Mathieu Amalric with Anne-Katrin Titze on a link between Robert Musil’s The Man Without Qualities, Jerry Lewis, Buster Keaton, Charlie Chaplin, and Peter Sellers: “Somebody that is there, that didn’t ask anything and that puts the world in disorder.”
Mathieu Amalric’s terrific Hold Me Tight (Serre Moi Fort), starring Vicky Krieps and Arieh Worthalter was a highlight of the 74th Cannes Film Festival and New York’s Rendez-Vous with French Cinema. He just premiered Zorn III (2018 - 2022) in Cinéma du réel at the Centre Pompidou and this weekend he will be in Hamburg on stage with Barbara Hannigan to perform Zorn’s The Song of Songs (written for Lou Reed and Laurie Anderson). Then Mathieu is off to Rome to star in Nanni Moretti’s Il Sol Dell'Avvenire.
Barbara Hannigan and John Zorn in Mathieu Amalric’s Zorn III (2018 - 2022)
In the first of my series...
Mathieu Amalric’s terrific Hold Me Tight (Serre Moi Fort), starring Vicky Krieps and Arieh Worthalter was a highlight of the 74th Cannes Film Festival and New York’s Rendez-Vous with French Cinema. He just premiered Zorn III (2018 - 2022) in Cinéma du réel at the Centre Pompidou and this weekend he will be in Hamburg on stage with Barbara Hannigan to perform Zorn’s The Song of Songs (written for Lou Reed and Laurie Anderson). Then Mathieu is off to Rome to star in Nanni Moretti’s Il Sol Dell'Avvenire.
Barbara Hannigan and John Zorn in Mathieu Amalric’s Zorn III (2018 - 2022)
In the first of my series...
- 3/20/2022
- by Anne-Katrin Titze
- eyeforfilm.co.uk
A jury of four exhibitors announced today that "La Belle Vie," the feature debut of French director Jean Denizot, is the the winner of the Venice Film Festival's Europa Cinemas Label, as part of the festival's Venice Days section. The cast includes Zacharie Chasseriaud, Jules Pelissier, SolEne Rigot, Nicolas Bouchaud, Jean-Philippe Ecoffey and Maya Sansa. Here's the synopsis: Sylvain and Pierre have been running from the law ever since a custody battle with their mother, won by the latter, pushed their father Yves into hiding ten years ago. But now that they're older, the two brothers are road-weary and eager to take advantage of the perks of young adulthood. When the authorities discover their whereabouts, they are forced to move yet again and Pierre, the elder, disappears. Alone with his father on an island in the Loire River, Sylvain meets Gilda: his first girl, his first crush, and the first...
- 9/6/2013
- by Ryan Lattanzio
- Thompson on Hollywood
Harold Pinter theatre; Barbican, London
Trevor Nunn began the summer by directing a heavy-handed Kiss Me Kate; he ends it by staging a star-encrusted but tepid Chorus of Disapproval. What a waste. Of Alan Ayckbourn, whose 1984 play has not been taken seriously, and therefore looks unfunny. And of Nunn, who has been innovative (Nicholas Nickleby) and meticulous (his Merchant of Venice was a revelation because of its detail), and who has helped (with Gorky's Summerfolk) to widen the theatrical repertoire but is in danger of looking fusty.
Rob Brydon fans may think his performance alone is enough to justify the price of a ticket. He certainly provides the high points of the evening. As the director of the Pendon Light Operatic Society's amateur production of The Beggar's Opera, Brydon is hangdog and top dog: bullying, cardiganed, down in the dumps, overweening. He unleashes a terrific riff when, while trying out...
Trevor Nunn began the summer by directing a heavy-handed Kiss Me Kate; he ends it by staging a star-encrusted but tepid Chorus of Disapproval. What a waste. Of Alan Ayckbourn, whose 1984 play has not been taken seriously, and therefore looks unfunny. And of Nunn, who has been innovative (Nicholas Nickleby) and meticulous (his Merchant of Venice was a revelation because of its detail), and who has helped (with Gorky's Summerfolk) to widen the theatrical repertoire but is in danger of looking fusty.
Rob Brydon fans may think his performance alone is enough to justify the price of a ticket. He certainly provides the high points of the evening. As the director of the Pendon Light Operatic Society's amateur production of The Beggar's Opera, Brydon is hangdog and top dog: bullying, cardiganed, down in the dumps, overweening. He unleashes a terrific riff when, while trying out...
- 9/29/2012
- by Susannah Clapp
- The Guardian - Film News
This French production swathes Strindberg's naturalistic tragedy in nonsensical Gallic chic
I am all for radical rethinks of the classics. London, for instance, boasts few better evenings than the current Young Vic Three Sisters. Patrick Marber has even provided, in After Miss Julie, a provocative update of Strindberg's 1888 play. But, although it features the redoubtable Juliette Binoche , this French production, originally seen at the Avignon festival, swathes Strindberg's naturalistic tragedy in nonsensical Gallic chic.
In many ways the real star of Frédéric Fisbach's production is Laurent P Berger – a visual artist responsible for set, lighting design and costumes. He has created a rectangular white box filled with sliding panels, swirling curtains and a bevy of beautiful people who might have stepped out of a French edition of Vogue. For the first 30 minutes we see them partying enthusiastically to background music by Blondie, Buzzcocks, Joy Division and Marvin Gaye. We assume...
I am all for radical rethinks of the classics. London, for instance, boasts few better evenings than the current Young Vic Three Sisters. Patrick Marber has even provided, in After Miss Julie, a provocative update of Strindberg's 1888 play. But, although it features the redoubtable Juliette Binoche , this French production, originally seen at the Avignon festival, swathes Strindberg's naturalistic tragedy in nonsensical Gallic chic.
In many ways the real star of Frédéric Fisbach's production is Laurent P Berger – a visual artist responsible for set, lighting design and costumes. He has created a rectangular white box filled with sliding panels, swirling curtains and a bevy of beautiful people who might have stepped out of a French edition of Vogue. For the first 30 minutes we see them partying enthusiastically to background music by Blondie, Buzzcocks, Joy Division and Marvin Gaye. We assume...
- 9/20/2012
- by Michael Billington
- The Guardian - Film News
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