EXCLUSIVE: Coda producer Pathé has concluded a raft of sales on its Cannes slate including for starry French drama Masquerade, Directors’ Fortnight entry Paris Memories and Penelope Cruz title L’Immensita.
22.05.2022 - 16:57 / theplaylist.net
French writer/director Alice Winocour was interested in the connection between the body and the mind before it was cool. Her feature debut “Augustine” (2012) told the story of a supposedly “hysterical” woman and her doctor in 19th century France, while “Disorder” (2015) centered on a soldier-turned bodyguard suffering from PTSD.
“Proxima” (2019) followed a female astronaut preparing her body for the demands of life aboard the International Space Station, and her mind for the separation from her daughter that the trip necessitates. Continue reading ‘Paris Memories’ Review: Alice Winocour Explores Trauma Thoughtfully (& Predictably) With Virginie Efira [Cannes] at The Playlist.
.EXCLUSIVE: Coda producer Pathé has concluded a raft of sales on its Cannes slate including for starry French drama Masquerade, Directors’ Fortnight entry Paris Memories and Penelope Cruz title L’Immensita.
French actress Léa Seydoux is having a big moment right now at the 2022 Cannes Film Festival. Not only is she set to star in the latest film from director David Cronenberg, “Crimes Of The Future” (read our review), but she is also the lead in Mia Hansen-Løve’s “One Fine Morning” (read our review) But there is another project she is opening up about that she almost did.
s’il vous plaît!Over at the French film festival on the Cote d’Azur, which wraps up this weekend, it’s long been popular to give comical and undeserved standing ovations to just about anything that could be feasibly called a film. Next year the Claudes and Claudettes will be hopping to their feet for a dancing toad on TikTok (more deserving, honestly, than Lars von Trier.)The trade publications time these performative participation prizes like they’re Olympic runners.
This year has produced several films if terrorist attacks in France. One Year and One Night by Isaki Lacuesta (which premiered in Berlin this year) and November by Cedric Jimenez which is being shown out of competition at Cannes, and Alice Winocour’s deeply personal Paris Memories (Revoir Paris) which was inspired by Winocour’s own brother who was in the midst of the November 2015 attacks at Bataclan. The film follows a woman’s journey to recovery after surviving a mass shooting.
Directed by Louis Garrel, son of revered arthouse director Philippe, “The Innocent” is a quintessentially French comedy whose principle aim is to be a fun time. Though this may seem a relatively modest ambition, we all know it isn’t easy to do well, and Garrel certainly does not make things any simpler for himself as the film repeatedly leaves the realm of the bon mot to veer on the farcical.
“The Stars at Noon” finds the French filmmaker Claire Denis shooting in Panama doubling for Nicaragua; directing a cast of Yanks, Brits, and assorted Central Americans; and working from a script switching between Spanish and English. Internationally coproduced Towers of Babel such as this aren’t at all uncommon at the Cannes Film Festival, but the errors in translation all over this disappointing foreign-relations drama run deeper than simple differences of ethnicity or language.
Cristiano Ronaldo's girlfriend, Georgina Rodriguez, made her first public appearance since she and the Manchester United soccer star announced the death of their infant son. Rodriguez took to Instagram to share some snaps from the Cannes Film Festival in France.
2022 Cannes Film Festival, where Kaia Gerber and Austin Butler were in full PDA mode!The 20-year-old model and 30-year-old star walked the red carpet Wednesday for the world premiere of the Baz Luhrmann-directed biopic and didn't let the cameras deter them from showing their affection. In fact, it appears as if it was Gerber, looking stunning in a red gown, who grabbed Butler's face with both hands and planted a wet one on the budding actor.Once inside the theater, the audience got to enjoy the highly anticipated screening of the film set to be released June 24.
Anne Hathaway is being crowned the haute couture queen of the Cannes Film Festival. And fans of the brunette bombshell are digitally reveling over the early-2000s diva’s fashionable resurgence. “Can we all take a moment to appreciate Anne Hathaway looking like a goddess in Cannes,” tweeted an admirer of the Oscar winner, alongside a snapshot of her in a sequin, floral-print two-piece ensemble by Schiaparelli. “I love this Anne Hathaway renaissance we’re going through,” chimed another. Making her debut at the annual silver screen soirée over the weekend, Hathaway, 39, repeatedly turned heads in high-fashion finery for the premiere of her feature flick “Armageddon Time,” starring Anthony Hopkins, 84, and Jeremy Strong, 43. And immediately after touching down in France on Wednesday, the blockbuster beauty transformed the Nice Côte d’Azur Airport into a virtual runway, sashaying through in a chic, loose-fitting pantsuit. From there, Hathaway ditched her trendy traveling togs to don a white strapless Armani Privé gown, reminiscent of her “Princess Diaries” glamor, on the film festival’s star-studded red carpet Thursday. The flawless fashion plate continued to outdo herself throughout the duration of the weekend, rocking a blue mini dress by Gucci Friday, stunning in a coffee-colored Louis Vuitton number Saturday and beaming in a hot pink piece by Valentino Sunday. And the luxe looks sent Hathaway enthusiasts into a full-on Twitter tizzy. “Anne Hathaway at the cannes film festival.
In the late 19th century, two French psychiatrists coined the term “folie à deux,” literally translated as madness for two, to describe what is now widely referred to as shared psychotic disorder, or when two — or more — people transmit delusional beliefs and occasional hallucinations to one another. The condition is most common in people closely related, who live in intimate proximity, and has been lengthily dissected by academics.
Based on her own time spent in the acting school Les Amandiers, Valeria Bruni Tedeschi’s “Forever Young” aims to recreate a very specific time and place both in her life and in France, more than it cares to inform her audience about what, exactly, was so special about this school. Funded in the 1980s by Patrice Chéreau, a successful and daring director of theatre, opera and film, Les Amandiers did not last very long but for a few years it was considered to be one of the most exciting places in France and even Europe for young actors to develop their crafts, and for directors to find new talent.
Observed in isolation, detached from the body or in extreme close-ups, organs and other vital viscera resemble moist masses of soft tissue plucked from alien landscapes in the unflinchingly immersive medical documentary “De Humani Corporis Fabrica.” Alternating between footage from cameras inserted into patients for the purpose of treating ailments and grisly shots from the operating room, directors Verena Paravel and Lucien Castaing-Taylor, the team behind the striking non-fiction film on fishing “Leviathan,” apply their fascination for uncanny imagery with relativist intent to the inner workings of French hospitals and, in turn, the human body.
A balloon shaped like a heart flies from the open window of a taxi. It is late at night and the woman (Leila Hatami) who this gift was bestowed upon simply couldn’t care less about the useless trinket, far more interested in comparing the quality of the accompanying chocolate boxes dispensed by a handful of men who wish to have her as a Valentine.
It’s the plight of the plightless: a kid from a comfortable, upper-middle-class background wants to be some manner of artist, except that he’s (and it does seem to be a he more often than not) bereft of the experience, grit, or outsider credibility that define the role models he hopes he could one-day call influences. He ventures out into the big bad world in search of something to put a bit of hair on his creative chest, only to face the spiny question of whether this effort to get real is just class tourism, a jaunt in the gutter that one phone call to Dad could prevent.
“The Five Devils,” from French director Léa Mysius, captivates from its very first seconds. We see Adèle Exarchopoulos in a sparkling gymnast outfit with other similarly dressed girls, all watching an enormous fire in the background; when she turns around, she is crying — fire, beauty, passion and death all conveyed in one image.
The films of French filmmaker Quentin Dupieux are at their best when they combine his penchant for ludicrous but simple what-if scenarios, with his perceptive eye for humor in everyday life and banal interactions. He would probably hate his cinema to be pinned down in this way: though he has proven that he can subscribe to straightforward storytelling with “Deerskin” (which premieres at Cannes in 2019) and “Incredible But True” (Berlinale 2022), the French director and absurdist also enjoys leaving the demands of logical plot developments behind in favor of a freer style.
Guy Lodge Film CriticIt’s over six years since the November 2015 terrorist attacks in Paris that ruptured the country’s national consciousness and political agenda, but the events are only gaining currency for European filmmakers. This year’s Berlin festival brought us Isaki Lacesta’s “One Year, One Night,” an impressionistic reflection on survivor’s guilt in the long-term wake of the Bataclan nightclub massacre; at Cannes this year, Cedric Jimenez’s thriller “November” takes a more procedural approach to the aftermath.