Catherine Deneuve - A variety of fashionable stars were photographed as they attended Louis Vuitton "Series 2" The Exhibition which was held in Hollywood, California, United States - Thursday 5th February 2015
Fashion’s former ‘enfant terrible’ has present his last ready-to-wear collection.
French fashion designer Jean Paul Gaultier has presented his final ready-to-wear collection at Paris Fashion Week, in front of a star studded audience. The show was presented in the designer’s typical eccentric style and featured nods towards many of the most famous creations from his 40 year fashion career.
Jean Paul Gaultier has presented his final ready to wear collection
Using a comical beauty-pageant theme, guests were told that a ‘Miss Jean Paul Gaultier’ was be crowned during the show. The honour eventually fell to 26 year old model Coco Rocha, who had previously suffered a unfortunate tumble during the show.
Catherine Deneuve - The cast and crew of French drama '3 Coeurs' and other stars hit the red carpet for the movie's premiere at the 71st Venice International Film Festival - Venice, Italy - Saturday 30th August 2014
Oscar and Grammy winner Barbra Streisand is honoured at the 40th Anniversary Chaplin Award Gala at Avery Fisher Hall at the Lincoln Center, New York. Snapped on the red carpet are Streisand herself with husband James Brolin, 'Chicago' star Catherine Zeta Jones and 'One Flew Over the Cuckoo's Nest' producer Michael Douglas, and James Bond star Pierce Brosnan with wife Keely Shaye Smith.
In 1964 Riems, Madeleine (Sagnier) accidentally begins moonlighting as a prostitute before falling in love with a client, the charming Czech doctor Jaromil (Bukvic). He whisks her off to Prague, until the Russian invasion of 1968 and Jaromil's infidelity drive her back to France with daughter Vera.
Madeleine remarries, but never loses her feelings for Jaromil. Even some 40 years later (now played by Deneuve and Forman), they're meeting in secret, while Vera (now Mastroianni) is struggling with the fact that she has fallen in love with the wrong man (Schneider).
Continue reading: Beloved Review
Paul (Duris) is a successful Paris lawyer living in suburban bliss with his wife Sarah (Fois) and two lively sons (Cacote and Antic). But just as his boss (Deneuve) offers him the chance of a lifetime, Sarah pulls the rug out by asking for a divorce. So Paul confronts the man (Ruf) he holds responsible, and this starts a dizzying journey as Paul makes a series of decisions that change his life completely. Along the way he meets a drunken newsman (Arestrup) and a sexy editor (Katic) who spark even more unexpected actions.
Continue reading: The Big Picture [L'Homme qui Voulait Vivre Sa Vie] Review
Life-loving Suzanne (Deneuve) is married to uptight umbrella factory manager Robert (Luchini). Their daughter Joelle (Godreche) is fed up with her controlling husband, determined not to become a trophy wife like her mother, while their son Laurent (Renier) is marrying someone Robert feels is unacceptable. Meanwhile, the union is on strike for better conditions, and when Robert refuses to give his workers anything, Suzanne starts negotiating with a union-friendly local politician Maurice (Debardieu) with whom she has a past.
Soon the children and Robert's secretary (Viard) are in the middle of a farce.
Continue reading: Potiche Review
Skater girl Jeanne (Dequenne) lives in a Paris suburb with her helpful mum Louise (Deneuve). When meets another skater, Franck (Duvauchelle), their romance develops quickly. And she decides to move in with him rather than take an offered job as a secretary for a legal firm headed by Samuel (Blanc), a renowned specialist in cases involving anti-Semitic violence who has a past connection with Jeanne's parents. But when things go wrong she does something that has severe consequences.
Continue reading: The Girl on the Train [La Fille du RER] Review
As she celebrates her 80th birthday, the iconic French filmmaker compiles an impressionistic collage of photographs, home movies, new scenes and clips from the classic films she had a hand in. She recounts her career alongside Godard and the Nouvelle Vague, and links her memories together with beaches from near her birthplace in Belgium to Los Angeles by way of Cuba and Cannes. She also installs a beach on a Paris street, occupied by female members of her staff.
Continue reading: The Beaches of Agnes [Les Plages d'Agnes] Review
Roman Polanski's Repulsion has been rightly hailed as a chilling examination of a woman going mad. With unnerving intensity, it places us in the shoes of Catherine Deneuve's fragile beautician, whose unexplained trauma and sexual repression induce bizarre, frightening hallucinations that ultimately drive her to murder. But just as powerful is its notion of an outside world incapable of aiding her. Polanski's penchant for exploring helplessness and indifference has seen more overt expression in other films, but here it forms a haunting counterpoint to the central drama, a statement both on insanity and the banal monstrosities which enable it.
Continue reading: Repulsion Review
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
In adapting Satrapi's book for the screen, the filmmakers could easily have gone the route that Robert Rodriguez and Frank Miller did with Miller's Sin City, after all, her emotive but simple black drawings would be many times easier to represent in film than, say, the luridly complex and many-colored works of many other graphic artists. But instead of simply replicating what was on the printed page, Satrapi and Paronnaud went to a much more expressive place, choosing instead to keep the spirit and basic look of those dark, simple pages of art, and just add a natural fluidity to it. The frame doesn't move much, leaving one with the impression of looking through a window into another world, where the characters practically float like dancers amid the layered fields of beautifully grey-shaded art, and the mood is grim and poetic. There is little background music or noise except when necessary, eschewing the clouding clutter of a Disney production, with the bright and clear vocals of an early Peanuts film -- and all the heartache-inducing simple truths which that implies.
Continue reading: Persepolis Review