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Gli amori di Astrea e Celadon

Titolo originale: Les amours d'Astrée et de Céladon
  • 2007
  • T
  • 1h 49min
VALUTAZIONE IMDb
6,3/10
1782
LA TUA VALUTAZIONE
Andy Gillet and Stéphanie Crayencour in Gli amori di Astrea e Celadon (2007)
ComedyDramaRomance

Una drammatica storia su un giovane pastore e una pastorella e sulle conseguenze della loro relazione proibita.Una drammatica storia su un giovane pastore e una pastorella e sulle conseguenze della loro relazione proibita.Una drammatica storia su un giovane pastore e una pastorella e sulle conseguenze della loro relazione proibita.

  • Regia
    • Éric Rohmer
  • Sceneggiatura
    • Honoré d'Urfé
    • Éric Rohmer
  • Star
    • Andy Gillet
    • Stéphanie Crayencour
    • Cécile Cassel
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    6,3/10
    1782
    LA TUA VALUTAZIONE
    • Regia
      • Éric Rohmer
    • Sceneggiatura
      • Honoré d'Urfé
      • Éric Rohmer
    • Star
      • Andy Gillet
      • Stéphanie Crayencour
      • Cécile Cassel
    • 15Recensioni degli utenti
    • 49Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
  • Vedi le informazioni sulla produzione su IMDbPro
    • Premi
      • 1 vittoria e 6 candidature totali

    Foto5

    Visualizza poster
    Visualizza poster
    Visualizza poster
    Visualizza poster
    Visualizza poster

    Interpreti principali17

    Modifica
    Andy Gillet
    Andy Gillet
    • Céladon
    Stéphanie Crayencour
    • Astrée
    Cécile Cassel
    Cécile Cassel
    • Léonide
    Véronique Reymond
    Véronique Reymond
    • Galathée
    Rosette
    Rosette
    • Sylvie
    Jocelyn Quivrin
    Jocelyn Quivrin
    • Lycidas
    Mathilde Mosnier
    • Phillis
    Rodolphe Pauly
    Rodolphe Pauly
    • Hylas
    Serge Renko
    • Adamas
    Arthur Dupont
    Arthur Dupont
    • Semyre
    Priscilla Galland
    • Amynthe
    Olivier Blond
    • Un berger
    Alexandre Everest
    • Un berger
    Fanny Vambacas
    • Une bergère
    Caroline Blotière
    • Une bergère
    Alain Libolt
    • Le commentateur
    • (voce)
    Marie Rivière
    Marie Rivière
    • La mère de Céladon
    • (non citato nei titoli originali)
    • Regia
      • Éric Rohmer
    • Sceneggiatura
      • Honoré d'Urfé
      • Éric Rohmer
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti15

    6,31.7K
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    Recensioni in evidenza

    7allenrogerj

    Trust the teller...

    Rohmer has made great films so if he makes a strange or apparently bad film it's wiser to check if it's our expectations that are at fault, not the film. Celadon & Astrae is an odd film and I don't think it's a great film, but I don't think it's a bad one. It has conventions- as all films do- but they aren't conventional conventions so it takes time to adjust to them but it is worth adjusting and accepting the preposterous plot, the formal archaic language and the absurd psychology. There's actually a very Rohmeric film here with beautiful fluid filming and a Rohmeric concern with morality and the actors aren't trapped by the conventions they must act in: Astrea and Celadon's sorrows and joys may be conventional and absurd objectively but they are still moving and the debates are absurd in form but relevant in subject.
    3planktonrules

    Huh?! I can't believe I am so at odds with most of the rest of the reviews on this one...

    Apparently Astrea and Celadon are in love but cannot publicly display it since their families hate each other. So, Celadon pretends to love another--and ultimately Astrea incorrectly assumes he is being unfaithful to her. So what does this knucklehead do? He tosses himself into the river when she confronts him and tells him never to talk to her again. She naturally assumes he drowned in the river and sulks through most of the film. However, and this is really odd, he does not reveal to her that he's alive--after all, she DID tell him never to speak to her again AND he was the perfect lover and could not violate this command. So, to get around this command, later he is introduced to her as the druid priest's daughter--and she/he and Astrea become close friends and confidantes.

    I understand that director Eric Rohmer is a beloved New Wave director and I understand that the reviews for his final film, "The Romance of Astrea and Celadon", are mostly very positive here on IMDb. However, despite knowing I SHOULD love his work and this film, try as I might, I just don't get this adoration. Sure, I have enjoyed a few of Rohmer's films but by and large, I just can't help but feel perplexed by his fans. And, of all the films of Rohmer's I have seen, I think that, to me, "The Romance of Astrea and Celadon" is perhaps the least enjoyable. The plot made little sense, the plot device of having Celadon dress as a woman made even less sense and the film just seemed incredibly talky and dull. If this is about what true love is supposed to be about, then I guess I know absolutely nothing about love---I just thought Celedon was a bit of a yutz and his actions seemed less like the ideal lover and more like a complete fool.

    So was there anything I liked about the film? The cinematography was nice and the director did create an amazingly beautiful and sensual picture. But the plot made no sense, the story quite slow and the film bored me to tears. I just don't seem to see in this film what everyone else sees.
    7Chris Knipp

    Transferring pastoral to screen may require more elaborate techniques

    Eighty-seven now, the indefatigable Rohmer still explores his obsession with young lovers. In this his declared swan song, he follows the theme via the pastoral romance of Honoré d'Urfé, penned in seventeenth-century France and set in the Forez plain in fifth-century Gaul. This is a classic star-crossed lovers tale with a happy ending that involves some cross-dressing by the pretty Celadon (Andy Gillet). He thinks his girlfriend Astrea (Stephanie Crayencour) has forbidden him to come into her sight, so he poses as the daughter of a high-born Druid priest. Though too tall, as cross-dressers often are, the striking Gillet is certainly beautiful enough to pose as a girl (Crayencour, though appealing, can hardly compete for looks—till she bares a breast, one area where Andy can't compete). When Celadon, as a "she," gets so friendly with Astrea they start kissing passionately early one morning in front of some other girls, there's some titillating gender-bending going on that gives this otherwise odd and dry piece some contemporary interest.

    As opening texts explain, the film was made in another region because the Forez plain is "urbanized" and otherwise ruined today. The mostly young cast wears costumes designed to evoke the seventeenth-century conception of what d'Urfe's antique (and largely mythical) shepherds and priests wore. Just as Rohmer's contemporary young lovers in his "Moral Tales" have little to distract them from their flirtations and love-debates, d'Urfé's characters are those of an ancient pastoral tradition who never get their hands dirty and spend their times in quiet, paintable pursuits like dancing, singing, or frolicking in the grass discussing the ideals of courtly love. Rohmer uses this idealized world as a more detached version of his usual emotional landscape. However, this film is more similar to the artificial and somehow un-Rohmer-esquire late efforts 'The Lady and the Duke' and 'Triple Agent' than to his really charming and characteristic work.

    In the beginning of the story, the lovers have apparently had a spat. Celadon allows Astrea to see him dancing and flirting with another girl at a dance. Later he insists it was only a "pretense," but Astrea jumps to the conclusion her boyfriend is a philanderer and is so angry she banishes him forever from her sight. His reaction is to throw himself into the river. While Astrea and her girlfriends go looking, he's washed up on shore at some distance, nearly drowned. He's rescued and nurtured back to waking health by an upper-class nymph (Veronique Reymond) who lives in a (presumably seventeenth-century) castle.

    A druid priest (Serge Renko) and his niece Leonide (Cecile Cassel) supervise Celadon after he flees from the nymph's clutches. He pouts in a kind of pastoral tepee for a while, and then is persuaded to put on women's clothes so he can be close to his beloved. One wonders if Rohmer hadn't lost control of the casting when we see the over-acting, annoying Rodolphe Pauly as Hylas, a troubadour who opposes the prevailing platonic tradition in favor of free love with multiple partners. Pauly completely breaks the heightened, elegant tone and introduces an amateurish note, which is the more dangerous since the simplicity of the outdoor shooting already risks evoking some French YouTube skit. Things liven up considerably when Celadon is in drag, but by that time Rohmer will have lost the sympathy of many viewers.

    Adapting seventeenth-century pastoral tales to the screen may be a far-fetched enterprise at best, but there must be better methods than this. Paradoxically, though the pastoral ideal is about purity and simplicity, recapturing it is likely to require more elaborate methods than this. The Sofia Coppola of 'Marie Antoinette' might have managed it—and that film does have a pastoral interlude, though not "pure" pastoral but aristocrats camping it up as shepherds and shepherdesses. Rohmer's bare-bones methods worked well for most of his career because the people and their conversations were interesting enough in themselves; the intensity of his own interest made them so. Such methods don't work so well here. The talk in 'The Romance of Astrea and Celadon' is too stilted and dry most of the way to hold much interest. For dyed-in-the-wool Rohmer fans, of course, this mature work is nonetheless required viewing. Newcomers as usual had best go back to 'My Night at Maude's' and 'Claire's Knee' to understand the perennial interest of this quintessentially French filmmaker.
    7lastliberal

    Why a Trinity dissertation in a pastoral love story?

    I saw you kiss her. Get out of my sight. I shall kill myself. Come back! How shallow can two people be? This is basically the opening of this film, which is beautiful in it's setting, but weak in story.

    Enter some nymphs to rescue him. Nymphs? The chief nymph Galathée (Véronique Reymond) wants to keep him for herself. Meanwhile Astrée (Stéphanie Crayencour) is wallowing in self pity, believing Céladon (Andy Gillet) dead.

    The nymph Léonide (Cécile Cassel) dresses Céladon as a girl to sneak away. But efforts to get him to return to Astrée prove futile until a Druid convinces him to dress as a girl and be near her. She discovers his ruse after they engage in passionate kissing. A closeted lesbian perhaps? It was a gorgeous film, as I said, but the story was a little silly.
    10jayakumarjrain

    ERIC ROHMER'S MASTERPIECE

    (2007) - Movie The Romance of Astrea and Celadon (French: Les Amours d'Astrée et de Céladon), directed by Éric Rohmer, is a pastoral romantic drama based on the 17th-century novel by Honoré d'Urfé. Set in an idealized version of 5th-century Gaul, the film captures the emotional entanglements and moral dilemmas of young shepherds in a world governed by ancient customs and courtly love.

    The story follows Celadon, a loyal and deeply romantic shepherd who is madly in love with the virtuous Astrea. When a misunderstanding leads Astrea to believe Celadon has been unfaithful, she angrily banishes him, refusing to see or hear from him again. Distraught, Celadon throws himself into a river, and although he is rescued by nymphs, Astrea believes him dead and mourns his supposed loss.

    Celadon, too heartbroken to defy Astrea's command but too in love to leave her completely, disguises himself as a woman with the help of a druid priestess and lives nearby, hiding his true identity. As "Alexis," he interacts with Astrea, slowly rekindling her feelings and revealing truths about love, fidelity, and forgiveness.

    Rohmer's direction favors long philosophical dialogues and static, naturalistic settings. The film explores idealized love, virtue, and personal identity within a mythic pastoral landscape. Costumes and language are deliberately anachronistic, creating a dreamlike and timeless atmosphere. With its emphasis on emotional restraint, poetic expression, and intellectual musings on love and morality, the film reflects Rohmer's long-standing fascination with romantic idealism and classical storytelling.

    Though it may feel slow-paced or archaic to some viewers, The Romance of Astrea and Celadon is a thoughtful meditation on love's purity, misunderstandings, and the redemptive power of truth and disguise in the pursuit of reconciliation.

    Review written by artist jaya kumar jrain.

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    Trama

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    • Quiz
      Chosen by "Les Cahiers du cinéma" (France) as one of the 10 best pictures of 2007 (#07, tied with "Honor de cavalleria" and "Avant que j'oublie")
    • Connessioni
      Referenced in Maestro (2014)

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    Dettagli

    Modifica
    • Data di uscita
      • 2 settembre 2007 (Italia)
    • Paesi di origine
      • Francia
      • Italia
      • Spagna
    • Sito ufficiale
      • Official site (Japan)
    • Lingua
      • Francese
    • Celebre anche come
      • The Romance of Astrea and Celadon
    • Luoghi delle riprese
      • Auvergne, Francia
    • Aziende produttrici
      • Rézo Productions
      • Compagnie Eric Rohmer (CER)
      • BIM Distribuzione
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

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    • Lordo in tutto il mondo
      • 386.621 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

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    • Tempo di esecuzione
      1 ora 49 minuti
    • Colore
      • Color
    • Mix di suoni
      • Dolby Digital

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