French filmmaker Léa Mysius follows her nose in “The Five Devils,” focusing on the sense of smell. That’s her protagonist’s special gift, one that scares her mother (“Blue Is the Warmest Color” actor Adèle Exarchopoulos) but allows her to venture beyond the constraints of time and space.
Shown in Cannes’ Directors’ Fortnight – with Wild Bunch on board – it’s Mysius’ second feature film as a director following “Ava,” awarded at the French fest in 2017. She also co-wrote Claire Denis’ “The Stars at Noon,” presented in the main competition.
“It all started when I was a kid – I was fascinated by smells,” Mysius tells Variety.
“Together with my sister, we had fun making these little potions. We grew up in the countryside, which helped us develop that sense even more. One of my friends told me that growing up in Paris, he had to ‘close off’ his nostrils for good.
Shown in Cannes’ Directors’ Fortnight – with Wild Bunch on board – it’s Mysius’ second feature film as a director following “Ava,” awarded at the French fest in 2017. She also co-wrote Claire Denis’ “The Stars at Noon,” presented in the main competition.
“It all started when I was a kid – I was fascinated by smells,” Mysius tells Variety.
“Together with my sister, we had fun making these little potions. We grew up in the countryside, which helped us develop that sense even more. One of my friends told me that growing up in Paris, he had to ‘close off’ his nostrils for good.
- 5/26/2022
- by Marta Balaga
- Variety Film + TV
Le Monde and other French news outlets are reporting that Alain Corneau has succumbed to cancer at the age of 67. Just last week, Jordan Mintzer reviewed Corneau's latest, Crime d'amour (Love Crime), for Variety, calling it a "taut, sinister psycho-procedural." Starring Kristin Scott Thomas and Ludivine Sagnier and having just opened in theaters in France, the film is set to screen in a couple of weeks at the Toronto International Film Festival.
In 1992, Corneau's Tous les matins du monde (All the Mornings of the World) swept France's César Awards, winning best film, director, cinematography (Yves Angelo), supporting actress (Anne Brochet), music (Jordi Savall), costume design (Corinne Jorry) and sound. In 2004, Corneau was awarded the Prix René Clair.
Updates, 8/31: "Mr Corneau's movies included science fiction, police thrillers, a look at office politics in Japan and a mood piece about ancient India," writes Douglas Martin in the New York Times, "but...
In 1992, Corneau's Tous les matins du monde (All the Mornings of the World) swept France's César Awards, winning best film, director, cinematography (Yves Angelo), supporting actress (Anne Brochet), music (Jordi Savall), costume design (Corinne Jorry) and sound. In 2004, Corneau was awarded the Prix René Clair.
Updates, 8/31: "Mr Corneau's movies included science fiction, police thrillers, a look at office politics in Japan and a mood piece about ancient India," writes Douglas Martin in the New York Times, "but...
- 9/1/2010
- MUBI
Benoît Jacquot teams up with Isabelle Huppert for their fifth collaboration in Villa Amalia. Based on the novel by Pascal Quignard, the film, concerns the crisis of a concert pianist who systematically dismantles her old life in pursuit of a new one.
This surprisingly gentle affair also possesses an abrupt and restless spirit. His career could yet be defined by his association with Huppert – and it would be a fine legacy.
Jacquot, although little heard of outside of his native France, is a director of great standing and artistry. FilmShaft met up with him last week in central London to discuss his latest movie and his enduring collaboration with one of France’s most famous actresses. Jacquot, in person, offers answers often with a soft laugh and smile.
What was the appeal of this particular story?
Jacquot: First of all, Isabelle Huppert and I wanted to shoot a film for the fifth time.
This surprisingly gentle affair also possesses an abrupt and restless spirit. His career could yet be defined by his association with Huppert – and it would be a fine legacy.
Jacquot, although little heard of outside of his native France, is a director of great standing and artistry. FilmShaft met up with him last week in central London to discuss his latest movie and his enduring collaboration with one of France’s most famous actresses. Jacquot, in person, offers answers often with a soft laugh and smile.
What was the appeal of this particular story?
Jacquot: First of all, Isabelle Huppert and I wanted to shoot a film for the fifth time.
- 6/28/2010
- by Martyn Conterio
- FilmShaft.com
What is it about actress Isabelle Huppert that remains so enigmatic? We’ve never really discovered the secret but remain transfixed by the mystery. She’s a cinematic Mona Lisa.
Villa Amalia sees Huppert’s fifth collaboration with director Benoît Jacquot and based on Pascal Quignard’s novel All the Mornings of the World. It is a typical French art-house production with languorous approach to narrative and stylish cinematography.
Huppert gives a brilliant (does she ever do any less?) performance as a classical pianist who decides to dismantle her life systematically in an attempt to disappear completely. It’s no great coincidence her character is named Ann Hidden, and she embarks less on a journey of escape than one into solace.
The cause for her compulsion to disappear could originate from the fact her father left home when she was six. Could Ann be following in the footsteps of the musician father she resents?...
Villa Amalia sees Huppert’s fifth collaboration with director Benoît Jacquot and based on Pascal Quignard’s novel All the Mornings of the World. It is a typical French art-house production with languorous approach to narrative and stylish cinematography.
Huppert gives a brilliant (does she ever do any less?) performance as a classical pianist who decides to dismantle her life systematically in an attempt to disappear completely. It’s no great coincidence her character is named Ann Hidden, and she embarks less on a journey of escape than one into solace.
The cause for her compulsion to disappear could originate from the fact her father left home when she was six. Could Ann be following in the footsteps of the musician father she resents?...
- 6/23/2010
- by Martyn Conterio
- FilmShaft.com
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