French actress Philippine Leroy-Beaulieu plays chic French boss Sylvie Grateau, the nemesis of Emily Cooper (Lily Collins), in Netflix’s ‘Emily in Paris’.
With sophisticated outfits and a Machiavellian management style, she nearly steals the show.
While ‘Emily in Paris’ had propelled her to global fame, Leroy-Beaulieu is a veteran of French films and TV, having worked with renowned filmmakers such as Roger Vadim, Coline Serreau and Philippe Le Guay as well as Andrzej Wajda, James Ivory and Robert Altman, reports ‘Variety’.
The actress revealed that she had a blast playing her character’s dark sides.
Philippine told ‘Variety’ that her character is more vulnerable than she is mean.
“It’s like Darren. When you meet him for the first time, he’s very cold, but in fact he’s like many people who are highly sensitive: He protects himself. In a way, Darren and Sylvie have a lot in common.
With sophisticated outfits and a Machiavellian management style, she nearly steals the show.
While ‘Emily in Paris’ had propelled her to global fame, Leroy-Beaulieu is a veteran of French films and TV, having worked with renowned filmmakers such as Roger Vadim, Coline Serreau and Philippe Le Guay as well as Andrzej Wajda, James Ivory and Robert Altman, reports ‘Variety’.
The actress revealed that she had a blast playing her character’s dark sides.
Philippine told ‘Variety’ that her character is more vulnerable than she is mean.
“It’s like Darren. When you meet him for the first time, he’s very cold, but in fact he’s like many people who are highly sensitive: He protects himself. In a way, Darren and Sylvie have a lot in common.
- 12/27/2022
- by Glamsham Bureau
- GlamSham
Philippine Leroy-Beaulieu plays chic French boss Sylvie Grateau, the nemesis of Emily Cooper (Lily Collins), in Netflix’s “Emily in Paris.” With sophisticated outfits and a Machiavellian management style, she nearly steals the show. In real life, Leroy-Beaulieu emanates the same strength and determination as Sylvie, but she can usually be found on her scooter zipping around Paris in biker boots (albeit chic ones). While “Emily in Paris” has propelled her to global fame, Leroy-Beaulieu is a veteran of French film and TV, having worked with renowned filmmakers such as Roger Vadim, Coline Serreau and Philippe Le Guay, as well as Andrzej Wajda, James Ivory and Robert Altman. Audiences also know her from another hit Netflix series, “Call My Agent!,” in which she had a recurring role. The actor is turning 60 next year, but she’s never been busier or more popular.
How did you land this part in “Emily in Paris”?
One day,...
How did you land this part in “Emily in Paris”?
One day,...
- 12/26/2022
- by Elsa Keslassy
- Variety Film + TV
It had been nearly three decades since a film was last screened in Ciné Apollon, an open-air theater in the resort town of Edipsos on the north shore of the Greek island of Evia. But the arrival of several hundred moviegoers on June 15 for a screening of French filmmaker Coline Serreau’s “La Belle Verte” (The Green Planet) offered a much-needed sense of rebirth: for the cinema, and for an island that was devastated by catastrophic wildfires last summer.
As part of wide-ranging efforts to revitalize struggling communities and give a boost to the local economy, the organizers of the Thessaloniki Film Festival this year launched the Evia Film Project, a five-day event that underscores the perils of climate change and offers the film industry a chance to explore the possibilities of green film production.
When the audience gathered at the Apollon for the opening of the festival, which ran...
As part of wide-ranging efforts to revitalize struggling communities and give a boost to the local economy, the organizers of the Thessaloniki Film Festival this year launched the Evia Film Project, a five-day event that underscores the perils of climate change and offers the film industry a chance to explore the possibilities of green film production.
When the audience gathered at the Apollon for the opening of the festival, which ran...
- 6/20/2022
- by Christopher Vourlias
- Variety Film + TV
France has been a supreme force in the Oscars’ international feature race for decades. This year, three acclaimed films from women directors — Céline Sciamma, Audrey Diwan and Julia Ducournau — are believed to be at the top of the list to represent the country for the upcoming 94th ceremony, set to take place on March 27. Though France is the most-nominated country in the history of the category, it hasn’t walked away with the prize in nearly 30 years. Can that change this year?
The French submission is decided annually by the National Cinema Center. The committee will hold its first meeting on Thursday to pre-select a shortlist of films, with the producers being “auditioned” by the committee on Oct. 12, before the final choice is made. Sciamma’s “Petite Maman,” Ducournau’s “Titane” and Diwan’s “Happening” are believed to be the favorites for consideration. “Happening” was just acquired by IFC Films...
The French submission is decided annually by the National Cinema Center. The committee will hold its first meeting on Thursday to pre-select a shortlist of films, with the producers being “auditioned” by the committee on Oct. 12, before the final choice is made. Sciamma’s “Petite Maman,” Ducournau’s “Titane” and Diwan’s “Happening” are believed to be the favorites for consideration. “Happening” was just acquired by IFC Films...
- 10/7/2021
- by Clayton Davis
- Variety Film + TV
Anne Fontaine’s new film, Night Shift, showing as a Special Gala at the Berlinale, is highly accomplished, well constructed, and suspenseful and shows Fontaine’s to be an especially strong director. Why it was shown as a Special Gala at the Berlinale rather than in Competition is an open question. But more in question is why is Fontane not more celebrated as one of France’s top directors?
Anne Fontaine has matured since I last wrote about her when I saw The Innocents, though that too was very original. During the Sundance Film Festival 2016, when I first met and interviewed her for The Innocents, I had not even heard of her.
At first glance, I saw she was elegant in that rich French way and on researching her I saw she was married to Philippe Carcassonne, one of France’s lead producers and the producer of this film along...
Anne Fontaine has matured since I last wrote about her when I saw The Innocents, though that too was very original. During the Sundance Film Festival 2016, when I first met and interviewed her for The Innocents, I had not even heard of her.
At first glance, I saw she was elegant in that rich French way and on researching her I saw she was married to Philippe Carcassonne, one of France’s lead producers and the producer of this film along...
- 4/13/2020
- by Sydney Levine
- Sydney's Buzz
Sisters (Soeurs)
It’s been eighteen years since Yamina Benguigui’s critically acclaimed 2001 debut Inch’Allah dimanche, and she’s back with sophomore narrative feature Sisters (Soeurs). Benguigui (also serving as producer) finds a stellar trio of actresses as her three ‘sisters,’ including Isabelle Adjani (who recently made a high-profile reappearance in Romain Gavras’ The World is Yours), Maiwenn, and Rachida Bakri who starred in Coline Serreau’s 2001 title Chaos (Maiwenn’s first film appearance was as Adani’s daughter in Jean Becker’s One Deadly Summer – 1983). This will also be the first project Adjani has filmed in her father’s native country.…...
It’s been eighteen years since Yamina Benguigui’s critically acclaimed 2001 debut Inch’Allah dimanche, and she’s back with sophomore narrative feature Sisters (Soeurs). Benguigui (also serving as producer) finds a stellar trio of actresses as her three ‘sisters,’ including Isabelle Adjani (who recently made a high-profile reappearance in Romain Gavras’ The World is Yours), Maiwenn, and Rachida Bakri who starred in Coline Serreau’s 2001 title Chaos (Maiwenn’s first film appearance was as Adani’s daughter in Jean Becker’s One Deadly Summer – 1983). This will also be the first project Adjani has filmed in her father’s native country.…...
- 1/4/2019
- by Nicholas Bell
- IONCINEMA.com
French producer worked with Wong Kar Wai, Wayne Wang, Nikita Mikhalkov, Zhang Yimou, Peter Greenaway and Jonathan Glazer.
France-born, Hong Kong based producer Jean Louis Piel, who worked with international filmmakers including Wong Kar Wai, Wayne Wang, Nikita Mikhalkov, Zhang Yimou, Peter Greenaway and Jonathan Glazer, has died of cancer at the age of 69.
Piel’s credits included Mikhalkov’s Close To Eden, which won the Golden Lion at the Venice film festival in 1991 and was nominated for the best foreign-language Oscar, and the Russian director’s Burnt By The Sun which won the Grand Prix at Cannes in 1994 and...
France-born, Hong Kong based producer Jean Louis Piel, who worked with international filmmakers including Wong Kar Wai, Wayne Wang, Nikita Mikhalkov, Zhang Yimou, Peter Greenaway and Jonathan Glazer, has died of cancer at the age of 69.
Piel’s credits included Mikhalkov’s Close To Eden, which won the Golden Lion at the Venice film festival in 1991 and was nominated for the best foreign-language Oscar, and the Russian director’s Burnt By The Sun which won the Grand Prix at Cannes in 1994 and...
- 12/21/2018
- by Louise Tutt
- ScreenDaily
Family Matters: Wolfe’s Unsettling Debut a Thriller with a Mean Streak
Premiering in the Directors’ Fortnight sidebar at the 2014 Cannes Film Festival, director Daniel Wolfe’s directorial debut, Catch Me Daddy, is most likely to inspire awe or ire as a denuded genre thriller, pared down to the barest essentials of abject miserabilism. There’s no one to innately empathize with, beyond being exposed to a central victim whom we must logically root for given her ambitious rebellion against the patriarchal straightjacket she was weaned from. Unfolding with methodical calm, the first time filmmaker manages to instill a mounting dread thanks to surprising, even shocking moments of gruesome violence, and that’s despite its lack of emotional posturing. Down and out working class folks thrust into dire straits is the name of the game here, and though a bit of additional context would’ve enhanced the basic premise,...
Premiering in the Directors’ Fortnight sidebar at the 2014 Cannes Film Festival, director Daniel Wolfe’s directorial debut, Catch Me Daddy, is most likely to inspire awe or ire as a denuded genre thriller, pared down to the barest essentials of abject miserabilism. There’s no one to innately empathize with, beyond being exposed to a central victim whom we must logically root for given her ambitious rebellion against the patriarchal straightjacket she was weaned from. Unfolding with methodical calm, the first time filmmaker manages to instill a mounting dread thanks to surprising, even shocking moments of gruesome violence, and that’s despite its lack of emotional posturing. Down and out working class folks thrust into dire straits is the name of the game here, and though a bit of additional context would’ve enhanced the basic premise,...
- 8/7/2015
- by Nicholas Bell
- IONCINEMA.com
Catherine Deneuve: César Award Besst Actress Record-Tier (photo: Catherine Deneuve in 'In the Courtyard / Dans la cour') (See previous post: "Kristen Stewart and Catherine Deneuve Make César Award History.") Catherine Deneuve has received 12 Best Actress César nominations to date. Deneuve's nods were for the following movies (year of film's release): Pierre Salvadori's In the Courtyard / Dans la Cour (2014). Emmanuelle Bercot's On My Way / Elle s'en va (2013). François Ozon's Potiche (2010). Nicole Garcia's Place Vendôme (1998). André Téchiné's Thieves / Les voleurs (1996). André Téchiné's My Favorite Season / Ma saison préférée (1993). Régis Wargnier's Indochine (1992). François Dupeyron's Strange Place for an Encounter / Drôle d'endroit pour une rencontre (1988). Jean-Pierre Mocky's Agent trouble (1987). André Téchiné's Hotel America / Hôtel des Amériques (1981). François Truffaut's The Last Metro / Le dernier métro (1980). Jean-Paul Rappeneau's Le sauvage (1975). Additionally, Catherine Deneuve was nominated in the Best Supporting Actress category...
- 1/30/2015
- by Steve Montgomery
- Alt Film Guide
Two suspects on the run after French magazine massacre leaves 12 dead.
French cinema industry guild L’Arp and its counterparts in the Us have condemned a terrorist attack on the Paris offices of French satirical magazine Charlie Hebdo, in which 12 people were shot dead by two armed gunmen. At least four people were critically wounded in the attack.
At time of writing early on Thursday morning local time two men remained at large. They were identified as brothers Cherif Kouachi and Said Kouachi and are understood to be in their 30s.
Afp reported that a third man believed to be 18-year-old Hamyd Mourad surrendered close to the Belgian border.
“The cineastes of L’Arp learned with horror about the base attack on the newsroom of Charlie Hebdo and are devastated by this inexplicable act,” L’Arp said in a statement hours after the attack.
“They wish to express their full solidarity for the journalists and staff at Charlie...
French cinema industry guild L’Arp and its counterparts in the Us have condemned a terrorist attack on the Paris offices of French satirical magazine Charlie Hebdo, in which 12 people were shot dead by two armed gunmen. At least four people were critically wounded in the attack.
At time of writing early on Thursday morning local time two men remained at large. They were identified as brothers Cherif Kouachi and Said Kouachi and are understood to be in their 30s.
Afp reported that a third man believed to be 18-year-old Hamyd Mourad surrendered close to the Belgian border.
“The cineastes of L’Arp learned with horror about the base attack on the newsroom of Charlie Hebdo and are devastated by this inexplicable act,” L’Arp said in a statement hours after the attack.
“They wish to express their full solidarity for the journalists and staff at Charlie...
- 1/8/2015
- ScreenDaily
Top satirical cartoonists among 12 people shot dead in attack on French magazine.
French cinema industry guild L’Arp has condemned a terrorist attack on the Paris offices of French satirical magazine Charlie Hebdo, in which 12 people were shot dead by two armed gunmen. At least four people were critically wounded in the attack.
“The cineastes of L’Arp learned with horror about the base attack on the newsroom of Charlie Hebdo and are wiped out by this inexplicable act,” the body said in a statement, just hours after the attack.
“They wish to express their full solidarity for the journalists and staff at Charlie Hebdo as well as their relatives and colleagues.
“Their historic bravery honours creation and freedom. Nothing, no threat or violent act, whatever the motive, whether it be political, religious or otherwise, will hinder the freedom of expression and freedom of creation.”
Filmmaker Claude Lelouche is currently the honorary president of L’Arp with...
French cinema industry guild L’Arp has condemned a terrorist attack on the Paris offices of French satirical magazine Charlie Hebdo, in which 12 people were shot dead by two armed gunmen. At least four people were critically wounded in the attack.
“The cineastes of L’Arp learned with horror about the base attack on the newsroom of Charlie Hebdo and are wiped out by this inexplicable act,” the body said in a statement, just hours after the attack.
“They wish to express their full solidarity for the journalists and staff at Charlie Hebdo as well as their relatives and colleagues.
“Their historic bravery honours creation and freedom. Nothing, no threat or violent act, whatever the motive, whether it be political, religious or otherwise, will hinder the freedom of expression and freedom of creation.”
Filmmaker Claude Lelouche is currently the honorary president of L’Arp with...
- 1/7/2015
- ScreenDaily
Former Palme d'Or winner to take prestigious role as jury president for this year's edition of the premier European film festival
• Jane Campion wanted a bleaker ending for The Piano
• Jane Campion: this much I know
The Oscar-winning director of The Piano, Jane Campion, is to lead the jury at this year's Cannes film festival.
Campion, who is also the only female film-maker to have ever taken home the French event's top prize, the Palme d'Or, described her passion for the world's most famous film festival in a statement.
"Since I first went to Cannes with my short films in 1986 I have had the opportunity to see the festival from many sides and my admiration for this Queen of film festivals has only grown larger," she said. "At the Cannes film festival they manage to combine and celebrate the glamour of the industry, the stars, the parties, the beaches,...
• Jane Campion wanted a bleaker ending for The Piano
• Jane Campion: this much I know
The Oscar-winning director of The Piano, Jane Campion, is to lead the jury at this year's Cannes film festival.
Campion, who is also the only female film-maker to have ever taken home the French event's top prize, the Palme d'Or, described her passion for the world's most famous film festival in a statement.
"Since I first went to Cannes with my short films in 1986 I have had the opportunity to see the festival from many sides and my admiration for this Queen of film festivals has only grown larger," she said. "At the Cannes film festival they manage to combine and celebrate the glamour of the industry, the stars, the parties, the beaches,...
- 1/7/2014
- by Ben Child
- The Guardian - Film News
Of the 22 films in contention for the prestigious Palme d'Or, not one has a female director. And while women's lives are getting more attention on screen, the struggle to break in to the rough and tough old boys' club of directing appears as hard as ever
Cannes' fabled Croisette promenade was dotted with the customary festival starlets in high heels and glamorous dresses yesterday afternoon.
But just behind them, a feminist uprising of sorts was in full swing. Inside a landmark hotel on the seafront strip in the South of France, loud calls for positive discrimination in favour of women's films were being voiced. The impact of British director Andrea Arnold's public anger about the failure to include a female director in the prestigious Palme D'Or line-up continues to stir controversy at the annual celebration of world cinema.
Speakers at a Beyond Borders diversity symposium echoed Arnold's complaint that...
Cannes' fabled Croisette promenade was dotted with the customary festival starlets in high heels and glamorous dresses yesterday afternoon.
But just behind them, a feminist uprising of sorts was in full swing. Inside a landmark hotel on the seafront strip in the South of France, loud calls for positive discrimination in favour of women's films were being voiced. The impact of British director Andrea Arnold's public anger about the failure to include a female director in the prestigious Palme D'Or line-up continues to stir controversy at the annual celebration of world cinema.
Speakers at a Beyond Borders diversity symposium echoed Arnold's complaint that...
- 5/19/2012
- by Vanessa Thorpe
- The Guardian - Film News
The French feminist collective known as La Barbe (French for “The Beard”) printed an open letter in France’s daily newspaper Le Monde earlier this week addressing the complete absence of films directed by women in the Competition section at this year’s Cannes Film Festival. La Barbe is made up of actress Fanny Cottençon, writer/director Virginie Despentes and director Coline Serreau, who have also set up an online petition which has been signed by numerous luminaries, including feminist icon Gloria Steinem and filmmakers such as Ry Russo-Young, Gillian Armstrong and Ava DuVernay.
The British newspaper The Guardian ran a translation of the open letter, which reads as follows:
“What has changed in cinema? Everything has changed!” exclaimed Gilles Jacob, president of the Cannes film festival, during the presentation of the 65th Cannes festival film nominations. Everything?! For one second, we trembled. But for no reason, it turned out,...
The British newspaper The Guardian ran a translation of the open letter, which reads as follows:
“What has changed in cinema? Everything has changed!” exclaimed Gilles Jacob, president of the Cannes film festival, during the presentation of the 65th Cannes festival film nominations. Everything?! For one second, we trembled. But for no reason, it turned out,...
- 5/18/2012
- by Nick Dawson
- Filmmaker Magazine - Blog
Open letter: Women may adorn the awards ceremony and prettify the posters, but, mon dieu, don't let them behind the camera
"What has changed in cinema? Everything has changed!" exclaimed Gilles Jacob, president of the Cannes film festival, during the presentation of the 65th Cannes festival film nominations. Everything?! For one second, we trembled. But for no reason, it turned out, as the 22 officially selected movies – happy coincidence – were directed by 22 men. This 65th festival will end up giving the precious award to a male director for the 63rd time, defending the masculine values that give the seventh art its nobility.
Only once did the Cannes film festival lose heart. In 1993, the Palme d'Or was indeed awarded to Jane Campion. And last year, doubtless due to a lack of vigilance, four women somehow sneaked in among the 20 people nominated in the official competition. Thierry Frémeaux, the festival's director general, correctly...
"What has changed in cinema? Everything has changed!" exclaimed Gilles Jacob, president of the Cannes film festival, during the presentation of the 65th Cannes festival film nominations. Everything?! For one second, we trembled. But for no reason, it turned out, as the 22 officially selected movies – happy coincidence – were directed by 22 men. This 65th festival will end up giving the precious award to a male director for the 63rd time, defending the masculine values that give the seventh art its nobility.
Only once did the Cannes film festival lose heart. In 1993, the Palme d'Or was indeed awarded to Jane Campion. And last year, doubtless due to a lack of vigilance, four women somehow sneaked in among the 20 people nominated in the official competition. Thierry Frémeaux, the festival's director general, correctly...
- 5/15/2012
- by La Barbe
- The Guardian - Film News
Nadine Labaki, Where Do We Go Now? Today it was announced that Patty Jenkins, whose Monster earned Charlize Theron a Best Actress Oscar in early 2004, will be directing Thor 2. Officially, Perkins is the first woman director at the helm of a big-budget, Hollywood superhero movie. Below you'll find ten movies directed by female filmmakers that are among the 63 contenders for nominations for the 2012 Academy Awards' Best Foreign Language Film category. Seven of those hail from Europe; one is from the Americas, one from East Asia, and one from West Asia (or the Middle East). They are: the Dominican Republic's Leticia Tonos for Love Child, France's Valérie Donzelli for the semi-autobiographical Declaration of War, Greece's Athina Rachel Tsangari for Attenberg, Hong Kong's Ann Hui for A Simple Life, and Ireland's Juanita Wilson for As If I Am Not There. Also: Lebanon's Nadine Labaki for Toronto Film Festival Audience Award winner Where Do We Go Now?...
- 10/14/2011
- by Andre Soares
- Alt Film Guide
The French insistence on regarding cinema as art has helped produced formidable women directors. But is the next generation the most wide-ranging yet?
There's a feeling out there that France may be on the verge of another new wave: not of the politically radical 1950s kind, but one in which young, driven, women film-makers will be at the fore. Names being mentioned are Mia Hansen-Løve, Rebecca Zlotowski and Katell Quillévéré; their films have already electrified France and are beginning to spread elsewhere.
Of course, on one level, there is nothing unusual about French women film directors. From Agnès Varda to Claire Denis, Coline Serreau to Agnès Jaoui, women have been able to make their presence felt in French cinema. Nt Binh, film critic for the film magazine Positif, says: "It's not a wave but a deluge, one that has been going on for more than 50 years."
In fact, it all...
There's a feeling out there that France may be on the verge of another new wave: not of the politically radical 1950s kind, but one in which young, driven, women film-makers will be at the fore. Names being mentioned are Mia Hansen-Løve, Rebecca Zlotowski and Katell Quillévéré; their films have already electrified France and are beginning to spread elsewhere.
Of course, on one level, there is nothing unusual about French women film directors. From Agnès Varda to Claire Denis, Coline Serreau to Agnès Jaoui, women have been able to make their presence felt in French cinema. Nt Binh, film critic for the film magazine Positif, says: "It's not a wave but a deluge, one that has been going on for more than 50 years."
In fact, it all...
- 3/25/2011
- by Agnès Poirier
- The Guardian - Film News
Among those they have tapped for the fest they have a premium Midnight Screening for Gilles Marchand's Black Heaven and they are closing the festival with Julie Bertuccelli's The Tree. - The Sales/Distribution/Production company continually pluck from a batch of interesting U.S independent film auteurs (they are back on board with So Yong Kim for her to be released in the Fall title, For Ellen), grabbing select Euro titles Natalia Smirnoff's Puzzle (a Berlin) along with French films which we've been talking non-stop for the better half of year. Among those they have tapped for the fest they have a premium Midnight Screening for Gilles Marchand's Black Heaven and they are closing the festival with Julie Bertuccelli's The Tree. (see Charlotte Gainsbourg in pic above). On the sales side of things, they are working with Marchand's partner in crime Dominik Moll...
- 5/13/2010
- IONCINEMA.com
The Sales/Distribution/Production company continually pluck from a batch of interesting U.S independent film auteurs (they are back on board with So Yong Kim for her to be released in the Fall title, For Ellen), grabbing select Euro titles Natalia Smirnoff's Puzzle (a Berlin) along with French films which we've been talking non-stop for the better half of year. Among those they have tapped for the fest they have a premium Midnight Screening for Gilles Marchand's Black Heaven and they are closing the festival with Julie Bertuccelli's The Tree. (see Charlotte Gainsbourg in pic above). On the sales side of things, they are working with Marchand's partner in crime Dominik Moll's filmed in Spain fantasy pic and are onboard Pawel Pawlikowski's new project – a helmer who's sabbatical has lasted a tad too long. Black Heaven (L'autre Monde) by Gilles Marchand - Completed The Monk...
- 5/12/2010
- IONCINEMA.com
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Aishwarya Rai (Ash) is one of Bollywood's pre-eminent leading ladies. This Indian darling burst upon the world stage when her striking beauty, poise and commanding intelligence won her the Miss World crown in 1994. This former architecture major soon became one of India's most famous...
Aishwarya Rai (Aishwarya Bachchan), latest news and pictures, video clips, biography, bollywood movie actress, indian model pictures gallery, aish, Bollywood, photo gallery, photos, pictures, wallpapers, india, indian models, iruvar, aishwarya model, aishwarya rai model, albela, ash, bollywood pictures, miss world, model, cannes, loreal, aishwarya loreal ad, lux, nakshatra, aishwarya rai pics, aishwarya rai photo, ash photos, aishwarya rai gallery, aishwarya rai ads, aishwarya rai commercials, aishwarya rai audio, taj mahal and featured in Dabboo Ratnani Calendar 2007. Aishwarya Rai has a wax model in at the world famous Madame Tussauds waxwork museum in London. Biography Details:
Aishwarya Rai (Ash) is one of Bollywood's pre-eminent leading ladies. This Indian darling burst upon the world stage when her striking beauty, poise and commanding intelligence won her the Miss World crown in 1994. This former architecture major soon became one of India's most famous...
- 1/2/2010
- by buyallgifts
- Bollywood Movie News
PARIS -- ARP, France's influential body of writers, directors and producers, said Tuesday that its board has elected director-writer Claude Zidi as president. Zidi replaces director-writer Pierre Jolivet, who has headed the organization since 1999 and will continue to serve as a vp. Director-writers Claude Miller and Jean Marboeuf also were elected vps at a board meeting Monday. Producer-director Claude Berri, who heads the French Cinematheque, will serve as honorary president for a second year, ARP said. French directors Jeanne Labrune, Gerard Krawczyk and Bertrand Van Effenterre have been named members of the association's management, while producer-writer-director Jean-Claude Jean will serve as treasurer. ARP's administrative council of 14 members includes French directors Alain Corneau, Costa-Gavras, Claude Lelouch, Coline Serreau, Christophe Barratier, Jean-Jacques Beineix and Bertrand Tavernier.
PARIS -- ARP, France's influential body of writers, directors and producers, said Tuesday that it has re-elected director-writer Pierre Jolivet as president. He has headed the organization since 1999. Jolivet was elected at a board meeting June 24, ARP said. Directors Claude Lelouch, Gerard Krawczyk and Bertrand Van Effenterre were elected vps at the meeting. Claude Berri, who heads the French Cinematheque, has been named honorary president. The association's management has been enlarged to include two new members -- writer-directors Christophe Barratier, whose Les Choristes (The Choristers) has been a runaway French hit this year, and Jeanne Labrune (Vatel). The body's administrative council of 13 members includes French directors Alain Corneau, Constantin Costa-Gavras, Claude Miller, Coline Serreau and Unifrance's president, producer Margaret Menegoz.
Jean-Yves Escoffier, a French cinematographer who shot the original Three Men and a Cradle for Coline Serreau, has died of a heart seizure in Los Angeles. He was 52. A memorial service will be held at 5 p.m. Friday at the Pacific Asia Museum in Pasadena. He died April 1. A graduate of the Ecole Louis Lumiere in Paris, Escoffier was known in Europe for his collaboration with director Leos Carax, with whom he made three films: Les Amants du Pont-Neuf (The Lovers on the Bridge), for which he won a European Academy Felix Award; Mauvais sang (Bad Blood); and Boy Meets Girl. He received a Cesar Award for his work on Trois Hommes et un couffin, as the Cradle film was titled in French. Escoffier came to the United States during the early 1990s and shot 14 features, including The Crow: City of Angels, Gummo, Good Will Hunting, Nurse Betty, Possession and Cradle Will Rock. His last completed feature, The Human Stain for director Robert Benton, will be released in the fall by Miramax and Lakeshore. Before his death, Escoffier was working on director Wong Kar-wai's futuristic drama 2046. Escoffier also made many award-winning short dramatic films and documentaries. He shot the claymation project Le Chateau de sable (The Sand Castle), which won the 1978 Oscar for best animated short. He was director of photography for commercials and music videos, collaborating with Luc Besson, Jean Pierre Jeunet, David Lynch, Jean Baptiste Mondino, Phil Morrison and Mark Romanek.
- 4/16/2003
- The Hollywood Reporter - Movie News
PARIS -- It has taken director Coline Serreau 18 years to tackle a sequel to her highly successful "Three Men and a Cradle". The result of nearly two decades of reflection is a gentle, engaging comedy that wisely avoids retreading old ground.
Back in 1985 when Serreau hit the jackpot with her satirical take on fatherhood, there was a wealth of untapped comedy in the idea of three single men bringing up a baby. Eighteen years later, and the world has evolved. Audiences are no longer strangers to the role fathers play in child rearing. Eighteen years later, Jacques (Andre Dussollier), Michel (Michel Boujenah) and Pierre (Roland Giraud) are now watching from the wings as the teenage Marie Madeleine Besson) prepares to leave the nest. Her mother, Sylvie (Philippine Leroy-Beaulieu), lives in the States and has remarried. She is spending the summer vacation in the south of France with her new American husband and his two teenage sons and invites Marie along. With Marie gone, the three men find their private lives sadly lacking and are soon on their way south.
This sequel springs no surprises. The focus of the film centers on how the three men deal with Marie as a young, independent women. And with some superb ensemble acting from Dussollier, Boujenah and Giraud, the process is both funny and poignant. Serreau hasn't missed the opportunity to revisit some of her favorite themes -- the relationship between men and women and the differences between generations. But there is no battle between the sexes or generation clash. Set against the backdrop of a scorching Provencal summer, relationships ebb and flow at a slow, almost hypnotic pace. Serreau's only dig comes at the expense of the American husband and his sons. John (Ken Samuels) is portrayed as a highly competitive, middle-aged man. The sons neatly fall under the headings "drop-dead gorgeous" for the older and "spotty geek" for the younger. Even here, the barbs are blunt, and it's difficult to take offense at such obvious cliches.
The three main actors step back into the original roles as if they have never been away. It's a rare treat to see a film where the actors have genuinely aged and matured over a period of time. Admirably supported by Besson and Line Renaud as the governess, this film cannot fail to delight.
Back in 1985 when Serreau hit the jackpot with her satirical take on fatherhood, there was a wealth of untapped comedy in the idea of three single men bringing up a baby. Eighteen years later, and the world has evolved. Audiences are no longer strangers to the role fathers play in child rearing. Eighteen years later, Jacques (Andre Dussollier), Michel (Michel Boujenah) and Pierre (Roland Giraud) are now watching from the wings as the teenage Marie Madeleine Besson) prepares to leave the nest. Her mother, Sylvie (Philippine Leroy-Beaulieu), lives in the States and has remarried. She is spending the summer vacation in the south of France with her new American husband and his two teenage sons and invites Marie along. With Marie gone, the three men find their private lives sadly lacking and are soon on their way south.
This sequel springs no surprises. The focus of the film centers on how the three men deal with Marie as a young, independent women. And with some superb ensemble acting from Dussollier, Boujenah and Giraud, the process is both funny and poignant. Serreau hasn't missed the opportunity to revisit some of her favorite themes -- the relationship between men and women and the differences between generations. But there is no battle between the sexes or generation clash. Set against the backdrop of a scorching Provencal summer, relationships ebb and flow at a slow, almost hypnotic pace. Serreau's only dig comes at the expense of the American husband and his sons. John (Ken Samuels) is portrayed as a highly competitive, middle-aged man. The sons neatly fall under the headings "drop-dead gorgeous" for the older and "spotty geek" for the younger. Even here, the barbs are blunt, and it's difficult to take offense at such obvious cliches.
The three main actors step back into the original roles as if they have never been away. It's a rare treat to see a film where the actors have genuinely aged and matured over a period of time. Admirably supported by Besson and Line Renaud as the governess, this film cannot fail to delight.
- 2/11/2003
- The Hollywood Reporter - Movie News
Coline Serreau, best known in these parts as the writer-director of the original French version of "3 Men and a Baby", goes for a more complex tone in "Chaos", an ambitious social satire featuring a remarkable performance by exotic newcomer Rachida Brakni.
While the French-language film's unusual blend of drama and comedy doesn't always make for smooth transitions, the absorbing story has its share of pleasant, empowering surprises.
Closing out this year's City of Lights, City of Angels festival of fresh French films, the picture deserves some extended art house exposure beyond the festival circuit.
Serreau wastes little time in setting up the frantic lives of married Parisian couple Helene (Catherine Frot) and Paul (Vincent Lindon), who seem to be in a constant state of hurrying out the door.
But at least one of them is forced to take stock of their empty situation when they witness the brutal beating of a young prostitute (Brakni) right in front of their car. While his wife wants to call the police, Paul refuses to get involved to the extent of proceeding to an automatic car wash to get the woman's blood off his windshield.
Although Paul is content to get on with his so-called life, Helene remains traumatized by the incident and tracks the woman down in a hospital where she's lying in a coma. She'll remain at her side until she recovers while keeping an eye out for the pimps who put her there.
Ultimately the woman, who's known as both Noemie and Malika, regains full consciousness and, finally, her voice. Through an extended series of flashbacks, she tells her truly wild story, proving you can't always judge a hooker by her cover.
Serreau has much on her mind here, including things like the hypocrisy of the bourgeoisie and the lot of young Arab women trapped in rigid patriarchal societies. While she often tempers those observations with humor, occasionally they still go a little heavy on the speechifying.
Usually you're too swept away by the performances of the two female leads to notice. Brakni, who won a Cesar Award for best female newcomer, conveys volumes, much of the time just with her expressive dark eyes; while veteran Frot goes through an intriguing metamorphosis, gradually shedding her world-weary coat of armor as she begins to find some true meaning in her life.
The males -- in the case of Lindon as the exasperated, self-absorbed hubby, and Aurelien Wiik as their womanizing son who demonstrates that the apple doesn't fall far from the tree -- are used mainly for comic relief rather than for advancing the plot. Again, those tricky shifts in tone aren't always seamless.
Thanks to Serreau's use of digital resources, and the reality-edged work of cinematographer Jean-Francois Robin, there's an immediacy to the story, especially in its first half, that conventional film might not have as effectively provided.
CHAOS
Bac Films
An FR2, StudioCanal Plus, Les Films Alain Sarde, Eniloc production
Credits: Director-screenwriter: Coline Serreau
Producers: Christine Gozlan, Alain Sarde
Director of photography: Jean-Francois Robin
Production designer: Michele Abbe-Vannier
Editor: Catherine Renault
Costume designer: Karen Muller Serreau
Music: Aaron Grain, Ludovic Navarre
Cast:
Helene Vidal: Catherine Frot
Paul Vidal: Vincent Lindon
Noemie/Malika: Rachida Brakni
Mamie: Line Renaud
Fabrice Vidal: Aurelien Wiik
Running time -- 109 minutes
No MPAA rating...
While the French-language film's unusual blend of drama and comedy doesn't always make for smooth transitions, the absorbing story has its share of pleasant, empowering surprises.
Closing out this year's City of Lights, City of Angels festival of fresh French films, the picture deserves some extended art house exposure beyond the festival circuit.
Serreau wastes little time in setting up the frantic lives of married Parisian couple Helene (Catherine Frot) and Paul (Vincent Lindon), who seem to be in a constant state of hurrying out the door.
But at least one of them is forced to take stock of their empty situation when they witness the brutal beating of a young prostitute (Brakni) right in front of their car. While his wife wants to call the police, Paul refuses to get involved to the extent of proceeding to an automatic car wash to get the woman's blood off his windshield.
Although Paul is content to get on with his so-called life, Helene remains traumatized by the incident and tracks the woman down in a hospital where she's lying in a coma. She'll remain at her side until she recovers while keeping an eye out for the pimps who put her there.
Ultimately the woman, who's known as both Noemie and Malika, regains full consciousness and, finally, her voice. Through an extended series of flashbacks, she tells her truly wild story, proving you can't always judge a hooker by her cover.
Serreau has much on her mind here, including things like the hypocrisy of the bourgeoisie and the lot of young Arab women trapped in rigid patriarchal societies. While she often tempers those observations with humor, occasionally they still go a little heavy on the speechifying.
Usually you're too swept away by the performances of the two female leads to notice. Brakni, who won a Cesar Award for best female newcomer, conveys volumes, much of the time just with her expressive dark eyes; while veteran Frot goes through an intriguing metamorphosis, gradually shedding her world-weary coat of armor as she begins to find some true meaning in her life.
The males -- in the case of Lindon as the exasperated, self-absorbed hubby, and Aurelien Wiik as their womanizing son who demonstrates that the apple doesn't fall far from the tree -- are used mainly for comic relief rather than for advancing the plot. Again, those tricky shifts in tone aren't always seamless.
Thanks to Serreau's use of digital resources, and the reality-edged work of cinematographer Jean-Francois Robin, there's an immediacy to the story, especially in its first half, that conventional film might not have as effectively provided.
CHAOS
Bac Films
An FR2, StudioCanal Plus, Les Films Alain Sarde, Eniloc production
Credits: Director-screenwriter: Coline Serreau
Producers: Christine Gozlan, Alain Sarde
Director of photography: Jean-Francois Robin
Production designer: Michele Abbe-Vannier
Editor: Catherine Renault
Costume designer: Karen Muller Serreau
Music: Aaron Grain, Ludovic Navarre
Cast:
Helene Vidal: Catherine Frot
Paul Vidal: Vincent Lindon
Noemie/Malika: Rachida Brakni
Mamie: Line Renaud
Fabrice Vidal: Aurelien Wiik
Running time -- 109 minutes
No MPAA rating...
- 5/16/2002
- The Hollywood Reporter - Movie News
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