Claire Denis

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Claire Denis To Receive Bronze Horse Trophy Award

Claire Denis

French filmmaker Claire Denis is set to receive the Bronze Horse trophy at the 2013 Stockholm Film Festival in Sweden.

Denis, who directed acclaimed movies Beau Travail and Chocolat, will be feted with the lifetime achievement accolade in November (13).

Members of the festival jury described Denis as a filmmaker who "refuses to close her eyes to the creative and destructive force unleashed by human weaknesses".

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Kylie Minogue: Making Film Most Incredible Experience

Kylie Minogue Claire Denis Leftfield Cannes Film Festival

Kylie Minogue thinks making a film has been the most incredible experience of her life.

The singer - who stars in Leos Carax-nominated French movie 'Holy Motors', admitted that it surpasses any of her musical career highlights.

She told The Independent newspaper: ''I'm sure I'm going to wake up and find out it's been a dream. It's been the most incredible experience - making the film, meeting Leos. It's mind-blowing.

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White Material Review

Claire Denis resolutely refuses to make simple movies, so this intense drama set during a civil war in central Africa feels somewhat elusive as it concentrates on emotions rather than plotting. But it's still riveting.

Maria (Huppert) is passionate about her family's coffee plantation, which she runs with her ex-husband Andre (Lambert) and her father-in-law (Subor). She's sure that a violent clash between the army and rebels will pass them by, so she works to make sure the harvest goes as planned. But Andre, now married to a local woman (Ado), is more realistic. And their late-teen son Manuel (Duvachelle) is struggling to find his identity. Meanwhile, an iconic rebel leader (De Bankole) has taken refuge in Maria's home.

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White Material Trailer

White Material gets its UK cinema released on July 2nd 2010.

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35 Shots Of Rum [35 Rhums] Review

Quietly establishing her characters and their inter-relationships with very little dialog, filmmaker Denis uses her typically moody, vague style to explore multicultural France with dark humour and warm emotion.

Jo (Diop) lives with her widowed train-driver dad Lionel (Descas) in a Paris flat. Also in the building are Lionel's ex Gabrielle (Dogue) and Noe (Colin), a neighbour Jo has her eye on. Together, they're a sort of family, watching out for each other even as circumstances change around them. When a friend (Toussaint) retires, Lionel becomes terrified of his own old age, which opens him up to potential romance with a local cafe owner (Ado). And besides Noe, Jo is also drawn to a cute shop clerk (Folly).

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The Intruder Review

There are dozens of reviews of The Intruder online that will tell you exactly what it isn't: It isn't a conventional story, it isn't a narrative in any traditional sense of the word, and it isn't even about an intruder. What few people will actually come out and say is that it isn't really very good. It's yet another meandering piece of existentialism, signifying nothing except for what you're willing to project onto it. But director Claire Denis has built a name as an arthouse favorite based on a string of films like this, and no one's calling out the emperor.

You want this movie to be a piece about the loneliness of growing old? Sure, it can be that. You want it to be about redeeming yourself for a bad life before you die? It can be that too. It can even be a psychological mystery about spies, the black market for human organs, and illegitimate children. It's barely any of these things, but if you try real hard you can convince yourself that Denis has a point somewhere in this.

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Friday Night Review

The sun goes down, and the city lights of Paris slowly rise. The romantic melancholy of a girl's adventure story finds a haunting backdrop in Claire Denis's Friday Night. This follow-up to the ultraviolent vampire horror show Trouble Every Day feels like a contemporary fable, retaining the signature Denis touches of expressionistic images and aching sensuality. Sweet, shy Laure (Valérie Lemercier) is packing up the apartment on her final evening before moving in with her lover. Laure's the very portrait of ambivalence, a sharp twist on the male fear of commitment.

That Laure won't throw away her sexy red dress (saying, "I'll keep you," in one of her affectionate throwaway lines to household objects, clothing, and her beaten-up but friendly car) says she has some vitality in her yet, and hasn't quite finished exploring life's spontaneous opportunities. Going out for the night wearing a trés chic black dress, Laure gets stuck in a massive traffic jam, allowing regular Denis cinematographer Agnes Godard to rove between vehicles picking up details of Parisian life through rain-speckled car windows illuminated and obscured by neon, headlights, and shadows.

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Trouble Every Day Review

French filmmaker and provocateur Claire Denis has provided movie audiences with stimulating cinema over the years, with fare such as Nenette et Boni, I Can't Sleep, and the award-winning Beau Travail. Clearly, Denis has proven herself as a progressive and provocative director whose cinematic vision remains dauntingly confrontational. However, in her perversely passionate sexual artsy thriller Trouble Every Day, Denis revels in the hedonistic arena of extreme nudity, graphic sex, and even cannibalism. As a result, her film ends up wallowing in the mundane seediness of its ludicrous and salacious conventions. Although quite raw and caustic, Trouble Every Day is an awkwardly garish showcase that diverges from anything remotely probing or penetrating.

Vincent Gallo (Buffalo '66) and Tricia Vessey (Town & Country) portray American newlyweds named Shane and June Brown, spending their honeymoon in romantic Paris. A reluctant Shane appears fearful about consummating his marriage with an eager June, causing him to seek refuge in a nearby Parisian medical clinic where he explores his unexplainably weird sexual urges. And there's also this tendency for him to want to devour his spouse during sex. Yes, as in literally eating his loving partner's flesh right down to her human bone. Hence, Shane has to resort to masturbation in order to overcome the desire to chew on his new bride as if she were a juicy pork chop. Bottom line: If Shane doesn't get the help he needs to control his bizarre behavior, he will inevitably end up killing his woman.

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Beau Travail Review

Claire Denis's updating and Frenchification of Herman Melville's Billy Budd -- and both turn out to be roughly as equally snoozy. The story of a sailor who spars with his captain is told slowly, sparely, and virtually entirely voiced-over. Uncompelling and tiresome, though not without a certain sense of cinematographic flair. But geez, what's with all the yoga, huh?

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