When Jean-Luc and Pierre Dardenne gained the Palme d’Or for “Rosetta” in 1999 — upending such hotly fancied contenders as Pedro Almodovar’s “All About My Mom” — it wasn’t precisely an out-of-nowhere arrival. The Belgian brothers have been already of their mid-forties, having begun their profession in documentary filmmaking 20 years earlier than, and had already loved a fiction breakthrough with 1996’s award-winning “La Promesse.”
However it felt like an invigorating new wave all the identical. Towards the tip of a decade marked by auteurist flash and swagger, the empathetic, unvarnished realism of their working-class survival story gave world cinema a clean-scrubbed human face: intent on making audiences focus extra on the lives being introduced than the administrators’ fashion of presentation.
In a career-making efficiency, the 18-year-old Emelie Dequenne performed a teen struggling to help herself and her alcoholic mom with fleeting, fragile jobs: Although by the way a damning examine of Belgian labour legislation and social welfare, the movie was no political screed. With the sort of grainy on a regular basis element that solely comes by way of acute human curiosity and statement — all the way down to its wince-inducing depiction of interval ache amid poverty — the brothers plainly distinguished themselves from the filmmakers to whom they drew instant crucial comparisons, together with Ken Loach and Robert Bresson. Continue reading “Jean-Luc and Pierre Dardenne: A Portrait of 2020’s Lumiere Awardees”
Musicals, mysteries, and a whole lot of Audrey Hepburn.
Paris has inspired every type of artist over the years, from Impressionist painters to literary giants. But the city perhaps shines the brightest on the big screen, serving as the backdrop to countless movies over the past century. Even before French directors like Jean-Luc Godard and François Truffaut launched a cinematic movement in the 1960s, Hollywood showcased the beauty of Paris in breezy musicals and romances. And since then, we’ve seen the city shine in animated films, white-knuckle thrillers, gritty biopics, and more. Regardless of the genre, one thing’s for sure: The City of Light sure knows how to steal a scene. From Amélie to Ratatouille, here are 35 movies that will transport you to Paris—no plane ticket required
When I think of Paris on film, I think of scenes from Amélie. The quirky 2001 romantic comedy follows the titular character, played by Audrey Tautou, as she flits around her hometown of Paris, observing strangers around her. Though she’s struggling with her own loneliness, she becomes fixated on improving the lives of others, often from afar and with no recognition. The feel-good film was supposedly filmed in over 80 locations throughout the city, so it alone is a whimsical trip through the City of Light. —Megan Spurrell, associate editor
Watch now: Buy from $16, amazon.com
The genius of Jean-Luc Godard’s hard-boiled dystopian sci-fi flick from 1965 is that it uses the Paris of its day to create a world that feels utterly unlike the place we think of as Paris, then and now. Shooting at night, Godard used the glassy Modernist high-rises of La Défense and other then-new developments on the outskirts of the city to depict the cold, computer-run autocracy of Alphaville, a Brave New World sort of place into which a Humphrey Bogart-ish American detective (played by Eddie Constantine) must go to seek the people’s freedom. The marriage between noir and science fiction that Godard achieved here is one that numerous other filmmakers would seek to replicate, with Ridley Scott in Blade Runner being perhaps the greatest example. —Jesse Ashlock, U.S. editor
Watch now: Rent from $4, amazon.com
More than 80 years after its theatrical release, rediscover “Drôle de drama”, the unusual classic by Marcel Carné, on December 18 at the cinema
One of the most jubilant, delusional, absurd, “bizarre” films in French cinema!
Weird, yes, we said weird… An adaptation of Jacques Prévert (script and dialogues), from the novel His First Offence by the British author Joseph Storer Clouston.
London 1900. The very serious professor of botany Irwin Molyneux is none other than Felix Chapel, author of detective novels. The Bishop of Bedford, Irwin’s cousin, does not like this kind of literature and declares it very loudly during a supper where he is invited to the Molyneux. The absence of Margaret, Molyneux’s wife, at this supper, will trigger a series of very amusing misunderstandings.
“Drôle de Drama” The cult film by Marcel Carné and Jacques Prévert, finally back to the cinema on December 18 in a restored version at the cinema.
Plus de 80 ans après sa sortie en salle, redécouvrez “Drôle de drame”, le classique insolite de Marcel Carné, le 18 décembre au cinéma.
Some movies are so thoroughly mediocre that you just want to yell at them to be better. That is the case with the French romantic comedy To Each, Her Own. The story is bursting with ideas, so many ideas, in fact, that it could’ve been something great. Instead, To Each, Her Own, much like its protagonist, wants it all. By trying to speak to so many ideas, the movie ends up saying very little. The ambition of director Myriam Aziza (who also co-wrote the script with Denyse Rodriguez-Tome) is admirable. However, her Netflix film badly needs someone who can rein in the unwieldy script [ . . . ]
Read full review at THE DAILY DOT: Netflix’s ‘To Each, Her Own’ Is An Ambitious, Overcomplicated French Film
Due out later this November is Rachel Lang’s debut film about a dejected young Frenchwoman co-opted to help with some bathroom remodeling for her grandma. The “Baden, Baden”movie trailer looks very funny. Check out the FrenchCulture.org review below [ – Pas De Merde – ]
Like many in her generation, 26 year-old, free-spirited Ana lives a life teetering on the edge of comedy and melodrama. After a failed experience working on a film set, she returns to her hometown and decides to focus her energy on renovating the bathroom of her spunky, aging grandmother. Over the course of a scorching summer, Ana finds herself connecting and reconnecting with lovers and friends, as her (self-)improvement project gradually becomes more than she bargained for.
BADEN BADEN is a deceptively low-key feature debut from French filmmaker Rachel Lang, anchored by a slyly compelling, effortlessly confident lead performance by Salomé Richard, Lang’s alter ego and star of her two previous short films. Equally adept at narrative minimalism, psychological portraiture, and deadpan comedy, BADEN BADEN is a character study of great penetration and charm.
Source: BADEN BADEN | French Culture