El artista y la modelo

One review here called this film "bleak". I thought it anything but.

Marc Cros (played by Jean Rochefort) is an observer--of life, of nature, of beauty, of life's rhythms--like any true artist must be. His is a special quest, a search for inspiration and for a project that is worthy of his time. He finds a young model named Merce (played by Aida Folch) and sets out to find his inspiration.

Art might be viewed as an abstract principle or as a part of life. Cros's search is a philosophical one, but it takes place during the Nazi occupation of his homeland, France. At one point, the war invades his artistic sanctuary, but he is skilled at focusing on beauty even in such circumstances.

In the end, "The Artist and the Model" shows us the fleeting nature of inspiration, the transience and persistence of beauty, and the sometimes obsessive nature of the artist in finding his inspiration.

In this beautiful Film Noir rendition of a vignette taken from life in an art studio during World War II, Trueba succeeds in depicting an idyllic picture of an encounter between an aged French sculptor played by Jean Rochefort, and a Spanish country girl escapee from a concentration camp, who by necessity becomes an artist model, played by Aida Folch. The vignette is set in nature and is soothing despite the short background danger intrusions reminding the viewer that war is raging on.

The artist's thoughts about the female human body that he adores, his old age-related frustrations, and the initial inexperienced model, set tension between the movie stars. However, the tension is short-lived. The climax arrives in the beautiful scene in which the model while lying in bed, responds to the artist's frustrations by holding and caressing his head.

Both Rochefort and Folch play their roles brilliantly. Rochefort, as the mature experienced, and thoughtful artist, and Folch, as the country girl who accidentally finds a possible future vocation as an artist model.

Movies like "Belle époque" or "Two Much", directed by Spanish filmmaker Fernando Trueba, were pleasant but rather shallow. But for some time (particularly since "Chico & Rita" in 2010), Trueba's cinema, while still celebrating woman and her beauty, has become more and more profound, something art lovers will certainly not complain about. Belonging to this vein,"L'artiste et son modèle" ("The Artist and the Model" in the USA), the Spanish director's latest effort, not only displays this newly acquired maturity but it is even downright close to perfection. As a matter of fact the viewers, provided they are not put off by the film's slow contemplative rhythm (but a rhythm there is), will be invited to a fascinating journey into the heart of things, into the essence of life. No less! With "The Artist and the Model", Trueba has not made just another movie, but achieved a real work of art that touches us deeply, building on a very simple but all the more powerful story: Marc, an elderly sculptor living in the heart of nature, far from the madding war (I mean World War II), finds a new muse in the (charming) person of a young Spanish refugee and undertakes the last (and certainly the most important) work of his life. And this is not just another story either, but one told with oozing sincerity and total commitment. Both sensual and philosophical, Marc's last adventure (inspired by the last experiences of Aristide Maillol working with his final muse Diana Vierny) allows Fernando Trueba to examine two themes of utmost importance to him: his love of beauty and particularly of the female body and his love of art (and of sculpture in particular). Another mark of dedication is the emotional tribute he pays to his brother, a famous sculptor who died prematurely in the 1990s. Now at the top of his art, the formerly superficial director has become able to describe life and nothing else, without relying on any easy plot twist or cinematic effect, without the obvious advantages of color (but what a luminous black and white cinematography!), without the support of a musical score (but what an enhancement of the sounds produced by nature, by objects moving, by human voices!).

Having, more than one common point with the character he embodies, Jean Rochefort is the right man in the right place. Like the aging sculptor, he is at the end of a long and successful career. Like Mercè's sculpture for Marc, this film could well be the achievement of Rochefort's life time. In any case, the French actor, who lends the old sculptor his own weary and caustic sensibility, is the right man. His female partner, Aida Folch, who plays Mercè, the young model, gives off the right dose of sensuality while managing to make apparent her intelligence and her strong convictions beyond the academic beauty of her body. In the more discreet role of Marc's longtime wife, Claudia Cardinale turns a convincing performance.

"L'artiste et son modèle" is one of the best films made on the theme of artists at work. Its message is, just like its script, both simple and powerful : "Learn to look at the world around you. Do not be content to give a sweeping, utilitarian look, try to see things and living creatures the way they are, in all their tell-tale details. Just the way Marc teaches Mercè to look at a Rembrandt drawing in one of the most fascinating scenes of the movie. A valuable lesson, both of art and life.

Splendid film from the Academy Award winning director of ¨Belle Epoque¨ and ¨Chico and Rita¨ . It deals with a semi-retired sculptor Marc Cros (Jean Rochefort) , an old artist , lives with his wife named Lea (performed by ex-Italian bombshell Claudia Cardinale) who is now in his seventies and thickly bespectacled housekeeper (Chus Lampreave) , all of them reside in the rural south of France , in the middle but safe of the WWII that rages in the distance . He seems to have reached the end of his life and of his art . One day, Léa gives shelter to a marvelous young Spanish political refugee called Mercè (Aida Folch) . Their life is simplistic and gentle , experiencing little impact from the war that rages on in the north of the occupied country by Nazis (Gotz Otto) . The arrival of the young girl inspires the artist to once again to draw and develop his artistic skills . Marc soon understands that the girl, who agrees to pose for him, inspires him and gives life .

Enjoyable drama with historical elements about France occupation from Nazis ; including enjoyable performances , adequate set design and delightfully shot . Thought-provoking as well as touching tale about an elderly sculptor who embarks on this last artistic and sensual adventure . ¨The artist and the model¨ results to be an agreeable story to deal with youthful , beauty , art , being developed in mirth , lively and vital style , though a sad ending . A very pleasant drama , plenty of sensitivity , emotion , artistic scenes and abundant nudism in charge of Aida Folch . This is Trueba's return to top form, with an intelligent and engaging script which uses entertaining situations to give us a good movie in a high sense and intimate sensitivity and that kept me entertained for the almost two hours of duration . It is well set and is as marvelously filmed as it is written and acted . This is one of those rare gems that does not stray from its purpose - to be a celebration of love , nature , and romance and sensitive tale of an old man to seek and find the beauty . Oscarized director Fernando Trueba , also writes the interesting script along with prestigious screenwriter Jean Claude Carriere , Luis Buñuel's ordinary . Filmed in his usual formal and luxurious style , without leaving a trace the joyful themes , in terms of dramatic and narrative excitement . The tone of The Artist and The Model is warm and reflective, centred on the contrasting dynamic of the gypsy -like Mercè , Aida Folch - housed by our couple , Rochefort-Cardinale , after escaping war-torn Spain - and the wizened, yet passionate Marc . The film is light and never somber, no small accomplishment from Fernando Trueba and his team . Starring French character actor Jean Rochefort - adds to the director's already eclectic oeuvre, making for satisfying viewing. Fernando Trueba had thought about doing this movie for years but it wasn't until his choice for the character Jean Rochefort called him up and said that he was going to retire that Trueba finally decided to go ahead and do it.

When Fernando Trueba discussed the idea of the movie with Aida Folch, without even a screenplay, Folch left everything in Spain and moved to Paris for a few months to learn French properly and be ready for the project. Very good secondary cast formed by familiar faces such as Chus Lampreave , Gotz Otto and veteran Claudia Cardinale . Luxurious and evocative cinematography in black and white, shot in sumptuous monochrome , by Daniel Vilar , one of the best Spanish cameramen who has efficiently worked in Hollywood .Being filmed on location in wonderful landscapes from Perpignan, Pyrénées-Orientales, France ,Olot, Girona, Catalonia, Spain . Trueba had had this project in store since 1990 , initially he was to make this film in collaboration with Maximo, his sculptor brother , but his brother died and he gave up the whole thing until 2010. In fact , the film is dedicated to his brother , Maximo Trueba , and sound engineer , Pierre Genet , both of whom sadly deceased .

This simple , attractive and delightful motion picture was well directed by Oscar-winning director Fernando Trueba , as the flick is entertaining and well worth your time . His first success was Ópera Prima (1980) following the style of the "Madrid comedy". Trueba had major success with Sé Infiel y No mires Quién (1985) also known as : Be Wanton and Tread No Shame , starting a longer collaboration with the producer Andrés Vicente Gómez . He went on directing numerous successes such as Coarse salt , Too Much , Year of Enlightment , Milagro de Candeal , Niña De Tus Ojos or The Girl of Your Dreams , Calle 54 , Embrujo De Shanghai , Chico and Rita and recently : The Artist and the Model. The multi-award winner in Spain Fernando Trueba was President of the Spanish Academy of Motion Picture Arts and he received the 1994 Oscar for Best Foreign Film to Belle Epoque (1992)and when accepting his Academy Award for Best Foreign Language Film, director (Fernando Trueba) said: "I would like to believe in God in order to thank him for this prize, but I only believe in (Billy Wilder), so... Thank you, Mr. Wilder!". Wilder himself reportedly phoned Trueba a few days later for acknowledgment and told him: "Hello Fernando, I'm God".

A gentle and fully realised poem that centres around the life of a french sculptor looking for inspiration during the Nazi occupation of France, and finds it with young-refugee Mercé, who agrees to model for him.

L'artiste et son modèle ticks all of its boxes. Gently meandering along until it's satisfying conclusion. You laugh along the way, you're introduced to new ideas and it's all very charming, but it's nothing challenging; it's just gentle and friendly which I can and will root for.

It toils in, and dances with integrity and honesty in one's work. Two themes that are developed so well, that I hung on to the sculptors every last word, completely absorbed with the progress of his work. The Rembrandt scene for example was superb; the aged sculptor begs his new, young and naive model to look at Art with focus and appreciation, leading to a wonderful interpretation of Rembrandts piece that, if I ever were to see it again, will forever be changed for me by this film.

However, what cements this film for me is perhaps what you may have already heard about: the black and white photography by Daniel Vilar. Believe the hype, it truly is something special. Wrapping Fernando Trueba's visual poem in always-interesting compositions, delicately lit interiors and gorgeously controlled exteriors, adding an entirely new depth to the film.

If you've read my other reviews you'll know I rarely mention cinematography as I don't care for it, or about it, but black and white has always been a soft spot of mine and this film revels in some of the most beautiful shots I've ever seen. I guarantee you could pause any frame of this film and you could see how meticulous photographing this film was.

I don't think a rating system works for this film, there's nothing you can give it without feeling like you're cheating it in some way, so hopefully the review can speak for itself. Watched on the BFI player website, with Mark Kermode's unursually hesitant Introduction.