Eva
Several months after premiering his Don DeLillo adaptation Never Ever out of competition in Venice 2016, the prolific Benoît Jacquot returned to work with Isabelle Huppert (with whom he has collaborated five times prior, including The Wings of the Dove, The School of Flesh, False Servant, Keep it Quiet, and Villa Amalia) for a remake of Joseph Losey’s 1962 film Eva, which starred Jeanne Moreau (Jacquot recently remade Bunuel’s The Diary of a Chambermaid, which also starred Moreau).
Continue reading...
Several months after premiering his Don DeLillo adaptation Never Ever out of competition in Venice 2016, the prolific Benoît Jacquot returned to work with Isabelle Huppert (with whom he has collaborated five times prior, including The Wings of the Dove, The School of Flesh, False Servant, Keep it Quiet, and Villa Amalia) for a remake of Joseph Losey’s 1962 film Eva, which starred Jeanne Moreau (Jacquot recently remade Bunuel’s The Diary of a Chambermaid, which also starred Moreau).
Continue reading...
- 1/5/2018
- by Nicholas Bell
- IONCINEMA.com
Eva
Director: Benoit Jacquot
Writer: Benoit Jacquot, Gilles Taurand
Several months after premiering his Don DeLillo adaptation Never Ever out of competition in Venice last September, the prolific Benoit Jacquot returns to work with Isabelle Huppert (with whom he has collaborated five times prior, including The Wings of the Dove, The School of Flesh, False Servant, Keep it Quiet, and Villa Amalia) for a remake of Joseph Losey’s 1962 film Eva, which starred Jeanne Moreau (Jacquot recently remade Bunuel’s The Diary of a Chambermaid, which also starred Moreau).
Continue reading...
Director: Benoit Jacquot
Writer: Benoit Jacquot, Gilles Taurand
Several months after premiering his Don DeLillo adaptation Never Ever out of competition in Venice last September, the prolific Benoit Jacquot returns to work with Isabelle Huppert (with whom he has collaborated five times prior, including The Wings of the Dove, The School of Flesh, False Servant, Keep it Quiet, and Villa Amalia) for a remake of Joseph Losey’s 1962 film Eva, which starred Jeanne Moreau (Jacquot recently remade Bunuel’s The Diary of a Chambermaid, which also starred Moreau).
Continue reading...
- 1/9/2017
- by Nicholas Bell
- IONCINEMA.com
Premiering at the 2014 Venice Film Festival with little fanfare, and received a limited theatrical release in March, 2015 in the Us, Benoit Jacquot’s latest somehow feels as if its been neglected. Despite its high pedigree cast, including names familiar to the American public, like Charlotte Gainsbourg and Catherine Deneuve, it didn’t receive much attention, though will assuredly be the type of sought after gem for fans of either the director or the cast member in decades overcoming its initial frostiness.
The follow-up to his most internationally renowned title to date, Farewell, My Queen, Jacquot’s underwhelming love story uses a contrivance often seen in romantic comedies, only he replaces the comedy with a somber indifference that seems to work against the believability of the film.
3 Hearts seems as if it belongs to an earlier era of filmmaking, a time where repressed feelings would roil just beneath the surface until...
The follow-up to his most internationally renowned title to date, Farewell, My Queen, Jacquot’s underwhelming love story uses a contrivance often seen in romantic comedies, only he replaces the comedy with a somber indifference that seems to work against the believability of the film.
3 Hearts seems as if it belongs to an earlier era of filmmaking, a time where repressed feelings would roil just beneath the surface until...
- 7/28/2015
- by Nicholas Bell
- IONCINEMA.com
Benoît Jacquot's Farewell, My Queen (Les Adieux à la Reine) starring his leading ladies Léa Seydoux, Diane Kruger and Virginie Ledoyen
CinéSalon's Benoît Jacquot: Leading Ladies (March 3 - 24), curated by Delphine Selles-Alvarez at the French Institute Alliance Française in celebration of the 20th Anniversary of Rendez-Vous with French Cinema in New York included screenings of The Disenchanted (La Désenchantée) starring Judith Godrèche, Marcel Bozonnet and Ivan Desny, introduced by Jacquot; A Single Girl (La Fille Seule) - Virginie Ledoyen, Benoît Magimel, Dominique Valadié introduced by choreographer Blanca Li, who has worked with Pedro Almodovar and Michel Gondry; Villa Amalia - Isabelle Huppert, Jean-Hugues Anglade, Xavier Beauvois and À Tout De Suite - Isild Le Besco, Ouassini Embarek, Nicolas Duvauchelle, Laurence Cordier.
Léa Seydoux is lovely and tough as the reader and our heroine in Farewell, My Queen Photo: Anne-Katrin Titze
On Tuesday, March 24 at 7:30pm, Eye For...
CinéSalon's Benoît Jacquot: Leading Ladies (March 3 - 24), curated by Delphine Selles-Alvarez at the French Institute Alliance Française in celebration of the 20th Anniversary of Rendez-Vous with French Cinema in New York included screenings of The Disenchanted (La Désenchantée) starring Judith Godrèche, Marcel Bozonnet and Ivan Desny, introduced by Jacquot; A Single Girl (La Fille Seule) - Virginie Ledoyen, Benoît Magimel, Dominique Valadié introduced by choreographer Blanca Li, who has worked with Pedro Almodovar and Michel Gondry; Villa Amalia - Isabelle Huppert, Jean-Hugues Anglade, Xavier Beauvois and À Tout De Suite - Isild Le Besco, Ouassini Embarek, Nicolas Duvauchelle, Laurence Cordier.
Léa Seydoux is lovely and tough as the reader and our heroine in Farewell, My Queen Photo: Anne-Katrin Titze
On Tuesday, March 24 at 7:30pm, Eye For...
- 3/19/2015
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Heart to Heart to Heart: Jacquot’s Romantic Drama Can’t Cover Every Angle
Despite sporting the likes of Charlotte Gainsbourg and Catherine Deneuve, 3 Hearts, the latest from Benoit Jacquot often feels like a rather stilted endeavor. The follow-up to his most internationally renowned title to date, Farewell, My Queen, Jacquot’s underwhelming love story uses a contrivance often seen in romantic comedies, only he replaces the comedy with a somber indifference that seems to work against the believability of the film.
The film seems as if it belongs to an earlier era of filmmaking, a time where repressed feelings would roil just beneath the surface until they boiled over to cause living hell for all affected parties lost amidst the unmitigated power known as love. This is the stuff of classic melodrama, and the three hearts at the center of this triangle often feel more like archetypes than actual people,...
Despite sporting the likes of Charlotte Gainsbourg and Catherine Deneuve, 3 Hearts, the latest from Benoit Jacquot often feels like a rather stilted endeavor. The follow-up to his most internationally renowned title to date, Farewell, My Queen, Jacquot’s underwhelming love story uses a contrivance often seen in romantic comedies, only he replaces the comedy with a somber indifference that seems to work against the believability of the film.
The film seems as if it belongs to an earlier era of filmmaking, a time where repressed feelings would roil just beneath the surface until they boiled over to cause living hell for all affected parties lost amidst the unmitigated power known as love. This is the stuff of classic melodrama, and the three hearts at the center of this triangle often feel more like archetypes than actual people,...
- 3/11/2015
- by Nicholas Bell
- IONCINEMA.com
Top 100 Most Anticipated Foreign Films of 2015: #18. Benoit Jacquot’s Journal d’une femme de chambre
Journal d’une femme de chambre
Director: Benoit Jacquot // Writers: Benoit Jacquot, Helene Zimmer
French auteur Benoit Jacquot tends to get overlooked, though his recent international success with Berlin premiered Farewell, My Queen (2012) seems to have boosted his status, even though he’s been making excellent films since the 1970s and used to serve as Assistant Director to Margeurite Duras (India Song; Nathalie Granger). He’s worked several times with Isabelle Huppert (The School of Flesh; Keep It Quiet; False Servant; Villa Amalia) and Isild Le Besco (A Tout de Suite; Deep in the Woods), and generally tends to favor female perspectives. His latest, 3 Hearts, competed in Venice and starred Catherine Deneuve, Charlotte Gainsbourg, and Chiara Mastroianni. We’re thrilled to see he’s following in the footsteps of Jean Renoir and Luis Bunuel with an update of Octave Mirabeau’s Diary of a Chambermaid, reuniting him with the exciting Lea Seydoux,...
Director: Benoit Jacquot // Writers: Benoit Jacquot, Helene Zimmer
French auteur Benoit Jacquot tends to get overlooked, though his recent international success with Berlin premiered Farewell, My Queen (2012) seems to have boosted his status, even though he’s been making excellent films since the 1970s and used to serve as Assistant Director to Margeurite Duras (India Song; Nathalie Granger). He’s worked several times with Isabelle Huppert (The School of Flesh; Keep It Quiet; False Servant; Villa Amalia) and Isild Le Besco (A Tout de Suite; Deep in the Woods), and generally tends to favor female perspectives. His latest, 3 Hearts, competed in Venice and starred Catherine Deneuve, Charlotte Gainsbourg, and Chiara Mastroianni. We’re thrilled to see he’s following in the footsteps of Jean Renoir and Luis Bunuel with an update of Octave Mirabeau’s Diary of a Chambermaid, reuniting him with the exciting Lea Seydoux,...
- 1/9/2015
- by Nicholas Bell
- IONCINEMA.com
3 Hearts
Director: Benoit Jacquot
Writers: Benoit Jacquot, Julien Boivent
Producers: Edouard Weil
U.S. Distributor: Rights Available
Cast: Catherine Deneuve, Charlotte Gainsbourg, Chiara Mastroianni, Benoît Poelvoorde
Though he’s been working steadily since the mid-70’s, director Benoit Jacquot’s films tend not to get much attention in the Us, even his growing handful of Isabelle Huppert starring titles (The School of Flesh; Keep It Quiet; False Servant; Villa Amalia) don’t get theatrical or DVD releases here. But the 2012 critical success of his 2012 film, Farewell My Queen seems to have snagged him some more international attention. While Lea Seydoux was originally slated to return for this latest film (scheduling conflicts have caused her to be replaced by Mastroianni), the presence of Deneuve and Gainsbourg should make this an undoubted item of interest.
Gist: One night, in the countryside. Marc misses his train to head back to Paris and meets Sylvie.
Director: Benoit Jacquot
Writers: Benoit Jacquot, Julien Boivent
Producers: Edouard Weil
U.S. Distributor: Rights Available
Cast: Catherine Deneuve, Charlotte Gainsbourg, Chiara Mastroianni, Benoît Poelvoorde
Though he’s been working steadily since the mid-70’s, director Benoit Jacquot’s films tend not to get much attention in the Us, even his growing handful of Isabelle Huppert starring titles (The School of Flesh; Keep It Quiet; False Servant; Villa Amalia) don’t get theatrical or DVD releases here. But the 2012 critical success of his 2012 film, Farewell My Queen seems to have snagged him some more international attention. While Lea Seydoux was originally slated to return for this latest film (scheduling conflicts have caused her to be replaced by Mastroianni), the presence of Deneuve and Gainsbourg should make this an undoubted item of interest.
Gist: One night, in the countryside. Marc misses his train to head back to Paris and meets Sylvie.
- 3/4/2014
- by Nicholas Bell
- IONCINEMA.com
Diane Kruger as Marie Antoinette, Farewell, My Queen The world premiere of Les Adieux à la reine / Farewell, My Queen will open the 2012 Berlin Film Festival next February 9. Directed by Benoît Jacquot (Tosca, Villa Amalia, Deep in the Woods), Farewell, My Queen stars Inglourious Basterds' Diane Kruger (as Marie Antoinette), Midnight in Paris' Léa Seydoux, and Army of Crime's Virginie Ledoyen. Adapted by Jacquot and Gilles Taurand from Chantal Thomas’ novel, Farewell, My Queen is set during the first days of the French Revolution, as seen from the perspective of the servants at Versailles. The synopsis below is from the Berlin Film Festival website: Versailles in July 1789. Unrest is growing in the court of King Louis the XVI (Xavier Beauvois). The people are rebelling — a revolution is imminent. Behind the facades of the royal palaces, everyone is thinking of fleeing, including Queen Marie Antoinette (Diane Kruger) and her entourage.
- 1/4/2012
- by Andre Soares
- Alt Film Guide
The 62nd Berlin International Film Festival will open at the Berlinale Palast on February 9, 2012 with the world premiere of the period drama Les Adieux à la reine (Farewell My Queen) that features such international stars as Diane Kruger (Inglourious Basterds), Léa Seydoux (Midnig
ht in Paris) and Virginie Ledoyen (Army of Crime).
In a screen adaptation of Chantal Thomas’ prize-winning novel of the same name, French Director Benoît Jacquot (Tosca, Villa Amalia, Deep in the Woods, among others) portrays the first days of the French Revolution from the perspective of the servants at Versailles. With ironic overtones, a historical drama unfolds that also draws parallels to the present.
Versailles in July 1789. Unrest is growing in the court of King Louis the XVI. The people are rebelling – a revolution is imminent. Behind the facades of the royal palaces, everyone is thinking of fleeing, including Queen Marie Antoinette (Diane Kruger) and her entourage.
ht in Paris) and Virginie Ledoyen (Army of Crime).
In a screen adaptation of Chantal Thomas’ prize-winning novel of the same name, French Director Benoît Jacquot (Tosca, Villa Amalia, Deep in the Woods, among others) portrays the first days of the French Revolution from the perspective of the servants at Versailles. With ironic overtones, a historical drama unfolds that also draws parallels to the present.
Versailles in July 1789. Unrest is growing in the court of King Louis the XVI. The people are rebelling – a revolution is imminent. Behind the facades of the royal palaces, everyone is thinking of fleeing, including Queen Marie Antoinette (Diane Kruger) and her entourage.
- 1/4/2012
- by NewsDesk
- DearCinema.com
Leaving; Sex and the City 2; The A-Team; Splice
"French cinema," points out the electrifying Kristin Scott Thomas wryly, "represents a lot of women of my age who are still living – not just sighing and thinking about how beautiful they once were." It's an astute observation, for proof of which one need look no further than Leaving, a tragic romance that begins and ends with a bang and centres upon a woman in the throes of the kind of midlife crisis more usually reserved for male leads.
Scott Thomas plays Suzanne, a quietly frustrated, fortysomething mother with unfulfilled personal and professional aspirations, shaken out of her (un)comfortably complacent marriage by an overwhelming infatuation with Sergi López's burly handyman, Ivan. Having devoted herself to building a bourgeois home with husband, Samuel (Yvan Attal), Suzanne promptly abandons all to pursue a "passionate teen-like relationship" with predictably explosive consequences. "It's a conventional story about adultery,...
"French cinema," points out the electrifying Kristin Scott Thomas wryly, "represents a lot of women of my age who are still living – not just sighing and thinking about how beautiful they once were." It's an astute observation, for proof of which one need look no further than Leaving, a tragic romance that begins and ends with a bang and centres upon a woman in the throes of the kind of midlife crisis more usually reserved for male leads.
Scott Thomas plays Suzanne, a quietly frustrated, fortysomething mother with unfulfilled personal and professional aspirations, shaken out of her (un)comfortably complacent marriage by an overwhelming infatuation with Sergi López's burly handyman, Ivan. Having devoted herself to building a bourgeois home with husband, Samuel (Yvan Attal), Suzanne promptly abandons all to pursue a "passionate teen-like relationship" with predictably explosive consequences. "It's a conventional story about adultery,...
- 11/28/2010
- by Mark Kermode
- The Guardian - Film News
MacGruber; Villa Amalia; The Time That Remains; London River; StreetDance 3D
What is it about Saturday Night Live spin-off movies that induces such soul-crushing torpor? For every rare success (Wayne's World, The Blues Brothers) there are umpteen duffers (Coneheads, It's Pat, The Ladies Man, Blues Brothers 2000) which demonstrate just how poorly TV skits translate to the big screen.
Few SNL stinkers could be worse, however, than MacGruber, an execrable dirge which suffers not only from stretching a single joke over an excruciating hour and a half, but also from spoofing an 80s TV show (MacGyver) which few in the UK either saw or care to remember. "I'm proud of how bad this film is," announced Val Kilmer whose character name, Dieter von Cunth, is about as close as the script gets to humour. "In fact, I can't believe I just called it a film. It's a two-hour skit."
Just...
What is it about Saturday Night Live spin-off movies that induces such soul-crushing torpor? For every rare success (Wayne's World, The Blues Brothers) there are umpteen duffers (Coneheads, It's Pat, The Ladies Man, Blues Brothers 2000) which demonstrate just how poorly TV skits translate to the big screen.
Few SNL stinkers could be worse, however, than MacGruber, an execrable dirge which suffers not only from stretching a single joke over an excruciating hour and a half, but also from spoofing an 80s TV show (MacGyver) which few in the UK either saw or care to remember. "I'm proud of how bad this film is," announced Val Kilmer whose character name, Dieter von Cunth, is about as close as the script gets to humour. "In fact, I can't believe I just called it a film. It's a two-hour skit."
Just...
- 10/9/2010
- by Mark Kermode
- The Guardian - Film News
Special Treatment (Sans queue ni tête – a better translation might be Cock and Bull), by Jeanne Labrune, relies to a large extent on Isabelle Huppert’s superb performance as a high-class prostitute, Alice Bergerac, who acts out fantasies with her clients but becomes disillusioned after one turns violent. In parallel, we see a psychoanalyst, Xavier Demestre (Belgian actor-director Bouli Lanners), become disillusioned with his own life and split up with his wife. The parallels are obvious: Alice effectively provides sex therapy for men who can only get it up if she pretends to be a schoolgirl or demure housewife. Interestingly, it is sometimes not clear whether she is role playing or not (to the extent that the confused Xavier later asks: “Is this you?”). She is arguably more successful than the psychoanalyst, whose perceptive clients end up analysing him and one leaves him happy in the knowledge that he may...
- 10/1/2010
- by Julia Kollewe
- t5m.com
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
Get Him To The Greek (15)
(Nicholas Stoller, 2010, Us) Russell Brand, Jonah Hill, Sean Combs, Rose Byrne, Elisabeth Moss. 109 mins.
Who knew that if you put together every Brit rock star cliche in the book, you got Russell Brand? Record-label nerd Hill is charged with keeping the wayward Brand on the comeback trail here, but no one's taking the story that seriously; instead there's a tireless stream of one-liners, bit parts and surreal sidetracks to keep us (just about) amused. Brand is fine, but Diddy's manic music exec steals the show.
Good Hair (12A)
(Jeff Stilson, 2009, Us) 96 mins.
Chris Rock is an amiable guide on this documentary journey into African-American hair obsession, bantering in salons, quizzing black celebrities (Maya Angelou, Eve, Ice-t, Salt-n-Pepa), and tracing the cultural and chemical origins of relaxants, weaves and wigs without ever getting too serious.
Tetro (15)
(Francis Ford Coppola, 2009, Us/Ita/Spa/Arg) Vincent Gallo, Alden Ehrenreich,...
(Nicholas Stoller, 2010, Us) Russell Brand, Jonah Hill, Sean Combs, Rose Byrne, Elisabeth Moss. 109 mins.
Who knew that if you put together every Brit rock star cliche in the book, you got Russell Brand? Record-label nerd Hill is charged with keeping the wayward Brand on the comeback trail here, but no one's taking the story that seriously; instead there's a tireless stream of one-liners, bit parts and surreal sidetracks to keep us (just about) amused. Brand is fine, but Diddy's manic music exec steals the show.
Good Hair (12A)
(Jeff Stilson, 2009, Us) 96 mins.
Chris Rock is an amiable guide on this documentary journey into African-American hair obsession, bantering in salons, quizzing black celebrities (Maya Angelou, Eve, Ice-t, Salt-n-Pepa), and tracing the cultural and chemical origins of relaxants, weaves and wigs without ever getting too serious.
Tetro (15)
(Francis Ford Coppola, 2009, Us/Ita/Spa/Arg) Vincent Gallo, Alden Ehrenreich,...
- 6/25/2010
- by Steve Rose
- The Guardian - Film News
A strange, enignmatic film about a woman who turns her life upside down features isn't really the best use of Isabel Huppert's talents, says Peter Bradshaw
Isabelle Huppert comes very close to offering us a decaffeinated self-parody in this odd French movie by Benoît Jacquot. She plays a professional concert pianist who witnesses her live-in partner kissing someone else and the discovery opens her eyes to how empty the relationship has been. She takes off to Italy, where she buys a clifftop cabin – the Villa Amalia – and makes this the location for a sensual affair with a woman. The movie is sometimes diverting in an eccentric and disengaged way.
Rating: 2/5
World cinemaIsabelle HuppertPeter Bradshaw
guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds...
Isabelle Huppert comes very close to offering us a decaffeinated self-parody in this odd French movie by Benoît Jacquot. She plays a professional concert pianist who witnesses her live-in partner kissing someone else and the discovery opens her eyes to how empty the relationship has been. She takes off to Italy, where she buys a clifftop cabin – the Villa Amalia – and makes this the location for a sensual affair with a woman. The movie is sometimes diverting in an eccentric and disengaged way.
Rating: 2/5
World cinemaIsabelle HuppertPeter Bradshaw
guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds...
- 6/24/2010
- by Peter Bradshaw
- The Guardian - Film News
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
This is a Pure Movies review of Villa Amalia, starring Isabelle Huppert, Jean-Hugues Anglade, Xavier Beauvois, Maya Sansa, Clara Bindi and Viviana Aliberti, directed by Benoît Jacquot. Villa Amalia is a film about the destruction and rebuilding of one life, that of a middle-aged French woman who decides to leave her husband. When Ann Hidden (Isabelle Huppert) sees hers husband kissing another woman, she absorbs this information silently and decides to write it off to the past, along with the marriage as a whole. From that moment on, Ann systematically leaves every external facet of her identity behind her – her career as a composer, her flat, her Steinways, her location in the world – and begins again, alone. Momentous events are portrayed as exactly what they are – mere moments and nothing more.
- 6/20/2010
- by Suki Ferguson
- Pure Movies
Ajami (15)
(Scandar Copti, Yaron Shani, 2009, Isr/Ger) Shahir Kabaha, Ibrahim Frege, Eran Naim. 125 mins.
If any situation justifies the multi-angled Crash/Amores Perros-style treatment, it's modern-day Israel. Co-written and directed by an Israeli and a Palestinian, mostly using non-professional actors, this is more hip, streetwise and even-handed than we're used to. Set in a mixed neighbourhood of Tel Aviv, the plot skilfully juggles intertwined stories of feuds, families, drugs and violence involving characters from all faiths.
Trash Humpers (18)
(Harmony Korine, 2009, Us/UK) Brian Kotzue, Travis Nicholson, Rachel Korine. 78 mins.
Korine preserves his enfant terrible reputation with a scrappy, seedy home video following a group of masked delinquents around. It's a vaudeville of depravity (they literally hump dustbins) that manages to be grimy without being explicit.
Wild Grass (12A)
(Alain Resnais, 2009, Fra/Ita) André Dussolier, Sabine Azéma. 104 mins.
Veteran Resnais crafts a silky, genre-hopping middle-aged romance that's full of wonders and mysteries.
(Scandar Copti, Yaron Shani, 2009, Isr/Ger) Shahir Kabaha, Ibrahim Frege, Eran Naim. 125 mins.
If any situation justifies the multi-angled Crash/Amores Perros-style treatment, it's modern-day Israel. Co-written and directed by an Israeli and a Palestinian, mostly using non-professional actors, this is more hip, streetwise and even-handed than we're used to. Set in a mixed neighbourhood of Tel Aviv, the plot skilfully juggles intertwined stories of feuds, families, drugs and violence involving characters from all faiths.
Trash Humpers (18)
(Harmony Korine, 2009, Us/UK) Brian Kotzue, Travis Nicholson, Rachel Korine. 78 mins.
Korine preserves his enfant terrible reputation with a scrappy, seedy home video following a group of masked delinquents around. It's a vaudeville of depravity (they literally hump dustbins) that manages to be grimy without being explicit.
Wild Grass (12A)
(Alain Resnais, 2009, Fra/Ita) André Dussolier, Sabine Azéma. 104 mins.
Veteran Resnais crafts a silky, genre-hopping middle-aged romance that's full of wonders and mysteries.
- 6/18/2010
- by Steve Rose
- The Guardian - Film News
After the snowy hype of Sundance, the bustle in Berlin and the sheer craziness of Cannes, the Karlovy Vary International Film Festival comes as sweet respite.
Now in its 44th edition, the Czech festival acts as a calm way station for cinema buffs and industry folk to regroup post-Cannes and pre-Venice and enjoy film without the adjunct "business."
The setting -- a West Bohemian spa town -- provides the necessary isolation while the screening schedule carefully balances recent festival winners with established art house faves and new work from independent directors the world over.
The competition vying for the 2009 Crystal Globe is strictly indie -- highlights include German comedy "Whisky with Vodka" from Andreas Dresen ("Cloud 9"), Sophie Barthes' directorial debut "Cold Souls" starring Paul Giamatti and minimalist drama "Twenty" from Iranian director Abdolreza Kahani.
But Karlovy Vary has also found space for mainstream entertainment such as Sam Mendes...
Now in its 44th edition, the Czech festival acts as a calm way station for cinema buffs and industry folk to regroup post-Cannes and pre-Venice and enjoy film without the adjunct "business."
The setting -- a West Bohemian spa town -- provides the necessary isolation while the screening schedule carefully balances recent festival winners with established art house faves and new work from independent directors the world over.
The competition vying for the 2009 Crystal Globe is strictly indie -- highlights include German comedy "Whisky with Vodka" from Andreas Dresen ("Cloud 9"), Sophie Barthes' directorial debut "Cold Souls" starring Paul Giamatti and minimalist drama "Twenty" from Iranian director Abdolreza Kahani.
But Karlovy Vary has also found space for mainstream entertainment such as Sam Mendes...
- 6/25/2009
- by By Scott Roxborough
- The Hollywood Reporter - Movie News
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