Marion Cotillard to receive Donostia Photo: Courtesy of San Sebastian Film Festival Annette star Marion Cotillard is to receive a Donostia Award at the opening ceremony of this year's San Sebastian Film Festival on September 17.
The French star, who won an Oscar, Golden Globe and BAFTA for the role of Édith Piaf in 2007's La Vie en Rose has been acting since childhood.
Her film career began in Philippe Harel's L’histoire du garçon qui voulait qu’on l’embrasse and four year's later she won the first of six César Award nominations for her role in Taxi.
She's turned her hand to everything from drama and comedy to action, making films on both sides of the Atlantic, including Rust And Bone, Public Enemies and Inception. .
A strong supporter of environmental protection, the 45-year-old actress is also the producer of Bigger Than Us, a documentary by Flore Vasseur lending...
The French star, who won an Oscar, Golden Globe and BAFTA for the role of Édith Piaf in 2007's La Vie en Rose has been acting since childhood.
Her film career began in Philippe Harel's L’histoire du garçon qui voulait qu’on l’embrasse and four year's later she won the first of six César Award nominations for her role in Taxi.
She's turned her hand to everything from drama and comedy to action, making films on both sides of the Atlantic, including Rust And Bone, Public Enemies and Inception. .
A strong supporter of environmental protection, the 45-year-old actress is also the producer of Bigger Than Us, a documentary by Flore Vasseur lending...
- 8/24/2021
- by Amber Wilkinson
- eyeforfilm.co.uk
French actor Marion Cotillard will receive San Sebastian’s 2021 Donostia Award, a lifetime achievement honor, at this year’s festival.
The French star will receive her honor at San Sebastian’s opening gala on Sept. 17.
Cotillard, whose first on-screen role was in Philippe Harel’s L’histoire du garçon qui voulait qu’on l’embrasse in 1994, has been a box office draw in her home country since Luc Besson-produced, Gérard Pirès-directed 1998 action-comedy hit Taxi, where she played Lilly Bertineau, a role she reprised in two sequels: Taxi 2 (2000) and Taxi 3 (2003). Her international breakthrough came as Édith Piaf in Olivier Dahan’s biopic La ...
The French star will receive her honor at San Sebastian’s opening gala on Sept. 17.
Cotillard, whose first on-screen role was in Philippe Harel’s L’histoire du garçon qui voulait qu’on l’embrasse in 1994, has been a box office draw in her home country since Luc Besson-produced, Gérard Pirès-directed 1998 action-comedy hit Taxi, where she played Lilly Bertineau, a role she reprised in two sequels: Taxi 2 (2000) and Taxi 3 (2003). Her international breakthrough came as Édith Piaf in Olivier Dahan’s biopic La ...
- 8/24/2021
- The Hollywood Reporter - Movie News
French actor Marion Cotillard will receive San Sebastian’s 2021 Donostia Award, a lifetime achievement honor, at this year’s festival.
The French star will receive her honor at San Sebastian’s opening gala on Sept. 17.
Cotillard, whose first on-screen role was in Philippe Harel’s L’histoire du garçon qui voulait qu’on l’embrasse in 1994, has been a box office draw in her home country since Luc Besson-produced, Gérard Pirès-directed 1998 action-comedy hit Taxi, where she played Lilly Bertineau, a role she reprised in two sequels: Taxi 2 (2000) and Taxi 3 (2003). Her international breakthrough came as Édith Piaf in Olivier Dahan’s biopic La ...
The French star will receive her honor at San Sebastian’s opening gala on Sept. 17.
Cotillard, whose first on-screen role was in Philippe Harel’s L’histoire du garçon qui voulait qu’on l’embrasse in 1994, has been a box office draw in her home country since Luc Besson-produced, Gérard Pirès-directed 1998 action-comedy hit Taxi, where she played Lilly Bertineau, a role she reprised in two sequels: Taxi 2 (2000) and Taxi 3 (2003). Her international breakthrough came as Édith Piaf in Olivier Dahan’s biopic La ...
- 8/24/2021
- The Hollywood Reporter - Film + TV
New films by Rafi Pitts [pictured], Alexander Sokurov, Benoit Jacquot and Volker Schlöndorff are among 12 projects backed by the German-French “Mini-Traité” Co-production Fund in 2013 with a total of over €3m.
At the fund’s last sitting during the German-French Film Rendez-Vous in Nancy, representatives of Germany’s German Federal Film Board (Ffa) and France’s Cnc decided to award €1.02m to three projects:
British-Iranian director Rafi Pitts’ first Stateside-project Soy Negro, which reunites him with the German co-producer of his last feature The Hunter, Thanassis Karathanos and Ute Ganschow’s Berlin-based Twenty Twenty Vision Filmproduktion, and will be produced with Paris’ Senorita Films.Philippe Harel’s adaptation of the 2010 Michel Houellebecq novel La Carte et Le Territoire, a double murder thriller with Lars Eidinger in the lead role, to be produced by Adora Films with Berlin-based Arden Film. andStephane Robélin’s comedy #FLORA63, with Pierre Richard as a 75-year-old who falls head over heels in love with a...
At the fund’s last sitting during the German-French Film Rendez-Vous in Nancy, representatives of Germany’s German Federal Film Board (Ffa) and France’s Cnc decided to award €1.02m to three projects:
British-Iranian director Rafi Pitts’ first Stateside-project Soy Negro, which reunites him with the German co-producer of his last feature The Hunter, Thanassis Karathanos and Ute Ganschow’s Berlin-based Twenty Twenty Vision Filmproduktion, and will be produced with Paris’ Senorita Films.Philippe Harel’s adaptation of the 2010 Michel Houellebecq novel La Carte et Le Territoire, a double murder thriller with Lars Eidinger in the lead role, to be produced by Adora Films with Berlin-based Arden Film. andStephane Robélin’s comedy #FLORA63, with Pierre Richard as a 75-year-old who falls head over heels in love with a...
- 12/17/2013
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Film review: 'La Femme Defendue'
FORT LAUDERDALE, Fla. --The tale of a passionate adulterous affair told visually through the eyes of one of its main characters, "La Femme Defendue" spends most of its running time with the camera focused on a close-up of its female lead. Fortunately, that makes for no problem, since Isabelle Carre is one of the most exquisite creatures to emerge from French cinema in a long time, and that's saying something.
Philippe Harel's feature was recently showcased at the Fort Lauderdale International Film Festival.
Carre plays Muriel, a sophisticated 22 year old who accepts a ride home from a party from Francois (Harel, doubling as an actor, although mostly in voice-over), a successful businessman who doesn't let the fact that he's got a wife and children prevent him from hitting on his beautiful guest. She is initially resistant but ultimately agrees to meet him for lunch, strictly as a "friend."
Through a lengthy process of verbal seduction, the smooth-talking Francois ultimately gets Muriel to accede to a series of compromises. Claiming that he wants to simply see her "naked" without actually touching her, he gets her to join him in a hotel room, and the affair eventually occurs. It's casual at first, but Muriel falls in love and becomes increasingly frustrated with her limited role in his life. She begins playing mind games that rival Francois' in their complex psychology -- from trying to get him jealous by seeing a younger man to lying about the results of an HIV test she makes Francois undergo.
The film basically consists of a series of extended verbal encounters between the two tortured lovers, who constantly switch roles in terms of who has the power in their relationship. Eric Assous' astute screenplay mines every emotional nuance and detail of the affair, dissecting it in the sort of talky fashion that is the specialty of French cinema. The characterizations and dialogue are consistently compelling, taking a familiar story and rendering it fresh through acute observation.
Harel has made the bold choice of using the camera to tell the story through Francois' eyes (in the many scenes when he is driving, for example, we see the road through the car's windshield), so we only get the rare glimpse of his character. Although it sounds like a gimmick, it mainly works, thanks to the elegance of the writing and the peerless beauty of Carre, who also delivers an affecting and utterly truthful performance.
LA FEMME DEFENDUE
President Films
Les Productions Lazennec
Director: Philippe Harel
Screenplay: Eric Assous
Cinematography: Gilles Henry
Editor: Benedicte Teiger
Color/stereo
Cast:
Elle: Isabelle Carre
Francois: Philippe Harel
Secretaire: Nathalie Conio
Femme: Sophie Niedergang
No MPAA rating...
Philippe Harel's feature was recently showcased at the Fort Lauderdale International Film Festival.
Carre plays Muriel, a sophisticated 22 year old who accepts a ride home from a party from Francois (Harel, doubling as an actor, although mostly in voice-over), a successful businessman who doesn't let the fact that he's got a wife and children prevent him from hitting on his beautiful guest. She is initially resistant but ultimately agrees to meet him for lunch, strictly as a "friend."
Through a lengthy process of verbal seduction, the smooth-talking Francois ultimately gets Muriel to accede to a series of compromises. Claiming that he wants to simply see her "naked" without actually touching her, he gets her to join him in a hotel room, and the affair eventually occurs. It's casual at first, but Muriel falls in love and becomes increasingly frustrated with her limited role in his life. She begins playing mind games that rival Francois' in their complex psychology -- from trying to get him jealous by seeing a younger man to lying about the results of an HIV test she makes Francois undergo.
The film basically consists of a series of extended verbal encounters between the two tortured lovers, who constantly switch roles in terms of who has the power in their relationship. Eric Assous' astute screenplay mines every emotional nuance and detail of the affair, dissecting it in the sort of talky fashion that is the specialty of French cinema. The characterizations and dialogue are consistently compelling, taking a familiar story and rendering it fresh through acute observation.
Harel has made the bold choice of using the camera to tell the story through Francois' eyes (in the many scenes when he is driving, for example, we see the road through the car's windshield), so we only get the rare glimpse of his character. Although it sounds like a gimmick, it mainly works, thanks to the elegance of the writing and the peerless beauty of Carre, who also delivers an affecting and utterly truthful performance.
LA FEMME DEFENDUE
President Films
Les Productions Lazennec
Director: Philippe Harel
Screenplay: Eric Assous
Cinematography: Gilles Henry
Editor: Benedicte Teiger
Color/stereo
Cast:
Elle: Isabelle Carre
Francois: Philippe Harel
Secretaire: Nathalie Conio
Femme: Sophie Niedergang
No MPAA rating...
- 11/18/1998
- The Hollywood Reporter - Movie News
Film Review: 'La Femme Defendue'
Evidently soaked by the French New Wave as a boy on the beach at Cannes, director Philippe Harel focuses on form more than substance with his competition entry "La Femme Defendue".
A simple story about adultery, Harel shoots this film almost exclusively from the subjective perspective of the married man who betrays his wife. It's fatuous and facile, but it works.
The affair begins when Francois, the married man played by Harel, offers Muriel, a woman he met at a party, a ride home. He is 39; she is 22. He is married; she is not. He seduces; she resists but then relents. They break up, only to make up. He becomes jealous of her other beaus; she remains jealous of his wife. The affair finally ends.
Translated, the title means "The Forbidden Woman", but the film is not about her as it is about his view of her. "She" (the credits do not even refer to her as "Muriel" but as "Elle") is the focal point of every shot, either by voice or by presence. They arrange their rendezvous via telephone, and the story develops with each encounter. He (referred to as "Moi" in the credits) appears only twice: in the reflection of a window near the beginning and in the reflection of a mirror near the end.
What is striking about "La Femme Defendue" is that it succeeds despite, or perhaps because of, its calculated simplicity. It looks and feels like a home movie, as if the director documented a tryst of his own. The excessive use of the subjective camera, typically employed to draw the audience into the perspective of a protagonist, has the opposite effect here. As the director does with Muriel in the opening sequence, he drives the audience home in the end to the fact that all footage is fictional inasmuch as it is all a matter of the point of view.
Because of the director's choice of perspective, the film required a strong actress and script to succeed. Isabelle Carre meets the challenge as the naive and intoxicating Muriel. Screenwriter Eric Assous also conquers his appointed task with a script that brings humor and life to the intrigue. With only voice-overs and two cameo appearances, it is difficult to predict an acting future for Harel, but he will surely get another opportunity to direct with the success of his latest film.
LA FEMME DEFENDUE
Les Production Lazennec
and President Film
Director Philippe Harel
Screenwriter Eric Assous
Director of photography Gilles Henry
Editor Benedicte Teiger
Design Fran‚ois Emmanuelli
Color/stereo
Cast:
Elle Isabelle Carre
Moi Philippe Harel
Running time - 100 minutes
No MPAA rating...
A simple story about adultery, Harel shoots this film almost exclusively from the subjective perspective of the married man who betrays his wife. It's fatuous and facile, but it works.
The affair begins when Francois, the married man played by Harel, offers Muriel, a woman he met at a party, a ride home. He is 39; she is 22. He is married; she is not. He seduces; she resists but then relents. They break up, only to make up. He becomes jealous of her other beaus; she remains jealous of his wife. The affair finally ends.
Translated, the title means "The Forbidden Woman", but the film is not about her as it is about his view of her. "She" (the credits do not even refer to her as "Muriel" but as "Elle") is the focal point of every shot, either by voice or by presence. They arrange their rendezvous via telephone, and the story develops with each encounter. He (referred to as "Moi" in the credits) appears only twice: in the reflection of a window near the beginning and in the reflection of a mirror near the end.
What is striking about "La Femme Defendue" is that it succeeds despite, or perhaps because of, its calculated simplicity. It looks and feels like a home movie, as if the director documented a tryst of his own. The excessive use of the subjective camera, typically employed to draw the audience into the perspective of a protagonist, has the opposite effect here. As the director does with Muriel in the opening sequence, he drives the audience home in the end to the fact that all footage is fictional inasmuch as it is all a matter of the point of view.
Because of the director's choice of perspective, the film required a strong actress and script to succeed. Isabelle Carre meets the challenge as the naive and intoxicating Muriel. Screenwriter Eric Assous also conquers his appointed task with a script that brings humor and life to the intrigue. With only voice-overs and two cameo appearances, it is difficult to predict an acting future for Harel, but he will surely get another opportunity to direct with the success of his latest film.
LA FEMME DEFENDUE
Les Production Lazennec
and President Film
Director Philippe Harel
Screenwriter Eric Assous
Director of photography Gilles Henry
Editor Benedicte Teiger
Design Fran‚ois Emmanuelli
Color/stereo
Cast:
Elle Isabelle Carre
Moi Philippe Harel
Running time - 100 minutes
No MPAA rating...
- 5/14/1997
- The Hollywood Reporter - Movie News
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