"The Furniture," by Daniel Walber, is our weekly series on Production Design. You can click on the images to see them in magnified detail.
Towards the end of Hirokazu Kore-eda’s The Truth, legendary actress Fabienne Dangeville (Catherine Deneuve) admits something quite harsh. “I prefer to have been a bad mother, a bad friend and a good actress,” she announces at dinner. Her talent and her single-mindedness have given her a lengthy career, multiple Césars, and the freedom to take liberties with her own story. Her soon-to-be-published memoir is the occasion for which her daughter, Lumir (Juliette Binoche), has come for a visit, bringing her American husband (Ethan Hawke) and their daughter, Charlotte (Clémentine Grenier). And this short trip quickly becomes a long one, once Lumir agrees to step in as her mother’s assistant on the set of a science-fiction film.
Lumir’s presence becomes an opportunity to relive and relitigate family history.
Towards the end of Hirokazu Kore-eda’s The Truth, legendary actress Fabienne Dangeville (Catherine Deneuve) admits something quite harsh. “I prefer to have been a bad mother, a bad friend and a good actress,” she announces at dinner. Her talent and her single-mindedness have given her a lengthy career, multiple Césars, and the freedom to take liberties with her own story. Her soon-to-be-published memoir is the occasion for which her daughter, Lumir (Juliette Binoche), has come for a visit, bringing her American husband (Ethan Hawke) and their daughter, Charlotte (Clémentine Grenier). And this short trip quickly becomes a long one, once Lumir agrees to step in as her mother’s assistant on the set of a science-fiction film.
Lumir’s presence becomes an opportunity to relive and relitigate family history.
- 9/16/2020
- by Daniel Walber
- FilmExperience
Great directors, like adventurous travelers, explore new lands not trying to impose their sensibilities on them but allowing the foreignness to wash over them and reveal new layers that complement their worldviews. Although Hirokazu Kore-eda’s entire filmography has been set in his native Japan, within the very first few minutes of The Truth––his first film set outside of his homeland––he has taken the riches of France and filtered them through his soul-stirring humanism.
As Lumir (Juliette Binoche) arrives in her childhood home in Paris, accompanied by her American husband (Ethan Hawke) and their young daughter (Clémentine Grenier), the golden sunlight that throughout the decades lit the works of Renoir, Clement, Truffaut, and Bresson, suddenly seems more meditative, like it will be able to warm more than the characters’ bodies and reach straight into their souls.
They will all need that warmth as they face Fabienne an iceberg of a woman,...
As Lumir (Juliette Binoche) arrives in her childhood home in Paris, accompanied by her American husband (Ethan Hawke) and their young daughter (Clémentine Grenier), the golden sunlight that throughout the decades lit the works of Renoir, Clement, Truffaut, and Bresson, suddenly seems more meditative, like it will be able to warm more than the characters’ bodies and reach straight into their souls.
They will all need that warmth as they face Fabienne an iceberg of a woman,...
- 7/9/2020
- by Jose Solís
- The Film Stage
Catherine Deneuve and Juliette Binoche star as an estranged mother and daughter in Hirokazu Kore-eda’a film, The Truth (Le vérité), an exquisite representation of repressed familial frustrations and emotional repression that tells an energetic tale of pseudo redemption between two women.
Writer/director Kore-eda’s latest film is a poignant portrayal of one family’s dynamics. Matriarch Fabienne (played with remarkable pathos by Deneuve) is an aging French film star beset with occasional lapses in memory who maintains a considerable presence in the world of cinema. Prior to the publication of Fabienne’s memoir, her daughter, Lumir (Binoche) visits from New York with her husband Hank (Ethan Hawke) and their daughter Charlotte (Clémentine Grenier). Consequently, mother and daughter engage in a stinging series of exchanges concerning each other’s conflicting recollections of the past that somehow eerily mirror the role Fabienne is currently playing in a science-fiction drama on...
Writer/director Kore-eda’s latest film is a poignant portrayal of one family’s dynamics. Matriarch Fabienne (played with remarkable pathos by Deneuve) is an aging French film star beset with occasional lapses in memory who maintains a considerable presence in the world of cinema. Prior to the publication of Fabienne’s memoir, her daughter, Lumir (Binoche) visits from New York with her husband Hank (Ethan Hawke) and their daughter Charlotte (Clémentine Grenier). Consequently, mother and daughter engage in a stinging series of exchanges concerning each other’s conflicting recollections of the past that somehow eerily mirror the role Fabienne is currently playing in a science-fiction drama on...
- 7/3/2020
- by Mike Tyrkus
- CinemaNerdz
Any flimsiness in the script by director Hirokazu Kore-eda, the Japanese filmmaker behind Shoplifters, After Life, and Nobody Knows, is quickly overcome by the sight of this dazzling duo in a duel of wits and conflicting emotions. Kore-eda may be working off his home turf, but his funny and sneakily touching film — his first in English (with a smattering of French) — tackles the universally relatable topic of family bonds and how to stop them from fraying.
Deneuve plays Fabienne Dangeville, an aging icon of French cinema. (Since Deneuve herself is famously ageless,...
Deneuve plays Fabienne Dangeville, an aging icon of French cinema. (Since Deneuve herself is famously ageless,...
- 7/2/2020
- by Peter Travers
- Rollingstone.com
The Truth (La vérité) IFC Films Reviewed by Tami Smith, Film Reviewer for Shockya Grade: B+ Director: Hirokazu Kore-eda Screenwriter: Hirokazu Kore-eda Cast: Catherine Deneuve, Juliette Binoche, Ethan Hawke, Clémentine Grenier Release Date: July 3rd, 2020 The Truth tells the story of a visit between a famous French actress Fabienne Dangeville (Catherine Deneuve) and her […]
The post The Truth Movie Review appeared first on Shockya.com.
The post The Truth Movie Review appeared first on Shockya.com.
- 6/29/2020
- by Tami Smith
- ShockYa
If we want to start with the problems of Hirokazu Kore-eda’s The Truth, we can look at the title. When it’s revealed at the beginning that the title comes from the name of a character’s autobiography, it’s a cheeky meta-reference that plays into the film’s own setting of the French film industry. But soon that gives way to revealing that the whole film wants to deal with the concept of truth, the contradictions inherent in the term, and how truth is defined. After all, objectivity can’t really be measured when there’s no such thing as an objective source or observer.
The creator of “The Truth” within The Truth is Fabienne (Catherine Deneuve), a legendary French actress who’s at a point in her life and career where tact no longer applies. Upon the release of her autobiography, she’s visited by her daughter...
The creator of “The Truth” within The Truth is Fabienne (Catherine Deneuve), a legendary French actress who’s at a point in her life and career where tact no longer applies. Upon the release of her autobiography, she’s visited by her daughter...
- 9/6/2019
- by The Film Stage
- The Film Stage
Title: La Vérité (The Truth) Director: Kore-eda Hirokazu Cast: Catherine Deneuve, Juliette Binoche, Ethan Hawke, Clémentine Grenier, Manon Clavel, Alain Libolt, Christian Crahay, Roger Van Hool, Ludivine Sagnier, Laurent Capelluto, Jackie Berroyer. The Nippon director who won the Jury Prize at the 2013 Cannes Film Festival for Like Father, Like Son and the Palme d’Or […]
The post 76th Venice Film Festival: La Vérité (The Truth) Movie Review appeared first on Shockya.com.
The post 76th Venice Film Festival: La Vérité (The Truth) Movie Review appeared first on Shockya.com.
- 8/30/2019
- by Chiara Spagnoli Gabardi
- ShockYa
Early in the morning, late in the summer, the first ferryboat docked outside the Casino Palace shortly before 8 am, ejecting a crowd of critics onto the Lido and out toward the first screening of the year. Capping off weeks of excitement for yet another auteur-studded lineup, as well as endless controversies over its chronic lack of female representation, the 76th Venice Film Festival kicked off on August 28. And the Lido—that long strip of land separating the Venice lagoon from the Adriatic—braced for the return of a platoon of cinephiles that will keep flocking to its shores until the feast’s end on September 7. Now at its eighth edition under the aegis of Artistic Director Alberto Barbera, the festival has long turned into a fertile ground for awards season hopefuls. To be sure, this is nothing new: the late summer/early fall slot makes Venice an ideal launchpad for Oscar contenders,...
- 8/29/2019
- MUBI
When a big, prestigious, internationally celebrated arthouse filmmaker, hoisted by his acclaim, gets the chance to make a “crossover” movie somewhere other than his native country, it tends to seem like a great idea on paper, yet often doesn’t work out so well. Examples of this time-honored phenomenon range from Michelangelo Antonioni’s “Zabriskie Point” to Ingmar Bergman’s “The Touch” to Wim Wenders’ “Hammett” to Asghar Farhadi’s recent “Everybody Knows” — movies in which you can hear the voice of the filmmaker, though not nearly as vividly as you did in the films that made his crossover possible. But “The Truth,” the first movie written and directed by Hirokazu Kore-eda (“Shoplifters”) outside his native Japan, doesn’t fall into that more-mainstream-yet-lesser trap.
“The Truth,” which Kore-eda shot with a French crew, is set in Paris, and it’s one of those dramas in which a beloved, larger-than-life movie-star diva — in this case,...
“The Truth,” which Kore-eda shot with a French crew, is set in Paris, and it’s one of those dramas in which a beloved, larger-than-life movie-star diva — in this case,...
- 8/28/2019
- by Owen Gleiberman
- Variety Film + TV
Filmmaker Kore-eda Hirokazu once predicted that his Palme d’Or-winning “Shoplifters” would come to represent a major turning point in his career — the end of one phase, and the beginning of another. As it turns out, “The Truth” is inevitably a bit more complicated.
The first movie the Japanese writer-director has made since winning the film world’s most prestigious award is also the first that he’s ever shot in another tongue or country, and that fact alone is enough to make Kore-eda’s latest feel like an outlier in any number of obvious ways; a foreign organ transplanted into an otherwise cohesive body of work. On the other hand, this wise and diaphanous little drama finds Kore-eda once again exploring his usual obsessions, as the man behind the likes of “Still Walking” and “After the Storm” offers yet another insightful look at the underlying fabric of a modern family.
The first movie the Japanese writer-director has made since winning the film world’s most prestigious award is also the first that he’s ever shot in another tongue or country, and that fact alone is enough to make Kore-eda’s latest feel like an outlier in any number of obvious ways; a foreign organ transplanted into an otherwise cohesive body of work. On the other hand, this wise and diaphanous little drama finds Kore-eda once again exploring his usual obsessions, as the man behind the likes of “Still Walking” and “After the Storm” offers yet another insightful look at the underlying fabric of a modern family.
- 8/28/2019
- by David Ehrlich
- Indiewire
In the latest film from Hirokazu Kore-eda (director of the 2018 Palme d’Or winner “Shoplifters”), Catherine Deneuve plays a legendary French film star who has just published a memoir titled, like this movie, “The Truth.” It’s a promise that her book comes nowhere near fulfilling; as for Kore-eda’s first film made outside his native Japan, it’s a fascinating exploration of the fallibility of memory and of how the truths we tell ourselves so frequently outweigh an empirical certainty.
Deneuve’s Fabienne falls into the great screen tradition of actresses capable of great emotion on stage or screen but less so off. (Think Bette Davis’ Margo Channing in “All About Eve” or Gena Rowlands’ Myrtle Gordon in “Opening Night.”) She also shares some DNA with Ingrid Bergman’s musician in “Autumn Sonata” or Shirley MacLaine’s movie star in “Postcards From the Edge” — have we acknowledged how much...
Deneuve’s Fabienne falls into the great screen tradition of actresses capable of great emotion on stage or screen but less so off. (Think Bette Davis’ Margo Channing in “All About Eve” or Gena Rowlands’ Myrtle Gordon in “Opening Night.”) She also shares some DNA with Ingrid Bergman’s musician in “Autumn Sonata” or Shirley MacLaine’s movie star in “Postcards From the Edge” — have we acknowledged how much...
- 8/28/2019
- by Alonso Duralde
- The Wrap
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.