French cinema
Matt Wolf
There's a fascination that comes with films/ plays/ you choose the art form that contain within them their own critique: the sort of thing you find, for instance, in Chekhov done badly when one character or another opines about how "boring" proceedings have become, and you are tempted to nod in assent. But it's been some while since I sat through anything that shoots itself in the foot with such witless insistence as Dinner for Schmucks, the sickliest and most craven of the numerous "bromances" to come down the cinematic pike of late.For a brief while, it's rather entertaining cataloguing the Read more ...
Matt Wolf
Amid the cinematic dog days of late summer, François Ozon's Le Refuge comes aptly named: a character-led, intimate tale in the style of the late Eric Rohmer that will infuriate those who like their films more purely driven by plot even as it offers a refuge to moviegoers for whom the curves of a pregnant belly or a handsome young man's spine contain within them their own narrative.A meditation on the subtleties of tenderness and the legacy of pain, the film possesses something of the qualities of an exceedingly smart novella. Well, at least up until a final sequence that threatens to undo Read more ...
anne.billson
Serge Gainsbourg, like Charles Bukowski, is one of those blokes who should be banned as a role model for impressionable young men, who may start imagining they too can behave like disgusting old soaks and pull any gorgeous bird who comes into their orbit. Note to Gainsbourg wannabes - this only works if you're a creative genius as well.Joann Sfar, hitherto best known in France as creator of The Rabbi's Cat BD (BD being short for Bande Dessinée or graphic novel, long regarded in France as a bona fide artform), makes his directing debut with Gainsbourg, an adaptation of another of his Read more ...
anne.billson
Sex, blood and shocking - these are the things Catherine Breillat does well. So long as she's busting taboos wide open you can forgive her the longueurs, the wilful refusal to attend to fundamental principles of storytelling, her characters' inclination towards such dreary soliloquising you feel like yelling, "For heaven's sake, shut up and get back to the full-frontal fornicating!" At first glance, the story of Bluebeard would appear to be right up her street.This, after all, is the director whose specialities include explicit tumescence and in-your-face childbirth (Romance), rape and murder Read more ...
Matt Wolf
Kristin Scott Thomas possesses an altogether singular beauty: classical yet faintly wistful, intimidating at times but equally capable of enormous warmth. And because this English rose has professionally blossomed not just in the Anglo-American cinema (and theatre) but also in France, there's something faintly "other" about her. That, in turn, has been useful to this actress's stage turns in Chekhov and Pirandello and accounts for her infinite variety on screen. After all, not everyone could move with ease from John Lennon's Liverpudlian aunt to her latest film role as a French doctor's Read more ...
Veronica Lee
The fifth collaboration between iconic French actress Isabelle Huppert and director Benoît Jacquot tells the story of Ann (Huppert), a concert pianist who leaves her partner of 15 years after she sees him passionately kiss another woman. She decides to abandon her life, leaving no trace of her previous existence, and only one friend, Georges (Jean-Hugues Anglade), is allowed to know her plans. She has met Georges for the first time since childhood by a ridiculous contrivance but, as with so much in this film, it helps to go with the flow because Huppert, who appears in almost every scene, is Read more ...
theartsdesk
There's a piquant French perfume to our April round-up. DVD of the month is Olivier Assayas's magnificent family drama Summer Hours, reissued in the US with revealing extras (and available worldwide from Amazon). Maurice Pialat's work is considered at length and Séraphine and Rumba are among the new releases. We unearth an extraordinary Czech epic,The Valley of the Bees, and watch Ernst Lubitsch's delicious early Berlin comedies. Films covered previously, including New Moon, The White Ribbon, 2012 and Zombieland are noted in brief, with a link to the original review. Our critics are Anne Read more ...
anne.billson
BD, pronounced bédé, is short for "bande déssinée", the French equivalent of the comic-strip or graphic novel, which has long been accorded a popular affection and cultural standing well beyond that of its anglophone equivalent. Luc Besson says he was weaned on BD, which comes as no surprise to anyone familiar with his films. The only surprise is that it has taken him so long to direct an adaptation of one. But here it is - his eleventh full-length live-action directing credit - Les aventures d'Adèle Blanc-Sec, a mash-up of two volumes from a series of BDs by Tardi, one of the most respected Read more ...
Graham Fuller
After a trio of harsh modern pictures dealing with the pitfalls of globalisation - Demonlover, Clean, and Boarding Gate - the director Olivier Assayas felt the need to write a more personal, reflective screenplay around the time Paris’s Musée d’Orsay invited him to make a film using artefacts from its collection to commemorate the 20th anniversary of its opening.But the dispersal of familial and national life are still felt in the resulting film, Summer Hours, which examines a family’s response to parting with the informal collection of objets d’art treasured by the matriarch following her Read more ...
sheila.johnston
A sensational performance by Sylvie Testud is the singular reason to catch this rambling biopic of Françoise Sagan - bestselling novelist, high-rolling playgirl, multiple addict, flamboyant bisexual, monstre sacré - which plays in repertory throughout April at the French Institute's Ciné Lumière. Testud, one of France's best young actresses (also currently to be seen illuminating Lourdes as a desperate young pilgrim), takes no prisoners in her electrifying account of the writer's train wreck of a life over half a century, from the precocious literary star who stormed the world in 1954 Read more ...
sheila.johnston
High summer in Paris. Jazz plays on the soundtrack, the boulevards are bright, leafy and humming and Grégoire, a good-looking man in his mid-forties, scuttles along the street, mobile phone glued to ear. He's troubleshooting on a truly international scale: the Koreans are arriving mob-handed, the Georgians are so demanding and that nutty Swedish director's budget is spiralling out of control. Grégoire is a movie producer, and Father of My Children starts out as a light-hearted, slightly madcap addition to the capacious genre of films about film-making. Slowly, though, it shades into something Read more ...
sheila.johnston
"I like directors whose style you recognise right away: Tim Burton, Terry Gilliam, Emir Kusturica, David Lynch," asserts Jean-Pierre Jeunet, a statement which should surprise none of his followers. Fabled for its attention to minutiae, his work is honed down to the last millimetre, from the immaculately choreographed sight gags to the hyperstylised sets. Delicatessen and The City of Lost Children (both co-directed with Marc Caro), Amelie, A Very Long Engagement, even Jeunet's Stygian contribution to the Alien franchise, are instantly, unmistakably recognisable as his. "If a certain detail isn Read more ...