Tkt is Belgian director Cicurel’s third feature.
Paris-based sales and co-production company Other Angle, who just launched a US venture, will co-produce and handle international sales for Solange Cicurel’s high school harassment drama Tkt and has taken on sales for female-driven police comedy Sirens.
Screen can reveal a first look image of Tkt. The film is Belgian director Cicurel’s third feature following comedies Don’t Tell Her and Isn’t She Lovely. Tkt tackles a heavier topic, namely bullying in schools. It follows a 16-year-old girl in the hospital in a coma who takes a trip through...
Paris-based sales and co-production company Other Angle, who just launched a US venture, will co-produce and handle international sales for Solange Cicurel’s high school harassment drama Tkt and has taken on sales for female-driven police comedy Sirens.
Screen can reveal a first look image of Tkt. The film is Belgian director Cicurel’s third feature following comedies Don’t Tell Her and Isn’t She Lovely. Tkt tackles a heavier topic, namely bullying in schools. It follows a 16-year-old girl in the hospital in a coma who takes a trip through...
- 11/8/2023
- by Rebecca Leffler
- ScreenDaily
‘Bigbug’ Review: Jean-Pierre Jeunet’s Latest Is a Dreadful Sex Farce Set During the Robot Apocalypse
The fact that “Amélie” director Jean-Pierre Jeunet’s first movie in nine years is quietly being dumped on Netflix without festival play or advance press of any kind after Jeunet insisted that he would only partner with the streamer as “a last resort” is really the only review you should need when it comes to “Bigbug,” of 2050 (mark it on your calendars). And yet — as this feature-length cluster headache makes perfectly clear — humankind has already surrendered itself to the mercy of our corporate machine overlords, meaning that even the most exasperated critic has to pump out at least 600 words just to convince the tiny God-king inside the Google algorithm not to banish their content to the elephant graveyard that is page two of the search results. So let’s get on with it.
A filmmaker whose breakthrough successes don’t entirely diminish the feeling that he was put on this...
A filmmaker whose breakthrough successes don’t entirely diminish the feeling that he was put on this...
- 2/11/2022
- by David Ehrlich
- Indiewire
Each week we highlight the noteworthy titles that have recently hit streaming platforms in the United States. Check out this week’s selections below and past round-ups here.
Ballad of a White Cow (Behtash Sanaeeha and Maryam Moghaddam)
The cruelty of the Iranian justice system is in the spotlight again in Ballad of a White Cow, the compelling debut of directing team Behtash Sanaeeha and Maryam Moghaddam that unfurled in competition at Berlin. Just last year, Mohamad Rasoulof won the festival’s top prize for his anti-capital punishment polemic There Is No Evil, a masterful weaving of four storylines that showed how a morally bankrupt state corrodes those forced to carry out its functions, a searing portrait of the banality of evil. – Ed F. (full review)
Where to Stream: Mubi (free for 30 days)
Bigbug (Jean-Pierre Jeunet)
Bigbug is set in the year 2045 and centers on a group of mismatched suburbanites who,...
Ballad of a White Cow (Behtash Sanaeeha and Maryam Moghaddam)
The cruelty of the Iranian justice system is in the spotlight again in Ballad of a White Cow, the compelling debut of directing team Behtash Sanaeeha and Maryam Moghaddam that unfurled in competition at Berlin. Just last year, Mohamad Rasoulof won the festival’s top prize for his anti-capital punishment polemic There Is No Evil, a masterful weaving of four storylines that showed how a morally bankrupt state corrodes those forced to carry out its functions, a searing portrait of the banality of evil. – Ed F. (full review)
Where to Stream: Mubi (free for 30 days)
Bigbug (Jean-Pierre Jeunet)
Bigbug is set in the year 2045 and centers on a group of mismatched suburbanites who,...
- 2/11/2022
- by Jordan Raup
- The Film Stage
Jean-Pierre Jeunet put his stamp across the 1990s and 2000s with a unique blend of zany personality, thoughtful character portraits, and sharp, multi-dimensional humor. So much was running in films like Delicatessen and The City of Lost Children, both co-directed with Marc Caro, that they could have boiled over, yet somehow remained focused works that played completely as the ownerships of their creators. After a brief misfire when stepping into the world of Hollywood blockbusters with 1997’s Alien: Resurrection—an early forebear of the “indie director to studio tentpole” pipeline that gobbles up every promising young filmmaker these days—Jeunet found his peak as a solo director in the early aughts: Amélie and A Very Long Engagement brought his particular style into a new era with remarkable sophistication and retention of his characteristic charm.
Then a curious thing happened. Despite being a beloved international director arguably at the height of his career,...
Then a curious thing happened. Despite being a beloved international director arguably at the height of his career,...
- 2/11/2022
- by Mitchell Beaupre
- The Film Stage
As the first film from the director of “Amélie” in nearly a decade, “Bigbug” is kind of a big deal. Sadly, it’s also a big disappointment — easily the most obnoxious Netflix original in some time, owing to the company’s trust in a director whose overactive imagination demands some kind of boundaries.
At precisely the moment pandemic-confined audiences want to get out and breathe fresh air, Jean-Pierre Jeunet gives them a suffocating scenario in which a squabbling French family is trapped in their retro-modern home with several android assistants. The result is an aggressively unfunny look at human-robot relations in a garish, cartoonishly rendered future — one in which all the houses look exactly the same on the outside, but are maintained by eccentric AI indoors (where the film spends 98% of its time).
In “No Exit,” Jean-Paul Sartre surmised that “hell is other people.” In this zany sci-fi riff on that idea,...
At precisely the moment pandemic-confined audiences want to get out and breathe fresh air, Jean-Pierre Jeunet gives them a suffocating scenario in which a squabbling French family is trapped in their retro-modern home with several android assistants. The result is an aggressively unfunny look at human-robot relations in a garish, cartoonishly rendered future — one in which all the houses look exactly the same on the outside, but are maintained by eccentric AI indoors (where the film spends 98% of its time).
In “No Exit,” Jean-Paul Sartre surmised that “hell is other people.” In this zany sci-fi riff on that idea,...
- 2/11/2022
- by Peter Debruge
- Variety Film + TV
Surprise! Guess who's back with another new film? Netflix has revealed a teaser trailer for Amelie director Jean-Pierre Jeunet's latest film, titled Bigbug or Big Bug. This first look at the new kooky sci-fi comedy is our first reveal of this film, with no other photos out before this. And they're confirmed - it will be streaming on Netflix in February. Not too long of a wait at all! The film involves a group of bickering suburbanites who find themselves stuck together when an android uprising causes their well intentioned household robots to lock them in for their own safety. (Sounds like an amusing sci-fi satire about lockdowns?) The ensemble cast features Elsa Zylberstein, Isabelle Nanty, Stéphane De Groodt, Claude Perron, Youssef Hajdi, Claire Chust, François Levantal, Alban Lenoir, André Dussollier, Marysole Fertard, and Hélie Thonnat. This is just a quick teaser, but I am already sold. I'm always down for Jeunet films!
- 12/27/2021
- by Alex Billington
- firstshowing.net
Arnaud Ducret, Géraldine Pailhas, Stéphane de Groodt and Alison Wheeler star in the cast of this Les Films du Cap and Mm Films production, sold by Other Angle. Filming came to an end on 23 December for Tendre et saignant, Christopher Thompson’s second feature film as a director following his initial Bus Palladium (which earned two César nominations in the categories of Male Newcomer and Musical Score in 2011). Standing tall in lead roles are Arnaud Ducret and Géraldine Pailhas, among others, as well as the series Marseille), who are flanked by Belgium’s Stéphane de...
- 12/26/2019
- Cineuropa - The Best of European Cinema
Claude Lelouch on influencing Terrence Malick: "I'm happy that you say so." Photo: Anne-Katrin Titze
When I spoke with Claude Lelouch at his hotel in New York less than two years ago, he believed that The Best Years Of A Life (Les Plus Belles Années D'Une Vie), starring Jean-Louis Trintignant, Anouk Aimée, and Monica Bellucci would be his last.
Now he has La Vertu Des Impondérables with Elsa Zylberstein (Un + une with Jean Dujardin and Christopher Lambert), Marianne Denicourt, Ary Abittan, and Stéphane De Groodt (Israel Horovitz's My Old Lady) in the works.
Claude Lelouch: "In Un Homme Et Une Femme (A Man And A Woman), when Anouk Aimée arrives at the end on the train platform, she didn't know Jean-Louis Trintignant would be there."
In 1966, Un Homme Et Une Femme won the Cannes Palme d'Or, and in 1967 won the Best Foreign Language Film Oscar, and Claude Lelouch took Best Writing,...
When I spoke with Claude Lelouch at his hotel in New York less than two years ago, he believed that The Best Years Of A Life (Les Plus Belles Années D'Une Vie), starring Jean-Louis Trintignant, Anouk Aimée, and Monica Bellucci would be his last.
Now he has La Vertu Des Impondérables with Elsa Zylberstein (Un + une with Jean Dujardin and Christopher Lambert), Marianne Denicourt, Ary Abittan, and Stéphane De Groodt (Israel Horovitz's My Old Lady) in the works.
Claude Lelouch: "In Un Homme Et Une Femme (A Man And A Woman), when Anouk Aimée arrives at the end on the train platform, she didn't know Jean-Louis Trintignant would be there."
In 1966, Un Homme Et Une Femme won the Cannes Palme d'Or, and in 1967 won the Best Foreign Language Film Oscar, and Claude Lelouch took Best Writing,...
- 6/7/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
The film has finished shooting, with editing about to begin.
Claude Lelouch, who hits the red carpet today with Out Of Competition title The Best Years Of Life starring Anouk Aimée and Jean-Louis Trintignant, has revealed fresh details about his next film La Vertu De L’Impondérable.
“It’s shot and I head into the editing suite next week to complete it,” Lelouch told Screen.
“It’s a musical comedy and my response to [Damien] Chazelle’s La La Land, which I really loved.”
Lelouch said it arose from his belief suffering can be a life-affirming experience.
“It revolves around an...
Claude Lelouch, who hits the red carpet today with Out Of Competition title The Best Years Of Life starring Anouk Aimée and Jean-Louis Trintignant, has revealed fresh details about his next film La Vertu De L’Impondérable.
“It’s shot and I head into the editing suite next week to complete it,” Lelouch told Screen.
“It’s a musical comedy and my response to [Damien] Chazelle’s La La Land, which I really loved.”
Lelouch said it arose from his belief suffering can be a life-affirming experience.
“It revolves around an...
- 5/18/2019
- by Melanie Goodfellow
- ScreenDaily
Exclusive: Film starring Louise Bourgoin and Stéphane De Groodt scores deals in multiple territories.
Paris-based Other Angle Pictures is racking up sales on its body-swap comedy In And Out, about lovers who wake up to a surprise after a night of passion.
The film has sold to Switzerland (Jmh), Russia (Capella), Latin America (Alebrija Entertainment), former Yugoslavia (2i Film), Taiwan (Creative Century), and Poland (Monolith Films) with negotiations underway for Italy, Spain and Germany.
Louise Bourgoin (pictured) and Stéphane De Groodt star as the body-swap lovers and Universal Pictures International will open In And Out in France on September 20.
Other titles proving popular on Other Angle’s feel-good, comedy-skewed slate include Don’t Tell Her, about a group of girlfriends whose web of little white lies catches up with them.
Other Angle was a producer and the film has gone to Canada (Axia), Spain (Vercine), Poland (Canal+), Switzerland (Jmh), Turkey (Fabula), and Austria (Thym Film).
The company...
Paris-based Other Angle Pictures is racking up sales on its body-swap comedy In And Out, about lovers who wake up to a surprise after a night of passion.
The film has sold to Switzerland (Jmh), Russia (Capella), Latin America (Alebrija Entertainment), former Yugoslavia (2i Film), Taiwan (Creative Century), and Poland (Monolith Films) with negotiations underway for Italy, Spain and Germany.
Louise Bourgoin (pictured) and Stéphane De Groodt star as the body-swap lovers and Universal Pictures International will open In And Out in France on September 20.
Other titles proving popular on Other Angle’s feel-good, comedy-skewed slate include Don’t Tell Her, about a group of girlfriends whose web of little white lies catches up with them.
Other Angle was a producer and the film has gone to Canada (Axia), Spain (Vercine), Poland (Canal+), Switzerland (Jmh), Turkey (Fabula), and Austria (Thym Film).
The company...
- 5/23/2017
- ScreenDaily
Au Beaune Pain: Lelouch Continues with Frivolous Comedy Spackle
Somewhere along the way Palme d’Or and Oscar winning auteur Claude Lelouch (1966’s A Man and a Woman) morphed into the Garry Marshall of French film, churning out vapid comedy vehicles sporting a glitzy array of notable Gallic stars. Whenever the slide began, his tendencies to overstuff his narratives with zany layers of (often inconsequential) tangential sub-plotting began years ago, look no further than his 1986 sequel to his most famous film, A Man and a Woman: 20 Years Later for longstanding evidence of the change. His later period reflects the stamp of various muses, such as actress Audrey Dana, and now, frequent co-author Valerie Perrin. With 2013’s We Love You, You Bastard and 2015’s Un + Une, Lelouch has become completely divorced from his illustrious past filmography, a chasm only widened by his latest venture, Everybody’s Life, once more featuring Johnny Hallyday and Jean Dujardin amongst a cavalcade of a cast, all whirling through this odd kitchen sink array of miscellaneous characters all inclined to converse about their Zodiac signs as they fall in and out of romantic love or obsessive yearning during a a year’s time in Beaune, France.
As an annual jazz festival gets underway, a slew of characters intersect and coverage in the provincial town of Beaune in the Burgundy region. A judge (Eric Dupond-Moretti) must contend with the news of Clementine’s (Beatrice Dalle) retirement, a local prostitute whose company has brought him great joy since the death of his wife. Meanwhile, his colleague Nathalie (Julie Ferrier) falls out of a window after finding her husband (Gerard Darmon) with another man, sharing an ambulance with a hypochondriac singer (Mathilde Seigner) who believes she is having a heart attack following a performance at the festival. At the same time, a tawdry court case has drawn together another subsection of the community, including the troubled alcoholic Antoine (Christophe Lambert), currently facing the dissolution of his own marriage with his disconsolate wife (Marianne Denicourt) betwixt legal troubles. And as famed singer Johnny Hallyday faces a problem with a slippery doppelganger (who has a tryst with an unhappily married Comtesse played by Elsa Zylberstein, married to Vincent Perez), which causes some confusion with local cop Jean (Jean Dujardin), the marriage between former beauty queen (Nadia Fares) and Stephane (Stephane De Groodt) is also on the rocks. Meanwhile, the local hospital has decided to engage a new policy wherein patients must be put at ease through sexually provocative jokes, which brings a chummy nurse (Deborah Francois) into contact with several patients.
If Max Ophuls had wanted to make La Ronde (1950) into a relationship farce (to be fair, Roger Vadim kind of did this with his remake) set to light jazz, it might look something like Everybody’s Life. However, Lelouch feels as if he filmed his illustrious cast in a number of amusing scenarios and pasted the end results together as he saw fit, clipping it into a semblance of repeated scenarios with revolving characters, all who end up professing their love, being destroyed by it, or simply moving on to another chapter. However, the film is neither subtle nor diverse in its repetitive techniques, and for as entertaining as it is to see Hallyday and Dujardin horse around as they take selfies, the frivolousness quickly gets wearying, particularly by its grand framed finale, where we return to the court room a year later after the film’s beginning, with Lelouch stuffing all his characters, whether it makes sense or not, into the same room.
Gregoire Lacroix assists Perrin, Pierre Uytterhoeven (who co-wrote A Man and a Woman) and Lelouch in this adaptation from his own prose, but Everybody’s Life drifts aimlessly, as if besotted by the presence of its own unlucky in love characters all experiencing the same approximation of discontent. Most of these formulas are tedious, if not forgettable, with a glaring bright spot from Beatrice Dalle as a prostitute who wants nothing more to do with sex or men and relish the retirement she deserves. If somewhat less ungainly than rom-com Un+Une and the loopy We Love You, You Bastard, this isn’t a return to form or an ascension to new heights for Lelouch, try as it might to ‘experiment’ with traditional narrative form.
Reviewed on April 24th at the 2017 Colcoa French Film Festival – Opening Night Film. 113 Mins.
★★½/☆☆☆☆☆
The post Everybody’s Life | 2017 Colcoa French Film Festival Review appeared first on Ioncinema.com.
Somewhere along the way Palme d’Or and Oscar winning auteur Claude Lelouch (1966’s A Man and a Woman) morphed into the Garry Marshall of French film, churning out vapid comedy vehicles sporting a glitzy array of notable Gallic stars. Whenever the slide began, his tendencies to overstuff his narratives with zany layers of (often inconsequential) tangential sub-plotting began years ago, look no further than his 1986 sequel to his most famous film, A Man and a Woman: 20 Years Later for longstanding evidence of the change. His later period reflects the stamp of various muses, such as actress Audrey Dana, and now, frequent co-author Valerie Perrin. With 2013’s We Love You, You Bastard and 2015’s Un + Une, Lelouch has become completely divorced from his illustrious past filmography, a chasm only widened by his latest venture, Everybody’s Life, once more featuring Johnny Hallyday and Jean Dujardin amongst a cavalcade of a cast, all whirling through this odd kitchen sink array of miscellaneous characters all inclined to converse about their Zodiac signs as they fall in and out of romantic love or obsessive yearning during a a year’s time in Beaune, France.
As an annual jazz festival gets underway, a slew of characters intersect and coverage in the provincial town of Beaune in the Burgundy region. A judge (Eric Dupond-Moretti) must contend with the news of Clementine’s (Beatrice Dalle) retirement, a local prostitute whose company has brought him great joy since the death of his wife. Meanwhile, his colleague Nathalie (Julie Ferrier) falls out of a window after finding her husband (Gerard Darmon) with another man, sharing an ambulance with a hypochondriac singer (Mathilde Seigner) who believes she is having a heart attack following a performance at the festival. At the same time, a tawdry court case has drawn together another subsection of the community, including the troubled alcoholic Antoine (Christophe Lambert), currently facing the dissolution of his own marriage with his disconsolate wife (Marianne Denicourt) betwixt legal troubles. And as famed singer Johnny Hallyday faces a problem with a slippery doppelganger (who has a tryst with an unhappily married Comtesse played by Elsa Zylberstein, married to Vincent Perez), which causes some confusion with local cop Jean (Jean Dujardin), the marriage between former beauty queen (Nadia Fares) and Stephane (Stephane De Groodt) is also on the rocks. Meanwhile, the local hospital has decided to engage a new policy wherein patients must be put at ease through sexually provocative jokes, which brings a chummy nurse (Deborah Francois) into contact with several patients.
If Max Ophuls had wanted to make La Ronde (1950) into a relationship farce (to be fair, Roger Vadim kind of did this with his remake) set to light jazz, it might look something like Everybody’s Life. However, Lelouch feels as if he filmed his illustrious cast in a number of amusing scenarios and pasted the end results together as he saw fit, clipping it into a semblance of repeated scenarios with revolving characters, all who end up professing their love, being destroyed by it, or simply moving on to another chapter. However, the film is neither subtle nor diverse in its repetitive techniques, and for as entertaining as it is to see Hallyday and Dujardin horse around as they take selfies, the frivolousness quickly gets wearying, particularly by its grand framed finale, where we return to the court room a year later after the film’s beginning, with Lelouch stuffing all his characters, whether it makes sense or not, into the same room.
Gregoire Lacroix assists Perrin, Pierre Uytterhoeven (who co-wrote A Man and a Woman) and Lelouch in this adaptation from his own prose, but Everybody’s Life drifts aimlessly, as if besotted by the presence of its own unlucky in love characters all experiencing the same approximation of discontent. Most of these formulas are tedious, if not forgettable, with a glaring bright spot from Beatrice Dalle as a prostitute who wants nothing more to do with sex or men and relish the retirement she deserves. If somewhat less ungainly than rom-com Un+Une and the loopy We Love You, You Bastard, this isn’t a return to form or an ascension to new heights for Lelouch, try as it might to ‘experiment’ with traditional narrative form.
Reviewed on April 24th at the 2017 Colcoa French Film Festival – Opening Night Film. 113 Mins.
★★½/☆☆☆☆☆
The post Everybody’s Life | 2017 Colcoa French Film Festival Review appeared first on Ioncinema.com.
- 4/28/2017
- by Nicholas Bell
- IONCINEMA.com
Title: Une heure de tranquillité (Do Not Disturb) Director: Patrice Leconte Starring: Christian Clavier, Carole Bouquet, Valerie Bonneton, Stephane De Groodt, Rossy de Palma, Arnaud Henriet, Sebastien Castro. Director Patrice Leconte adapts Florian Zeller’s hit stage play ‘Une heure de tranquilité’ for the big screen. The film, just like its inspirer, enhances the luxury of solitude: the moment we crave so much for ourselves, that is conquered with incommensurable plight. Through the traditional French farce, ‘Do Not Disturb’ tells the story of Michel Leproux who finds a rare vinyl by Niel Youart — Me, Myself and I — and the minute he gets home wants to be left alone to [ Read More ]
The post Une heure de tranquillité (Do Not Disturb) appeared first on Shockya.com.
The post Une heure de tranquillité (Do Not Disturb) appeared first on Shockya.com.
- 10/26/2015
- by Chiara Spagnoli Gabardi
- ShockYa
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