Arnaud Desplechin, Kirsten Dunst, Laszlo Nemes, Vanessa Paradis, Donald Sutherland , George Miller - 69th Cannes Film Festival - Jury - Photocall at Palais de Festivals, Cannes Film Festival - Cannes, France - Wednesday 11th May 2016
The leading stars of 'Jimmy P: Psychotherapy Of A Plains Indian' Benicio Del Toro and Mathieu Amalric pose on the red carpet at the movie's premiere at the 2013 New York Film Festival alongside director and writer Arnaud Desplechin.
Catherine Deneuve and Arnaud Desplechin - Catherine Deneuve and Arnaud Desplechin London, England - Gala Launch of Cine lumiere with the preview screening of 'A Christmas Tale' held at the Institut Francais Friday 9th January 2009
Only a few days before the sugar plums and wassail are set on the table, Junon Vuillard (Catherine Deneuve), the grand matriarch of a family of lunatics, is diagnosed with a serious case of lymphoma, the same disease that already claimed her eldest son Joseph. The film opens with her husband Abel (Jean-Paul Roussillon) mourning over his son with a startlingly breezy candor. Employing shadow puppets, the lineage of the Vuillard family in its current incarnation is explained, leading to Ivan (Melvil Poupad), the youngest of Junon's children.
Continue reading: A Christmas Tale Review
We start out looking at Nora (Emmanuelle Devos), being interviewed by someone. She talks about her OK life with nonchalance and a nervous smile. Her job as a gallery owner seems boring, but financially substantial enough to allow for her to go visit her cancer-ridden father (Maurice Garrel) and try to pawn off her 10-year-old child, Elias (Valentin Lelong), on Ismael (Mathieu Amalric), her second husband and Elias' main father figure besides Nora's own father.
Continue reading: Kings & Queen Review
Raised in tenement housing in late-19th century London and forced to live the suppressed life of a sweatshop laborer in a Jewish slum, Esther Kahn (Summer Phoenix) uses the theater as an escape from the harsh realities of everyday life. As a child, her brother and sisters find her awkward because of her abnormal silence and infatuation with the low-budget Yiddish performances put on by the local neighborhood troupes. As the family outcast, she internalizes all the loathing she receives from her mother (Frances Barber) and family, which leads to a desperate search for her place in the world.
Continue reading: Esther Kahn Review