Three Colours: Blue
Three Colours: Blue is a 1993 French drama film directed and co-written by Polish filmmaker Krzysztof Kieślowski. Blue is the first of three films that comprise the Three Colours trilogy, themed on the French Revolutionary ideals of liberty and fraternity. According to Kieślowski, the subject of the film is liberty emotional liberty, rather than its social or political meaning. Set in Paris, the film is about a woman whose child are killed in a car accident. Set free from her familial bonds, she attempts to cut herself off from everything and live in isolation from her former ties, but finds that she can't free herself from human connections. Blue is among Kieślowski's most celebrated works. Julie, wife of the famous composer Patrice de Courcy, must cope with the death of her husband and daughter in an automobile accident she herself survives. While recovering in hospital, Julie can not swallow the pills. After being released from hospital, who it is suggested wrote much of her husband's famous pieces, destroys what is left behind of them.
Calling Olivier, an unmarried collaborator of her husband's who has always admired her, she spends a night with him and says goodbye. Emptying the family house and putting it up for sale, she takes an apartment in Paris near Rue Mouffetard without telling anyone, her only memento being a mobile of blue beads that the viewer assumes belonged to her daughter. Julie disassociates herself from all past memories and distances herself from former friendships being no longer recognised by her mother, who suffers from Alzheimer's disease, she reclaims and destroys the unfinished score for her late husband's last commissioned work—a piece celebrating European unity following the end of the Cold War. Snatches of its music, haunt her throughout the film. Despite her desire to live anonymously and alone, life in Paris forces Julie to confront elements of her past that she would rather not face. A boy who saw the accident seeks her out to give her a Christian cross he found by the car and to repeat her husband's last words, the punchline of an indelicate joke.
She reluctantly befriends an exotic dancer named Lucille, having an affair with one of the neighbors and helps her when she needs moral support. On TV she sees Olivier in an interview, announcing that he will try to complete Patrice's commission and showing pictures of Patrice with an attractive young woman. While trying both to stop Olivier from completing the score and to find out who her husband's mistress was, she becomes more engaged in her former life, she tracks down Sandrine, Patrice's lover, finds out that she is carrying his child. This provokes her to collaborate with him after all. In the final sequence, part of their completed Unity of Europe piece is played and images are seen of all the people Julie has affected by her actions; the final image is of Julie. Juliette Binoche as Julie de Courcy Benoît Régent as Olivier Benôit Florence Pernel as Sandrine Charlotte Véry as Lucille Hélène Vincent as the journalist Philippe Volter as the real estate agent Emmanuelle Riva as Madame Vignon, Julie's mother Yann Trégouët as Antoine Julie Delpy as Dominique Zbigniew Zamachowski as Karol Karol Blue was an international co-production between the French companies CED Productions, France 3 Cinéma, MK2 Productions, the Swiss company CAB Productions and the Polish company Studio Filmowe TOR.
Like the other films in the trilogy, Blue makes frequent visual allusions to its title: numerous scenes are shot with blue filters or blue lighting, many objects are blue. When Julie thinks about the musical score that she has tried to destroy, blue light overwhelms the screen; the film includes several references to the colors of the tricolor that inspired Kieślowski's trilogy: several scenes are dominated by red light, in one scene, children dressed in white bathing suits with red floaters jump into the blue swimming pool. Another scene features a link with the next film in the trilogy: spotting the lawyer Sandrine, her husband's mistress, Julie is seen entering a courtroom where Karol, the Polish main character of White, is being divorced by Dominique, his estranged French wife. Music plays an intricate element of the plot in that it illustrates Julie's efforts to be isolated from everything but cannot do it, such as music cannot be made with a single note but through harmony with all others and how everyone has a different kind of music, such as the union of Julie/Patrice had a special tone, quite different and more raw with the union of Julie/Olivier.
Another aspect in the film are the fade-outs, which are traditionally used in movies to represent time passing or to conclude a certain scene, but here instead bring the viewer back to the point in time when the fade-out began. The occasional fade-outs and fade-ins to Julie's character are used to represent an subjective point of view. According to Kieślowski, "at a certain moment, time does pass for Julie while at the same time, it stands still. Not only does her music come back to haunt her at a certain point, but time stands still for a moment." Three Colors: Blue received wide acclaim from critics, with review aggregator Rotten Tomatoes
Julie Delpy is a French-American actress, film director and singer-songwriter. She studied filmmaking at New York University's Tisch School of the Arts and has directed, written, or acted in more than 30 films, including Europa Europa, Three Colors: White, the Before trilogy, An American Werewolf in Paris, 2 Days in Paris, she has been nominated for three César Awards, two Online Film Critics Society Awards, two Academy Awards. After moving to the United States in 1990, she became an American citizen in 2001. Julie Delpy was born in Paris, the only child of Albert Delpy, a French actor and theater director, Marie Pillet, a French actress in feature films and the avant-garde theater, her mother was known for having signed the 1971 Manifesto of the 343 Bitches, signed by women advocating for reproductive rights and admitting to having had an abortion when abortions were illegal in France. In Delpy's 2007 film 2 Days in Paris, her character's mother was played by her real mother and acknowledges signing the manifesto, mirroring her action in real life.
Pillet died in 2009. At an early age, Julie was exposed to the arts by her parents, she said: I couldn't hope for better parents. They raised me with a love of art, bringing me to museums and seeing things that a child wouldn't see at that age. I would see Ingmar Bergman movies when I was 9 and go for it, and they would bring me to see Francis Bacon's paintings, which I loved: so dark and at the same time it's so wonderful. In 1984, at the age of fourteen, Delpy was discovered by film director Jean-Luc Godard, who cast her in Détective. Two years Delpy starred in the title role in Bertrand Tavernier's La Passion Béatrice. For her performance, Delpy was nominated for a César Award for Most Promising Actress, she used the money. Delpy became an international celebrity after starring in the 1990 film Europa Europa directed by Agnieszka Holland. In the film, she plays a young pro-Nazi who falls in love with the hero, Solomon Perel, not knowing that he is Jewish, she did not speak German so she performed her role in English and was dubbed over.
Following the success of Europa Europa, Delpy appeared in several Hollywood and European films, including Voyager and The Three Musketeers. In 1993, she was cast by director Krzysztof Kieślowski to play the female lead in Three Colors: White, the second film of Kieślowski's The Three Colors Trilogy. Delpy appeared in the other two films in the same role; that same year, she appeared opposite Brendan Fraser in the Percy Adlon feature Younger and Younger starring Donald Sutherland. In 1994, she starred opposite Eric Stoltz in Roger Avary's directorial debut Killing Zoe, a cult heist film capturing the Generation X zeitgeist. Delpy is best known for her co-starring role with Ethan Hawke in director Richard Linklater's 1995 film Before Sunrise, for which she wrote much of her own dialogue; the film received glowing reviews and was considered one of the most significant films of the 1990s' independent film movement. Its success led to the casting of Delpy in the 1997 American film An American Werewolf in Paris.
In late 2001, she appeared alongside comedian Martin Short in the 30-minute film CinéMagique, a theatre-show attraction presented several times daily at Walt Disney Studios Park in Disneyland Paris. Delpy attended the March 2002 opening of the park and the inauguration of the film-based attraction which sees her star as Marguerite—a female actress with whom Short's character, falls in love as he stumbles through countless classic movies. CinéMagique won the 2002 Themed Entertainment Association award for "outstanding" themed attraction. Delpy reprised her Before Sunrise character, Céline, with a brief animated appearance in Waking Life, again in a 2004 sequel, Before Sunset; the film was well received and earned Delpy, who co-wrote the script, her first Academy Award nomination for Writing Adapted Screenplay. In addition, she has been nominated for César Awards three times. Delpy has had an interest in a career as a film director since her childhood, enrolled in a summer directing course at New York University.
She wrote and directed the short film Blah Blah Blah in 1995 which screened at the Sundance Film Festival. In 2004 Delpy co-wrote Before Sunset, a sequel to the 1995 movie Before Sunrise, with director Richard Linklater and co-star Ethan Hawke. Describing the experience Delpy said, "I'm not a feminist wearing overalls and hating the male gender, but I'm a definite feminist. I don't want to make Before Sunset into a little male fantasy, ever." She received an Academy Award nomination for Best Adapted Screenplay for her work. She made her feature length directorial debut in 2002, with a film entitled "Looking for Jimmy" which she wrote and produced. In 2007, Delpy directed, edited, co-produced the original score for 2 Days in Paris co-starring Adam Goldberg; the film features Delpy's real-life parents, Marie Pillet and Albert Delpy, as her character's parents. In one scene, Pillet's character acknowledges having been one of the "343 bitches". In 2009, Delpy starred in The Countess her third film as a director in which she played the title role of Elizabeth Báthory.
The film starred Daniel Brühl, William Hurt. In 2011 Delpy directed Le Skylab; the film received a theatrical release in France, but failed to find distribution in the U. S. In 2012 she released 2 Days in a sequel to her 2007 film 2 Days in Paris; the film starred actor Chris Rock. Delpy stated
A beauty salon or beauty parlor, or sometimes beauty shop, is an establishment dealing with cosmetic treatments for men and women. Other variations of this type of business include hair spas. There is a distinction between a beauty salon and a hair salon and although many small businesses do offer both sets of treatments. Massage for the body is a popular beauty treatment, with various techniques offering benefits to the skin and for increasing mental well-being. Hair removal is offered at some beauty salons through treatments such as threading; some beauty salons style hair instead of going to a separate hair salon, some offer sun tanning. Other treatments of the face are known as facials. Specialized beauty salons known as nail salons offer treatments such as manicures and pedicures for the nails. A manicure is a treatment for the hands, incorporating the fingernails and cuticles and involving the application of nail polish, while a pedicure involves treatment of the feet, incorporating the toenails and the softening or removal of calluses.
Beauty salons have proven to be a recession-proof industry across United States. Although sales had declined from 2008 highs due to the Great Recession, they remain robust with long term positive forecast. Though during recessions, consumers tend to be more price conscious, spending continues to increase. With rising per capita incomes across the United States since 2015, beauty salons are booming with the industry generating $56.2 billion in the United States. Hair care is the largest segment with 86,000 locations. Skin care is expected to have revenue of $11 billion by 2018; this growth is being driven in part by a increasing awareness of the importance of skin care among American woman, but specifically due to an increase in the market for men. The market is distributed across America, with a concentration in the Northeast and Midwest. There is a growing trend in boutique salons popping up and leveraging online marketing to gain customers and compete with the franchise chains; the US Labor Department estimates employment in the United States will increase 20% between 2008–2014, with greatest employment growth from skin care specialists.
Beauty Barber Hair coloring Hair straightening Turban training centre
In many traditions and statutes of civil or religious law, the consummation of a marriage called consummation, is the first act of sexual intercourse between two people, either following their marriage to each other or after a prolonged romantic attraction. The definition of consummation refers to penile-vaginal sexual penetration, but some religious doctrines hold that there is an additional requirement that there must not be any contraception used; the religious, cultural, or legal significance of consummation may arise from theories of marriage as having the purpose of producing recognized descendants of the partners, or of providing sanction to their sexual acts together, or both, its absence may amount to treating a marriage ceremony as falling short of completing the state of being married, or as creating a marriage which may be repudiated. Thus in some legal systems a marriage may be annulled. Consummation is relevant in the case of a common law marriage; the importance of consummation has led to the development of various bedding rituals.
In addition to these formal and literal usages, the term exists in informal and less precise usage to refer to a sexual landmark in relationships of varying intensity and duration. The relevance of consummation in a civil marriage varies by jurisdiction. For example, under section 12 of the Matrimonial Causes Act 1973, a refusal or inability to consummate a marriage is a ground of annulment in England and Wales, but this only applies to heterosexual marriage, because Paragraph 4 of schedule 4 of the Marriage Act 2013 excludes non-consummation as a ground for the annulment of a same-sex marriage. Other common law jurisdictions, such as Australia, have abolished the legal concept of consummation. In the case of common law marriage, consummation may be a required component in the creation of the marriage itself. A religious marriage without civil registration may or may not be binding. However, in some countries such as Palestine, Syria, Jordan, UAE, Saudi Arabia, Libya and Indonesia, religious marriage is the only binding marriage.
Consummation is in particular relevant in a Catholic marriage. Within the Roman Catholic Church, if a matrimonial celebration takes place but the spouses have not yet engaged in intercourse the marriage is said to be a marriage ratum sed non consummatum; such a marriage, regardless of the reason for non-consummation, can be dissolved by the pope. Additionally, an inability or an intentional refusal to consummate the marriage is probable grounds for an annulment. Catholic canon law defines a marriage as consummated when the "spouses have performed between themselves in a human fashion a conjugal act, suitable in itself for the procreation of offspring, to which marriage is ordered by its nature and by which the spouses become one flesh." Thus some theologians, such as Fr. John A. Hardon, S. J. state. Traditionally, in many cultures, for example in Middle Eastern and South Asian cultures, consummation was an important act because it was the act which proved the bride's virginity. In the family law defining civil marriage in some jurisdictions those where the civil marriage laws remain influenced by religion non-consummation of a marriage may be a ground for annulment.
This stipulation has been in recent years criticized on a wide variety of grounds, ranging from the mixing of religious doctrine into secular law, to being degrading to women given its negative historical connotations of ownership of the wife. It has been argued that the purpose of this ground is not clear: it is neither procreation, neither is it the expectation of sexual satisfaction in marriage. Andrew Bainham argues that this law is outdated and must be abolished "in a modern society committed to equality and human rights in personal relationships". In a 2001 report, the Law Society’s Law Reform Committee of Ireland advocated abolishing the concept of a voidable marriage altogether and criticized the consummation ground, writing the following: The rationale behind this ground is not apparent, it is not concerned with the capacity of either or both parties to procreate, still less with the ability of the parties to satisfy each other sexually during the marriage. It remains a rather curious anomaly in the law, a relic of medieval times, when the first act of intercourse was thought to'mark' a new bride as the'property' of her husband.
Whatever its origins, it is not clear what modern purpose this ground serves and it is suggested that it should be dispensed with. Another concern is sexual violence since in most countries the criminalization of marital rape is recent, having occurred from the 1970s onwards.
The franc commonly distinguished as the French franc, was a currency of France. Between 1360 and 1641, it was the name of coins worth 1 livre tournois and it remained in common parlance as a term for this amount of money, it was reintroduced in 1795. After two centuries of inflation, it was revalued in 1960, with each new franc being worth 100 old francs; the NF designation was continued for a few years before the currency returned to being the franc. The French franc was a held international reserve currency of reference in the 19th and 20th centuries; the first franc was a gold coin introduced in 1360 to pay the Ransom of King John II of France. This coin secured the king's freedom and showed him on a richly decorated horse earning it the name franc à cheval; the obverse legend, like other French coins, gives the king's title as Francorum Rex and provides another reason to call the coin a franc. Its value was set as one livre tournois. John's son, Charles V, continued this type, it was copied at Brabant and Cambrai and, with the arms on the horse cloth changed, at Flanders.
Conquests led by Joan of Arc allowed Charles VII to return to sound coinage and he revived the franc à cheval. John II, was not able to strike enough francs to pay his ransom and he voluntarily returned to English captivity. John II died as a prisoner in England and his son, Charles V was left to pick up the pieces, and so he did. Charles V pursued a policy of reform, including stable coinage. An edict dated 20 April 1365 established the centerpiece of this policy, a gold coin called the denier d’or aux fleurs de lis which had a standing figure of the king on its obverse, pictured under a canopy, its value in money of account was one livre tournois, just like the franc à cheval, this coin is universally known as a franc à pied. In accordance with the theories of the mathematician and royal advisor Nicolas Oresme, Charles struck fewer coins of better gold than his predecessors. In the accompanying deflation both prices and wages fell, but wages fell faster and debtors had to settle up in better money than they had borrowed.
The Mayor of Paris, Étienne Marcel, exploited their discontent to lead a revolt which forced Charles V out of the city. The franc fared better, it became associated with money stable at one livre tournoisHenry III exploited the association of the franc as sound money worth one livre tournois when he sought to stabilize French currency in 1577. By this time, inflows of gold and silver from Spanish America had caused inflation throughout the world economy and the kings of France, who weren't getting much of this wealth, only made things worse by manipulating the values assigned to their coins; the States General which met at Blois in 1577 added to the public pressure to stop currency manipulation. Henry III agreed to do this and he revived the franc, now as a silver coin valued at one livre tournois; this coin and its fractions circulated until 1641 when Louis XIII of France replaced it with the silver écu. The name "franc" continued in accounting as a synonym for the livre tournois; the decimal "franc" was established as the national currency by the French Revolutionary Convention in 1795 as a decimal unit of 4.5 g of fine silver.
This was less than the livre of 4.505 g, but the franc was set in 1796 at 1.0125 livres, reflecting in part the past minting of sub-standard coins. Silver coins now had their denomination marked as "5 FRANCS" and it was made obligatory to quote prices in francs; this ended the ancien régime's practice of striking coins with no stated denomination, such as the Louis d'or, periodically issuing royal edicts to manipulate their value in terms of money of account, i.e. the Livre tournois. The franc became the official currency of France in 1799. Coinage with explicit denominations in decimal fractions of the franc began in 1795. Decimalization of the franc was mandated by an act of 7 April 1795, which dealt with of weights and measures. France led the world in adopting the metric system and it was the second country to convert from a non-decimal to a decimal currency, following Russia's conversion in 1704, the third country to adopt a decimal coinage following the United States in 1787. France's first decimal coinage used allegorical figures symbolizing revolutionary principles, like the coinage designs the United States had adopted in 1793.
The circulation of this metallic currency declined during the Republic: the old gold and silver coins were taken out of circulation and exchanged for printed assignats issued as bonds backed by the value of the confiscated goods of churches, but declared as legal tender currency. The withdrawn gold and silver coins were used to finance wars and to import food, in short supply; as during the "Mississippi Bubble" in 1715–1720, too many assignats were put in circulation, exceeding the value of the "national properties", the coins, due to military requisitioning and hoarding, rarefied to pay foreign suppliers. With national government debt remaining unpaid, a shortage of silver and brass to mint coins, confidence in the new currency declined, leading to hyperinflation, more food riots, severe political instability and termination of the First French Republic and the political fall of the French Convention. Followed the economic failure of the Directoire
A hairdresser is a person whose occupation is to cut or style hair in order to change or maintain a person's image. This is achieved using a combination of hair coloring and hair texturing techniques. Most hairdressers are professionally licensed as a barber or a cosmetologist. Hairdressing as an occupation dates back thousands of years. Ancient art drawings and paintings have been discovered depicting people working on another person's hair. Greek writers Aristophanes and Homer both mention hairdressing in their writings. In Africa, it was believed in some cultures that a person's spirit occupied his or her hair, giving hairdressers high status within these communities; the status of hairdressing encouraged many to develop their skills, close relationships were built between hairdressers and their clients. Hours would be spent washing, oiling and ornamenting their hair. Men would work on men, women on other women. Before a master hairdresser died, they would give their combs and tools to a chosen successor during a special ceremony.
In ancient Egypt, hairdressers had specially decorated cases to hold their tools, including lotions and styling materials. Barbers worked as hairdressers, wealthy men had personal barbers within their home. With the standard of wig wearing within the culture, wigmakers were trained as hairdressers. In ancient Rome and Greece household slaves and servants took on the role of hairdressers, including dyeing and shaving. Men who did not have their own private hair or shaving services would visit the local barbershop. Women had their hair groomed at their homes. Historical documentation is lacking regarding hairstylists from the 5th century until the 14th century. Hair care service grew in demand after a papal decree in 1092 demanded that all Roman Catholic clergymen remove their facial hair; the first appearance of the word "hairdresser" is in 17th century Europe, hairdressing was considered a profession. Hair fashion of the period suggested that wealthy women wear large and adorned hairstyles, which would be maintained by their personal maids and other people, who would spend hours dressing the woman's hair.
A wealthy man's hair would be maintained by a valet. It was in France where men began styling women's hair for the first time, many of the notable hairdressers of the time were men, a trend that would continue into contemporary times; the first famous male hairdresser was Champagne, born in Southern France. Upon moving to Paris, he opened his own hair salon and dressed the hair of wealthy Parisian women until his death in 1658. Women's hair grew taller in style during the 17th century, popularized by the hairdresser Madame Martin; the hairstyle, "the tower," was the trend with wealthy English and American women, who relied on hairdressers to style their hair as tall as possible. Tall piles of curls were pomaded and decorated with ribbons, lace and jewelry; the profession of hairdressing was launched as a genuine profession when Legros de Rumigny was declared the first official hairdresser of the French court. In 1765 de Rumigny published his book Art de la Coiffure des Dames, which discussed hairdressing and included pictures of hairstyles designed by him.
The book was a best seller amongst Frenchwomen, four years de Rumigny opened a school for hairdressers: Academie de Coiffure. At the school he taught women to cut hair and create his special hair designs. By 1777 1,200 hairdressers were working in Paris. During this time, barbers formed unions, demanded that hairdressers do the same. Wigmakers demanded that hairdressers cease taking away from their trade, hairdressers responded that their roles were not the same, hairdressing was a service, wigmakers made and sold a product. De Rumigny died in 1770 and other hairdressers gained in popularity three Frenchmen: Frederic, Léonard. Leonard and Larseueur were the stylists for Marie Antoinette. Leonard was her favorite, developed many hairstyles that became fashion trends within wealthy Parisian circles, including the loge d'opera, which towered five feet over the wearer's head. During the French Revolution he escaped the country hours before he was to be arrested, alongside the king and other clients.
He emigrated to Russia. Parisian hairdressers continued to develop influential styles during the early 19th century. Wealthy French women would have their favorite hairdressers style their hair from within their own homes, a trend seen in wealthy international communities. Hairdressing was a service affordable only to those wealthy enough to hire professionals or to pay for servants to care for their hair. In the United States, Marie Laveau was one of the most famous hairdressers of the period. Laveau, located in New Orleans, began working as a hairdresser in the early 1820s, maintaining the hair of wealthy women of the city, she was a voodoo practitioner, called the "Voodoo Queen of New Orleans," and she used her connections to wealthy women to support her religious practice. She provided "help" to women who needed it for money and other favors. French hairdresser Marcel Grateau developed the "Marcel wave" in the late part of the century, his wave required the use of a special hot hair iron and needed to be done by an experienced hairdresser.
Fashionable women asked to have their hair "marceled." During this period, hairdressers began opening salons in cities and towns, led by Martha Matilda Harper, who developed one of the first retail chains of hair salons, the Harper Method. Beauty salons became popularized during the 20th century, alongside men's barbersho
Juliette Binoche is a French actress and dancer. She has appeared in more than 60 feature films, been the recipient of numerous international awards, has appeared on stage and in movies across the world. Coming from an artistic background, she began taking acting lessons during adolescence. After performing in several stage productions, she began acting in films by auteur directors Jean-Luc Godard, Jacques Doillon and André Téchiné, who made her a star in France with the leading role in his 1985 drama Rendez-vous, her sensual performance in her English-language debut The Unbearable Lightness of Being, directed by Philip Kaufman, launched her international career. She sparked the interest of Steven Spielberg, who offered her several parts including a role in Jurassic Park which she declined, choosing instead to join Krzysztof Kieślowski in Three Colours: Blue, a performance for which she won the Venice Film Festival Award for Best Actress and a César. Three years Binoche gained further acclaim in Anthony Minghella's The English Patient, for which she was awarded an Academy Award and a BAFTA for Best Supporting Actress in addition to the Best Actress Award at the 1997 Berlin International Film Festival.
For her performance in Lasse Hallström's romantic comedy Chocolat, Binoche was nominated for the Academy Award for Best Actress. During the 2000s she maintained a successful career, alternating between French and English language roles in both mainstream and art-house productions. In 2010, she won the Best Actress Award at the Cannes Film Festival for her role in Abbas Kiarostami's Certified Copy making her the first actress to win the European "Best Actress Triple Crown". Throughout her career Binoche has intermittently appeared on stage, most notably in a 1998 London production of Luigi Pirandello's Naked and in a 2000 production of Harold Pinter's Betrayal on Broadway for which she was nominated for a Tony Award. In 2008 she began a world tour with a modern dance production in-i devised in collaboration with Akram Khan. Referred to as "La Binoche" by the press, her other notable performances include: Mauvais Sang, Les Amants du Pont-Neuf, The Horseman on the Roof, Code Unknown, Caché, Breaking and Entering, Flight of the Red Balloon, Camille Claudel 1915, Clouds of Sils Maria.
Binoche was born in Paris, the daughter of Jean-Marie Binoche, a director and sculptor, Monique Yvette Stalens, a teacher and actress. Her father, French has one eighth Portuguese-Brazilian ancestry. Juliette's mother was born in Poland. Binoche's maternal grandfather, Andre Stalens, was born in Poland, of Belgian and French descent, Binoche's maternal grandmother, Julia Helena Młynarczyk, was of Polish origin. Both of them were actors; when Binoche's parents divorced in 1968, four-year-old Binoche and her sister Marion were sent to a provincial boarding school. During their teens, the Binoche sisters spent their school holidays with their maternal grandmother, not seeing their parents for months at a time. Binoche has stated, she was not academic and in her teenage years began acting at school in amateur stage productions. At seventeen, she directed and starred in a student production of the Eugène Ionesco play, Exit the King, she studied acting at the Conservatoire National Supérieur d'Art Dramatique, but quit after a short time as she disliked the curriculum.
In the early 1980s, she found an agent through a friend and joined a theater troupe, touring France and Switzerland under the pseudonym "Juliette Adrienne". Around this time she began lessons with acting coach Vera Gregh, her first professional screen experience came as an extra in the three-part TF1 television series Dorothée, danseuse de corde directed by Jacques Fansten, followed by a small role in the provincial television film Fort bloque directed by Pierrick Guinnard. After this Binoche secured her first feature-film appearance with a minor role in Pascal Kané's Liberty Belle, her role required just two days on–set, but was enough to inspire Binoche to pursue a career in film. Binoche's early films established her as a French star of some renown. In 1983, she auditioned for the female lead in Jean-Luc Godard's' controversial Hail Mary, a modern retelling of the Virgin birth. Godard requested a meeting with Binoche having seen a photo of her taken by her boyfriend at the time, she has said that she spent six months on the set of the film in Geneva, although her role in the final cut is contained to only a few scenes.
Further supporting roles followed in a variety of French films. Annick Lanoë's Les Nanas gave Binoche her most noteworthy role to date, playing opposite established stars Marie-France Pisier and Macha Meril in a mainstream comedy, though she has stated the experience was not memorable or influential, she gained more significant exposure in Jacques Doillon's critically acclaimed Family Life cast as the volatile teenage step-daughter of Sami Frey's central character. This film was to set the tone of her early career. Doillon has commented that in the original screenplay her character was written to be 14 years old, but he was so impressed with Binoche's audition he changed the character's age to 17 to allow her take the role. In April 1985, Binoche followed this with another supporti