Showing posts with label French. Show all posts
Showing posts with label French. Show all posts

Tuesday, 31 January 2017

Les Invisibles.

It took French director Sebastien Lifshitz 18 months to interview the people involved in his documentary Les Invisibles (2012). This dignified piece of filmmaking involves eleven men and women born between the end of WW1 and the beginning of WW2. These people are now in the latter years of their lives and openly relate their personnel histories to camera. 

Seemingly having nothing in common - other than their sexual preference. All these interviewees grew up in a period of intolerance towards homosexuality, a less open period towards honesty of feelings. The revealing nature of their personnel experiences is done in a very dignified manner and does not lack sincerity. What we get is a portrait of gay and lesbian life from an older generation that we are unused to hearing from, which in its self makes this documentary a refreshing change. But in the end it’s a rather sad portrait about people who were forced to live their lives as a lie, unable to tell family or friends about their true feelings and afraid of admitting there preferred sexuality. One of the things that arise out of the filmed interviews is the loneliness of most of those taking part. Although at times very fascinating the documentary tends to labour the same point because the participants had more or less the same story to tell. The run time of nearly two hours could have a little shorter and a little more archive footage would of helped.

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Thursday, 8 September 2016

Irreplaceable (Medecin de champagne)

 Doctors make the worst patients. Doctor turned film director/screenwriter Thomas Lilti must agree with this statement as his latest feature film Irreplaceable (Medecin de champagne) (2016), which got its UK Premiere at the 2016's Edinburgh International Film Festival, deals with just that subject.

Jean-Pierre Werner is a very poplar middle-aged doctor who has dedicated his working life to looking after the health of the local populous. When he is diagnosed with a life threatening illness the Health Authority sends an ex nurse who had recently qualified as a doctor to assist Jean-Pierre who believes that without him everyone in the village will die - in fact he thinks he is irreplaceable. At first this highly experienced local practitioner has little time for the inexperienced Nathalie Delezia but realises that if he does die someone will have be trained to take his place!


This is an exceptionally good French movie, full of great characters all perfectly formed and cast. The movie underlines the serious problem of the shortage of doctors and those embedded in their local rural practices having to work 24/7, generally without any support, even so the movie is still an amusing and enjoyable watch. The two stars of the film are the French actor with the great smile Francois Cluzet who plays Werner with the lovely Marianne Denicourt as his long-suffering assistant both of which give great performances gradually building an on screen relationship that is totally believable. Award winning film and theatre actor Cluzet is probable best known for his roles in Tell No One (2006), Little White Lies (2010) and The Intouchables in 2011.

Wednesday, 9 March 2016

Love.


Having seen, and enjoyed Gaspar Noe’s previous three feature films I was looking forward to his latest. For the uninitiated Noe is a French filmmaker, born in Argentina who directs, edits, produces and writes the screen play’s for his own feature films. I suppose the best way to describe his work is say that he likes to make an impact on his audience by risk taking and controversial seem the best way to sum up his work.  His debut film I Stand Along (1998) is a stark and real study of one mans inbuilt hatred towards the whole world. His inner turmoil was brought on following a prison sentence for stabbing a man in the face whom he suspected of assaulting his beloved daughter. This film concluded with a 30 second gap to allow the squeamish to leave the cinema before the climax. His second and best-known movie is Irreversible (2002). It consists of thirteen scenes presented in reverse chronological order. The most controversial part of this movie is the nine minutes single shot rape scene in a pedestrian underpass. Enter the Void (2009) is a tremendous piece of avant-garde filmmaking that succeeded in being both extremely provocative and completely absorbing. Set in a neon-lit Tokyo Noe described it as a psychedelic melodrama.

Premiering in the Midnight Screening section of the 2015 Cannes Film Festival Gaspar Noe has again pushed the boundary of ‘risk taking cinema’ with a lament to lost love. In a pre-release interview the director admitted that Love (2015) is meant to have an explicitly sexual feel stating that ‘he hoped the guys watching the movie will have erections and the female’s will get wet[1]’ and he also pointed out that the sex scenes, and there are quite a few, were not choreographed.
 
A rare picture of the three main stars with their clothes on.
This English language movie was filmed in Paris and revolves around an American cinema school student Murphy (Karl Glusman) and his former girlfriend the unstable Electra (Aomi Muyock). The pair had been passionately dating for two years when Murphy has sex with his 16-year-old neighbour Omi (Klara Kristin) who becomes pregnant – although both Murphy and Electra have had some erotically shot ‘three way’ sex with her previously!  But it’s Omi’s pregnancy that ends the intense relationship between Murphy and Electra. Consequently the main part of the narrative involves Murphy recalling his recent past with Electra that involved drug taking and copious amount of sex.

Along with Christophe Honore, Francois Ozon, Lars von Trier and Catherine Breillat, Noe pushes the boundary between mainstream cinema and pornography and to his credit he succeeds. Although its difficult to empathise with his three main characters and could be conceived a little long, its Benoit Debie’s cinematography and the amazing lighting with its use of colour filters that leaves much to admire.  




[1] Pre Cannes interview.

Friday, 13 November 2015

Mea Culpa.

To be fair this latest outing from Fred Cavaye is the standard fodder we have come to expect from this French director/writer following such movies as Point Blank (2010) and Anything for Her (2008). We either get stubble laden Vincent Lindon (Bastards 2013, Mademoiselle Chambon 2009) or stubble laded Gilles Lellouche (Little White Lies 2010, Adventures of Adele Blanc-Sec 2010) in his latest movie Mea Culpa (2014) we get both actors i.e. double the stubble! Then add a beautiful lead actress Nadine Labaki (Caramel 2007), lots of leather jackets, guns, high speed chases and violence and some really mean looking East European gangsters who do more killing than talking. If you have been following Olivier Marchal’s French TV series Braquo you’ll know exactly what I mean!

Fast, gritty, with lots of graphic violence for violence sake and totally unbelievable were both the good guys and the bad guys are equally thuggish and prepared to kill their fellow human beings at the drop of a hat.  Lindon plays Simon an ex policeman following a drunken driving incident where three people including a young child are killed. Separated from wife Alice (Labaki) and young son Theo he now works for a security company but is still friends with Franck (Lellouche) who is still in the force. Bringing the action back up to date the East European gangsters are driving around Toulon bumping off various low lifes in their sordid drug-dealing world. While at a bullfight, yes that’s right a bullfight, with his mum and her man Simon’s son Theo witnesses our Serbian gangster’s dispensing of a chap in the gents toilet, they see him and give chase.  You’ve probable guest by now that the rest of the film involves Simon and his ex cop partner trying to stop his son being killed and you would not be far wrong!  A film for lads of both sexes!

 


Tuesday, 20 October 2015

Eyes Without a Face (Les Yeux sans Visage).


French born Georges Franju’s directing style has been described as a ‘maker of stark documentaries and features, poetic and surrealist dreamscapes, literary adaptations, social commentary and sometimes with brutal content’[1] A man who admitted the his main reason for making films was to awaken an audience, and his second feature film, after a well received series of documentaries, can be said to do just that. 
 
The Mad Doctor. 
Now seen as a classic horror and certainly his best remembered film, Eyes Without a Face (1960) or to give it its French title Les Yeux sans Visage, is basically about a brilliant surgeon Doctor Genessier (Pierre Brasseur), aided by his assistant Louise (Alida Valli), who tries to repair his daughter Christiane’s (Edith Scob[2]) ruined face, following a car accident that he was responsible for, by grafting on to it the face of a beautiful woman.
 
The Daughter. 
Franju’s movie was one of three movies made at that time that was condemned and ridiculed, the very underrated Peeping Tom and the very overrated Psycho. Surprisingly only Hitchcock’s film came through unscathed at the time, but since then the other two turned out to be far better movies and both are now seen as two of the greatest horror films ever made.  
 
The surrogate mother and the doctors assistant.
Author Richard Humphries describes Eyes Without a Face as a subtle and highly sophisticated attack on Nazism and that Doctor Genessier’s experiments can be regarded with chilling hindsight in light of the monstrous experiments carried out by Nazi doctors. He goes on to opine that the entire film is a radical analysis of arrogance based essentially on the belief in the natural rights of one class in relation to another’s, kidnapping and murdering only young female students.
 
The victim about to loose face!
The film with its graphic scenes of gross horror including a glimpse of Christine’s missing face revealing the exposed muscle, watching or turning away as the mad surgeon removes the face of a dead female student and how the very dogs that he has used for his experiments turn on him with brutal repercussions. Again the movie raises the question of who is the monster Genessier or us for watching his grotesque work? The films legacy goes on. Pedro Almodover has admitted that his 2011 movie The Skin I Live In, which also featured a mad surgeon who performs skin grafts on an unwilling victim, was heavily influenced by Franju’s movie.   



[1] Philip Kemp - 501 Movie Directors.
[2] Who played the chauffer in Leos Carax’s Holy Motors 2012

Thursday, 13 August 2015

The King of Escape (Le roi de l'evasion)


The French born director and screenwriter Alain Guiraudie is best known for LGBT movies and his latest Stranger by the Lake (2013) is no exception offering a refreshingly honest depiction of gay sex and cruising, all wrapped up in a murder mystery. If you enjoyed that movie then I am sure you would enjoy his previous film The King of Escape made in 2009. Although this lighthearted offbeat comedy is nowhere near as dark as Stranger it's equally as entertaining.
 
Will the affair between Armand and Curly last....
The story involves a rather plump 43-year-old tractor salesman who has a sexual liking for mature married men whom he picks up in what can only be described as a cruising lay-by situated just outside the small French town where he lives and works. It's when Armand comes to the rescue of a sixteen-year-old girl who is being harassed by four young thugs that his life begins to take a different direction. Curly not only turns out to be the daughter of one of Armand's work colleague but she also takes a strong sexual liking for our tractor salesman. The movie then asks us to believe that this overtly gay man falls for this rather sexy young woman! But eating some magical roots that he digs up in a nearby forest help this partial transformation. The excitement really takes off when Curly's father persuades the local police to get his daughter back and Armand and the teenager go on the run. Will Armand stay with the girl or will the temptation of randy old men draw him back to his previous life style?
 
....not if her father has his way!
Yes there is a lot of sex and nakedness but never in an embarrassing or offensive way in fact I enjoyed the casualness of the whole movie. The acting is first rate especially by Ludovic Berthillot who underplays Armand Lacourtade to great effect and Hafsia Herzi, who played Samira in House of Tolerance (2011), is great as the horny teenager Curly Durandot. But I must give credit to all the actors involved in this production right down to the smallest of parts who make this story very believable, funny and enjoyable. Never receiving a general release in UK cinema’s its now available on DVD.