Designer biopic leads the pack with 10 nominations; Kristen Stewart, Marion Cotillard and Juliette Binoche in the running for actress awards.Scroll down for full list of nominees
Bertrand Bonello’s Saint Laurent and Olivier Assays’ Sils Maria are the hot favourites in France’s 40th annual Cesar awards.
France’s Academy of Cinema Arts and Sciences unveiled the nominations for this year’s César Awards at its traditional news conference at Le Fouquet’s restaurant on the Champs Elysées on Friday morning.
Biopic Saint Laurent - exploring fashion designer Yves Saint Laurent’s life from 1967 to 1976 - led the pack with 10 nominations including best film, best director for Bonello, best actor for Gaspard Ulliel and best supporting actor for Louis Garrel.
Jalil Lespert’s rival biopic, Yves Saint Laurent, secured seven nominations. While it missed out in the best film and director categories, it scored nods with Pierre Niney for best actor, Charlotte Le Bon for best...
Bertrand Bonello’s Saint Laurent and Olivier Assays’ Sils Maria are the hot favourites in France’s 40th annual Cesar awards.
France’s Academy of Cinema Arts and Sciences unveiled the nominations for this year’s César Awards at its traditional news conference at Le Fouquet’s restaurant on the Champs Elysées on Friday morning.
Biopic Saint Laurent - exploring fashion designer Yves Saint Laurent’s life from 1967 to 1976 - led the pack with 10 nominations including best film, best director for Bonello, best actor for Gaspard Ulliel and best supporting actor for Louis Garrel.
Jalil Lespert’s rival biopic, Yves Saint Laurent, secured seven nominations. While it missed out in the best film and director categories, it scored nods with Pierre Niney for best actor, Charlotte Le Bon for best...
- 1/28/2015
- ScreenDaily
LONDON -- Antoine de Caunes' epic "Monsieur N" takes it as a given that Napoleon Bonaparte was a great man in the same way that old-time Hollywood movies had great reverence for presidents such as Washington and Lincoln.
The opening scenes of the emperor's coffin being exhumed on the barren British island of St. Helena are shot in the rain with a somber array of high-ranking soldiers and a soaring chorus. The film raises the question: Is it really Napoleon's body? Unfortunately, audiences outside of France might not particularly care.
With some excellent staging, fine cinematography and first-rate acting, the film largely overcomes the awe it demonstrates for its principal character and succeeds in creating a mystery where perhaps there is none.
Phillippe Torreton makes an imperious Bonaparte who insists on his status even if his British captors refuse to address him as anything beyond a general. He sleeps with his officers' wives and connives with his manservant Cipriani, always planning an escape.
The film follows a British office named Basil Heathcote (Jay Rodan) as he pursues the mystery of who is in Napoleon's coffin. He's there when Bonaparte is incarcerated, and we see him 20 years later, following leads in Paris and Louisiana.
Rodan makes a sterling leading man and Richard E. Grant is reliably devious as the determined Hudson Lowe, St. Helena's commanding officer.
Most impressive is Patrick Durand's production design and the absolutely convincing costumes and military equipment from designer Carine Sarfati. The picture is beautifully shot by Pierre Aim with many scenes having the visual power of great paintings.
The opening scenes of the emperor's coffin being exhumed on the barren British island of St. Helena are shot in the rain with a somber array of high-ranking soldiers and a soaring chorus. The film raises the question: Is it really Napoleon's body? Unfortunately, audiences outside of France might not particularly care.
With some excellent staging, fine cinematography and first-rate acting, the film largely overcomes the awe it demonstrates for its principal character and succeeds in creating a mystery where perhaps there is none.
Phillippe Torreton makes an imperious Bonaparte who insists on his status even if his British captors refuse to address him as anything beyond a general. He sleeps with his officers' wives and connives with his manservant Cipriani, always planning an escape.
The film follows a British office named Basil Heathcote (Jay Rodan) as he pursues the mystery of who is in Napoleon's coffin. He's there when Bonaparte is incarcerated, and we see him 20 years later, following leads in Paris and Louisiana.
Rodan makes a sterling leading man and Richard E. Grant is reliably devious as the determined Hudson Lowe, St. Helena's commanding officer.
Most impressive is Patrick Durand's production design and the absolutely convincing costumes and military equipment from designer Carine Sarfati. The picture is beautifully shot by Pierre Aim with many scenes having the visual power of great paintings.
LONDON -- Antoine de Caunes' epic "Monsieur N" takes it as a given that Napoleon Bonaparte was a great man in the same way that old-time Hollywood movies had great reverence for presidents such as Washington and Lincoln.
The opening scenes of the emperor's coffin being exhumed on the barren British island of St. Helena are shot in the rain with a somber array of high-ranking soldiers and a soaring chorus. The film raises the question: Is it really Napoleon's body? Unfortunately, audiences outside of France might not particularly care.
With some excellent staging, fine cinematography and first-rate acting, the film largely overcomes the awe it demonstrates for its principal character and succeeds in creating a mystery where perhaps there is none.
Phillippe Torreton makes an imperious Bonaparte who insists on his status even if his British captors refuse to address him as anything beyond a general. He sleeps with his officers' wives and connives with his manservant Cipriani, always planning an escape.
The film follows a British office named Basil Heathcote (Jay Rodan) as he pursues the mystery of who is in Napoleon's coffin. He's there when Bonaparte is incarcerated, and we see him 20 years later, following leads in Paris and Louisiana.
Rodan makes a sterling leading man and Richard E. Grant is reliably devious as the determined Hudson Lowe, St. Helena's commanding officer.
Most impressive is Patrick Durand's production design and the absolutely convincing costumes and military equipment from designer Carine Sarfati. The picture is beautifully shot by Pierre Aim with many scenes having the visual power of great paintings.
The opening scenes of the emperor's coffin being exhumed on the barren British island of St. Helena are shot in the rain with a somber array of high-ranking soldiers and a soaring chorus. The film raises the question: Is it really Napoleon's body? Unfortunately, audiences outside of France might not particularly care.
With some excellent staging, fine cinematography and first-rate acting, the film largely overcomes the awe it demonstrates for its principal character and succeeds in creating a mystery where perhaps there is none.
Phillippe Torreton makes an imperious Bonaparte who insists on his status even if his British captors refuse to address him as anything beyond a general. He sleeps with his officers' wives and connives with his manservant Cipriani, always planning an escape.
The film follows a British office named Basil Heathcote (Jay Rodan) as he pursues the mystery of who is in Napoleon's coffin. He's there when Bonaparte is incarcerated, and we see him 20 years later, following leads in Paris and Louisiana.
Rodan makes a sterling leading man and Richard E. Grant is reliably devious as the determined Hudson Lowe, St. Helena's commanding officer.
Most impressive is Patrick Durand's production design and the absolutely convincing costumes and military equipment from designer Carine Sarfati. The picture is beautifully shot by Pierre Aim with many scenes having the visual power of great paintings.
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