Sudipto Sen’s “The Kerala Story,” produced by noted filmmaker Vipul Amrutlal Shah, is in the eye of a storm in India. It has divided the country’s political classes, with some banning the film and others encouraging it.
“The Kerala Story” follows the travails of three women from the southern Indian state of Kerala who are abducted and recruited by Isis in Syria.
The modestly budgeted film released on May 5 to poor critical reviews, but is emerging as a major box office success, having grossed $5.6 million to date.
The film claims that some 32,000 women from Kerala had been abducted and recruited by the Isis though the veracity of this number has been disputed. There were widespread objections in Kerala to the film, but it is running there in a limited number of cinemas.
The neighboring state of Tamil Nadu has not banned the film, but the state’s multiplex...
“The Kerala Story” follows the travails of three women from the southern Indian state of Kerala who are abducted and recruited by Isis in Syria.
The modestly budgeted film released on May 5 to poor critical reviews, but is emerging as a major box office success, having grossed $5.6 million to date.
The film claims that some 32,000 women from Kerala had been abducted and recruited by the Isis though the veracity of this number has been disputed. There were widespread objections in Kerala to the film, but it is running there in a limited number of cinemas.
The neighboring state of Tamil Nadu has not banned the film, but the state’s multiplex...
- 5/9/2023
- by Naman Ramachandran
- Variety Film + TV
Israeli filmmaker Nadav Lapids critique of Vivek Agnihotri’s ‘The Kashmir Files’ at the closing ceremony of the 53rd International Film Festival of India (Iffi) has now been supported by his fellow international jurors.
They have distanced themselves from the statement issued by Sudipto Sen rapping Lapid for his statement. The celebrated Israeli director-screenwriter’s comments have stirred a hornet’s nest on social media, with the Israeli Ambassador leading the charge against him, followed by Anupam Kher, Pallavi Joshi and Agnihotri himself.
For the unversed, Lapid had said during the closing ceremony of the prestigious fest that ‘The Kashmir Files’ came across as ‘vulgar’ and a ‘propaganda’ film to the jurors.
Jinko Gotoh, the Oscar-nominated producer and consultant for the animation industry, has put up a statement on Twitter signed by the other international jurors, namely, French film editor Pascale Chavance and French documentary filmmaker Javier Angulo Barturen.
Interestingly,...
They have distanced themselves from the statement issued by Sudipto Sen rapping Lapid for his statement. The celebrated Israeli director-screenwriter’s comments have stirred a hornet’s nest on social media, with the Israeli Ambassador leading the charge against him, followed by Anupam Kher, Pallavi Joshi and Agnihotri himself.
For the unversed, Lapid had said during the closing ceremony of the prestigious fest that ‘The Kashmir Files’ came across as ‘vulgar’ and a ‘propaganda’ film to the jurors.
Jinko Gotoh, the Oscar-nominated producer and consultant for the animation industry, has put up a statement on Twitter signed by the other international jurors, namely, French film editor Pascale Chavance and French documentary filmmaker Javier Angulo Barturen.
Interestingly,...
- 12/4/2022
- by Glamsham Bureau
- GlamSham
Filmmaker’s comments were made at the festival’s closing ceremony.
Israeli filmmaker Nadav Lapid levelled criticism at Vivek Agnihotri’s The Kashmir Files at the closing ceremony of the International Film Festival of India (Iffi), where the divisive Hindi-language feature played in competition.
Lapid, who led the jury at the 53rd Iffi, applauded 14 of the films that played in the festival’s international competition but said: “We were all of us disturbed and shocked by the 15th film, by the movie Kashmir Files, that felt to us like a propaganda, vulgar movie inappropriate for an artistic competitive section of such a prestigious film festival.
Israeli filmmaker Nadav Lapid levelled criticism at Vivek Agnihotri’s The Kashmir Files at the closing ceremony of the International Film Festival of India (Iffi), where the divisive Hindi-language feature played in competition.
Lapid, who led the jury at the 53rd Iffi, applauded 14 of the films that played in the festival’s international competition but said: “We were all of us disturbed and shocked by the 15th film, by the movie Kashmir Files, that felt to us like a propaganda, vulgar movie inappropriate for an artistic competitive section of such a prestigious film festival.
- 11/29/2022
- by Michael Rosser
- ScreenDaily
Spanish-language film “I Have Electric Dreams” won the Golden Peacock, the top prize at the 53rd International Film Festival of India held in Goa from Nov. 20-28. The Silver Peacock for best director was awarded to Iranian writer-director Nader Saeivar for protest drama “No End.”
Directed by Costa Rican filmmaker Valentina Maurel, “I Have Electric Dreams” explores the mercurial relationship between an artist and her 16-year-old daughter. While announcing the prize at the closing ceremony of Iffi at the Dr. Shyama Prasad Mukherjee Indoor Stadium, the jury said: “It was so electrifying, so vibrating, that while watching it, we felt as if we, ourselves, were trembling.”
“No End,” described as “a magical and subtle portrayal of Iran’s regressive socio-political system,” also earned its lead actor Vahid Mobasseri the Silver Peacock for best male actor. In its citation, the jury commended Mobasseri’s “economy of gestures and being capable to transmit,...
Directed by Costa Rican filmmaker Valentina Maurel, “I Have Electric Dreams” explores the mercurial relationship between an artist and her 16-year-old daughter. While announcing the prize at the closing ceremony of Iffi at the Dr. Shyama Prasad Mukherjee Indoor Stadium, the jury said: “It was so electrifying, so vibrating, that while watching it, we felt as if we, ourselves, were trembling.”
“No End,” described as “a magical and subtle portrayal of Iran’s regressive socio-political system,” also earned its lead actor Vahid Mobasseri the Silver Peacock for best male actor. In its citation, the jury commended Mobasseri’s “economy of gestures and being capable to transmit,...
- 11/28/2022
- by Udita Jhunjhunwala
- Variety Film + TV
Israeli director Nadav Lapid surprised audiences during his speech at the closing ceremony of the International Film Festival of India (Iffi) in Goa by criticizing the festival for including controversial Hindi-language movie The Kashmir Files in competition.
While praising the quality of most of the 15 films in competition, Lapid said on behalf of the jury: “We were all of us disturbed and shocked by the 15th film, The Kashmir Files, that felt to us like a propaganda, vulgar movie inappropriate for an artistic competitive section of such a prestigious film festival.”
He continued: “I feel totally comfortable to share openly these feelings here with you on stage since the spirit of the festival can truly accept also a critical discussion, which is essential for art and for life.”
Directed by Vivek Agnihotri, the film is a depiction of the exodus of Kashmiri Hindus, also known as Pandits, from the Muslim-majority...
While praising the quality of most of the 15 films in competition, Lapid said on behalf of the jury: “We were all of us disturbed and shocked by the 15th film, The Kashmir Files, that felt to us like a propaganda, vulgar movie inappropriate for an artistic competitive section of such a prestigious film festival.”
He continued: “I feel totally comfortable to share openly these feelings here with you on stage since the spirit of the festival can truly accept also a critical discussion, which is essential for art and for life.”
Directed by Vivek Agnihotri, the film is a depiction of the exodus of Kashmiri Hindus, also known as Pandits, from the Muslim-majority...
- 11/28/2022
- by Liz Shackleton
- Deadline Film + TV
Dimitri de Clercq on You Go To My Head: “A lot of the scenes are shot at the Malick hour, dawn or dusk.”
Delfine Bafort and Svetozar Cvetkovic star in Dimitri de Clercq’s quietly disturbing, beautifully framed You Go To My Head, shot by Stijn Grupping in Morocco. His first directing experience was working with Alain Robbe-Grillet On The Blue Villa (Un Bruit Qui Rend Fou) after producing Ray Müller’s The Wonderful, Horrible Life Of Leni Riefenstahl (Die Macht der Bilder: Leni Riefenstahl) and Mathieu Kassovitz’s debut feature Café au lait.
Svetozar Cvetkovic as Jake and Delfine Bafort as Kitty in Dimitri de Clercq’s You Go To My Head
You Go To My Head smartly bookends with Chet Baker songs. Catherine Breillat’s longtime editor Pascale Chavance is thanked in the end credits.
Imagine a man...
Delfine Bafort and Svetozar Cvetkovic star in Dimitri de Clercq’s quietly disturbing, beautifully framed You Go To My Head, shot by Stijn Grupping in Morocco. His first directing experience was working with Alain Robbe-Grillet On The Blue Villa (Un Bruit Qui Rend Fou) after producing Ray Müller’s The Wonderful, Horrible Life Of Leni Riefenstahl (Die Macht der Bilder: Leni Riefenstahl) and Mathieu Kassovitz’s debut feature Café au lait.
Svetozar Cvetkovic as Jake and Delfine Bafort as Kitty in Dimitri de Clercq’s You Go To My Head
You Go To My Head smartly bookends with Chet Baker songs. Catherine Breillat’s longtime editor Pascale Chavance is thanked in the end credits.
Imagine a man...
- 2/14/2021
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Anand Gandhi’s “Ship of Theseus” and Musa Syeed’s “Valley of Saints” have been selected for the international first feature film competition of the 14th Mumbai Film Festival 2012.
Thirteen debut feature films from all over the world will compete for the Usd 200,000 cash awards of 14th Mumbai Film Festival.
Gandhi’s “Ship of Theseus” recently had its world premiere at Toronto International Film Festival in the City to City program dedicated to Mumbai. The film has also been selected for the BFI London Film Festival and Tokyo Film Festival.
Musa Syeed’s “Valley of Saints” won the world cinema audience award at the Sundance film festival in January this year. Earlier it had won Alfred P. Sloan Feature Film Production Award for his screenplay from the Sundance Institute. (here is a review and an interview with the director). The film has travelled to various film festivals such as Seattle,...
Thirteen debut feature films from all over the world will compete for the Usd 200,000 cash awards of 14th Mumbai Film Festival.
Gandhi’s “Ship of Theseus” recently had its world premiere at Toronto International Film Festival in the City to City program dedicated to Mumbai. The film has also been selected for the BFI London Film Festival and Tokyo Film Festival.
Musa Syeed’s “Valley of Saints” won the world cinema audience award at the Sundance film festival in January this year. Earlier it had won Alfred P. Sloan Feature Film Production Award for his screenplay from the Sundance Institute. (here is a review and an interview with the director). The film has travelled to various film festivals such as Seattle,...
- 9/24/2012
- by NewsDesk
- DearCinema.com
Actor Rahul Bose on International Competition Jury
American director Andy Tennant will head the International debut film competition Jury of 14th Mumbai Film Festival.
Tennant is known for films like Fools Rush In (1997), Ever After (1998), Anna and the King (1999), Sweet Home Alabama (2002), Hitch (2005), Fool’s Gold (2008) and The Bounty Hunter (2010).
Other members of the jury include Indian actor Rahul Bose, Korean Director Im Sang-soo, Editor Pascale Chavance and Brazilian Director Sergio Machado.
Mumbai Film Festival’s flagship international competition for first feature films offers about 200,000 Usd cash awards.
Indian Actor Waheeda Rehman will be honoured with a Lifetime Achievement Award at the festival.
14th Mumbai Film Festival will be held from 18th to 25th October at the National Centre of Performing Arts (Ncpa) and Inox theatre in south Mumbai.
American director Andy Tennant will head the International debut film competition Jury of 14th Mumbai Film Festival.
Tennant is known for films like Fools Rush In (1997), Ever After (1998), Anna and the King (1999), Sweet Home Alabama (2002), Hitch (2005), Fool’s Gold (2008) and The Bounty Hunter (2010).
Other members of the jury include Indian actor Rahul Bose, Korean Director Im Sang-soo, Editor Pascale Chavance and Brazilian Director Sergio Machado.
Mumbai Film Festival’s flagship international competition for first feature films offers about 200,000 Usd cash awards.
Indian Actor Waheeda Rehman will be honoured with a Lifetime Achievement Award at the festival.
14th Mumbai Film Festival will be held from 18th to 25th October at the National Centre of Performing Arts (Ncpa) and Inox theatre in south Mumbai.
- 9/24/2012
- by NewsDesk
- DearCinema.com
Screened
Rotterdam International Film Festival
ROTTERDAM, Netherlands -- "Anatomie de l'enfer" is a film about sex that is not intended to be sexy. Directed by Catherine Breillat ("Romance") and featuring porn star Rocco Siffredi in a dramatic role, it's an investigation into the nature of misogyny. By putting her female character through a number of willing sexual humiliations at the hands (and more) of Siffredi, Breillat tries to show that misogyny is deeply rooted in the psyche of every man.
The numerous sex scenes with which Breillat makes her point are graphic and unpleasant. They certainly succeed as detailed examinations of misogynistic behavior, and the mentally -- but not sexually -- provocative nature of her argument should lead to some debate about the subject. But the explicit content of these scenes will mean that few people will likely see the film outside of festivals and some European countries. "Anatomie" had its world premiere at the Rotterdam International Film Festival.
The film starts when the Girl (Amira Casar) meets the Guy (Siffredi) in a bar. He saves her from suicide, and she invites him to take part in a sexual experiment as a result. As the Guy is homosexual and has no interest in women, she feels that he is a perfect "control specimen" for her attempt to show that underneath it all, every man is a misogynist. Over the course of four nights, she allows him to perform a number of sexual indignities on her. He penetrates her with objects and degrades her. A final scene sees the Guy clarifying his misogynistic feelings to a lout in a bar, therefore proving the Girl's argument correct.
In "Anatomie", Breillat puts forth the argument that all men hate women because they think that they dissipate and take away their power. Men defend themselves against this, Breillat says, by humiliating women. The point is very well made but suffers from a cold academicism that renders the characters simple ciphers for Breillat's ideas. Her reductive approach to her characters -- by refusing to name them, for instance -- lessens the power of her argument as they have none of the foibles and contradictions of real people. This means that it's too easy to dismiss the whole film as an artificial construct, something that diminishes its impact.
Cinematically, Breillat has made some interesting decisions. The story would naturally suggest a grunge aesthetic, but Breillat does the opposite, using subtle lighting and often framing the Girl like a Manet painting. The Guy's voice-over is delivered in a female voice -- Breillat's own -- giving rise to all kinds of psychological interpretations. The sex scenes are messy, standing as the exact opposites to the scrubbed-clean images of pornography.
Some of the imagery in "Anatomie" -- shots of a rolling ocean, for instance -- pushes it precariously close to '70s art-porn. But the literary dialogue, possibly lifted from Breillat's own source novel "Pornocratie", keeps things sufficiently intelligent. Sex is often depicted in films but rarely examined by filmmakers. However flawed, Breillat's uncompromising attempt to do so here should be applauded.
Anatomie De L'Enfer
Flach Films and CB Films present, with the participation of Canal Plus and Le Center National de la Cinematographie
Credits:
Director: Catherine Breillat
Screenwriter: Catherine Breillat, from her novel "Pornocratie"
Producer: Jean-Francois Lepetit
Directors of photography: Yorgos Arvanitis, Guillaume Schiffman, Miguel Malheiros, Susana Gomes
Sound: Carlos Pinto, Filipe Goncalves
Production designers: Pedrosa Santos, Jean-Marie Milon, Paula Szabo, Pedro Garcia
Costume designers: Valerie Guegan, Betty Martins, Catherine Meillan, Sanine Schlumberger
Editors: Pascale Chavance, Frederic Barbe
Cast:
The Girl: Amira Casar
The Guy: Rocco Siffredi
Wateland Lovers: Alexandre Belin, Manuel Taglang
Barfly: Jacques Monge
Running time -- 87 minutes
No MPAA rating...
Rotterdam International Film Festival
ROTTERDAM, Netherlands -- "Anatomie de l'enfer" is a film about sex that is not intended to be sexy. Directed by Catherine Breillat ("Romance") and featuring porn star Rocco Siffredi in a dramatic role, it's an investigation into the nature of misogyny. By putting her female character through a number of willing sexual humiliations at the hands (and more) of Siffredi, Breillat tries to show that misogyny is deeply rooted in the psyche of every man.
The numerous sex scenes with which Breillat makes her point are graphic and unpleasant. They certainly succeed as detailed examinations of misogynistic behavior, and the mentally -- but not sexually -- provocative nature of her argument should lead to some debate about the subject. But the explicit content of these scenes will mean that few people will likely see the film outside of festivals and some European countries. "Anatomie" had its world premiere at the Rotterdam International Film Festival.
The film starts when the Girl (Amira Casar) meets the Guy (Siffredi) in a bar. He saves her from suicide, and she invites him to take part in a sexual experiment as a result. As the Guy is homosexual and has no interest in women, she feels that he is a perfect "control specimen" for her attempt to show that underneath it all, every man is a misogynist. Over the course of four nights, she allows him to perform a number of sexual indignities on her. He penetrates her with objects and degrades her. A final scene sees the Guy clarifying his misogynistic feelings to a lout in a bar, therefore proving the Girl's argument correct.
In "Anatomie", Breillat puts forth the argument that all men hate women because they think that they dissipate and take away their power. Men defend themselves against this, Breillat says, by humiliating women. The point is very well made but suffers from a cold academicism that renders the characters simple ciphers for Breillat's ideas. Her reductive approach to her characters -- by refusing to name them, for instance -- lessens the power of her argument as they have none of the foibles and contradictions of real people. This means that it's too easy to dismiss the whole film as an artificial construct, something that diminishes its impact.
Cinematically, Breillat has made some interesting decisions. The story would naturally suggest a grunge aesthetic, but Breillat does the opposite, using subtle lighting and often framing the Girl like a Manet painting. The Guy's voice-over is delivered in a female voice -- Breillat's own -- giving rise to all kinds of psychological interpretations. The sex scenes are messy, standing as the exact opposites to the scrubbed-clean images of pornography.
Some of the imagery in "Anatomie" -- shots of a rolling ocean, for instance -- pushes it precariously close to '70s art-porn. But the literary dialogue, possibly lifted from Breillat's own source novel "Pornocratie", keeps things sufficiently intelligent. Sex is often depicted in films but rarely examined by filmmakers. However flawed, Breillat's uncompromising attempt to do so here should be applauded.
Anatomie De L'Enfer
Flach Films and CB Films present, with the participation of Canal Plus and Le Center National de la Cinematographie
Credits:
Director: Catherine Breillat
Screenwriter: Catherine Breillat, from her novel "Pornocratie"
Producer: Jean-Francois Lepetit
Directors of photography: Yorgos Arvanitis, Guillaume Schiffman, Miguel Malheiros, Susana Gomes
Sound: Carlos Pinto, Filipe Goncalves
Production designers: Pedrosa Santos, Jean-Marie Milon, Paula Szabo, Pedro Garcia
Costume designers: Valerie Guegan, Betty Martins, Catherine Meillan, Sanine Schlumberger
Editors: Pascale Chavance, Frederic Barbe
Cast:
The Girl: Amira Casar
The Guy: Rocco Siffredi
Wateland Lovers: Alexandre Belin, Manuel Taglang
Barfly: Jacques Monge
Running time -- 87 minutes
No MPAA rating...
Screened
Rotterdam International Film Festival
ROTTERDAM, Netherlands -- "Anatomie de l'enfer" is a film about sex that is not intended to be sexy. Directed by Catherine Breillat ("Romance") and featuring porn star Rocco Siffredi in a dramatic role, it's an investigation into the nature of misogyny. By putting her female character through a number of willing sexual humiliations at the hands (and more) of Siffredi, Breillat tries to show that misogyny is deeply rooted in the psyche of every man.
The numerous sex scenes with which Breillat makes her point are graphic and unpleasant. They certainly succeed as detailed examinations of misogynistic behavior, and the mentally -- but not sexually -- provocative nature of her argument should lead to some debate about the subject. But the explicit content of these scenes will mean that few people will likely see the film outside of festivals and some European countries. "Anatomie" had its world premiere at the Rotterdam International Film Festival.
The film starts when the Girl (Amira Casar) meets the Guy (Siffredi) in a bar. He saves her from suicide, and she invites him to take part in a sexual experiment as a result. As the Guy is homosexual and has no interest in women, she feels that he is a perfect "control specimen" for her attempt to show that underneath it all, every man is a misogynist. Over the course of four nights, she allows him to perform a number of sexual indignities on her. He penetrates her with objects and degrades her. A final scene sees the Guy clarifying his misogynistic feelings to a lout in a bar, therefore proving the Girl's argument correct.
In "Anatomie", Breillat puts forth the argument that all men hate women because they think that they dissipate and take away their power. Men defend themselves against this, Breillat says, by humiliating women. The point is very well made but suffers from a cold academicism that renders the characters simple ciphers for Breillat's ideas. Her reductive approach to her characters -- by refusing to name them, for instance -- lessens the power of her argument as they have none of the foibles and contradictions of real people. This means that it's too easy to dismiss the whole film as an artificial construct, something that diminishes its impact.
Cinematically, Breillat has made some interesting decisions. The story would naturally suggest a grunge aesthetic, but Breillat does the opposite, using subtle lighting and often framing the Girl like a Manet painting. The Guy's voice-over is delivered in a female voice -- Breillat's own -- giving rise to all kinds of psychological interpretations. The sex scenes are messy, standing as the exact opposites to the scrubbed-clean images of pornography.
Some of the imagery in "Anatomie" -- shots of a rolling ocean, for instance -- pushes it precariously close to '70s art-porn. But the literary dialogue, possibly lifted from Breillat's own source novel "Pornocratie", keeps things sufficiently intelligent. Sex is often depicted in films but rarely examined by filmmakers. However flawed, Breillat's uncompromising attempt to do so here should be applauded.
Anatomie De L'Enfer
Flach Films and CB Films present, with the participation of Canal Plus and Le Center National de la Cinematographie
Credits:
Director: Catherine Breillat
Screenwriter: Catherine Breillat, from her novel "Pornocratie"
Producer: Jean-Francois Lepetit
Directors of photography: Yorgos Arvanitis, Guillaume Schiffman, Miguel Malheiros, Susana Gomes
Sound: Carlos Pinto, Filipe Goncalves
Production designers: Pedrosa Santos, Jean-Marie Milon, Paula Szabo, Pedro Garcia
Costume designers: Valerie Guegan, Betty Martins, Catherine Meillan, Sanine Schlumberger
Editors: Pascale Chavance, Frederic Barbe
Cast:
The Girl: Amira Casar
The Guy: Rocco Siffredi
Wateland Lovers: Alexandre Belin, Manuel Taglang
Barfly: Jacques Monge
Running time -- 87 minutes
No MPAA rating...
Rotterdam International Film Festival
ROTTERDAM, Netherlands -- "Anatomie de l'enfer" is a film about sex that is not intended to be sexy. Directed by Catherine Breillat ("Romance") and featuring porn star Rocco Siffredi in a dramatic role, it's an investigation into the nature of misogyny. By putting her female character through a number of willing sexual humiliations at the hands (and more) of Siffredi, Breillat tries to show that misogyny is deeply rooted in the psyche of every man.
The numerous sex scenes with which Breillat makes her point are graphic and unpleasant. They certainly succeed as detailed examinations of misogynistic behavior, and the mentally -- but not sexually -- provocative nature of her argument should lead to some debate about the subject. But the explicit content of these scenes will mean that few people will likely see the film outside of festivals and some European countries. "Anatomie" had its world premiere at the Rotterdam International Film Festival.
The film starts when the Girl (Amira Casar) meets the Guy (Siffredi) in a bar. He saves her from suicide, and she invites him to take part in a sexual experiment as a result. As the Guy is homosexual and has no interest in women, she feels that he is a perfect "control specimen" for her attempt to show that underneath it all, every man is a misogynist. Over the course of four nights, she allows him to perform a number of sexual indignities on her. He penetrates her with objects and degrades her. A final scene sees the Guy clarifying his misogynistic feelings to a lout in a bar, therefore proving the Girl's argument correct.
In "Anatomie", Breillat puts forth the argument that all men hate women because they think that they dissipate and take away their power. Men defend themselves against this, Breillat says, by humiliating women. The point is very well made but suffers from a cold academicism that renders the characters simple ciphers for Breillat's ideas. Her reductive approach to her characters -- by refusing to name them, for instance -- lessens the power of her argument as they have none of the foibles and contradictions of real people. This means that it's too easy to dismiss the whole film as an artificial construct, something that diminishes its impact.
Cinematically, Breillat has made some interesting decisions. The story would naturally suggest a grunge aesthetic, but Breillat does the opposite, using subtle lighting and often framing the Girl like a Manet painting. The Guy's voice-over is delivered in a female voice -- Breillat's own -- giving rise to all kinds of psychological interpretations. The sex scenes are messy, standing as the exact opposites to the scrubbed-clean images of pornography.
Some of the imagery in "Anatomie" -- shots of a rolling ocean, for instance -- pushes it precariously close to '70s art-porn. But the literary dialogue, possibly lifted from Breillat's own source novel "Pornocratie", keeps things sufficiently intelligent. Sex is often depicted in films but rarely examined by filmmakers. However flawed, Breillat's uncompromising attempt to do so here should be applauded.
Anatomie De L'Enfer
Flach Films and CB Films present, with the participation of Canal Plus and Le Center National de la Cinematographie
Credits:
Director: Catherine Breillat
Screenwriter: Catherine Breillat, from her novel "Pornocratie"
Producer: Jean-Francois Lepetit
Directors of photography: Yorgos Arvanitis, Guillaume Schiffman, Miguel Malheiros, Susana Gomes
Sound: Carlos Pinto, Filipe Goncalves
Production designers: Pedrosa Santos, Jean-Marie Milon, Paula Szabo, Pedro Garcia
Costume designers: Valerie Guegan, Betty Martins, Catherine Meillan, Sanine Schlumberger
Editors: Pascale Chavance, Frederic Barbe
Cast:
The Girl: Amira Casar
The Guy: Rocco Siffredi
Wateland Lovers: Alexandre Belin, Manuel Taglang
Barfly: Jacques Monge
Running time -- 87 minutes
No MPAA rating...
- 2/10/2004
- The Hollywood Reporter - Movie News
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