La Captive (2000)

I prefer the truth even if it hurts. Yet all you give me are half-truths when you know I'll find out anyway.

La captive, Chantal Akerman (2000)

La captive, Chantal Akerman (2000)

La Folie Almayer 2011

LA CAPTIVE:

Possessive posh guy

Thinks girlfriend’s in gay affair

A toxic cycle

Arielle Dombasle, la belle des seigneurs (Actualité Juive)

“Les Secrets de la princesse de Cadignan” produit par François Margolin et réalisé par Arielle Dombasle, magnifique en princesse déchue, est un film d’une audace folle et d’un esthétisme bluffant, à voir ! “Les Secrets de la princesse de Cadignan”, actuellement au cinéma.

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No te detengas ante nada para salvarlo todo… “Conexiones”

Este thriller de alto riesgo explora cómo los errores de nuestro pasado tienen el potencial de destruir nuestro futuro, combinando acción con una trama impredecible de múltiples capas donde el espionaje y la intriga política se enfrentan a una historia de amor apasionado y duradero.

Sinopsis: Dos agentes, y expareja, deben trabajar juntos para combatir ciberataques internacionales que amenazan al Reino Unido, mientras también enfrentan los secretos ocultos de su destructiva relación.

Estreno: 24 de febrero de 2023 en Apple TV+.

La serie cuenta con las actuaciones de Vincent Cassel, Eva Green, Peter Mullan, Gérard Lanvin, Daniel Francis, Stanislas Merhar, Irène Jacob, Laëtitia Eïdo, Eriq Ebouaney, Bukky Bakray y Thierry Frémont.

El director Stephen Hopkins y los protagonistas de la serie atendiendo la premiere el 12 de febrero de 2023 en París, Francia

2023 - Stanislas Merhar - GQ x AppleTV+ ©François Goizé

Stanislas Merhar in Almayer's Folly (Chantal Akerman, 2011) Cast: Stanislas Merhar, Marc Barbé, Aurora Marion, Zac Andrianasolo, Sakhna Oum, Solida Chan. Screenplay: Chantal Akerman, Henry Bean, Nicole Brenez,  based on a novel by Joseph Conrad. Cinematography: Rémon Fromont. Production design: Patrick Dechesne. Film editing: Claire Atherton Lots of movies -- think of Sunset Blvd. (Billy Wilder, 1950) and Inside Llewyn Davis (Joel Coen and Ethan Coen, 2014), for example -- begin with an incident and then flash back for the rest of the movie to explain it. So Chantal Akerman's Almayer's Folly begins with the camera following a Malaysian man into a nightclub where another man is lip-synching to Dean Martin's version of the song "Sway" as a group of women dances behind him. Suddenly the man who entered the club is on stage stabbing the lip-syncher. The music breaks off and all of the dancers flee the stage except one, who continues to perform the hula-like hand movements as if nothing had happened. We hear a voice call out, "Nina! Nina!" but she continues in her trance-like state for a while until she stops and begins to sing Mozart's setting of "Ave Verum Corpus" as the camera holds on her in closeup. The movie then flashes back to reveal that Nina (Aurora Marion) is the daughter of the European Almayer (Stanislas Merhar) and a Malaysian woman, Zahira (Sakhna Oum). Almayer has come to Malaysia in search of his fortune -- he has heard of a gold mine ripe for the taking. Zahira and Nina live with him in a house by the river until one day his fellow European fortune-hunter, Captain Lingard (Marc Barbé), arrives to take Nina to the city to be educated: Almayer wants her to have the benefits and privileges of a European lady. Though Zahira and Nina flee into the jungle, Almayer and Lingard capture the girl. Nina is intensely unhappy at the school, scorned by the European girls, and when Lingard, who has been paying her tuition for Almayer, dies, she is expelled. She wanders the streets of the unnamed Malaysian city (the movie was actually filmed in Cambodia) and finally returns to Almayer's home. There she's seduced by Daïn (Zac Andrianasolo), a shady young man who is supposedly helping Almayer find his fortune. Almayer recognizes his defeat and allows Nina and Daïn to leave together. Unlike Wilder and the Coens, Akerman doesn't return to the opening scene at  the film's end, but instead leaves us with two of her characteristic long takes: The first shows Almayer, Nina, and Daïn arriving at a sandbar where the river meets the sea to await the arrival of the boat that will take the two young people away; the camera lingers in a long shot as the boat arrives and Nina and Daïn swim out to it, then Almayer and his servant, Chen (Solida Chan), push off into the river for their return home. The second long take is a closeup of the haggard, obviously very ill Almayer as he sits brooding in his decaying home, with Chen standing out of focus in the background. At the beginning of this take, Almayer says, "Tomorrow, I would have forgotten," a sentence that he repeats at the end after we watch the sun play across his face -- moving much more swiftly than it would in actuality -- and he talks about how the sun is cold and the river is black. By now, we have realized that the lip-syncher was Daïn and that Chen was his assassin. As for Almayer, we can only assume that he has died. Almayer's Folly, which Akerman loosely adapted from the early Joseph Conrad novel, is clearly a fable about the tragedy of colonialism, but she's not intent on laboring that topic. It's as much an attempt to prod the viewer into contemplating the mystery of character and identity as her more celebrated Jeanne Dielman, 23 Commerce Quay, 1080 Brussels (1975) was, and by using less radical variations on the same techniques -- extended takes, minimized action -- she used in that film. Akerman developed a compelling and identifiable style, but there is a point at which style becomes mannerism. (We all want to be thought "stylish," and none of us want to be thought "mannered.") I think Almayer's Folly nears that point but doesn't fully reach it, largely because of the compelling performance of Merhar as Almayer, and because of Akerman's use of the setting, with the help of Rémon Fromont's cinematography and Claire Atheron's editing. She also makes fine ironic use of the Dean Martin song and the Mozart hymn, as well as the only non-diegetic music in the film, interludes filled with the erotic longing of Wagner's Prelude to Tristan and Isolde.

“Bonnard, Pierre et Marthe” biopic de Martin Provost - sur la relation du peintre Pierre Bonnard (1867-1947) et de sa muse et épouse Marthe de Méligny, de son vrai nom Maria Boursin (1869-1942) - avec Vincent Macaigne, Cécile de France, Anouk Grinberg, Stacy Martin, Stanislas Merhar, Grégoire Leprince-Ringuet, Peter Van Den Begin, Andr�� Marcon et Hélène Alexandridis, janvier 2023.

Bonnard, Pierre et Marthe

Bonnard, Pierre et Marthe (2023) #MartinProvost #CéciledeFrance #VincentMacaigne #StacyMartin #AnoukGrinberg #AndréMarcon Mehr auf:

Jahr: 2023 Genre: Biografie / Drama / Romantik Regie: Martin Provost Hauptrollen: Cécile de France, Vincent Macaigne, Stacy Martin, Anouk Grinberg, André Marcon, Hélène Alexandridis, Grégoire Leprince-Ringuet, Peter Van den Begin, Yveline Hamon, César Domboy, Laura Sepul, Angelo Bison, Stanislas Merhar … Filmbeschreibung: Pierre Bonnard (Vincent Macaigne) wäre nicht der Maler, den jeder…

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Avec «Les Secrets de la princesse de Cadignan», Arielle Dombasle signe sa cinquième réalisation. L'artiste a tiré de cette nouvelle de Balzac un film qui dépeint librement la condition féminine 13 septembre 2023

Tiré de l'œuvre de Balzac. Ce film imprévisible et baroque réunit un casting époustouflant Julie Depardieu, Olivier Py, Vincent Darré ou Michel Fau, excellent dans le rôle de Balzac Cadrick Kahn Stanislas Merhar

Apple TV+ hosts world premiere for new thriller series “Liaison” at Publicis Cinémas in Paris

Yan Tual, Marco Horanieh, Irène Jacob, Eva Green, Vincent Cassel, Eriq Ebouaney, Laëtitia Eïdo, Bukky Bakray, Daniel Francis, Thierry Frémont, Gérard Lanvin and Stanislas Merhar attend the world premiere of Apple TV+ thriller “Liaison” Publicis Cinémas in Paris, France Apple TV+ hosted its first-ever red carpet event in France at the Publicis Cinémas in Paris, with the world premiere screening…

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La Captive, dir. Chantal Akerman, 2000

workers for the good lord (jean-claude brisseau, 2000)

La captive, 2000