Emmanuelle Devos

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'Amour' Premiere During The 65th Annual Cannes Film Festival

Nanni Moretti, Alexander Payne, Diane Kruger, Emmanuelle Devos, Ewan McGregor, Jean Paul Gaultier, Raoul Peck and Cannes Film Festival - Nanni Nanni Moretti, jury members Hiam Abbass, Diane Kruger, Raoul Peck, Alexander Payne, Ewan McGregor, Andrea Arnold, Jean Paul Gaultier, and Emmanuelle Devos Sunday 20th May 2012 'Amour' premiere during the 65th Annual Cannes Film Festival

Nanni Moretti, Alexander Payne, Diane Kruger, Emmanuelle Devos, Ewan Mcgregor, Jean Paul Gaultier, Raoul Peck and Cannes Film Festival

WIld Grass [Les Herbes Folles] Review

At age 87, director Resnais creates a playful and often infuriating comedy about the impulsive things people do in reaction to something unexpected. And even though it's not an easy film, it's still great fun.

When the imaginative Georges (Dussollier) finds a wallet in a parking garage, he begins to wonder about the owner. He hands the wallet to a cop (Amalric) and goes home to his wife (Anne Consigny), with whom he has two adult children (Forestier and Vladimir Consigny). Meanwhile, the wallet's owner, Marguerite (Azema), also begins to wonder about this strange man who found it. But when they get in contact, strange obsessions lead to irrational decisions and actions. Or maybe they're just imagining what could possibly happen.

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2010 Cannes International Film Festival - Day 12 - Palme D'Or Closing Ceremony Red Carpet Arrivals

Emmanuelle Devos Saturday 15th May 2010 2010 Cannes International Film Festival - Day 12 - Palme d'Or Closing Ceremony Red Carpet Arrivals Cannes, France

Emmanuelle Devos
Emmanuelle Devos

Coco Before Chanel Review

This biopic kind of dwells on the misery in Coco Chanel's life, but it's a strong story of a woman who made her own way against all odds. And it's skilfully and beautifully filmed and acted.

After her mother died in 1895, Gabrielle Chanel (Cohen) moves into orphanage, where nuns teach her how to sew. As soon as she's 18 (now Tautou), she becomes a bar singer with her sister (Gillain) and is dubbed "Coco" after her signature song. Even now she's rebelling against the constricting clothes of the day, and when she becomes the mistress of the wealthy Etienne Balsan (Poelvoorde), she has clear ideas about her own life. What she doesn't expect is that she'll fall for his friend Boy Capel (Nivola).

Director-cowriter Fontaine tells this story like Chanel's fashion style: elegant and detailed, but without frills. The film takes us through these early years in a somewhat dispassionate way, only drawing emotion from Tautou's mesmerising performance. She conveys a sharp, opinionated intelligence even as Coco knows her place in society. And as she quietly evolves to the moment she becomes the Coco we remember, Tautou keeps the character consistently engaging without sacrificing any of her inner toughness.

Fontaine doesn't shrink from portraying this male-dominated society: men treated women like possessions. So Coco was a true revolutionary, going against the grain to become the first major female designer. Fontaine makes sure the period detail is sleek and gorgeously recreated, with actors who aren't afraid to show the dark sides of their characters. There are moments of levity, but powerful scenes between Tautou, Poelvoorde and Gillain reveal a shadowy complexity.

The problem is that the film feels a bit gloomy as a result; Coco seems melancholic even when she's smiling. And this carries through to the limited colour scheme, as well as Coco's simple clothing in a time when women wore outrageous frills. But watching closely, we can see Coco in control of her life, even though the men around her thought she was theirs. And into this world, Nivola's Boy is a breath of fresh air, a rare man who can see her for who she is. So where their story goes can't help but move us.

Coco Before Chanel Trailer

Watch the trailer for Coco Before Chanel

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A Christmas Tale Review

French director Arnaud Desplechin returns to the U.S. three years after his last domestically distributed picture, Kings & Queen, bearing a gift of another sort in A Christmas Tale. Seeing release approximately a month before the titular holiday, like some Black Friday extravaganza, Desplechin packs all manner of cinematic devices, narrative theatrics, and filmic vernacular into this work of unimaginable generosity.

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.

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Kings & Queen Review

Sometimes it's nice to be small. We can all suck up and lick our lips at multi-narrative wonders like Short Cuts, Magnolia, and Sunshine State, but there is something to be said for simplicity in story and complexity in character. Arnaud Desplechin's Kings & Queen has the grandeur of P.T. Anderson and Robert Altman, but has the loose charm and intoxicating spontaneity of Truffaut and Godard.

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.

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It's Easier For A Camel... Review

To paraphrase Bogart, the problems of a bunch of rich people don't add up to a hill of beans in this crazy world - this is why your average filmmaker, in order to get an audience to care about disgustingly wealthy characters is to either make them so engaging that one can't help but get emotionally involved or to subject them to truly horrific circumstances that level the economic playing field. It's Easier for a Camel..., an autobiographical story by the actress Valeria Bruni Tedeschi - who wrote, directed and stars in the film - about an Italian family of malcontents living in Paris off their patriarch's vast earnings, does neither of these things, resulting in a distant and distinctly minor piece of work.

Tedeschi plays Federica, a young Italian woman who's trying to make a go of things as a playwright but seems to spend most of her time mooning about in discontent, daydreaming, finding ways to sabotage her relationships, and compulsively going to confession, even though she has nothing to confess. As her working-class, leftist boyfriend Pierre (Jean-Hughes Anglade) reminds her, with the vast sums of money sitting in her bank account, her intermittent writing is actually less a job than a hobby. The film's title is a reference to the Biblical passage about it being easier for a camel to fit through the eye of a needle than for a rich person to enter heaven.

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Read My Lips Review

In my notes for the acclaimed French romantic thriller Read My Lips, the word "endless" is scribbled twice on separate pages, and underlined each time for emphasis. The movie's weakness is not in its material, but in how it's handled.

The movie introduces us to Carla (Emmanuelle Devos), an overworked but tireless secretary for a large construction company. She looks a bit like Toni Colette (which means she's deemed ugly by co-workers), wears two hearing aids, and has the ability to read lips. Unable to enjoy silence and immersed in relative solitude, it's no wonder that she's falling apart.

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The Beat That My Heart Skipped Review

James Toback's Fingers is an odd film, but it's an even odder film to become fascinated with for nearly 30 years. French director Jacques Audiard (whose Read My Lips was an undersung gem) has remade Fingers, updated it for the zeros, and given it a Parisian bent... and the end result is just as compelling as Toback's original.

The story tracks closely with the original: Thomas Seyr (Romain Duris) is a wayward twentysomething who, with partner Fabrice (Jonathan Zaccaï) is trying to make a name for himself by completing shady real estate deals half done with cash and half done with muscle. Thomas is the muscle. Meanwhile, his life is a shambles -- his ailing father (Niels Arestrup) can't get the Russian mafia to pay him the money he's owed, but he's marrying a "glorified prostitute" anyway. Fabrice, meanwhile, is cheating in his lovely wife (an unforgettable Aure Atika), and eventually Thomas fills in for him.

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Artemisia Review

Truish tale of Artemisia Gentileschi, widely regarded as the first serious woman painter. Fighting discrimination and a dated morality, our heroine struggles to paintwhile society says no. There's also a romance with an older guy which leads to a rather drawn-out inquest, plus a bit of a Sylvia Plath mentality about the whole thing. Ultimately, there's not a terrible lot of insight into Artemisia, but the look into 1600s Italian mores is quite telling.
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