The nominations for the César Awards aka the French Oscars were announced. "Farewell, My Queen," "Amour," "Camille Redouble," "In the House," "Rust & Bone," "Holy Motors," and "What's My Name" are competing for the Best Picture category. We'll find out the winners on February 22nd.
Here's the full list of nominees of the 2013 César Awards:
Best Picture
Farewell, My Queen
Amour
Camille Redouble
In The House
Rust & Bone
Holy Motors
What.s In A Name
Best Director
Benoît Jacquot, Farewell, My Queen
Michael Haneke, Amour
Noémie Lvovsky, Camille Redouble
François Ozon, In The House
Jacques Audiard, Rust & Bone
Leos Carax, Holy Motors
Stéphane Brizé, Quelques Heures De Printemps
Best Actress
Catherine Frot, Les Sauveurs Du Palais
Marion Cotillard, Rust & Bone
Noémie Lvovsky, Camille Redouble
Corinne Masiero, Louise Wimmer
Emmanuelle Riva, Amour
Léa Seydoux, Farewell, My Queen
Hélène Vincent, Quelques Heures De Printemps
Best Actor
Jean-Pierre Bacri, Cherchez Hortense
Patrick Bruel, What...
Here's the full list of nominees of the 2013 César Awards:
Best Picture
Farewell, My Queen
Amour
Camille Redouble
In The House
Rust & Bone
Holy Motors
What.s In A Name
Best Director
Benoît Jacquot, Farewell, My Queen
Michael Haneke, Amour
Noémie Lvovsky, Camille Redouble
François Ozon, In The House
Jacques Audiard, Rust & Bone
Leos Carax, Holy Motors
Stéphane Brizé, Quelques Heures De Printemps
Best Actress
Catherine Frot, Les Sauveurs Du Palais
Marion Cotillard, Rust & Bone
Noémie Lvovsky, Camille Redouble
Corinne Masiero, Louise Wimmer
Emmanuelle Riva, Amour
Léa Seydoux, Farewell, My Queen
Hélène Vincent, Quelques Heures De Printemps
Best Actor
Jean-Pierre Bacri, Cherchez Hortense
Patrick Bruel, What...
- 1/27/2013
- by Manny
- Manny the Movie Guy
Berlin -- "The White Ribbon" crowned a phenomenal year with a near-sweep of the 60th German Film Awards on Friday.
Michael Haneke's film took home 10 Lolas including best film, best director and best actor for Burghart Klaussner.
Hans-Christian Schmid's war crimes drama, "Storm," which debuted at the 2009 Berlin International Film Festival, picked up three Lolas, including the Silver Best Film nod, best editing for Hansjorg Weissbrich and the best score for the film music composed by German alt music stars the Notwist.
But the star of the evening was Sibel Kekilli, who won the best actress Lola for Feo Aladag's "When We Leave." Kekilli, who won the Lola for her debut in Fatih Akin's "Head-On" (2004) had nearly vanished from the German film scene. But her standout performance in "When We Leave," playing a German/Turkish woman trying to escape he abusive husband, marks a stunning comeback.
Michael Haneke's film took home 10 Lolas including best film, best director and best actor for Burghart Klaussner.
Hans-Christian Schmid's war crimes drama, "Storm," which debuted at the 2009 Berlin International Film Festival, picked up three Lolas, including the Silver Best Film nod, best editing for Hansjorg Weissbrich and the best score for the film music composed by German alt music stars the Notwist.
But the star of the evening was Sibel Kekilli, who won the best actress Lola for Feo Aladag's "When We Leave." Kekilli, who won the Lola for her debut in Fatih Akin's "Head-On" (2004) had nearly vanished from the German film scene. But her standout performance in "When We Leave," playing a German/Turkish woman trying to escape he abusive husband, marks a stunning comeback.
- 4/23/2010
- by By Scott Roxborough
- The Hollywood Reporter - Movie News
Berlin -- Michael Haneke's "The White Ribbon" may have missed out on the best foreign film Oscar but the Austrian filmmaker is all but certain to sweep the German Film Awards after "The White Ribbon" received 13 nominations for the country's top prize, the Lolas.
"The White Ribbon" picked up Lola noms in all possible categories, including best film, best director and best acting noms for stars Burghart Klaussner and Susanne Lothar.
Cinematographer Christian Berger, whose stark black-and-white images earned him an Oscar nomination, is the favurite to win the Lola for best cinematography at the German Film Awards on April 23 in Berlin.
"When We Leave," a drama from first-time director Feo Aladag, was the big surprise, earning six Lola nominations including ones for best film and best actress for Sibel Kekilli ("Head-On") in her comeback role as a young woman banished from her devout Muslim family.
Hans-Christian Schmid's...
"The White Ribbon" picked up Lola noms in all possible categories, including best film, best director and best acting noms for stars Burghart Klaussner and Susanne Lothar.
Cinematographer Christian Berger, whose stark black-and-white images earned him an Oscar nomination, is the favurite to win the Lola for best cinematography at the German Film Awards on April 23 in Berlin.
"When We Leave," a drama from first-time director Feo Aladag, was the big surprise, earning six Lola nominations including ones for best film and best actress for Sibel Kekilli ("Head-On") in her comeback role as a young woman banished from her devout Muslim family.
Hans-Christian Schmid's...
- 3/19/2010
- by By Scott Roxborough
- The Hollywood Reporter - Movie News
CANNES -- A fading Canadian steel town with its industrial smokestacks and furnaces marks the end of the line for an over-the-hill '80s rock star at the start of Olivier Assayas' In Competition entry, "Clean". As a heroin overdose claims Lee Hauser (James Johnston) alone in his cheap hotel room, Emily Wang (Maggie Cheung), Lee's companion and the mother of his child, sits in a car stoned on the same drug staring at the fiery apocalyptic images of a dying era.
Assayas views the record industry as being not far removed from the steel-making business. Hot smelters and passionate effort fuel them both, yet they are both shiny and mechanical and driven by profit. And they are both dangerous.
The music world seen here is one of self-interest, ego and quick satisfactions. Assayas' film is complex and absorbing, but he keeps everything at arm's length. And with Cheung giving an interesting but chilly performance, only committed audiences will warm to it.
There's a lot of Brian Eno on the soundtrack, and Assayas keeps his camera constantly moving so that the film has a jittery feel in synch with Emily's drug-fueled scatter-shot existence. She moves around a lot, too, from Canada to Paris and London, with people everywhere who know and mostly distrust her.
The story the film wants to get on with is Emily's late-blooming responsibility as a mother, but Assayas takes his time getting to it. While Emily and Hauser led their peripatetic rock 'n' roll life, their son, Jay James Dennis), was parked with his grandparents, Albrecht and Rosemary, in Vancouver. Nick Nolte and Martha Henry bring an entirely different tone to the proceedings, playing the aging and worried grandparents with gravitas leavened by shrewd wit.
They obtain a court order so that they can continue to raise the boy, though Albrecht is sympathetic to Emily's plight. Emily deals with her grief and the end of her synthetic good life in her usual way: by scoring more drugs. Only slowly does she realize that salvation lies in getting clean and becoming a real mother, and what suspense the film has lies in whether the stars still in her eyes will get in the way.
The film looks good, with rich colors and images from cinematographer Eric Gautier, but Emily's shallow world is heavily populated, and some sequences seem too busy and unnecessary. For instance, Emily goes to seek work from a female television executive, an ex-lover, and we go off on an unhelpful sidetrack about the executive's affair with her female assistant, who makes a play for Emily, but it doesn't tell us anything.
Cheung's scenes with Emily's son are perhaps deliberately stilted, but they're not persuasive in respect to the character's rediscovered maternal instincts. Cheung does fine work in the frantic sequences of drugs and music, but while the distance she creates in the quieter episodes may be intentional, it puts up a barrier that's difficult to overcome with much sympathy.
CLEAN
International distribution by the Works
Produced by Rectangle Prods., Haystack Prods. (U.K.), Rhombus Media (Canada), Arte France Cinema
Credits:
Director-screenwriter: Olivier Assayas
Producers: Edouard Weil, Xavier Giannoli, Xavier Marchand, Niv Fichman
Director of photography: Eric Gautier
Editor: Luc Barnier
Sound designer: Guillaume Sciama, Herwig Gayer, Bill Flynn, Daniel Sobrino
Set designers: Francois-Renaud Labarthe, Bill Flemming
Costume designer: Anais Romand
Cast:
Emily Wang: Maggie Cheung
Albrecht Hauser: Nick Nolte
Elena: Beatrice Dalle
Irene Paolini: Jeanne Balibar
Vernon: Don McKellar
Rosemary Hauser: Martha Henry
Lee Hauser: James Johnston
Jay: James Dennis
Jean-Pierre: Remi Martin
Sandrine: Laetitia Spigarelli
No MPAA rating
Running time -- 113 minutes...
Assayas views the record industry as being not far removed from the steel-making business. Hot smelters and passionate effort fuel them both, yet they are both shiny and mechanical and driven by profit. And they are both dangerous.
The music world seen here is one of self-interest, ego and quick satisfactions. Assayas' film is complex and absorbing, but he keeps everything at arm's length. And with Cheung giving an interesting but chilly performance, only committed audiences will warm to it.
There's a lot of Brian Eno on the soundtrack, and Assayas keeps his camera constantly moving so that the film has a jittery feel in synch with Emily's drug-fueled scatter-shot existence. She moves around a lot, too, from Canada to Paris and London, with people everywhere who know and mostly distrust her.
The story the film wants to get on with is Emily's late-blooming responsibility as a mother, but Assayas takes his time getting to it. While Emily and Hauser led their peripatetic rock 'n' roll life, their son, Jay James Dennis), was parked with his grandparents, Albrecht and Rosemary, in Vancouver. Nick Nolte and Martha Henry bring an entirely different tone to the proceedings, playing the aging and worried grandparents with gravitas leavened by shrewd wit.
They obtain a court order so that they can continue to raise the boy, though Albrecht is sympathetic to Emily's plight. Emily deals with her grief and the end of her synthetic good life in her usual way: by scoring more drugs. Only slowly does she realize that salvation lies in getting clean and becoming a real mother, and what suspense the film has lies in whether the stars still in her eyes will get in the way.
The film looks good, with rich colors and images from cinematographer Eric Gautier, but Emily's shallow world is heavily populated, and some sequences seem too busy and unnecessary. For instance, Emily goes to seek work from a female television executive, an ex-lover, and we go off on an unhelpful sidetrack about the executive's affair with her female assistant, who makes a play for Emily, but it doesn't tell us anything.
Cheung's scenes with Emily's son are perhaps deliberately stilted, but they're not persuasive in respect to the character's rediscovered maternal instincts. Cheung does fine work in the frantic sequences of drugs and music, but while the distance she creates in the quieter episodes may be intentional, it puts up a barrier that's difficult to overcome with much sympathy.
CLEAN
International distribution by the Works
Produced by Rectangle Prods., Haystack Prods. (U.K.), Rhombus Media (Canada), Arte France Cinema
Credits:
Director-screenwriter: Olivier Assayas
Producers: Edouard Weil, Xavier Giannoli, Xavier Marchand, Niv Fichman
Director of photography: Eric Gautier
Editor: Luc Barnier
Sound designer: Guillaume Sciama, Herwig Gayer, Bill Flynn, Daniel Sobrino
Set designers: Francois-Renaud Labarthe, Bill Flemming
Costume designer: Anais Romand
Cast:
Emily Wang: Maggie Cheung
Albrecht Hauser: Nick Nolte
Elena: Beatrice Dalle
Irene Paolini: Jeanne Balibar
Vernon: Don McKellar
Rosemary Hauser: Martha Henry
Lee Hauser: James Johnston
Jay: James Dennis
Jean-Pierre: Remi Martin
Sandrine: Laetitia Spigarelli
No MPAA rating
Running time -- 113 minutes...
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