Michel Hazanavicius' 'The Search' failed to hit the spot at Cannes.
In many ways, Michel Hazanavicius always had a tough job creating the follow-up to his Oscar conquering movie The Artist, though it's been 2 years since the silent movie dominated the field at the Hollywood and Highland Center Theatre in Los Angeles and the Frenchman has had plenty of time to plot his comeback.
Michel Hazanavicius [L] and his wife Berenice Bejo [R]
That return was marked this week at Cannes with The Search, a drama starring his wife Berenice Bejo and the talented Annette Bening.
It wasn't all about the onscreen stars at the 2014 National Board Of Review Awards Gala in New York; a few highly respected directors and producers also showed their faces at the event including 'Gravity' producer David Heyman and 'Her' director Spike Jonze.
"The Past" opens in the US today, having already impressed critics.
Asghar Fahradi’s The Past is a harsh look at the way secrets and lies can destroy a family from the inside. The story is set in Paris and, unlike Fahradi’s last project, the Oscar winning A Separation, centers on a much more complicated family dynamic within a multicultural environment.
Expectations were high for Farhadi, after his success with 2011's The Separation.
Thanks to Fahradi’s previous success, expectations are high for this drama. So far, The Past is receiving a positive response from critics and even some early Oscar buzz. It is already being pegged as a lead contender for the foreign film category. The film tells the stories of several bad relationships, which tangle together in various unexpected ways.
Like his award-winning drama A Separation, this French drama from Iranian filmmaker Asghar Farhadi is packed with complex characters who have detailed, full lives. And the connections between them are so layered with meaning that we can't help but see ourselves in each of them. As the title suggests, this is a story about the baggage we carry around with us, and Farhadi's approach is to confront it rather than hiding it away.
It all kicks off when Ahmad (Mosaffa) returns to Paris after four years back home in Tehran. His estranged French wife Marie-Anne (Bejo) wants him to sign the divorce papers so she can marry her new boyfriend Samir (Rahim), whose child she's carrying. But she also needs Ahmad's help with her 17-year-old daughter Lucie (Burlet), who has taken an irrational exception to Samir's presence. Ahmad has always had a better relationship with Lucie, but as he tries to help he gets dragged into a complicated web of secrets and misunderstandings.
The story is full of wrinkles. Samir is also married, but his wife is in a coma. And his expressive 5-year-old son (Aguis), as well as Marie-Anne's younger daughter (Jestin) also play into their relationship. As does Samir's eerily observant employee Naima (Ouazani). The way all of these people circle around each other sometimes feels a bit melodramatic, with pointed dialog, emotional over-reactions and a stream of revelations that change everything entirely. More interesting are the unfinished conversations and random outbursts that give real insight into the characters.
Continue reading: The Past [Le Passé] Review
Academy Award Nominated, Asghar Farhadi (A Separation) Directs and writes this critically acclaimed, character driven drama orientated around the emotional destruction and discovery caused by marriage and divorce.
Ahmad returns to Paris in order to finalize his divorce with his wife, only to discover she is getting re-married to an Arab, Samir. Since deserting his wife and two children four years ago, Ahmad notices his family relations have deteriorated and must work hard in order to restore his daughters and wife's relationship before a secret from the past is revealed.
Starring Academy Award Nominated and Cannes Best Actress 2013 B'r'nice Bejo (The Artist) as Marie, Ali Mosaffa as Ahmad, Tahar Rahim (A Prophet) as Samir and rising star Pauline Burlet (La Vie en Rose) as Lucie, The Past has caught festival and critical attention being official selected for: Toronto International Film Festival, Telluride Film Festival and American Film Institution with critics already calling it 'Astonishing' and 'Master Storytelling'.
Anyone interested in how movies get made will love this feisty behind-the-scenes documentary, which uses sharp comedy to explore the messy business side of cinema. Both smart and very funny, it may not tell us much that we don't know (mainly that it's almost impossible to get a film financed unless it's a blockbuster with bankable stars), but it reveals things in ways that make us wonder about the future of the movies.
The film follows actor Alec Baldwin and director James Toback as they head to the Cannes Film Festival to secure funding for their planned Iraq-set riff on Last Tango in Paris. They meet with a variety of experts who tell them that their hoped-for budget is three times too high for a movie starring Baldwin and Neve Campbell. So they talk to Chastain, Bejo and Kruger about taking over the lead role. They also consult with a range of prominent filmmakers including Scorsese, Coppola, Polanski and the Last Tango maestro himself, Bertolucci. But the more time they spend with the people who control the money, the more they wonder if their movie will ever get made.
It's fairly clear from the start that Last Tango in Tikrit is a joke project, but everyone takes it seriously. And as they talk to prospective investors, Baldwin and Toback consider adjusting the film to get more cash by, for example, shooting scenes in Russia or China. It's fascinating to hear these billionaires offer advice on how to get their movie made. And hilariously, no one worries about Baldwin's insistence that the story requires explicit sexual scenes.
Continue reading: Seduced and Abandoned Review
It's impossible not to be charmed by this cheeky French comedy, even if it's utterly predictable and never remotely breaks its gorgeously designed surfaces. But it's packed with moments of riotous comedy and surprising drama that keep us on our toes, almost making us forget that we're watching a foreign movie about a typing competition. It also has a secret weapon in Romain Duris, an unconventional romantic lead who's irresistibly appealing.
The period is the late 1950s, when life for a young woman in a tiny village didn't offer many options. After years working for her shop-owner father (Pierrot), Rose (Francois) finally breaks free, applying for a secretarial job in a nearby town. Despite having no experience, insurance broker Louis (Duris) sees a spark in her and gives her a shot. As they begin to flirt, Louis notices that Rose is eerily adept at typing with two fingers, and he enters her in a local competition, which she wins. As she rises through the national rankings, she begins to fall for him. But he's reluctant to let his guard down after the woman he has always loved, Marie (Bejo), married his best friend Bob (Benson).
Filmmaker Roinsard has a great eye for recreating the period, shooting scenes with the same attention to detail as an episode of Mad Men, but with a lot more sassy humour. He also lets his crew go wild with stylish hair and colourful costumes, plus a fantastic song score. In this post-War setting, the actors are able to catch us off guard with their attitudes to class, politics and most notably gender. Francois gives Rose a feisty determination that's wonderful to watch, because we root for her to break through a multitude of barriers. And opposite her Duris gives another prickly but likeable turn as a not always attractive man who clearly has real depth.
Continue reading: Populaire Review
Blue Is The Warmest Colour appeared to be a deserved winner of the Palme d'Or.
An intimate lesbian love story by Abdellatif Kechiche won the top prize at the Cannes Film Festival, the prestigious Palme d'Or on Sunday. La Vie d'Adele - Chapitre 1 & 2 (Blue is the Warmest Colour) was chosen by a jury headed by Steven Spielberg as the best movie showing in competition, despite some concerns about its length (3 hours) and content, specifically its explicit sex scenes.
According to Reuters, Spielberg said the award should be shared between Kechiche and his two lead actresses Adele Exarchopoulos and Lea Seydoux, such was the level of their performances in the film. "I think it will get a lot of play ... I think this film carries a very strong message, a very positive message," Spielberg told journalists. "It was the perfect choice between those two actresses and this incredible very sensitive and observant filmmaker." Cannes director Thierry Fremaux said the hundreds of thousands of demonstrators who marched in Paris this week to protest the country's legalization of same-sex marriage should go watch Blue Is The Warmest Colour. "Everyone who is against same-sex marriage or love between two people of the same sex must see the film," he said.
Tunisian-born actor Kechiche made his directorial debut in 2000. He was virtually speechless upon accepting the award, dedicating it to the youth of France and Tunisia who "wanted only to live, speak and love freely" during the Arab spring.
Continue reading: Lesbian Love Story Beats Coen Brothers To Palme d'Or At Cannes
Could 'The Past' be even better than the Oscar winning 'A Separation'?
Iranian Oscar-winner Asghar Farhadi, who made his name in the industry with the incredible A Seperation, is potentially sitting on the Palme d'Or after his Paris-set tale 'The Past' drew boisterous applause and strong reviews following its screening at the Cannes Film Festival this week. The film boasts The Artist's Berenice Bejo in the lead role as a Parisian mother living in the multicultural suburbs who asks her estranged husband to return from Tehran to finalise their divorce.
In the meantime, Marie invites her new boyfriend - played by Tahar Rahim of the superb A Prophet - to move in with her and her two daughters from another past relationship. Unsurprisingly, her husband returns from Tehran and his arrival upsets the balance of the house. The discussion amongst critics on Twitter appears to suggest that 'The Past' will undoubtedly be amongst the favourites when the awards are handing out by jury president Steven Spielberg on May 26. Bejo was singled out for particular praise for her stunning performance and the actress concedes that he had plenty of offers from Hollywood after The Artist won big at Oscars, choosing instead to work with the one of "the world's best directors" in Farhadi.
Peter Bradshaw of the Guardian wrote of the new movie, "It is an intricate and often brilliant drama, with restrained and intelligent performances; there is an elegantly patterned mosaic of detail, unexpected plot turns, suspenseful twists and revelations." Deborah Young of the Hollywood Reporter was equally enamoured with the movie, writing, "Farhadi's nearly flawless screenplay foregoes the explosive shocks that electrified Fireworks Wednesday and About Elly and drove A Separation on to win the Best Foreign Language Oscar. The Past plays like a low-key adagio in the hands of a masterful pianist, who knows how to give every note it's just nuance and how every single phrase affects all the rest."
Star Trek Into The Darkness draws huge crowds at the premiere, Pedro Almodovar returns to his roots with I'm So Excited & Vin Diesel and Paul Walker reprise their roles in Fast & Furious 6.
The big event this week was the world premiere of Star Trek Into Darkness in London, attended by the entire cast, director J.J. Abrams, the writers, producers and any celebrity in shouting distance of Leicester Square. The film is gaining buzz among critics who have already seen it in advance of its UK release next week. It opens in America on May 17th.
This week's big release in America is Iron Man 3, which has already made more than $300 million worldwide. In the UK, there's an eclectic mix of new releases in cinemas, from the dark action of Dead Man Down, starring Colin Farrell and Noomi Rapace, to the wacky comical antics of Pedro Almodovar's I'm So Excited, which features cameos from his regulars Antonio Banderas and Penelope Cruz.