Isabelle Huppert talks about Elle and Things To Come.
Over her 45-year career, French actress Isabelle Huppert has made more than 100 movies, winning awards all over the world. Paris Match magazine calls her the "un-dethronable" queen of the film industry, and yet she's never been nominated for an Oscar. That's likely to change this year, with her acclaimed performances in both Mia Hansen-Love's Things to Come and Paul Verhoeven's Elle.
"My occupation, my activity, it's more than a profession," she says in her inimitable poetic style. "You can define what I do in so many different ways. It's almost autobiographical - like it would be to write a book."
Continue reading: Isabelle Huppert Loved The Contrast Between Elle And Things To Come
Like her career, Michèle has always micromanaged her life; she's constantly in control and has an demeanour about her that makes her almost indestructible. This is all changed when she is attacked in her home, a space people associate as a safe haven.
Michèle deals with the attack in her own way and tracks down the man who assaulted her and the foes are both drawn into a dangerous game which could lead to either of them being killed.
Elle is based on Philippe Djian's novel 'Oh', director Paul Verhoeven explains how he was given the original idea from producer Said Ben Said: "The idea wasn't mine; it came from the producer, Saïd Ben Saïd. He contacted me in the US, sent me Philippe Djian's novel, which I read and found very interesting. I knew we had the material for a movie, but I had to think it through and find my way of appropriating a story I would never have come up with myself."
Not only could the stellar cast be found beaming on the red carpet at the New York premiere of upcoming comedy 'St. Vincent', but supporting guests from 'Desperate Housewives' star James Denton to 'Inherent Vice' actress Jena Malone were also snapped arriving at the event.
Conor (James McAvoy) and Eleanor (Jessica Chastain) play a couple who fall in love and get married, before hitting various hiccups in their relationship. However, this film is far from the clichéd love story, and instead tells the tale from both points of view, as well as relatable and engaging look at the relationship of two people still trying to figure out who the other person truly is. The Disappearance of Eleanor Rigby charts the highs and lows in a relationship between two people trying to recreate the past, so as not to let their love fade away.
Here's yet another preposterous action movie that's made watchable by a skilful director and an engaging cast. While there are some intriguing themes in this spiralling odyssey of revenge, the script never really makes any sense out of the plot, merrily twisting and turning as it whizzes past a series of glaring improbabilities. But Colin Farrell and Noomi Rapace put their huge brown eyes to work, holding our sympathies as things get messier by the moment.
Farrell plays Victor, a gun-toting goon working for the slick mobster Alphonse (Howard), who is being taunted by a complex, unnerving plot to bring him down. But Victor is sidetracked by his neighbour Beatrice (Rapace), who comes on strong before revealing that she has seen his handiwork and will report him to the cops if he doesn't help her get revenge against the guy who scarred her face in a drunk-driving accident. This puts Victor in a difficult position since he's already engaged in his own plan to avenge the brutal deaths of his wife and daughter, assisted by a family friend (Abraham) from the old country.
And the plot gets increasingly knotty, as both Victor and Beatrice start to wonder if perhaps falling in love with each other might be a more pleasant way to get over their anger issues. Yes, the film is essentially preaching love and redemption even as the body count nears triple digits. Fortunately, director Oplev brings the same slick-steely style to the film as his original The Girl With the Dragon Tattoo. And the always watchable Farrell and Rapace get solid support from Howard and Abraham, as well as Cooper (as Victor's brother in arms), Huppert (as Beatrice's busy-body mum) and the underused Assante (as the big boss).
Continue reading: Dead Man Down Review
Anne and Georges are a devoted, elderly couple who both used to be music teachers. One day, Anne has a stroke which leaves her partially paralysed and unable to look after herself. Georges, being old and not up to strength himself, does his best to take care of her but is placed under considerable strain given the amount of attention she needs and the fact that she isn't always compliant with him. However, he maintains his promise to her that he will not send her to a nursing home to be cared for. Their daughter Eva lives abroad and also has a career in music but tries to convince her father to let someone else care for her despite his promise. Just how far will this couple's love take them, and will their partnership survive?
Since its release in November 2012, this powerfully moving French drama has garnered much praise with five Oscar nominations and four BAFTA nominations. Director and writer Michael Haneke ('The White Ribbon', 'The Piano Teacher') also won the Palme d'Or award on its release at the Cannes Film Festival but, most recently, the movie bagged the Best Foreign Language Film award at the Golden Globes in January 2013.
Director: Michael Haneke
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A striking look at a long-term relationship, this film is an antidote to those who are tired of shamelessly sweet depictions of retirees, such as The Best Exotic Marigold Hotel or Hope Springs. Meanwhile, it's perhaps the most emotionally resonant film yet from Austrian filmmaker Michael Haneke, who specialises in crisp explorations of the darker side of humanity (see The White Ribbon or Cache). By contrast, this Cannes-winner is a clear-eyed drama about ageing that completely avoids manipulation and schmaltz, but is still deeply moving.
The story takes place largely in one apartment in Paris, where Georges and Anne (Trintignant and Riva) are enjoying their golden years. Then one night, after attending a concert by one of Anne's former piano students, she has a small seizure that's just the first step in a slide into partial paralysis. Georges is happy to care for her, and they still have moments of happiness. Even when their daughter (Huppert) barges in and tries to meddle with their decisions about the future. As Anne's condition deteriorates, Georges gets help from his neighbours (Agirre and Blanco) and a nurse (Franck). But he never feels that taking care of Anne is a burden.
Unsurprisingly, Haneke tells this story without even a hint of sentimentality. Even though the premise lends itself to big emotions, he keeps everything quietly authentic. The flat itself almost becomes a character in the story, with each outsider's arrival as a kind of invasion. Scenes are captured in his usual long, unbroken takes with no background music to tell us how to feel. Instead, we experience the situations along with Georges, and we understand why he takes such a practical approach, refusing to overdramatise even the most emotive events.
Continue reading: Amour Review
Ever the free spirit, Huppert's Frédérique has a vague Peter Pan syndrome crossed with exhibitionism. Since her youth (you can tell it's a flashback because she has really long hair), she's made a vow to always woo money out of men by playing neo-whore, but without having sex with them. Heading to Japan with a man (Daniel Olbrychski) she meets in a bowling alley (where else would she encounter him!?) is just this to the nth degree. There she encounters another man's wife (Jeanne Moreau), who tells her about satori, the "world of ecstasy."
Continue reading: La Truite Review
The one philosophy behind the existential screwball comedy "I ? Huckabees" (pronounce the ? as "heart") is that there is no one philosophy. A satire of spiritual gurus, self-help and other psychological gimmickry, it makes its point by being so esoteric and cerebrally akimbo that it will likely divide audiences between those who find its deliberately abstruse discombobulation amusing and to the point, and those who find it just abstruse and discombobulated.
Written and directed by David O. Russell, the observant and darkly comical wit behind the Gulf War derision "Three Kings," the ensemble storyline whirlpools around Albert Markovski (Jason Schwartzman), an unhinged and obsessive young environmentalist who has seen the open-space preservation group he chartered slip through his fingers and into the hands of a snake-oil-charming corporate stooge named Brad Stand (Jude Law). Brad is, in fact, an executive at Huckabees -- a slick, corporate retailer with a habit of moving into small towns and building megastores where there had once been open space.
With his failure causing him to question his whole life, Albert seeks metaphysical peace of mind from Bernard and Vivian Jaffe (Dustin Hoffman and Lily Tomlin), a pair of unconventional, off-kilter and out-of-sync private eyes who specialize in solving the mysteries of their clients' inner turmoil. Soon they are, quite conspicuously, following Albert to work, peering through his windows, digging through his trash, and pairing him up with another lost soul as a partner in intellectual recovery -- Tommy (Mark Wahlberg), a blue-collar lug of a firefighter whose eye-opening visit inside his own head has rapidly become a slide into bemused Nihilism.
Continue reading: I ? Huckabees Review
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