Ernst Wilhelm "Wim" Wenders is a German filmmaker, playwright and photographer. He is a major figure in New German Cinema. Among many honors, he has received three nominations for the Academy Award for Best Documentary Feature: for Buena Vista Social Club, about Cuban music culture. One of Wenders' earliest honors was a win for the BAFTA Award for Best Direction for his narrative drama Paris, which won the Palme d'Or at the 1984 Cannes Film Festival. Many of his subsequent films have been recognized at Cannes, including Wings of Desire, for which Wenders won the Best Director Award at the 1987 Cannes Film Festival. Wenders has been the president of the European Film Academy in Berlin since 1996. Alongside filmmaking, he is an active photographer, he is considered to be an auteur director. Wenders was born in Düsseldorf into a traditionally Catholic family, his father, Heinrich Wenders, was a surgeon. The use of the Dutch name "Wim" is a shortened version of the baptismal name "Wilhelm"; as a boy, he took unaccompanied trips to Amsterdam to visit the Rijksmuseum.
He graduated from high school in Oberhausen in the Ruhr area. He studied medicine and philosophy in Freiburg and Düsseldorf. However, he dropped out of university studies and moved to Paris in October 1966 to become a painter. Wenders failed his entry test at France's national film school IDHEC, instead became an engraver in the studio of Johnny Friedlander, in Montparnasse. During this time, Wenders became fascinated with cinema, saw up to five movies a day at the local movie theater. Set on making his obsession his life's work, Wenders returned to Germany in 1967 to work in the Düsseldorf office of United Artists; that fall, he entered the "Hochschule für Fernsehen und Film München". Between 1967 and 1970 while at the "HFF", Wenders worked as a film critic for FilmKritik the Munich daily newspaper Süddeutsche Zeitung, Twen magazine, Der Spiegel. Wenders completed several short films before graduating from the Hochschule with a feature-length 16mm black-and-white film, Summer in the City. Wenders began his career during the New German Cinema era of the late 1960s, making his feature directorial debut with Summer in the City.
Much of the distinctive cinematography in his movies is the result of a productive long-term collaboration with Dutch cinematographer Robby Müller. Some of his more successful and critically acclaimed movies—Paris and Wings of Desire, for example—have been the result of fruitful collaborations with avant-garde authors Peter Handke and Sam Shepard. Handke's novel, The Goalie's Anxiety at the Penalty Kick was adapted for Wenders' second feature film, The Goalkeeper's Fear of the Penalty. Handke co-wrote the script for Wings of Desire and Until the End of the World, both featuring Solveig Dommartin. Wenders has directed several acclaimed documentaries, most notably Buena Vista Social Club, about Cuban musicians, The Soul of a Man, on American blues, he has directed a documentary style film on the Skladanowsky brothers, known in English as A Trick of the Light. The Skladanowsky brothers were inventing'moving pictures' when several others like the Lumière brothers and William Friese-Greene were doing the same.
Alongside Buena Vista Social Club his documentaries on Pina Bausch and Sebastiao Salgado, The Salt of the Earth received nominations for the Academy Award for Best Documentary Feature. He has directed many music videos for groups such as U2 and Talking Heads, including "Stay" and "Sax and Violins", his television commercials include a UK advertisement for Carling Premier Canadian beer. Wenders' book, Emotion Pictures, a collection of diary essays written while a film student, was adapted and broadcast as a series of plays on BBC Radio 3, featuring Peter Capaldi as Wenders, with Gina McKee, Saskia Reeves, Dennis Hopper, Harry Dean Stanton and Ricky Tomlinson, dramatised by Neil Cargill. Wenders was collaborating with artist/journalist and longtime friend Melinda Camber Porter on a documentary feature about his body of work, Wim Wenders - Visions on Film, when Porter died – the film remains incomplete. Wenders is a member of the advisory board of World Cinema Foundation; the project was founded by Martin Scorsese and aimed at finding and reconstructing world cinema films that have been long neglected.
He serves as a Jury Member for the digital studio Filmaka, a platform for undiscovered filmmakers to show their work to industry professionals. In 2011 he was selected to stage the 2013 cycle of Richard Wagner's Der Ring des Nibelungen at the Bayreuth Festival, a reflection of his capacity to produce imaginative tributes to great works of art; the project fell through when he insisted on filming in 3-D, which the Wagner family found too costly and disruptive. While promoting his 3-D dance film, Wenders told the Documentary channel Blog in December 2011 that he has begun work on a new 3-D documentary, this one about architecture, he has said that he will only be working in the 3-D film format from now on. Wenders admired the dance choreographer Pina Bausch since 1985, but only with the advent of digital 3-D cinema did he decide that he could sufficiently capture her work on screen, he will stage director debut for Georges Bizet's opera Les Pêcheurs de perles starring Olga Peretyatko, Francesco Demuro, conducted by Daniel Barenboim at Berlin State Opera in June 2017.
In an interview with Christiane Amanpou
Meg Ryan is an American actress and producer. Ryan began her acting career in 1981 in minor roles before joining the cast of the CBS soap opera As the World Turns in 1982. Subsequently, she began to appear in supporting roles in films during the mid 1980s like box office hit Top Gun, achieving recognition in independent films such as Promised Land before her performance in the Rob Reiner-directed romantic comedy When Harry Met Sally... brought her widespread attention and her first Golden Globe nomination. Ryan subsequently established herself, both nationally and internationally, as one of the most successful actresses in the 1990s and early 2000s in romantic comedy films such as Sleepless in Seattle, French Kiss, You've Got Mail, Kate & Leopold, her other films include The Doors, When a Man Loves a Woman, Courage Under Fire, Addicted to Love, City of Angels, Proof of Life, The Women. In 2015, she made her directorial debut with Ithaca, a film in which she acted. Ryan was born and raised in Fairfield, the daughter of Susan Jordan, a former actress and English teacher, Harry Hyra, a math teacher.
She is of German and Polish descent. She attended St. Pius X Elementary School in Fairfield, she has two sisters and Annie, a brother, musician Andrew Hyra, a member of the band Billy Pilgrim. Her parents divorced in 1976. Ryan graduated from Bethel High School in 1979, she studied journalism as an undergraduate, first at the University of Connecticut and at New York University. During college, she acted in television commercials and the soap opera As the World Turns to earn extra money. Due to her success as an actress, she dropped out of college a semester before she planned to graduate; when she joined the Screen Actors Guild, she used her grandmother's maiden name. After her film debut in George Cukor's Rich and Famous, Ryan played Betsy Stewart in the daytime drama As the World Turns, from 1982 to 1984, her character was featured in a popular romantic story arc. Around that same time, she appeared in a Burger King commercial. Several television films and smaller film roles followed, including appearances in Charles in Charge and Dangerous, Amityville 3-D and Promised Land.
In 1986, she played Carole Bradshaw, the wife of Naval Flight Officer Nick "Goose" Bradshaw in Top Gun. Ryan appeared in the film Innerspace with her future husband Dennis Quaid, in the remake of D. O. A. and in The Presidio. Her first leading role was the romantic comedy film When Harry Met Sally... which paired her with comedic leading man Billy Crystal and earned her a Golden Globe nomination. Her portrayal of Sally Albright includes an oft-recounted scene in which her character, lunching with Crystal in Katz's Delicatessen in Manhattan, theatrically demonstrates for him how easy it is for a woman to fake an orgasm. Ryan next starred in The Doors, moderately successful, Prelude to a Kiss, which flopped; the year 1993 saw the release of the hugely successful romantic comedy Sleepless in Seattle, which paired Ryan for a second time with Tom Hanks. They had been paired as romantic leads in the film Joe Versus the Volcano—a commercial disappointment which developed a cult following. Hanks and Ryan would be paired for a third time in the film You've Got Mail.
She was offered the role of the protagonist Clarice Starling in The Silence of the Lambs, but rejected it due to its gruesome and violent themes. In 1994, Ryan took a role that differed from the romantic-comedy ingenue character for which she had become famous. In Luis Mandoki's When a Man Loves a Woman, a romantic social drama film starring Andy Garcia, she played an alcoholic high-school guidance counselor; the film and her performance were both well received by critics. One critic called the film "a first-class production, accentuated by fine performances and an unflinching script", another praised Ryan for her "roller-coaster role"; the film was a notable success in its domestic run, grossing $50 million in the United States alone, garnered the actress her first Screen Actors Guild Award. The same year, Ryan returned to type, starring alongside Tim Robbins in Fred Schepisi's romantic comedy I. Q; the film centers on a mechanic and a Princeton doctoral candidate who fall in love, with the aid of the graduate student's uncle, Albert Einstein.
Ryan won Harvard's Hasty Pudding Woman of the Year award, People Magazine dubbed her one of "the 50 most beautiful people in the world". In 1995, critic Richard Corliss called her "the current soul of romantic comedy"; that same year, she appeared opposite Kevin Kline in Lawrence Kasdan's French Kiss, a romantic comedy that catered to her "America's Sweetheart" image, Ryan was awarded the Women in Film Crystal Award. In 1996, Ryan starred in the film Courage under Fire alongside Matt Damon; the following year, she voiced the lead role in the animated film Anastasia, which garnered good reviews and enjoyed box office success. She appeared opposite Matthew Broderick in Addicted to Love playing a female lead at least superficially different from her usual direction, as one of a pair of jilted lovers bent on revenge. In 1998, she starred in two films. City of Angels drew posi
Michel Ocelot is a French writer, storyboard artist and director of animated films and television programs and a former president of the International Animated Film Association. Though best known for his 1998 debut feature Kirikou and the Sorceress, his earlier films and television work had won Césars and British Academy Film Awards among others and he was made a chevalier of the Légion d'honneur on 23 October 2009, presented to him by Agnès Varda, promoted to commandeur earlier the same year. In 2015 he got the Lifetime Achievement Award at the World Festival of Animated Film - Animafest Zagreb, he was born in 1943 to a Catholic family in Villefranche-sur-Mer, on the French Riviera, who relocated to Guinea, West Africa for much of his childhood, moving back to Anjou in France during his adolescence. As a teenager he played with and created toy theatre productions and was inspired to become an animator through viewing Hermína Týrlová's Vzpoura hraček and discovering a book on DIY stop motion animation.
He was never formally taught animation and instead studied the decorative arts, first at the Ecole régionale des Beaux-Arts in Angers the École nationale supérieure des arts décoratifs in Paris and the California Institute of the Arts in Los Angeles. He now operates from an atelier-apartment in Paris, his œuvre is characterised by having worked in a variety of animation techniques employing a different medium for each new project, but exclusively within the genres of fairy tales and fairytale fantasy. Some, such as Kirikou and the Sorceress, are loose adaptations of existing folk tales, others are original stories constructed from the "building blocks" of such tales, he describes the process as "I play with balls that innumerable jugglers have used for countless centuries. These balls, passed down from hand to hand, are not new, but today I'm the one doing the juggling." Visually, they are characterised by a rigid use, excepting brief transitions between them, of the side-on, straight-on and ¾ viewpoints of silhouette and cutout animation when working in mediums which allow for greater flexibility and dynamic viewpoints.
Though likened to Reiniger, he himself finds her films "rather archaic and not attractive" and does not list them among his favourites. He admires the art of ancient Egypt, pottery of ancient Greece and illustrators such as Arthur Rackham, W. Heath Robinson and his brothers and, most of all, Aubrey Beardsley, he was president of the Association international du film d'animation from 1994 to 2000. While a household name in much of continental Europe, respected by Studio Ghibli's Isao Takahata, his success in the more conservative markets of the United Kingdom, United States and Germany has been restricted by a mixed reaction to the realistic and non-sexual, but omnipresent nudity in his breakout film Kirikou and the Sorceress. Although all of these countries' boards of film classification have approved it as being suitable for all ages, cinemas and TV channels have been reluctant to show it due to the possible backlash from offended parents. In 2007, he gained some further recognition within the English-speaking world by directing a music video for the Icelandic musician Björk, the lead single from her album Volta.
In another, 2008 interview he mentioned as further examples of favourite and influential artistic works Voltaire's letters, The Heron and the Crane, Crac and Daughter, the first part of Grand Illusion, the Eiffel Tower, Millesgården, Persian miniatures, Jean Giraud's free drawing and illustrations by Kay Nielsen. Jouvanceau, Pierre; the Silhouette Film. Pagine di Chiavari. Trans. Kitson. Genoa: Le Mani. ISBN 88-8012-299-1. Lugt, Peter van der. "This is Animation". GhibliWorld.com. Archived from the original on 2008-08-29. Retrieved 2008-08-25. Pilling, Jayne. "The storyteller". 2D and Beyond. Animation. Hove: RotoVision. Pp. 100–109, 153. ISBN 2-88046-445-5. Official website Michel Ocelot on IMDb Information on and stills from his short films Stills from Les Trois Inventeurs and Azur et Asmar Interview with Björk and stills from "Earth Intruders" video Official site of the Association international du film d'animation The Studio Ghibli collection at Walt Disney Studios Japan
Abderrahmane Sissako is a Mauritanian film director and producer. Sissako is, along with Ousmane Sembène, Souleymane Cissé, Idrissa Ouedraogo and Djibril Diop Mambety, one of the few filmmakers from Africa to reach a measure of international influence, his film Waiting for Happiness was screened at the 2002 Cannes Film Festival official selection under Un Certain Regard, winning the FIPRESCI Prize. His 2007 film Bamako received much attention. Sissako's themes include globalisation and the displacement of people, his 2014 film Timbuktu was selected to compete for the Palme d'Or in the main competition section at the 2014 Cannes Film Festival and nominated for an Academy Award for Best Foreign Language Film. Soon after his birth Sissako's family emigrated to Mali, his father's country, where he completed part of his primary and secondary education. Sissako returned to Mauritania, his mother's land, in 1980, he left for Moscow, where he studied cinema at the VGIK from 1983 to 1989. Sissako settled in France at the beginning of the 1990s.
Besides his work as a director, he works as a cultural advisor for Mauritanian head of state Mohamed Ould Abdel Aziz. In addition to feature films and short films, Sissako has served on the jury of the Premiers Plans festival in Angers in January 2007. 2000: 53rd Cannes International Film Festival 2003: 56th Cannes International Film Festival 2014: 36th Moscow International Film Festival 2015: 68th Cannes International Film Festival Thomas Sotinel, « Abderrahmane Sissako. Pour en finir avec le cinéma du Nord », Le Monde, 21 octobre 2006, p. 19 Samuel Lelièvre, « Les cinémas africains, Abderrahmane Sissako et les frontières du monde », CinémAction, no. 137, 2010, pp. 182–185. Abderrahmane Sissako on IMDb Interview: Abderrahmane Sissako with Kwame Anthony Appiah Sight and Sound, Film of the Month: Bamako A Fragmented Epistemology: The Films of Abderrahmane Sissako Sissako YouTube Interview, 2007
Carandiru is a 2003 Brazilian drama film directed by Héctor Babenco. It is based on the book Estação Carandiru by Dr. Drauzio Varella, a physician and AIDS specialist, portrayed in the film by Luiz Carlos Vasconcelos. Carandiru tells some of the stories that occurred in Carandiru Penitentiary, the biggest prison in Latin America; the story culminates with the 1992 massacre, 102 by Police. The film was the last thing for which the prison was used before it was demolished in 2002, one year before the release of the film. Babenco states that Carandiru is the “most realistic film made,” presenting a new kind of Brazilian realism inspired by Cinema Novo. Due to this focus on portraying reality and the film's memoir inspiration, Carandiru can be read as a docudrama or as a testimony from the prisoners; this episodic story is set in São Paulo's notorious prison Carandiru, one of Latin America's largest and most violent prison systems. Carandiru tells the stories of different inmates at Sāo Paulo's Carandiru Penitentiary through the filter of Dr. Varella, who goes to the prison to test the inmates for HIV.
Similar to many Brazilian crime films, Dr. Varella narrates Carandiru, however, it is not his story, told, he acts as a filter for the stories of those. The inhumane conditions of the prison, such as the 100 square foot cells inhabited by sometimes up to 16 prisoners, are shown, as well as the lack of control that the guards have. Order in the prison is controlled by the prisoners themselves, which leads them to face problems such as murders, rampant drug use, disease all within the prison. Several stories are developed; some of the more memorable stories are Lady Di and No Way's marriage and Zico's family dynamic and Zico's crack addictions, Majestade's “affairs.” The prisoners are humanized to the audience by telling their stories, which makes the riot and the Carandiru Massacre more painful for the audience to watch. Thus, when the film ends with real shots of Carandiru Penitentiary's demolition, Babenco employs catharsis. Innocence At one point during the film, Ebony sarcastically asks Dr. Varella if he's noticed that all the inmates of Carandiru are innocent.
All the inmates do see themselves as innocent, which speaks to the idea that the prisoners see themselves as people forced into crime. In this sense, Carandiru employs Dr. Varella as a social mediator who listens to all versions of the prisoners' truths, allowing the audience a glimpse into their world, prompting the audience to see the incarcerated from a different perspective. By giving the prisoners a voice, Carandiru gives the prisoners a chance to tell their stories without facing judgment. Morality The theme of morality plays closely to the theme of innocence in Carandiru. While some of the characters are innocent, others commit their crimes for moral reasons. Deusdete shoots one of the men. Another example is Majestade. Majestade, though guilty of having two wives that only sort of know about each other, is not guilty of arson and attempted murder. Law systems While the focus of Carandiru is humanizing the prisoners, it still emphasizes the flawed Brazilian legal system and the prisoners' own legal system.
Deusdete, who murders a man for raping his sister wants to report the rape to the police. However, his friends advise him not to, because the police will not take his allegation and will not look to punish the rapists. Thus, Deusdete feels the need to take matters into his own hand, creating his own “legal system.” The idea of creating a “legal system,” or “prisoner code of honor” fascinates Babenco, who stated that the code of honor was one of the most interesting aspects of the film. This highlights a problem rampant in the post-colony – that of indirect government in both the streets and the prisons. Brutality vs. Civilization The focus on unfair law systems comes into play during the actual massacre during the climax of the film; the prisoners end their revolt and surrender all their makeshift weapons at the request of the prison warden. However, the police force storms killing hundreds of defenseless prisoners; the police are illustrated as monsters, killing to kill, forcing the audience to question whether the police or the prisoners are more civil.
With that, Carandiru illuminates that Brazil has two civilizations, both of which are brutal: those who live under the governmental law and those who live under their own set of laws. Luiz Carlos Vasconcelos as Dr. Drauzio Varella Rodrigo Santoro as Lady Di Milton Gonçalves as Chico Lázaro Ramos as Ezequiel Caio Blat as Deusdete Milhem Cortaz as Peixeira Wagner Moura as Zico Floriano Peixoto as Antônio Carlos Rita Cadillac as Herself Gero Camilo as No Way Ivan de Almeida as Ebony Ailton Graça as Majestade Maria Luisa Mendonça as Dalva Aida Leiner as Rosirene Júlia Ianina as Francineide Sabrina Greve as Catarina Nelson Machado as Carioca Director Héctor Babenco shot the film on location in the actual penitentiary, in neo-realist fashion he used a huge cast of novice actors — some of whom are former inmates; the film was first presented at the II Panorama Internacional Coisa de Cinema in Brazil on March 21, 2003. It opened wide in Brazil on April 11, 2003, it was the highest-grossing Brazilian film of the year and third overall (behind Bruce Almig
Patrice Chéreau was a French opera and theatre director, filmmaker and producer. In France he is best known for his work for the theatre, internationally for his films La Reine Margot and Intimacy, for his staging of the Jahrhundertring, the centenary Ring Cycle at the Bayreuth Festival in 1976. Winner of twenty movie awards, including the Cannes Jury Prize and the Golden Berlin Bear, Chéreau served as president of the jury at the 2003 Cannes festival. From 1966, he was artistic director of the Public-Theatre in the Parisian suburb of Sartrouville, where in his team were stage designer Richard Peduzzi, costume designer Jacques Schmidt and lighting designer André Diot, with whom he collaborated in many productions. From 1982, he was director of "his own stage" at the Théâtre Nanterre-Amandiers at Nanterre where he staged plays by Jean Racine and Shakespeare as well as works by Jean Genet, Heiner Müller and Bernard-Marie Koltès, he accepted selected opera productions, such as: the first performance of the three-act version of Alban Berg's Lulu, completed by Friedrich Cerha, at the Paris Opera in 1979.
He was awarded the Europe Theatre Prize in 2008. Chéreau was born in Maine-et-Loire, his father, Jean-Baptiste Chéreau, was a painter, his mother, Marguerite Pelicier, was a graphic designer. He attended school in Paris. Early on he was taken to the Louvre and became interested in the arts, cinema and music. At age 12, he designed stage sets for plays, he became well known to Parisian critics as director and stage manager of his high-school theatre. At 15, he was enthusiastically celebrated as a theatre prodigy. In 1964, at the age of 19, he began directing for the professional theatre. While studying at the Sorbonne, he professionally staged Victor Hugo's L'Intervention, subsequently dropped out of the university. In 1966, Chéreau was appointed artistic director of the Public-Theatre in the Parisian suburb of Sartrouville. With "idealism and inventiveness", he made the theatre a "municipal commodity", presenting not only theatre but "cinema, poetry productions and debates about everything from politics to pot".
His theatrical team included costume designer Jacques Schmidt, stage designer Richard Peduzzi and lighting designer André Diot, with all of whom he collaborated in many productions. In 1968, he directed The Soldiers by Jakob Michael Reinhold Lenz at the Festival of Youth Theatre in Nancy. In 1969, he staged his first opera production, Rossini's L'italiana in Algeri for the Spoleto Festival, again with his Sartrouville team; the following year he established a close artistic relationship with the leadership of the Piccolo Teatro in Milan, Paolo Grassi and Giorgio Strehler. There, he staged Death of Joaquin Murieta. In 1970, he directed Shakespeare's Richard II at the Théâtre de France, his first staging for the Paris Opera was in 1974 Offenbach's Les contes d'Hoffmann. He showed Hoffmann, sung by Nicolai Gedda, as a "sensitive poet for whom love is beyond reach... a drunken loser". In 1975, he worked in Germany for the first time directing Edward Bond's Lear, set in an "industrial landscape strewn with piles of slag, with Lear as a Baron Krupp in evening dress and top hat".
He commented on the "macabre" production: ``, I feed on despair. For me it is a spur to action." In 1975, his directorial debut film was the thriller La Chair de l'orchidée, based on James Hadley Chase's 1948 novel The Flesh of the Orchid, sequel to No Orchids for Miss Blandish. The film assembled a starry cast including Edwige Feuillère, Simone Signoret, Alida Valli and Charlotte Rampling "in the role giving a performance of extraordinary intensity, it was an operatic version of the misunderstood 1948 British film." In 1976, Chéreau staged Wagner's Der Ring des Nibelungen at the Bayreuth Festival to celebrate the festival's centenary, termed the Jahrhundertring. The production, celebrating 100 years after Wagner's work had been performed for the first time as a cycle at the first Bayreuth Festival, became known as the Jahrhundertring. Chéreau collaborated with conductor Pierre Boulez, who had recommended him to the festival direction; the French team revolutionised the understanding of Wagner in Germany, as music critic Eleonore Büning wrote in her obituary in the Frankfurter Allgemeine Zeitung.
Chéreau set the scene in the time of the composition, with a critical view of the time's capitalism and spiritual background. As Büning and others pointed out, the staging left a standard for productions of the Ring Cycle to follow. Gerhard R. Koch mentioned in his obituary that the unity of direction and light was new for Bayreuth and suggested a critical view on capitalism heading towards fascism. In 1977, when heldentenor René Kollo had broken his leg, Chereau acted the role of Siegfried on stage while Kollo sang from the wings; the Ring production, filmed for television in 1980 provoked controversy, but was celebrated after its final performance in 1980 with a 45-minute standing ovation. Chéreau disliked grand opera, but said: "After Bayreuth, I felt the need to work on a theatrical project of some breadth... I have never put on little things. I am interested only in spectacles that rise above themselves", he first considered Goethe's Faust but directed in 1981 He
Fanfan la Tulipe (2003 film)
Fanfan la Tulipe is a 2003 French comedy adventure film directed by Gérard Krawczyk and starring Vincent Perez and Penélope Cruz. It was screened out of competition at the 2003 Cannes Film Festival, it is a remake of the 1952 film Fanfan la Tulipe. A charming swashbuckler is tricked into enlisting into the army of Louis XV in the mistaken belief that he will therefore be allowed to marry one of the King's daughters. Vincent Perez - Fanfan la Tulipe Penélope Cruz - Adeline la Franchise Didier Bourdon - Louis XV Hélène de Fougerolles - Me de Pompadour Michel Muller - Tranche Montagne Philippe Dormoy - Pierre Bras Jacques Frantz - Franchise Gérald Laroche - Corsini Guillaume Gallienne - Houlette Gilles Arbona - Marechal Jean-Pol Dubois - L'aumônier Yves Pignot - Guillaume Jean-François Lapalus - L'oncle de Lison François Chattot - Le cure Jacques Dynam - Chaville Fanfan la Tulipe on IMDb Fanfan la Tulipe at Rotten Tomatoes