Mia Hansen-Løve's One Fine Morning is now showing exclusively on Mubi from June 16, 2023, in many countries—including the United Kingdom, India, and Turkey—in the series Luminaries.One Fine Morning.Legend has it that the art of memory was born from death—when the ceiling of a Thessalian nobleman’s dining hall collapsed and killed all but Simonides of Ceos. He was able to identify his fellow guests, smooshed beyond recognition, by remembering their seat at the table, thus associating each person with a locality. The pre-Socratic poet soon began to experiment with localizing abstract ideas to objects in an imaginary house, which he could pick up one by one—each a symbol of fragmented thought that formed a full memory in aggregate. In the 16th century, King Francis I of France commissioned the construction of an elaborate physical version of Simonide’s phantom house, coined a Theatre of Memory.
- 7/19/2023
- MUBI
After nearly fifteen years, Mia Hansen-Løve’s feature debut All is Forgiven finally has its theatrical release in the U.S. A tender yet heart-wrenching drama about the reconciliation between an estranged father and his daughter, it’s evidence Hansen-Løve has always been a mature filmmaker. The story, as in her other films, concerns the passage of time, and particularly here it invites us to ponder if forgiveness can be achieved as time passes.
Opening in Vienna circa 1995, All is Forgiven centers on struggling writer Victor (Paul Blain) and his French-Austrian family—partner Annette (Marie-Christine Friedrich) and 6-year-old daughter Pamela (Victoire Rousseau). Victor initially seems a normal, caring father and husband whose love for both Annette and Pamela rings sincere. Yet it doesn’t take long until we see that there’s another side of Victor: he’s a drug user who gets abusive towards his wife anytime she calls him out.
Opening in Vienna circa 1995, All is Forgiven centers on struggling writer Victor (Paul Blain) and his French-Austrian family—partner Annette (Marie-Christine Friedrich) and 6-year-old daughter Pamela (Victoire Rousseau). Victor initially seems a normal, caring father and husband whose love for both Annette and Pamela rings sincere. Yet it doesn’t take long until we see that there’s another side of Victor: he’s a drug user who gets abusive towards his wife anytime she calls him out.
- 11/5/2021
- by Reyzando Nawara
- The Film Stage
Gérard Blain in Jusqu'au bout de la nuitPossibly the most exciting retrospective to hit Toronto so far this year, at least judging by the merits of rarity, “Rebel Without a Cause: The Cinema of Gérard Blain” will offer a glimpse into a still deeply mysterious figure of French cinema. Blain, who died in 2000, is an icon who’s near sixty-year long filmography began with being one of the nation’s most sought-after actors (going as far as to being dubbed “the French James Dean”) and soon pivoted to directing uncompromising dramas that drew comparisons to Robert Bresson. While his two best known directorial efforts, Le pélican (1974) and A Child in the Crown (1976), had been respective carte blanche programming choices of Olivier Assayas and Mia Hansen-Løve in previous Tiff seasons, Gérard Blain’s work as a director remains wholly underseen in North America and much of Europe. That’s why this series is definitely an event,...
- 6/14/2018
- MUBI
Juliette Binoche as Isabelle in Claire Denis’ Let The Sunshine In. Courtesy of Sundance Selects. A Sundance Selects release.
Legendary French director Claire Denis teams with legendary star Juliette Binoche for a tale of Parisian artist who is searching for true love at middle age, in the French-language Let The Sunshine In (Un Beau Soleil Interieur).
Claire Denis takes us on as emotional journey with Binoche, one that leads more to self-discovery and insights than romance, as her character explores romantic possibilities. Surprisingly, this is the first film collaboration of these two giants of French cinema. The film is billed as romantic comedy but the comedy is both subtle and very French. Also very French are the conversations, which often tend towards the philosophical and world-weariness, but with a dash of idealistic hope.
Along her journey in search of true love, Binoche’s Isabelle tests the romantic waters with a varied series of men,...
Legendary French director Claire Denis teams with legendary star Juliette Binoche for a tale of Parisian artist who is searching for true love at middle age, in the French-language Let The Sunshine In (Un Beau Soleil Interieur).
Claire Denis takes us on as emotional journey with Binoche, one that leads more to self-discovery and insights than romance, as her character explores romantic possibilities. Surprisingly, this is the first film collaboration of these two giants of French cinema. The film is billed as romantic comedy but the comedy is both subtle and very French. Also very French are the conversations, which often tend towards the philosophical and world-weariness, but with a dash of idealistic hope.
Along her journey in search of true love, Binoche’s Isabelle tests the romantic waters with a varied series of men,...
- 5/25/2018
- by Cate Marquis
- WeAreMovieGeeks.com
MaryAnn’s quick take… Juliette Binoche’s search for midlife love is drenched in ennui and punctuated by weary philosophizing. There’s not a lot of satisfaction in it, nor much by way of resolution. Very French. I’m “biast” (pro): I’m desperate for movies about women
I’m “biast” (con): nothing
I have not read the source material
(what is this about? see my critic’s minifesto) women’s participation in this film
(learn more about this)
Is this my life? I want to find love.” So laments Juliette Binoche (Ghost in the Shell) as Isabelle, a 50something artist in Paris, echoing many a woman of every age. Which is in fact something of a comfort: if a woman of such luminousness, grace, and intelligence can’t find a man, then maybe it’s not us, but them. (Just kidding: We all already know it’s them.
I’m “biast” (con): nothing
I have not read the source material
(what is this about? see my critic’s minifesto) women’s participation in this film
(learn more about this)
Is this my life? I want to find love.” So laments Juliette Binoche (Ghost in the Shell) as Isabelle, a 50something artist in Paris, echoing many a woman of every age. Which is in fact something of a comfort: if a woman of such luminousness, grace, and intelligence can’t find a man, then maybe it’s not us, but them. (Just kidding: We all already know it’s them.
- 4/20/2018
- by MaryAnn Johanson
- www.flickfilosopher.com
There has, of course, been significant investment in High Life, the Claire Denis-Robert Pattinson sci-fi movie that’s expected to finally make landfall this year. (We named it our most-anticipated of 2018, for God’s sake.) Thrilled though I am to see one of our very greatest filmmakers get her biggest-ever spotlight, I hope it doesn’t have some effect of obscuring another forthcoming picture — and one whose quality I can actually attest for, if that helps. (Please.)
Following its run at Cannes and Nyff, Denis’ Juliette Binoche-starrer, Let the Sunshine In, will come to theaters and VOD on April 27. Thus brings a domestic trailer that, like most, I’d recommend skipping — here in particular because this is a picture whose pleasures and oddities unfold delicately, which would account for my allergic reaction to this preview’s emotional strong-arming that ignores proper representation to pull in a bigger crowd.
Following its run at Cannes and Nyff, Denis’ Juliette Binoche-starrer, Let the Sunshine In, will come to theaters and VOD on April 27. Thus brings a domestic trailer that, like most, I’d recommend skipping — here in particular because this is a picture whose pleasures and oddities unfold delicately, which would account for my allergic reaction to this preview’s emotional strong-arming that ignores proper representation to pull in a bigger crowd.
- 2/23/2018
- by Nick Newman
- The Film Stage
It’s beginning to look a lot like fall festival season. On the heels of announcements from Tiff and Venice, the 55th edition of the New York Film Festival has unveiled its Main Slate, including a number of returning faces, emerging talents, and some of the most anticipated films from the festival circuit this year.
This year’s Main Slate showcases a number of films honored at Cannes including Ruben Östlund’s Palme d’Or–winner “The Square,” Robin Campillo’s “Bpm,” and Agnès Varda & Jr’s “Faces Places.” Other Cannes standouts, including “The Rider” and “The Florida Project,” will also screen at Nyff.
Read MoreTIFF Reveals First Slate of 2017 Titles, Including ‘The Shape of Water,’ ‘Downsizing,’ and ‘Call Me By Your Name’
Elsewhere, Aki Kaurismäki’s Silver Bear–winner “The Other Side of Hope” and Agnieszka Holland’s Alfred Bauer Prize–winner “Spoor” come to Nyff after Berlin bows.
This year’s Main Slate showcases a number of films honored at Cannes including Ruben Östlund’s Palme d’Or–winner “The Square,” Robin Campillo’s “Bpm,” and Agnès Varda & Jr’s “Faces Places.” Other Cannes standouts, including “The Rider” and “The Florida Project,” will also screen at Nyff.
Read MoreTIFF Reveals First Slate of 2017 Titles, Including ‘The Shape of Water,’ ‘Downsizing,’ and ‘Call Me By Your Name’
Elsewhere, Aki Kaurismäki’s Silver Bear–winner “The Other Side of Hope” and Agnieszka Holland’s Alfred Bauer Prize–winner “Spoor” come to Nyff after Berlin bows.
- 8/8/2017
- by Kate Erbland
- Indiewire
Tout est pardonné (eng: All is Forgiven)
Directed by Mia Hansen-Løve
Written by Mia Hansen-Løve
France, 2007
Watching with a critical eye, one will find Mia Hansen-Løve’s debut feature, Tout est pardonné, curiously out of focus; as in, it strongly lacks any. Although well-meaning and decorous, Tout est pardonné has too many points of interest that dull the overall impact of the film, making it less affecting than it should’ve been.
The story opens up in Vienna where Victor (Paul Blain), a shiftless French writer, is married to Annette (Marie-Christine Friedrich), his Austrian wife. Together, they have a six-year-old daughter named Pamela (Victoire Rousseau).
Unable to really communicate with either of them, especially Annette, Victor turns to drugs and is slowly consumed with an addiction, and at first, this seems to be the film’s raison d’être. We’re supposed to witness the spiraling effects of his drug...
Directed by Mia Hansen-Løve
Written by Mia Hansen-Løve
France, 2007
Watching with a critical eye, one will find Mia Hansen-Løve’s debut feature, Tout est pardonné, curiously out of focus; as in, it strongly lacks any. Although well-meaning and decorous, Tout est pardonné has too many points of interest that dull the overall impact of the film, making it less affecting than it should’ve been.
The story opens up in Vienna where Victor (Paul Blain), a shiftless French writer, is married to Annette (Marie-Christine Friedrich), his Austrian wife. Together, they have a six-year-old daughter named Pamela (Victoire Rousseau).
Unable to really communicate with either of them, especially Annette, Victor turns to drugs and is slowly consumed with an addiction, and at first, this seems to be the film’s raison d’être. We’re supposed to witness the spiraling effects of his drug...
- 8/17/2012
- by Justin Li
- SoundOnSight
Film Review: All Is Forgiven
San Francisco International Film Festival
SAN FRANCISCO --Writer/director Mia Hansen-Love's first feature, "All is Forgiven", a keenly observed study in intimacy that has the rhythm and feel of real life, announces the arrival of an intriguing sensibility. Technically accomplished and finely acted without artifice by a talented ensemble cast, it's an astutely written, mature work in its content, understated, naturalistic style and sensitive rendering of complex emotion.
A sudden, inconclusive ending that comes out of left field will leave some unsatisfied. Plus an ostensibly depressing subject, the disintegration of a family, could limit its Art House potential in the U.S. This slice of life picture, punctuated by poetry and cultural discourse, may fare better in European markets and on the festival circuit.
Playing Victor, a feckless aspiring poet coasting through life on little more than boyish good looks and charm, actor Paul Blain reveals the fault lines underneath his character's amiable, sometimes volatile demeanor. When Victor descends into the drug addiction, which inevitably destroys his relationship with his exasperated Austrian wife, Annette (Marie-Christine Friedrich), and his young daughter, Pamela (Victoire Rousseau), it seems like a natural progression. Unfolding with minimal exposition, the story, set in Vienna and Paris, picks up 11 years later with Pamela (Constance Rousseau, Victoire's older sister), now a young woman, warily reuniting with her father after a long estrangement. The reading aloud of letters between them, a conceit that could bring the film to a halt, is handled with finesse. Rousseau, a shimmering, delicate beauty, brings a combination of tentativeness and resolve to Pamela, a product of a fractious home embarking on her own life. Production designers Sophie Reynaud and Thierry Poulet get the telling accoutrements just right, from the rambling chaos of the bourgeois family residence to a struggling couple's suffocating apartment. Pascal Auffray's luminous cinematography, shot through with painterly light, brings to mind the pastoral idylls and muted urban landscapes of the Impressionists.
Wistful folk songs underscore the sorrow of missed connections, a condition that plagues Hansen-Love's intelligent, wounded characters.
Production Company: Les Films Pelleas. Cast: Paul Blain, Marie-Christine Friedrich, Victoire Rousseau, Constance Rousseau, Carole Franck, Olivia Ross. Director: Mia Hansen-Love. Screenwriters: Mia Hansen-Love. Executive Producers: not listed. Producer: David Thion. Director of Photography: Pascal Auffray. Production Designer: Sophie Reynaud, Thierry Poulet. Music: not listed. Costume Designer: Eleonore O'Byrne, Sophie Lifshitz. Editor: Marion Monnier. Sales Agent: Pyramide International. No rating, 100 minutes.
SAN FRANCISCO --Writer/director Mia Hansen-Love's first feature, "All is Forgiven", a keenly observed study in intimacy that has the rhythm and feel of real life, announces the arrival of an intriguing sensibility. Technically accomplished and finely acted without artifice by a talented ensemble cast, it's an astutely written, mature work in its content, understated, naturalistic style and sensitive rendering of complex emotion.
A sudden, inconclusive ending that comes out of left field will leave some unsatisfied. Plus an ostensibly depressing subject, the disintegration of a family, could limit its Art House potential in the U.S. This slice of life picture, punctuated by poetry and cultural discourse, may fare better in European markets and on the festival circuit.
Playing Victor, a feckless aspiring poet coasting through life on little more than boyish good looks and charm, actor Paul Blain reveals the fault lines underneath his character's amiable, sometimes volatile demeanor. When Victor descends into the drug addiction, which inevitably destroys his relationship with his exasperated Austrian wife, Annette (Marie-Christine Friedrich), and his young daughter, Pamela (Victoire Rousseau), it seems like a natural progression. Unfolding with minimal exposition, the story, set in Vienna and Paris, picks up 11 years later with Pamela (Constance Rousseau, Victoire's older sister), now a young woman, warily reuniting with her father after a long estrangement. The reading aloud of letters between them, a conceit that could bring the film to a halt, is handled with finesse. Rousseau, a shimmering, delicate beauty, brings a combination of tentativeness and resolve to Pamela, a product of a fractious home embarking on her own life. Production designers Sophie Reynaud and Thierry Poulet get the telling accoutrements just right, from the rambling chaos of the bourgeois family residence to a struggling couple's suffocating apartment. Pascal Auffray's luminous cinematography, shot through with painterly light, brings to mind the pastoral idylls and muted urban landscapes of the Impressionists.
Wistful folk songs underscore the sorrow of missed connections, a condition that plagues Hansen-Love's intelligent, wounded characters.
Production Company: Les Films Pelleas. Cast: Paul Blain, Marie-Christine Friedrich, Victoire Rousseau, Constance Rousseau, Carole Franck, Olivia Ross. Director: Mia Hansen-Love. Screenwriters: Mia Hansen-Love. Executive Producers: not listed. Producer: David Thion. Director of Photography: Pascal Auffray. Production Designer: Sophie Reynaud, Thierry Poulet. Music: not listed. Costume Designer: Eleonore O'Byrne, Sophie Lifshitz. Editor: Marion Monnier. Sales Agent: Pyramide International. No rating, 100 minutes.
- 6/17/2008
- The Hollywood Reporter - Movie News
'Le Ciel de Paris'
NEW YORK -- Another variation on the ''Jules and Jim'' theme, ''Le Ciel de Paris'' starts out as a refreshing, charming story about relationships, but like the relationships it deals with, turns self-consciously melodramatic.
Being shown as part of the New Directors-New Films Series, ''Le Ciel de Paris'' boasts the always welcome presence of Sandrine Bonnaire, as well as a promising debut by director and co-writer Michel Bena. Sadly, this is Bena's first and last film. He died of AIDS last year before it was shown anywhere.
It's the kind of movie you would rather watch backwards, since everything starts out so happy only to end up like some Greek tragedy. No one dies, but the change in the film's mood ultimately seems drastic and perhaps unnecessary.
In spite of the seemingly flawed direction the action takes, there is a wonderful performance by Bonnaire, delightfully European humor (''You mix jams together?!'') and some interesting camera shots that make the film worth viewing.
Suzanne (Bonnaire) and Marc (Marc Fourastier) are best friends and roommates. Their platonic relationship seems an enviable one until one day, while swimming in the public pool, Suzanne faints -- and a young man, Lucien (Paul Blain), rescues her. This fateful moment will affect all three of their lives.
Lucien falls in love with Suzanne (as would any heterosexual male), Marc falls for Lucien and the balanced Suzanne seems to be the only one not falling. A lighthearted approach could have made this a sensitive comedy. Instead, the crushing properties of love are explored, revealing no new discoveries.
It is difficult to discern whether it is Marc's homosexuality or Lucien's rejection of him that causes him the most pain. His unrequited love and sexual identity crisis transform him from a sweet, enjoyable guy into a manic, hot-tempered jerk. His once sympathetic character loses the viewer's allegiance.
Blain, who looks like a young, troubled Sal Mineo, keeps Lucien an enigmatic character. Always brooding and occasionally as irrational as Marc, he is a tough guy to warm up to. It's no wonder Suzanne doesn't view him in a romantic light.
Suzanne, on the other hand, is open, warm, complex and thoroughly desirable as a friend or lover. Bonnaire's portrayal proves her talents run deeper than the surface. She alternately displays a sensitivity and aloofness without ever seeming out of character.
There are several continuity problems within the film, plus a lot of quick exits. Everyone seems to leave suddenly and without warning. It's a strange sensation. ''Le Ciel de Paris'' is definitely erratic, but this bumpy film is still a ride worth taking.
LE CIEL de PARIS
(No distributor yet)
DirectorMichel Bena
Writers Isabelle Coudrier-Kleist, Cecil Var Haftig, Michel Bena
Photographer Jean-Marc Fabre
Editor Catherine Schwartz
Music Jorge Arriagada
Production company Sara Films
Color
In French with subtitles
Cast:
Suzanne Sandrine Bonnaire
Marc Marc Fourastier
Lucien Paul Blain
Clothilde Evelyn Bouix
Florist Tanya Lopert
Lucien's father Armand Delcampe
Running time -- 90 minutes
No MPAA rating
(c) The Hollywood Reporter...
Being shown as part of the New Directors-New Films Series, ''Le Ciel de Paris'' boasts the always welcome presence of Sandrine Bonnaire, as well as a promising debut by director and co-writer Michel Bena. Sadly, this is Bena's first and last film. He died of AIDS last year before it was shown anywhere.
It's the kind of movie you would rather watch backwards, since everything starts out so happy only to end up like some Greek tragedy. No one dies, but the change in the film's mood ultimately seems drastic and perhaps unnecessary.
In spite of the seemingly flawed direction the action takes, there is a wonderful performance by Bonnaire, delightfully European humor (''You mix jams together?!'') and some interesting camera shots that make the film worth viewing.
Suzanne (Bonnaire) and Marc (Marc Fourastier) are best friends and roommates. Their platonic relationship seems an enviable one until one day, while swimming in the public pool, Suzanne faints -- and a young man, Lucien (Paul Blain), rescues her. This fateful moment will affect all three of their lives.
Lucien falls in love with Suzanne (as would any heterosexual male), Marc falls for Lucien and the balanced Suzanne seems to be the only one not falling. A lighthearted approach could have made this a sensitive comedy. Instead, the crushing properties of love are explored, revealing no new discoveries.
It is difficult to discern whether it is Marc's homosexuality or Lucien's rejection of him that causes him the most pain. His unrequited love and sexual identity crisis transform him from a sweet, enjoyable guy into a manic, hot-tempered jerk. His once sympathetic character loses the viewer's allegiance.
Blain, who looks like a young, troubled Sal Mineo, keeps Lucien an enigmatic character. Always brooding and occasionally as irrational as Marc, he is a tough guy to warm up to. It's no wonder Suzanne doesn't view him in a romantic light.
Suzanne, on the other hand, is open, warm, complex and thoroughly desirable as a friend or lover. Bonnaire's portrayal proves her talents run deeper than the surface. She alternately displays a sensitivity and aloofness without ever seeming out of character.
There are several continuity problems within the film, plus a lot of quick exits. Everyone seems to leave suddenly and without warning. It's a strange sensation. ''Le Ciel de Paris'' is definitely erratic, but this bumpy film is still a ride worth taking.
LE CIEL de PARIS
(No distributor yet)
DirectorMichel Bena
Writers Isabelle Coudrier-Kleist, Cecil Var Haftig, Michel Bena
Photographer Jean-Marc Fabre
Editor Catherine Schwartz
Music Jorge Arriagada
Production company Sara Films
Color
In French with subtitles
Cast:
Suzanne Sandrine Bonnaire
Marc Marc Fourastier
Lucien Paul Blain
Clothilde Evelyn Bouix
Florist Tanya Lopert
Lucien's father Armand Delcampe
Running time -- 90 minutes
No MPAA rating
(c) The Hollywood Reporter...
- 3/27/1992
- The Hollywood Reporter - Movie News
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