Marion Cotillard, Nicole Garcia, Louis Garrel , Alex Brendemuhl - 69th Cannes Film Festival - 'Mal de Pierres' (From the Land of the Moon) - Premiere at Palais de Festivals, Cannes Film Festival - Cannes, France - Sunday 15th May 2016
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
Shot in beautiful, shadowy black-and-white and set primarily, as was his previous film, in the hallways and empty rooms of Parisian apartments, Frontier immediately flirts with the romance and nostalgia of the nouvelle vague. This is not completely surprising as Garrel is perhaps the most unsung hero of that particular movement, only seeing a renewed interest upon the release of Lovers in 2006. But unlike a great deal of his other work, Frontier features bouts of picaresque fantasy that are reminiscent of Bresson and Dreyer.
Continue reading: Frontier Of Dawn Review
Has a director ever gone so 180 as Honore, last seen offering the inside-out Dans Paris. Love Songs, his third and weakest film, builds on an endlessly-trampled possibility: Is it conceivable to have a relationship with three people where everyone happily coexists? As always, there's a couple at the middle, Ismaël (Louis Garrel) and Julie (Ludivine Sagnier), who are happy and in love but want to try their luck with another person. Enter Alice (Regular Lovers' Clotilde Hesme), a co-worker of Ismaël's. Alice and Julie fool around, and so do Alice and Ismaël, but Julie is unsatisfied with the experiment, which might explain why she shares the news with her entire family.
Continue reading: Love Songs Review
Adiard's film wasn't just a great movie; it was a fully-functional jive. What still haunts me is the way Duris moved along to every funky camera move and dynamic scene with such disheveled, transcendent grace. The movie itself breathed in unison with Duris', performance making it easily the best French remake of a movie starring Harvey Keitel ever.
Continue reading: Dans Paris Review
The strapping youth whom the film places at the intersecting desires of three women is Pierre (Louis Garrel), a somewhat idle guy who, after his father's mysterious death, gets sucked into the orbit of his self-destructive mother, Helène (Huppert). This involves a lot of gamesmanship whereby Helène tries to push Pierre into more and more outlandish behavior, especially with her wastrel friend Réa (Joane Preiss), whom she's more than a little chummy with. At first, Helène pushes Pierre towards Réa, seemingly as a way of having one-degree-of-separation sex with him, watching longingly as Réa screws Pierre in public, blasé strangers wandering past. It's easy to see why these three are pushing themselves to such extremes, given the film's bland setting in the Grand Canaries - with its California-like, mildly libidinous atmosphere and constant, enervating sunlight. But unfortunately that doesn't mean there's much depth to it at all, no matter how much philosophical and religious piffle writer/director Christophe Honoré puts into Pierre's portentous voiceovers.
Continue reading: Ma Mère Review
But appreciating The Dreamers has nothing to do with pushing the audience in directions they shirk from. The sex and nudity, while physically bare to the eye, come more from the standpoint of natural innocence than pornographic prowess. The added connotations towards incest have also had people bubbling at the mouth. However, if you are able to ignore all these preconceptions, The Dreamers becomes a simple, and beautifully crafted, story of three individuals who test each other and themselves for a short period of time.
Continue reading: The Dreamers Review
The last five minutes of Bernardo Bertolucci's "The Dreamers" is a sublimely spot-on graduation for its main character, an unripe American student on a proverbial journey of self-discovery in this erotic drama set against the backdrop of the 1968 Paris riots.
But in the preceding five reels, there isn't much I'd call compelling in its story of a trio of 20-year-old bohemian wannabe-intellectuals who have yet to be comfortable with their own identities, yet frequently launch into polemic and nebulously philosophical pontifications about politics and movies.
The narrating young drifter named Matthew (pouty, ambiguous Michael Pitt from "Hedwig and the Angry Inch") answers the siren song of Isbelle (Eva Green) and Theo (Louis Garrel), a pair of alluringly charismatic, possibly incestuous fraternal twins who invite the American to live in their large, labyrinthine flat for the summer while their bourgeoisie, former poet-bohemian parents are away on holiday.
Continue reading: The Dreamers Review
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The last five minutes of Bernardo Bertolucci's "The Dreamers" is a sublimely spot-on graduation for...