La Chambre obscure
La Chambre obscure is a 2000 French drama film directed and written by Marie-Christine Questerbert. Caroline Ducey as Aliénor Melvil Poupaud as Bertrand Mathieu Demy as Thomas Sylvie Testud as Azalaïs Jackie Berroyer as The king Hugues Quester as Ambrogio Alice Houri as Lisotta Pierre Baillot as Maître Gérard de Narbonne Dimitri Rataud as Marc Christian Cloarec as Guillaume Édith Scob as The widow Luis Rego as The confessor Thibault de Montalembert La Chambre obscure on IMDb La Chambre obscure at AllMovie
The Beaches of Agnès
The Beaches of Agnès is a 2008 French documentary film directed by Agnès Varda. The film is an autobiographical essay where Varda revisits places from her past, reminisces about life and celebrates her 80th birthday on camera. Varda said it would most be her last film, but released the documentaries Faces Places and Varda by Agnès a decade later. Varda uses a wide variety of techniques, combining still images of people, including her past friends, collaborators and family, with what Claude Lévi-Strauss might term bricolage of garage-sale items and colorful memorabilia juxtaposed in creative combinations, combines beautiful images in a collage format which revolves around the theme of beaches. In the opening shots, she has assistants film her bringing mirrors to a beach in Belgium which she used to visit as a young girl, she captures a creative French artistic sensibility with a sincere and playful appreciation for the beauty of film and art and a joie de vivre. The New York Times critic Manohla Dargis wrote in 2009:...
It is at once an illustration of the fine art of foraging and an autobiographical portrait, narrated by its self-described “little old lady, pleasantly plump.”... Ms. Varda is picking through the world, close to home and far afield, finding images that please her and give her pause... that she scrutinizes with rue if no obvious regret. But here the emphasis is on her own life and the images and memories that, with time, have blurred together.... The images are as delightful and playfully uninhibited... At one point, she says she thinks of all men who look at the sea as Ulysses, but she’s every bit the wanderer. Whether she’s roving a beach with a camera or rummaging through flea markets, she seeks and finds, gleaning — the word means to collect and examine — what this world of wonders has in store; the Beaches of Agnès on IMDb https://web.archive.org/web/20100305115741/http://www.cinemaguild.com/beachesofagnes/
Paris is the capital and most populous city of France, with an area of 105 square kilometres and an official estimated population of 2,140,526 residents as of 1 January 2019. Since the 17th century, Paris has been one of Europe's major centres of finance, commerce, fashion and the arts; the City of Paris is the centre and seat of government of the Île-de-France, or Paris Region, which has an estimated official 2019 population of 12,213,364, or about 18 percent of the population of France. The Paris Region had a GDP of €681 billion in 2016, accounting for 31 percent of the GDP of France, was the 5th largest region by GDP in the world. According to the Economist Intelligence Unit Worldwide Cost of Living Survey in 2018, Paris was the second most expensive city in the world, after Singapore, ahead of Zurich, Hong Kong and Geneva. Another source ranked Paris as most expensive, on a par with Singapore and Hong-Kong, in 2018; the city is a major rail and air-transport hub served by two international airports: Paris-Charles de Gaulle and Paris-Orly.
Opened in 1900, the city's subway system, the Paris Métro, serves 5.23 million passengers daily, is the second busiest metro system in Europe after Moscow Metro. Gare du Nord is the 24th busiest railway station in the world, the first located outside Japan, with 262 million passengers in 2015. Paris is known for its museums and architectural landmarks: the Louvre was the most visited art museum in the world in 2018, with 10.2 million visitors. The Musée d'Orsay and Musée de l'Orangerie are noted for their collections of French Impressionist art, the Pompidou Centre Musée National d'Art Moderne has the largest collection of modern and contemporary art in Europe; the historical district along the Seine in the city centre is classified as a UNESCO Heritage Site. Popular landmarks in the centre of the city include the Cathedral of Notre Dame de Paris and the Gothic royal chapel of Sainte-Chapelle, both on the Île de la Cité. Paris received 23 million visitors in 2017, measured by hotel stays, with the largest numbers of foreign visitors coming from the United States, the UK, Germany and China.
It was ranked as the third most visited travel destination in the world in 2017, after Bangkok and London. The football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris; the 80,000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros. Paris will host the 2024 Summer Olympics; the 1938 and 1998 FIFA World Cups, the 2007 Rugby World Cup, the 1960, 1984, 2016 UEFA European Championships were held in the city and, every July, the Tour de France bicycle race finishes there. The name "Paris" is derived from the Celtic Parisii tribe; the city's name is not related to the Paris of Greek mythology. Paris is referred to as the City of Light, both because of its leading role during the Age of Enlightenment and more because Paris was one of the first large European cities to use gas street lighting on a grand scale on its boulevards and monuments.
Gas lights were installed on the Place du Carousel, Rue de Rivoli and Place Vendome in 1829. By 1857, the Grand boulevards were lit. By the 1860s, the boulevards and streets of Paris were illuminated by 56,000 gas lamps. Since the late 19th century, Paris has been known as Panam in French slang. Inhabitants are known in French as Parisiens, they are pejoratively called Parigots. The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the area's major north–south trade routes crossed the Seine on the île de la Cité; the Parisii minted their own coins for that purpose. The Romans began their settlement on Paris' Left Bank; the Roman town was called Lutetia. It became a prosperous city with a forum, temples, an amphitheatre. By the end of the Western Roman Empire, the town was known as Parisius, a Latin name that would become Paris in French. Christianity was introduced in the middle of the 3rd century AD by Saint Denis, the first Bishop of Paris: according to legend, when he refused to renounce his faith before the Roman occupiers, he was beheaded on the hill which became known as Mons Martyrum "Montmartre", from where he walked headless to the north of the city.
Clovis the Frank, the first king of the Merovingian dynasty, made the city his capital from 508. As the Frankish domination of Gaul began, there was a gradual immigration by the Franks to Paris and the Parisian Francien dialects were born. Fortification of the Île-de-la-Citie failed to avert sacking by Vikings in 845, but Paris' strategic importance—with its bridges prevent
The Perfect Guy (1998 film)
The Perfect Guy titled Jeanne and the Perfect Guy, is a 1998 French romantic musical drama film directed by Olivier Ducastel and Jacques Martineau. It was entered into the 48th Berlin International Film Festival. Virginie Ledoyen as Jeanne Mathieu Demy as Olivier Jacques Bonnaffé as François Valérie Bonneton as Sophie Frédéric Gorny as Jean-Baptiste Laurent Arcaro as Le coursier Michel Raskine as Le plombier Fabrice Ramalingon as L'homme à la cireuse Review aggregation website Rotten Tomatoes reported an approval rating of 60%, based on 5 reviews, with an average score of 5.8/10. The Perfect Guy on IMDb
Agnès Varda was a Belgian-born French film director and artist. Her work was pioneering for, central to, the development of the influential French New Wave film movement of the 1950s and 1960s, her films focused on achieving documentary realism, addressing feminist issues, and/or producing other social commentary, with a distinctive experimental style. Varda's work employed location shooting in an era when the limitations of sound technology made it easier and more common to film indoors, with constructed sets and painted backdrops of landscapes, rather than the real thing, her use of non-professional actors was unconventional in the context of 1950s French cinema. Among other awards and nominations, she received an honorary Palme d'Or at the Cannes Film Festival, a Golden Lion at the Venice Film Festival, an Academy Honorary Award, was nominated for the Academy Award for Best Documentary Feature. Varda was born Arlette Varda on 30 May 1928 in Ixelles, Belgium, to Christiane and Eugène Jean Varda, an engineer.
Her mother was from Sète, her father was a member of a family of Greek refugees from Asia Minor. She was the third of five children. Varda changed her first name to Agnès at age 18. During World War II, she lived on a boat in Sète with the rest of her family. Varda attended the Lycée et collège Victor-Duruy, received a bachelor's degree in literature and psychology from the Sorbonne, she described her relocation to Paris as a "truly excruciating" one that gave her "a frightful memory of my arrival in this grey, sad city." She did not get along with her fellow students and described classes at the Sorbonne as "stupid, abstract, scandalously unsuited for the lofty needs one had at that age." Varda intended to become a museum curator, studied art history at the École du Louvre, but decided to study photography at the Vaugirard School of Photography instead. She began her career as a still photographer before becoming one of the major voices of the Left Bank Cinema and the French New Wave. However, she maintained a fluid interrelationship between photographic and cinematic forms: "I take photographs or I make films.
Or I put films in the photos, or photos in the films."Varda discussed her beginnings with the medium of still photography: "I started earning a living from photography straight away, taking trivial photographs of families and weddings to make money. But I wanted to make what I called'compositions.' And it was with these that I had the impression I was doing something where I was asking questions with composition and meaning." In 1951, her friend Jean Vilar opened the Théâtre National Populaire and hired Varda as its official photographer. Before accepting her position there, she worked as a stage photographer for the Theatre Festival of Avignon, she worked at the Théâtre National Populaire for ten years from 1951 to 1961, during which time her reputation grew and she obtained photo-journalist jobs throughout Europe. Varda's still photography sometimes inspired her subsequent motion pictures, she recounted: "When I made my first film, La Pointe Courte — without experience, without having been an assistant before, without having gone to film school — I took photographs of everything I wanted to film, photographs that are models for the shots.
And I started making films with the sole experience of photography, that's to say, where to place the camera, at what distance, with which lens and what lights?" She recalled another example:I made a film in 1982 called Ulysse, based on another photograph I took in 1954, one I'd made with the same bellows camera, I started Ulysse with the words,'I used to see the image upside down.' There's an image of a goat on the ground, like a fallen constellation, and, the origin of the photograph. With those cameras, you'd frame the image upside down, so I saw Brassaï through the camera with his head at the bottom of the image. In 2010 Varda joined the gallery Nathalie Obadia; the beginning of Varda's filmmaking career pre-dates the start of the French New Wave, but contains many elements specific to that movement. While working as a photographer, Varda became interested in making a film, although she stated that she knew little about the medium and had only seen around twenty films by the age of twenty-five.
She said that she wrote her first screenplay "just the way a person writes his first book. When I'd finished writing it, I thought to myself:'I'd like to shoot that script,' and so some friends and I formed a cooperative to make it." She found the filmmaking process difficult because it did not allow the same freedom as writing a novel. In an interview with The Believer, Varda stated that she wanted to make films that related to her time, rather than focusing on traditions or classical standards. Varda was interested in moving into film. After spending a few days filming the small French fishing town of La Pointe Courte for a terminally ill friend who could no longer visit on his own, Varda decided to shoot a feature film of her own, thus in 1954, Varda's first film, La Pointe Courte, about an unhappy couple working through their relationship in a small fishing town, was released. The film is a stylistic precursor to the French New Wave. At the time, Varda was influenced by the philosophy of Gaston Bachelard, under whom she had once studied at the Sorbonne.
"She was interested in his theory of'l'imagination des matières,' in which certain personality traits were found to correspond to concrete elements in a kind of psychoanalysis of the material world." This idea finds expressi
Virginie Fernandez, known by her stage name Virginie Ledoyen, is a French actress who has appeared in French and American films. Born in Aubervilliers, the daughter of Olga, a restaurateur, Bernard Fernandez, a merchant who sold cleaning products, her paternal grandfather was Spanish. She was a print model from the age of two and took on the stage name "Ledoyen" after the maiden name of her maternal grandmother, a stage actress. Ledoyen's film breakthrough came with A Single Girl, for which she was nominated for a César Award for Most Promising Actress, she received two César Award nominations for Les marmottes and L'eau froide. Outside France, her best-known role is in The Beach. In the fall of 2000, she signed a contract as a spokesmodel with the cosmetics company L'Oréal, she was featured alongside Laetitia Casta and Noémie Lenoir. She portrayed the character Cosette in the 2000 French television miniseries of Les Misérables. On 29 September 2001, Ledoyen gave birth to her first child, a girl named Lila, with production designer Louis Soubrier, whom she met on the set of la fille seule in 1995.
She was in a short-lived marriage with Iain Rogers, a film director, from 2006 to 2007. From 2007 to 2015, she was in a relationship with actor Arie Elmaleh, whose brother was her co-star in The Valet. Ledoyen and Elmaleh have a son, born in July 2010, a daughter, born in April 2014. In 2013 Ledoyen was named as a member of the jury at the 70th Venice International Film Festival. "Saint-Germain des Prés," narrator—an audio walking-tour of the Paris neighborhood. Created by Soundwalk 1998: Prix Suzanne Bianchetti Virginie Ledoyen on IMDb Virginie Ledoyen at FMD Virginie Ledoyen at AllMovie
Jacques Demy was a French director and screenwriter. He appeared in the wake of the French New Wave alongside contemporaries like Jean-Luc Godard and François Truffaut. Demy's films are celebrated for their sumptuous visual style. Demy's style drew upon such diverse sources as classic Hollywood musicals, the documentary realism of his New Wave colleagues, fairy-tales, Japanese manga, the opera, his films contain overlapping continuity, lush musical scores and motifs like teenaged love, labor rights and the intersection between dreams and reality. He is best known for the two musicals he directed in the mid-1960s: The Umbrellas of Cherbourg and The Young Girls of Rochefort. After working with the animator Paul Grimault and the filmmaker Georges Rouquier, Demy directed his first feature film, Lola, in 1961, with Anouk Aimée playing the eponymous cabaret singer; the Demy universe here emerges full-fledged. Characters burst into song. La Baie des Anges, starring Jeanne Moreau at the height of her fame, took the theme of fate further, with its story of love at the roulette tables.
Demy is best known for his original musical, Les Parapluies de Cherbourg, with a score by Legrand. Although the subversion of established genres was a New Wave obsession, Demy was unusual in recreating them literally; the whimsical concept of singing all the dialogue sets the tone for this tragedy of the everyday. The film sees the emergence of Demy's trademark visual style: whereas Lola, filmed by Godard's cinematographer Raoul Coutard, has a New Wave black-and-white austerity, Les Parapluies is shot in saturated supercolour, with every detail—-neckties, wallpaper Catherine Deneuve's bleached-blonde hair—selected for maximum visual impact. Roland Cassard, the young man from Lola reappears here; such reappearances are typical of Demy's work. Kurt Vonnegut was a huge fan of Les Parapluies, writing in private correspondence: "I saw The Umbrellas of Cherbourg, which I took hard. To an unmoored, middle-aged man like myself, it was heart-breaking. That's all right. I like to have my heart broken." Demy's subsequent films never quite captured audience and critical acclaim the way that Les Parapluies had, although he continued to make ambitious and original dramas and musicals.
Les Demoiselles de Rochefort, another whimsical-yet-melancholic musical, features Deneuve and her real-life sister Françoise Dorléac as sisters living in the seaside town of Rochefort, daughters of Danielle Darrieux. It was shot in color widescreen CinemaScope and featured an Oscar-nominated musical score, as well as dance appearances by Gene Kelly and West Side Story's George Chakiris. In 1968, after Columbia Pictures gave Demy a lucrative offer to shoot his first film in America, he and his wife, film director Agnès Varda, moved to Los Angeles briefly. Demy's end product was a naturalistic drama: 1969's Model Shop. Lola reappears, her dreams shattered. Abandoned by her husband Michel for a female gambler named Jackie Demaistre, Lola is scrounging to make enough money to return to France and her child, by working as a nude model in a backdoor model-shop on the Sunset Strip, she runs into an aimless young architect Gary Lockwood. Model Shop is a time capsule of late-1960s Los Angeles and documents the death of the hippie movement, the Vietnam draft, the ennui and misery that results from broken relationships.
This bleakness and decided lack of whimsy—uncharacteristic for Demy—had a large amount to do with Model Shop's critical and commercial failure. Peau d'Âne was a step in the opposite direction as a visually extravagant musical interpretation of a classic French fairytale which highlights the tale's incestuous overtones, starring Deneuve, Jean Marais, Delphine Seyrig, it was Demy's first foray into the world of fairy tales and historical fantasia, which he would explore more in The Pied Piper and Lady Oscar. Although none of Demy's subsequent films captured the contemporary success of his earlier work, some of them have since been reappraised: David Thomson wrote about "the fascinating application of the operatic technique to an unusually dark story" in Une chambre en ville. L'événement le plus important depuis que l'homme a marché sur la lune is a look back at the pressures of second-wave feminism in France and the fears it elicited in men. Lady Oscar, based on the Japanese manga series The Rose of Versailles, has been discussed and analyzed for its queer and political subtext.
Parapluies de Cherbourg has since been color-restored twice from origi