Costa-Gavras’ single hyphenated trade name has been synonymous with political thrillers since Z shot from the starting gates in 1969 to win two Oscars and bring the world’s attention to the machinations of the military junta then ruling Greece. Among the numerous films he has made over the ensuing decades, based in France but working also in English, it is the on-brand political films that have been most prominent: State of Siege, Missing, Amen.
Costa-Gavras has, however, other strings to his bow. Witness Last Breath (Le Dernier Souffle), a truly marvelous film, screening in competition in San Sebastian. It’s about dying. Not at the end of a gun barrel, but in the normal course of things, whether the dying person is serenely unafraid, fighting tooth-and-nail to stay alive, or in denial. Based on a book by Regis Debray and Claude Grange, who collaborated with the director in writing the script,...
Costa-Gavras has, however, other strings to his bow. Witness Last Breath (Le Dernier Souffle), a truly marvelous film, screening in competition in San Sebastian. It’s about dying. Not at the end of a gun barrel, but in the normal course of things, whether the dying person is serenely unafraid, fighting tooth-and-nail to stay alive, or in denial. Based on a book by Regis Debray and Claude Grange, who collaborated with the director in writing the script,...
- 9/25/2024
- by Stephanie Bunbury
- Deadline Film + TV
At long last, we now have at least one festival premiere set for one of our most-anticipated films of the year. Kiyoshi Kurosawa’s Serpent’s Path, a remake of his superb, bad-vibes 1998 thriller that stars Damien Bonnard, Mathieu Amalric, Ko Shibasaki, and Drive My Car‘s Hidetoshi Nishijima, is now set for a premiere as part of San Sebastián Film Festival’s Official Selection.
Taking place September 20-28, the lineup also features the latest from Edward Berger, Gia Coppola, Costa-Gavras, Kiyoshi Kurosawa, Mike Leigh, Diego Lerman, Joshua Oppenheimer, and François Ozon. While we could see Kiyoshi Kurosawa’s Serpent’s Path pop up at other fall fests, it’s exciting to know it’s finally seeing the light of day.
Check out the full lineup below.
Bound In Heaven
Xin Huo (China)
Country(ies) of production: China
Cast: Ni Ni, You Zhou
This film narrates the poignant tale of a...
Taking place September 20-28, the lineup also features the latest from Edward Berger, Gia Coppola, Costa-Gavras, Kiyoshi Kurosawa, Mike Leigh, Diego Lerman, Joshua Oppenheimer, and François Ozon. While we could see Kiyoshi Kurosawa’s Serpent’s Path pop up at other fall fests, it’s exciting to know it’s finally seeing the light of day.
Check out the full lineup below.
Bound In Heaven
Xin Huo (China)
Country(ies) of production: China
Cast: Ni Ni, You Zhou
This film narrates the poignant tale of a...
- 7/30/2024
- by Jordan Raup
- The Film Stage
Costa-Gavras, the celebrated Franco-Greek master who’s won an Oscar and a Palme d’Or, has teamed with French sales company Playtime for his latest film, “Last Breath.”
Currently in post-production, “Last Breath” boasts a strong international cast led by Denis Podalydès (“Deception”) and Kad Merad (“Welcome to the Sticks”), who star alongside Marilyne Canto (“The Starry Sky Above Me”), Charlotte Rampling (“Dune”), Ángela Molina (“Broken Embraces”), Karin Viard (“Strangers by Night”), Hiam Abbass (“Succession”) and Agathe Bonitzer (“Maria Montessori”).
Costa-Gavras penned the film, based on the book “Le Dernier Souffle” by Régis Debray and Claude Grange. A Cannes regular, Costa-Gavras won the Palme d’Or for “Missing” in 1982, served on the jury in 1976 and won the Jury Prize with his political thriller “Z” which went on to win an Oscar. He has also been feted as guest of honor at Cannes Classics, the selection dedicated to heritage films.
“We...
Currently in post-production, “Last Breath” boasts a strong international cast led by Denis Podalydès (“Deception”) and Kad Merad (“Welcome to the Sticks”), who star alongside Marilyne Canto (“The Starry Sky Above Me”), Charlotte Rampling (“Dune”), Ángela Molina (“Broken Embraces”), Karin Viard (“Strangers by Night”), Hiam Abbass (“Succession”) and Agathe Bonitzer (“Maria Montessori”).
Costa-Gavras penned the film, based on the book “Le Dernier Souffle” by Régis Debray and Claude Grange. A Cannes regular, Costa-Gavras won the Palme d’Or for “Missing” in 1982, served on the jury in 1976 and won the Jury Prize with his political thriller “Z” which went on to win an Oscar. He has also been feted as guest of honor at Cannes Classics, the selection dedicated to heritage films.
“We...
- 5/14/2024
- by Elsa Keslassy
- Variety Film + TV
The Slamdance Film Festival announced today their narrative and documentary feature film competition for its 24th Festival edition, taking place January 19-25, 2018 in Park City. Established in 1995 by a group of filmmakers whose work had been rejected by the Sundance Film Festival, Slamdance is dedicated to fostering a community for independent emerging artists, fashioning itself “the premiere film festival by filmmakers, for filmmakers.”
The feature competition includes 16 premieres, mostly produced in the U.S. All competition films are feature length directorial debuts with budgets of less than $1 million Usd, and without Us distribution. In addition, the festival announced a new partnership with alumni Anthony and Joe Russo (“Captain America: Civil War,” and “Avengers: Infinity War”) to establish the inaugural Russo Fellowship award. Every participating filmmaker will be eligible for a $25,000 cash prize and mentorship from the Russos in the development of the winner’s next project at the brothers’ Los Angeles studio.
The feature competition includes 16 premieres, mostly produced in the U.S. All competition films are feature length directorial debuts with budgets of less than $1 million Usd, and without Us distribution. In addition, the festival announced a new partnership with alumni Anthony and Joe Russo (“Captain America: Civil War,” and “Avengers: Infinity War”) to establish the inaugural Russo Fellowship award. Every participating filmmaker will be eligible for a $25,000 cash prize and mentorship from the Russos in the development of the winner’s next project at the brothers’ Los Angeles studio.
- 11/28/2017
- by Jude Dry
- Indiewire
They Call It Spring (On Appelle ca le Printemps)
Herve Le Roux's "They Call It Spring" (On Appelle ca le Printemps) attempts to be an update of a French Enlightenment comedy, reworking the theme of love's inevitability for a modern Parisian setting. For a while, it floats along with a fresh, quirky cheerfulness as it follows three middle-aged women who have shed the men in their lives. But Le Roux, a former Cahiers du Cinema critic, loses his way in the last half-hour, taking extended detours into territories hostile to his initial, gently comic vision.
The movie, which had its U.S. debut at the San Francisco International Film Festival, has no domestic distributor as yet. Its novel take on the midlife crises of women could have boxoffice potential on the art house circuit. But Le Roux and screenwriter Renee Falson's eccentric bypathsultimately render the film directionless.
The film begins with three male singers costumed in frilly, 18th century court dress. Their waggish lyrics feature lines like "Be prepared to swoon/All noise leads to tune." The song ends with the performers barking, meowing and braying to the music. The men, it turns out, are contemporary Parisians, rehearsing a stage revue. (Their rehearsals crop up throughout the film, and the end credits roll over yet another song.)
Joss (Marie Matheron), wife to one of the vocalists (Pierre Berriau), is abandoning him for her female lover. On the way, she receives a call from her friend Fanfan (Maryse Cupaiolo), whose boyfriend (Antoine Choppey) is busy tossing her belongings out the window. After Fanfan rescues her property -- which includes a large catfish -- she and Joss flee to Joss' lover, only to discover her with another woman.
Fanfan's sister Manu (Marilyne Canto) provides refuge, but she's juggling two men on her own: her live-in lover Mytch (Michel Bompoil) and the comfortable, undemanding Jean (Laszlo Szabo). Mytch discovers the affair, and soon everyone's out on the street.
It's often fun to see the film break from convention and watch grown women behave like irresponsible adolescents rather than remaining the voices of mature sobriety while their men screw up. The women plot revenge and seek new, more satisfying entanglements, but they're also surprisingly content in their new lives of limbo.
As this comic minuet progresses, though, Le Roux and Falson seem to run out of ideas, adding several sequences of protracted filler. There's a lovely montage in which the three women spirit Joss' daughter away for a day, and the women dance and skip like enchantresses with their freshly snatched changeling. But the scene is out of step with the rest of the movie, seemingly from another film.
Le Roux also adds an irritatingly endless sequence of slapstick when the women have to hide from the wife of a man who's sheltering them. And a long costume ball finale lacks humor and surprise, not accomplishing much for the amount of time it takes.
THEY CALL IT SPRING
Agat Films et Cie
Credits:
Producer: Gilles Sandoz
Director: Herve Le Roux
Screenwriter: Renee Falson
Director of photography: Pierre Milon
Production designer: Patrick Durand
Music supervisor: Pierre Allio
Costume designer: Corinne le Flem
Editor: Nadine Tarbouriech. Cast: Paul: Pierre Berriau
Joss: Marie Matheron
Lise: Margaux Hocquard
Fanfan: Maryse Cupaiolo
Charles: Antoine Chappey
Manu: Marilyne Canto
Jean: Laszlo Szabo
Mytch: Michel Bompoil
Claude: Bernard Ballet
No MPAA rating
Color/stereo
Running time -- 103 minutes...
The movie, which had its U.S. debut at the San Francisco International Film Festival, has no domestic distributor as yet. Its novel take on the midlife crises of women could have boxoffice potential on the art house circuit. But Le Roux and screenwriter Renee Falson's eccentric bypathsultimately render the film directionless.
The film begins with three male singers costumed in frilly, 18th century court dress. Their waggish lyrics feature lines like "Be prepared to swoon/All noise leads to tune." The song ends with the performers barking, meowing and braying to the music. The men, it turns out, are contemporary Parisians, rehearsing a stage revue. (Their rehearsals crop up throughout the film, and the end credits roll over yet another song.)
Joss (Marie Matheron), wife to one of the vocalists (Pierre Berriau), is abandoning him for her female lover. On the way, she receives a call from her friend Fanfan (Maryse Cupaiolo), whose boyfriend (Antoine Choppey) is busy tossing her belongings out the window. After Fanfan rescues her property -- which includes a large catfish -- she and Joss flee to Joss' lover, only to discover her with another woman.
Fanfan's sister Manu (Marilyne Canto) provides refuge, but she's juggling two men on her own: her live-in lover Mytch (Michel Bompoil) and the comfortable, undemanding Jean (Laszlo Szabo). Mytch discovers the affair, and soon everyone's out on the street.
It's often fun to see the film break from convention and watch grown women behave like irresponsible adolescents rather than remaining the voices of mature sobriety while their men screw up. The women plot revenge and seek new, more satisfying entanglements, but they're also surprisingly content in their new lives of limbo.
As this comic minuet progresses, though, Le Roux and Falson seem to run out of ideas, adding several sequences of protracted filler. There's a lovely montage in which the three women spirit Joss' daughter away for a day, and the women dance and skip like enchantresses with their freshly snatched changeling. But the scene is out of step with the rest of the movie, seemingly from another film.
Le Roux also adds an irritatingly endless sequence of slapstick when the women have to hide from the wife of a man who's sheltering them. And a long costume ball finale lacks humor and surprise, not accomplishing much for the amount of time it takes.
THEY CALL IT SPRING
Agat Films et Cie
Credits:
Producer: Gilles Sandoz
Director: Herve Le Roux
Screenwriter: Renee Falson
Director of photography: Pierre Milon
Production designer: Patrick Durand
Music supervisor: Pierre Allio
Costume designer: Corinne le Flem
Editor: Nadine Tarbouriech. Cast: Paul: Pierre Berriau
Joss: Marie Matheron
Lise: Margaux Hocquard
Fanfan: Maryse Cupaiolo
Charles: Antoine Chappey
Manu: Marilyne Canto
Jean: Laszlo Szabo
Mytch: Michel Bompoil
Claude: Bernard Ballet
No MPAA rating
Color/stereo
Running time -- 103 minutes...
- 7/8/2004
- The Hollywood Reporter - Movie News
They Call It Spring (On Appelle ca le Printemps)
Herve Le Roux's "They Call It Spring" (On Appelle ca le Printemps) attempts to be an update of a French Enlightenment comedy, reworking the theme of love's inevitability for a modern Parisian setting. For a while, it floats along with a fresh, quirky cheerfulness as it follows three middle-aged women who have shed the men in their lives. But Le Roux, a former Cahiers du Cinema critic, loses his way in the last half-hour, taking extended detours into territories hostile to his initial, gently comic vision.
The movie, which had its U.S. debut at the San Francisco International Film Festival, has no domestic distributor as yet. Its novel take on the midlife crises of women could have boxoffice potential on the art house circuit. But Le Roux and screenwriter Renee Falson's eccentric bypathsultimately render the film directionless.
The film begins with three male singers costumed in frilly, 18th century court dress. Their waggish lyrics feature lines like "Be prepared to swoon/All noise leads to tune." The song ends with the performers barking, meowing and braying to the music. The men, it turns out, are contemporary Parisians, rehearsing a stage revue. (Their rehearsals crop up throughout the film, and the end credits roll over yet another song.)
Joss (Marie Matheron), wife to one of the vocalists (Pierre Berriau), is abandoning him for her female lover. On the way, she receives a call from her friend Fanfan (Maryse Cupaiolo), whose boyfriend (Antoine Choppey) is busy tossing her belongings out the window. After Fanfan rescues her property -- which includes a large catfish -- she and Joss flee to Joss' lover, only to discover her with another woman.
Fanfan's sister Manu (Marilyne Canto) provides refuge, but she's juggling two men on her own: her live-in lover Mytch (Michel Bompoil) and the comfortable, undemanding Jean (Laszlo Szabo). Mytch discovers the affair, and soon everyone's out on the street.
It's often fun to see the film break from convention and watch grown women behave like irresponsible adolescents rather than remaining the voices of mature sobriety while their men screw up. The women plot revenge and seek new, more satisfying entanglements, but they're also surprisingly content in their new lives of limbo.
As this comic minuet progresses, though, Le Roux and Falson seem to run out of ideas, adding several sequences of protracted filler. There's a lovely montage in which the three women spirit Joss' daughter away for a day, and the women dance and skip like enchantresses with their freshly snatched changeling. But the scene is out of step with the rest of the movie, seemingly from another film.
Le Roux also adds an irritatingly endless sequence of slapstick when the women have to hide from the wife of a man who's sheltering them. And a long costume ball finale lacks humor and surprise, not accomplishing much for the amount of time it takes.
THEY CALL IT SPRING
Agat Films et Cie
Credits:
Producer: Gilles Sandoz
Director: Herve Le Roux
Screenwriter: Renee Falson
Director of photography: Pierre Milon
Production designer: Patrick Durand
Music supervisor: Pierre Allio
Costume designer: Corinne le Flem
Editor: Nadine Tarbouriech. Cast: Paul: Pierre Berriau
Joss: Marie Matheron
Lise: Margaux Hocquard
Fanfan: Maryse Cupaiolo
Charles: Antoine Chappey
Manu: Marilyne Canto
Jean: Laszlo Szabo
Mytch: Michel Bompoil
Claude: Bernard Ballet
No MPAA rating
Color/stereo
Running time -- 103 minutes...
The movie, which had its U.S. debut at the San Francisco International Film Festival, has no domestic distributor as yet. Its novel take on the midlife crises of women could have boxoffice potential on the art house circuit. But Le Roux and screenwriter Renee Falson's eccentric bypathsultimately render the film directionless.
The film begins with three male singers costumed in frilly, 18th century court dress. Their waggish lyrics feature lines like "Be prepared to swoon/All noise leads to tune." The song ends with the performers barking, meowing and braying to the music. The men, it turns out, are contemporary Parisians, rehearsing a stage revue. (Their rehearsals crop up throughout the film, and the end credits roll over yet another song.)
Joss (Marie Matheron), wife to one of the vocalists (Pierre Berriau), is abandoning him for her female lover. On the way, she receives a call from her friend Fanfan (Maryse Cupaiolo), whose boyfriend (Antoine Choppey) is busy tossing her belongings out the window. After Fanfan rescues her property -- which includes a large catfish -- she and Joss flee to Joss' lover, only to discover her with another woman.
Fanfan's sister Manu (Marilyne Canto) provides refuge, but she's juggling two men on her own: her live-in lover Mytch (Michel Bompoil) and the comfortable, undemanding Jean (Laszlo Szabo). Mytch discovers the affair, and soon everyone's out on the street.
It's often fun to see the film break from convention and watch grown women behave like irresponsible adolescents rather than remaining the voices of mature sobriety while their men screw up. The women plot revenge and seek new, more satisfying entanglements, but they're also surprisingly content in their new lives of limbo.
As this comic minuet progresses, though, Le Roux and Falson seem to run out of ideas, adding several sequences of protracted filler. There's a lovely montage in which the three women spirit Joss' daughter away for a day, and the women dance and skip like enchantresses with their freshly snatched changeling. But the scene is out of step with the rest of the movie, seemingly from another film.
Le Roux also adds an irritatingly endless sequence of slapstick when the women have to hide from the wife of a man who's sheltering them. And a long costume ball finale lacks humor and surprise, not accomplishing much for the amount of time it takes.
THEY CALL IT SPRING
Agat Films et Cie
Credits:
Producer: Gilles Sandoz
Director: Herve Le Roux
Screenwriter: Renee Falson
Director of photography: Pierre Milon
Production designer: Patrick Durand
Music supervisor: Pierre Allio
Costume designer: Corinne le Flem
Editor: Nadine Tarbouriech. Cast: Paul: Pierre Berriau
Joss: Marie Matheron
Lise: Margaux Hocquard
Fanfan: Maryse Cupaiolo
Charles: Antoine Chappey
Manu: Marilyne Canto
Jean: Laszlo Szabo
Mytch: Michel Bompoil
Claude: Bernard Ballet
No MPAA rating
Color/stereo
Running time -- 103 minutes...
- 4/23/2001
- The Hollywood Reporter - Movie News
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