Laetitia Dosch, le goût du malaise – TROISCOULEURS

A bearded realistic singer, a nude theater fighter wearing a python, an extraterrestrial man with twisted gestures, a false comic … The main actress of La Bataille de Solferino , who likes to put her audience to the test, has a reckless career as a performer. Expansive and passionate, she told us her crazy adventures

Before interviewing Laetitia Dosch, we hang out a bit on the Internet to gather some biographical elements. We could see her at the filmmaker Shanti Masud, or in the series So be they on ARTE, she played Shakespeare with Erik Ruf and danced with the Spanish performer La Ribot. On the sites of several dramatic centers, there is also talk of a show entitled Laetitia makes fart, led by a ”  talent mimic  “, a ”  real woman orchestra with irresistible humor  “, which ”  could be as small as – daughter of Hara-Kiri as Jim Carrey’s niece  . The presentation text is full of superlatives: ”  nonsensical madness  “, ”  tonic  “, ”  ” droll “, ”  smashing humor  “, ”  surrealist

” … It’s almost indigestible as the entire lexical field of humor passes. And it’s a bit suspicious, too [ . . . ]

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Remember her name: Laetitia Dosch, best hope of French cinema?  

Laetitia Dosch was wonderful in Jeune Femme and I can hardly wait for her next film’s arrival here in the US. – Pas de Merde

Laetitia Dosch

I learned a lot with cinema. Many, many movies. The movies of the French 90s. All Laurence Ferreira Barbosa, Noemie Lvovsky, Pierre Salvadori, the first Desplechin … All this French generation … And the American films too. Jim Jarmusch, John Waters … There is also Emir Kusturica … All the independent films actually. It wrought something. If I had not become an actress, it would have helped me anyway, to live, I think.

Read more : Remember her name: Laetitia Dosch, best hope of French cinema? – The Parisian

Movie Review: Montparnasse Bienvenue


A fearless, powerhouse performance by Laetitia Dosch infuses every frame of Montparnasse Bienvenue (Jeune Femme), the kinetic, incident-packed portrait of rudderless yet resilient Paula, a 31-year-old woman in emotional free-fall. This first film by writer-director Léona Serraille is full of snap and surprises as energetic scatterbrain Paula ricochets from situation to situation after getting dumped by a lover — her former teacher and prominent photographer Joachim (Gregoire Monsaingeon) — with whom she lived for a decade. Following its debut in Cannes (Un Certain Regard) this should travel.

We meet Paula pounding on a door — first with her fist and then with her forehead — demanding to be let in. In a sequence at the hospital where the resulting gash is treated, we witness Paula’s manic gift for navel-centered gab and her oblivious knack for casually insulting the very people trying to help her. She’s a walking train wreck who manages to lurch from station to station as we look on. There’s literally never a dull moment. [ . . . ] READ FULL REVIEW