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Babysitter Trailer — Monia Chokri‘s Babysitter (2022) movie trailer has been released by Bac Films. The Babysitter trailer stars Nadia Tereszkiewicz, Monia Chokri, Patrick Hivon, Steve Laplante, and Hubert Proulx. Crew Catherine Léger wrote the screenplay for Babysitter. Emile Sornin created the music for the film. Josée Deshaies crafted the cinematography for the film. Plot Synopsis Babysitter‘s [...]

Continue reading: Babysitter (2022) Movie Trailer: A Misogynist’s New Hire Forces a Confrontation on His Sexual Anxieties...

Babysitter Review — Babysitter (2022) Film Review from the 21st Annual Tribeca Film Festival, a movie directed by Monia Chokri, written by Catherine Léger, and starring Patrick Hivon, Monia Chokri, Nadia Tereszkiewicz, Steve Laplante, Hubert Proulx, Nathalie Breuer, and Eve Duranceau. Babysitter is a visceral comedy with unexpected heights and depths woven into [...]

Continue reading: Film Review: Babysitter: Comedic Satire on Misogyny with Surprising Depth [Tribeca 2022]...

Monia Chokri’s “Babysitter” is The story of middle-aged sex pest Cédric (Patrick Hivon), his over-compensating feminist brother Jean-Michel (Steve Laplante), his depressed wife Nadine — a new mother, played by Chokri herself — and their mysterious, youthful nanny Amy (Nadia Tereszkiewicz) who seems intent on spicing up their love life, the film arrives with thunderous, uncompromising energy that only lets up when Chorkri decides to veer into the phantasmagorical.

Adapted by Catherine Léger from her play of the same name, the French-Canadian satire opens on the verge of an overdose of testosterone and adrenaline, with Cédric and his skeevy pals Carlos (Stéphane Moukarzel) and Tessier (Hubert Proulx) ogling pictures of women on their cellphones while cheering on a bloody cage-fight. With rapid-fire close-ups of breasts, butts, and the trio’s leery eyes, Chokri, cinematographer Josée Deshaies, and editor Pauline Gaillard yank the audience into an uncomfortably ravenous sensory overload with a sickly,...

The clumsy, drunken lunge and uninvited cheek-kiss that precipitates the action in wildly uneven French-Canadian comedy “Babysitter” is oddly appropriate for a film that can also feel like the victim of misguided, intrusive, if hardly malevolent exuberance. Far less coherent than her more focused and confident debut “A Brother’s Love,” Monia Chokri’s second feature is basically a series of sketches, some of which comment on ingrained, unconscious misogyny, while others lampoon the culture of hypersensitivity around less severe examples of unexamined sexism, such as that forced kiss. This makes it apt, too, that “Babysitter” has such a sugary aesthetic: It often looks like the cake it wants both to have and to eat.

An awkward prologue bears the scars of restrictive pandemic shooting. Through headachey close-ups, whip-pans and crash zooms, Chokri tries to fabricate the atmosphere of a crowded arena where an Mma title fight is underway. The pans...

A film that’s every bit as bleak and fragmented as its title implies, Denis Côté’s “Ghost Town Anthology” is a pointedly modern portrait of a place that’s come unstuck in time. The fictional hamlet of Irénée-les-Neiges is located in a barren stretch of backwoods Québec, and the 215 people who still live there are almost as dead as the trees in winter, or the local economy since the mine shut down. Simon Dubé, the 21-year-old hockey player who crashes his car into a cement wall in the opening scene, is just a little bit deader than the rest.

His departure sends a destabilizing shiver through everyone who knew him; one of the many characters in Côté’s small mosaic likens the community to a house of cards that won’t be able to sustain itself in Simon’s absence, as if the young man’s suicide violated the...

A chill air blows through the small Quebecois village of Irénée-les-Neiges following a young man’s suicide, bringing with it unexpected and largely unwelcome visitors. Denis Côté’s “Ghost Town Anthology” has superficial parallels to Robin Campillo’s “They Came Back,” in which the dead return, but in keeping with the maverick Canadian’s style, his film is a more intimate, more unsettling work that approaches narrative elliptically: Mysteries remain mysteries, and the value isn’t in finding answers but in emotionally exploring where the questions take you. Shot on 16mm for a suitable graininess, “Ghost Town” is a largely monochrome ensemble piece that muses on, rather than directly addresses, the current hot topics of the “other” and the viability of small-town life. Skirting genre formulas, the film takes a more modest approach than “Vic + Flo Saw a Bear,” and though more universal/accessible, will require intelligent marketing to...

Films Boutique has debuted the first promo trailer for an indie drama titled Ghost Town Anthology, aka Répertoire des villes disparues, set in snowy Quebec. The film takes place in a small and isolated town. A boy named Simon Dubé dies in a car accident. The stunned townspeople are reluctant to discuss the tragedy. From that point on time seems to lose all meaning, and the days stretch on without end. This is premiering at the Berlin Film Festival which is now underway, and it's playing In Competition during the fest. Starring Robert Naylor, Josée Deschênes, Jean-Michel Anctil, Larissa Corriveau, Rémi Goulet, Diane Lavallée, and Hubert Proulx. This is such an odd trailer - playing like an old news reel, and more of a behind-the-scenes look than a real trailer. The film is also in color, not B&W. I'm curious to see this anyway. Here's the first promo trailer...

Nine titles announced for Berlinale, which runs Feb 7-17.

The first films have been announced for the 2019 Berlin International Film Festival Competition and Berlinale Special sections.

The Competition line-up includes new films by Fatih Akin (The Golden Glove), François Ozon (By the Grace of God) and Denis Côté (Ghost Town Anthology).

The other three films in the strand are Marie Kreutzer’s The Ground Beneath My Feet, Angela Schanelec’s I Was at Home, but and Emin Alper’s A Tale of Three Sisters. All are world premieres except By the Grace Of God which is an international premiere.

The...

The Berlin Film Festival has revealed the first wave of titles for its competition lineup, including new films from François Ozon, Marie Kreutzer, Denis Côté and Fatih Akin. Charles Ferguson’s Watergate documentary is among the Berlinale Special titles.

The first nine Competition and Berlinale Special films were revealed today, alongside the previously announced opening film, The Kindness of Strangers by Lone Scherfig.

Festival favourites Akin (In The Fade) and Ozon (In The House) return with German-language thriller The Golden Glove and French-language drama By The Grace Of God, respectively. The former follows a serial killer who strikes fear in the hearts of residents of Hamburg during the early 1970s. The latter looks at a real-life case of sexual abuses allegedly committed by a French priest in the late 1980s. Oscar-winner Ferguson (Inside Job) will present anticipated 260-minute feature doc Watergate, which is sure to draw plenty of contemporary parallels.

Father and Guns (De pere en flic)

Starring Michel Cote, Louis-Jose Houde, Remy Girard

Directed by Emile Gaudreault

Rated Nr

I'm always a bit worried whenever I watch a comedy in another language. Humor has a bad habit of not transcending the language and cultural barriers. so even though I've read great things about Father and Guns (De pere en flic), I was still concerned that I wouldn't find it amusing. And I'll be honest, some of the humor was lost due to reading subtitles. But it was still funny, and even if you had the same concern I did, it shouldn't stop you from watching what is still a very good movie.

This is definitely a buddy-cop meets troubled father-son relationship film. The story starts out with Jacques Laroche (Michel Cote) and Marc Laroche (Louis-Jose Houde) who are father and son, respectively, on an elite police unit. A botched...