Adèle Haenel: 'I delete you from my world. I'm leaving, I'm going on strike, I'm joining my comrades for whom the search for meaning and dignity outweighs that of money and power' Photo: Richard Mowe After two years away from the spotlight French actress Adèle Haenel, who notably starred opposite Noémie Merlant in Céline Sciama’s Portrait Of A Lady on Fire, has announced that she has decided to “retire from cinema” partly as a protest against “the profession’s widespread complacency toward sexual predators”.
Haenel, 34, who recently has been seen recently on the barricades in Paris as part of the street protests against President Macron’s pension reforms, said in an open letter to the weekly magazine Telérama: “I delete you from my world. I'm leaving, I'm going on strike, I'm joining my comrades for whom the search for meaning and dignity outweighs that of money and power.
Haenel, 34, who recently has been seen recently on the barricades in Paris as part of the street protests against President Macron’s pension reforms, said in an open letter to the weekly magazine Telérama: “I delete you from my world. I'm leaving, I'm going on strike, I'm joining my comrades for whom the search for meaning and dignity outweighs that of money and power.
- 5/10/2023
- by Richard Mowe
- eyeforfilm.co.uk
Adèle Haenel, the French star of Cannes prize-winning film “Portrait of a Lady on Fire,” vanished from the film world in the aftermath of the 2020 Cesar Awards ceremony. That year, Roman Polanski won best director and Haenel, who was on the ground for her nomination with “Portrait of a Lady on Fire,” walked out of the ceremony in a burst of anger upon hearing Polanski’s name, shouting “Bravo pedophilia!”
Several months prior, Haenel had accused French director Christophe Ruggia of having sexually harassed her for years starting when she was just 12 years old, prompting the birth of France’s #MeToo movement. Since then, Haenel exited the movie biz to dedicate herself to political activism, as well as theater and dance with the artist Gisèle Vienne. She recently appeared on French TV to support the strike and protest against the country’s unpopular pension reform.
While some hoped she would...
Several months prior, Haenel had accused French director Christophe Ruggia of having sexually harassed her for years starting when she was just 12 years old, prompting the birth of France’s #MeToo movement. Since then, Haenel exited the movie biz to dedicate herself to political activism, as well as theater and dance with the artist Gisèle Vienne. She recently appeared on French TV to support the strike and protest against the country’s unpopular pension reform.
While some hoped she would...
- 5/9/2023
- by Elsa Keslassy
- Variety Film + TV
Click here to read the full article.
In a downtown parking lot on Oct. 27, a couple of grey cars pulled up from which dancers emerged. They proceeded to enact a rave party scene mostly in slow motion.
A work by Franco-Austrian choreographer Gisèle Vienne, the 90-minute dance performance, titled Crowd, was a vivid tableau, the slow motion effectively amplifying the urges on display: to feel a sense of abandon and freedom while never quite being able to escape the ennui of one’s circumstance. It felt a bit as if the characters of Euphoria had been asked to choreograph a Super Bowl halftime show with intriguing results.
The dance work was one of three presented in Los Angeles as part of Van Cleef & Arpels’ arts initiative Dance Reflections, which supports dance companies and institutions around the world. Earlier in the evening, the L.A. Dance Project, founded by choreographer Benjamin Millepied,...
In a downtown parking lot on Oct. 27, a couple of grey cars pulled up from which dancers emerged. They proceeded to enact a rave party scene mostly in slow motion.
A work by Franco-Austrian choreographer Gisèle Vienne, the 90-minute dance performance, titled Crowd, was a vivid tableau, the slow motion effectively amplifying the urges on display: to feel a sense of abandon and freedom while never quite being able to escape the ennui of one’s circumstance. It felt a bit as if the characters of Euphoria had been asked to choreograph a Super Bowl halftime show with intriguing results.
The dance work was one of three presented in Los Angeles as part of Van Cleef & Arpels’ arts initiative Dance Reflections, which supports dance companies and institutions around the world. Earlier in the evening, the L.A. Dance Project, founded by choreographer Benjamin Millepied,...
- 11/1/2022
- by Degen Pener
- The Hollywood Reporter - Movie News
Quentin Dupieux awarded screenplay prize ex-aequo with himself for Smoking Causes Coughing and Incredible But True.
Finnish production Sisu directed by Jalmari Helander took the main award at the 55th edition of Sitges, marking the director’s second time winning the prestigious Catalan genre event’s best feature award after his 2010 selection Rare Exports: A Christmas Tale.
Helander’s third feature also earned best actor at Europe’s biggest genre film festival for Jorma Tommila, cinematography for Kjell Lagerroos, and music for Juri Seppä and Tuomas Wäinölä. Handled by Sony Pictures Worldwide Acquisitions (excluding Nordics), the Second World War survival...
Finnish production Sisu directed by Jalmari Helander took the main award at the 55th edition of Sitges, marking the director’s second time winning the prestigious Catalan genre event’s best feature award after his 2010 selection Rare Exports: A Christmas Tale.
Helander’s third feature also earned best actor at Europe’s biggest genre film festival for Jorma Tommila, cinematography for Kjell Lagerroos, and music for Juri Seppä and Tuomas Wäinölä. Handled by Sony Pictures Worldwide Acquisitions (excluding Nordics), the Second World War survival...
- 10/16/2022
- by Emilio Mayorga
- ScreenDaily
It’s no mere coincidence that Adèle Haenel hasn’t made a movie since 2019’s trio of Portrait of a Lady on Fire, Deerskin, and Heroes Don’t Die. While the French actor was attached to star in Bruno Dumont’s forthcoming sci-fi feature, she’s now opened up about why she quit the project and her reasons for stepping back from making movies altogether.
“I don’t make films anymore,” said Haenel in a new interview with the German magazine Faq. When asked why, she added, “Because of political reasons. Because the film industry is absolutely reactionary, racist, and patriarchal. We are mistaken if we say that the powerful are of goodwill, that the world is indeed moving in the right direction under their good and sometimes unskillful management. Not at all. The only thing that moves society structurally is social struggle. And it seems to me that in my case,...
“I don’t make films anymore,” said Haenel in a new interview with the German magazine Faq. When asked why, she added, “Because of political reasons. Because the film industry is absolutely reactionary, racist, and patriarchal. We are mistaken if we say that the powerful are of goodwill, that the world is indeed moving in the right direction under their good and sometimes unskillful management. Not at all. The only thing that moves society structurally is social struggle. And it seems to me that in my case,...
- 5/15/2022
- by Jordan Raup
- The Film Stage
Patric Chiha's If It Were Love is showing exclusively on Mubi in most countries starting February 11, 2021 in the series Festival Focus: Berlinale.When you direct a documentary, the first question one usually asks is about the subject. What is the film about? Most of the time, I answer that it is about nothing or everything. It is obviously an overstatement but I think it can apply to all the films I love: they transcend their subject. Not because they have cleverly managed to bury it under some sophisticated form or some eccentricity but because most of all they trust faces, movements, places, light or sound… Then, the real subject appears. I feel that it is even more true when you capture dance on film: you cannot start from what it means, from the sense of it all, you start from movement—such as the Lumière brothers when they shot...
- 2/11/2021
- MUBI
Patric Chiha’s film follows a troupe through intimate rehearsals and draws its charm from the carefree energy of its performers
There is a delicate mixture of sensuality and creativity in this documentary. Patric Chiha follows the rehearsal and performance of a dance piece called Crowd by the Franco-Austrian artist and choreographer Gisèle Vienne, about the 90s club scene. The film follows the dance itself and stages one-on-one conversation scenes in which the young dancers talk about each other and the characters they play – a higher gossip, perhaps, about their lives and how this fictional creation shapes their sense of themselves and their sexuality.
Compared with, say, Gaspar Noé’s orgiastic dance movie Climax, If It Were Love is certainly more calm and less mad, more ruminative and less confrontational. Perhaps what it is about fundamentally is youth, something each dancer radiates unknowingly: a pure energy and abandon and openness.
There is a delicate mixture of sensuality and creativity in this documentary. Patric Chiha follows the rehearsal and performance of a dance piece called Crowd by the Franco-Austrian artist and choreographer Gisèle Vienne, about the 90s club scene. The film follows the dance itself and stages one-on-one conversation scenes in which the young dancers talk about each other and the characters they play – a higher gossip, perhaps, about their lives and how this fictional creation shapes their sense of themselves and their sexuality.
Compared with, say, Gaspar Noé’s orgiastic dance movie Climax, If It Were Love is certainly more calm and less mad, more ruminative and less confrontational. Perhaps what it is about fundamentally is youth, something each dancer radiates unknowingly: a pure energy and abandon and openness.
- 2/8/2021
- by Peter Bradshaw
- The Guardian - Film News
Documentary follows tour of Gisèle Vienne’s rave-inspired dance work Crowd.
Brussels-based sales company Best Friend Forever (Bff) has acquired Patric Chiha’s documentary If It Were Love ahead of its premiere in the Berlinale’s Panorama section in February 2020.
The film is about the production of dance work Crowd by renowned French-Austrian choreographer Gisèle Vienne. The show, exploring the 1990s rave scene, recently played at the UK’s Sadler’s Wells as part of its international tour.
The documentary follows its 15 young dancers of different origins and horizons on tour. From theatre to theatre, the production mutates into strange,...
Brussels-based sales company Best Friend Forever (Bff) has acquired Patric Chiha’s documentary If It Were Love ahead of its premiere in the Berlinale’s Panorama section in February 2020.
The film is about the production of dance work Crowd by renowned French-Austrian choreographer Gisèle Vienne. The show, exploring the 1990s rave scene, recently played at the UK’s Sadler’s Wells as part of its international tour.
The documentary follows its 15 young dancers of different origins and horizons on tour. From theatre to theatre, the production mutates into strange,...
- 12/18/2019
- by 1100388¦Melanie Goodfellow¦0¦
- ScreenDaily
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