Amélie star Audrey Tautou and director Jean-Pierre JeunetPhoto: Gina Ferazzi/Los Angeles Times (Getty Images)
Widely considered one of the most quintessential romantic comedies of all time, Amélie feels as if it has always been around. In truth, though, Jean-Pierre Jeunet’s quirky French confection is relatively fresh in comparison...
Widely considered one of the most quintessential romantic comedies of all time, Amélie feels as if it has always been around. In truth, though, Jean-Pierre Jeunet’s quirky French confection is relatively fresh in comparison...
- 2/14/2024
- by Rania Richardson
- avclub.com
Cannes rejected it. The Oscars ignored it. But “Amélie” lives on, as everyone’s favorite crème-brulee-cracking, stone-skipping Montmartre mischief-maker and romantic go-between is back in theaters come Valentine’s Day, courtesy of Sony Pictures Classics.
“Amélie,” directed by Jean-Pierre Jeunet and written by the French filmmaker with Guillaume Laurant, remains one of the 21st-century arthouse’s most imaginative confections, the rare film perhaps more misunderstood now than it was when it came out in 2001. Make no mistake that “Amélie” was huge then. There was the box office, the awards, the infectious swells of composer Yann Tiersen’s music in the air (at least in my headphones), and then came the imitators. I remember in college a close friend had a poster of the film pinned to her dorm room wall, a bemused Audrey Tautou upright in bed flanked by framed pictures of an Elizabeth-collared dog and a white-feathered fowl, and...
“Amélie,” directed by Jean-Pierre Jeunet and written by the French filmmaker with Guillaume Laurant, remains one of the 21st-century arthouse’s most imaginative confections, the rare film perhaps more misunderstood now than it was when it came out in 2001. Make no mistake that “Amélie” was huge then. There was the box office, the awards, the infectious swells of composer Yann Tiersen’s music in the air (at least in my headphones), and then came the imitators. I remember in college a close friend had a poster of the film pinned to her dorm room wall, a bemused Audrey Tautou upright in bed flanked by framed pictures of an Elizabeth-collared dog and a white-feathered fowl, and...
- 2/1/2024
- by Ryan Lattanzio
- Indiewire
‘Bigbug’ Review: Jean-Pierre Jeunet’s Latest Is a Dreadful Sex Farce Set During the Robot Apocalypse
The fact that “Amélie” director Jean-Pierre Jeunet’s first movie in nine years is quietly being dumped on Netflix without festival play or advance press of any kind after Jeunet insisted that he would only partner with the streamer as “a last resort” is really the only review you should need when it comes to “Bigbug,” of 2050 (mark it on your calendars). And yet — as this feature-length cluster headache makes perfectly clear — humankind has already surrendered itself to the mercy of our corporate machine overlords, meaning that even the most exasperated critic has to pump out at least 600 words just to convince the tiny God-king inside the Google algorithm not to banish their content to the elephant graveyard that is page two of the search results. So let’s get on with it.
A filmmaker whose breakthrough successes don’t entirely diminish the feeling that he was put on this...
A filmmaker whose breakthrough successes don’t entirely diminish the feeling that he was put on this...
- 2/11/2022
- by David Ehrlich
- Indiewire
Jean-Pierre Jeunet put his stamp across the 1990s and 2000s with a unique blend of zany personality, thoughtful character portraits, and sharp, multi-dimensional humor. So much was running in films like Delicatessen and The City of Lost Children, both co-directed with Marc Caro, that they could have boiled over, yet somehow remained focused works that played completely as the ownerships of their creators. After a brief misfire when stepping into the world of Hollywood blockbusters with 1997’s Alien: Resurrection—an early forebear of the “indie director to studio tentpole” pipeline that gobbles up every promising young filmmaker these days—Jeunet found his peak as a solo director in the early aughts: Amélie and A Very Long Engagement brought his particular style into a new era with remarkable sophistication and retention of his characteristic charm.
Then a curious thing happened. Despite being a beloved international director arguably at the height of his career,...
Then a curious thing happened. Despite being a beloved international director arguably at the height of his career,...
- 2/11/2022
- by Mitchell Beaupre
- The Film Stage
Big Bug
It’s been close to a decade since his last feature The Young and Prodigious T.S. Spivet premiered, and so the Netflix folks aren’t wasting much time putting Jean-Pierre Jeunet‘s Big Bug out there in 2022. Written by Jeunet and Guillaume Laurant, this stars Elsa Zylberstein, Alban Lenoir, Isabelle Nanty and André Dussollier.
Gist: This unfolds in a quiet residential neighbourhood in 2050 and follows four people whose domestic robots take them hostage during a robot uprising. Locked together, a not-quite-so-blended family, an intrusive neighbour and her enterprising sex-robot are forced to put up with each other in an increasingly hysterical atmosphere.…...
It’s been close to a decade since his last feature The Young and Prodigious T.S. Spivet premiered, and so the Netflix folks aren’t wasting much time putting Jean-Pierre Jeunet‘s Big Bug out there in 2022. Written by Jeunet and Guillaume Laurant, this stars Elsa Zylberstein, Alban Lenoir, Isabelle Nanty and André Dussollier.
Gist: This unfolds in a quiet residential neighbourhood in 2050 and follows four people whose domestic robots take them hostage during a robot uprising. Locked together, a not-quite-so-blended family, an intrusive neighbour and her enterprising sex-robot are forced to put up with each other in an increasingly hysterical atmosphere.…...
- 1/8/2022
- by Eric Lavallée
- IONCINEMA.com
Bigbug Trailer — Jean-Pierre Jeunet‘s Bigbug (2022) movie trailer has been released by Netflix. The Bigbug trailer stars Dominique Pinon, Isabelle Nanty, Claude Perron, Francois Levantal, Youssef Hajdi, Elsa Zylberstein, Claire Chust, and Alban Lenoir. Crew Jean-Pierre Jeunet and Guillaume Laurant wrote the screenplay for Bigbug. Raphaël Beau created the music for the film. Thomas [...]
Continue reading: Bigbug (2022) Movie Trailer: Four Robots Take Their Masters Hostage in Jean-Pierre Jeunet’s Dystopian Film...
Continue reading: Bigbug (2022) Movie Trailer: Four Robots Take Their Masters Hostage in Jean-Pierre Jeunet’s Dystopian Film...
- 1/1/2022
- by Rollo Tomasi
- Film-Book
France’s Oscars unfold amid politically charged atmosphere following protests over nominations for Polanski’s An Officer And A Spy.
Ladj Ly’s explosive social drama Les Misérables won best film at a politically charged 45th Cesar awards on Friday evening which also saw Roman Polanski feted with best director for historical drama An Officer and A Spy.
The ceremony for France’s equivalent of the Oscars in the Salle Pleyel concert hall in central Paris unfolded in an atmosphere of heightened tension.
It has been a rocky six weeks for the awards, following a backlash by female rights activists...
Ladj Ly’s explosive social drama Les Misérables won best film at a politically charged 45th Cesar awards on Friday evening which also saw Roman Polanski feted with best director for historical drama An Officer and A Spy.
The ceremony for France’s equivalent of the Oscars in the Salle Pleyel concert hall in central Paris unfolded in an atmosphere of heightened tension.
It has been a rocky six weeks for the awards, following a backlash by female rights activists...
- 2/29/2020
- by 1100388¦Melanie Goodfellow¦0¦
- ScreenDaily
France’s Oscars unfold amid politically charged atmosphere following protests over nominations for Polanski’s An Officer And A Spy.
Ladj Ly’s explosive social drama Les Misérables won best film at a politically charged 45th Cesar awards on Friday evening which also saw Roman Polanski feted with best director for historical drama An Officer and A Spy.
The ceremony for France’s equivalent of the Oscars in the Salle Pleyel concert hall in central Paris unfolded in an atmosphere of heightened tension.
It has been a rocky six weeks for the awards, following a backlash by female rights activists...
Ladj Ly’s explosive social drama Les Misérables won best film at a politically charged 45th Cesar awards on Friday evening which also saw Roman Polanski feted with best director for historical drama An Officer and A Spy.
The ceremony for France’s equivalent of the Oscars in the Salle Pleyel concert hall in central Paris unfolded in an atmosphere of heightened tension.
It has been a rocky six weeks for the awards, following a backlash by female rights activists...
- 2/29/2020
- by 1100388¦Melanie Goodfellow¦0¦
- ScreenDaily
France’s Oscars unfold amid politically charged atmosphere following protests over nominations for Polanski’s An Officer And A Spy.
Ladj Ly’s explosive social drama Les Misérables won best film at a politically charged 45th Cesar awards on Friday evening which also saw Roman Polanski feted with best director for historical drama An Officer and A Spy.
The ceremony for France’s equivalent of the Oscars in the Salle Pleyel concert hall in central Paris unfolded in an atmosphere of heightened tension.
It has been a rocky six weeks for the awards, following a backlash by female rights activists...
Ladj Ly’s explosive social drama Les Misérables won best film at a politically charged 45th Cesar awards on Friday evening which also saw Roman Polanski feted with best director for historical drama An Officer and A Spy.
The ceremony for France’s equivalent of the Oscars in the Salle Pleyel concert hall in central Paris unfolded in an atmosphere of heightened tension.
It has been a rocky six weeks for the awards, following a backlash by female rights activists...
- 2/29/2020
- by 1100388¦Melanie Goodfellow¦0¦
- ScreenDaily
France’s Oscars unfold amid politically charged atmosphere following protests over nominations for Polanski’s An Officer And A Spy.
Ladj Ly’s explosive social drama Les Misérables won best film at a politically charged 45th Cesar awards on Friday evening which also saw Roman Polanski feted with best director for historical drama An Officer and A Spy.
The ceremony for France’s equivalent of the Oscars in the Salle Pleyel concert hall in central Paris unfolded in an atmosphere of heightened tension.
It has been a rocky six weeks for the awards, following a backlash by female rights activists...
Ladj Ly’s explosive social drama Les Misérables won best film at a politically charged 45th Cesar awards on Friday evening which also saw Roman Polanski feted with best director for historical drama An Officer and A Spy.
The ceremony for France’s equivalent of the Oscars in the Salle Pleyel concert hall in central Paris unfolded in an atmosphere of heightened tension.
It has been a rocky six weeks for the awards, following a backlash by female rights activists...
- 2/29/2020
- by 1100388¦Melanie Goodfellow¦0¦
- ScreenDaily
France’s Oscars unfold amid politically charged atmosphere following protests over nominations for Polanski’s An Officer And A Spy.
Ladj Ly’s explosive social drama Les Misérables won best film at a politically charged 45th Cesar awards on Friday evening which also saw Roman Polanski feted with best director for historical drama An Officer and A Spy.
The ceremony for France’s equivalent of the Oscars in the Salle Pleyel concert hall in central Paris unfolded in an atmosphere of heightened tension.
It has been a rocky six weeks for the awards, following a backlash by female rights activists...
Ladj Ly’s explosive social drama Les Misérables won best film at a politically charged 45th Cesar awards on Friday evening which also saw Roman Polanski feted with best director for historical drama An Officer and A Spy.
The ceremony for France’s equivalent of the Oscars in the Salle Pleyel concert hall in central Paris unfolded in an atmosphere of heightened tension.
It has been a rocky six weeks for the awards, following a backlash by female rights activists...
- 2/29/2020
- by 1100388¦Melanie Goodfellow¦0¦
- ScreenDaily
Updated: Nominations for the 45th César Awards were unveiled this morning in Paris, led by Roman Polanski’s Dreyfus Affair drama An Officer And A Spy with 12 including Best Film, Director and Actor (for Jean Dujardin). While Polanski remains a controversial figure owing to his 1977 child sex conviction and subsequent flight from the United States, as well as a more recent allegation (which he has denied), there has been a divide between U.S. and European perspectives in the #MeToo era. An Officer And A Spy premiered at the Venice Film Festival in 2019, winning the Grand Jury Prize. In November, it opened No. 1 at the French box office.
France’s equivalent to the Oscars, the Césars are handed out by the Académie des Arts et Techniques du Cinéma. In 2017, the Académie made headlines over its appointment of Polanski as President of that year’s ceremony. The move was followed by...
France’s equivalent to the Oscars, the Césars are handed out by the Académie des Arts et Techniques du Cinéma. In 2017, the Académie made headlines over its appointment of Polanski as President of that year’s ceremony. The move was followed by...
- 1/29/2020
- by Nancy Tartaglione
- Deadline Film + TV
Netflix dominated the 47th Annie Awards on Saturday, Jan. 25, picking up 19 trophies, including the top prizes of best feature (“Klaus”), best feature-independent (“I Lost My Body”), best TV/media production for preschool children (“Ask the Storybots”) and best general audience TV/media production (“BoJack Horseman”). Disney TV Animation’s “Disney Mickey Mouse” won best TV/media production for children.
The traditionally animated “Klaus” won seven Annies, the most overall, winning in every category in which it was nominated, with Sergio Pablos winning for both his direction and for storyboarding. “Klaus” also won for character animation (Sergio Martins), character design (Torsten Schrank), production design (Szymon Biernaki and Marcin Jakubowski) and editorial (Pablo Garcia Revert).
In addition to winning best feature-independent, “I Lost My Body” picked up trophies for composer Dan Levy and writing for director Jérémy Clapin and Guillaume Laurant, who together adapted the screenplay from Laurant’s novel “Happy Hand.
The traditionally animated “Klaus” won seven Annies, the most overall, winning in every category in which it was nominated, with Sergio Pablos winning for both his direction and for storyboarding. “Klaus” also won for character animation (Sergio Martins), character design (Torsten Schrank), production design (Szymon Biernaki and Marcin Jakubowski) and editorial (Pablo Garcia Revert).
In addition to winning best feature-independent, “I Lost My Body” picked up trophies for composer Dan Levy and writing for director Jérémy Clapin and Guillaume Laurant, who together adapted the screenplay from Laurant’s novel “Happy Hand.
- 1/26/2020
- by Terry Flores
- Variety Film + TV
Animation newbie Netflix was the big winner Saturday night at Asifa-Hollywood’s 47th annual Annie Awards at UCLA’s Royce Hall, with “Klaus” and “I Lost My Body” taking top honors for Best Feature and Best Indie Feature.
In fact, Sergio Pablos’ innovative 2D Santa origin story led the pack with seven Annies, while Jérémy Clapin’s existential French thriller about a severed hand took home three awards (including writing and the exquisite score by Dan Levy).
Both “Klaus” and “I Lost My Body” are competing against Pixar’s frontrunning “Toy Story 4” in the Oscar race, which was blanked at the Annies. But then so was everything else, except Disney’s “Frozen 2” (shut out of the Oscar race), which earned two Annies for Feature FX and Voice Acting for Josh Gad’s lovable Olaf.
Disney was also victorious with “Avengers: Endgame” taking Best Live Action Character Animation (from...
In fact, Sergio Pablos’ innovative 2D Santa origin story led the pack with seven Annies, while Jérémy Clapin’s existential French thriller about a severed hand took home three awards (including writing and the exquisite score by Dan Levy).
Both “Klaus” and “I Lost My Body” are competing against Pixar’s frontrunning “Toy Story 4” in the Oscar race, which was blanked at the Annies. But then so was everything else, except Disney’s “Frozen 2” (shut out of the Oscar race), which earned two Annies for Feature FX and Voice Acting for Josh Gad’s lovable Olaf.
Disney was also victorious with “Avengers: Endgame” taking Best Live Action Character Animation (from...
- 1/26/2020
- by Bill Desowitz
- Indiewire
Refresh for updates … Asifa-Hollywood is handing out its 47th annual Annie Awards for animation tonight at UCLA’s Royce Hall in Westwood, and Deadline is updating the winners in all 36 categories live as they are announced. You also can watch the action unfold with our livestream above.
The battle for tonight’s marquee Best Feature prize pits three mega-grossing studio sequels — Disney’s Frozen 2, DreamWorks Animation’s How to Train Your Dragon: The Hidden World and Disney/Pixar’s Toy Story 4 — against Laika’s Golden Globe-winning Missing Link and Netflix’s first original toon feature Klaus. Frozen 2 arrives with a leading eight nominations.
Just how will tonight’s awards factor into a certain trophy show happening in two weeks? Well, since the Academy Awards’ Best Animated Feature category was launched in 2002, 13 of the 18 winners of the Annies’ top feature prize – and five of the past seven – went on to claim Oscar gold.
The battle for tonight’s marquee Best Feature prize pits three mega-grossing studio sequels — Disney’s Frozen 2, DreamWorks Animation’s How to Train Your Dragon: The Hidden World and Disney/Pixar’s Toy Story 4 — against Laika’s Golden Globe-winning Missing Link and Netflix’s first original toon feature Klaus. Frozen 2 arrives with a leading eight nominations.
Just how will tonight’s awards factor into a certain trophy show happening in two weeks? Well, since the Academy Awards’ Best Animated Feature category was launched in 2002, 13 of the 18 winners of the Annies’ top feature prize – and five of the past seven – went on to claim Oscar gold.
- 1/26/2020
- by Erik Pedersen
- Deadline Film + TV
Netflix CEO Reed Hastings today officially opened Netflix’s vast new French headquarters in the center of Paris.
Currently home to 40 employees in film, TV and marketing, and with ample space for at least 100 more, the shiny new space is a major sign of intent for the streamer in one of Europe’s most important – and heavily regulated – markets.
Netflix announced today that it will significantly increase investment in France, with 20 new French productions, and partnerships with leading French creative institutions.
The streamer’s French content executives today unveiled a handful of original shows as well as a range of series and films made by production partners for the streamer. They include:
BigBug, the new film by César Award winner Jean-Pierre Jeunet, based on a script written by Jeunet and Guillaume Laurant — a comedy set in the future with a cast including César Award winner Elsa Zylberstein, César Award nominee Isabelle Nanty and Manu Payet.
Currently home to 40 employees in film, TV and marketing, and with ample space for at least 100 more, the shiny new space is a major sign of intent for the streamer in one of Europe’s most important – and heavily regulated – markets.
Netflix announced today that it will significantly increase investment in France, with 20 new French productions, and partnerships with leading French creative institutions.
The streamer’s French content executives today unveiled a handful of original shows as well as a range of series and films made by production partners for the streamer. They include:
BigBug, the new film by César Award winner Jean-Pierre Jeunet, based on a script written by Jeunet and Guillaume Laurant — a comedy set in the future with a cast including César Award winner Elsa Zylberstein, César Award nominee Isabelle Nanty and Manu Payet.
- 1/17/2020
- by Andreas Wiseman
- Deadline Film + TV
Netflix continued to make strides in its European expansion on Thursday, unveiling a swanky multi-floor Paris office and announcing 20 new French shows and movies in the pipeline.
Located in the heart of the city and staffed with 40 employees, Netflix’s office launch attracted French industry figures, including producers and filmmakers working with or looking to work with Netflix.
Netflix CEO Reed Hastings, who was on hand at the event, said the service will be stepping up its investment locally and will target high-profile talent in 2020. New titles include the film “Big Bug,” directed by “Amelie” director Jean-Pierre Jeunet. Penned by Jeunet and Guillaume Laurant, “Big Bug” is a comedy set in the future starring Elsa Zylberstein, Isabelle Nanty and Manu Payet.
Jeunet participated in the first roundtable organised for the event, along with the directors Julien Leclercq and Leïla Sy, as well as rapper-turned-actor Kery James, and Sara May, director...
Located in the heart of the city and staffed with 40 employees, Netflix’s office launch attracted French industry figures, including producers and filmmakers working with or looking to work with Netflix.
Netflix CEO Reed Hastings, who was on hand at the event, said the service will be stepping up its investment locally and will target high-profile talent in 2020. New titles include the film “Big Bug,” directed by “Amelie” director Jean-Pierre Jeunet. Penned by Jeunet and Guillaume Laurant, “Big Bug” is a comedy set in the future starring Elsa Zylberstein, Isabelle Nanty and Manu Payet.
Jeunet participated in the first roundtable organised for the event, along with the directors Julien Leclercq and Leïla Sy, as well as rapper-turned-actor Kery James, and Sara May, director...
- 1/17/2020
- by Elsa Keslassy
- Variety Film + TV
Jeremy Clapin is getting major attention for his first feature film, “I Lost My Body,” which is in contention to possibly score an Oscar nomination for Best Animated Feature. The film is about a severed hand and its journey to make its way back to the rest of its body.
Clapin recently spoke with Gold Derby contributing writer Charles Bright about crafting such a unique story, the difficulty in selling the film to others and whether he wants to continue in feature film. Watch the exclusive web interview above and read the complete transcript below.
SEEWill Netflix’s animated feature ‘I Lost My Body’ find its way into the Oscar race?
Gold Derby: The first question I have to ask is how did you come up with the idea for this kind of animated movie about a severed hand trying to find its way back to its owner?
Jeremy Clapin: In fact,...
Clapin recently spoke with Gold Derby contributing writer Charles Bright about crafting such a unique story, the difficulty in selling the film to others and whether he wants to continue in feature film. Watch the exclusive web interview above and read the complete transcript below.
SEEWill Netflix’s animated feature ‘I Lost My Body’ find its way into the Oscar race?
Gold Derby: The first question I have to ask is how did you come up with the idea for this kind of animated movie about a severed hand trying to find its way back to its owner?
Jeremy Clapin: In fact,...
- 12/24/2019
- by Kevin Jacobsen
- Gold Derby
An Oscar-nominated screenwriter known for such films as The City of Lost Children and Amélie, Guillaume Laurant found an exciting introduction to the world of animation in Jérémy Clapin’s I Lost My Body.
The first animated film to win the Cannes Film Festival’s Nespresso Grand Prize, the imaginative, romantic and surreal Netflix pic follows a severed hand as it escapes from a dissection lab, embarking on a journey through Paris to reconnect with its body.
Written by Laurant and Clapin, the film is an adaptation of Laurant’s 2006 novel, Happy Hand. “This novel was meant as a counterpoint to the first novel I had written, which was a very personal one,” Laurant tells Deadline. “It’s based on what the French writer Marcel Aymé did, in terms of having a fantastic element that is introduced in a very real setting.”
An inventor of spectacular fables, Laurant had been...
The first animated film to win the Cannes Film Festival’s Nespresso Grand Prize, the imaginative, romantic and surreal Netflix pic follows a severed hand as it escapes from a dissection lab, embarking on a journey through Paris to reconnect with its body.
Written by Laurant and Clapin, the film is an adaptation of Laurant’s 2006 novel, Happy Hand. “This novel was meant as a counterpoint to the first novel I had written, which was a very personal one,” Laurant tells Deadline. “It’s based on what the French writer Marcel Aymé did, in terms of having a fantastic element that is introduced in a very real setting.”
An inventor of spectacular fables, Laurant had been...
- 12/23/2019
- by Matt Grobar
- Deadline Film + TV
Netflix’s international film VP David Kosse has unveiled a slate of non-English-language movies that will head into production in 2020.
The former STXinternational topper’s projects span French, German and Italian-language projects, and include feature adaptations of Robert Harris’ novel “Munich” and Hanna Jameson’s “The Last.”
Out of France, “Bigbug” follows a group of bickering suburbanites who find themselves stuck together when an android uprising causes their well intentioned household robots to lock them in for their own safety. Oscar-nominated helmer Jean-Pierre Jeunet (“Amélie”) directs. Guillaume Laurant and Jean-Pierre Jeunet are writing and Eskwad’s Richard Grandpierre and Frédéric Doniguian are producing.
German and English-language “Transatlantic 473” will be directed by Peter Thorwarth (“The Last Cop”). He co-writes with Stefan Holz and the plot turns on a hijacking with a supernatural twist.
“Munich” will also be in German and English. Ben Power is adapting the book, which is set in pre-Second World War Europe.
The former STXinternational topper’s projects span French, German and Italian-language projects, and include feature adaptations of Robert Harris’ novel “Munich” and Hanna Jameson’s “The Last.”
Out of France, “Bigbug” follows a group of bickering suburbanites who find themselves stuck together when an android uprising causes their well intentioned household robots to lock them in for their own safety. Oscar-nominated helmer Jean-Pierre Jeunet (“Amélie”) directs. Guillaume Laurant and Jean-Pierre Jeunet are writing and Eskwad’s Richard Grandpierre and Frédéric Doniguian are producing.
German and English-language “Transatlantic 473” will be directed by Peter Thorwarth (“The Last Cop”). He co-writes with Stefan Holz and the plot turns on a hijacking with a supernatural twist.
“Munich” will also be in German and English. Ben Power is adapting the book, which is set in pre-Second World War Europe.
- 12/20/2019
- by Stewart Clarke
- Variety Film + TV
by Tim
I Lost My Body, the first animated film to win the top prize at the Cannes International Critics's Week, is nothing if not distinctive. The "I" of the title is a sapient severed hand, which spends the length of the feature skittering around on its fingers, looking for the human to whom it used to be attached; this is a journey that is by turns bittersweet, sentimental, and horrifying. Director Jérémy Clapin, making his feature debut (he was also responsible for the celebrated 2008 short Skhizein), spent years sheperding this project into existence, and it has the unmistakable feeling of a passion project, one whose odd shifts in tone and moody emotional appeals are wonderfully earnest. While it is probably not the best animated feature of 2019, it's surely the most uncompromised and confident.
The film, adapted by Clapin and Guillaume Laurant from Laurant's novel Happy Hand, divides itself into two strands.
I Lost My Body, the first animated film to win the top prize at the Cannes International Critics's Week, is nothing if not distinctive. The "I" of the title is a sapient severed hand, which spends the length of the feature skittering around on its fingers, looking for the human to whom it used to be attached; this is a journey that is by turns bittersweet, sentimental, and horrifying. Director Jérémy Clapin, making his feature debut (he was also responsible for the celebrated 2008 short Skhizein), spent years sheperding this project into existence, and it has the unmistakable feeling of a passion project, one whose odd shifts in tone and moody emotional appeals are wonderfully earnest. While it is probably not the best animated feature of 2019, it's surely the most uncompromised and confident.
The film, adapted by Clapin and Guillaume Laurant from Laurant's novel Happy Hand, divides itself into two strands.
- 12/7/2019
- by Tim Brayton
- FilmExperience
In a field dominated by CGI-animated studio sequels, Netflix has turned a spotlight this awards season on traditional hand-drawn animation with two very different movies.
Aimed at adult audiences, director Jérémy Clapin’s debut feature “I Lost My Body,” an adaptation of the 2010 novel “Happy Hand” by “Amélie” screenwriter Guillaume Laurant, is a gritty story immersed in the details of everyday life told from the point of view of a severed hand. And Sergio Pablos’ family feature “Klaus” is a clever, tightly knit Santa Claus origin story that pushes 2D animation to new heights.
Produced by Jinko Gotoh, “Klaus” is based on an original story by Pablos, who shares screenwriting credits with Jim Mahoney and Zach Lewis. Pablos and producing partner Marisa Roman founded the Spa Studios in Madrid to bring “Klaus” to the screen, assembling a team of world-class 2D animators to develop custom-built shading and lighting tools...
Aimed at adult audiences, director Jérémy Clapin’s debut feature “I Lost My Body,” an adaptation of the 2010 novel “Happy Hand” by “Amélie” screenwriter Guillaume Laurant, is a gritty story immersed in the details of everyday life told from the point of view of a severed hand. And Sergio Pablos’ family feature “Klaus” is a clever, tightly knit Santa Claus origin story that pushes 2D animation to new heights.
Produced by Jinko Gotoh, “Klaus” is based on an original story by Pablos, who shares screenwriting credits with Jim Mahoney and Zach Lewis. Pablos and producing partner Marisa Roman founded the Spa Studios in Madrid to bring “Klaus” to the screen, assembling a team of world-class 2D animators to develop custom-built shading and lighting tools...
- 12/4/2019
- by Jennifer Wolfe
- Variety Film + TV
Jérémy Clapin’s animated film “I Lost My Body” tells the peculiar story of a severed hand that has a mind of its own and tries to find its way back to its former human host.
But Clapin’s film is really about loss, destiny and seeing the world through another perspective, and the last thing he wanted to do was make the image of this hand into something too scary or too quirky that it would detract from the drama of the story.
“The subject is a severed hand, but the film is not about a severed hand. It’s about the missing part of the rest of the body. It brings a new perception of reality of how you explore character, how you can tell stories and how you see the world and experience the world in a different way,” Clapin told TheWrap’s Sharon Waxman Tuesday night.
But Clapin’s film is really about loss, destiny and seeing the world through another perspective, and the last thing he wanted to do was make the image of this hand into something too scary or too quirky that it would detract from the drama of the story.
“The subject is a severed hand, but the film is not about a severed hand. It’s about the missing part of the rest of the body. It brings a new perception of reality of how you explore character, how you can tell stories and how you see the world and experience the world in a different way,” Clapin told TheWrap’s Sharon Waxman Tuesday night.
- 11/27/2019
- by Brian Welk
- The Wrap
In Netflix’s Oscar hopeful for best animated film, “I Lost My Body,” which premieres on the streaming service November 29, a resourceful and determined severed hand escapes a medical lab and ends up fending off rats, dogs, ants, pigeons and other dangers while in pursuit of its rightful owner. Echoes of Oliver Stone‘s 1981 awful horror story “The Hand” resounded in my head initially as I watched this appendage scoot along Parisian streets and flop down an escalator inside of a discarded can of ravioli. But this is a more surreal and imaginative take on such a pursuit, one that is tied to the story of an awkward young man who is desperately trying to make a life for himself while reflecting upon his boyhood with his loving parents in flashback passages that are shown in black and white.
The French-language film is directed by Jeremy Clapin, who co-adapted the...
The French-language film is directed by Jeremy Clapin, who co-adapted the...
- 11/24/2019
- by Susan Wloszczyna
- Gold Derby
A disembodied hand searches for its former owner in this haunting French gem that signals the arrival of a major new talent in animation
While the Christmas box-office charts are likely to be dominated by Disney’s family-friendly sing-along sequel Frozen II, anyone looking for something more adventurous in animation should seek out this remarkable French gem, which gets a limited UK cinema release before coming to Netflixon 29 November.
A tale of broken hearts and body parts, it has been freely adapted from the book Happy Hand by Guillaume Laurant (who was Oscar-nominated for his script work on Jean-Pierre Jeunet’s Amélie), and became the first animated feature to take the top prize in the Critics’ Week section at Cannes, before scoring further significant wins in Sitges, Strasbourg, and at the Annecy international animated film festival. Nimbly entwining a tender love story with the macabre grip of a body-horror movie,...
While the Christmas box-office charts are likely to be dominated by Disney’s family-friendly sing-along sequel Frozen II, anyone looking for something more adventurous in animation should seek out this remarkable French gem, which gets a limited UK cinema release before coming to Netflixon 29 November.
A tale of broken hearts and body parts, it has been freely adapted from the book Happy Hand by Guillaume Laurant (who was Oscar-nominated for his script work on Jean-Pierre Jeunet’s Amélie), and became the first animated feature to take the top prize in the Critics’ Week section at Cannes, before scoring further significant wins in Sitges, Strasbourg, and at the Annecy international animated film festival. Nimbly entwining a tender love story with the macabre grip of a body-horror movie,...
- 11/24/2019
- by Mark Kermode, Observer film critic
- The Guardian - Film News
It’s been six years since Jean-Pierre Jeunet, who gave us the one-two punch of “Alien Resurrection” and “Amélie” has directed a narrative feature film, but we may get a new film from him and “Amélie” writer Guillaume Laurant. The duo is reportedly getting back together to helm the sci-fi film “Big Bug” for Netflix.
Continue reading ‘Amélie’ Director Jean-Pierre Jeunet And Writer Guillaume Laurant May Make Sci-Fi Film ‘Big Bug’ For Netflix at The Playlist.
Continue reading ‘Amélie’ Director Jean-Pierre Jeunet And Writer Guillaume Laurant May Make Sci-Fi Film ‘Big Bug’ For Netflix at The Playlist.
- 11/16/2019
- by Rafael Motamayor
- The Playlist
A grim fairy tale that starts mere seconds after a young man in mid-’90s Paris has been violently separated from one of his hands, Jérémy Clapin’s morbid yet profoundly moving debut feature — — might be described as a story about someone trying to make themselves whole again. But that wouldn’t quite prepare you for the beguiling strangeness of what this Cannes prize-winner has in store. After all, there’s a reason why Clapin’s film is called “I Lost My Body,” and not “I Lost My Hand”: It’s largely told from the hand’s point-of-view.
We first meet Naoufel as he lies on the floor of his workshop. A curious fly buzzes in to investigate, its jeweled red eyes reflecting the blood that continues to spill out of Naoufel’s severed wrist. That’s when Clapin first embarrasses our expectations: Rather than focus on the horror of what’s just happened,...
We first meet Naoufel as he lies on the floor of his workshop. A curious fly buzzes in to investigate, its jeweled red eyes reflecting the blood that continues to spill out of Naoufel’s severed wrist. That’s when Clapin first embarrasses our expectations: Rather than focus on the horror of what’s just happened,...
- 11/15/2019
- by David Ehrlich
- Indiewire
A director known internationally for his short films and commercials, Jérémy Clapin made his feature directorial debut this year with Netflix animated pic I Lost My Body, though he initially balked at the general notion of venturing into features.
Used to working with total creative freedom, while twisting and pushing animation technology to create fresh work, Clapin had seen the negative experiences his friends had gone through when transitioning to features, and was wary of an industry that produces “a lot of things in the same way, without asking questions each time,” he explains.
Clapin’s attitude shifted upon meeting with producer Marc du Pontavice, about a feature adaptation of Guillaume Laurant’s novel, Happy Hand. A multifaceted story involving a young man and woman falling in love, I Lost My Body excited Clapin, given that it placed most of its focus on a severed hand, which escapes from a lab,...
Used to working with total creative freedom, while twisting and pushing animation technology to create fresh work, Clapin had seen the negative experiences his friends had gone through when transitioning to features, and was wary of an industry that produces “a lot of things in the same way, without asking questions each time,” he explains.
Clapin’s attitude shifted upon meeting with producer Marc du Pontavice, about a feature adaptation of Guillaume Laurant’s novel, Happy Hand. A multifaceted story involving a young man and woman falling in love, I Lost My Body excited Clapin, given that it placed most of its focus on a severed hand, which escapes from a lab,...
- 11/13/2019
- by Matt Grobar
- Deadline Film + TV
After taking Cannes, Annecy, and the Animation Is Film Festival by storm, Netflix’s French Oscar contender, “I Lost My Body,” lands a brief theatrical release November 15 before streaming on November 29. Jérémy Clapin’s existential, graphic mystery about a severed hand trying to reconnect with its body is by far the year’s boldest animated feature.
It’s a thrilling mixture of action and romance, animated by Xilam Animation in CG (using the open source Blender software but overlaid with a striking hand-drawn aesthetic). The story contains parallel narratives. In one, the hand desperately tries to survive the brutal streets of Paris (fending off pigeons and rats), relying on sense memory. In the other, a lethargic young pizza delivery guy, Naofel (Dev Patel) grieves over the accidental death of his parents and unexpectedly falls in love with a sweet, passionate librarian, Gabrielle (Alia Shawkat). The result is an original, provocative...
It’s a thrilling mixture of action and romance, animated by Xilam Animation in CG (using the open source Blender software but overlaid with a striking hand-drawn aesthetic). The story contains parallel narratives. In one, the hand desperately tries to survive the brutal streets of Paris (fending off pigeons and rats), relying on sense memory. In the other, a lethargic young pizza delivery guy, Naofel (Dev Patel) grieves over the accidental death of his parents and unexpectedly falls in love with a sweet, passionate librarian, Gabrielle (Alia Shawkat). The result is an original, provocative...
- 11/12/2019
- by Bill Desowitz
- Indiewire
You’ve got to hand it to Jérémy Clapin, who co-wrote and directed this remarkable movie in an adaptation from Guillaume Laurant’s novel “Happy Hand.” His handsome, animated feature could become a hands-down favorite of the Academy along with the many guilds and critics’ groups. The movie idea was presumably exploited by Clapin from the book—which […]
The post I Lost My Body Review: Losers can be winners, which makes this a feel-good picture appeared first on Shockya.com.
The post I Lost My Body Review: Losers can be winners, which makes this a feel-good picture appeared first on Shockya.com.
- 11/10/2019
- by Harvey Karten
- ShockYa
In May, a French animated film about a hand debuted at this year’s Cannes Film Festival. Directed by Jérémy Clapin and co-written by Amélie screenwriter Guillaume Laurant, it became the first animated feature to win the Nespresso Grand Prize in International Critics Week. Since then, it was recognised at Annecy Animated Film Festival and more recently, this year’s London Film Festival.
I Lost My Body (original title: J’ai Perdu Mon Corps) follows a hand that ‘wakes up’ completely detached from its owner Naofel (Hakim Faris). As it ventures across the city to find its owner, it reminisces key moments of Naofel’s life and his tentative romance with librarian Gabrielle (Victoire Du Bois).
If you think that I Lost My Body is more like Thing in The Addams Family, think again. Rather than take a whimsical approach to complement its atypical protagonist, Laurant creates a narrative that...
I Lost My Body (original title: J’ai Perdu Mon Corps) follows a hand that ‘wakes up’ completely detached from its owner Naofel (Hakim Faris). As it ventures across the city to find its owner, it reminisces key moments of Naofel’s life and his tentative romance with librarian Gabrielle (Victoire Du Bois).
If you think that I Lost My Body is more like Thing in The Addams Family, think again. Rather than take a whimsical approach to complement its atypical protagonist, Laurant creates a narrative that...
- 11/5/2019
- by Katie Smith-Wong
- HeyUGuys.co.uk
I’ve got a fantastic trailer here for a strange and intriguing animated film called I Lost My Body. The story centers on a severed hand as it embarks on an epic journey to find its body. It looks like a super weird, but great movie.
The movie was directed by Jérémy Clapin and co-written by Guillaume Laurant and this is the synopsis:
In a Parisian laboratory, a severed hand escapes its unhappy fate and sets out to reconnect with its body. During a hair-raising escapade across the city, the extremity fends off pigeons and rats alike to reunite with pizza boy Naoufel. Its memories of Naoufel and his love for librarian Gabrielle may provide answers about what caused the hand's separation, and a poetic backdrop for a possible reunion between the three. Based on Guillaume Laurant's novel "Happy Hand."
The film is an adaptation of the novel Happy Hand,...
The movie was directed by Jérémy Clapin and co-written by Guillaume Laurant and this is the synopsis:
In a Parisian laboratory, a severed hand escapes its unhappy fate and sets out to reconnect with its body. During a hair-raising escapade across the city, the extremity fends off pigeons and rats alike to reunite with pizza boy Naoufel. Its memories of Naoufel and his love for librarian Gabrielle may provide answers about what caused the hand's separation, and a poetic backdrop for a possible reunion between the three. Based on Guillaume Laurant's novel "Happy Hand."
The film is an adaptation of the novel Happy Hand,...
- 10/7/2019
- by Joey Paur
- GeekTyrant
In recent years, Netflix has begun to acquire some of the most critically acclaimed films of the year from the world’s most prestigious film festivals. Today they have unveiled the first trailer for the Cannes award-winning feature, I Lost My Body, which is an animation unlike any other.
Directed by Jérémy Clapin and co-written by Guillaume Laurant, the story follows a severed hand from a Parisian laboratory as it tries to reconnect with its human body, a pizza boy named Naoufel, whose own burgeoning feelings for a librarian named Gabrielle fuels the hand’s memories that may provide the answers as to why the hand was separated from its body. The trailer evokes many of the same beats as Guillaume Laurant’s previous works in a gorgeously animated fashion.
Peter Debruge wrote in his review from Variety, “ In its finished form, director Jérémy Clapin’s peculiar undertaking is even...
Directed by Jérémy Clapin and co-written by Guillaume Laurant, the story follows a severed hand from a Parisian laboratory as it tries to reconnect with its human body, a pizza boy named Naoufel, whose own burgeoning feelings for a librarian named Gabrielle fuels the hand’s memories that may provide the answers as to why the hand was separated from its body. The trailer evokes many of the same beats as Guillaume Laurant’s previous works in a gorgeously animated fashion.
Peter Debruge wrote in his review from Variety, “ In its finished form, director Jérémy Clapin’s peculiar undertaking is even...
- 10/4/2019
- by The Film Stage
- The Film Stage
Finding yourself takes on a whole new meaning in I Lost My Body, a critically acclaimed French animated film based on a novel by Amélie writer Guillaume Laurant. A disembodied hand searches for its body and begins to remember its old life when it was once attached to a pizza boy named Naoufel who lived and loved, […]
The post ‘I Lost My Body’ Trailer: A Disembodied Hand Searches for Meaning in This Cannes Darling appeared first on /Film.
The post ‘I Lost My Body’ Trailer: A Disembodied Hand Searches for Meaning in This Cannes Darling appeared first on /Film.
- 9/30/2019
- by Hoai-Tran Bui
- Slash Film
Dev Patel, Alia Shawkat and George Wendt have recorded the English-language dub of I Lost My Body, the French animated film that won the top prize at Cannes Critics’ Week this year.
Netflix swooped on the project’s global rights, excluding China, Benelux, Turkey, and France, following its Cannes bow. The film will have an awards-qualifying theatrical run in cinemas beginning November 15 in the U.S. and November 22 in the UK, before arriving on the platform November 29. It will also screen at the BFI London Film Festival on October 4.
Jérémy Clapin directed I Lost My Body, which follows a severed hand that escapes its unhappy fate in a Parisian laboratory and sets out to reconnect with its body. Patel is voicing pizza boy Naoufel, the owner of the hand, and Shawkat is voicing his love interest Gabrielle.
Andrew Bujalski oversaw the English dub under supervision from Clapin. The roles were...
Netflix swooped on the project’s global rights, excluding China, Benelux, Turkey, and France, following its Cannes bow. The film will have an awards-qualifying theatrical run in cinemas beginning November 15 in the U.S. and November 22 in the UK, before arriving on the platform November 29. It will also screen at the BFI London Film Festival on October 4.
Jérémy Clapin directed I Lost My Body, which follows a severed hand that escapes its unhappy fate in a Parisian laboratory and sets out to reconnect with its body. Patel is voicing pizza boy Naoufel, the owner of the hand, and Shawkat is voicing his love interest Gabrielle.
Andrew Bujalski oversaw the English dub under supervision from Clapin. The roles were...
- 9/30/2019
- by Tom Grater
- Deadline Film + TV
Dev Patel, Alia Shawkat and George Wendt are leading the English cast of the critically-acclaimed animated film “I Lost My Body,” directed by Jeremy Clapin.
The unique film, which follows the adventures of a severed hand as it tries to find its way back to its body through the subways and streets of Paris, won the Nespresso Grand Prize at the Cannes Film Festival’s Critics’ Week, beating out its all live-action competition. Variety’s chief film critic Peter Debruge said of the film: “It’s one of the most original and creative animated features I’ve ever seen: macabre, of course — how could it be otherwise, given the premise? — but remarkably captivating and unexpectedly poetic in the process.” It also won both the Critics and Audience awards at the Colcoa Film Festival in Hollywood on Oct. 1. It is the first time in the festival’s 23-year history that a film has won both awards.
The unique film, which follows the adventures of a severed hand as it tries to find its way back to its body through the subways and streets of Paris, won the Nespresso Grand Prize at the Cannes Film Festival’s Critics’ Week, beating out its all live-action competition. Variety’s chief film critic Peter Debruge said of the film: “It’s one of the most original and creative animated features I’ve ever seen: macabre, of course — how could it be otherwise, given the premise? — but remarkably captivating and unexpectedly poetic in the process.” It also won both the Critics and Audience awards at the Colcoa Film Festival in Hollywood on Oct. 1. It is the first time in the festival’s 23-year history that a film has won both awards.
- 9/30/2019
- by Terry Flores
- Variety Film + TV
At the 2014 Cartoon Movie co-production forum in Lyon, France, I sat in on a pitch session for the strangest animated feature imaginable. This particular film, an artsy — and, fittingly, hand-drawn — indie titled “J’ai perdu mon corps” (or “I Lost My Body”), would be told from the point of view of a severed hand, separated under ambiguous circumstances, and the epic quest to reunite with its owner. I left Cartoon Movie intrigued but also feeling reasonably certain that this defiantly unconventional project would never see the light of day.
Flash forward five years, and “I Lost My Body” not only exists but screened to great acclaim at the Cannes Film Festival, where it was acquired by Netflix and won the top prize in Critics’ Week. In its finished form, director Jérémy Clapin’s peculiar undertaking is even stranger than it sounded to me half a decade earlier, and yet, there’s...
Flash forward five years, and “I Lost My Body” not only exists but screened to great acclaim at the Cannes Film Festival, where it was acquired by Netflix and won the top prize in Critics’ Week. In its finished form, director Jérémy Clapin’s peculiar undertaking is even stranger than it sounded to me half a decade earlier, and yet, there’s...
- 6/14/2019
- by Peter Debruge
- Variety Film + TV
Netflix acquired the worldwide rights to two films that played at this year’s Cannes Film Festival, Mati Diop’s “Atlantics,” which played in competition, and Jérémy Clapin’s animated film “I Lost My Body,” which won the top prize from the Cannes Critics’ Week sidebar of the festival, the streamer announced Saturday.
For “Atlantics,” Netflix acquired worldwide rights excluding China, Benelux, Switzerland, Russia and France, but it has subscription video on demand (SVoD) rights for 36 months following its theatrical release in France, Benelux and Switzerland. For “I Lost My Body, Netflix acquired worldwide excluding China, Benelux, Turkey and France, but also has SVoD rights for 36 months following its theatrical in France, an individual with knowledge told TheWrap.
Diop’s “Atlantics” played in competition and, on Saturday, was awarded the Grand Prix prize from the jury led by Alejandro Gonzalez Inarritu. Diop made her feature directorial debut on the film...
For “Atlantics,” Netflix acquired worldwide rights excluding China, Benelux, Switzerland, Russia and France, but it has subscription video on demand (SVoD) rights for 36 months following its theatrical release in France, Benelux and Switzerland. For “I Lost My Body, Netflix acquired worldwide excluding China, Benelux, Turkey and France, but also has SVoD rights for 36 months following its theatrical in France, an individual with knowledge told TheWrap.
Diop’s “Atlantics” played in competition and, on Saturday, was awarded the Grand Prix prize from the jury led by Alejandro Gonzalez Inarritu. Diop made her feature directorial debut on the film...
- 5/25/2019
- by Brian Welk
- The Wrap
Netflix has scooped up the global rights to Cannes Grand Prix Winner Atlantics from female director Mati Diop and the Cannes Critics’ Week Award Winner I Lost My Body from Xilam Animation. That pic reps director Jérémy Clapin’s Animated Feature Debut.
For Atlantics, the deal doesn’t include China, Benelux, Switzerland, Russia, France, while I Lost My Body excludes China, Benelux, Turkey, France. Atlantics was sold by Fionnuala Jamison at mk2 films. I Lost My Body was sold by Carole Baraton at Charades
Atlantics reps Diop’s feature directorial debut and takes place in Dakar along the Atlantic Coast. Seventeen-year-old Ada is in love with Souleiman, a young construction worker. But she has been promised to another man. One night, Souleiman and his co-workers leave the country by sea, in hopes of a better future. Several days later, a fire ruins Ada’s wedding and a mysterious fever starts to spread.
For Atlantics, the deal doesn’t include China, Benelux, Switzerland, Russia, France, while I Lost My Body excludes China, Benelux, Turkey, France. Atlantics was sold by Fionnuala Jamison at mk2 films. I Lost My Body was sold by Carole Baraton at Charades
Atlantics reps Diop’s feature directorial debut and takes place in Dakar along the Atlantic Coast. Seventeen-year-old Ada is in love with Souleiman, a young construction worker. But she has been promised to another man. One night, Souleiman and his co-workers leave the country by sea, in hopes of a better future. Several days later, a fire ruins Ada’s wedding and a mysterious fever starts to spread.
- 5/25/2019
- by Anthony D'Alessandro
- Deadline Film + TV
“I Lost My Body,” a dark French animated film from writer-director Jérémy Clapin, has come up trumps in this year’s Critics’ Week program at the Cannes Film Festival, taking the strand’s top honor, the Nespresso Grand Prize. The film, which follows a young man’s severed hand as it struggles to be reunited with its own, was a critical favorite in the section, standing out for its blend of morbid humor and touching drama — and of course for being the only toon in an otherwise live-action selection.
Oscar-nominated “Amélie” screenwriter Guillaume Laurant also had a hand in the film, so to speak, which Clapin — whose short film “Skhizein” also won a Critics’ Week prize in 2008 — described to Variety earlier this week as “a kind of love story.” “I Lost My Body,” his first feature, will travel on to the Annecy fest as it seeks international distribution.
Other Critics...
Oscar-nominated “Amélie” screenwriter Guillaume Laurant also had a hand in the film, so to speak, which Clapin — whose short film “Skhizein” also won a Critics’ Week prize in 2008 — described to Variety earlier this week as “a kind of love story.” “I Lost My Body,” his first feature, will travel on to the Annecy fest as it seeks international distribution.
Other Critics...
- 5/22/2019
- by Guy Lodge
- Variety Film + TV
A hand-drawn hand stars in French director Jérémy Clapin’s engrossingly lyrical debut, “I Lost My Body,” a life-affirming work of graphic poetry that stands as the sole animated selection at Cannes’ Critics’ Week, where it world-premiered on Friday. Inventively adapted from Guillaume Laurant’s 2006 novel, “Happy Hand,” this bona fide treasure is sure to leave its melancholic fingerprints all over the viewer’s soul.
The film’s title refers to what its protagonist, a severed right hand, would note as its current predicament. Separated from the body of Naoufel (Hakim Faris), an orphaned young man who feels adrift, the sentient extremity escapes the lab where it has been kept since a grim accident caused the detachment.
Suffering from what’s best explained as reverse phantom limb syndrome, the hand aches to reunite with its rightful owner. Clapin, working from a place of utmost earnestness, depicts its voyage through Paris,...
The film’s title refers to what its protagonist, a severed right hand, would note as its current predicament. Separated from the body of Naoufel (Hakim Faris), an orphaned young man who feels adrift, the sentient extremity escapes the lab where it has been kept since a grim accident caused the detachment.
Suffering from what’s best explained as reverse phantom limb syndrome, the hand aches to reunite with its rightful owner. Clapin, working from a place of utmost earnestness, depicts its voyage through Paris,...
- 5/17/2019
- by Carlos Aguilar
- The Wrap
Jean-Pierre Jeunet is going back to his roots. While visiting Los Angeles for a retrospective of several of his films at the American Cinematheque and the USC’s School of Cinematic Arts, the idiosyncratic French director shared details of his plans to make a mockumentary about the production of his beloved 2001 romantic comedy “Amelie” in anticipation of the movie’s 20th anniversary.
Jeunet, whose last completed feature was 2013’s “The Young and Prodigious T.S. Spivet,” also revealed that he was in the early stages of developing a sci-fi animated feature and a futuristic comedy.
“The Young and Prodigious T.S. Spivet” received a botched released in the U.S. in 2015 after distributor Harvey Weinstein decided to shelve it as retaliation for the director’s refusal to make cuts.
Since then, Jeunet has been trying to get a project off the ground with mostly discouraging results. “I’ve been fighting to make a...
Jeunet, whose last completed feature was 2013’s “The Young and Prodigious T.S. Spivet,” also revealed that he was in the early stages of developing a sci-fi animated feature and a futuristic comedy.
“The Young and Prodigious T.S. Spivet” received a botched released in the U.S. in 2015 after distributor Harvey Weinstein decided to shelve it as retaliation for the director’s refusal to make cuts.
Since then, Jeunet has been trying to get a project off the ground with mostly discouraging results. “I’ve been fighting to make a...
- 5/6/2019
- by Carlos Aguilar
- Indiewire
Lorcan Finnegan’s science-fiction thriller “Vivarium” with Jesse Eisenberg and Imogen Poots, Jérémy Clapin’s fantasy-filled animated feature “I Lost My Body,” and Hlynur Pálmason’s Icelandic drama “A White, White Day” are among the 11 films set to compete at Critics’ Week, the section dedicated to first and second films that runs parallel with the Cannes Film Festival.
“Vivarium,” described by Critics’ Week’s artistic director Charles Tesson as reminiscent of “The Twilight Zone” and “The Truman Show,” follows a young couple (Eisenberg and Poots) who have just moved into a new housing development and find themselves in a maze of identical homes and a surreal world.
“A White, White Day” marks Pálmason’s follow up to his 2017 feature debut, “Winter Brothers,” which won three prizes at Locarno, followed by a healthy festival run. “A White, White Day” stars Ingvar Eggert Sigurðsson (“Fantastic Beasts: The Crimes of Grindelwald”) as an...
“Vivarium,” described by Critics’ Week’s artistic director Charles Tesson as reminiscent of “The Twilight Zone” and “The Truman Show,” follows a young couple (Eisenberg and Poots) who have just moved into a new housing development and find themselves in a maze of identical homes and a surreal world.
“A White, White Day” marks Pálmason’s follow up to his 2017 feature debut, “Winter Brothers,” which won three prizes at Locarno, followed by a healthy festival run. “A White, White Day” stars Ingvar Eggert Sigurðsson (“Fantastic Beasts: The Crimes of Grindelwald”) as an...
- 4/22/2019
- by Elsa Keslassy
- Variety Film + TV
European animated films continue to tackle weighty subject matter with diverse works aimed at older and more mature audiences.
A number of celebrated titles last year impressed by tackling historical, political and cultural subject matter in original ways, among them Raúl de la Fuente and Damian Nenow’s European Film Award winner “Another Day of Life,” above, Denis Do’s “Funan,” which took the top prize in Annecy, and Nora Twomey’s “The Breadwinner,” which won a plethora of prizes around the globe.
This year the trend continues with new and upcoming projects that explore wide ranging subject matter, from such sobering themes as the plight of refugees, racism and war to lighter fare like surrealist cinema and quirky romance.
Norwegian director Mats Grorud tackles the politically charged topic of Palestinian refugees in “Wardi” (The Tower). The film follows an 11-year-old girl living with her family in a Beirut refugee...
A number of celebrated titles last year impressed by tackling historical, political and cultural subject matter in original ways, among them Raúl de la Fuente and Damian Nenow’s European Film Award winner “Another Day of Life,” above, Denis Do’s “Funan,” which took the top prize in Annecy, and Nora Twomey’s “The Breadwinner,” which won a plethora of prizes around the globe.
This year the trend continues with new and upcoming projects that explore wide ranging subject matter, from such sobering themes as the plight of refugees, racism and war to lighter fare like surrealist cinema and quirky romance.
Norwegian director Mats Grorud tackles the politically charged topic of Palestinian refugees in “Wardi” (The Tower). The film follows an 11-year-old girl living with her family in a Beirut refugee...
- 2/8/2019
- by Ed Meza
- Variety Film + TV
Charades, the French sales company behind Mamoru Hosoda’s Oscar-nominated “Mirai,” has acquired “Grab,” an animated feature directed by Jeremy Clapin and produced by Xilam, one of France’s leading animation companies.
“Grab” is co-written by Clapin (“Skhizein”) and Guillaume Laurant, the high-profile screenwriter of “Amélie” and “A Very Long Engagement.”
Xilam Production was created by Marc du Pontavice and is listed on the Paris stock market. Its credits include “Space Goofs,” “Oggy and the Cockroaches” and Joann Sfar’s “Gainsbourg: A Heroic Life.” Du Pontavice also produces live-action films through his banner One World Films, including “Close Enemies,” with Matthias Schoenaerts and Reda Kateb, which competed at the Venice Film Festival.
“Grab” will be delivered in the fall. Set in Paris, it follows Naoufel, a young man who is in love with Gabrielle. In another part of town, a severed hand escapes from a dissection lab, determined to find its body again.
“Grab” is co-written by Clapin (“Skhizein”) and Guillaume Laurant, the high-profile screenwriter of “Amélie” and “A Very Long Engagement.”
Xilam Production was created by Marc du Pontavice and is listed on the Paris stock market. Its credits include “Space Goofs,” “Oggy and the Cockroaches” and Joann Sfar’s “Gainsbourg: A Heroic Life.” Du Pontavice also produces live-action films through his banner One World Films, including “Close Enemies,” with Matthias Schoenaerts and Reda Kateb, which competed at the Venice Film Festival.
“Grab” will be delivered in the fall. Set in Paris, it follows Naoufel, a young man who is in love with Gabrielle. In another part of town, a severed hand escapes from a dissection lab, determined to find its body again.
- 2/8/2019
- by Elsa Keslassy
- Variety Film + TV
Amelie The Musical, an adaptation of the much-loved 2001 award-winning film Amelie, will have its UK stage premiere at the Watermill Theatre in Newbury from 11 April to 18 May, and then embark on an extensive UK tour from 20 May. With music by Hem's Daniel Messe, lyrics by Nathan Tysen and Daniel Messe and book by Craig Lucas, this new musical adaptation of the five-time Oscar-nominated film written by Jean-Pierre Jeunet and Guillaume Laurant, will be directed by Michael Fentiman, with star casting to be announced.
- 10/29/2018
- by BWW News Desk
- BroadwayWorld.com
Exclusive: Wild Bunch is launching sales on Pan-Européenne-led production at Unifrance Rdv in Paris.
The UK’s Altitude Film Entertainment has boarded French director Pierre Godeau’s upcoming adaptation of Jean-Jacques Sempé’s heart-warming tale Raoul Taburin.
Set against the backdrop of a small French town, the film will star Benoît Poelvoorde as the endearingly comic figure of Raoul Taburin, a reputed bicycle shop owner desperate to hide the fact he cannot ride a bike himself.
Altitude has pre-bought UK rights with company chief Will Clarke taking an executive producer credit.
The deal builds on a growing relationship between Altitude and Nathalie Gastaldo-Godeau and Philippe Godeau’s Paris and London-based Pan-Européene which has developed since the couple moved to the UK in 2015.
Last year, the two companies entered a partnership for the UK release of Jérôme Salles’s Jacques Cousteau bio-pic The Odyssey, under which the film will hit UK screens this June.
Discussions on Raoul...
The UK’s Altitude Film Entertainment has boarded French director Pierre Godeau’s upcoming adaptation of Jean-Jacques Sempé’s heart-warming tale Raoul Taburin.
Set against the backdrop of a small French town, the film will star Benoît Poelvoorde as the endearingly comic figure of Raoul Taburin, a reputed bicycle shop owner desperate to hide the fact he cannot ride a bike himself.
Altitude has pre-bought UK rights with company chief Will Clarke taking an executive producer credit.
The deal builds on a growing relationship between Altitude and Nathalie Gastaldo-Godeau and Philippe Godeau’s Paris and London-based Pan-Européene which has developed since the couple moved to the UK in 2015.
Last year, the two companies entered a partnership for the UK release of Jérôme Salles’s Jacques Cousteau bio-pic The Odyssey, under which the film will hit UK screens this June.
Discussions on Raoul...
- 1/13/2017
- ScreenDaily
Fifteen years after “Amélie” first charmed moviegoers around the world, the achievements of director Jean-Pierre Jeunet and writer Guillaume Laurant are still remarkable. A sumptuous modern love story, the film was filled with enough cross-city chasing and dramatic camera movements to make a viewer feel like they’d had a full exercise during the two-hour running time.
In contrast, “Amélie: A New Musical,” which saw its Los Angeles premiere last week, is a relative stroll through Paris that’s still colorful fun without quite the same degree of satisfaction. However, what this stage version lacks in drive, it supplants with a breezy, pared-down version of plot and atmosphere more in line with the tastes of a casual theatergoing American audience.
Craig Lucas’ book sticks fairly close to the film’s basic skeleton: Amélie Poulain, a comfortably single and romantic-at-heart café waitress, makes a fateful discovery in her apartment. Stumbling on...
In contrast, “Amélie: A New Musical,” which saw its Los Angeles premiere last week, is a relative stroll through Paris that’s still colorful fun without quite the same degree of satisfaction. However, what this stage version lacks in drive, it supplants with a breezy, pared-down version of plot and atmosphere more in line with the tastes of a casual theatergoing American audience.
Craig Lucas’ book sticks fairly close to the film’s basic skeleton: Amélie Poulain, a comfortably single and romantic-at-heart café waitress, makes a fateful discovery in her apartment. Stumbling on...
- 12/22/2016
- by Steve Greene
- Indiewire
Director: Jean-Pierre Jeunet; Screenwriters: Jean-Pierre Jeunet, Guillaume Laurant; Starring: Kyle Catlett, Jakob Davies, Helena Bonham Carter, Niamh Wilson, Callum Keith Rennie, Judy Davis; Running time: 105 mins; Certificate: 12A
From the director who brought you Amelie comes another cute and whimsical, magical realist fable, this time adapted from a children's book by the American novelist Reif Larsen. It's ably fronted by button-nosed tyke Kyle Catlett, who somehow manages not to be completely upstaged by the dreamy effects that take us into his genius mind. It's the unlikeliest 3D movie of the year, but Jean-Pierre Jeunet appears to have a better grasp on the technology than your average action maestro.
Helena Bonham Carter is the closest we get to a grounding influence in this story, playing mother, a kooky entomologist who married a sullen cowboy (Callum Keith Rennie) and is raising Ts and his big sister Gracie (Niamh Wilson) in the gorgeous prairielands of Montana.
From the director who brought you Amelie comes another cute and whimsical, magical realist fable, this time adapted from a children's book by the American novelist Reif Larsen. It's ably fronted by button-nosed tyke Kyle Catlett, who somehow manages not to be completely upstaged by the dreamy effects that take us into his genius mind. It's the unlikeliest 3D movie of the year, but Jean-Pierre Jeunet appears to have a better grasp on the technology than your average action maestro.
Helena Bonham Carter is the closest we get to a grounding influence in this story, playing mother, a kooky entomologist who married a sullen cowboy (Callum Keith Rennie) and is raising Ts and his big sister Gracie (Niamh Wilson) in the gorgeous prairielands of Montana.
- 6/9/2014
- Digital Spy
Late last year we got our first look at The Young and Prodigious Spivet, a family film based on The Selected Works of T.S. Spivet, the debut novel by American author Reif Larsen. Jean-Pierre Jeunet (Amelie, Micmacs) co-wrote and directs the film which follows a 12-year old mapmaker named T.S. Spivet, who lives on a ranch in Montana, as he receives a prestigious award and accepts it, hitch-hiking on a freight train for the acceptance speech in Washington D.C. Kyle Catlett ("The Following") leads the film which also features Helena Bonham Carter, Judy Davis and more. It looks original and quite charming Watch! Here's the first trailer for Jean-Pierre Jeunet's The Young and Prodigious Spivet from YouTube: The Young and Prodigious Spivet is directed by Jean-Pierre Jeunet, who also co-wrote the film with his Amelie and Micmacs writer Guillaume Laurant. A 12-year-old cartographer (Kyle Catlett of...
- 5/17/2013
- by Ethan Anderton
- firstshowing.net
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