Catherine Deneuve - Cast members and director attend the photocall for "Midwife" at the 67th International Berlin Film Festival (Berlinale) at Grand Hyatt Hotel - Berlin, Germany - Tuesday 14th February 2017
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.
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
Paul Exben has it all: a job at one of Paris' most exclusive law firms, where he's tipped for promotion, a beautiful wife and two sons and a big house which he bought with his big salary. But lately his wife has been rather cold towards him - she has been cheating on Paul with a local photographer, Greg Kremer.
Continue: The Big Picture Trailer
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
Deneuve is Genevieve, who somewhat sullenly assists her widowed mother (Anne Vernon) in running an umbrella shop in Cherbourg, a provincial town of cobblestone streets. Just 17 years old (though Deneuve was 20 when she took the role), she falls impetuously and deeply in love with Guy (Nino Castelnuovo), a charming garage mechanic. His head cocks sweetly when he sings to her, and part of the magic of the film is in watching the two stand thisclose to one another and moon as they sing.
Continue reading: The Umbrellas Of Cherbourg Review
The strange update of An Affair to Remember goes like this: A dazed and neurotic French woman named Fanette (Catherine Deneuve) is so obsessed with Affair that she sneaks into the movie theater constantly to see it. (You can still see An Affair to Remember in Paris theaters?) An old flame resurfaces -- she thinks -- and a mysterious note arrives suggesting she meet him in three days at the top of the Empire State Building, just like in Affair!
Continue reading: Nearest To Heaven Review
After all its TV commercial posturing about "re-envisioning" a classic as a post-Hong Kong actioner, "The Musketeer" betrays the truth of its utter lack of real ambition in the casting of a wooden, charmlessly handsome, totally generic Hollywood pretty boy in the title role.
His name is Justin Chambers (Jennifer Lopez's irritating Italian suitor in "The Wedding Planner"), and he looks and acts like he got the part only because Chris O'Donnell -- the industry's preferred choice for glinty-eyed, mannequin-souled heroes -- already played D'Artagnan in Disney's weightless 1993 adaptation of Alexandre Dumas' "The Three Musketeers."
Out to avenge the murder of his father some 14 years before, this D'Artagnan is "all for one" without the "one for all." Ostensibly, he ventures to Paris to join King Louis XIII's elite guard, only to find them disbanded and in disarray following a power shift that favored troops loyal to the power-mad Cardinal Richelieu (Stephen Rea).
Continue reading: The Musketeer Review
For years filmmakers have been trying to reinvent the musical. "Evita" went big, "My Best Friend's Wedding" sneaked musical numbers into its semi-standard romantic comedy, the "South Park" movie mocked the cartoon musical while besting it with genuinely catchy tunes, "Love's Labour's Lost" was an homage to the Fred and Ginger sing-songs of the 1930s.
But no one has succeeded in making a truly modern movie musical, one that employs emerging filmmaking techniques instead of reaching back 50 years for inspiration. In fact, no one has ever even attempted something like "Dancer In the Dark."
Writer and director Lars von Trier -- the reclusive Dane behind the minimalist Dogme95 movement that espouses natural lighting, no props and handheld cameras -- discovers a way to marry his trademark sparseness with the unfettered showmanship of song and dance numbers in this daring retooling of the musical genre.
Continue reading: Dancer In The Dark Review
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