spirits Of The Dead (Histoires extraordinaires)
Directed by Federico Fellini (segment Toby Dammit), Louis Malle (segment William Wilson), Roger Vadim (segment Metzengerstein)
France, 1968
First thing to notice is the three directors: Federico Fellini,...
- 11/2/2011
- by Ricky
- SoundOnSight
Choosing my favourite horror films of all time is like choosing between my children – not that I have children, but if I did, I am sure I would categorize them quite like my DVD collection. As with all lists, this is personal and nobody will agree with every choice – and if you do, that would be incredibly disturbing. Also, it was almost impossible for me to rank them in order, but I tried. I based my list taking into consideration three points:
1- Technical accomplishments / artistry and their influence on the genre.
2- How many times I’ve revisited the films and how easily it makes for a repeated viewings.
3- Its story, atmosphere and how much it affected me when I first watched them.
Finally, there are many great films such as The Witchfinder General, The Wickerman and even Hour Of The Wolf that won’t appear here. I...
1- Technical accomplishments / artistry and their influence on the genre.
2- How many times I’ve revisited the films and how easily it makes for a repeated viewings.
3- Its story, atmosphere and how much it affected me when I first watched them.
Finally, there are many great films such as The Witchfinder General, The Wickerman and even Hour Of The Wolf that won’t appear here. I...
- 10/29/2011
- by Ricky
- SoundOnSight
25 – Halloween
Directed by John Carpenter
1978 – Us
A historical milestone that single-handedly shaped and altered the future of the entire genre. This seminal horror flick actually gets better with age; it’s downright transcendent and holds up with determination as an effective thriller that will always stand head and shoulders above the hundreds of imitators to come. Halloween had one hell of an influence on the entire film industry. You have to admire how Carpenter avoids explicit onscreen violence, and achieves a considerable power almost entirely through visual means, using its widescreen frame, expert hand-held camerawork, and terrifying foreground and background imagery.
24 – Black Christmas
Directed by Bob Clark
1974 – Canada
We never did find out who Billy was. Maybe it’s for the best, since they never made any sequels to Bob Clark’s seminal slasher film, a film which predates Carpenter’s Halloween by four years. Whereas Texas Chainsaw Massacre, released the same year,...
Directed by John Carpenter
1978 – Us
A historical milestone that single-handedly shaped and altered the future of the entire genre. This seminal horror flick actually gets better with age; it’s downright transcendent and holds up with determination as an effective thriller that will always stand head and shoulders above the hundreds of imitators to come. Halloween had one hell of an influence on the entire film industry. You have to admire how Carpenter avoids explicit onscreen violence, and achieves a considerable power almost entirely through visual means, using its widescreen frame, expert hand-held camerawork, and terrifying foreground and background imagery.
24 – Black Christmas
Directed by Bob Clark
1974 – Canada
We never did find out who Billy was. Maybe it’s for the best, since they never made any sequels to Bob Clark’s seminal slasher film, a film which predates Carpenter’s Halloween by four years. Whereas Texas Chainsaw Massacre, released the same year,...
- 10/28/2011
- by Ricky
- SoundOnSight
At her best, Adjani was always a victim going over the edge of sanity, and that seems to match Truffaut's account of her at work
It has never been safe to predict what Isabelle Adjani was going to do, or why. In 1974, François Truffaut was planning to make The Story of Adele H, about a daughter of Victor Hugo who falls in love with a young army officer and goes mad in her efforts to get him to return the love. He wanted someone new for the lead role, and was intrigued by Adjani in a recent hit comedy called La Gifle. Adjani was 19 and ravishing; but she was under contract as a stage actress to La Comédie-Française.
Truffaut pursued her. The theatre company declined to release her. The matter went to law. Adjani stayed quiet – but in the end she had her way. She would do Adele H. Truffaut...
It has never been safe to predict what Isabelle Adjani was going to do, or why. In 1974, François Truffaut was planning to make The Story of Adele H, about a daughter of Victor Hugo who falls in love with a young army officer and goes mad in her efforts to get him to return the love. He wanted someone new for the lead role, and was intrigued by Adjani in a recent hit comedy called La Gifle. Adjani was 19 and ravishing; but she was under contract as a stage actress to La Comédie-Française.
Truffaut pursued her. The theatre company declined to release her. The matter went to law. Adjani stayed quiet – but in the end she had her way. She would do Adele H. Truffaut...
- 5/19/2011
- by David Thomson
- The Guardian - Film News
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