Editor’s Note: This story was originally published in May 2019 and has been updated accordingly.
Cannes has a history of premiering sexually explicit films throughout its history — and with all manner of unsimulated acts — to both shocks and shrugs on the Croisette.
An avant-garde film like Yugoslavian director Dušan Makavejev’s brilliantly sex-crazed bonanza “Sweet Movie” likely didn’t swallow well with American audiences treated to its insanities, from coprophilia to vomit play, but it’s gone on to attract a cult following.
Most recently, “Blue Is the Warmest Colour” director Abdellatif Kechiche effectively made himself persona non grata among U.S. distributors when, in 2019, he released his nearly four-hour-long sequel “Mektoub, My Love: Intermezzo,” a graphic and some felt blatantly misogynist epic of young people having all the sex in the world. The film has never been seen stateside and remains the subject of ongoing legal entanglements due to...
Cannes has a history of premiering sexually explicit films throughout its history — and with all manner of unsimulated acts — to both shocks and shrugs on the Croisette.
An avant-garde film like Yugoslavian director Dušan Makavejev’s brilliantly sex-crazed bonanza “Sweet Movie” likely didn’t swallow well with American audiences treated to its insanities, from coprophilia to vomit play, but it’s gone on to attract a cult following.
Most recently, “Blue Is the Warmest Colour” director Abdellatif Kechiche effectively made himself persona non grata among U.S. distributors when, in 2019, he released his nearly four-hour-long sequel “Mektoub, My Love: Intermezzo,” a graphic and some felt blatantly misogynist epic of young people having all the sex in the world. The film has never been seen stateside and remains the subject of ongoing legal entanglements due to...
- 5/27/2022
- by Ryan Lattanzio and Samantha Bergeson
- Indiewire
French production and sales arm will unveil four new films at the EFM.
France’s Orange Studio will kick off sales this EFM on French director Sophie Boudre’s intergenerational comedy-drama Schoolmates!, the latest production from Paris-based Vendôme Production, the company behind La Famille Bélier and English-language remake Coda.
Based on a true story, popular comedy actress Alice Pol co-stars as a village school headmistress whose school burns down forcing her to move her classroom into a local retirement home. Cohabitation between the children and seniors will not be easy. Jonathan Zaccaï and veteran French pop icon Eddy Mitchell also top the cast.
France’s Orange Studio will kick off sales this EFM on French director Sophie Boudre’s intergenerational comedy-drama Schoolmates!, the latest production from Paris-based Vendôme Production, the company behind La Famille Bélier and English-language remake Coda.
Based on a true story, popular comedy actress Alice Pol co-stars as a village school headmistress whose school burns down forcing her to move her classroom into a local retirement home. Cohabitation between the children and seniors will not be easy. Jonathan Zaccaï and veteran French pop icon Eddy Mitchell also top the cast.
- 2/22/2021
- by Melanie Goodfellow
- ScreenDaily
The cast of this film, which is being produced by Barney Production and co-produced by The Jokers, includes Moussa Mansaly, Mamadou Minté, Aïssa Maïga and Ophélie Bau. The first clapperboard is set to slam in the Paris region on 19 January for Le marchand de sable (lit. “The Sandman”), the directorial feature debut by Steve Achiepo (who turned heads as an actor in Everything Now), which comes on the heels of several short films, such as Le jour de ton jour, À la source and As a Team. Among the cast we find Moussa Mansaly, Mamadou Minté (glimpsed in A Prophet and The Woman in the Fifth), Aïssa Maïga (nominated for the César Award for Most Promising Actress in 2007 for The Court, and giving strong performances in titles such as L’écume...
Shining bright among the nine titles in the French agent’s line-up are Rascal by Peter Dourountzis and Beasts by Naël Marandin, awarded the Official Selection and Critics’ Week labels respectively. The French international sales agent Kinology, steered by Grégoire Melin, will have an impressive hand to play at the Cannes Film Festival’s Online Marché du Film (running 22 – 26 June), flaunting a line-up of nine films which perfectly epitomise the great strategic divide brought about by the health crisis, with some titles launching this season and others pushed back to 2021. Shimmering in the showcase are two French feature films awarded a Cannes Label and which will enjoy private (specially chosen) screenings, ahead of premieres set to unfurl in September. Standing tall under the “Official Selection Cannes 73” banner is Peter Dourountzis’s Rascal (news), a first feature film starring Pierre Deladonchamps, Ophélie Bau and Sébastien Houban. The story follows...
Vaurien
French director Peter Dourountzis will make his directorial debut with the thriller Vaurien, produced by Sebastien Haguenauer. The project is headlined by Pierre Deladonchamps and Ophélie Bau. Jean-Marc Fabre serves as Dp. Dourountzis won the UniFrance Grand Prize in 2015 for his short film “Errance.”
Gist: Possibly borrowing from his 2015 short film, this is about Dje (Deladonchamps) arrives in Paris penniless, relying on his charm to get by. He seizes every opportunity which comes his way, even if it means killing.…...
French director Peter Dourountzis will make his directorial debut with the thriller Vaurien, produced by Sebastien Haguenauer. The project is headlined by Pierre Deladonchamps and Ophélie Bau. Jean-Marc Fabre serves as Dp. Dourountzis won the UniFrance Grand Prize in 2015 for his short film “Errance.”
Gist: Possibly borrowing from his 2015 short film, this is about Dje (Deladonchamps) arrives in Paris penniless, relying on his charm to get by. He seizes every opportunity which comes his way, even if it means killing.…...
- 12/30/2019
- by Nicholas Bell
- IONCINEMA.com
The acting duo is currently performing in Peter Dourountzis’ feature debut, which is being produced by 10:15 Productions and will be sold by Kinology. The shoot for Vaurien, the feature debut by Peter Dourountzis, kicked off on 27 October and is due to wrap on 28 November. Toplining this thriller are Pierre Deladonchamps and Ophélie Bau (nominated for the César Award for Most Promising Actress in 2019 and winner of the Lumières Award...
- 11/13/2019
- Cineuropa - The Best of European Cinema
The initial outcry about Abdellatif Kechiche’s film “Mektoub, My Love: Intermezzo” had mainly addressed its artistic merits (or lack thereof) for including a nearly 15-minute scene of unsimulated oral sex and and a seemingly never-ending parade of butts. But a report from a French paper is alleging that Kechiche had to employ unorthodox methods to convince his unwilling actors to perform the oral sex scene.
“Intermezzo” is the sequel to “Mektoub, My Love: Canto Uno,” which premiered at Venice back in 2017. Both films, based on François Bégaudeau’s novel “La Blessure, la vraie,” feature Ophélie (Ophélie Bau) and Amin (Shaïn Boumédine) at the center of a complicated web of attraction and affairs.
In the scene in question, a man performs consensual oral sex on the character Ophélie. The Midi Libre posted an account Saturday morning from a person close to production who says that Kechiche had to push his actors to create that scene.
“Intermezzo” is the sequel to “Mektoub, My Love: Canto Uno,” which premiered at Venice back in 2017. Both films, based on François Bégaudeau’s novel “La Blessure, la vraie,” feature Ophélie (Ophélie Bau) and Amin (Shaïn Boumédine) at the center of a complicated web of attraction and affairs.
In the scene in question, a man performs consensual oral sex on the character Ophélie. The Midi Libre posted an account Saturday morning from a person close to production who says that Kechiche had to push his actors to create that scene.
- 5/26/2019
- by Hanh Nguyen
- Indiewire
Abdellatif Kechiche is once again under the Cannes microscope for prolonged sexual content in his films. The director’s latest competition title, “Mektoub, My Love: Intermezzo” premiered at the festival, inspiring largely negative responses from critics, journalists, and audience members alike.
“Intermezzo” is the sequel to “Mektoub, My Love: Canto Uno,” which premiered at Venice back in 2017. Both films, based on François Bégaudeau’s novel “La Blessure, la vraie,” feature Ophélie (Ophélie Bau) and Amin (Shaïn Boumédine) at the center of a complicated web of attraction and affairs.
One scene in question from “Intermezzo” occurs roughly two-thirds of the way through the nearly four-hour film and involves a lengthy, consensual encounter in a bathroom between Ophélie and a man. The scene, which features what appears to be un-simulated oral sex, lasts much longer than the most extensive sex scene in Kechiche’s 2013 film “Blue Is the Warmest Colour.”
That film,...
“Intermezzo” is the sequel to “Mektoub, My Love: Canto Uno,” which premiered at Venice back in 2017. Both films, based on François Bégaudeau’s novel “La Blessure, la vraie,” feature Ophélie (Ophélie Bau) and Amin (Shaïn Boumédine) at the center of a complicated web of attraction and affairs.
One scene in question from “Intermezzo” occurs roughly two-thirds of the way through the nearly four-hour film and involves a lengthy, consensual encounter in a bathroom between Ophélie and a man. The scene, which features what appears to be un-simulated oral sex, lasts much longer than the most extensive sex scene in Kechiche’s 2013 film “Blue Is the Warmest Colour.”
That film,...
- 5/24/2019
- by Steve Greene
- Indiewire
No filmmaker has ever loved anything as much as Abdellatif Kechiche loves butts.
Bringing up the rear of this year’s Cannes lineup in more ways than one, Kechiche’s “Mektoub, My Love: Intermezzo” — an oft-threatened but completely unsolicited sequel to his 2017 bomb, “Mektoub, My Love: Canto Uno” — devotes about 60% of its runtime to extreme close-ups of jiggling female derrieres. And while that horrifyingly unexaggerated statistic may sound like a bit of a red flag to begin with, it only gets worse when you consider that “Intermezzo” is the same length as “Lawrence of Arabia”.
Of course, none of this is much of a surprise. Not anymore. As shocking as it was when Kechiche celebrated his 2013 Palme d’Or win by pivoting to posteriors, “Canto Uno” made it irrevocably clear the filmmaker has no regrets for the wanton fetishization of nubile flesh that separated “Blue Is the Warmest Color” from his earlier,...
Bringing up the rear of this year’s Cannes lineup in more ways than one, Kechiche’s “Mektoub, My Love: Intermezzo” — an oft-threatened but completely unsolicited sequel to his 2017 bomb, “Mektoub, My Love: Canto Uno” — devotes about 60% of its runtime to extreme close-ups of jiggling female derrieres. And while that horrifyingly unexaggerated statistic may sound like a bit of a red flag to begin with, it only gets worse when you consider that “Intermezzo” is the same length as “Lawrence of Arabia”.
Of course, none of this is much of a surprise. Not anymore. As shocking as it was when Kechiche celebrated his 2013 Palme d’Or win by pivoting to posteriors, “Canto Uno” made it irrevocably clear the filmmaker has no regrets for the wanton fetishization of nubile flesh that separated “Blue Is the Warmest Color” from his earlier,...
- 5/23/2019
- by David Ehrlich
- Indiewire
A simple but somehow atypical shot opens Abdellatif Kechiche’s new film: a serene closeup of a young woman’s face, as seen through the camera lens of Amir, a budding photographer still finding his perspective. Her expression is ambiguously tranquil, her long hair lightly rustled by a humid breeze, all softly lit by a sinking afternoon sun. It’s exquisite, the shot as much as the face, and anyone who has seen Kechiche’s last film will wonder how long the director can hold it there. But then there’s movement, and the camera gently drops and twists to close in on a different area, lower, a little lower, and yep, there it is — her toned, unblemished derrière. Welcome to the world of “Mektoub, My Love: Intermezzo,” where, with apologies to Samuel Beckett, form is content and content is form: the female form, that is, and its lower half in particular.
- 5/23/2019
- by Guy Lodge
- Variety Film + TV
The suspense is over: Quentin Tarantino’s “Once Upon a Time in Hollywood” will indeed have its world premiere and compete at the Cannes Film Festival, the fest announced Thursday.
“Intermezzo” from Abdellatif Kechiche, the Palme d’Or-winning director of “Blue Is the Warmest Color,” has also been added to the competition slate.
The star-studded movie has been widely anticipated as a festival highlight but wasn’t included in Cannes’ official selection announcement on April 18. Artistic director Thierry Fremaux told journalists several times that day that he hoped for post-production on Tarantino’s film to be completed in time for the film to be shown at the festival. Fremaux said Tarantino was eager to be back at Cannes and was working hard to finish the film by May, which was a challenge because it was shot in 35mm, which takes longer to edit than digital film, and is slated for a July release.
“Intermezzo” from Abdellatif Kechiche, the Palme d’Or-winning director of “Blue Is the Warmest Color,” has also been added to the competition slate.
The star-studded movie has been widely anticipated as a festival highlight but wasn’t included in Cannes’ official selection announcement on April 18. Artistic director Thierry Fremaux told journalists several times that day that he hoped for post-production on Tarantino’s film to be completed in time for the film to be shown at the festival. Fremaux said Tarantino was eager to be back at Cannes and was working hard to finish the film by May, which was a challenge because it was shot in 35mm, which takes longer to edit than digital film, and is slated for a July release.
- 5/2/2019
- by Elsa Keslassy
- Variety Film + TV
After winning best director at the Venice Film Festival, Jacques Audiard’s The Sisters Brothers” picked up three awards, including best film, director and cinematography, at the 24th Lumières Awards, France’s équivalent to the Golden Globes. The ceremony took place on Monday at the Institut du Monde Arabe.
Although it has not made its way into the awards season in the U.S. despite its fall festival bow, the movie is well-positioned in France where it will be vying for nine Cesar Awards, France’s équivalent to the Oscars, on Feb. 22.
Produced by Pascal Caucheteux’s Why Not, “The Sisters Brothers” stars starring Joaquin Phoenix, John C. Reilly and Jake Gyllenhaal.
“The Sisters Brothers” won over Jeanne Herry’s adoption drama “In Safe Hands,” Mikhaël Hers’ “Amanda,” Alex Lutz’s “Guy” and Emmanuel Mouret’s “Mademoiselle de Joncquières.”
Xavier Legrand’s heart-pounding domestic violence drama “Custody” won best first film.
Although it has not made its way into the awards season in the U.S. despite its fall festival bow, the movie is well-positioned in France where it will be vying for nine Cesar Awards, France’s équivalent to the Oscars, on Feb. 22.
Produced by Pascal Caucheteux’s Why Not, “The Sisters Brothers” stars starring Joaquin Phoenix, John C. Reilly and Jake Gyllenhaal.
“The Sisters Brothers” won over Jeanne Herry’s adoption drama “In Safe Hands,” Mikhaël Hers’ “Amanda,” Alex Lutz’s “Guy” and Emmanuel Mouret’s “Mademoiselle de Joncquières.”
Xavier Legrand’s heart-pounding domestic violence drama “Custody” won best first film.
- 2/5/2019
- by Elsa Keslassy
- Variety Film + TV
Jacques Audiard’s dark comedy western won best film and best director.
Jacques Audiard’s dark comedy western The Sisters Brothers, co-starring John C. Reilly and Joaquin Phoenix, won best film and best director at the 24th edition of France’s Lumière awards on Monday evening.
In a third prize for Audiard’s English-language debut, Benoît Debie, who was also nominated for his work on Gaspar Noé’s Climax, won best cinematography.
The Sisters Brothers was a front-runner at the nomination stage alongside comedy of manners Mademoiselle de Joncquières, adoption drama Pupille and Venice-winning divorce drama Custody although there were no stand-out favourites this year.
Jacques Audiard’s dark comedy western The Sisters Brothers, co-starring John C. Reilly and Joaquin Phoenix, won best film and best director at the 24th edition of France’s Lumière awards on Monday evening.
In a third prize for Audiard’s English-language debut, Benoît Debie, who was also nominated for his work on Gaspar Noé’s Climax, won best cinematography.
The Sisters Brothers was a front-runner at the nomination stage alongside comedy of manners Mademoiselle de Joncquières, adoption drama Pupille and Venice-winning divorce drama Custody although there were no stand-out favourites this year.
- 2/5/2019
- by Melanie Goodfellow
- ScreenDaily
France’s Académie des Arts et Techniques du Cinéma unveiled its nominations for the César Awards this morning in Paris. The races for the country’s Oscar equivalent are led by Xavier Legrand’s feature debut Jusqu’à La Garde (Custody) and Gilles Lellouche’s Le Grand Bain (Sink Or Swim) with 10 mentions each. They are followed by Jacques Audiard’s English-language western, The Sisters Brothers, and Pierre Salvadori’s En Liberté! (The Trouble With You) with nine a piece. All four are in the Best Picture and Director categories.
There’s a noticeably lighter edge to the nominations this year with Le Grand Bain a sort of Full Monty à la française that sees a group of middle-aged men form a synchronized swimming team. The movie debuted out of competition in Cannes and became the 3rd highest grossing local title of 2018 with over 5M tickets sold.
Also out of Cannes,...
There’s a noticeably lighter edge to the nominations this year with Le Grand Bain a sort of Full Monty à la française that sees a group of middle-aged men form a synchronized swimming team. The movie debuted out of competition in Cannes and became the 3rd highest grossing local title of 2018 with over 5M tickets sold.
Also out of Cannes,...
- 1/23/2019
- by Nancy Tartaglione
- Deadline Film + TV
Lumières are the Golden Globes of France.
A mixed bag of nominations for the 24th edition of France’s Lumière awards was unveiled in Paris on Monday (Dec 17).
Jacques Audiard’s Us-set, English-language The Sisters Brothers, period comedy-drama Mademoiselle de Jonquières, adoption drama Pupille and Venice-winning relationship drama Custody came out as the front-runners with four nominations each.
Following with three nominations each were Alex Lutz’s comedy-drama Guy, about a man who discovers he is the illegitimate son of a fading variety star and decides to follow him on tour; comedy The Trouble With You, sexual abuse drama Little Tickles,...
A mixed bag of nominations for the 24th edition of France’s Lumière awards was unveiled in Paris on Monday (Dec 17).
Jacques Audiard’s Us-set, English-language The Sisters Brothers, period comedy-drama Mademoiselle de Jonquières, adoption drama Pupille and Venice-winning relationship drama Custody came out as the front-runners with four nominations each.
Following with three nominations each were Alex Lutz’s comedy-drama Guy, about a man who discovers he is the illegitimate son of a fading variety star and decides to follow him on tour; comedy The Trouble With You, sexual abuse drama Little Tickles,...
- 12/17/2018
- by Melanie Goodfellow
- ScreenDaily
Faced with criticisms from some corners about the gaze employed on his young leads in “Blue Is The Warmest Color,” director Abdellatif Kechiche doubles down with his new film “Mektoub My Love: Canto Uno.” In fact, the trailer forgoes any dialogue and lets the camera dance around the characters who spend plenty of time making out and frolicking in their swimsuits.
Featuring a cast of mostly unknowns (Shaïn Boumedine, Ophélie Bau, Salim Kechiouche, Lou Luttiau, Alexia Chardard and Hafsia Herzi), the story follows a young screenwriter faced with a difficult choice between his lover and his career.
Featuring a cast of mostly unknowns (Shaïn Boumedine, Ophélie Bau, Salim Kechiouche, Lou Luttiau, Alexia Chardard and Hafsia Herzi), the story follows a young screenwriter faced with a difficult choice between his lover and his career.
- 3/2/2018
- by Kevin Jagernauth
- The Playlist
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