If one needs a span longer than Joan of Arc’s actual life to watch every film made on it, one should be confident in calling Jacques Rivette’s two-part Joan the Maid–first half subtitled The Battles, second half The Prisons–the very finest. However many years it’s been since I’ve done so myself, though, the effects of watching it make counter-arguments hard to even entertain. Another intimate, Rivettian portrait of shadowy societies that’s nevertheless inscribed on the epic scale of a war film, anchored by a Sandrine Bonnaire performance both tactile and otherworldly, and never flagging despite running through history told many times over, it is so great that, as with much of his filmography, a proper restoration seemed forever unlikely.
In a major turn, Cohen Media Group have salvaged the nearly six-hour project and will debut it at New York’s Quad Cinema on...
In a major turn, Cohen Media Group have salvaged the nearly six-hour project and will debut it at New York’s Quad Cinema on...
- 7/17/2019
- by Nick Newman
- The Film Stage
The late Jacques Rivette knocks us silly with a breathtaking meditation on what it means to be an artist, and what art demands of those that believe in it. A woman roped into posing nude for a famed but insecure painter, undergoes several intense days of compliant collaboration. Rivette’s unforced style gives the impression of life as it is being lived; his commitment is matched by that of actors Michel Piccoli, Jane Birkin and Emmanuelle Béart.
La belle noiseuse
Blu-ray
Cohen Media Group
1991 / Color / 1:37 flat full frame / 238 min. / The Beautiful Troublemaker / Street Date May 8, 2018 / 30.99
Starring: Michel Piccoli, Jane Birkin, Emmanuelle Béart, Marianne Denicourt, David Bursztein, Gilles Arbona, Marie Belluc.
Cinematography: William Lubtchansky
Film Editor: Nicole Lubtchansky
Paintings by (and ‘as the hands of the painter’): Bernard Dufour
Production design: Emmanuel de Chauvigny
Written by Pascal Bonitzer, Christine Laurent, Jacques Rivette from a story by Balzac
Produced by Martine Marignac,...
La belle noiseuse
Blu-ray
Cohen Media Group
1991 / Color / 1:37 flat full frame / 238 min. / The Beautiful Troublemaker / Street Date May 8, 2018 / 30.99
Starring: Michel Piccoli, Jane Birkin, Emmanuelle Béart, Marianne Denicourt, David Bursztein, Gilles Arbona, Marie Belluc.
Cinematography: William Lubtchansky
Film Editor: Nicole Lubtchansky
Paintings by (and ‘as the hands of the painter’): Bernard Dufour
Production design: Emmanuel de Chauvigny
Written by Pascal Bonitzer, Christine Laurent, Jacques Rivette from a story by Balzac
Produced by Martine Marignac,...
- 5/12/2018
- by Glenn Erickson
- Trailers from Hell
“Me Myself and Mum” by Guillaume Gallienne won two awards at the Directors’ Fortnight
Directors’ Fortnight is a non competitive sidebar of Cannes Film Festival, however, it does offer awards in partnership with other institutions. French film Les Garçons et Guillaume, à table ! (Me Myself and Mum) by Guillaume Gallienne won two of the awards at the fortnight. Anurag Kashyap’s Ugly was screened in this section.
Here is the list of winners:-
Art Cinema Award
The Cicae (Confédération Internationale des Cinémas d’Art et d’Essai) gives the Art Cinema Award, prize that helps with film distribution.
Les Garçons et Guillaume, à table ! (Me Myself and Mum) by Guillaume Gallienne – France
Label Europa Cinemas
The Europa Cinemas Label aims to enhance the promotion, circulation and box-office runs of European award winning films on the screens of a cinema network spread across Europe. Awarded by a jury comprised of Europa Cinemas member exhibitors.
Directors’ Fortnight is a non competitive sidebar of Cannes Film Festival, however, it does offer awards in partnership with other institutions. French film Les Garçons et Guillaume, à table ! (Me Myself and Mum) by Guillaume Gallienne won two of the awards at the fortnight. Anurag Kashyap’s Ugly was screened in this section.
Here is the list of winners:-
Art Cinema Award
The Cicae (Confédération Internationale des Cinémas d’Art et d’Essai) gives the Art Cinema Award, prize that helps with film distribution.
Les Garçons et Guillaume, à table ! (Me Myself and Mum) by Guillaume Gallienne – France
Label Europa Cinemas
The Europa Cinemas Label aims to enhance the promotion, circulation and box-office runs of European award winning films on the screens of a cinema network spread across Europe. Awarded by a jury comprised of Europa Cinemas member exhibitors.
- 5/25/2013
- by NewsDesk
- DearCinema.com
I’ll just fess up: Despite the fact that it’s in its 41st year, the International Film Festival Rotterdam is something I’ve kind of never heard about until today. (Let’s blame it on a slip in my geography skills.) This ignorance on my part notwithstanding, taking a look at their initial lineup for this year — when the event runs from January 25th to February 5th — has left me mightily impressed.
The biggest world premieres come from two directors on opposite ends of at least a few spectrum: Takashi Miike and James Franco. (Discounting the fact that they’ve both depicted amputations onscreen, in one way or the other.) The former is debuting his adaptation of the popular Nintendo DS game, Ace Attorney, while the latter will be exhibiting Francophrenia (Or: Don’t Kill Me, I Know Where the Baby Is). A movie based on a kid’s...
The biggest world premieres come from two directors on opposite ends of at least a few spectrum: Takashi Miike and James Franco. (Discounting the fact that they’ve both depicted amputations onscreen, in one way or the other.) The former is debuting his adaptation of the popular Nintendo DS game, Ace Attorney, while the latter will be exhibiting Francophrenia (Or: Don’t Kill Me, I Know Where the Baby Is). A movie based on a kid’s...
- 1/6/2012
- by jpraup@gmail.com (thefilmstage.com)
- The Film Stage
The trio of New York Times critics (Manohla Dargis, A.O. Scott and Stephen Holden) have weighed in with their own nominations for the year's best in movies with their selections for Best Picture, Director, Actor, Actress, Supporting Actor, Supporting Actress and Original and Adapted Screenplays. Quickly glancing through the list I see Manohla Dargis loved Charlie Kaufman's Synecdoche, New York (at least the acting) and is the only one that gave The Dark Knight any love. Thankfully Slumdog Millionaire wasn't "nominated" for anything other than a lone Adapted Screenplay notice from A.O. Scott. Happy-Go-Lucky saw plenty of attention and believe it or not, there isn't one film all three could agree on for Best Picture with Wall-e and Happy-Go-Lucky being the front-runners as they were mentioned twice - Dargis was the main reason for this as her selections didn't show up on either Stephen Holden or A.
- 1/3/2009
- by Brad Brevet
- Rope of Silicon
BERLIN -- Nearing 80, French new wave director Jacques Rivette continues to display a fine touch with "Don't Touch the Axe," an intimate tale about the games lovers play taken to extremes.
Based on a novella titled The Duchesse de Langeais by Honore de Balzac, it's the story of a dedicated soldier back from the wars and the socialite lady he loves not wisely but too well.
Handsomely produced and featuring fine performances, the film will travel well to festivals and art houses where audiences respond to classy period pieces with a modern sensibility.
The film begins and ends with encounters taking place several years later than the central events, which are told in flashback. Guillaume Depardieu stars as Napoleonic Gen. Armand de Montriveau who returns to Paris following a time imprisoned by the enemy bearing his wounds and his dignity with equal solemnity. Introduced to the beautiful and mischievous Antoinette de Langeais (Jeanne Balibar) at a fashionable salon, the soldier is instantly captivated.
The lady is also intrigued but such is her taste for coquetry that she makes his seduction a game full of promises and teasing, almost driving him to distraction. Although smitten, de Montriveau comes to the conclusion that he is being played for a fool and determines that turnabout is fair play.
Now it's de Langeais turn to have her emotions toyed with although she continues to give as good as she gets. Rivette takes great care with these scenes, which are filled with subtle by-play and executed with finesse by the two actors.
Cinematographer William Lubtchansky captures beautifully Maira Ramedhan Levy's costumes and Emmanuel de Chauvigny's production design and the rest of the cast serve the story well.
The screenplay by Rivette, Pascal Bonitzer, and Christine Laurent employs several lines taken directly from Balzac, whose wit could be as deft and precise as Oscar Wilde's. The film's title comes from a warning given to de Montriveau at a display of the blade used to execute an English king that serves as a caution about keeping his head. Depardieu and Balibar relish the dialogue and body language of the battling lovers so that their clashes appear to be a tense but rapier-like combination of chess and fencing.
DON'T TOUCH THE AXE (NE TOUCHEZ PAS LA HACHE)
IFC Films
Pierre Grise Prods., Cinemaundici, Arte France Cinema.
Credits:
Director: Jacques Rivette
Writer: Jacques Rivette, Pascal Bonitzer, Christine Laurent
Producers: Martine Marignac, Maurice Tinchant
Director of photography: William Lubtchansky
Production designer: Emmanuel de Chauvigny
Music: Pierre Allio
Costume designer: Maira Ramedhan Levy
Co-producers: Luigi Musini, Roberto Cicutto, Ermanno Olmi
Editor: Nicole Lubtchansky
Cast:
Antoinette de Langeais: Jeanne Balibar
Armand de Montriveau: Guillaume Depardieu
Princesse de Blamont-Chauvry: Bulle Ogier
Vidame de Pamiers: Michel Piccoli
Le Duc de Grandlieu: Barbet Schroeder
Clara de Serizy: Anne Cantineau
Julien: Mathias Jung
Lisette: Julie Judd
Running time -- 137 minutes
No MPAA rating...
Based on a novella titled The Duchesse de Langeais by Honore de Balzac, it's the story of a dedicated soldier back from the wars and the socialite lady he loves not wisely but too well.
Handsomely produced and featuring fine performances, the film will travel well to festivals and art houses where audiences respond to classy period pieces with a modern sensibility.
The film begins and ends with encounters taking place several years later than the central events, which are told in flashback. Guillaume Depardieu stars as Napoleonic Gen. Armand de Montriveau who returns to Paris following a time imprisoned by the enemy bearing his wounds and his dignity with equal solemnity. Introduced to the beautiful and mischievous Antoinette de Langeais (Jeanne Balibar) at a fashionable salon, the soldier is instantly captivated.
The lady is also intrigued but such is her taste for coquetry that she makes his seduction a game full of promises and teasing, almost driving him to distraction. Although smitten, de Montriveau comes to the conclusion that he is being played for a fool and determines that turnabout is fair play.
Now it's de Langeais turn to have her emotions toyed with although she continues to give as good as she gets. Rivette takes great care with these scenes, which are filled with subtle by-play and executed with finesse by the two actors.
Cinematographer William Lubtchansky captures beautifully Maira Ramedhan Levy's costumes and Emmanuel de Chauvigny's production design and the rest of the cast serve the story well.
The screenplay by Rivette, Pascal Bonitzer, and Christine Laurent employs several lines taken directly from Balzac, whose wit could be as deft and precise as Oscar Wilde's. The film's title comes from a warning given to de Montriveau at a display of the blade used to execute an English king that serves as a caution about keeping his head. Depardieu and Balibar relish the dialogue and body language of the battling lovers so that their clashes appear to be a tense but rapier-like combination of chess and fencing.
DON'T TOUCH THE AXE (NE TOUCHEZ PAS LA HACHE)
IFC Films
Pierre Grise Prods., Cinemaundici, Arte France Cinema.
Credits:
Director: Jacques Rivette
Writer: Jacques Rivette, Pascal Bonitzer, Christine Laurent
Producers: Martine Marignac, Maurice Tinchant
Director of photography: William Lubtchansky
Production designer: Emmanuel de Chauvigny
Music: Pierre Allio
Costume designer: Maira Ramedhan Levy
Co-producers: Luigi Musini, Roberto Cicutto, Ermanno Olmi
Editor: Nicole Lubtchansky
Cast:
Antoinette de Langeais: Jeanne Balibar
Armand de Montriveau: Guillaume Depardieu
Princesse de Blamont-Chauvry: Bulle Ogier
Vidame de Pamiers: Michel Piccoli
Le Duc de Grandlieu: Barbet Schroeder
Clara de Serizy: Anne Cantineau
Julien: Mathias Jung
Lisette: Julie Judd
Running time -- 137 minutes
No MPAA rating...
- 2/22/2008
- The Hollywood Reporter - Movie News
- #77.The Duchess of Langeais (Ne touchez pas la hache) Director: Jacques RivetteScreenwriters: Pascal Bonitzer, Christine Laurent and RivetteProducers: Roberto Cicutto, Martine Marignac, Luigi Musini, Ermanno Olmi and Maurice Tinchant Distributor: IFC Films The Gist: Based on Honore de Balzac's novella, Antoinette (Balibar) is the Duchess of Langeais, a married coquette who frequents the most extravagant balls in 1820’s Paris. At one such event she meets the handsome, brooding general Armand de Montriveau (Depardieu), who recounts his death-defying adventures in Napoleon’s army. Fact: Jeanne Balibar also starred in Rivette's Va Savoir. See It: Film was one of the most talked about from the Berlin Film Festival in 07'. Release Date/Status?: Day and date IFC films release on February 22nd. ...
- 1/29/2008
- IONCINEMA.com
PARIS -- The Festival de Cannes on Tuesday named six filmmakers to attend the festival's 18-week residence in Paris, during which they will develop their first full-length features. Those selected by a jury headed by French screenwriter-director Christine Laurent are Palestinian filmmaker Sameh Zoabi, whose short Be Quiet won a prize in the Cinefondation section at Cannes this year; Australia's Ben Hackworth; Argentina's Santiago Palavecino; Britain's Mark Walker; South Korea's Kim Hee-Jung; and Raya Martin from the Philippines. More than 60 directors have taken part in the program since it was introduced in 2000. The residence also provides the chance for the filmmakers to interact with industry professionals during their time in Paris. The residence has yielded such critically acclaimed films as Argentinian screenwriter-director Lucrecia Martel's La Nina Santa and Sri Lankan Vimukthi Jayasundara's The Forsaken Land, which was screened at this year's Un Certain Regard section in Cannes and won the Camera d'Or. The residence runs Oct. 3-Feb. 12.
- 7/12/2005
- The Hollywood Reporter - Movie News
Screened
Toronto International Film Festival
TORONTO -- Now in his fifth decade of filmmaking, French master Jacques Rivette shows no signs of his intellectual arteries hardening or cinematic vigor diminishing. In fact, by all rights, his new film "The Story of Marie and Julien" should belong to a young indie filmmaker wanting to turn the cinema of the fantastic on its head with an audacious metaphysical drama.
As is nearly always the case, Rivette's rhythms are leisurely. The 150-minute film, which premiered here at the festival, studies its characters in the most scrupulous details of their often strange and enigmatic behavior. This is certainly the cinema of the art house, and even there many habitues may be immune to such a somber "Story".
At this particular moment in his life, Julien (Jerzy Radziwilowicz) -- a man in his 40s who repairs antique clocks in his old, rambling Paris house -- is dominated by two women. Marie (beautiful Emmanuelle Beart), whom he met the year before, then loved and lost, haunts his dreams. Madame X (Anne Brochet), a woman whose secrets he is privy to, falls victim to his blackmail scheme.
Then he encounters Marie again. While she is at times remote and lethargic, he eagerly enters into an affair with her that grows more passionate with each passing day.
Marie moves in with Julien and even participates in his blackmail scheme. She spends part of her days in an upstairs room, acquiring and rearranging its furniture for some ominous purpose. Julien continues to tinker with his clocks or, metaphorically speaking, with time, which seems to be working against him and Marie. But it is Madame X who understands the dangerous secret that could unravel the couple's life together.
Even as the contours of the secret grow more apparent before its revelation, Rivette, working from a story he developed with Pascal Bonitzer and Christine Laurent, ushers us slyly toward an ending that surprises and provokes, yet offers the possibility of love reborn.
The style is austere, with no music and a soundtrack frequently booming with everyday noises -- a shoe dropping, the tick of a clock, the scrape of moving furniture on a wood floor. The actors move and behave as if in a dream. The mood is grave, and those elements one might call "otherworldly" are presented matter-of-factly.
The couple's longing gazes and frenzied couplings suggest the passion of desperation, where even as they make love they fantasize about other lovers and couplings to make up for the fleeting time they have together. As the minimalist masterwork concludes, both Marie and Julien find the means to cope with the problems of memory, love and loss.
THE STORY OF MARIE AND JULIEN
Pierre Grise Prods.
Credits:
Director: Jacques Rivette
Screenwriters: Pascal Bonitzer, Christine Laurent, Jacques Rivette
Producer: Martine Marignac
Director of photography: William Lubtchansky
Production designer: Manu de Chauvigny
Costume designer: Laurence Struz
Editor: Nicole Lubtchansky
Cast:
Marie: Emmanuelle Beart
Julien: Jerzy Radziwilowicz
Madame X: Anne Brochet
Adrienne: Bettina Kee
Publisher: Olivier Cruveiller
Concierge: Mathias Jung
Friend: Nicole Garcia
Running time -- 150 minutes
No MPAA rating...
Toronto International Film Festival
TORONTO -- Now in his fifth decade of filmmaking, French master Jacques Rivette shows no signs of his intellectual arteries hardening or cinematic vigor diminishing. In fact, by all rights, his new film "The Story of Marie and Julien" should belong to a young indie filmmaker wanting to turn the cinema of the fantastic on its head with an audacious metaphysical drama.
As is nearly always the case, Rivette's rhythms are leisurely. The 150-minute film, which premiered here at the festival, studies its characters in the most scrupulous details of their often strange and enigmatic behavior. This is certainly the cinema of the art house, and even there many habitues may be immune to such a somber "Story".
At this particular moment in his life, Julien (Jerzy Radziwilowicz) -- a man in his 40s who repairs antique clocks in his old, rambling Paris house -- is dominated by two women. Marie (beautiful Emmanuelle Beart), whom he met the year before, then loved and lost, haunts his dreams. Madame X (Anne Brochet), a woman whose secrets he is privy to, falls victim to his blackmail scheme.
Then he encounters Marie again. While she is at times remote and lethargic, he eagerly enters into an affair with her that grows more passionate with each passing day.
Marie moves in with Julien and even participates in his blackmail scheme. She spends part of her days in an upstairs room, acquiring and rearranging its furniture for some ominous purpose. Julien continues to tinker with his clocks or, metaphorically speaking, with time, which seems to be working against him and Marie. But it is Madame X who understands the dangerous secret that could unravel the couple's life together.
Even as the contours of the secret grow more apparent before its revelation, Rivette, working from a story he developed with Pascal Bonitzer and Christine Laurent, ushers us slyly toward an ending that surprises and provokes, yet offers the possibility of love reborn.
The style is austere, with no music and a soundtrack frequently booming with everyday noises -- a shoe dropping, the tick of a clock, the scrape of moving furniture on a wood floor. The actors move and behave as if in a dream. The mood is grave, and those elements one might call "otherworldly" are presented matter-of-factly.
The couple's longing gazes and frenzied couplings suggest the passion of desperation, where even as they make love they fantasize about other lovers and couplings to make up for the fleeting time they have together. As the minimalist masterwork concludes, both Marie and Julien find the means to cope with the problems of memory, love and loss.
THE STORY OF MARIE AND JULIEN
Pierre Grise Prods.
Credits:
Director: Jacques Rivette
Screenwriters: Pascal Bonitzer, Christine Laurent, Jacques Rivette
Producer: Martine Marignac
Director of photography: William Lubtchansky
Production designer: Manu de Chauvigny
Costume designer: Laurence Struz
Editor: Nicole Lubtchansky
Cast:
Marie: Emmanuelle Beart
Julien: Jerzy Radziwilowicz
Madame X: Anne Brochet
Adrienne: Bettina Kee
Publisher: Olivier Cruveiller
Concierge: Mathias Jung
Friend: Nicole Garcia
Running time -- 150 minutes
No MPAA rating...
Screened
Toronto International Film Festival
TORONTO -- Now in his fifth decade of filmmaking, French master Jacques Rivette shows no signs of his intellectual arteries hardening or cinematic vigor diminishing. In fact, by all rights, his new film "The Story of Marie and Julien" should belong to a young indie filmmaker wanting to turn the cinema of the fantastic on its head with an audacious metaphysical drama.
As is nearly always the case, Rivette's rhythms are leisurely. The 150-minute film, which premiered here at the festival, studies its characters in the most scrupulous details of their often strange and enigmatic behavior. This is certainly the cinema of the art house, and even there many habitues may be immune to such a somber "Story".
At this particular moment in his life, Julien (Jerzy Radziwilowicz) -- a man in his 40s who repairs antique clocks in his old, rambling Paris house -- is dominated by two women. Marie (beautiful Emmanuelle Beart), whom he met the year before, then loved and lost, haunts his dreams. Madame X (Anne Brochet), a woman whose secrets he is privy to, falls victim to his blackmail scheme.
Then he encounters Marie again. While she is at times remote and lethargic, he eagerly enters into an affair with her that grows more passionate with each passing day.
Marie moves in with Julien and even participates in his blackmail scheme. She spends part of her days in an upstairs room, acquiring and rearranging its furniture for some ominous purpose. Julien continues to tinker with his clocks or, metaphorically speaking, with time, which seems to be working against him and Marie. But it is Madame X who understands the dangerous secret that could unravel the couple's life together.
Even as the contours of the secret grow more apparent before its revelation, Rivette, working from a story he developed with Pascal Bonitzer and Christine Laurent, ushers us slyly toward an ending that surprises and provokes, yet offers the possibility of love reborn.
The style is austere, with no music and a soundtrack frequently booming with everyday noises -- a shoe dropping, the tick of a clock, the scrape of moving furniture on a wood floor. The actors move and behave as if in a dream. The mood is grave, and those elements one might call "otherworldly" are presented matter-of-factly.
The couple's longing gazes and frenzied couplings suggest the passion of desperation, where even as they make love they fantasize about other lovers and couplings to make up for the fleeting time they have together. As the minimalist masterwork concludes, both Marie and Julien find the means to cope with the problems of memory, love and loss.
THE STORY OF MARIE AND JULIEN
Pierre Grise Prods.
Credits:
Director: Jacques Rivette
Screenwriters: Pascal Bonitzer, Christine Laurent, Jacques Rivette
Producer: Martine Marignac
Director of photography: William Lubtchansky
Production designer: Manu de Chauvigny
Costume designer: Laurence Struz
Editor: Nicole Lubtchansky
Cast:
Marie: Emmanuelle Beart
Julien: Jerzy Radziwilowicz
Madame X: Anne Brochet
Adrienne: Bettina Kee
Publisher: Olivier Cruveiller
Concierge: Mathias Jung
Friend: Nicole Garcia
Running time -- 150 minutes
No MPAA rating...
Toronto International Film Festival
TORONTO -- Now in his fifth decade of filmmaking, French master Jacques Rivette shows no signs of his intellectual arteries hardening or cinematic vigor diminishing. In fact, by all rights, his new film "The Story of Marie and Julien" should belong to a young indie filmmaker wanting to turn the cinema of the fantastic on its head with an audacious metaphysical drama.
As is nearly always the case, Rivette's rhythms are leisurely. The 150-minute film, which premiered here at the festival, studies its characters in the most scrupulous details of their often strange and enigmatic behavior. This is certainly the cinema of the art house, and even there many habitues may be immune to such a somber "Story".
At this particular moment in his life, Julien (Jerzy Radziwilowicz) -- a man in his 40s who repairs antique clocks in his old, rambling Paris house -- is dominated by two women. Marie (beautiful Emmanuelle Beart), whom he met the year before, then loved and lost, haunts his dreams. Madame X (Anne Brochet), a woman whose secrets he is privy to, falls victim to his blackmail scheme.
Then he encounters Marie again. While she is at times remote and lethargic, he eagerly enters into an affair with her that grows more passionate with each passing day.
Marie moves in with Julien and even participates in his blackmail scheme. She spends part of her days in an upstairs room, acquiring and rearranging its furniture for some ominous purpose. Julien continues to tinker with his clocks or, metaphorically speaking, with time, which seems to be working against him and Marie. But it is Madame X who understands the dangerous secret that could unravel the couple's life together.
Even as the contours of the secret grow more apparent before its revelation, Rivette, working from a story he developed with Pascal Bonitzer and Christine Laurent, ushers us slyly toward an ending that surprises and provokes, yet offers the possibility of love reborn.
The style is austere, with no music and a soundtrack frequently booming with everyday noises -- a shoe dropping, the tick of a clock, the scrape of moving furniture on a wood floor. The actors move and behave as if in a dream. The mood is grave, and those elements one might call "otherworldly" are presented matter-of-factly.
The couple's longing gazes and frenzied couplings suggest the passion of desperation, where even as they make love they fantasize about other lovers and couplings to make up for the fleeting time they have together. As the minimalist masterwork concludes, both Marie and Julien find the means to cope with the problems of memory, love and loss.
THE STORY OF MARIE AND JULIEN
Pierre Grise Prods.
Credits:
Director: Jacques Rivette
Screenwriters: Pascal Bonitzer, Christine Laurent, Jacques Rivette
Producer: Martine Marignac
Director of photography: William Lubtchansky
Production designer: Manu de Chauvigny
Costume designer: Laurence Struz
Editor: Nicole Lubtchansky
Cast:
Marie: Emmanuelle Beart
Julien: Jerzy Radziwilowicz
Madame X: Anne Brochet
Adrienne: Bettina Kee
Publisher: Olivier Cruveiller
Concierge: Mathias Jung
Friend: Nicole Garcia
Running time -- 150 minutes
No MPAA rating...
- 9/12/2003
- The Hollywood Reporter - Movie News
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