Des hommes
Belgium’s Lucas Belvaux has assembled one of his highest profile casts in some time with his latest feature Des hommes (Home Front), which reunites him with his Une Trilogy (2002) stars Catherine Frot and Jean-Pierre Darroussin who will be joined by Gerard Depardieu and Yoann Zimmer. Produced by David Frenkel and Patrick Quinet, Belvaux employs Bruno Dumont’s recent favored Dp Guillaume Deffontaines to lens. Belvaux, a five-time Cesar nominee competed in Cannes with his 2006 title The Right of the Weakest.…...
Belgium’s Lucas Belvaux has assembled one of his highest profile casts in some time with his latest feature Des hommes (Home Front), which reunites him with his Une Trilogy (2002) stars Catherine Frot and Jean-Pierre Darroussin who will be joined by Gerard Depardieu and Yoann Zimmer. Produced by David Frenkel and Patrick Quinet, Belvaux employs Bruno Dumont’s recent favored Dp Guillaume Deffontaines to lens. Belvaux, a five-time Cesar nominee competed in Cannes with his 2006 title The Right of the Weakest.…...
- 1/1/2020
- by Nicholas Bell
- IONCINEMA.com
David Oelhoffen’s last film, which played in competition in Venice in 2014, was called “Far From Men,” but was characterized by a lean, craggy, proto-Western narrative that metaphorically lashed its two stars, Viggo Mortensen and Reda Kateb, close together for the duration. By contrast, his newest feature, which also landed a competition slot in Venice, has the English title “Close Enemies” but keeps its tussling main characters — again each on opposite sides of the law, and this time played by Kateb and Matthias Schoenaerts — far apart for most of the running time.
That’s an irony it would be easy to dismiss if it didn’t also speak to this film’s fatal flaw: While the frictive tension is palpable between Schoenaerts’ bulked-up, doggedly loyal drug runner and Kateb’s soulfully buttoned-down, conflicted cop in their few scenes together, for the most part, their destinies run in frustrating parallel, never...
That’s an irony it would be easy to dismiss if it didn’t also speak to this film’s fatal flaw: While the frictive tension is palpable between Schoenaerts’ bulked-up, doggedly loyal drug runner and Kateb’s soulfully buttoned-down, conflicted cop in their few scenes together, for the most part, their destinies run in frustrating parallel, never...
- 9/2/2018
- by Jessica Kiang
- Variety Film + TV
Now that Ryan Gosling has moved on from projects like “Only God Forgives” and “The Place Beyond the Pines,” Matthias Schoenaerts has emerged as the cinematic ideal of fractured masculinity. Physically imposing but emotionally scarred, his characters — whether in “Bullhead,” “Rust and Bone,” or “Disorder” — bring depth and dimension to the strong, silent type. He continues that streak in David Oelhoffen’s “Close Enemies,” which calls on the actor to once again portray a hardened criminal at his most vulnerable — and not much else that you haven’t already seen him do.
This is one of those crime dramas you know won’t end well, especially after the early reveal that Manu’s (Schoenaerts) close friend Irmane (Adel Bencherif) is acting as an informant for narcotics officer Driss (Reda Kateb). Having grown up in the same rough-and-tumble neighborhood as the two of them, the detective’s loyalties are divided between...
This is one of those crime dramas you know won’t end well, especially after the early reveal that Manu’s (Schoenaerts) close friend Irmane (Adel Bencherif) is acting as an informant for narcotics officer Driss (Reda Kateb). Having grown up in the same rough-and-tumble neighborhood as the two of them, the detective’s loyalties are divided between...
- 9/1/2018
- by Michael Nordine
- Indiewire
Bruno Dumont on working with the writings of Charles Péguy: "Poetry and literary expression can be a very difficult tricky thing." Photo: Anne-Katrin Titze
In Jeannette, L'Enfance De Jeanne D’Arc (Jeannette, The Childhood Of Joan Of Arc), at times, little Jeannette (Lise Leplat Prudhomme) looks up straight into the camera (cinematography by Guillaume Deffontaines - Slack Bay (Ma Loute), Li'l Quinquin, Camille Claudel 1915) and addresses God. Our position, helpless, watching from the audience, curious what this defiant girl demands, turns us into an unexpected, stupefied deity.
It is the contrast that stuns, between the early 21st century girls and music (composed by Nils Cheville, Laure Le Prunenec, Gautier Serre with the three saints in the film, Aline Charles, Elise Charles, Anaïs Rivière), the turn of the 20th century text, and the 15th century subject matter that never ceases to be urgent. "More wounded, more sick, more suffering" will exist until "someone kills war.
In Jeannette, L'Enfance De Jeanne D’Arc (Jeannette, The Childhood Of Joan Of Arc), at times, little Jeannette (Lise Leplat Prudhomme) looks up straight into the camera (cinematography by Guillaume Deffontaines - Slack Bay (Ma Loute), Li'l Quinquin, Camille Claudel 1915) and addresses God. Our position, helpless, watching from the audience, curious what this defiant girl demands, turns us into an unexpected, stupefied deity.
It is the contrast that stuns, between the early 21st century girls and music (composed by Nils Cheville, Laure Le Prunenec, Gautier Serre with the three saints in the film, Aline Charles, Elise Charles, Anaïs Rivière), the turn of the 20th century text, and the 15th century subject matter that never ceases to be urgent. "More wounded, more sick, more suffering" will exist until "someone kills war.
- 4/8/2018
- by Anne-Katrin Titze
- eyeforfilm.co.uk
It’s easy to imagine the “old-school” Bruno Dumont Joan of Arc film; faith, martyrdom, and the landscape of the French countryside intermingling to a wrenching finale, with Bresson and Dreyer certainly paid their transcendental cinema due. Though perhaps realizing their films weren’t the be-all, end-all in terms of representing the French icon, even if Preminger, Rivette and uh, Besson, had also offered their own takes that showed a portrait beyond the trial and subsequent burning at the stake, he finally set about making it, but as a new artist.
Jeannette: The Childhood of Joan of Arc is part of what could cynically be considered a “rebranding” for a director who was, alongside Michael Haneke, the face of austere, po-faced festival cinema for most of the first decade of the 21st century. Yet Bruno Dumont, who since 2014’s Petit Quinquin, a comedic reimagining of his most seminal work, Humanite,...
Jeannette: The Childhood of Joan of Arc is part of what could cynically be considered a “rebranding” for a director who was, alongside Michael Haneke, the face of austere, po-faced festival cinema for most of the first decade of the 21st century. Yet Bruno Dumont, who since 2014’s Petit Quinquin, a comedic reimagining of his most seminal work, Humanite,...
- 9/13/2017
- by Ethan Vestby
- The Film Stage
If you thought the sudden move of French director Burno Dumont from austere drama to increasingly wacky comedy in the TV miniseries P'tit Quinquin and last year’s farce Slack Bay was a shock, prepare yourself for Jeannette, an electro-musical dance film on the adolescent life of Joan of Arc. Opening with little Jeannette (Lise Leplat Prudhomme) humming prayers to herself along the river Meuse (in fact, Dumont re-locates the story to his beloved northern France), suddenly the music swells, she belts one out—”there is nothing, there is never anything, but perdition!”—and ends it all with a handspring and splits. “Why do you do that?” asks a passing child, but the answer is obvious: lonesome, poor, in love with charity and full of doubts, Jeannette bounds with childhood’s pent up energy and calls forth her questions, protests and passion in bodily, soulful fervor. With this beginning, Dumont...
- 9/13/2017
- MUBI
If you thought the sudden move of French director Burno Dumont from austere drama to increasingly wacky comedy in the TV miniseries P'tit Quinquin and last year’s farce Slack Bay was a shock, prepare yourself for Jeannette, an electro-musical dance film on the adolescent life of Joan of Arc. Opening with little Jeannette (Lise Leplat Prudhomme) humming prayers to herself along the river Meuse (in fact, Dumont re-locates the story to his beloved northern France), suddenly the music swells, she belts one out—”there is nothing, there is never anything, but perdition!”—and ends it all with a handspring and splits. “Why do you do that?” asks a passing child, but the answer is obvious: lonesome, poor, in love with charity and full of doubts, Jeannette bounds with childhood’s pent up energy and calls forth her questions, protests and passion in bodily, soulful fervor. With this beginning, Dumont...
- 5/23/2017
- MUBI
Before Hollywood takes the spotlight this weekend, the film world turns its eyes to France for the annual Cesar Awards. Presented by the French Academy, this year’s nominees represent a distinct blend of international favorites, festival standouts and homegrown hits.
Paul Verhoeven’s “Elle” led this year’s nominees, scoring 11 nominations for Verhoeven as Best Director, lead actress Isabelle Huppert, Best Adapted Screenplay and a trio of other acting awards.
Read More: ‘Elle,’ Isabelle Huppert, Xavier Dolan Nominated in France’s Cesar Awards
The evening’s winners at Paris’ Salle Pleyel featured a variety of upsets and sure things. Huppert, going into a busy weekend in the States, won her category. In a pair of surprises, Xavier Dolan and Gaspard Ulliel both won their respective categories for Dolan’s “It’s Only the End of the World.” Houda Benyamina’s debut feature “Divines” also won big, taking home prizes for Best First Film,...
Paul Verhoeven’s “Elle” led this year’s nominees, scoring 11 nominations for Verhoeven as Best Director, lead actress Isabelle Huppert, Best Adapted Screenplay and a trio of other acting awards.
Read More: ‘Elle,’ Isabelle Huppert, Xavier Dolan Nominated in France’s Cesar Awards
The evening’s winners at Paris’ Salle Pleyel featured a variety of upsets and sure things. Huppert, going into a busy weekend in the States, won her category. In a pair of surprises, Xavier Dolan and Gaspard Ulliel both won their respective categories for Dolan’s “It’s Only the End of the World.” Houda Benyamina’s debut feature “Divines” also won big, taking home prizes for Best First Film,...
- 2/24/2017
- by Steve Greene
- Indiewire
France’s film community congratulated Isabelle Huppert on her Oscar nomination, adding yet another to her growing list of accolades for her performance in “Elle.” The French Academy announced its nominees for what Americans call the “French Oscars” on Wednesday morning. “Elle” received 11 nominations in total, including best film and best director for Paul Verhoeven.
Following in a close send was Francois Ozon’s “Frantz,” which garnered 10 nominations, and Bruno Dumont’s “Slack Bay,” which received nine. Xavier Dolan received a best director nomination for “It’s Only the End of the World.” Actors Vincent Cassel, Gaspard Ulliel, and Nathalie Baye were all nominated for their work in Dolan’s film as well.
Read More: Oscars 2017 Surprises and Snubs: Amy Adams and ‘Weiner’ Out, Mel Gibson and ‘Passengers’ In
The Cesars have little import on the Oscars, though there is often some crossover. The French Academy did recognize Kenneth Lonergan...
Following in a close send was Francois Ozon’s “Frantz,” which garnered 10 nominations, and Bruno Dumont’s “Slack Bay,” which received nine. Xavier Dolan received a best director nomination for “It’s Only the End of the World.” Actors Vincent Cassel, Gaspard Ulliel, and Nathalie Baye were all nominated for their work in Dolan’s film as well.
Read More: Oscars 2017 Surprises and Snubs: Amy Adams and ‘Weiner’ Out, Mel Gibson and ‘Passengers’ In
The Cesars have little import on the Oscars, though there is often some crossover. The French Academy did recognize Kenneth Lonergan...
- 1/25/2017
- by Jude Dry
- Indiewire
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