Director Mia Hansen-Løve and actor Isabelle Huppert discussed their highly acclaimed new film ‘Things to Come’ at a press conference during the 54th New York Film Festival.
I watched Things to Come for a second time last night. It is one of those films that demands several viewings to fully appreciate, yet immediately I was touched by the tenderness and honestly of director Mia Hansen-Love’s story, and blow-away by actress Isabelle Huppert’s brilliance as an actress. Going back for a third.
– Mike Stevenson
Midway through “Things to Come,” Isabelle Huppert’s protagonist has a disconcerting encounter in a cinema, distracting her from Juliette Binoche’s own on-screen emotional uncertainty in Abbas Kiarostami’s 2010 jewel, “Certified Copy.” It’s a cheeky move to so fleetingly cameo that level of perfection in one’s own work, but Mia Hansen-Love’s fifth — and possibly best — feature pulls it off with warmth and grace to spare. At once disarmingly simple in form and riddled with rivulets of complex feeling, this story of a middle-aged Parisienne philosophy professor rethinking an already much-examined life in the wake of unforeseen divorce emulates the best academics in making outwardly familiar ideas feel newly alive and immediate — and has an ideal human conduit in a wry, heartsore Huppert, further staking her claim as our greatest living actress with nary a hint of showing off. Following widespread distribution for the dazzling but younger-skewing “Eden,” the arthouse future for Hansen-Love’s latest is surely a bright one [ . . . ]
Elle is the sensational new thriller from Paul Verhoeven, and his first major film in a decade. Starring an outstanding Isabelle Huppert, this French film is not an erotic thriller, like the Dutch director’s infamous Basic Instinct. Instead, it’s a gripping film about a businesswoman’s complex response to being raped. From the opening shot of her cat watching the horrific event unfold, you know you’re in for a typically audacious film from a vastly under-appreciated director.
Verhoeven is best known for directing bombastic sci-fi/action classics like Robocop, Total Recall and Starship Troopers. Rather like the work of Douglas Sirk in the Golden Age of Hollywood, Verhoeven’s films were written off as lowbrow trash in their day, only for their artful, cutting satire to be appreciated later. He creates discomfort in his audience by playing with cinematic elements many take for granted. His incredibly glossy films use deliberately gratuitous sex and violence to comment on the dark undercurrent of both American cinema and society.
Even Showgirls, a popular contender for the worst film ever made, has been re-evaluated by critics and is appreciated by arthouse favourites like Jim Jarmusch and Jacques Rivette.While his last American film, Hollow Man, proved to be a hit, Verhoeven felt his films were losing his personal touch, and that Hollow Man could just as easily have been made by some other director. He retreated to Europe to [ . . . ]
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