After Jean-Luc Godard, Leos Carax is probably the French filmmaker most associated with the term enfant terrible. In some ways, he’s been even more terrible than Godard ever was, adopting a pseudonym (he was born Alex Dupont) as a teenager and bursting onto the scene at age 24 with Boy Meets Girl — Godard made Breathless when he was 30 — which immediately turned him into a major young auteur to be reckoned with.
He followed that up with the powerful, AIDS-inspired Mauvais Sang, and then made The Lovers on the Bridge, a film infamous for being a French Heaven’s Gate that went way over budget and flopped (it’s still a fantastic movie). After that Carax disappeared for a while, then reemerged to make a few shorts, compose pop songs and shoot a new feature every decade, the last one being the Adam Driver-Marion Cotillard starrer, Annette.
His latest work, the medium-length,...
He followed that up with the powerful, AIDS-inspired Mauvais Sang, and then made The Lovers on the Bridge, a film infamous for being a French Heaven’s Gate that went way over budget and flopped (it’s still a fantastic movie). After that Carax disappeared for a while, then reemerged to make a few shorts, compose pop songs and shoot a new feature every decade, the last one being the Adam Driver-Marion Cotillard starrer, Annette.
His latest work, the medium-length,...
- 5/18/2024
- by Jordan Mintzer
- The Hollywood Reporter - Movie News
Every 15 minutes, according to a title at the end of director Anne Fontaine’s latest film, someone on earth plays Maurice Ravel’s “Boléro.” It’s a largely unprovable statement that is nonetheless borne out anecdotally by the familiarity of the tune, which crops up so frequently in concerts, movies, TV shows, commercials, dance recitals and at least one iconic 1980s ice skating routine, that it’s close to becoming sonic wallpaper. It’s a pleasant surprise then, that “Boléro,” Fontaine’s gently deconstructed Ravel biopic, while running long and never wholly airing out the stuffiness of “tortured genius” genre, does at minimum make us appreciate the music anew — its rustling snare drums, its snake-charmer woodwinds, its revving, roundabout rhythms.
Indeed Fontaine’s screenplay, co-written with Claire Barré, persuasively suggests that whatever ambivalence a modern viewer may feel toward the composition, Ravel, whose quiet peculiarities are sensitively underplayed by Raphaël Personnaz,...
Indeed Fontaine’s screenplay, co-written with Claire Barré, persuasively suggests that whatever ambivalence a modern viewer may feel toward the composition, Ravel, whose quiet peculiarities are sensitively underplayed by Raphaël Personnaz,...
- 2/4/2024
- by Jessica Kiang
- Variety Film + TV
Arriving in the wake of Tár, Maestra reaches an audience primed to see the dark side of the classical music world. And while Cate Blanchett’s Lydia Tár stands out for her abusive behavior, she also represents one common fact: Very few conductors of major orchestras are women.
Maggie Contreras’ likeable, informative Tribeca documentary follows an event created in 2018 to address that inequity. Every two years, women in the early stages of their conducting careers join the La Maestra competition in Paris, vying to win attention and professional help. They need all the help they can get. Marin Alsop, a competition judge and perhaps the most famous female conductor in the world, says in the film that when she told her childhood violin teacher she wanted to conduct, she was told, “Girls can’t do that.” Deborah Borda, the head of La Maestra’s jury and CEO of the New York Philharmonic,...
Maggie Contreras’ likeable, informative Tribeca documentary follows an event created in 2018 to address that inequity. Every two years, women in the early stages of their conducting careers join the La Maestra competition in Paris, vying to win attention and professional help. They need all the help they can get. Marin Alsop, a competition judge and perhaps the most famous female conductor in the world, says in the film that when she told her childhood violin teacher she wanted to conduct, she was told, “Girls can’t do that.” Deborah Borda, the head of La Maestra’s jury and CEO of the New York Philharmonic,...
- 6/20/2023
- by Caryn James
- The Hollywood Reporter - Movie News
Film stars Raphael Personnaz and Jeanne Balibar.
Paris-based Snd has boarded Anne Fontaine’s Boléro about the birth of the renowned orchestral work from Maurice Ravel, now shooting in France.
Set in the Roaring 1920s, the film stars Raphael Personnaz, known for Our Brothers, Julia(s) and The French Minister, as the composer. Jeanne Balibar, who has appeared in Lost Illusions, Cold War and Grace Of Monaco, plays the Russian dancer-choreographer Ida Rubinstein who commissioned the now legendary music.
Snd, the film arm of France’s M6 group, is on board as co-producer and French distributor and is launching international sales at Cannes.
Paris-based Snd has boarded Anne Fontaine’s Boléro about the birth of the renowned orchestral work from Maurice Ravel, now shooting in France.
Set in the Roaring 1920s, the film stars Raphael Personnaz, known for Our Brothers, Julia(s) and The French Minister, as the composer. Jeanne Balibar, who has appeared in Lost Illusions, Cold War and Grace Of Monaco, plays the Russian dancer-choreographer Ida Rubinstein who commissioned the now legendary music.
Snd, the film arm of France’s M6 group, is on board as co-producer and French distributor and is launching international sales at Cannes.
- 5/3/2023
- by Rebecca Leffler
- ScreenDaily
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