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French Film Festival, anniversary edition, in 12 Romanian cities from July 1

The French Film Festival (FFF) in Romania celebrates 25 years of existence with an anniversary summer edition that will take place July 1 - 11 in...

The Kidnapping of Michel Houellebecq movie review (2015)

“He’s as ugly as sin—literally!” A high-school teacher of mine once made that clever observation with respect to the French philosopher Jean-Paul Sartre, and it came to mind as I gazed upon the controversial contemporary French writer Michel Houellebecq playing himself in the 2014 film “The Kidnapping of Michel Houellebecq.” Sitting in his kitchen consulting a designer about a renovation (he is a writer of sufficient market power that he can re-do his apartment), wearing a ridiculous blue-striped v-neck shirt, weakly holding a cigarette, and tilting his misshapen strawberry head, a relaxed expression on his seemingly always scrunched-up face, Houellebecq, whose novelistic output has been sufficiently incendiary to compel him to spend several years off the Continent, has an air both repellent and possibly innocuous. A brand of anti-charisma, if you will. 

Indie Focus: A talent emerges in 'Spring Blossom'

'Spring Blossom' review: A bold debut film by Suzanne Lindon

Print Suzanne of the French drama “Spring Blossom” is at that awkward age: not a girl, not yet a woman. It’s an age that’s been explored cinematically time and again; just look at the poster hanging in her room for Maurice Pialat’s 1983 film “Á Nos Amours,” starring Sandrine Bonnaire as another teenage Suzanne exploring her sexuality. But what’s different about the Suzanne of “Spring Blossom” is that she’s realized by a teen herself: writer, director and star Suzanne Lindon wrote the film when she was 15 and directed and starred in it at age 19. Lindon’s youth is remarkable, because her point of view on the experience of the teenage girl is so immediate. But such a confident and self-assured debut would be remarkable for a filmmaker of any age, as “Spring Blossom” is a finely wrought, sensitively felt and artistically bold work.

Spring Blossom Provides a Female Perspective on a French Trope

Na Cama com Madonna. A música, o espectáculo, a sua estrela e o filme dela

Come on oeuvre: which actor has the best filmography?

Actors we associate with greatness can fall by the wayside immediately. Robert De Niro has blotted his copybook with too many stinkers such as Last Vegas, Little Fockers and The Intern. Poor early choices by Denzel Washington (Carbon Copy, Heart Condition), not to mention his recent weakness for vigilante movies, are enough to cancel out Malcolm X. Marlon Brando can be dismissed with five words: The Island of Dr Moreau. And Meryl Streep? A lifetime of prestige and prizes negated by The Prom. A strong contender for the title of best filmography must be John Cazale. The sad-eyed theatre actor was a contemporary of Al Pacino (who called him “my acting partner … my older brother”) and ex-boyfriend of Streep. Cazale has only five film credits to his name but he is astonishing in each of them. Three are masterpieces (the first two Godfather movies, Dog Day Afternoon). The remaining two (The Conversation, The Deer Hunter) are flawed but magnificent. All were nominated for best picture Oscars, with the two Godfathers and The Deer Hunter going so far as to win. How’s that for a strike rate? Admit it: you knew it was him, Fredo.

Suzanne Lindon on the cliché-avoiding age gap romance of Spring Blossom

Á Nos Amours changed its name from  Suzanne just ahead of its theatrical release. Courtesy of Curzon “I was lucky to be 19 when I directed it, because I had clear ideas on adolescence,” says Lindon, who is now 20, over Zoom from Paris in the middle of April. “Sometimes when you watch movies about young people by adults, they write about what they remember, and it’s beautiful to have their memories. But I wanted to give my point of view of that age, because it’s a complicated period when you discover yourself, and when you’re more interested in fantasies than real life.

Spring Blossom review – a fleeting affair with heart

Wed 21 Apr 2021 08.00 EDT How much does our appreciation of a film depend on our knowledge of the film-maker? The question is difficult to avoid with this tale of a 16-year-old schoolgirl who develops a relationship with an older man. It was made by its star, Suzanne Lindon, who wrote it when she was 15 and directed it when she was 20. Lindon is also the daughter of French actors Vincent Lindon and Sandrine Kiberlain, which some might perceive as a bit of a head start, but she certainly holds her own here. Lindon plays “Suzanne”, a student from a loving, affluent Parisian family (in appearance she resembles a young Charlotte Gainsbourg). She doesn’t lack for friends, but she is bored with her immature peer group. On her walk to school every day she starts to notice Raphaël (Arnaud Valois), a handsome, 35-year-old actor performing at the local theatre. He also seems bored. Suzanne becomes curious, and the two draw closer. As much as Suzanne is mature beyond her years, Raphael seems somewhat immature – even ordering the same sugary soft drink as her at cafes. Is it possible for these two to meet somewhere in the middle?

Gérard Depardieu's sordid, troubling past is finally catching up with him

Gérard Depardieu's sordid, troubling past is finally catching up with him The thuggish actor who once boasted of 'plenty of rapes, too many to count' faces fresh accusations. Will his French defenders stand by him? Gérard Depardieu photographed in Marseille, 2018 Credit: Getty Before Gérard Depardieu was anybody, he was a teenage rent boy and petty thief who robbed fresh graves to steal jewellery and shoes. He lifted the lid on this appalling childhood in his autobiography, That’s the Way it Was, published in 2014, which made his upbringing in the town of Châteauroux in Central France sound like the early chapters of an Émile Zola novel.