Camille uses her mother's help to reunite with Gabriel, despite not being fully honest in her methods. Camille's victory in the love triangle sets up season 3, leading to unexpected moments and drama. The complex love triangle between Camille, Gabriel, and Emily continues into season 3, with new twists and revelations.
In Emily in Paris season 2 Camille does forgive Emily, but finds a way to do so while also strategically achieving her goal of reuniting with Gabriel by enlisting the help of her mother. Emily Cooper (Lily Collins), the Netflix Originals main character, has been adjusting well to the Parisian way of life, thanks to her new friends. Among her social circle is Camille (Camille Razat). Sadly, in Emily in Paris season 2, their friendship becomes sour. Their schism stems from a shared interest in Camilles former boyfriend, Gabriel (Lucas Bravo).
Camille emerges victorious when the season 2 love triangle concludes, but only thanks to her mother's interference.
In Emily in Paris season 2 Camille does forgive Emily, but finds a way to do so while also strategically achieving her goal of reuniting with Gabriel by enlisting the help of her mother. Emily Cooper (Lily Collins), the Netflix Originals main character, has been adjusting well to the Parisian way of life, thanks to her new friends. Among her social circle is Camille (Camille Razat). Sadly, in Emily in Paris season 2, their friendship becomes sour. Their schism stems from a shared interest in Camilles former boyfriend, Gabriel (Lucas Bravo).
Camille emerges victorious when the season 2 love triangle concludes, but only thanks to her mother's interference.
- 8/26/2024
- by Shawn S. Lealos
- ScreenRant
These days, the number of indies premiering on a weekly basis can be both thrilling and intimidating. To help sift through the number of new releases (independent or otherwise), we've created the Weekly Film Guide. Below you'll find basic plot, personnel and cinema information for today's fresh offerings. Happy viewing! Here are the films opening theatrically in the U.S. today, Friday, April 25th. (Synopses provided by distributor unless listed otherwise.) Bicycling with Moliere Director: Philippe Le Guay Cast: Fabrice Luchini, Lambert Wilson, Maya Sansa, Camille Japy, Annie Mercier Synopsis: "A kind of theatrical odd couple, Serge Tanneur (Fabrice Luchini) and Gauthier Valence (Lambert Wilson) aren’t really friends but they’re willing to pretend if it’s to their mutual advantage. And perhaps it is: Gauthier is the star of a hit TV show, but he has an itch to stage Moliere’s Le Misanthrope, and he wants to persuade Serge,...
- 4/25/2014
- by Steve Greene
- Indiewire
Strand Releasing has acquired all Us rights to Philippe Le Guay’s comedy Cycling With Moliere.
Fabrice Luchini plays renowned actor Serge Tanneur who chooses to become a hermit in a small coastal town in France and is pursued for a role in Moliere’s classic play The Misanthrope.
Strand plans a spring 2014 release on the film, which also stars Lambert Wilson, Maya Sansa, Camille Japy and Ged Marlon.
Jon Gerrans of Strand Releasing brokered the deal with Saya Huddleston of Pathe International.
Strand Releasing previously released Le Guay’s comedy The Women On The Sixth Floor which also starred Luchini.
Fabrice Luchini plays renowned actor Serge Tanneur who chooses to become a hermit in a small coastal town in France and is pursued for a role in Moliere’s classic play The Misanthrope.
Strand plans a spring 2014 release on the film, which also stars Lambert Wilson, Maya Sansa, Camille Japy and Ged Marlon.
Jon Gerrans of Strand Releasing brokered the deal with Saya Huddleston of Pathe International.
Strand Releasing previously released Le Guay’s comedy The Women On The Sixth Floor which also starred Luchini.
- 9/23/2013
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
The Cost of Living
Pathe
The whole is not greater than the sum of its parts in "Le Cout de la vie" (The Cost of Living). The uneven comedy follows a disparate group of crisscrossing characters in the French city of Lyon, viewing them through their relationship to money. Despite an intriguing premise, assured visual style and some nicely offbeat plot twists, the pic's multistrand approach dilutes the impact of its composite portrait. Following a successful run last year on home turf, "Cost", which screened in L.A.'s City of Lights, City of Angels festival, has no U.S. distributor.
Director Philippe Le Guay co-wrote Brigitte Rouan's terrific 1997 drama "Post coitum animal triste", which explored a married woman's obsessive affair. Here, inspired by "Short Cuts" and the films of Claude Sautet, he and co-scripter Jean-Francois Goyet offer glimpses of that adult sensibility, but "Cost" suffers from its broad, crowd-pleasing strokes.
Almost all the characters pass through the restaurant of Gilbert Coway (Vincent Lindon), the kind of guy who offers a complimentary dinner to everyone he meets. He's in financial straits but reluctant to seek help from anyone, even his pregnant girlfriend (Camille Japy), whose haggling over prices with a shop owner deeply offends him. Fabrice Luchini plays Gilbert's diametric opposite, a pathologically stingy white-collar bachelor whose attempts to break the skinflint habit land him in variously absurd levels of hot water. A beautiful call girl (Geraldine Pailhas, whose performance reaped a Cesar nomination) administers lessons in giving.
Among other characters under the money lens are Gilbert's sous chef (Lorant Deutsch), who secures a waitressing job for Laurence Isild Le Besco), a young woman apparently at loose ends. One of the funniest visual tropes in the film is the good-spirited ineptitude with which she swings down the aisles of the restaurant. More than a few servings of dogfish in red wine end up in patrons' laps, but it's an emotional reaction rather than clumsiness that causes a scene when Laurence finds herself serving Blamond (Claude Rich).
The veteran actor brings a note of poignancy to the role of a wealthy industrialist who, after surviving heart surgery, is eager to pack it all in for a tropical isle. The film demonstrates how his pursuit of happiness affects hundreds of people: Freeing himself from the yoke of business, he triggers factory closings and layoffs. However well taken the film's point that one's comfort with money or lack thereof reflects much about a person, the individuals here are illustrative types more than fully fleshed people.
The whole is not greater than the sum of its parts in "Le Cout de la vie" (The Cost of Living). The uneven comedy follows a disparate group of crisscrossing characters in the French city of Lyon, viewing them through their relationship to money. Despite an intriguing premise, assured visual style and some nicely offbeat plot twists, the pic's multistrand approach dilutes the impact of its composite portrait. Following a successful run last year on home turf, "Cost", which screened in L.A.'s City of Lights, City of Angels festival, has no U.S. distributor.
Director Philippe Le Guay co-wrote Brigitte Rouan's terrific 1997 drama "Post coitum animal triste", which explored a married woman's obsessive affair. Here, inspired by "Short Cuts" and the films of Claude Sautet, he and co-scripter Jean-Francois Goyet offer glimpses of that adult sensibility, but "Cost" suffers from its broad, crowd-pleasing strokes.
Almost all the characters pass through the restaurant of Gilbert Coway (Vincent Lindon), the kind of guy who offers a complimentary dinner to everyone he meets. He's in financial straits but reluctant to seek help from anyone, even his pregnant girlfriend (Camille Japy), whose haggling over prices with a shop owner deeply offends him. Fabrice Luchini plays Gilbert's diametric opposite, a pathologically stingy white-collar bachelor whose attempts to break the skinflint habit land him in variously absurd levels of hot water. A beautiful call girl (Geraldine Pailhas, whose performance reaped a Cesar nomination) administers lessons in giving.
Among other characters under the money lens are Gilbert's sous chef (Lorant Deutsch), who secures a waitressing job for Laurence Isild Le Besco), a young woman apparently at loose ends. One of the funniest visual tropes in the film is the good-spirited ineptitude with which she swings down the aisles of the restaurant. More than a few servings of dogfish in red wine end up in patrons' laps, but it's an emotional reaction rather than clumsiness that causes a scene when Laurence finds herself serving Blamond (Claude Rich).
The veteran actor brings a note of poignancy to the role of a wealthy industrialist who, after surviving heart surgery, is eager to pack it all in for a tropical isle. The film demonstrates how his pursuit of happiness affects hundreds of people: Freeing himself from the yoke of business, he triggers factory closings and layoffs. However well taken the film's point that one's comfort with money or lack thereof reflects much about a person, the individuals here are illustrative types more than fully fleshed people.
- 7/9/2004
- The Hollywood Reporter - Movie News
The Cost of Living
Pathe
The whole is not greater than the sum of its parts in "Le Cout de la vie" (The Cost of Living). The uneven comedy follows a disparate group of crisscrossing characters in the French city of Lyon, viewing them through their relationship to money. Despite an intriguing premise, assured visual style and some nicely offbeat plot twists, the pic's multistrand approach dilutes the impact of its composite portrait. Following a successful run last year on home turf, "Cost", which screened in L.A.'s City of Lights, City of Angels festival, has no U.S. distributor.
Director Philippe Le Guay co-wrote Brigitte Rouan's terrific 1997 drama "Post coitum animal triste", which explored a married woman's obsessive affair. Here, inspired by "Short Cuts" and the films of Claude Sautet, he and co-scripter Jean-Francois Goyet offer glimpses of that adult sensibility, but "Cost" suffers from its broad, crowd-pleasing strokes.
Almost all the characters pass through the restaurant of Gilbert Coway (Vincent Lindon), the kind of guy who offers a complimentary dinner to everyone he meets. He's in financial straits but reluctant to seek help from anyone, even his pregnant girlfriend (Camille Japy), whose haggling over prices with a shop owner deeply offends him. Fabrice Luchini plays Gilbert's diametric opposite, a pathologically stingy white-collar bachelor whose attempts to break the skinflint habit land him in variously absurd levels of hot water. A beautiful call girl (Geraldine Pailhas, whose performance reaped a Cesar nomination) administers lessons in giving.
Among other characters under the money lens are Gilbert's sous chef (Lorant Deutsch), who secures a waitressing job for Laurence Isild Le Besco), a young woman apparently at loose ends. One of the funniest visual tropes in the film is the good-spirited ineptitude with which she swings down the aisles of the restaurant. More than a few servings of dogfish in red wine end up in patrons' laps, but it's an emotional reaction rather than clumsiness that causes a scene when Laurence finds herself serving Blamond (Claude Rich).
The veteran actor brings a note of poignancy to the role of a wealthy industrialist who, after surviving heart surgery, is eager to pack it all in for a tropical isle. The film demonstrates how his pursuit of happiness affects hundreds of people: Freeing himself from the yoke of business, he triggers factory closings and layoffs. However well taken the film's point that one's comfort with money or lack thereof reflects much about a person, the individuals here are illustrative types more than fully fleshed people.
The whole is not greater than the sum of its parts in "Le Cout de la vie" (The Cost of Living). The uneven comedy follows a disparate group of crisscrossing characters in the French city of Lyon, viewing them through their relationship to money. Despite an intriguing premise, assured visual style and some nicely offbeat plot twists, the pic's multistrand approach dilutes the impact of its composite portrait. Following a successful run last year on home turf, "Cost", which screened in L.A.'s City of Lights, City of Angels festival, has no U.S. distributor.
Director Philippe Le Guay co-wrote Brigitte Rouan's terrific 1997 drama "Post coitum animal triste", which explored a married woman's obsessive affair. Here, inspired by "Short Cuts" and the films of Claude Sautet, he and co-scripter Jean-Francois Goyet offer glimpses of that adult sensibility, but "Cost" suffers from its broad, crowd-pleasing strokes.
Almost all the characters pass through the restaurant of Gilbert Coway (Vincent Lindon), the kind of guy who offers a complimentary dinner to everyone he meets. He's in financial straits but reluctant to seek help from anyone, even his pregnant girlfriend (Camille Japy), whose haggling over prices with a shop owner deeply offends him. Fabrice Luchini plays Gilbert's diametric opposite, a pathologically stingy white-collar bachelor whose attempts to break the skinflint habit land him in variously absurd levels of hot water. A beautiful call girl (Geraldine Pailhas, whose performance reaped a Cesar nomination) administers lessons in giving.
Among other characters under the money lens are Gilbert's sous chef (Lorant Deutsch), who secures a waitressing job for Laurence Isild Le Besco), a young woman apparently at loose ends. One of the funniest visual tropes in the film is the good-spirited ineptitude with which she swings down the aisles of the restaurant. More than a few servings of dogfish in red wine end up in patrons' laps, but it's an emotional reaction rather than clumsiness that causes a scene when Laurence finds herself serving Blamond (Claude Rich).
The veteran actor brings a note of poignancy to the role of a wealthy industrialist who, after surviving heart surgery, is eager to pack it all in for a tropical isle. The film demonstrates how his pursuit of happiness affects hundreds of people: Freeing himself from the yoke of business, he triggers factory closings and layoffs. However well taken the film's point that one's comfort with money or lack thereof reflects much about a person, the individuals here are illustrative types more than fully fleshed people.
- 4/13/2004
- The Hollywood Reporter - Movie News
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