In the contemporary field of Japanese animation, no one makes films and TV shows like Yuasa Masaaki. Compared to the lifelike backgrounds and careful detailing of facial animations that typify much of anime, Yuasa’s mash-ups of disciplines and methods recall the unorthodox approaches of Don Hertzfeldt and Soviet-era Hungarian animators like Marcell Jankovics and György Kovásznai. But Yuasa’s north star—in underlying motivation, if not aesthetic—may be Tex Avery, whose brand of unpredictable comedy can be seen in the filmmaker’s willingness to upend character continuity and even the fundamental outlines of drawings for the sake of pursuing a joke or feeling to its most outlandish conclusion.
The plots of the five films included in Shout! Factory’s new box set are, however fantastical their framings, often elementally simple, and many have reference points in another anime films and shows. A kind of lysergic take on Miyazaki Hayao’s Ponyo,...
The plots of the five films included in Shout! Factory’s new box set are, however fantastical their framings, often elementally simple, and many have reference points in another anime films and shows. A kind of lysergic take on Miyazaki Hayao’s Ponyo,...
- 12/12/2023
- by Jake Cole
- Slant Magazine
It’s 42 degrees Celsius outside as I write the fifth High Desert article sitting in my small, dimly lit room. In a surreal way, the show adds to the smell of summer that fills my nostrils. The salty breeze and the dry Earth, to which I am subjected by my window right beside me, teleport me to Yucca Valley, California. And with every episode, I am drawn more and more to Peggy Newman. I don’t want to be like her, but I do want her to be my friend. That way, I could hang out with her and share everything with her with zero fear of being judged. The only way I can describe her is “cool”. Episode 5 shows Peggy taking Denny, who is pretending to be an art consultant, to Bob so that they can find out Donatella’s whereabouts. But oddly enough, it is someone else who...
- 5/31/2023
- by Shubhabrata Dutta
- Film Fugitives
Further new releases include ‘Summering’, ‘White Noise’ and ‘The Infernal Machine’.
There are a modest number of openers over the next couple of weekends at the UK-Ireland box office in the build-up to Disney’s Avatar: The Way of Water landing on screens on December 16 and as festive fare settles in. This weekend’s widest new release is Violent Night, playing at 588 sites for Universal.
Tommy Wirkola’s alternative Christmas story sees Stranger Things star David Harbour play Kris Kringle during a particular trying Christmas Eve, with John Leguizamo as the leader of a group of dangerous mercenaries who take...
There are a modest number of openers over the next couple of weekends at the UK-Ireland box office in the build-up to Disney’s Avatar: The Way of Water landing on screens on December 16 and as festive fare settles in. This weekend’s widest new release is Violent Night, playing at 588 sites for Universal.
Tommy Wirkola’s alternative Christmas story sees Stranger Things star David Harbour play Kris Kringle during a particular trying Christmas Eve, with John Leguizamo as the leader of a group of dangerous mercenaries who take...
- 12/2/2022
- by Mona Tabbara
- ScreenDaily
Click here to read the full article.
Muppet Babies, a reboot of the 1984 animated series of the same name, premiered in 2018 with a slight twist: the pattern of the nanny’s socks change every episode. That variation spawned a copyright infringement lawsuit against Disney from Jeffrey Scott, a screenwriter of the original series, that was dismissed due to unusual circumstances surrounding his personal bankruptcy.
After some legal maneuvering by Scott in bankruptcy court to revive his case, a federal judge on Monday rebuffed Disney’s bid to dismiss the lawsuit. U.S. District Judge Stanley Blumenfeld found that Disney may have copied elements of the show from the original Muppet Babies production bible that Scott created in the 1980s. The order keeps in line with recent mandates from a federal appeals court not to prematurely dismiss copyright cases at the pleading stage.
Scott in 2020 sued Disney, but the case didn’t get far.
Muppet Babies, a reboot of the 1984 animated series of the same name, premiered in 2018 with a slight twist: the pattern of the nanny’s socks change every episode. That variation spawned a copyright infringement lawsuit against Disney from Jeffrey Scott, a screenwriter of the original series, that was dismissed due to unusual circumstances surrounding his personal bankruptcy.
After some legal maneuvering by Scott in bankruptcy court to revive his case, a federal judge on Monday rebuffed Disney’s bid to dismiss the lawsuit. U.S. District Judge Stanley Blumenfeld found that Disney may have copied elements of the show from the original Muppet Babies production bible that Scott created in the 1980s. The order keeps in line with recent mandates from a federal appeals court not to prematurely dismiss copyright cases at the pleading stage.
Scott in 2020 sued Disney, but the case didn’t get far.
- 9/20/2022
- by Winston Cho
- The Hollywood Reporter - Movie News
Close-Up is a feature that spotlights films now playing on Mubi. Mani Kaul's Our Daily Bread (1970) is now showing in the series A Journey into Indian Cinema.The Indian auteur Mani Kaul spoke of the Dutch painter Vincent Van Gogh in some of his interviews, but his favorite artist was Paul Cézanne. Kaul admired the father of modernist painting for his ability to build one image upon another, a quality that Kaul called “constructivist.” Though sounding awfully formal, constructivism is, in a way, precisely what Kaul does so beautifully in his films. His debut feature, Our Daily Bread is a prime example. Narratively paired down, following the strict injunction of Robert Bresson (another artist Kaul admired deeply) that actors ought not act, Our Daily Bread nevertheless tells some story in a conventional sense. Yet its deceivingly simple frames are so varied and surprising that it feels like there’s...
- 3/18/2020
- MUBI
In MemoriamEver since the late eighties French filmmaker Jean-Claude Rousseau has been a name commonly attached to the most adventurous and difficult type of filmmaking. Far from the American, well-established niches of experimental film, he has been working sparsely in Europe (and Japan) for over thirty years becoming a sort of mythological, solitary figure for this continent’s avant-garde. His oeuvre, roughly divided into two periods—the Super 8mm period going from 1983 to 1995; and the video work, still ongoing since 2003—deals constantly with the most primary elements of cinema: composition, movement, trace, and light, as if in every single shot of his films he wanted to make us reconsider what we normally take for granted about these concepts. Nevertheless, much more interested in cinema’s ends than in its mediums, Rousseau’s extremely rigorous but romantic approach to art reminds us less of structuralist filmmakers such as Ernie Gehr or...
- 9/23/2019
- MUBI
Mark Cousins, director of Cannes Classics hit The Eyes Of Orson Welles, would be a distinctive character even if he wasn’t a respected filmmaker, writer and historian—his body is emblazoned with tattooed tributes to the artists and thinkers who have shaped his outlook on life: Paul Cézanne, Marie Curie, Albrecht Dürer, Le Corbusier and Virginia Woolf, to name but a few. Two years ago, he had another added—an homage to Citizen Kane director Orson Welles, on his arm—and after a chance meeting he began to wonder if he might regret it.
“I was in Traverse City [Michigan] for the film festival,” Cousins told me at the Deadline studio in Cannes, “which is Michael Moore’s film festival. Beatrice Welles, Orson Welles’ daughter was there, and I asked if I could meet her.” As soon as he’d asked, Cousins remembered the tattoo. “I was a bit embarrassed,...
“I was in Traverse City [Michigan] for the film festival,” Cousins told me at the Deadline studio in Cannes, “which is Michael Moore’s film festival. Beatrice Welles, Orson Welles’ daughter was there, and I asked if I could meet her.” As soon as he’d asked, Cousins remembered the tattoo. “I was a bit embarrassed,...
- 5/13/2018
- by Damon Wise
- Deadline Film + TV
Cinema’s latest exhibition tour chronicles of the painter’s shift from impressionist-influenced work to a revolutionary and individual vision
After a stream of films about user-friendly artists such as Monet, Goya and David Hockney, the estimable Exhibition on Screen series tackles the slightly tougher subject of Paul Cézanne, taking its cue from the touring Cézanne Portraits show which is nearing the end of its run at the National Portrait Gallery in London. Because of the show’s organisational history, there’s an interesting transnational flavour to the comment, with curatorial input from France (intense) and the Us (scholarly) alongside the careful Brits.
The format of these films is by now well-established, operating with watchmaker-level precision: slow, swooping shots of the artist’s environment, letters and the like voiced with full throated emotion (here by the familiar molten-honey tones of Brian Cox), and leisurely inspection of the paintings themselves in situ.
After a stream of films about user-friendly artists such as Monet, Goya and David Hockney, the estimable Exhibition on Screen series tackles the slightly tougher subject of Paul Cézanne, taking its cue from the touring Cézanne Portraits show which is nearing the end of its run at the National Portrait Gallery in London. Because of the show’s organisational history, there’s an interesting transnational flavour to the comment, with curatorial input from France (intense) and the Us (scholarly) alongside the careful Brits.
The format of these films is by now well-established, operating with watchmaker-level precision: slow, swooping shots of the artist’s environment, letters and the like voiced with full throated emotion (here by the familiar molten-honey tones of Brian Cox), and leisurely inspection of the paintings themselves in situ.
- 1/24/2018
- by Andrew Pulver
- The Guardian - Film News
Foreplays is a column that explores under-known short films by renowned directors. Jean-Luc Godard & Anne-Marie Miéville's Liberté et Patrie (2002) is free to watch below. Mubi's retrospective For Ever Godard is showing from November 12, 2017 - January 16, 2018 in the United States.I. One of the most beautiful essay films ever made, Liberté et Patrie (2002) turns out to also be one of the most accessible collaborations of Jean-Luc Godard and Anne-Marie Miéville. The deeply moving lyricism of this short may astonish even those spectators who arrive to it casually, without any prior knowledge of the filmmakers’s oeuvre. Contrary to other works by the couple, Liberté et Patrie is built on a recognizable narrative strong enough to easily accommodate all the unconventionalities of the piece: a digressive structure full of bursts of undefined emotion; an unpredictable rhythm punctuated by sudden pauses, swift accelerations, intermittent blackouts and staccatos; a mélange of materials where...
- 12/11/2017
- MUBI
This joint biopic of Paul Cézanne and Emile Zola is beautifully produced, but leaves itself too much to cover
The “moi” in this lush, leisurely stroll through art history is Emile Zola (Guillaume Canet), a lifelong friend and sometime romantic rival of the painter Paul Cézanne (Guillaume Gallienne). A ribboning timeline weaves together flashbacks to school days with riotous nights of debauchery and an ultimate reversal in social standing. The film wears its luxuriant production design with the same satisfaction as the newly wealthy Zola does his brocade dressing gown. It’s a large canvas to cover, the parallel lives of these complicated, talented men, and the thin, hurried brushstrokes at times suggest a film that might have benefited from a tighter focus.
Continue reading...
The “moi” in this lush, leisurely stroll through art history is Emile Zola (Guillaume Canet), a lifelong friend and sometime romantic rival of the painter Paul Cézanne (Guillaume Gallienne). A ribboning timeline weaves together flashbacks to school days with riotous nights of debauchery and an ultimate reversal in social standing. The film wears its luxuriant production design with the same satisfaction as the newly wealthy Zola does his brocade dressing gown. It’s a large canvas to cover, the parallel lives of these complicated, talented men, and the thin, hurried brushstrokes at times suggest a film that might have benefited from a tighter focus.
Continue reading...
- 4/16/2017
- by Wendy Ide
- The Guardian - Film News
This account of the rivalry between Cézanne and Zola – played by Guillaumes Canet and Gallienne – is cinéma du papa with an edge
There is unexpected interest in this period-costume dual biopic of Émile Zola and Paul Cézanne, played by Guillaume Canet and Guillaume Gallienne: a drama about their lifelong, troubled friendship. With its sunkissed locations, frock coats and whiskers – and its incurious attitude to the women in these artists’ lives – it does look rather like a bit of stately cinéma du papa. Yet there is an edge and a mordancy to it.
Zola and Cézanne grow up together, and at first Cézanne looks like one of life’s winners: the son of a wealthy banker whose family money allows him to paint. Meanwhile, Zola scrabbles a living in Paris. But then Zola becomes rich and famous, and Cézanne becomes tortured with envious contempt. They are frenemies and frivals; their...
There is unexpected interest in this period-costume dual biopic of Émile Zola and Paul Cézanne, played by Guillaume Canet and Guillaume Gallienne: a drama about their lifelong, troubled friendship. With its sunkissed locations, frock coats and whiskers – and its incurious attitude to the women in these artists’ lives – it does look rather like a bit of stately cinéma du papa. Yet there is an edge and a mordancy to it.
Zola and Cézanne grow up together, and at first Cézanne looks like one of life’s winners: the son of a wealthy banker whose family money allows him to paint. Meanwhile, Zola scrabbles a living in Paris. But then Zola becomes rich and famous, and Cézanne becomes tortured with envious contempt. They are frenemies and frivals; their...
- 4/14/2017
- by Peter Bradshaw
- The Guardian - Film News
Author: Stefan Pape
When presenting a biopic whereby the subject is an esteemed artist, there’s an even greater pressure to ensure the cinematic reimagining of their life is an aesthetically gratifying one, and auteur Daniéle Thompson’s does not disappoint, with an alluring, picturesque backdrop worthy of the great painter Paul Cézanne. Sadly, any such homage paid to the film’s supporting lead – the revered, naturalistic novelist Emile Zola – falls short, with a hackneyed screenplay that does not do justice to the great wordsmith, which comes as surprise since it’s penned by Thompson, who was once nominated for an Academy Award in such an area, for the 1975 release Cousin Cousine.
Set in the latter half of the 19th century, we study the caustic, lifelong friendship between Cézanne (Guillaume Gallienne) and Zola (Guillaume Canet), told through flashbacks, looking over their school years, up until their later ones. It had been a perpetually tumultuous affair,...
When presenting a biopic whereby the subject is an esteemed artist, there’s an even greater pressure to ensure the cinematic reimagining of their life is an aesthetically gratifying one, and auteur Daniéle Thompson’s does not disappoint, with an alluring, picturesque backdrop worthy of the great painter Paul Cézanne. Sadly, any such homage paid to the film’s supporting lead – the revered, naturalistic novelist Emile Zola – falls short, with a hackneyed screenplay that does not do justice to the great wordsmith, which comes as surprise since it’s penned by Thompson, who was once nominated for an Academy Award in such an area, for the 1975 release Cousin Cousine.
Set in the latter half of the 19th century, we study the caustic, lifelong friendship between Cézanne (Guillaume Gallienne) and Zola (Guillaume Canet), told through flashbacks, looking over their school years, up until their later ones. It had been a perpetually tumultuous affair,...
- 4/13/2017
- by Stefan Pape
- HeyUGuys.co.uk
By Jose Solís.
In Cézanne and I, director Danièle Thompson chronicles the ultimate bromance: the lifelong friendship between Emile Zola (Guillaume Canet) and Paul Cézanne (Guillaume Gallienne) who went from being schoolmates to becoming two of the most influential artists in history. In the film we see Zola’s literary work flourish, as Cézanne struggles to make a name for himself when his contemporaries fail to see the quality of his work and mock his technique. But rather than being a condescending story about “poor genius men”, the film addresses the terrifying idea that not everyone’s talents are meant to be recognized. I sat down with Gallienne and Thompson to discuss the themes in the film and the challenges of capturing the creative process onscreen.
Jose: Why did you want to make a film about Zola and Cézanne?
DANIÈLE Thompson: I was very intrigued by the fact I knew nothing about their relationship,...
In Cézanne and I, director Danièle Thompson chronicles the ultimate bromance: the lifelong friendship between Emile Zola (Guillaume Canet) and Paul Cézanne (Guillaume Gallienne) who went from being schoolmates to becoming two of the most influential artists in history. In the film we see Zola’s literary work flourish, as Cézanne struggles to make a name for himself when his contemporaries fail to see the quality of his work and mock his technique. But rather than being a condescending story about “poor genius men”, the film addresses the terrifying idea that not everyone’s talents are meant to be recognized. I sat down with Gallienne and Thompson to discuss the themes in the film and the challenges of capturing the creative process onscreen.
Jose: Why did you want to make a film about Zola and Cézanne?
DANIÈLE Thompson: I was very intrigued by the fact I knew nothing about their relationship,...
- 4/7/2017
- by Jose
- FilmExperience
Daniele Thompson’s “Cézanne et Moi” follows the parallel paths of two of France’s most lauded artists: post-impressionist painter Paul Cézanne and novelist Émile Zola. The pair first met at school in Aix-en-Provence and continued to maintain their close relationship as they both became working artists in Paris (with varying success).
Read More: ‘Posthumous’ Exclusive Clip: Jack Huston And Brit Marling Star In Rom-Com About a Struggling Artist’s Mistaken Suicide
Often told through flashbacks, the film chronicles their shared artsy sensibilities and their very different circumstances in life — Zola grew up poor, while Cézanne struggled with his wealthy background — showing off a strong portrait of both the men and their unique bond.
But that doesn’t mean that their relationship was always an easy one, and our exclusive clip shows the often fraught friendship between the two unique men. Check it out below.
“Cezanne et Moi” is currently...
Read More: ‘Posthumous’ Exclusive Clip: Jack Huston And Brit Marling Star In Rom-Com About a Struggling Artist’s Mistaken Suicide
Often told through flashbacks, the film chronicles their shared artsy sensibilities and their very different circumstances in life — Zola grew up poor, while Cézanne struggled with his wealthy background — showing off a strong portrait of both the men and their unique bond.
But that doesn’t mean that their relationship was always an easy one, and our exclusive clip shows the often fraught friendship between the two unique men. Check it out below.
“Cezanne et Moi” is currently...
- 4/5/2017
- by Kate Erbland
- Indiewire
There is inherently a great risk that filmmakers face while crafting a drama about “great men.” Whether they are artists or politicians, innovators or explorers, there is an oft-irresistible urge to valorize the legend of the person and their accomplishments, rather than delve into their passions, motivations, and weaknesses. Danièle Thompson, director and writer of Cézanne et moi, certainly seems to invite these difficulties by telling the story of not one, but two great men.
Cézanne et moi explores the mercurial friendship of Paul Cézanne (Guillaume Gallienne), the legendary Post-Impressionist painter who heavily influenced some of the greatest 20th century artists like Picasso and Matisse, and Émile Zola (Guillaume Canet), the eponymous “I” and a highly respected novelist and poet of naturalism and political advocate. In grounding the movie in this very real and human relationship — and forgoing many of the more galling and hackneyed “struggles of the artist” conventions — Thompson avoids easy comparisons to,...
Cézanne et moi explores the mercurial friendship of Paul Cézanne (Guillaume Gallienne), the legendary Post-Impressionist painter who heavily influenced some of the greatest 20th century artists like Picasso and Matisse, and Émile Zola (Guillaume Canet), the eponymous “I” and a highly respected novelist and poet of naturalism and political advocate. In grounding the movie in this very real and human relationship — and forgoing many of the more galling and hackneyed “struggles of the artist” conventions — Thompson avoids easy comparisons to,...
- 3/31/2017
- by The Film Stage
- The Film Stage
Intensive research has killed many a biopic, but Cézanne Et Moi, which recounts the tempestuous lifelong friendship between Paul Cézanne and Émile Zola, labors even more tediously than most to accommodate personal details, whether or not those details serve the narrative. Cézanne and Zola met in childhood—a moment that writer-director Danièle Thompson (Avenue Montaigne) makes cheesy by depicting them shaking hands and exchanging names in the immediate aftermath of a schoolyard brawl—and they spent their youth in the company of another fast friend, Baptistin Baille. The trio were known as “the inseparables,” and we know this, in the movie, because someone passes them on the street and shouts, essentially, “Yo, the inseparables!” (Though that’s not half as clumsy, exposition-wise, as Zola asking “Is Paul here?” at Cézanne’s house and being asked “Paul Cézanne?”) Trouble is, Baille didn’t go on to accomplish anything particularly notable, and...
- 3/29/2017
- by Mike D'Angelo
- avclub.com
Guillaume Gallienne: "The script had all the elements, the love and trust of Danièle." Photo: Anne-Katrin Titze
Danièle Thompson's Cézanne Et Moi, starring Guillaume Gallienne as Paul Cézanne and Guillaume Canet as Émile Zola, had its New York premiere on Wednesday, hosted by Diane von Furstenberg and Barry Diller at The Whitby Hotel, where I had spoken to Wilson director Craig Johnson, screenwriter Daniel Clowes, Woody Harrelson, Laura Dern, Judy Greer and Isabella Amara.
The women in Cézanne's life were his mother Anne-Elisabeth (Sabine Azéma) and wife Hortense (Déborah François also in Claude Lelouch's latest Chacun sa vie). For Zola, his mother Émilie (Isabelle Candelier), wife Alexandrine (Alice Pol -Lelouch's Un + une), and mistress Jeanne (Freya Mavor). Guillaume Gallienne, who played Pierre Bergé in Jalil Lespert's Yves Saint Laurent gave some clarity into his vision of Cézanne, his relationship to Zola, and the women around them.
Déborah François...
Danièle Thompson's Cézanne Et Moi, starring Guillaume Gallienne as Paul Cézanne and Guillaume Canet as Émile Zola, had its New York premiere on Wednesday, hosted by Diane von Furstenberg and Barry Diller at The Whitby Hotel, where I had spoken to Wilson director Craig Johnson, screenwriter Daniel Clowes, Woody Harrelson, Laura Dern, Judy Greer and Isabella Amara.
The women in Cézanne's life were his mother Anne-Elisabeth (Sabine Azéma) and wife Hortense (Déborah François also in Claude Lelouch's latest Chacun sa vie). For Zola, his mother Émilie (Isabelle Candelier), wife Alexandrine (Alice Pol -Lelouch's Un + une), and mistress Jeanne (Freya Mavor). Guillaume Gallienne, who played Pierre Bergé in Jalil Lespert's Yves Saint Laurent gave some clarity into his vision of Cézanne, his relationship to Zola, and the women around them.
Déborah François...
- 3/26/2017
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Guillaume Gallienne and Guillaume Canet are Paul Cézanne and Émile Zola in Danièle Thompson's Cézanne Et Moi
Where else can you find Édouard Manet (Nicolas Gob), Camille Pissarro (Romain Cottard), Guy de Maupassant (Félicien Juttner), Baptistin Baille (Pierre Yvon), Auguste Renoir (Alexandre Kouchner), Ambroise Vollard (Laurent Stocker), Francisco Oller (Pablo Cisneros), Achille Empéraire (Romain Lancry), Père Tanguy (Christian Hecq), Frédéric Bazille (Patrice Tepasso), the great Sabine Azéma as Paul Cézanne's mother, and Glasgow's own Freya Mavor (Joann Sfar's The Lady In The Car With Glasses And A Gun) as the mother to Zola's children - all in one film?
Danièle Thompson on Jean-Marie Dreujou: "He's a wonderful cinematographer." Photo: Anne-Katrin Titze
Déborah François (of Régis Roinsard's Populaire) is Hortense, Cézanne's wife, Alice Pol is Zola's wife Alexandrine, and his mother Émilie is played by Isabelle Candelier. Back and forth in time we jump, from...
Where else can you find Édouard Manet (Nicolas Gob), Camille Pissarro (Romain Cottard), Guy de Maupassant (Félicien Juttner), Baptistin Baille (Pierre Yvon), Auguste Renoir (Alexandre Kouchner), Ambroise Vollard (Laurent Stocker), Francisco Oller (Pablo Cisneros), Achille Empéraire (Romain Lancry), Père Tanguy (Christian Hecq), Frédéric Bazille (Patrice Tepasso), the great Sabine Azéma as Paul Cézanne's mother, and Glasgow's own Freya Mavor (Joann Sfar's The Lady In The Car With Glasses And A Gun) as the mother to Zola's children - all in one film?
Danièle Thompson on Jean-Marie Dreujou: "He's a wonderful cinematographer." Photo: Anne-Katrin Titze
Déborah François (of Régis Roinsard's Populaire) is Hortense, Cézanne's wife, Alice Pol is Zola's wife Alexandrine, and his mother Émilie is played by Isabelle Candelier. Back and forth in time we jump, from...
- 3/24/2017
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Painting in cinema seems to be all the rage this spring. Following the trailer for the Canadian feature Maudie, the French biographical drama film Cézanne and I has just recently released a U.S. preview.
Directed by Danièle Thompson of Avenue Montagne and Change of Plans, the film portrays the true story about the friendship between 19th century novelist Émile Zola and painter Paul Cézanne when they first met as schoolmates. The two friends would eventually grow up in search for fame and glory, sparking a feudal rivalry.
On the shortlist for France’s Academy Award for Best Foreign Language Film pick, which would eventually go to Elle, Magnolia Pictures will release the film this April. Judging from the preview, it looks to be a well-composed story of heated friendship. Starring Guillaume Canet, Guillaume Gallienne, Alice Pol, Déborah François and Sabine Azéma, check out the trailer below.
CÉZANNE Et Moi...
Directed by Danièle Thompson of Avenue Montagne and Change of Plans, the film portrays the true story about the friendship between 19th century novelist Émile Zola and painter Paul Cézanne when they first met as schoolmates. The two friends would eventually grow up in search for fame and glory, sparking a feudal rivalry.
On the shortlist for France’s Academy Award for Best Foreign Language Film pick, which would eventually go to Elle, Magnolia Pictures will release the film this April. Judging from the preview, it looks to be a well-composed story of heated friendship. Starring Guillaume Canet, Guillaume Gallienne, Alice Pol, Déborah François and Sabine Azéma, check out the trailer below.
CÉZANNE Et Moi...
- 2/27/2017
- by The Film Stage
- The Film Stage
"I'd like to paint as you write." Magnolia Pictures has debuted an official Us trailer for Danièle Thompson's biopic drama Cézanne Et Moi, also known as Cézanne and I, about a friendship between two artists. The film tells of the parallel paths between the lives and careers of post-impressionist painter Paul Cézanne and novelist Émile Zola, starting as school pals in Aix-en-Provence to working artists in Paris. Guillaume Gallienne plays Cézanne, and Guillaume Canet plays Zola, with a cast including Alice Pol, Déborah François, Isabelle Candelier, Sabine Azéma, Freya Mavor and Félicien Juttner. This didn't play at any film festivals, but it did already open in European cinemas last year. The film is described as a "polished period piece" that "boldly paints a picture of two 19th century masters." This looks quite good. Take a look. Here's the official Us trailer (+ poster) for Danièle Thompson's Cézanne Et Moi,...
- 2/22/2017
- by Alex Billington
- firstshowing.net
Keep up with the wild and wooly world of indie film acquisitions with our weekly Rundown of everything that’s been picked up around the globe. Check out last week’s Rundown here.
– Rialto Pictures has announced the return to theaters of Gillo Pontecorvo’s 1966 masterpiece “The Battle of Algiers,” this year celebrating its 50th anniversary with a stunning new 4K restoration. The restoration has the distinction of being selected for all three major international film festivals this fall: Venice, New York and Toronto. The film originally premiered at Venice in 1966 and was the opening night selection of the 4th New York Film Festival in 1967.
Theatrical runs begin on October 7 at New York’s Film Forum, Landmark’s Nuart in Los Angeles and E Street Cinema in Washington, D.C., followed by a major city roll-out through the fall.
– Magnolia Pictures has acquired North American rights to Academy Award nominated...
– Rialto Pictures has announced the return to theaters of Gillo Pontecorvo’s 1966 masterpiece “The Battle of Algiers,” this year celebrating its 50th anniversary with a stunning new 4K restoration. The restoration has the distinction of being selected for all three major international film festivals this fall: Venice, New York and Toronto. The film originally premiered at Venice in 1966 and was the opening night selection of the 4th New York Film Festival in 1967.
Theatrical runs begin on October 7 at New York’s Film Forum, Landmark’s Nuart in Los Angeles and E Street Cinema in Washington, D.C., followed by a major city roll-out through the fall.
– Magnolia Pictures has acquired North American rights to Academy Award nominated...
- 9/9/2016
- by Kate Erbland
- Indiewire
Guillaume Canet as Zola and Guillaume Gallienne as the artist in Cézanne And Me Photo: Pathé Surrounded by canvases of paintings by Paul Cézanne - from his still life works such as Apples and Oranges to the Bathers - there could no better setting than to talk up a new film Cézanne And Me (Cézanne Et Moi) than the Musée d’Orsay, the former turn of the century railway station now one of Paris’s most popular galleries housing the most comprehensive collection of impressionist and post-impressionist works.
Gathered in the gilt and mirrored first-floor restaurant the buyers, distributors and media in the city for the 18th Rendezvous with French Cinema (organised by the promotional body UniFrance) saw early scenes from the film by director Danièle Thompson, which is now in post-production and slated for a French release in mid-September preceded by a likely international launch at the Toronto International Film Festival the same month.
Gathered in the gilt and mirrored first-floor restaurant the buyers, distributors and media in the city for the 18th Rendezvous with French Cinema (organised by the promotional body UniFrance) saw early scenes from the film by director Danièle Thompson, which is now in post-production and slated for a French release in mid-September preceded by a likely international launch at the Toronto International Film Festival the same month.
- 1/17/2016
- by Richard Mowe
- eyeforfilm.co.uk
An Interview with Hijo Nam
Hijo Nam’s art projects an ability to seek and know. With knowledge can come an understanding that harmony is inner peace. This would account for the contemplative nature of the forms and combinations she chooses, the colors and accents she adds, and the surfaces and textures she reveres. Nam’s search often brings her to the lost and forgotten remnant of an outdated utilitarian mechanism. In her hands, a resurrection of a spirit occurs, and as a result, the object is moved beyond its thingness. This process, this journey then becomes transportive and transcendent as the object’s past, present, and future become one.
I recently had the opportunity to interview Nam. We discussed her approach to the creation of her most impressive singular works, as well as her formidable installations.
Ddl: In your mixed media works Calling Itself Rhythm (2012), Ecdysis (2012), and Freedom from...
Hijo Nam’s art projects an ability to seek and know. With knowledge can come an understanding that harmony is inner peace. This would account for the contemplative nature of the forms and combinations she chooses, the colors and accents she adds, and the surfaces and textures she reveres. Nam’s search often brings her to the lost and forgotten remnant of an outdated utilitarian mechanism. In her hands, a resurrection of a spirit occurs, and as a result, the object is moved beyond its thingness. This process, this journey then becomes transportive and transcendent as the object’s past, present, and future become one.
I recently had the opportunity to interview Nam. We discussed her approach to the creation of her most impressive singular works, as well as her formidable installations.
Ddl: In your mixed media works Calling Itself Rhythm (2012), Ecdysis (2012), and Freedom from...
- 5/24/2014
- by ddlombardi
- www.culturecatch.com
The painter stars alongside Van Gogh and Gauguin in an exhibition of treasures from the Pearlman Collection. Plus Wes Anderson's fictional artwork Boy with Apple, and a 'memory wound' in Norway – all in your weekly art multipack
Exhibition of the week
Cézanne and the Modern
The awkward, isolated, thoughtful eye of Cézanne digs deep into the structure of things as he tries to paint not the passing show but the inner truth of nature. That struggle leads him to the discovery that everything is ambiguous and there are no certainties, as his pictures start to break up into planes of light. He and other founders of modern art, including Gauguin and Van Gogh, star in this exhibition of treasures from the Pearlman Collection.
• Ashmolean Museum, Oxford OX1, from 13 March until 22 June.
Other exhibitions this week
Renaissance Impressions
The artist Georg Baselitz collects strange and powerful German Renaissance chiaroscuro woodcuts...
Exhibition of the week
Cézanne and the Modern
The awkward, isolated, thoughtful eye of Cézanne digs deep into the structure of things as he tries to paint not the passing show but the inner truth of nature. That struggle leads him to the discovery that everything is ambiguous and there are no certainties, as his pictures start to break up into planes of light. He and other founders of modern art, including Gauguin and Van Gogh, star in this exhibition of treasures from the Pearlman Collection.
• Ashmolean Museum, Oxford OX1, from 13 March until 22 June.
Other exhibitions this week
Renaissance Impressions
The artist Georg Baselitz collects strange and powerful German Renaissance chiaroscuro woodcuts...
- 3/7/2014
- by Jonathan Jones
- The Guardian - Film News
From new voices like NoViolet Bulawayo to rediscovered old voices like James Salter, from Dave Eggers's satire to David Thomson's history of film, writers, Observer critics and others pick their favourite reads of 2013. And they tell us what they hope to find under the tree …
Curtis Sittenfeld
Novelist
My favourite books of 2013 are Drama High (Riverhead) by Michael Sokolove, Sea Creatures (Turnaround) by Susanna Daniel, and & Sons (Harper Collins) by David Gilbert. Drama High is incredibly smart, moving non-fiction about an American drama teacher who for four decades coaxed sophisticated and nuanced theatrical performances out of teenage students who weren't privileged or otherwise remarkable and in so doing, changed their conceptions of what they could do with their lives. Sea Creatures is a gripping, beautifully written novel about the mother of a selectively mute three-year-old boy; when she takes a job ferrying supplies to a hermit off the coast of Florida,...
Curtis Sittenfeld
Novelist
My favourite books of 2013 are Drama High (Riverhead) by Michael Sokolove, Sea Creatures (Turnaround) by Susanna Daniel, and & Sons (Harper Collins) by David Gilbert. Drama High is incredibly smart, moving non-fiction about an American drama teacher who for four decades coaxed sophisticated and nuanced theatrical performances out of teenage students who weren't privileged or otherwise remarkable and in so doing, changed their conceptions of what they could do with their lives. Sea Creatures is a gripping, beautifully written novel about the mother of a selectively mute three-year-old boy; when she takes a job ferrying supplies to a hermit off the coast of Florida,...
- 11/24/2013
- by Ali Smith, Robert McCrum, Tim Adams, Kate Kellaway, Rachel Cooke, Sebastian Faulks, Jackie Kay
- The Guardian - Film News
Critic and director Mark Cousins is receiving rave reviews at Cannes for his inspirational film about cinema and childhood. He tells Charlotte Higgins why it's the decade of the cine-essay
You can tell a lot about Mark Cousins from his tattoos. The Edinburgh-based, Belfast-born presenter, critic and film-maker, whose richly poetic A Story of Children and Film has just premiered to five-star reviews at Cannes, has arms inscribed with words. There's "Forough" on his right. That's Forough Farrokhzad, "the first great Iranian film director," he says. "Her The House Is Black is one of the greatest movies ever made." On his left there's "Le Corbusier", the French architect; and "Eisenstein", the Russian director about whom he recently made a film while undertaking a three-day tramp through Mexico City.
Then, on the inside of his left arm, are the words "the oar and the winnowing fan". This is a reference to...
You can tell a lot about Mark Cousins from his tattoos. The Edinburgh-based, Belfast-born presenter, critic and film-maker, whose richly poetic A Story of Children and Film has just premiered to five-star reviews at Cannes, has arms inscribed with words. There's "Forough" on his right. That's Forough Farrokhzad, "the first great Iranian film director," he says. "Her The House Is Black is one of the greatest movies ever made." On his left there's "Le Corbusier", the French architect; and "Eisenstein", the Russian director about whom he recently made a film while undertaking a three-day tramp through Mexico City.
Then, on the inside of his left arm, are the words "the oar and the winnowing fan". This is a reference to...
- 5/20/2013
- by Charlotte Higgins
- The Guardian - Film News
Of all the seismic shocks in Western art, none shook more deeply than French Impressionism. From the 1860s to the 1880s, it was as if a mad bomber were at work in the Parisian art world. The public blowback against the movement was relentless. Established critics and artists were totally opposed to this small band of very young painters. The official art world of the French academy and the general public must have sensed that their entire vocabulary was being dismantled before their astonished angry eyes.Impressionism covers artists as unalike as Édouard Manet, Claude Monet, Mary Cassatt, Berthe Morisot, Camille Pissarro, Pierre-Auguste Renoir, Edgar Degas, Paul Cézanne, Frédéric Bazille, Gustave Courbet, and Paul Gauguin. Mostly despised in their own lifetimes, they are now among the most famous painters who’ve ever lived. Their triumph has been so total, in fact, that Impressionism is now overexposed. It’s considered middlebrow taste,...
- 4/13/2013
- by Jerry Saltz
- Vulture
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