Paris
Jenny Gilbert
The curious thing about Reset, the documentary that tracks the making of a new ballet by Benjamin Millepied at the Paris Opera Ballet, is that it clearly had another agenda. Millepied, a Frenchman nicely named for his profession, was a left-field appointment as director of the 335-year-old institution in 2014. He lasted only two years, but that in itself is hardly a story given the number of his predecessors whose tenure was even shorter.The film was shot over a period of weeks during the same season that saw Millepied quit, yet reveals no serious friction. Okay, so the 36-year-old breezes Read more ...
Adam Sweeting
As Elle’s director Paul Verhoeven put it, “we realised that no American actress would ever take on such an immoral movie.” However, Isabelle Huppert didn’t hesitate, and has delivered a performance of such force and boldness that even the disarming Oscar-winner Emma Stone might secretly admit that perhaps the wrong woman won on the night.But it has to be admitted that Elle (adapted by screenwriter David Birke from Philippe Djian’s novel “Oh...”) could never be mistaken for a Hollywood production. A perplexing but electrifying mixture of sexual violence, black humour and social satire, it Read more ...
Adam Sweeting
Despite having been a rock star since the late Seventies, Chrissie Hynde seems to be an introverted, elusive sort of person. If this Arena profile was anything to go by, she lives as a virtual recluse, positively revelling in solitariness. Like the film, her last album was called Alone.“I spend all my time alone,” we saw her telling Sandra Bernhard, evidently a close friend. “I have nothing else to do. It’s my choice, I like it.” Well good for her, and it does mean she has plenty of time to pursue her recently-found passion for painting (which she’s pretty good at, too). But it didn’t really Read more ...
Gavin Dixon
Adriana Lecouvreur deserves to be better known. The opera has a toe-hold in the repertoire, with occasional appearances, usually as a showcase for the soprano in the title role. Its composer, Francesco Cilea, is known for little else, but the opera demonstrates an impressive melodic gift, an ear for orchestral colour, and a rare ability to pace music in step with a complex and extended narrative.This production, directed by David McVicar and with sets by Charles Edwards, was first staged in 2010 and is returning to Covent Garden for a first revival. It is a spectacular affair, if Read more ...
Adam Sweeting
Francis Bacon died in April 1992, aged 82, but heaven knows how he managed to live that long. The tortuous story of his life is now fairly well known, but Richard Curson Smith's documentary marshalled a formidable array of critics, biographers and celebs including Marianne Faithfull, Damien Hirst and Terence Stamp to create a portrait of a man capable of effervescent wit and charm, yet fuelled from within by a monstrous darkness.The film lit the blue touch paper by looking at Bacon's Three Studies for Figures at the Base of a Crucifixion, which, when exhibited in London in 1945, did little to Read more ...
Mark Sanderson
So this is Christmas – and what have they done? Scheduled a detective drama that begins with a family being carved up with an axe. Ho ho ho! While Maigret’s Dead Man was no doubt intended to provide a healthy corrective to the festive feel-goodery of Call The Midwife on BBC One, it goes too far. We could have done without the details of torture (a candle-flame to naked breasts) and bloody execution. At least it doesn’t show them (the details, not the breasts).Nor is there any sign of Noël in the rues moyennes de Paris (Hungary once again standing in for France). Happily, though, this is a Read more ...
Sarah Kent
I avoided seeing Art when it was first staged in 1996, even though Matthew Warchus’ production created a huge buzz and won an Olivier Award for Comedy. (On receiving the award, Yasmina Reza joked that she thought she’d written a tragedy not a comedy.)I knew the story involved an all-white painting bought for a whopping €100,000 and, in my paranoia, assumed the play was an invitation to snigger at contemporary art and anyone foolish enough to take it seriously. As a critic valiantly supporting young artists like Damien Hirst and Tracey Emin, I’d been made to squirm in front of a guffawing TV Read more ...
Tom Birchenough
Olivier Ducastel and Jacques Martineau have described the budget on which they made their latest film Theo & Hugo – the French directors have been collaborators, as well as partners, since the mid-1990s – as a “pirate” one, its restrictions imposed not least by the fact that they had written a first sequence so sexually explicit that they believed it closed access to the usual public funding sources even in France. The film’s opening 20 minutes certainly have a bracing explicitness that put it almost on the boundary with pornography, although what follows morphs into a rather tender gay Read more ...
Tom Birchenough
The Russian director Alexander Sokurov has never been afraid of tackling weighty, often philosophical issues head on, and his latest film Francofonia is as pioneering – and, some might say, unnecessarily uncompromising – as ever. It’s nothing less than a meditation on civilisation, its potential for preservation or destruction, and history, seen through the prism of Paris's Louvre. Stretching, and evading, the conventions of both documentary and fiction, it’s perhaps best considered as an art project in itself.Sokurov’s cinematic fascination with the museum as a concept stretches back to his Read more ...
Kieron Tyler
The original 1961 poster for Paris Blues trumpeted it as “a love-spectacular so personally exciting you feel it’s happening to you”. Would it were actually thus. Instead, it’s ponderous and features a cast so obviously “acting” that any verve implied by being filmed in Paris and set in the world of jazz is missing in action. Paris Blues is worth seeing, but don’t expect the pulse to quicken.Ram Bowen (Paul Newman) and Eddie Cook (Sidney Poitier) are American jazzers living in Paris with a residency in a smoky basement. One member of their band is a drug addict and a local Juliette Gréco type Read more ...
David Nice
Stravinsky's music, chameleonic yet always itself, offers so many lines of thought. One struck me immediately with the descending, even harp notes and tender, veiled strings at the start of his 1947 ballet Orpheus last night: the inexorable beat of time is so often pitted against an expressive, human voice. Esa-Pekka Salonen, who started out as a rhythm and textures man, now gets the humanity too. This triptych of three Greek myths startlingly revisited offered other dualities, giving him and the Philharmonia the chance to move constantly between heaven, hell and somewhere in between.It’s the Read more ...
Tom Birchenough
One of the many astonishing things in Mia Hansen-Løve’s fifth film is watching Isabelle Huppert hold back tears. In one scene they smear almost involuntarily down her face, in another she transforms them into a bark of nervous laughter. Huppert plays Nathalie Chazeaux, a sixty-something Paris philosophy teacher, who paces the film with almost frantic speed while her life unravels around her.Finally, when the immediate causes of her grief have passed, she surrenders to sobbing. It’s a beautifully delayed scene that catches the build-up of emotions (pictured below), her only company in her Read more ...