This document may not be reprinted without the express written permission of Arkansas Democrat-Gazette Material from the Associated Press is Copyright © 2025 audio and/or video material shall not be published rewritten for broadcast or publication or redistributed directly or indirectly in any medium Neither these AP materials nor any portion thereof may be stored in a computer except for personal and noncommercial use The AP will not be held liable for any delays errors or omissions therefrom or in the transmission or delivery of all or any part thereof or for any damages arising from any of the foregoing Christophe Honoré fans have much to celebrate this January the meta Chiara Mastroianni-led Cannes selection Marcello Mio theaters on January 31 from Strand Releasing starring Isabelle Huppert and Louis Garrel will open at the IFC Center a week earlier on January 24 we’re pleased to exclusively premiere the new trailer for the NC-17-rated feature Based on George Bataille’s posthumous and controversial novel here’s the synopsis: “Ma mère takes place in the Canary Islands and her teenaged son Pierre (Louis Garrel) a pious Catholic back from boarding school discuss his father’s infidelity; the next they hear Hélène launches into a wild series of parties gradually involving her son in her drugging her son is left in the care of her mistress Réa (Joana Preiss) and Hansi (Emma de Caunes) an icy blonde sadist with whom he falls in love we realize that this is a period of initiation for the young man until his mother can return and fully bring him to sexual maturity and adulthood.” along with the poster designed by Midnight Marauder as well as the new trailer and poster for Christophe Honoré’s latest Jordan Raup is the founder and editor-in-chief of The Film Stage and a Rotten Tomatoes-approved critic. Track his obsessive film-watching on Letterboxd The first images of the long-awaited film “Saint-Ex” directed by Pablo Agüero and dedicated to Antoine de Saint-Exupéry The film features Louis Garrel in the lead role accompanied by Vincent Cassel and Diane Kruger follows Saint-Exupéry in 1930 while he was a pilot for Aeropostale in Argentina Saint-Exupéry embarks on a dangerous quest to find him The recently completed shooting lasted ten weeks and was carried out with a technical team who received a César award for “Portrait de la jeune fille en feu.” Pre-purchased by Canal+ and Ciné+ the film will be distributed by StudioCanal and released on 11 December “Saint-Ex” promises to be a major film event at the end of this year concluding the 80th anniversary of his disappearance Do you want to bring the Little Prince to life in your sketchbook Follow our simple tutorial and let your creativity speak the Antoine de Saint Exupéry Youth Foundation will be the Guest of Honour at the second edition.. After a huge success at the Bassins des Lumières in Bordeaux the immersive exhibition “Le Petit Prince :.. AccueilContenu pédagogiqueRessources supplémentaires Le Petit Prince Magazine 2025 Antoine de Saint-ExupéryLa fondation hello@lepetitprince.com Le Petit Prince Licensing13 Boulevard Edgar Quinet75014 Paris, France Le Petit Prince® © Succession Antoine de Saint-Exupéry 2025 – Mentions légales – Site imaginé par Guillaume Delalande HomeAdditional content The Little Prince Magazine 2025 Antoine de Saint-ExupéryThe foundation Le Petit Prince Licensing :13 Boulevard Edgar Quinet75014 Paris Le Petit Prince® © Succession Antoine de Saint-Exupéry 2025 – Legal notices – Site designed by Guillaume Delalande Your Ads Privacy ChoicesIMDb Directed by Pablo Agüero, Saint-Ex takes viewers back to the 1930s, to the heart of Argentina, to follow the story inspired by the life of the famous writer and aviator Antoine de Saint-Exupéry. This historical drama tells of a time when Saint-Exupéry an activity that took him over the wild and dangerous lands of South America When his friend and mentor Henri Guillaumet disappears during a mission Saint-Exupéry undertakes a daring rescue mission in the fearsome Andes an adventure that will push him to surpass his own limits which also includes Diane Kruger and Vincent Cassel promises an intense and sensitive interpretation of this story of courage and loyalty Saint-Ex will be shown in cinemas from December 11 Antoine de Saint-Exupéry is an Aéropostale pilot in Argentina his best friend and Aéropostale's top pilot This impossible quest forced him to surpass himself making his ability to dream his greatest strength.. the film celebrates the spirit of resilience and courage of theaviation pioneers while tackling timeless themes such as friendship Saint-Exupéry plunges the viewer into the perilous world of the Compagnie Générale Aéropostale the legendary company that opened up air routes across landscapes as sublime as they were unforgiving struggles to keep the company afloat in the face of train competition and technological challenges sets the tone: every mission is a gamble against death The plot thickens when Guillaumet's plane disappears in the Andes Mountains Guillaumet is never seen lost in the icy desert and his fate remains an enigma throughout the film This quest becomes a real challenge against time and nature magnified by the poignant relationship between Saint-Exupéry and Noëlle played with great humanity by Diane Kruger underline the emotional depth of this adventure One of the film's most impressive scenes illustrates Saint-Exupéry's inventiveness as he draws inspiration from bird flight to enable his plane to cross the Andes he demonstrates an uncommon practical genius and courage all the more remarkable at a time when technology was extremely limited These moments highlight the resourcefulness and genius ofaviation pioneers capable of flying rustic machines in unimaginable conditions testifies to Saint-Exupéry's visionary creativity and love of flight Pablo Agüero 's direction is a veritable tour de force the desert sandstorms and the vast expanses of sky and sea captivate with their raw beauty particularly in scenes where Saint-Exupéry crosses storms or encounters evocative symbols - a sheep - reminiscent of the Little Prince's imagination composed of piano and symphonic orchestrations amplifies this contemplative atmosphere while maintaining constant dramatic tension The contrast between the visual poetry and the gravity of the situations creates a unique cinematic experience plays an authoritarian but desperate director adding further tension with striking lines like "Saint-Exupéry Saint-Ex is more than a historical re-enactment; it deals with profoundly human issues The camaraderie between Saint-Ex and Guillaumet embodies the very essence of friendship while the film explores the boundary between dedication and obsession willing to risk their lives to accomplish their mission highlights values such as sacrifice and resilience The film also tackles socio-political issues, such as the failure of theaeropostale in the face of the upheavals of its time. The final line, "We conquered the Cordillera, we conquered death, but we couldn't save the aeropostale company and we didn't see the rise of fascism", lends the film a contemporary resonance and recalls Saint-Exupéry 's tragic role as an aviator during the Second World War Saint-Ex appeals above all to viewers who appreciate contemplative narratives and poetic historical frescoes Lovers ofhuman adventures and great reflections on the courage friendship andingenuity of aviation pioneers will find it an inspiring and visually sublime work This film will appeal to those who like to take their time and immerse themselves in grandiose landscapes and stories of self-transcendence rather than to audiences looking for a fast-paced Through its thoughtful pacing and dreamlike flights of fancy the film invites a sensory and introspective experience at the crossroads of human drama and spiritual epic poetic tribute to Antoine de Saint-Exupéry supported by memorable performances and breathtaking direction While the contemplative pace may disconcert some viewers the film stands out as an immersive cinematic experience combining high adventure and introspection A true ode to resilience and the beauty of the world December 2024 cinema releases: Films and times near youDiscover all the movies in theaters in December 2024 with showtimes near you. Don't miss a single movie! [Read more] Cinema: which film to see today, this Tuesday May 6, 2025?Not sure which film to see today? Well, we've got plenty of films to show near you. [Read more] This page may contain AI-assisted elements, more information here Refer your establishment, click herePromote your event, click here French-Belgian filmmaker Quentin Dupieux recruits esteemed French actors Léa Seydoux and Louis Garrel for a multilayered fourth wall-breaking satire of the film industry Today has a letter in ‘A’ in it so it must be time for a new film by French DJ/film director The prolific filmmaker’s latest – The Second Act – opened the Cannes film festival last year cementing his paradoxical status as a treasured outsider Dupieux wrangles the cream of French film actors to take aim at cinema itself and question the possibility of meaningful art in an age riddled through with irony Louis Garrel plays David who wants his friend Willy – Raphaël Quenard star of Dupieux’s Yannick (2023) – to seduce his girlfriend Florence (Léa Seydoux) Florence thinks David’s the love of her life and wants to introduce him to her actor father But before we can say “allez!” each of the actors has broken the fourth wall which wouldn’t be so confusing if they hadn’t also broken the first David and Willy worry about being cancelled; Florence has a MeToo moment; Guillaume is exhausted with the whole acting game until he finds out he’s going to be in Paul Thomas Anderson’s new film The Second Act doesn’t even do the ‘film within the film’ idea conventionally The actors and the characters seem to share names and it’s difficult to work out when we’re in the scene and when we’re watching them quarrel The whole thing is apparently being directed via AI anyway Film is a dying art form and Florence contends this makes artists heroic comparing herself to the musicians playing on the Titanic “That was James Cameron,” is Guillaume’s response It’s easy to dismiss Quentin Dupieux as a slight filmmaker partly because of his speed and partly because he does so himself in his interviews when he insists that his films have no message (exactly what someone with a message would say) the word “soufflé” littered reviews of the film like spores of disdain but there’s a pain that waltzes with the comedy: see the agonisingly hilarious scene when wannabe extra Stéphane (Manuel Guillot) flubs his big moment They don’t just contain jokes for the audience ► The Second Act is now available to stream on MUBI UK & Ireland and information about our latest magazine once a month and the UK’s lead organisation for film and the moving image Dupieux wrangles the cream of French film actors to take aim at cinema itself and question the possibility of meaningful art in an age riddled through with irony David and Willy worry about being cancelled; Florence has a MeToo moment; Guillaume is exhausted with the whole acting game until he finds out he’s going to be in Paul Thomas Anderson’s new film.  “That was James Cameron,” is Guillaume’s response.  ► The Second Act is now available to stream on MUBI UK & Ireland.  Volume 2 - 2024 | https://doi.org/10.3389/fieng.2024.1407367 This study investigates the diffusion of AI-based service applications within the business models of German manufacturing industries The integration of AI into business model is assessed through the Business Model Canvas (BMC) framework evaluating its value in terms of effectiveness as well as efficiency Rather than focusing on specific use cases the study delves into the intended usage of value-driven AI services references to enhance effectiveness and efficiency across various elements of the business models eleven service values have been identified Each service vale corresponds to a distinct element of the BMC Decision-makers were surveyed using a Confirmation/Disconfirmation (C/D) paradigm to measure the disparities between their current and target performance levels this study provides valuable insights from the perspective of decision makers regarding the current and desired state of AI integration in the German manufacturing industry taking into account AI usage or no AI usage at the time of data collection These instances illustrate how AI can profoundly impact and reshape the three pillars of value creation: Value Proposition this research delves the use of AI in relation to its value and illustrates the diffusion (current status) and desired integration (target status) of AI-based applications across various elements of manufacturing business models in Germany Figure 1. Own design according to Osterwalder and Pigneur (2011) Following this understanding of the BMC and the idea of the principles of effectiveness and efficiency in relation to the individual availability and usability of data How does prioritizing the elements of the Business Model Canvas (BMC) based on effective and efficient value-driven data usage influence the transformation of AI-based service business models in the German manufacturing industry The methodology focuses on operationalizing the measurement of distribution of AI usage across business model elements according to the BMC framework The measurement is carried out by a survey aimed the current and desired utilization of AI-based performance instances within manufacturing business models in Germany The integration of AI with at least one of the following service values leads to innovative changes that transform a traditional business model into an AI-based business model Figure 2. Indicators for service values derived from report “Innovations in the German Economy.2” The diffusion (current performance) and deficits (target performance) of AI-based applications are assessed using the Confirmation/Disconfirmation-Paradigm (C/D-Paradigm) methodology (Homburg et al., 2019). Originally it is a marketing approach for measuring customer satisfaction (as illustrate in Figure 3) The model compares actual experiences (current performance) with a predefined performance standard If the comparison aligns with the standard it is termed “confirmation” which indicates customer satisfaction (confirmation → current = target) Positive disconfirmation affirming customer satisfaction as well and occurs when current performance exceeds target performance (current > target) If the target performance exceeds the current performance (current < target) this means negative disconfirmation and customer dissatisfaction Figure 3. Confirmation-disconfirmation-paradigm according to Homburg et al. (2019) respondents were asked to assess their current and target performance using a 5-level Likert-Scale (1 = “do not agree at all” (2) 5 = “Completely agree”) Evaluating a current performance of AI usage requires the utilization of AI Therefor a screening question was integrated to obtain conscious use “conscious use” refers to the deliberate acquisition of AI-based software to achieve performance or business objectives Current-performance: “My organization uses AI…” Target-performance: “My organization should (additionally) use AI…” E.g.: …to support in operational management tasks …for the exchange of information and communication with customers… The internal consistency of the items according to efficiency and effectiveness are evaluated by Cronbach’s alpha based on the given answers of the respondents. The scales represent a high or excellent value each Table 1 Cronbach´s Alpha of the scales current and target performance with regard to effectiveness and efficiency The data was collected in an additional follow-up survey of a Choice-based Conjoint (CBC) survey. The CBC revolves around the value-based willingness to pay of cooperative AI1 and presents fictitious purchase offers for an intelligent assistance system for employees (such as Chatbot/Business Bot) as exemplary application These applications aim to support internal business processes and workflows within organizations: • “Send mail X to employees involved in process Y.” • “Make an appointment with XY for *date*/*time*.” • “Show me live monitoring of process C.” • “Display me the colleagues/processes that need support.” • “Show me material inventories and related products (including sales).” The sample comprises individuals from German manufacturing business organizations who hold decision-making authority. The service provider “Kantar Group” provided a panel of n = 162 respondents that matched the target group. Data collection was collected in March 2022.3 The sample consists of 59.26% (n = 96) SMEs and 40.74% (n = 66) large companies. These include various industries by NACE codes, classified by AI usage with absolute and relative frequencies (Figure 4) (German Federal Statistical Office, 2008) The distribution indicates that certain business organizations operate across multiple industries (industry distribution → n = 207) Participants from various positions took part in the survey including managing directors (14.4%/n = 23) employees with management responsibilities (70%/n = 112) and employees without management responsibilities (15.6%/n = 25) Descriptive distribution of industries by NACE codes an AI usage Almost 60% (n = 96) of the sample indicated AI usage at the time of data collection there were n = 59 SMEs and n = 37 major business organizations represented AI usage is more prevalent in industries such as engineering n= 66) is less frequent in manufacturing sectors such as rubber Descriptive statistic of current and target performance (n= 162) C/D-Paradigm of current and target performance (n= 162) Performance cases in Table 2 suggest the following interpretation: E.g. at the time of data collection the service value of “Designing of production processes” in the business model elements of Key Activities suggest that German manufacturing industries generally do not utilize AI in these cases (M = 2.88 → 3 → no AI usage) This is affirmed by the mode 1 (→ no AI usage) and 50% of the sample reporting no current performance on this issue (x0.5 = 3) businesses in the sample express a desire for increased integration of AI across service values in all business model elements except for “Support in strategic management with tasks or decisions” The most widespread of current AI performance is on average observed in the service value of “Designing of production processes” and “Data and information management” in Key activities the lowest current AI performance besides “Support in strategic management with tasks or decisions” occurs on average in “Acquisition of new suppliers and partners” The strongest current diffusion of AI is being observed in the areas of “Designing of production processes” and “Data and information management.” But these are also the areas where on average the greatest desire (target performance) for AI integration the integration of AI service values such as “Exchange of information and communication with suppliers and other partners” and “Smart-Product” are on average the least frequently targeted issues T-test for C/D-Paradigm and target performance depending on AI usage Except for “Support in strategic management with tasks or decisions” there is on average a negative disconfirmation across all AI-related services the discrepancies are relatively similar in magnitude it is notable that on average the discrepancies in the Key Activities are the largest This indicates a significant need for improvement in these areas the lowest demand on average is observed in the areas of “Exchange of information and communication with suppliers and other partners” and in providing “Smart-Products.” The largest discrepancies are observed in “Smart-Products,” “Smart-Product Services,” and “Smart-Services,” while the smallest discrepancies are noted in “Support in strategic management with tasks or decisions” and “Data and information management.” Mean target performance depending on AI usage The diversity of AI usage across BM´s in German manufacturing industries is steadily increasing. Corresponding to this issue, the framework of the BMC by Osterwalder and Pigneur (2011) is used to classified and demonstrate the logic of value creation by AI in various business model elements it simplifies the complexity of using digital information (data) to drive effective or efficient changes in business models The analysis of the eleven identified value-driven AI services with regard to the diffusion (current) and desired integration (target) is carried out by the framework and methodology of the C/D-Paradigm which is generally used in marketing issues Due to the broad data basis not all findings are presented and discussed in this paper Rather the reader is shown how data and information should be interpreted based on examples Key findings of the sample that are discussed show that German business in manufacturing industries exhibit the highest diffusion of AI in the business model elements according to “Key Activities” Particularly in the cases of “Designing of production processes” and “Data and information management” Regarding to this it is important to mentioned that although these elements show the most advanced diffusion on average there is still the greatest demand The reason for this may could be that the designation “Data and information management” encompasses a broad spectrum of use cases most of the services references can be considered as a kind of data and information management the authors therefore appeal for future work to make a further distinction and classification in order to obtain more accurate results Further findings apply significant differences between current- and target-performance in each value-based Service reference The observed gaps (diff) between current-performance and target-performance related to the principals of effectiveness and efficiency correspond to a medium to large effect according to Cohen business models in German manufacturing industries exhibit a negative-disconfirmation (current < target) in each service case except in “Support in strategic management with tasks or decisions” (→ current > target) decision-makers and managers do not want to hand over decisions with long-term impacts to technology They want to retain the upper hand in this matter the authors cannot provide a valid and verifiable reason for this but simply provide a starting point for further investigations There are also significant differences in target performance depending on AI usage Business models show gabs with regard to all value-driven services according to business model elements business models in the manufacturing industries that already use AI demonstrate a higher demand for integrating value-driven AI services into all elements of the business model compared to businesses that have not yet integrated AI According to Cohen a medium to large effect is observed for all value-based service types Particularly notable are the gaps in Value Proposition decision makers who have already implemented AI into their BM have also a stronger desire to integrate AI into their own value proposition as well This is evident for “Smart-Products” This may be due to their own perceived value of services they use At this point the authors can just speculate but the findings provide a basis for further research it can be summarized that the paper provides an insight into the diffusion of different AI value-driven service types with classification of effectiveness and efficiency according the framework of the BMC The value-driven use of data in the shape of AI is desired in all researched elements of the BMC The data shows that the use of AI not only increases the demand for further AI integration within the business own value creation processes but also enhances the desire to transform its own value proposition based on AI the descriptive findings show a status quo and difference in that issues and can serve as crucial foundations for further research to investigate the motivations and reasons for integrating AI into business model elements and its impact on the overall business models in manufacturing industries Especially with regard to effectiveness and efficiency The original contributions presented in the study are included in the article/supplementary material further inquiries can be directed to the corresponding author The author(s) declare that financial support was received for the research The project on which this report is intended was funded by the German Federal Ministry of Education and Research under the grant number 02L19C157 The responsibility for the content of this publication lies with the authors The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest All claims expressed in this article are solely those of the authors and do not necessarily represent those of their affiliated organizations Any product that may be evaluated in this article or claim that may be made by its manufacturer is not guaranteed or endorsed by the publisher 1Cooperative AI as generative AI show features like explaining themselves (“Explainable AI–XAI”) and adapting to humans usage behavior by interacting as collaborators (“Interactive AI”) (Holzinger, 2016; Adadi and Berrada, 2018) 2E.g., “Likewise, 11.8% of companies have made a fundamental change in their relationships with existing customers, for example, by introducing new forms of customer communication or by introducing personalized forms of customer relationship management (Rammer et al. 2021 S.10).” → “Exchange of information and communication with customers/via customer channels” 3After the official release of ChatGPT but before it went viral 28German Federal Statistical Office (2008) 4(1) = “Do not agree at all,” (2) (5) = “Completely agree at all”: According to the range of the scale (3) = “Neither agree or disagree” Such an indication does not represent any conscious of AI use 5C= Mean of current performance 6T= Mean of target performance 7Diff= T - C 8d= Effect size according to Cohen (1992) 9AI= mean of target performance of BM using AI 10No AI= mean of target performance of BM do not using AI 11Diff= AI–No AI 12The authors recommend a Confirmatory Factor Analysis (CFA) for further researches Peeking inside the black-box: a survey on explainable artificial intelligence (XAI) CrossRef Full Text | Google Scholar Developing a unified framework of the business model concept CrossRef Full Text | Google Scholar How to design a value-based Chatbot for the manufacturing industry: an empirical study of an internal assistance for employees CrossRef Full Text | Google Scholar “Künstliche Intelligenz im Dienstleistungsmanagement – Anwendungen Einsatzbereiche und Herangehensweisen,” in Künstliche Intelligenz im Dienstleistungsmanagement CrossRef Full Text | Google Scholar Büchel, J., Goecke, H., Demary, V., and Mertens, A. 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Lifestyle Inside Chanel's French leather workshops Culture Subscribers only The marvelous bronzes of Angkor on display at the Musée Guimet in Paris who showcases his comedic talent in Quentin Dupieux's 'The Second Act,' which opened the Festival on Tuesday Interview by Aureliano Tonet What makes Louis Garrel tick We left the actor and director on the run in L'Innocent (The Innocent a tremendous success with both the public and the critics Now he's back in action on the red carpet with Quentin Dupieux's Le Deuxième Acte (The Second Act) which opened the Cannes festivities on Tuesday filmed in a long sequence shot that humorously mocks the film world's guilty conscience is no better way of launching the festival overshadowed more than ever by the specter of #MeToo Mechanisms for spreading rumors about those considered powerful have always existed It's the response to the rumor that needs to be questioned It's clear that something important is happening in terms of the recognition of sexual violence You have 75.48% of this article left to read Lecture du Monde en cours sur un autre appareil Vous pouvez lire Le Monde sur un seul appareil à la fois Ce message s’affichera sur l’autre appareil Parce qu’une autre personne (ou vous) est en train de lire Le Monde avec ce compte sur un autre appareil Vous ne pouvez lire Le Monde que sur un seul appareil à la fois (ordinateur En cliquant sur « Continuer à lire ici » et en vous assurant que vous êtes la seule personne à consulter Le Monde avec ce compte Que se passera-t-il si vous continuez à lire ici Ce dernier restera connecté avec ce compte Vous pouvez vous connecter avec votre compte sur autant d’appareils que vous le souhaitez mais en les utilisant à des moments différents Nous vous conseillons de modifier votre mot de passe Votre abonnement n’autorise pas la lecture de cet article merci de contacter notre service commercial By 2023-08-30T15:38:00+01:00 French New Wave filmmaker and 2023 Berlin Silver Bear-winning director Philippe Garrel has been accused of sexual assault by several women with whom he has worked in his films.  In an investigation conducted by France’s Mediapart Anna Mouglalis and Clotilde Hesme are among five actresses who allege the 75 year-old director made unwanted advances or offered roles in exchange for sexual favours Garrel maintains his innocence and no official charges have been filed in French courts The director told Mediapart he has “never kissed a woman against her will” and added: “I would like to stress that I have never given false professional hopes to an actress with the aim of seducing her.” Mouglalis starred in Garrel’s comedy Jealousy which screened at Venice in 2013 She told Mediapart she invited the filmmaker to her apartment to discuss an upcoming project but said she found his behaviour “insulting,” calling it “a caricature of basic misogyny and machismo.” Hesme starred in the director’s 2005 Venice Silver Lion-winning coming-of-age romantic drama Regular Lovers opposite his son Louis Garrel and was also one of the elder Garrel’s students at the Arts the Conservatoire de Paris She alleged the director “humiliated” her during the filming of Regular Lovers “the love story was between his son and me in the film” Hesme said she is still “flabbergasted” by his behaviour I don’t really understand that assertion.” Hesme responded: “I speak today to support those who do Actress Laurence Cordier said she met Garrel to discuss a role and he offered her a hotel room for the two of them I found myself pushing him away,” she says The filmmaker told Mediapart he “doesn’t remember anything specifically,” but adds: “If Laurence Cordier felt humiliated Actress Marie Vialle reported that when she was a student in his conservatory class in the 1990s Garrel told her he had written a feature film role for her and then tried to kiss her before she pushed him away She told Mediapart he told her “I can’t make the film if I don’t sleep with you.” She refused his advances She went on to act in his 1999 film Night Wind starring Catherine Deneuve Another actress who asked to remain anonymous also told the publication a similar tale of refusing the filmmaker’s unwanted advances at a Paris café when she met him to discuss a role Garrel earned this year’s Berlin’s Silver Bear for best director for his latest feature puppeteering drama The Plough starring his children The accusations have come on the opening day of the Venice Film Festival whose edition is also clouded by the selection of a trio of male auteurs accused of past sexual offenses.  EXCLUSIVE: Film will have world premiere at DOK.fest Munich this month EXCLUSIVE: Paris-based executive will handle sales with focus on co-productions The festival’s ninth edition will run April 23-28 EXCLUSIVE: Film shoots in Dublin and Dundalk this summer Oscar winner proposing federal tax incentives ‘Ish’ and ‘Learning To Breathe Under Water’ will also feature Screen International is the essential resource for the international film industry access to the Screen International archive and supplements including Stars of Tomorrow and World of Locations Site powered by Webvision Cloud The official poster for the film “Saint-Ex” has finally been unveiled offering a first glimpse of Louis Garrel as Antoine de Saint-Exupéry captivating portrait highlights the writer-aviator’s determination and offers a first glimpse of the film’s intensity marking the 80th anniversary of the author’s death of The Little Prince Read also: The first images from the Saint-Ex film has just been unveiled! Supported by an exceptional cast including Louis Garrel as Antoine de Saint-Exupéry this biopic retraces a significant period in the life of the writer-aviator Saint-Exupéry set off in search of his missing friend in a quest where the power of dreams transcends the limits of the possible features an intense portrait of Louis Garrel reflecting the determination and passion of the famous author of The Little Prince the film is a vibrant tribute to the 80th anniversary of Saint-Exupéry’s death Discover this poignant and inspiring work in cinemas now artistic director of men’s collection – with its irresistible A fascinating encounter of daring and creativity.” Garrel stars alongside Léa Seydoux and Vincent Lindon in “The Second Act,” which screened out of competition at Cannes on Tuesday He wore a midnight blue suit with Dior’s signature oblique-buttoned jacket designed by Jones “He perfectly embodies the French elegance We are extremely excited to welcome him in the house,” Jones said describing it as “an absolute legend in the world of fashion.” The actor who is married to model and actress Laetitia Casta Dior has been able to successfully live through different epochs Garrel has been a prominent figure in film since his breakthrough performance in Bernardo Bertolucci’s “The Dreamers” in 2003 including Best Original Screenplay for “The Innocent” at the 2023 César Awards was a box-office success and garnered 11 nominations at last year’s ceremony with Garrel receiving nods in both the Best Actor and Best Director categories Garrel’s filmography includes playing Jacques de Bascher in the 2014 film “Saint Laurent,” and he is set to portray French writer and aviator Antoine de Saint-Exupéry in Pablo Agüero’s upcoming “Saint-Ex,” co-starring Diane Kruger and Vincent Cassel Garrel joins a distinguished men’s roster at Dior that includes actor Robert Pattinson Garrel has previously been the face of Valentino Uomo fragrance and directed a Valentino Donna campaign He also appeared in Giorgio Armani’s fall 2023 campaign and featured in Emporio Armani’s fall 2004 ads with his “The Dreamers” co-stars Michael Pitt and Eva Green Click here to read our spring 2025 issue, featuring Caught by the Tides' Jia Zhangke and Zhao Tao, our annual spotlight on locations and more... Explaining why Philippe Garrel is one of my favorite working directors can be difficult I tried to sketch out his recurring interests: “he makes movies about men who cheat on women and have trouble with themselves.” She rolled her eyes and his early work that I’ve seen is both gorgeous and the epitome of stereotypical arthouse pretension of the period a very of-its-time film about a particularly mopey Jesus in which his then-lover Nico smokes opium and stares blankly It wasn’t until 1979’s L’enfant secret that Garrel began moving into the realm of reasonably conventional narrative in a series of dramas that double as family therapy Working early and often with his actor father Maurice and even playing a version of himself in 1989’s Emergency Kisses Garrel repeatedly probes personal and family history I watched two Garrel films I’d never seen before which helped clarify his artistic evolution la nuit stars Maurice as a disillusioned French soldier who gets involved with the Algerian resistance Maurice’s wife (Emmanuelle Riva) is introduced in an extended reaction shot her continually changing facial reactions mesmerizing without being plot points This is a less unwieldy refinement of Garrel’s earlier experiments with portraiture (influenced in part by his time spent hanging around Andy Warhol and an example of his great gift for capturing performers in the critical moment before the plot kicks in particularly in Garrel’s work from 2005’s Regular Lovers onwards where Louis or a similarly stone-faced actor sullenly occupies the center of an emotional maelstrom a juxtaposition that always makes me chuckle I suspect Garrel doesn’t see his films that way (he says as much in this interview) but his films are open enough not to direct you to any particular correct reaction The interview begins in response to a query from Garrel to Hynes as to whether he’d passed along a message to a filmmaker; then he explained who he was talking about he caught me — I was with Nico — and said “I know who you are.” And I said “Who are you?” “I’m Jim Jarmusch.”I said “I don’t want to speak.” And he said “It’s a pity!” I always remember that scene that I refused to talk with a young filmmaker from my generation because I was afraid he’d take my wife Hynes: He was a good looking guy in those days Rizov: And he got tax breaks by shooting in Detroit Hynes: But I think that he often goes to Europe for financing “[There is] no more money” — during the subprime crisis — “in New York Everybody has gone to Detroit,” like you said not want — put private money into a movie like before so I thought it must be a low-budget movie Why the movie is great is because it’s one of the good films in digital the photographic artistic level has dropped except for Jarmusch and Blue is the Warmest Color Hynes: Is there anything about seeing those films that makes you curious about trying it yourself Garrel: I’m like this group of Hollywood directors who went to see Kodak in Manchester and said “We’re still going to shoot film Even if our films are distributed on digital we’re going to shoot on 35mm.” And I was one of the first in Paris to say “I’m going to stop shooting if there’s no more 35mm.” It’s like what Henri Langlois said — Henri Langlois who is one of the five major friends of my life He said — at one point people were saying black and white was going to disappear — “It’s impossible because cinema was invented in black and white.” And it’s true: for ten years it was very difficult to make films in black and white I don’t think it’s true because it’s the same thing So I think this is just a passage we’re going through even though distribution has been generalized to be in digital and I’m like these Hollywood directors who will keep shooting in 35mm they’re even now shooting advertisements on 35mm Hughes: How do you decide between black and white and color Garrel: Many directors are frustrated actors or writers, and some are frustrated painters. Me, when I was a child, I was a painter. I went to a public state school at one point that was at the Louvre. It was called the “Arts Decos’” [the Decorative Arts School] and I was in a specific workshop that was for people under 15 That’s what really brought me to art I found my painting very bad and I broke it That’s when I decided I would make films with that first oil painting — when I was maybe 13 or 14 — I realized it’s very Mixing colors with oil is much more complicated it won’t be a violet like it would be in gouache and I make three black and white films for one color film I’ve made four more black and white films than color films I think of a close-up of a face against a white background When I saw A Burning Hot Summer a couple of years ago it was shocking to see Louis’ face against those blue and red walls in the apartment There’s also an economic aspect to this to make a film in color is twice the cost of black and white That’s not really because of the cost of buying the film or the lab work I also need a costume designer and a set designer This is something that I learned from Raoul Coutard Raoul Coutard told me this about Godard and he also told me this regarding Antonioni — where you find emotion in the red The thing with color photography is that it’s not only about lights it’s also about the color tones that you use who is alive but he’s no longer shooting and he’s the greatest French DP — he explained to me that in Godard the range of colors that would be used was decided beforehand Antonioni is the same thing: you don’t have pink I think that’s where you get the special chromatic effect that I find emotional But if you want to avoid having colors clashing you need to make sure you have a harmony of colors You need to put paper up on the walls that you’ve made in special workshops The reason I’m talking about economics is that if you look at Jealousy and In the Shadow of Women Another thing about black and white is when I shoot black and white because otherwise that means the skin will be red Another reason I shoot black and white is so that I can make low-budget films and that’s the condition of my freedom no one has any right to have any influence on the cut of my film or anything — the distributors if I wasn’t less expensive than the other directors That’s something that I understood from Godard I understood that Godard was the most avant-garde director of the French New Wave because he was a little less expensive than Truffaut and it’s similar to how I am now vis-a-vis Desplechin or Carax My films cost about half the price of their films that he was more avant-garde through being less expensive And it wasn’t by exploiting his crews he edited in less time — that’s the condition of my freedom and it’s something that’s very rare in the US today Hynes: This is related to something you and I talked about last year about working with single takes for the most part and there being a practical reason for that But then there’s an actual effect of that too Hearing you talk about all the reasons you work in black and white — financially and in terms of your own control — there’s also an effect from that So you make a practical choice about make-up and yet seeing your actors on screen in that manner has an effect on us as an audience in terms of how we approach them as people How do you see the value in that as an effect Garrel: When I made my first films — Marie pour mémoire L’enfant secret… I’m talking about the films that I produced myself which here were probably only seen by cinephiles That’s how I’m different from the New Wave because I made films like a painter painting I took some money that I got from patrons to buy paint and canvas but industrially they weren’t working like painters So that’s a difference that I have from the New Wave and I don’t mean a painter with an office I found this idea of asking for the leftover unexposed film on a roll that was taken out because they were afraid that the roll would run out if the star was doing something else So I invented this idea of making features by going around and asking people to give me their leftover the producers could have forced me to shoot digital My first films were shot in 35mm using this method the argument was that digital is so much less expensive to shoot So if I didn’t have the one-take method I make a film with maybe five hours of exposed film It’s very different from Abdetallif Kechiche who for Blue is the Warmest Color shot 600 hours That’s a huge difference from digital it’s a method that I’ve had from the beginning Hynes: But there’s substance in what the artwork is too Garrel: There’s no doubt — unquestionably this one-shot method leads to a specific genre of film As I’m the son of an actor who died four years ago now very sensitive to the question of good acting and that’s where I do all the directing and that one take works because of everything that I’ve done before If I used the traditional method of cinema-making — coming in in the morning and starting to direct the actors at that point — it would be extremely It’s thanks to the fact that I added the theater rehearsal before the shoot that we can do this because what we do is we work for 25 Saturdays and that allows the role to mature in the actors’ minds [and] the actors to act together A lot of times now there’s this absurd risk that actors meet on the set for the first time and have never acted before it’s so important for them to be together starting with the casting in these rehearsals to see different people together and see how it works When my films don’t make enough money for me to make a living It’s there that I saw this business about chemistry — that though actors may have the talent That’s something that you have you to look at in casting very primitive about this question of the association of actors Rizov: One of the things I associate with your films is a shot of a face or a whole body in the moment before the actual dialogue and argument of the scene starts la nuit last night and saw that some of the reaction shots of Emmanuelle Riva are much longer than you let them go on now This also relates to your work in the ’70s which relates to your interest in the screen test Could you talk a little bit about how long you allow them to get to this point whether it’s up to them to decide when to enter the dialogue and how you’ve changed your compression of these moments what I liked best when I went to the Cinematheque was the silent films I think that Sunrise by Murnau is one of the greatest films ever made My three top films are Godard’s My Life to Live when I wrote scripts by myself in the period you’re referring to That’s because I’m a paranoid type I think it’s very useful in art to be paranoid or schizoid You would see him standing there all pale in the Factory the entire dialogue of my film was three or four pages long Once I started with co-scriptwriters — this started with Marc Cholodenko and the silent films that Henri Langlois showed me the silent directors that people really liked were Murnau Fritz Lang and — now he’s a little bit out of fashion young people don’t know him so well — but I loved Erich von Stroheim you would see them in a kind of half-waking state This combination of the paranoid and the silent films is what had an impact things have really changed because I work with co-screenwriters Hughes: My favorite moment in In the Shadow of Women is when Pierre and Elizabeth are sitting on the bed together She’s so delightful before he makes the hurtful comment she’s just staring at him and admiring him and then when he hurts her she leans forward and I’m wondering — you talked about 25 Saturdays of rehearsals and I’m wondering what the scene looked like at the beginning of those 25 days versus the one when the camera’s finally rolling and you get that one take Garrel: All the young people in my films since Savage Innocence the national conservatory of acting Paris where I teach In my work as a professor with an acting class it’s not at all a magisterial lesson and I get the actors to do scenes in front of the camera to give him the freedom that’s been taken away from him by being filmed my responsibility is simply to free the actress she makes the gesture in that moment that you’re referring to where he’s hurt her feelings and she’s repulsed and slightly traumatized My only responsibility for the gesture is to free her “Let me show you what to do,” and then the actor imitates the director I don’t ever get in front of the camera which is why it’s useful to have these many rehearsal days that I use because I’m a titular professor there people who I see at the graduation exercises in the new classes So the level of acting is reached by the level of freedom; the actor has to be himself and to act only like he would And that’s what’s touching about it all of those people — 45 actors — come from the Conservatoire So what you have behind that is six years of work in my class And my son has been my student too in class so he knows very well what the other students have done because he’s just a student like the others Film Review 80th Anniversary Announcement We use cookies to provide you with a great experience and to help our website run effectively None too close to the outside.\u201D - The Aviator (2004) Louis Garrel's romantic comedy is actually a mixed bag The mix of potentially conflicting styles is again a central feature of The Innocent The central situation could be the basis for a straightforward drama and the film contains touches that seem to belong to that world Thus there is the fact that Abel is a young widower because his wife has died in a car accident and it would appear that he was the driver But such details are not dwelt on and Garrel’s film consciously adopts a light tone A notable example of this is found in several scenes in which the suspicious Abel trails Michel in his car in order to discover what he is up to These scenes echo Hitchcock's Vertigo but are handled in a way that is never heavy they contain a sense of the comic that can extend into outright comedy but Garrel pulls it off assisted by several key factors: the engaging performances of all the main players the speed at which the narrative develops and the presence of a number of additional elements that please (the Lyon locations the fine photography of Julien Poupard and the music score by Grégoire Metzel which is most helpful in establishing the mood of individual scenes) The film’s lightness of touch is reminiscent of past eras of cinema and that is further confirmed by the inclusion of fades to black occasional split screen images and even the iris shot just when one feels that The Innocent is securely balanced on its own terms there is a scene which abruptly and without warning marks a major plot development and which misleadingly echoes the very start of the movie in which what we have seen had proved to be a scene of people acting the film now moves on to deal with the heist itself and at this stage the comedy so central to its tone seems to fade away always possible for a film to darken as it goes along but if The Innocent increasingly asks us to take it relatively seriously the actual plotting loses all conviction and scenes with the truck driver in a café come across as downright silly The final scene of all offers an echo of the first half of the film and one that comes close to recovering the earlier tone At least half of this film provides the kind of appealing lightweight entertainment that we can well do with these days and does so with a character of its own at one stage it had seemed likely that this would be a four-star review the rest of the film undermines what it achieved earlier but there may be viewers more readily able to adjust to what the second half has to offer than I was.Original title: L’innocent.MANSEL STIMPSONCast: Roschdy Zem Les Films de Tournelles/Arte France Cinéma/Auvergne-Rhône-Alpes Cinéma/Canal+/Ciné+-metfilm distribution.99 mins FilmReviewDaily@gmail.com © 2015 - 2025 FILM REVIEW. All rights reserved. Privacy Notice His parents were Nouvelle Vague royalty and he went on to star in one of the sexiest movies ever made Now the actor and director is refining his “banter à la française” in a scramble to get his new film finished for Cannes At the time of our conversation he’s got 10 days to nail down the finer details: “It’s like being back at school I used to leave everything to the last minute.” and the godson of The 400 Blows star Jean-Pierre Léaud But even if he understands “the way the game is played” at Cannes he still doesn’t feel like an insider: “I get the jitters before going every time he’s fretting over how the sound mix will play in the giant auditorium The Innocent is a delicate blend of fraught family comedy parodic heist flick and meta thesp commentary all tethered down with the dry irony that is fast becoming Garrel’s directorial trademark – or “banter à la française” a widower in Lyon who is rattled when his loose-cannon mum marries a convict being released from prison Suspicious about where the latter is getting the cash to set her up as a florist Abel turns amateur gumshoe and starts lurking outside the homeware store his new stepfather supposedly works at The story is based on an episode from the 38-year-old’s own life when his mother (his parents had divorced) had a prison wedding with “a guy called Michel I liked a lot” “You know: fun and games.” Was there a similar tension to their relationship as he depicts in the film “It’s always interesting to meet people from another world within the structures of family or friendship society is made in such a manner you don’t often have the chance to get to know people from another walk of life.” working with real-life intimates such as his former partner Golshifteh Farahani and his current wife Laetitia Casta seems to use his films to playfully explore alternative life pathways for himself But he prefers to give this Garrel Cinematic Universe an autonomy of its own: “Rather than saying as an actor I’m going to live several lives through this character it’s the character that has several lives.” This braiding of autobiography and fiction is what he grew up with the limber method his father persisted with well into the 21st century like a soldier still fighting the Nouvelle Vague fight Garrel’s first acting role was as a five-year-old in Garrel Sr’s 1989 film Les Baisers de Secours; his father grandfather and mother all acted in it too and in his first scene he had to walk in on his mother in bed with another man “I hadn’t chosen to be in the film,” he says now one that determined my relationship with cinema when I watched films that weren’t autobiographically tied to the life of the director It would have been easy for Garrel to be enveloped by this protean milieu, to fail to emerge with an identity of his own. But his recalcitrant glower helped his breakout film The Dreamers to take an askew glance at his father’s soixante-huitard cohort Eva Green and Michael Pitt’s lovers beside clips of the trio in Jean-Luc Godard’s Bande à Part it’s a rueful reflection on the time that suggests there was something decadent and incestuous going on behind the revolution – that perhaps the younger generation’s ultimate attachment is to the image rather than the deed his dad was delighted at the unlikely event of a film about the Nouvelle Vague distributed by a Hollywood studio: “It’s as if the gilets jaunes would get to see a film produced by MGM called the Yellow Vest.” and soon director Patrice Chéreau in another Cannes entrant Forever Young (where Garrel will be directed by his ex-wife Valeria Bruni-Tedeschi) What is impressive is how forcefully he imbues these known quantities with an independent life. His portrayal of Jean-Luc Godard benefits from this discernment in the otherwise rather facetious 2017 biopic Redoubtable Even though playing the godhead of French arthouse was a “total taboo” Garrel realised he couldn’t just give fealty: “Of course he was someone with an extraordinary force An artist with the capacity to do exactly what he wants and what he didn’t want was to become bourgeoisified But you mustn’t play him as only this force … there was doubt there for example.” Portraying Godard as he was denouncing Nouvelle Vague frippery and moving towards Maoism Garrel superbly fleshes out his self-flagellation and inertia But now he insists it’s not his place to express a position in public His primary interest in doing the film was Dreyfus’s story and he was dismayed to see the story yanked into an alien context But he felt torn: “It’s very painful to talk about it again There were reasons why the debate was so violent The direction society is moving in is benefitting the world I belong to that world – one that is happy to see progress for women.” “It’s always interesting to see how they put themselves in their films How they shoot scenes they are a part of,” he says “After I started directing and acting at the same time I no longer looked at Keaton and Chaplin in the same way How did they succeed at executing such complex shots when they didn’t even have video playback?” Garrel regards himself from a healthy distance – and that ethic is starting to produce a body of work with a discreet but promising idiosyncrasy I always tell the team that we have to avoid doing the usual thing so you’re always quickly drawn towards doing what everybody else is doing But what’s most difficult is succeeding in inventing a little gesture The Innocent premieres at the Cannes film festival on 24 May SEARCHJOIN CLUB When it comes to filmmakers who take themselves too seriously While the 40-year-old director’s previous features like A Faithful Man and Two Friends were talky and sombre the French multihyphenate has smuggled into arthouse cinemas a heist thriller that’s a romcom full of physical humour – an action flick in which someone could utter “I love you” during a breakneck car chase and mean it certainly behind the camera and possibly in front of it “I was looking to make a movie full of charm,” he tells me Sometimes you can have movies that are very well-built Fortunately, Garrel knows about charm. As an actor, he was catapulted into cult infamy at the age of 19 in Bernardo Bertolucci’s The Dreamers, a cinematic provocation that relied on audiences falling in love with Garrel’s character despite his incestuous red flags. When Greta Gerwig needed a French heartthrob for Little Women it was Garrel whom she cast as Friedrich Bhaer an aquarium worker who’s aghast when his mother Further problems arise when Michel has to rob a caviar truck a job that requires the assistance of Abel and Clémence (Noémie Merlant) involves Abel and Clémence pretending to be a couple there’s a heist of caviar and a host of caveats the film won Best Screenplay and Best Supporting Actress for Merlant Is casting how to ensure a movie has charm “I cast Noémie after doing some tests together “I’m not pretentious but I can say that the film is charming your first desire was to live inside the small world of the movie itself Thus The Innocent delights in being a movie movie Along with silky transitions and split-screen sequences that would make Brian De Palma squeal with glee it uses an aquarium for Sylvie and Clémence’s workplace – during their will-they-won’t-they conversations I said everything had to be spectacular,” Garrel explains “I didn’t want to make a naturalistic movie.” I wanted to open the movie as much as possible for the audience As the surname gives away, Garrel is a nepo baby. His father is the director Philippe Garrel (who, since this interview, has been accused of sexual misconduct) his sister is Esther Garrel (Marzia from Call Me By Your Name) and his mother is the actor and filmmaker Brigette Sy a drama about a woman who teaches prisoners and then romances an inmate; it was based on her life “My mother was leaving the house to go work in the jail when I was a kid,” Garrel explains “But I couldn’t go there because I was under 18 I was also scared because she was in this men’s world it was violent men who had done terrible things in their life But I was also full of admiration for what she was doing I said to my producer: let’s do a film noir but mix it with an autobiographical element.” He laughs “A film noir with an autobiographical element – that’s very French.” Other drastic changes were considered. In a 2017 interview with Dazed Garrel spoke of writing a “crime melodrama” in which he considered himself the wrong age to play the lead ‘I’m old.’ My character is very close to his mother and I was afraid to give the impression that he’s a little bit pathological – which he is ‘It’s always good to write a movie about your mother’” – Louis Garrel Garrel had another idea: “I had to make the film as French as possible – in a good way.” By chance Garrel met someone in Corsica who described a real-life robbery involving caviar I told myself: it’s a very French situation When I point out that he’s still a prolific actor he names Nanni Moretti and Pedro Almodóvar as the two directors he’d most like to work with ‘It’s always good to write a movie about your mother.’” Garrel sometimes receives scripts where a character was written specifically for him and this is who I am.” He describes the roles at the start of his career as close to his personality That’s why now I play [people like] Jacques de Bascher But he’s in London promoting a semi-autobiographical film that he stars in – it’s not like he plays a 17th-century monarch in The Innocent I don’t feel strong enough to change myself physically [as an actor] while directing a movie.” What kind of physical change It’s like a drawing – you watch yourself on video and also getting a kick out of audience reactions during screenings of The Innocent it’s when they laugh at a comic moment during a serious scene “Sometimes the audience forget they’re watching a romcom and sometimes they forget they’re watching a heist film And will directors ask him to play more comedic roles to play in the future “Because I started very tragic and tormented people love to discover that I can be funny The Innocent is out in UK and Irish cinemas now Join Dazed Club and be part of our world! You get exclusive access to events, parties, festivals and our editors, as well as a free subscription to Dazed for a year. Join for £5/month today. 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Advertise on Cineuropa Logos and Banners NAMUR 2024 by Aurore Engelen 04/10/2024 - Pablo Agüero tackles a singular chapter in the life of Antoine Saint-Exupéry an epic struggle that ended up sealing a friendship a historical drama set in the Basque Country at the start of the 17th century the French-Argentinian filmmaker once again travels back in time but returns to Argentinian soil – and sky during a turbulent flight where the pilots are testing the limits of their plane and the relationship one has with flying is extremely physical This first scene invites us to bear witness to a true choreography in the cockpit bringing us as close as possible to the daring feat undertaken by these two men delivered as a voice-over by Saint-Exupéry Much like the initial scene centring on the two men bringing to mind the silhouettes of the planes as they stand out against the sky Everything hinges on the two men – who have a sort of anachronistic bromance fuelled by admiration and the sheer exhilaration of courage – even though on the ground helping them out in their battle to save Aéropostale Because between the heroic flights that evoke those fantastical horse rides in the Old West the two men stand their ground against big money given a run for its money by train services just as strongly as they resist science itself stretching their mechanical ingenuity to push the very limits of their aircraft Agüero makes the decision not to contextualise the character of Saint-Exupéry He digs down to the truth of his deep attachment to Guillaumet thus paying tribute to his courage and loyalty As for the artistic decisions (the nigh-on surrealist cinematography the music that plays to signal impending emotions) they contribute to underlining the symbolic side of the story adorning it with an almost mystical emphasis in some places which tends towards a certain emotional abstraction Please subscribe to our newsletter to receive more stories like this directly in your inbox Isabelle Huppert, Virginie Efira, Vincent Cassel, Pierre Niney and Adam Bessa will star in the cast of the Iranian director’s next movie, steered by Memento and set to be sold by Charades   25/04/2025 | Production | Funding | France/USA/Italy/Belgium Gilles Lellouche, Adèle Exarchopoulos, Louis Garrel, Xavier Dolan and Valeria Bruni Tedeschi are among the cast of this Chi-Fou-Mi production being sold by StudioCanal   12/12/2024 | Production | Funding | France/Belgium Angelina Jolie, Ella Rumpf, Louis Garrel, Anyier Anei, Garance Marillier and Finnegan Oldfield are all starring in this CG Cinema production sold by Hanway Films   22/11/2024 | Production | Funding | France/USA Unspooling between 8 and 17 November, the event's 25th edition will feature focuses on the Czech Republic and Italy, and guests of honour Cécile de France, Sandrine Kiberlain and Miki Manojlovic   07/11/2024 | Arras 2024 The 28th edition of the American French Film Festival will screen 60 films and series, including many North-American premieres, between 29 October and 3 November   29/10/2024 | Festivals | Awards | USA/France Pablo Agüero tackles a singular chapter in the life of Antoine Saint-Exupéry, an epic struggle that ended up sealing a friendship   04/10/2024 | Namur 2024 Laurent Lafitte, Élodie Bouchez, Laure Calamy, Ramzy Bedia, Sami Outalbali and Noée Abita all star in this Cheyenne Federation production   18/09/2024 | Production | Funding | France/Belgium The Walloon Regional Audiovisual Investment Fund has selected 7 projects in its latest session, including 4 animation projects   16/05/2023 | Production | Funding | Belgium Louis Garrel, Vincent Cassel and Diane Kruger lead the cast of this movie produced by Cheyenne Fédération alongside A Single Man Productions and Frakas Productions, and sold by StudioCanal   15/03/2023 | Production | Funding | France/Belgium 02/05/2025goEast 2025 Review: My Magical World 30/04/2025Films / Reviews – Italy Review: San Damiano 30/04/2025Hot Docs 2025 Review: King Matt the First 29/04/2025Films / Reviews – Italy Review: Storia di una notte 29/04/2025Films / Reviews – Peru/Spain Review: Kayara. La guerrera del Imperio Inca 29/04/2025Hot Docs 2025 Review: Supernatural Subscribe to our newsletter to receive the most important daily or weekly news on European cinema Cannes 2025 Marché du Film AFCI runs its second annual Global Film Commission Network Summit at Marché du Film Festivals / Awards Czech Republic Czech Republic’s Anifilm goes sci-fi Distribution / Releases / Exhibitors Europe European Arthouse Cinema Day set to return on 23 November Cannes 2025 Marché du Film Indie Sales presents a three-star line-up at Cannes HOFF 2025 The Shadow and U Are the Universe win at Estonia’s Haapsalu Horror and Fantasy Film Festival Crossing Europe 2025 Awards The New Year That Never Came and The Flats crowned at Crossing Europe Cannes 2025 Marché du Film Be For Films to sell Love Me Tender in Cannes Cannes 2025/Sponsored Latvia set to shine bright at Cannes, led by Sergei Loznitsa’s competition entry Two Prosecutors Las Palmas 2025 MECAS/Awards Manuel Muñoz Rivas and Joana Carro win awards at the eighth MECAS Cannes 2025 Marché du Film Playtime to present some high-impact and entrancing trump cards at Cannes Production / Funding Italy Shooting begins on Walter Fasano’s Nino, a portrait of scoring maestro Nino Rota goEast 2025 Market TrendsFOCUSA busy spring festival season awaits the European film industry. Cineuropa will continue to keep its readers up to date with the latest news and market insights, covering the buzziest events, including Cannes, Kraków, Karlovy Vary, Tribeca, Hot Docs, Annecy, Brussels, Munich and many others Distribution, Exhibition and Streaming – 02/05/2025Slovak crime-thriller Černák becomes the highest-grossing film in domestic cinemasThe second film in the saga about a local mafia boss, directed by Jakub Króner, outgrossed its first part, which dominated Slovak cinemas last year Animation – 30/04/2025Mirko Goran Marijanac • Media sales executive, DeAPlaneta EntertainmentDuring our chat, the exec shared key insights from this year’s Cartoon Next and touched on the current climate for the animation sector Jaśmina Wójcik • Director of King Matt the First The Polish director discusses her approach to taking on a 1920s children’s literary classic in an unexpected way Želimir Žilnik • Director of Eighty Plus The Serbian director discusses his deep suspicion of ideologies in relation to his irresistibly charming latest feature, which follows a man whose life spans three political systems Paulina Jaroszewicz • Distribution and marketing manager, New Horizons Association Cineuropa sat down with the Polish distributor to discuss her company’s strategy as well as the connection between its distribution line-up and BNP Paribas New Horizons Festival’s programme Lorcan Finnegan • Director of The Surfer The Irish filmmaker discusses his mystery-thriller, how he created the character with Nicolas Cage and his approach to the use of colours in the film Privacy Policy The images used on this website have been provided by journalists and are believed to be free of rights if you are the owner of an image used on this website and believe that its use infringes on your copyright We will remove the image in question as soon as possible We have made reasonable efforts to ensure that all images used on this website are used legally and in accordance with copyright laws About us | Contact us | Logos and Banners Mission | Partners | Team | Donations | Terms and conditions February 24: Best Supporting Actress (for Noémie Merlant) and Best Original Screenplay The film L'innocent will be broadcast on Arte on October 23 Don't miss this opportunity to discover Louis Garrel's crime comedy Synopsis: When Abel learns that his mother Sylvie he does everything in his power to protect her could well open up new horizons for Abel.. L'Innocent will appeal to fans of crime comedies blending humor and family intrigue. With its subtle writing and remarkable performances, notably by Noémie Merlant, this film will appeal to viewers looking for offbeat, moving stories. Fans of Louis Garrel and his previous works, which mix drama and comedy will particularly appreciate this new feature The intimate dimension and quality of the cast enhance the appeal of this touching story The Innocent is a brilliant crime comedy with a talented cast and award-winning script With touching performances and a captivating narrative it will appeal to those who love stories full of emotion and twists Louis Garrel took his cameras to Lyon to shoot L'Innocent and features a gallery of characters as well characterized as they are played who plays one of her best roles despite being totally out of place the main pairing of Louis Garrel and Roschedy Zem works their rhythm is jubilant and the laughs come thick and fast and the icing on the cake is the judicious use of music See also our interview with Louis Garrel and Roschdy Zem : All rights reserved Support forthis publication has been provided through the National Endowment for the Arts Moving Image Source was developed with generous and visionary support from the Hazen Polsky Foundation his fourth feature in writing-directing-starring capacities If it barely resembles his father’s films––still attuned to human behavior but packaging observations inside madcap scenarios Garrel proudly calls “completely unbelievable”––that’s all the better: watching The Innocent suggests less an heir to Philippe Garrel than Dino Risi or Pierre Etaix Ahead of a release this Friday beginning at NYC’s IFC Center I talked to Garrel about the difficulty of constructing an intricate comedy-thriller and––because there is only so much time on earth––Mort Rifkin The Film Stage: In past interviews you’ve talked about hating boredom in movies––that when you write and direct there’s this constant need to keep audiences on their toes And The Innocent does this with a great sense of speed: elliptical fades I’m curious how this editorial style was fashioned for sure in the beginning of the work––when I was starting to write The Innocent––I thought of autobiographical stuff Because my mother really married a guy in jail because I was taking this as a solid base for the film It became just an anecdote because I’m not a poet So since the beginning I knew that I wanted to be playful with the genre different genres––switch from a heist movie to a romantic comedy to a family chronicle between mother and son When I was writing the film I took a coffee with Pedro Almodóvar “This is a movie about my mother.” He said to write a movie about your mother.” But I was afraid to become unconsciously too pathetic––to put too much pathos in the movie The audience has to play with the movie all the time.” So most of the ideas are already organized before the shooting I decided on it two months before the film Because it’s playful to have three screens you can watch at one time Most of the stuff is completely… I wrote the movie for a long period because I wanted to have fun reading the script and I wanted to have strong characters without the actors in my mind I wanted to feel the characters while reading the script It was very difficult because the character has to have the same importance in the film because I knew the script has to be… not perfect You know there is the world of Milan Kundera on my mind this question: the deep or the profound is in the drama or the delightful And Kundera made a bet that it’s in delightful projects you have the deep and profound but I was so afraid to make a movie too heavy So to make this variation of genre and switch Maybe this is the lesson I had with Jean-Claude Carriere Carriere was one of the best scriptwriters of the cinema the audience has to be surprised by the thing after.” And this is the most difficult thing because we saw so many movies and so many things that we have to be entertaining You follow the scene that you are watching because spectators are so quick right now “I think after this scene this is going to happen.” I wanted to build some traps for the spectator You’d written two films with Carriere––The Crusade and A Faithful Man And The Innocent was a first-time collaboration with Tanguy Viel and Naïla Guiguet Is it a conscious decision to work with new writers on each film I wanted to write most scripts with Jean-Claude He was close to his death and he knew that I was completely crazy about his way of writing but sometimes I could feel that The Innocent had to be very sentimental and romantic and I knew Jean-Claude couldn’t write it with me for that reason He helped me; he gave me some clues and he added some small stuff sometimes: a writer is good for one subject and not for another Tanguy Viel never wrote a script; he’s a writer for literature He wrote existential noir––I describe his books like this––so he didn’t know how to write a script But this is also what I liked when I was asking him to write with me: because he was completely innocent [Laughs] He was completely innocent writing movies The difficulty when you’re a narrator is to not write conventional stuff You have to make a prototype of stuff that never exists So he was really open to everything––to build plot and destroy the plot Jean-Claude Pautot is an actor in the film and was a guy who had 25 years in jail We had moments with him when we were writing the script––asking about his life and everything It seems very natural right now because the movie is done but the idea of the caviar––I had one year to find it And I found it in Corsica because in Corsica you have a tradition of outlaw and everything I was talking with some Corsican guys and suddenly one guy says but there is no money in the banks right now You have the iPhone; it’s not cinematographic at all So I had to find a visual style to rob––something I never saw in a movie a guy says “I know somebody who robbed caviar.” So for all this research and everything it was super-nice to be with Tanguy because he was super-open and super-devoted She joined us after writing two or three versions of the script and said “The character of Noémie Merlant is not powerful at all We have to change lots of stuff.” This was one difficulty of writing the script: I wanted to have these core characters be as powerful as the other one I had to build four characters at the same level Especially the two women have to be more exciting and she helped us making the characters of Noémie Merlant and Anouk Grinberg more exciting––from my point of view suddenly in a heist movie we gave a heroic part for the women This is why I like the film: because the women are more brave I think this is the first movie I’ve seen where two characters work at an aquarium It’s a very interesting profession to see onscreen And it seems justified just for those scenes with beautiful I think it’s because Tanguy was completely obsessed with Alfred Hitchcock And when you think about Hitchcock––especially in Vertigo––you have a character who is going to be more free after the film and when we had this idea of the aquarium it was a guy living under the sea and it’s a stupid way to describe it but it’s true: this guy was living close to the sea He can’t leave anymore and he just lost his wife And to be honest: we didn’t have the idea of the caviar when we had the aquarium but when we had the caviar and found we could connect it with the aquarium we were super-happy Because I love when something is resolved and you say It was a sense.” It’s what you were talking about: when everything has a sense It’s not just the pleasure of an aquarium with beautiful shots and everything When everything is connected and has a sense: this is why I love to write sophisticated stories everything is sophisticated and has a sense Even in the heist: we’ve got to resolve a problem for the two characters What conversations are you having about plausibility and believability But also the plot of The Innocent is very realistic Because you are happy to watch it you are super-happy to accept it This is finally why you accept it: because you have a lot of pleasure watching it If you watched Lubitsch’s To Be or Not to Be there are so many things that are completely unbelievable in the film But because the situations are so funny to watch and they are so light you completely accept the situations because you have pleasure in it because it’s the only way we can make the audiences completely accept the situations.” As a spectator I am completely crazy about that––Jean Eustache or Maurice Pialat––but I am not capable of doing a movie like this I am just able to do sophisticated movies like this I have more in my mind Dino Risi and Mario Monticelli You acted in one of the more fascinating movies from recent years who Mort Rifkin describes as a politically conscious but aesthetically mediocre filmmaker whose work doesn’t ask the big questions––“why are we here?” and “what’s it all about?” I understand if you have never thought about this and thus have no answer but what do you think Mort Rifkin would make of your films I have no idea because the nostalgia of this character This is also a thing we are dealing with in the world of cinephilia there is so much nostalgia––even with 20-year-old cinephiles you love the films but you also love the time when they were shooting in Paris––there were so much less problems in society It was after the second World War and the passion the lightness in the air was also much more strong than today it’s also because they are… you can see the proof You also have a nostalgia for a world you didn’t know and a golden age you didn’t live So this is a good question and I have no idea I think to be a good cinephile today would be to adore everything and to be I can enjoy something lowbrow and also the movie of Alice Diop [Saint Omer] This is also the idea I had making The Innocent: I wanted to make a variété movie in the snobbish world variété is like a secondhand music But also it’s irresistible when you are hearing some French variété because they all speak about common stuff we are dealing with in a passionate life and I wanted to make a variété movie––speaking about love I think people will watch The Innocent in 20 and when they do it’ll spark what you’re talking about: “Yes that looks and feels like the time it was made.” how do you say… “j’ai imposé une légèreté.” I imposed a lightness in the movie With the lightness… I don’t know how to say it okay: maybe to be light was a way for me not to be academic The Innocent enters a limited release on Friday Nick lives in New York with his cats Drenka and Telemachus 2022 after medical staff found multiple life altering health issues the son of Henry Allen and Faye Elizabeth (Jennings) Bogart he worked at the Dairy Maid and later purchased it along with the car wash directly behind it he sold those two businesses and went to work for his uncle John as an apprentice carpenter before moving on to Stutesman Brother�s to work for them as a rough in carpenter he went into business for himself as Bogart Construction later taking on his brother Rusty as a partner They traveled back and forth for several years before they dissolved their partnership and he decided to move to Texas One of his favorite past times was cooking on his smoker or barbecuing for family gatherings or community benefits he could cook it on the smoker or the barbeque which we were told turned out pretty awesome He loved being able to serve his family and community in this way and Justin Bartlett and girlfriend Amanda; six granddaughters; Dylan Kallee and London; two grandsons; Kaven and Gunnar; two brothers Rick and wife Rosie of El Dorado Springs MO and Donna Allen and husband Don of Sarasota A memorial celebration of life gathering will be held on Saturday Friends and family are invited to attend and share remembrances The family will have a private service at the El Dorado Springs MO Cemetery before the celebration of life gathering Daughter Charlotte (Olga Milshtein) peeps through watching mother Clothilde (Rebecca Covenant) weep and beg actor husband Louis (played by Philippe Garrel’s son of the same name) not to leave The film doesn’t primarily concern her feelings nor necessarily Charlotte’s reaction to the split though both are foregrounded in passing; as in i.e a primary focus does not preclude space for alternate POVs tumultuous relationship with his new partner Claudia (Anna Mouglalis) someone not nearly as in love with shabby-comfortable apartment life; the movie’s narrative is more or less bifurcated between them “That place will be the death of us,” she fumes she’ll be blunter about how she feels: “I’m sick and tired of living here I need light.” Jealousy can be seen in part as a love story mediated by real estate in which relationships can never be dematerialized I thought of Preston Sturges’ The Palm Beach Story — one of the only romantic comedies to insist but without economic compatibility or some kind of agreement about both parties’ income contributions and desired lifestyle one of the director’s primary projects (or in-passing strengths) is his close attention to a particular sub-class of domestic space: the urban French apartment as an endearingly grotty environment miles away from the shabbily prefab complexes many Americans live in and the space of an interior room always has its own ambient charge In the category of contemporary directors whose work I reflexively anticipate and enjoy to the extent where it’s almost unfair there are few who make me question my own responses as much as Garrel Hong Sang-soo or Noah Baumbach want from me I always end up chuckling my way through his recent work but I suspect a more serious reaction is expected and fear I’m being disrespectful to someone whose work I love This perceptual problem is embodied by his son Louis Philippe’s reliably inexpressive leading man since 2005’s Regular Lovers Possessor of impressive perpetual bedhead and two facial expressions — smiling and non- basically — the younger Garrel is often a stumbling block for viewers trying to find an in to his father’s undeniably hermetic world One question to ask is to what extent Garrel’s Grumpy Cat-esque look of perpetual disaffection is meant to be funny the gap between his demeanor and what’s going on around him is sometimes so wide it can’t help but seem inadvertently humorous not necessarily inspiring apartment start dancing and thoroughly enjoying themselves to The Kinks’ “This Time Tomorrow.” Cut to: a thoroughly disaffected Garrel sprawled on the couch There’s something of the perpetual doofus about him the knowledge that good hair and an enviable facial structure means he need try only so hard A generally accepted truism is that acting is reacting but this isn’t advice Louis has taken: whatever happens even endearing about this perpetual poker face attempt and succeed at suicide – but Louis remains unshaken as if attempting to be a one-man distancing effect standing outside of the narrative attempted suicide — Jealousy‘s a determinedly quotidian film one with more laidback banter than heavy drama; there aren’t punchlines so much as a sense of dramatic relaxation and when he hangs with fellow thespians they seem to have nothing at stake: their brief relationship compare-and-contrast chats are the opposite of lay-it-on-the-line male bonding sessions in American romcoms But defining Garrel in opposition to an easy target doesn’t positively convey the particular temperament of his recent work which seems unflappable not out of indifference but because it wants to level textual citations the traditional pointed pumping of a child for information about an ex-spouse to the same texture: there’s a seeming randomness a method whose patterns can’t easily be established What’s prioritized has the flavor of recollection which can’t be consciously corralled; Big Moments are immediately recognizable in the present but the atmospherics of day-to-day life that also stick with you are the real surprise A full list of the film’s engagements can be found here. In The Innocent, perhaps the real McCoy isn’t radical honesty but a performance of the same. In The Innocent, everyone seems to want to protect Sylvie. Her son, Abel (Garrel), is a guide at an aquarium, where he prognosticates on the implicit social constructs of the animal kingdom, and protests his mother’s latest love affair with Michel. After all, she’s now been married three times within the span of a single decade, but Abel is also convinced that Michel’s reformation is a fallacy, and quickly starts stalking his new stepfather with a club-footed fervor. Gregory Nussen is a Los Angeles-based critic and programmer whose writing has appeared in Deadline, Salon, In Review Online, Bright Lights Film Journal, Vague Visages, and Knock-LA. document.getElementById("comment").setAttribute( "id", "a5f6d7abeedd3d5e72479051559f4c9e" );document.getElementById("facec42938").setAttribute( "id", "comment" ); Save my name, email, and website in this browser for the next time I comment. The ‘Little Women’ and ‘Redoubtable’ actor talks to Adam White about the autobiographical elements of his new film ‘The Innocent’ why he feels so square and how he’s ‘the most anxious French guy you can meet’ I would like to be emailed about offers, events and updates from The Independent. Read our Privacy notice For him, the movie was an eye-opener. “I was the virgin of everything when I was shooting The Dreamers,” he says. “I was completely naive and innocent. There was chemistry between Eva and Michael and me, and shooting was full of charm and sensuality and intellectual moments. I will never have another experience like that because it only ever happens one time. It was my first time, totally. The big bang.” He hasn’t spoken to Pitt in a while, but he did hang out with Green on the set of last year’s The Three Musketeers, despite not sharing any scenes with her. “Sometimes we text each other,” he says. “Eva, though, is a very wild woman – because she’s French and also English. I am much more hysterical, like an Italian. Eva… she’s very secret, but I love that.” I tell Garrel that I’ve only really seen him in films tinged with a degree of bravery that verges on the masochistic. Think of his role as a man having sex with his own mother in 2004’s deathly grim Ma Mère. Or when he played Jean-Luc Godard, France’s most revered filmmaker, in a biopic – 2017’s Redoubtable – that many believed to be a bit of a hatchet job. So I’m surprised that for an actor so edgy, he insists he’s so square. I’m obsessed by what people think of me. It’s a kind of jail that I would love to escape A sense of two worlds colliding occurs throughout The Innocent – a man who wishes his mother was more “bourgeois”, and a woman frustrated by her son’s timidity. Garrel admits he pulled the characters’ dynamic from reality. “I was super conventional in comparison to my mother’s life and her craziness,” he says. “She was completely anti-conformist, and sometimes was the one really pushing me to get out of myself.” “I’m much too scared about what people think,” he says, while clinging to his e-cigarette like it’s a panic button. “I’m very jealous when I meet a director or an actor who isn’t. I’m obsessed by what people think of me. It’s a kind of jail that I would love to escape.” I hear children nearby, as Garrel pads around what looks like a rustic Corsican castle searching for a clearer wifi signal. He’s been married to the model and actor Laetitia Casta since 2017 and they have four children. He admits to never being ambitious as an actor, and seems not entirely interested in modern cinema either. It’s partly why Hollywood never worked its magic on him – Little Women is his only American-produced film to date. “I think in France we don’t have the same passion for acting,” he says. “We have many great actors who are French, obviously, but you created acting in England and America – the method, and that real passion to play on screen.” “My ambition right now,” he continues, “is to spend 10 days outside of my country on a film. Maybe 10 days in America, 10 days in Italy, then go.” He shrugs. No one has ever looked so French. “It is the perfect goal,” he sighs. “For I am very lazy.” Join thought-provoking conversations, follow other Independent readers and see their replies {"adUnitPath":"71347885/_main_independent/gallery","autoGallery":true,"disableAds":false,"gallery":[{"data":{"title":"Louis_Garrel.jpeg","description":"Louis Garrel: ‘I was super conventional in comparison to my mother’s life and her craziness’","caption":"‘I was super conventional in comparison to my mother’s life and her craziness’ ‘I was super conventional in comparison to my mother’s life and her craziness’ and with it comes the trailer for this year’s opening-night selection (Arriving in French theaters the same day is no doubt further incentive to get the marketing machine rolling.) Quentin Dupieux’s Le Deuxième Acte (The Second Act) stars Léa Seydoux and the director’s mainstay Raphaël Quenard and at a slim 76 minutes suggest one of the breezier starts the festival’s had in some time “It’s a mise en abyme around actors who play in a lousy film. Actors facing their character and their lines. Each role is dual. Vincent Lindon plays an actor who plays my father.” Accédez à l’intégralité des Inrockuptibles After fifteen years of collaboration and five movies shot together Léa Seydoux and Louis Garrel meet again; they discuss their tangled paths their late friend Gaspard Ulliel and ponder the nature of acting Le deuxième acte is the fifth movie you have filmed together Do you have a feeling of deep familiarity when you find yourselves together on a set Louis Garrel : We talk about this almost every time we see each other : “So Léa : What is funny in this story about Louis and I together when it comes to cinema is that it is truly a forbidden story There’s always something that cannot be done or that doesn’t work between us two… (laughter) We either act in a love story that cannot come to life or we never see each other as in Saint Laurent Sometimes he directs the movie but doesn’t act in it as in Petit tailleur… We’ve actually not had that many occasions of acting together even if we’ve shot five films.  I was coming out of a very troubled teenagehood and I didn’t really know what I was going to do with my life I met Louis and it was like I saw myself in him He suddenly embodied something that I could envision myself in but strangely he kindled in me a desire for cinema to which I had never had access before and I had this vague desire to become an actress so I was doing casting calls for projects I wasn’t actually interested in… I stalked him a little I wanted to talk to him but he was quite distant… I was annoying him I think… He was a bit arrogant at the time (laughter) I thought of that very relevant theory a friend of mine had explained : some actors or actresses do this job in order to display themselves Léa was one of the ones that do it to hide.  Léa : Wasn’t that friend Rebecca (Zlotowski) Louis: I’m not going to reveal my sources It was a kind of revenge compared to my first meeting Louis since I had gotten the first role and in this film he was falling in love with me It’s really quite powerful to reverse reality and fiction (laughter) This film was part of a series of films that Christophe and I were doing in a row It was the continuation of a very strong collaboration  Is it on the set of La belle personne that you chose Léa to act in your short film I was looking for a theater-trained actress because the male character in the film meets Léa’s character in a theater I was convinced that acting was enmeshed with theater When did you change your mind about this idea of acting Yet you haven’t acted in theater for a long while I had to face a stage fright that was becoming more and more invasive and I couldn’t understand the meaning of what I was saying that makes you think of these six hundred people in the dark But I struggle with a lot of anxiety in general For a long time I used to think that it would settle down with age But I feel like I’me becoming more fragile I ended up thinking that the moment when we were acting was like a meeting with myself Some sort of confrontation with everything we are It is this meeting with yourself that induces such stage fright. It isn’t linked to the gaze of the others It is a sort of vertiginous meeting with yourself I once heard Olivier Py say that acting was like a meeting with death It can seem a bit heavy but I completely understand what he meant It creates a chemical reaction in your body I wouldn’t say I feel like I am facing myself when I act What I like most about acting are those moments when I feel like I am freeing something other than myself I always hope I will be able to make something in which I won’t be able to recognize myself in the end something that will live on the screen and that won’t be me anymore  Léa: I’ve noticed this in your way of acting and it might be even more true today than before we feel a desire of showing the pleasure there is in acting almost like there is with some Italian actors… Orson Welles used to say that the Italians are a people of actors I’m starting to feel like the most difficult part of it is acting in naturalist films while still trying to produce something powerful I’ve recently watched L’eclipse (1962) by Antonioni again The film communicates a feeing of metaphysical anxiety that is truly overwhelming What Alain Delon and Monica Vitti manage to do is beyond everything It couldn’t be further from performance and at the same time they embody with true power the incredibly deep and complex representation of life that is communicated by the film do you get inspiration from the films you watch for your own work I really love this sentence from Simone Veil’s philosophy that expresses the idea that miracles happen anytime for anyone that is capable of observing and seeing You just need to be receptive and in touch with the world that surrounds you I learned a word I didn’t know about some time ago : introjection Projection is projecting something of yourself to the outside world Acting is both projection and introjection There’s something that is soothing for the soul in the act of letting yourself be penetrated by things.  Would you be able to say what your favorite memory of Cannes is Louis: For me moments with crowds make me a bit nervous I have beautiful memories of my first times here after not getting a wink of sleep for the whole night… And there was of course the presentation of L’Innocent that was happening for the 75th anniversary My film was being shown to an incredible audience with great filmmakers that had come from all over the world for the anniversary And then a spirit of lightness spread over the room as the showing was going on applauding certain scenes… It got a fantastic reception I really thought that the presentation of the film would be the end of everything… You told me that over and over agin at the time And then when I saw the reception the film got I stopped trusting your gut feelings (laughter) Léa: Kechiche didn’t want me to watch the movie before Cannes I discovered that four quarters of the scenes had been cut The most violent and crazy scenes we had shot at the time weren’t in the film As soon as the press showing happened – at the time it was the day before the official showing – all hell broke loose on social media The film immediately created an intense craze it is the film that people talk to me about the most someone came up to me to talk about the film and the way it had moved them So La vie d’Adèle is my most intense memory of Cannes but at the same time it was given both to the director and to the two actresses We almost haven’t talked about Saint Laurent by Bertrand Bonello What kind of memories do you have about this film Léa and I immediately called each other when we found out Gaspard had been in an accident Until then he was mostly associated with his beauty But then he found the key to something else When Bertrand (Bonello) asked me to be Jacques de Bascher And I saw an incredible creation take shape something that was beyond mere resemblance with the original We were all very admirative of him during shooting and Bertrand was completely inspired by him It was incredible to listen to him talk about cinema Louis: I recall a kissing scene between Bascher and Saint Laurent Bertrand had asked us to make it last five or six minutes because Gaspard and I had known each other for a long time We had a close but not intimate relationship It  kind of circles back to what we were saying The Paris based house also unveiled a new ad campaign for its iconic Lady Dior handbag Shot by Collier Schorr in both color and intense black and whites the campaign captures Rosalia in an intimate setting only adorned with a microphone and a piano French actor Louis Garrel came to my attention when he played a drop-dead gorgeous Robespierre in One Nation and then he turned up as Professor Bhaer in Little Women Was he totally miscast as the older professor since I got to stare at his beautiful nose and floppy dark hair He’s in Roman Polanski’s upcoming movie about the Dreyfus Affair Garrel plus a story that interests me means it’s definitely on my list In a supporting role in this story about two spiritualist sisters (one of whom is played by Natalie Portman) in 1930s Paris Set in late 1940s France, Marion Cotillard is a married woman who goes to convalesce and falls in love — I think Garrel plays the guy she falls in love with As the excessively well-dressed revolutionary Robespierre in this film set during the French Revolution a man falsely accused of espionage in 1890s France His case stirred up major issues in France about anti-semitism As the European professor who encourages Jo March to find her writer’s muse Yeah the LW casting was a bit odd but I liked him well enough in it Hearing he really is French I feel like I might have to head canon him being from one of those disputed territories… Yes: being French but with a German name would work by c 1870 for him being a refugee from Alsace in the Franco-Prussian War Casting someone that young as Professor Bhaer violates what Alcott was doing but publisher pressure told her she had to do it she had Jo pair up with a much older man rather than a young buck I haven’t been able to see most of them lately because getting access to French films is becoming increasingly difficult (I used to be able to watch them on IFC and they never are available for streaming legally Robespierre was no where near that good looking If the latter had been that dishy he’d have had every heterosexual woman in France supporting him That bust of Robespierre looks like the OG “Hey girl.” didn’t do a formal sitting but based it on observing him over a period of time in debates in the Jacobin Club You’re basing that on the death mask That simply can’t be him; not only does it not look anything like any of the authentic contemporary portraits or caricatures of him its proportions simply do not map on to the physionotrace It’s true that Robespierre did have smallpox aged 6 but I don’t think any contemporary descriptions of him mention any disfigurement from it smallpox was so prevalent in the period that a few pockmarks were probably too normal to be worth mentioning But when you compare Deseine’s busts of him and Mirabeau (who had smallpox at 3 and was badly marked) it’s very noticeable that the artists has made no attempt to conceal Mirabeau’s scarring The so-called ‘reconstruction’ based on the ‘death mask’ is an unidentified older man passed off as him The nose is completely different shape: it cannot be him (I’ve worked on this – lectured on his portraits and physionotraces at the Musée des Beaux-Arts in Arras – and superimposed the portraits in PhotoShop.) there’s also the fact he was viewed as eye-candy by women at the time His authentic portraits give a good idea why His sister Charlotte claimed Augustin was the better-looking of her brothers but that was basically because Augustin looked more like her – same long nose The second handsome actor I’ve seen play a relatively plain and “nerdy” Dreyfus I think it’s hard to cast someone who looks so so it’s inevitable that there has to be someone more handsome than the real life person in the role and I am interested in comparing how he pulls it off as a relatively inexperienced actor compared to Mr Ferrer who at the time was already a well-respected Academy Award and Tony winner who had already a 15 to 20 something year career behind him It’s a pity they gave him short hair under the wig as Robespierre given how long Max’s real hair was: from the Deseine bust and an August 1793 engraving his hair would have been down to base of shoulder blades… Greta Gerwig gave an interview about why she cast a hottie as Professor Bhaer She said it was deliberate—she likes looking at good looking men and since there’s a loooong history of casting beautiful women as supposed plain characters but he’s ten years older than Saoirse Ronan though not as big as in the book (nor as between Winona Ryder and Gabriel Byrne) Does this mean Robespierre can be shipped with Jo March via a timewarp… The jigging is very Max… He used to dance with the farm-girls at village fêtes… (‘hoof around’ – ‘gambader’ – is the verb he uses.) Unrelated but I HAD to ask… Can you analyze Rise of Empires: Ottoman It’s a mini docuseries about the fall of Constantinople and it’s on Netflix I’d love to know what Frock Flicks thinks about the costumes and after you analyzed the soapy mess that is Magnificent Century I thought it could be interesting (the costumes are looking alright to my layman eyes so far) And Charles Dance narrates it so that’s a plus :D Love your work to death <3 but here’s my take— I’ve only seen him in Planetarium and Little Women Little Women was the better movie in terms of narrative and character and whatever I’ve been enthralled with him ever since “The Dreamers.” He is soooo handsome and sooo French I haven’t seen the newest iteration of “Little Women,” and I don’t know if I will I agree that he’s too young for that role But…did he have good chemistry with Saoirse Ronan’s Jo Getting back to French hotties (there are sooo many!)… Whenever I think of Louis Garrell I also think of Gaspard Ulliel (of Chanel cologne commercials fame) but to me they both evoke a simliar certain je ne sais quoi…a particular king of gallic sex appeal Keep the snark flowing by supporting us with a small one-time donation on Ko-fi Please enable JS and disable any ad blocker the French actor and filmmaker opened up about his latest project and the experience of directing.Published 11.20.2018 by Abraham MartinezRecommended posts for youFashionThe Best Beauty Moments at the 2025 Met Gala Saw Sculptural Hair MoreCelebrities made sure that in order get the best view of the Met Gala red carpet The Fenty Beauty founder may have been the late one on the red carpet The model stepped onto the Met Gala red carpet in a sharply tailored two-piece by designer Torishéju Dumi blending Harlem Renaissance glamour with West African tradition See every red carpet look from fashion's biggest night See who showed some skin at the 2025 Met Gala like Sabrina Carpenter and Emma Chamberlain The actor made a bold chop for the 2025 Met Gala carpet Take a look at the best dressed celebrities from the 2025 Met Gala In Louis Garrel’s latest directorial feature film protagonist Abel has a situation: his mother has fallen in love with a convict while teaching acting classes in prison and married him – much to Abel’s distrust While references to classic detective films are subtly and comically woven through We witness Abel struggling to deal with the death of his partner while finding solace in his wife’s friend Clémence [Noémie Merlant] playing out in conjunction with a dramatic caviar heist Noted for his performance in Bernardo Bertolucci’s steamy cult movie The Dreamers and more recently as Jean-Luc Godard in Redoubtable Garrel’s move into directing has seen him realise acclaimed works such as A Faithful Man starring Laetitia Casta and Lily-Rose Depp and family climate change fable The Crusade – throughout Garrel explores family dynamics through a stylish balance of light and dark “I knew that even if the story had elements of craziness the audience would be OK to follow the story because they believed the existence of the characters.” Matt Thrift @Matt_Cinephile It’s only in the last decade, since the release of his most widely-seen film, Regular Lovers that Philippe Garrel has re-entered the collective cinephile consciousness It’s not that he’s ever been away – he’s been churning out entries in his profoundly auteurist canon of casual masterpieces every year or two since 1964 – more that he remains a mainstay of the festival circuit in his last five films has brought a more recognisable public face to such a singular oeuvre of cinematic introspection Although so few of his films are available on home video en masse is the ideal means of working through Garrel’s back catalogue especially given how intrinsically inter-connected and how nakedly autobiographical his work proves but the disillusionment at their ultimate failure echoes all the way through to the literal reconstructions of Regular Lovers nearly four decades later That Garrel has never received the international attention afforded the likes of Godard and François Truffaut is unsurprising given the drug-addled strides into the avant-garde he made almost straight out of the gate. Early works such as Le Révélateur – a silent head-trip shot with the entire cast and crew tripping on acid – are a far cry from the reflexive variations of his later narrative features those indebted to the influence of his friend and mentor The division of Garrel’s work into two camps is unequivocally defined by his relationship through the first half of the 1970s with the German singer As famous for her string of sexual conquests on the ’60s scene – from Iggy Pop to Bob Dylan – as her presence on the banana-covered Velvet Underground record and at Warhol’s Factory theirs was a needle-fuelled romance of untold tempestuousness the shadow of which hangs heavy over all of Garrel’s work through the ’80s and ’90s two of which have proved the greatest revelations of the retrospective the key to unlocking the endlessly referential reverberations which would follow The mutual torment between the pair is already explicit in 1972’s The Inner Scar a work of stark visual beauty and symbolic impenetrability It’s a period piece – of sorts – a fantasy fighting and collapsing through an arid emotional wasteland she a fountain of raw accusations; biblical and pagan imagery seared in vibrant colour as Nico wails on the soundtrack as though she’s swallowed a bassoon Yet you can feel a collaboration at work in The Inner Scar, ideas being worked through and presented, however esoteric they may appear at first glance. Jump forward three years and any such questions evaporate in an opiate haze. A nightmarish vision that rattles from the depths of heroin addiction, Le Berceau de Cristal is the pair’s most troubling work and Garrel’s most ecstatically impressionistic film It may also be his best – we’ll let you know as soon as the trembling stops “all great art is based on nothing,” and Garrel pulls countless tiny miracles seemingly out of thin air The lack of judgement towards the characters in Garrel’s work is quickly taken for granted, but his fearless introspection knows no bounds. A conversation between wife, Brigitte Sy and himself in 1989’s great Les baisers de secours says it all: “How can we discuss us or our lives as if they’re something interesting?” “Because I’m not afraid to look at us.” LWLies 107: The Sinners issue – Out now! Ryan Coogler: ‘I’m more confident in my film language than I am in my English’ I’m Not Even Supposed To Be Here Today: The Video Shop at the End of the World The 2025 Cannes Film Festival line-up is here! The empty showboat of cinematic one-shots Inside the academic conference taking Terrifier back to school By David Jenkins The 2015 Cannes Director’s Fortnight strand opens with a magnificent miniature from Philippe Garrel By Little White Lies This early work from the French New Wave icon is a must-watch for cinephiles By Stephen Puddicombe Fifty years on, this low-key drama stands as a glorious shrine to analogue film. Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. We believe in Truth & Movies. June 2014LINDBERGH PETERSave this storySaveSave this storySaveAll products featured on Vogue are independently selected by our editors we may receive compensation from retailers and/or from purchases of products through these links We all fell in love with Louis Garrelwhen he starred as young bohemian Theo in **Bernardo Bertolucci’**s sensual ode to cinema and the sixties Garrel has been appearing in a steady stream of French films and frequently collaborating with his director father Philippe Garrel—the two have made five movies together Garrel plays a struggling actor who leaves his girlfriend and daughter for a husky-voiced We spoke to the actor about working with family and his upcoming role as Jacques de Bascher in the second YSL biopic to come out later this year What was your favorite thing about this film?It was fantastic to work with the little girl (Olga Milshtein) who plays my daughter She’s completely alive; she’s not interested in being a good or bad actress it’s said that actors hate to play alongside kids or animals because you know they’re always going to outshine you I was interested in exploring that sweetness and tenderness between a father and a daughter My own daughter [with ex-girlfriend Valeria Bruni Tedeschi] is five years old right now What is it like collaborating with your father?The first time I worked with him I was five years old I didn’t even get a chance to say yes or no “Let’s change this a little bit,” and he’s OK with it He’s also very interested in the form of the movie and even though he doesn’t have much money [to work with] Was this experience different from working on other films directed by your father?When my father and I did A Burning Hot Summer I told him that it was clear he wanted to be a painter before being a director and for this movie the story is very simple let’s make this one more like a watercolor painting Do you think he sparked your interest in acting?Yes and she was taking me along with her when she was doing plays But I think the moment I discovered I definitely wanted to act was when I saw a play alone by myself when I was fourteen I discovered the atmosphere of the theater [De Bascher is said to have contributed heavily to Saint Laurent’s addiction to drugs.] Lea Seydoux and Louis Garrel (from L to R) pose during a photocall for the film "Le Deuxieme Acte" (The Second Act) at the 77th edition of the Cannes Film Festival in Cannes The 77th edition of the Cannes Film Festival opened Tuesday on the French Riviera with a selection of 22 films vying for the coveted Palme d'Or French actress Lea Seydoux (L) and French actor Louis Garrel pose during a photocall for the film "Le Deuxieme Acte" (The Second Act) at the 77th edition of the Cannes Film Festival in Cannes French actress Lea Seydoux (L) and French actor Vincent Lindon pose during a photocall for the film "Le Deuxieme Acte" (The Second Act) at the 77th edition of the Cannes Film Festival in Cannes French actress Lea Seydoux poses during a photocall for the film "Le Deuxieme Acte" (The Second Act) at the 77th edition of the Cannes Film Festival in Cannes French director and cinematographer Quentin Dupieux and French actor Louis Garrel (from L to R) pose during a photocall for the film "Le Deuxieme Acte" (The Second Act) at the 77th edition of the Cannes Film Festival in Cannes French actress Lea Seydoux (R) and French actor Raphael Quenard pose during a photocall for the film "Le Deuxieme Acte" (The Second Act) at the 77th edition of the Cannes Film Festival in Cannes This website is using a security service to protect itself from online attacks The action you just performed triggered the security solution There are several actions that could trigger this block including submitting a certain word or phrase You can email the site owner to let them know you were blocked Please include what you were doing when this page came up and the Cloudflare Ray ID found at the bottom of this page “Quentin offered me the film two months ago Her (translated) description details A notre beau métier in mostly coherent fashion: “It’s a mise en abyme around actors who play in a lousy film. Actors facing their character and their lines. Each role is dual. Vincent Lindon plays an actor who plays my father. There is also Raphaël Quenard and Louis Garrel. The film is crazy. Very very funny. It ‘shits’ the verb but we’ll chalk it up to translation only going so far accepted the film out of admiration for Dupieux’s “humor [hiding] an increasingly social depth through imperfect and clumsy characters,” which a doomed film production should offer in spades Dupieux debuted two strong features, Yannick and Daaaaaali!, last year. We also caught up with him a couple years ago at Berlinale where he summarized his ambitions neatly: “I would love to shoot only stupid movies; it’s not a problem for me when a filmmaker starts to have their thing I know.’ It becomes less and less exciting.” After graduating from Hampshire College with a degree in music theory Leonard Pearce turned his passions to film and writing He lives in upstate NY with his wife Laura and cat Tardi Philippe Garrel’s The Plough is a minor addition to the iconic filmmaker’s oeuvre its pleasures are closely tied to its shortcomings as the film shows us once again that failing at monogamy in France is no tragedy deserving of a scarlet letter but rather the inevitable consequence of trying to domesticate desire The film doesn’t go much beyond the rehashing of that cliché going through the motions that comprise it in a purposefully matter-of-fact way to suggest that French relationships are all a predictable And much like the art of puppeteering that brings a family together this propensity to take love more seriously than betrayal is transmitted from one generation to the next At the center of The Plough is a puppeteering troupe consisting of Louis (Louis Garrel) his sisters Martha (Esther Garrel) and Lena (Lena Garrel) Joining their ranks is Pieter (Damien Mongin) a friend of Louis’s whose true calling is painting Peter has just had a child with Hélène (Mathilde Weil) and needs some quick cash and after cheating on her with Laura (Asma Messaoudene) he’s amicably asked to move out of his home Louis pursues Hélène and starts a relationship with her and when Louis reveals this to Pieter there’s no drama just a tacit agreement that love is a moving train Garrel’s films often straddle a fine line between homage to and mimicry of French cinema’s crown jewels mainly the work of Éric Rohmer and Jean Eustache They suggest attempts at updating the ur-texts that comprise the fantasy of Paris as a haven for heterosexual love done right love where drama is disarmed by being interwoven into the fabric of everyday life and where lovers seduce and are seduced through erudition and effortless cool which makes up the Parisian myths toward which Garrel men and women come together with passion and eventually let go of each other—though not before starting to see other people They savor bodies without hang-ups and nonchalantly engage in existential musings and the next day the man fetches croissants at the bakery while the woman looks beautifully disheveled there will be some suffering but no moralistic demands because there’s still more pleasure to be had elsewhere Not every part of this trajectory occurs in The Plough, but they all haunt the world that Garrel concocts. Those parts worked to perfection in In the Shadow of Women what with its carefully calibrated mix of homage and mimicry as it grappled with the truisms of love evoking Eustache’s The Mother and the Whore along the way Garrel tones down the pathos and exaggerates the humor mostly through the figure of an increasingly senile grandmother and the depiction of Pieter as a pathetically self-obsessed For a film that counts three of Garrel’s children as part of the main cast it’s surprising how little emotion it all displays Plot twists involving a succession of deaths in the family and a storm that destroys the puppetry set But the sort of gravitas that seems necessary for the most satisfying of French clichés to amount to playful reworkings does make a few appearances throughout The Plough In a brief dialogue between Martha and Lena one proposes to add a modern flavor to their puppet theater shows while the other believes that nothing is more modern than performing the classics the grandmother is being buried and Louis uses a pocketknife to unscrew the Christian cross adorning her coffin throwing it away in an attempt to do justice to the grandmother a bewildering gesture does all the talking And in the most poetic moment from the film Garrel flirts with a dimension so nuanced and unpreoccupied with storytelling that it’s as though it were lifted from a Roy Andersson film In what feels like a parenthetical sequence Pieter and Martha stage a street performance during which their puppets gaze at a storefront window One puppet asks the other what they’re looking at before it asks the other puppet what it sees Diego Semerene is an assistant professor of queer and transgender media at the University of Amsterdam This moment sounds beautifully introspective—almost like a fleeting glimpse into something deeper than the story itself The contrast between ‘nothing’ and ‘everything’ feels so profound document.getElementById("comment").setAttribute( "id" "aeea0304b55aa56d48cfc807a6ae5739" );document.getElementById("facec42938").setAttribute( "id" and website in this browser for the next time I comment But can we still hope that against the natural progression of fate our deepest and delicately sweet desires might still ring true French actor and director Louis Garrel’s fourth directorial offering glimpses between the very dimensions and realities that panders to these wishful intentions is an intricate psychological synthesis that strays away from the French tradition of naturalism proposing the question: where does the limit of reality end and fantasy begin Louis Garrel imagines that it’s because we want to which plays exclusively on The Criterion Channel beginning May 23 he discovers a new world and thus a story within a story ensues and a crime-centered comedy unfolds because of the games everyone plays And while the blend of these likelihoods might seem unbelievable the tonal and contextual changes remain seamless “Sometimes the story of the film is completely unbelievable And this is the most fantastic thing when something is unbelievable—the audience knows that everything is a little bit fantastical and maybe too much—but they want to believe that it exists Garrel is clearly passionate about ideas of the mystical meeting the mundane is the act of transcending what is on paper to true the actor-turned-director became known to worldwide audiences as one-third of Bernardo Bertolucci’s 2003 The Dreamers ménage à trois the love sick Ismaëlin French Musical Love Songs he seems to be traversing the adventure of the archetypes one by one His first feature film Two Friends (2015) follows a testament of friendship wherein three characters speak on the bases of love The Crusade breathes in the next generation’s duty to save a dying world Garrel’s work becomes a new paradigm entirely whereby he unties himself from predetermined norms ignoring what he believes might be “forbidden” in order to reach complete autonomy and freedom to simply react “There is a small subject in The Innocent,” he explains “where real emotion starts sometimes with a sense of faking that emotion We are overcome all over without any control sometimes of sadness and then suddenly the real emotions come.” The Innocent substantiates this tension between repression and catharsis which Garrel attests can be the purpose of his chosen art form “That’s because a movie reveals something to you but you know a movie can give you lots of energy I don’t want to affect the energy of people I want to give energy to people.” And let’s be honest: sometimes the act of continuing But while the moments of pure bliss are few and far between Garrel finds a tendril of content in every emotion felt “I can feel that the existence is an anomaly and you can feel that everything has a sense the kids are playing and everything is so...” he pauses “The existence worth it.” With the idea of limits—and their hold on us—it is easy to see kisses from fate as luck or something we were never meant to have or hold—that maybe we are meant to only play in the dark Garrel reminds us to remember the poets when days are ridden with hopelessness “This is why I’m not a poet at all,” he says and then the poet gives you the opportunity to see the beauty—showing you how to watch a thing that you didn’t know how to watch.” Living in a city replete with clichés of poets walking every street a half-lit Vogue held between their two fingers and a page from Baudelaire pinched in another the sense to assert himself as a non-poet must feel necessary to Garrel And while our conversation sees more of these disclaimers—that he’s no“genius” and “not so deep”—Garrel transitions from opposing states as smoothly as his awarded film waxing lyrical about choosing to interpret the beauty in the brutal And while he will never call himself a poet Photographed by Benoit Auguste Written by Bree Castillo Styled by Nicolas Klam Groomer: Alan Antoine Stay up-to-date with exclusive events and content That piece of history is like a well of inspiration in The Plough Garrel’s latest cinematic family affair and a film as effortless as they come It stars all three of Philippe’s children––Louie and Esther––as brother and sisters; the patriarch role is filled by Louie’s godfather whose own father worked alongside Maurice all those years ago The grandmother is played by Francine Bergé––no relation it tracks the company in their late halcyon days as well as the siblings’ strained attempts to keep things going once their father dies The Plough is Garrel’s first color film since A Burning Hot Summer the last film in which Maurice ever appeared in (he died July of that year just months before Summer premiered at the Venice Film Festival) The Plough pays tribute to him––even a sequence by the father’s graveside in which his son removes the crucifix from his coffin and tosses it aside the eldest sibling and ostensibly the next in line to the throne the most artistically dedicated to her craft and the one determined to keep the business going when her father passes The drama is set in motion when the family’s easy equilibrium is disturbed: this comes with the arrival of Pieter (Damien Mongin) a comically self-involved artist and set designer who falls for the much younger Laure (Asma Messaoudene) and subsequently leaves his partner and newborn son and––most glaringly––a male character’s oblivious attitude towards his partner’s pregnancy Yet when the protagonist of Passages swapped love interests for the umpteenth time I rolled my eyes; when Pieter embraces Louie here––for the first time since his friend has moved in with his ex and son how is my son doing?”––it’s delivered with so little irony you have to laugh Point being: Passages appears like a studied simulacrum of Franco-European cinema whereas Garrel’s could have been written in his sleep And that ease is nothing if not attractive The director is refreshingly unpretentious in his depiction of artists’ lives––he might poke fun at Pieter’s narcissism but it comes with a note of self-depreciation no one in the film doubts his talents; least of all Laure.) Garrel also delicately captures the work of the puppeteers shooting them from behind the stage at shoulder level to show their dedication to this craft So convincing is the portrayal you easily buy into the significance of this theatre and are soon concerned for its longevity––not least all the cluttered lives it holds together Pieter’s relationship with Laure is directed with similar care Garrel retains the ability to evoke vast things with quiet gestures like when Pieter removes Laure’s scarf in an early sequence The Plough might be the artistic product of a life lived with fewer bills to pay (and I mean that in every sense) but there is something fascinating in such an unbridled approach This film lives off the warmth between its actors but boasts a throwback charm that appears in keeping with recent resurgences of other seemingly past-it directors It was interesting to see a Berlinale jury dominated by women (more than any major festival jury I can name) award Garrel the Silver Bear for best director The Plough was easily the most out-of-touch film in competition The Plough premiered at the 2023 Berlin International Film Festival Rory O'Connor has been covering the European film festival circuit since 2012