Screen profiles the Venice Competition section, which includes new titles from Pedro Almodovar, Paolo Sorrentino, Jane Campion and Pablo Larrain.
Following a physical 2020 edition that triumphantly braved the pandemic, Venice Film Festival (September 1-11) is back on the Lido with a line‑up showcasing major filmmakers including Pedro Almodovar, Paolo Sorrentino, Jane Campion and Pablo Larrain.
America Latina (It-Fr)
Dirs. Damiano D’Innocenzo, Fabio D’Innocenzo
Widely seen as Italian film’s next big things, the 33-year-old twin brothers have so far — among other feats — opened their 2018 debut feature Boys Cry in Berlin’s Panorama section, co-scripted Matteo Garrone’s Dogman, picked...
Following a physical 2020 edition that triumphantly braved the pandemic, Venice Film Festival (September 1-11) is back on the Lido with a line‑up showcasing major filmmakers including Pedro Almodovar, Paolo Sorrentino, Jane Campion and Pablo Larrain.
America Latina (It-Fr)
Dirs. Damiano D’Innocenzo, Fabio D’Innocenzo
Widely seen as Italian film’s next big things, the 33-year-old twin brothers have so far — among other feats — opened their 2018 debut feature Boys Cry in Berlin’s Panorama section, co-scripted Matteo Garrone’s Dogman, picked...
- 8/27/2021
- ScreenDaily
Return of the studios, UK and Italian presence, a new section… and what about Covid?
Venice Film Festival director Alberto Barbera and Venice Biennale president Roberto Cicutto today unveiled the line-up of the 78th edition (September 1-11).
The talking points to emerge include fewer female directors than last year, what the Covid-19 safety measues will be, the return of the studios and Netflix, and tentative awards season chatter.
Hotly-tipped 2020 titles find a festival home
Like Cannes, Venice will showcase a raft of films that have been waiting in the wings since early 2020 due to the pandemic. Notably, French director Stephane Brizé’s Another World,...
Venice Film Festival director Alberto Barbera and Venice Biennale president Roberto Cicutto today unveiled the line-up of the 78th edition (September 1-11).
The talking points to emerge include fewer female directors than last year, what the Covid-19 safety measues will be, the return of the studios and Netflix, and tentative awards season chatter.
Hotly-tipped 2020 titles find a festival home
Like Cannes, Venice will showcase a raft of films that have been waiting in the wings since early 2020 due to the pandemic. Notably, French director Stephane Brizé’s Another World,...
- 7/26/2021
- by Ben Dalton¬Melanie Goodfellow
- ScreenDaily
French actor Judith Chemla, the 37 year-old French star of “Mes freres et moi,” will not attend the world premiere of the film at Cannes’ Un Certain Regard on July 12 after an alleged incident involving the director of her film throwing a cell phone at her, Variety has learned.
Chemla filed a complaint on July 4 against Yohan Manca, the director of “Mes freres et moi,” who is also her boyfriend. The alleged assault took place on July 3 in the street near Theatre du Rond-Point in Paris.
Chelma’s and Manca’s reps have not responded to Variety’s requests for comments.
According to a source close to Chemla, the actor is alleging Manca, with whom she has a daughter, of throwing a cell phone at her face. A source close to Manca and Chemla told Variety that the couple was having an argument and Manca became very violent. They’ve been dating for five years.
Chemla filed a complaint on July 4 against Yohan Manca, the director of “Mes freres et moi,” who is also her boyfriend. The alleged assault took place on July 3 in the street near Theatre du Rond-Point in Paris.
Chelma’s and Manca’s reps have not responded to Variety’s requests for comments.
According to a source close to Chemla, the actor is alleging Manca, with whom she has a daughter, of throwing a cell phone at her face. A source close to Manca and Chemla told Variety that the couple was having an argument and Manca became very violent. They’ve been dating for five years.
- 7/11/2021
- by Elsa Keslassy
- Variety Film + TV
Paris-based sales powerhouse to launch new titles by Maïwenn, Stephane Brizé, Louis Garrel and Bruno Podalydès.
Wild Bunch is to launch sales on new films by Maïwenn, Stéphane Brizé, Louis Garrel and Bruno Podalydès at Unifrance’s Rendez-vous with French Cinema in Paris next week (January 16-20).
Drawing on her own complex history, Maïwenn’s fifth feature DNA revolves around a woman with close ties to a beloved Algerian grandfather who protected her from a toxic home life as a child. When he dies, it triggers a deep identity crisis as tensions between her extended family members escalate revealing new depths of resentment and bitterness.
Wild Bunch is to launch sales on new films by Maïwenn, Stéphane Brizé, Louis Garrel and Bruno Podalydès at Unifrance’s Rendez-vous with French Cinema in Paris next week (January 16-20).
Drawing on her own complex history, Maïwenn’s fifth feature DNA revolves around a woman with close ties to a beloved Algerian grandfather who protected her from a toxic home life as a child. When he dies, it triggers a deep identity crisis as tensions between her extended family members escalate revealing new depths of resentment and bitterness.
- 1/9/2020
- by 1100388¦Melanie Goodfellow¦0¦
- ScreenDaily
Thomas Ngijol and Judith Chemla lead the cast of Emmanuel Poulain-Arnaud’s first feature film, produced by Fluxus Films in league with Davis Films and set to be sold by Kinology. On 6 November, Emmanuel Poulain-Arnaud wrapped six weeks of filming on his first full-length film, Les Cobayes. An auteur comedy which revolves around the question of whether it’s possible to build a lasting, loving relationship in a society which tends towards immediacy and individualism, the filmmaker (highly acclaimed for his short films The Testicle in 2015 and Villa Graciosa in 2017) has in this instance united Thomas Ngijol and Judith Chemla...
- 11/21/2019
- Cineuropa - The Best of European Cinema
This is the Pure Movies review of A Woman's Life, directed by Stéphane Brizé and starring Judith Chemla, Jean-Pierre Darroussin and Yolande Moreau. Eschewing the overt staginess of many a period drama in favour of something looser and more earthy, Stéphane Brizé’s A Woman’s Life is a strikingly moody tone poem. Tethered to a nuanced and heartbreaking turn by Judith Chemla, the film documents the scant peaks and agonising troughs of Jeanne de Perthuis des Vauds’ life. It’s a bleak and rarely comfortable watch, but it taps into a level of emotional intimacy that one doesn’t immediately associate with its genre.
- 2/18/2018
- by admin
- Pure Movies
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.
After the Storm (Hirokazu Kore-eda)
Can our children pick and choose the personality traits they inherit, or are they doomed to obtain our lesser qualities? These are the hard questions being meditated on in After the Storm, a sobering, transcendent tale of a divorced man’s efforts to nudge back into his son’s life. Beautifully shot by regular cinematographer Yutaka Yamasaki, it marks a welcome and quite brilliant...
After the Storm (Hirokazu Kore-eda)
Can our children pick and choose the personality traits they inherit, or are they doomed to obtain our lesser qualities? These are the hard questions being meditated on in After the Storm, a sobering, transcendent tale of a divorced man’s efforts to nudge back into his son’s life. Beautifully shot by regular cinematographer Yutaka Yamasaki, it marks a welcome and quite brilliant...
- 8/11/2017
- by Jordan Raup
- The Film Stage
Alex Karpovsky knows his way around an ill-fated working road trip. Back in 2012, the indie multi-hyphenate pulled triple duty on his “Red Flag,” starring in a feature he also wrote and directed about a filmmaker taking his latest work on around the country on a makeshift tour that only did more (mostly amusing) harm than good. In Jeff Grace’s amiable “Folk Hero & Funny Guy,” Karpovsky is mining similar territory in a comedy elevated by pairing up the actor with rising star Wyatt Russell.
As childhood friends who have taken wildly divergent paths in life — Karpovsky’s Paul is a struggling standup comedian who just ended an engagement, Russell’s Jason is a mildly successful folk singer who is having a hell of a time traveling the country and jamming out, with groupies to spare — the pair have a lived-in, believable chemistry that hinges equally on their affection for and disappointment in each other.
As childhood friends who have taken wildly divergent paths in life — Karpovsky’s Paul is a struggling standup comedian who just ended an engagement, Russell’s Jason is a mildly successful folk singer who is having a hell of a time traveling the country and jamming out, with groupies to spare — the pair have a lived-in, believable chemistry that hinges equally on their affection for and disappointment in each other.
- 5/8/2017
- by Kate Erbland
- Indiewire
The “literary costume drama” is one of cinema’s most tried and true genres in the broader film world. From seemingly the inception of the medium to today, the tactile world of grand costumes and baroque examinations of love in a bygone time have been the breeding ground for some of the most exciting and formally inventive films of all time. However, it’s also become an often stuffy and cliche-ridden genre that finds few ways to break new ground.
But then comes A Woman’s Life. The newest film from French director Stephane Brize, Life takes the stilted trappings of the literary costume drama, and grounds them in ways one rarely sees. An adaptation of the beloved Guy de Maupassant novel Une Vie, Brize’s picture introduces us to Jeanne, a young woman in rural, 19th-century Normandy who meets and marries a Viscount Julien de Lamare. However, almost instantaneously things begin to unravel,...
But then comes A Woman’s Life. The newest film from French director Stephane Brize, Life takes the stilted trappings of the literary costume drama, and grounds them in ways one rarely sees. An adaptation of the beloved Guy de Maupassant novel Une Vie, Brize’s picture introduces us to Jeanne, a young woman in rural, 19th-century Normandy who meets and marries a Viscount Julien de Lamare. However, almost instantaneously things begin to unravel,...
- 5/7/2017
- by Joshua Brunsting
- CriterionCast
The rare period piece that feels observed rather than pretended, Stéphane Brizé’s “A Woman’s Life” finds the prolific French filmmaker applying his ruggedly naturalistic style — used to great effect in last year’s blue-collar drama, “The Measure of a Man” — to some very different source material. Adapted from Guy de Maupassant’s 1883 debut novel, Brizé’s latest is less a well-furnished historical saga than it is a selective simulation of life in the middle of the 19th Century; de Maupassant may have died before the invention of narrative cinema, but it’s easy enough to imagine him watching this doggedly matter-of-fact drama without the slightest bit of confusion. Merchant Ivory fans might find themselves feeling restless, but anyone who appreciated the quotidian rigor of Terence Davies’ “A Quiet Passion” will find a lot to love about this epic of asceticism.
Spanning decades with the speed of a pebble...
Spanning decades with the speed of a pebble...
- 5/6/2017
- by David Ehrlich
- Indiewire
If you like your coming of age stories set in 19th century rural Normandy, Stéphane Brizé ‘s “A Woman’s Life” is just the film for your very specific tastes.
The drama, an adaptation of Guy de Maupassant’s classic novel “Une Vie,” explores the troubles of a woman named Jeanne (Judith Chemla), who faces falling in love under the restrictive social and moral codes of the time. Brizé shot “A Woman’s Life” in the tight 4:3 Academy ratio, a very apt visual symbol of his heroine’s constricted life. All in all, it’s a stark departure from his last film, Cannes award-winner “The Measure of a Man.”
Read More: ‘Risk’ Takes On Julian Assange: The Dramatic Story Behind Laura Poitras’ Oscar Follow-Up
Brizé recently spoke to Film Comment about what drew him to the source material.
“I was fascinated by discovering the vision of the world...
The drama, an adaptation of Guy de Maupassant’s classic novel “Une Vie,” explores the troubles of a woman named Jeanne (Judith Chemla), who faces falling in love under the restrictive social and moral codes of the time. Brizé shot “A Woman’s Life” in the tight 4:3 Academy ratio, a very apt visual symbol of his heroine’s constricted life. All in all, it’s a stark departure from his last film, Cannes award-winner “The Measure of a Man.”
Read More: ‘Risk’ Takes On Julian Assange: The Dramatic Story Behind Laura Poitras’ Oscar Follow-Up
Brizé recently spoke to Film Comment about what drew him to the source material.
“I was fascinated by discovering the vision of the world...
- 5/5/2017
- by Allison Picurro
- Indiewire
When a Potiche Ascends the Stairs: Brizé’s Winning, Textured de Maupassant Adaptation
Although cinematic adaptations of French writer Guy de Maupassant still occur with some regularity, few contemporary Gallic auteurs have successfully tackled the naturalist who was a protégé of Flaubert and a contemporary of Zola. Frequent adaptations of his famed short story “Boule de Suif” and Bel-Ami are resurrected regularly, and his stories have inspired auteurs like Robert Wise, Jean-Luc Godard, Marcel Ophüls, and Jean Renoir. However, de Maupassant’s seminal first novel, Une Vie (1883), has been adapted several times outside of France, while previously its most definitive mounting was the 1958 End of Desire headlined by Maria Schell.
For his seventh feature, Stephane Brizé persuasively reflects the subjugation of women’s agency with the fragmented A Woman’s Life, and is perhaps the most auspicious transformation of the author since the handsome productions of the 1950s with this astute period piece featuring an exquisite ensemble of character actors.
After returning from convent school, Jeanne (Judith Chemla) takes joy in assisting her father (Jean-Pierre Darroussin) in the garden and perambulating with her mother (Yolande Moreau), a woman who spends most of her free time scrolling through the contents of letters she received throughout her life. With only the young family maid Rosalie (Nina Meurisse) as a friend and confidante, Jeanne soon finds herself courted by the handsome Viscount Julien de Lamare (Swann Arlaud). Swept into what she’s made to believe is romance, the marriage soon sours when Rosalie is found to be with child after having been raped by Julien. Thus begins Jeanne’s initiation into a world more harrowing than she had anticipated as her ideals and dignity are slowly stripped away.
Judith Chemla, who has starred as a supporting player in a number of period productions for noted auteurs (Tavernier, Techine) comes to the fore as the passive, frustrated center of Brizé’s film. Oblivious to the tendencies and behaviors of those around her, A Woman’s Life gently ushers her from a frivolous young woman of privilege to an increasingly fraught wife forced to contend with a debauched husband.
Brizé’s film has all the potential of a tawdry soap opera, and yet is distilled into fragmented reflections of her escapist tendencies. As we rush through defining moments of her life, time slows as Jeanne disappears into the bright, sunshiny memories which brought her to such a brooding standstill. Chemla is tasked with revealing Jeanne’s persona through inscrutable moments, an object acted upon despite meager efforts to gain control of her life. When escape presents itself upon learning of her own pregnancy at the same time as her husband’s philandering with Rosalie, her own mother confirms her fate by forcing Jeanne to forgive rather than return home.
Yolande Moreau gives a subversively droll performance as a cold maternal figure who has several major secrets of her own. As her counterpart, Jean-Pierre Darroussin nearly disappears within the period garb as Jeanne’s mild mannered father, while a mousy Swann Arlaud is sufficiently unpalatable as her cheating husband. Clotilde Hesme surfaces in a brief subplot which yields shockingly violent results, while rising young actor Finnegan Oldfield (Nocturama; Les Cowboys) shows up in the third act as Jeanne’s selfish teenage son, the specter haunting her golden years and sending her into protracted anguish.
Much like Brizé’s last lauded feature, 2015’s The Measure of a Man, the narrative revolves around distilled, refracted moments informing its protagonist’s mind frame, a person once again trapped by economic necessity in an unfavorable role which whittles away at their resolve.
Collaborating once more with scribe Florence Vignon (who scripted his superb 2009 film Mademoiselle Chambon), they achieve a striking portrait of a woman of certain means as equally weighted down by her expectations and limited control. Brizé also taps Dp Antoine Heberle (who worked on Chambon and A Few Hours of Spring, as well as Ozon’s Under the Sand) who transforms the film into a constant visual juxtaposition of stark, contrasting palettes, ranging from the brooding grays of Jeanne’s present to the golden, sparkling vivaciousness of happy times she can never return to. With stunning finality, a drastic situation boils down to bittersweet reality— “Life is never as good or as bad as you think it is.”
★★★★/☆☆☆☆☆
The post A Woman’s Life | Review appeared first on Ioncinema.com.
Although cinematic adaptations of French writer Guy de Maupassant still occur with some regularity, few contemporary Gallic auteurs have successfully tackled the naturalist who was a protégé of Flaubert and a contemporary of Zola. Frequent adaptations of his famed short story “Boule de Suif” and Bel-Ami are resurrected regularly, and his stories have inspired auteurs like Robert Wise, Jean-Luc Godard, Marcel Ophüls, and Jean Renoir. However, de Maupassant’s seminal first novel, Une Vie (1883), has been adapted several times outside of France, while previously its most definitive mounting was the 1958 End of Desire headlined by Maria Schell.
For his seventh feature, Stephane Brizé persuasively reflects the subjugation of women’s agency with the fragmented A Woman’s Life, and is perhaps the most auspicious transformation of the author since the handsome productions of the 1950s with this astute period piece featuring an exquisite ensemble of character actors.
After returning from convent school, Jeanne (Judith Chemla) takes joy in assisting her father (Jean-Pierre Darroussin) in the garden and perambulating with her mother (Yolande Moreau), a woman who spends most of her free time scrolling through the contents of letters she received throughout her life. With only the young family maid Rosalie (Nina Meurisse) as a friend and confidante, Jeanne soon finds herself courted by the handsome Viscount Julien de Lamare (Swann Arlaud). Swept into what she’s made to believe is romance, the marriage soon sours when Rosalie is found to be with child after having been raped by Julien. Thus begins Jeanne’s initiation into a world more harrowing than she had anticipated as her ideals and dignity are slowly stripped away.
Judith Chemla, who has starred as a supporting player in a number of period productions for noted auteurs (Tavernier, Techine) comes to the fore as the passive, frustrated center of Brizé’s film. Oblivious to the tendencies and behaviors of those around her, A Woman’s Life gently ushers her from a frivolous young woman of privilege to an increasingly fraught wife forced to contend with a debauched husband.
Brizé’s film has all the potential of a tawdry soap opera, and yet is distilled into fragmented reflections of her escapist tendencies. As we rush through defining moments of her life, time slows as Jeanne disappears into the bright, sunshiny memories which brought her to such a brooding standstill. Chemla is tasked with revealing Jeanne’s persona through inscrutable moments, an object acted upon despite meager efforts to gain control of her life. When escape presents itself upon learning of her own pregnancy at the same time as her husband’s philandering with Rosalie, her own mother confirms her fate by forcing Jeanne to forgive rather than return home.
Yolande Moreau gives a subversively droll performance as a cold maternal figure who has several major secrets of her own. As her counterpart, Jean-Pierre Darroussin nearly disappears within the period garb as Jeanne’s mild mannered father, while a mousy Swann Arlaud is sufficiently unpalatable as her cheating husband. Clotilde Hesme surfaces in a brief subplot which yields shockingly violent results, while rising young actor Finnegan Oldfield (Nocturama; Les Cowboys) shows up in the third act as Jeanne’s selfish teenage son, the specter haunting her golden years and sending her into protracted anguish.
Much like Brizé’s last lauded feature, 2015’s The Measure of a Man, the narrative revolves around distilled, refracted moments informing its protagonist’s mind frame, a person once again trapped by economic necessity in an unfavorable role which whittles away at their resolve.
Collaborating once more with scribe Florence Vignon (who scripted his superb 2009 film Mademoiselle Chambon), they achieve a striking portrait of a woman of certain means as equally weighted down by her expectations and limited control. Brizé also taps Dp Antoine Heberle (who worked on Chambon and A Few Hours of Spring, as well as Ozon’s Under the Sand) who transforms the film into a constant visual juxtaposition of stark, contrasting palettes, ranging from the brooding grays of Jeanne’s present to the golden, sparkling vivaciousness of happy times she can never return to. With stunning finality, a drastic situation boils down to bittersweet reality— “Life is never as good or as bad as you think it is.”
★★★★/☆☆☆☆☆
The post A Woman’s Life | Review appeared first on Ioncinema.com.
- 5/5/2017
- by Nicholas Bell
- IONCINEMA.com
Like one of Aesop’s fables, A Woman’s Life presents its moral at the end, via the very last line of dialogue. “You see, my lady,” a servant tells her mistress, “life is never as good or as bad as you think.” Guy De Maupassant concluded his first novel, Une Vie (1883)—from which this film was adapted—in the very same way, and perhaps the sentiment feels more apropos in its original context, as shaped by its heroine’s internal monologue. On screen, however, life mostly appears to be far more cruel than a woman (or anybody else) could possibly deserve, with but a single glimmer of hope in the final seconds proffered as balance. Cinematic miserabilism doesn’t get much more insistent or oppressive than this, and while A Woman’s Life has its champions—Fipresci, the international critics’ association, voted it the best film in competition ...
- 5/3/2017
- by Mike D'Angelo
- avclub.com
A Woman’S Life (Une vie) Kino Lorber Reviewed by: Harvey Karten, Shockya Grade: B+ Director: Stéphane Brizé Written by: Stéphane Brizé, Florence Vignon Cast: Judith Chemla, Jean-Pierre Darroussin, Yolande Moreau, Swann Arlaud, Nina Meuriss Screened at: Review 2, NYC, 4/25/17 Opens: May 5, 2017 Life is not as good or bad as you think. This […]
The post A Woman’s Life Movie Review: Life is not as good or bad as you think appeared first on Shockya.com.
The post A Woman’s Life Movie Review: Life is not as good or bad as you think appeared first on Shockya.com.
- 4/26/2017
- by Harvey Karten
- ShockYa
Following a fall festival premiere at Venice, a U.S. trailer has arrived for A Woman’s Life (Une Vie), the latest drama from Stéphane Brizé (The Measure of a Man), which Kino Lorber will release this May. Shot in the aesthetically-pleasing 4:3 aspect ratio (where are my Ida fans at?!), cinematographer Antoine Héberlé‘s intimate portraits are on full display amidst a delicate and ominous trailer that hints at the film’s crueler side.
We said in our review from Venice, “This is the kind of thing Lars Von Trier usual does very well. Take a complex, apparently fragile, and slightly naïve female lead; put her through the ringer; and let the audience mull over whether she’s a character who is inherently weak or strong. You sense Brizé is attempting something similar but his Jeanne is a blank canvas; a brick wall; a vaguely soggy piece of tarpaulin,...
We said in our review from Venice, “This is the kind of thing Lars Von Trier usual does very well. Take a complex, apparently fragile, and slightly naïve female lead; put her through the ringer; and let the audience mull over whether she’s a character who is inherently weak or strong. You sense Brizé is attempting something similar but his Jeanne is a blank canvas; a brick wall; a vaguely soggy piece of tarpaulin,...
- 3/29/2017
- by Mike Mazzanti
- The Film Stage
Damien Chazelle given Carte Blanche to present influential French film.
Colcoa and the Franco-American Cultural Fund also announced the Focus on a Filmmaker programme in addition to a line up of French classics consisting of predominantly digitally restored films.
The programme will take place at the DGA in Hollywood from April 24-May 2 as part of Colcoa’s 21st anniversary.
Oscar contender and La La Land director Damien Chazelle [pictured] has selected Leo Carax’s The Lovers On The Bridge (1991) starring Juliette Binoche and Denis Lavant as an influential film.
This Carte Blanche screening will be presented in association with Rialto Pictures, with the support of the French Embassy in the Us and l’Institut Francais.
Colcoa will honour writer-director Stéphane Brizé on April 27, with a special presentation of Not Here To Be Loved (2005) starring Patrick Chesnais, Anne Consigny, and George Wilson.
The Festival will also host the West Coast premiere of Brizé’s new film A Woman’s Life...
Colcoa and the Franco-American Cultural Fund also announced the Focus on a Filmmaker programme in addition to a line up of French classics consisting of predominantly digitally restored films.
The programme will take place at the DGA in Hollywood from April 24-May 2 as part of Colcoa’s 21st anniversary.
Oscar contender and La La Land director Damien Chazelle [pictured] has selected Leo Carax’s The Lovers On The Bridge (1991) starring Juliette Binoche and Denis Lavant as an influential film.
This Carte Blanche screening will be presented in association with Rialto Pictures, with the support of the French Embassy in the Us and l’Institut Francais.
Colcoa will honour writer-director Stéphane Brizé on April 27, with a special presentation of Not Here To Be Loved (2005) starring Patrick Chesnais, Anne Consigny, and George Wilson.
The Festival will also host the West Coast premiere of Brizé’s new film A Woman’s Life...
- 2/23/2017
- ScreenDaily
France's César Awards announced their nominations this morning. As expected Elle and Divines (currently streaming on Netflix) have much reason to celebrate. Other hits with César including François Ozon's gorgeous black and white feature about Post-War relations and guilt called Frantz (which opens in the Us in March), The Innocents (an arthouse hit in the Us this year) and My Life as a Zucchini which was just nominated for the Animated Feature Oscar and receives 3 nominations here.
Their foreign film category also has two Oscar players Manchester by the Sea and Toni Erdmann.
Best Film
Divines (on Netflix)
Elle (now playing)
Frantz (opening in Us in March)
Les Innocentes (available on blu-ray)
Ma Loute
From The Land Of The Moon
Victoria
Ma Loute is from Bruno Dumont and is called Slack Bay in some markets. From the Land of the Moon stars Marion Cotillard among others.
Best Actress
Judith Chemla...
Their foreign film category also has two Oscar players Manchester by the Sea and Toni Erdmann.
Best Film
Divines (on Netflix)
Elle (now playing)
Frantz (opening in Us in March)
Les Innocentes (available on blu-ray)
Ma Loute
From The Land Of The Moon
Victoria
Ma Loute is from Bruno Dumont and is called Slack Bay in some markets. From the Land of the Moon stars Marion Cotillard among others.
Best Actress
Judith Chemla...
- 1/25/2017
- by NATHANIEL R
- FilmExperience
On the heels of the Toronto International Film Festival announcement, this year’s slate for the Venice International Film Festival has arrived — and it’s a fantastic-looking line-up. Outside some of the Tiff titles (La La Land, Arrival, Frantz, The Age of Shadows, Nocturnal Animals, etc.), they’ll have the world premiere of one of our most-anticipated films of the year: Terrence Malick‘s documentary Voyage of Time (the 90-minute Cate Blanchett-narrated version).
Also among the premieres are Ana Lily Amirpour’s follow-up to A Girl Walks Home Alone at Night, The Bad Batch, Mel Gibson‘s return to the director’s chair, Hacksaw Ridge, Derek Cianfrance‘s The Light Between Oceans, Pablo Larrain‘s Natalie Portman-led Jackie, as well as new films from Andrew Dominik, Lav Diaz, Ulrich Seidl, Emir Kusturica, and more. Check out the line-up below and return for our coverage.
Opening Night Film
La La Land,...
Also among the premieres are Ana Lily Amirpour’s follow-up to A Girl Walks Home Alone at Night, The Bad Batch, Mel Gibson‘s return to the director’s chair, Hacksaw Ridge, Derek Cianfrance‘s The Light Between Oceans, Pablo Larrain‘s Natalie Portman-led Jackie, as well as new films from Andrew Dominik, Lav Diaz, Ulrich Seidl, Emir Kusturica, and more. Check out the line-up below and return for our coverage.
Opening Night Film
La La Land,...
- 7/28/2016
- by Jordan Raup
- The Film Stage
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