In Contention

Tag: Gerard Depardieu

  • Gérard vs. Juliette

    A couple of weeks ago, Emma Thompson ruffled a few feathers when she dismissed the talents of one Audrey Hepburn, so it’s apparently open season on knocking gamine screen beauties off their perch. Today serves up another actor-on-actor fight, this time between two living legends of French cinema. It may be a fairer fight — in this case, the victim is alive to defend herself — but it’s a considerably less polite one.

    In short, if you’ve ever wondered why Gérard Depardieu and Juliette Binoche, arguably the two most ubiquitous French stars of the past quarter-century, have never worked together, we now have our answer. Depardieu, to put it mildly, doesn’t think much of his beloved, Oscar-winning compatriot.

    Never the most discreet of interviewees — as those who recall his self-sabotaging remarks during his 1990 Oscar campaign will know — he has now taken it upon himself to share this opinion with the world.

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  • BERLIN: ‘The Killer Inside Me,’ final notes

    Casey Affleck and Kate Hudson in The Killer Inside MeHaving named its prizewinners yesterday, the Berlinale officially wraps today. I meant to file my last post on the festival once I arrived home on Friday night, but assorted tasks and distractions kept it on the back burner. Too many things, too many things, as Amber Waves would say.

    My last day in Berlin served up one of the films I’d most been looking forward to, tireless British filmmaker Michael Winterbottom’s Jim Thompson adaptation “The Killer Inside Me.” Winterbottom’s baldly violent noir arrived in town with the embers of its Sundance controversy still glowing, hoping to liven up a staid Competition. Werner Herzog’s jury might not have taken the bait, but many audience members at the press screening I attended did.

    “Fuck you!” yelled one German journo, rather lamely, at the screen once Casey Affleck’s Texan sheriff (and moonlighting serial killer) had finished pummelling Jessica Alba’s lovely face to the texture of steak tartare. After that, obediently outraged grumbles greeted assorted scenes of sex and sadism, while a chorus of boos accompanied the end credits.

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  • LONDON: ‘Father of My Children,’ ‘Bellamy’

    Gerard Depardieu in BellamyIt’s been a busy weekend at the festival, but aside from “Up in the Air” — which I finally encountered this morning and will offers some thoughts on in due course — it’s also been a rather low-key one. Several films I had seen in pre-screenings made their London debut; I’ll round them up with some brief capsule reviews later.

    The best film of the weekend would have been Jessica Hausner’s critical darling “Lourdes,” if I hadn’t already seen it in Venice. Happily, a pair of different French-language titles made for a most enjoyable Saturday, even if I can only make significant claims for one of them.

    Viewed in succession, Mia Hansen-Løve’s “Father of My Children” and Claude Chabrol’s “Bellamy” made for a fascinating transition between two guards of French cinema: the former, low in star wattage, is the sophomore effort of 28 year-old director, while the latter marks the first collaboration between two industry titans, 79 year-old Chabrol and 60 year-old Gérard Depardieu. One, I think, has the potential to be a major arthouse hit — it might not be the one you think.

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  • Cannes: sizing up the Competition, part one

    Penelope Cruz in Broken EmbracesWith the Cannes Film Festival only two days away, it’s time to take a long hard look (or just a look, if you prefer) at the 20 films in contention for the Palme d’Or, a typically eclectic bunch married by only one factor: all but one are from directors who have been in the race before. (And people accuse the Oscars of playing favorites.)

    Cannes is a notoriously tricky (and often well-nigh impossible) contest to predict: partly because the voting body is an ever-changing template, but largely because there’s been no time ahead of the festival for any kind of critical or popular consensus to build around the mostly unseen films on the shortlist.

    This may mean that in some cases the jury is susceptible to a film’s auteur cache — think “The Wind That Shakes the Barley” in 2006 — but it also allows for surprise attacks by less heralded titles on the basis of quality alone. Though it may seem an obvious winner in retrspect, few were talking about “The Class” last year before it snuck up on the last day and slayed the competition.

    With those caveats on the table, here’s a film-by-film (10 today, 10 tomorrow) rundown of this year’s lineup, detailing the Cannes credentials of each director, and offering some thoughts as to where they may sit in the competition. I make no promises — except that at least half my speculation will likely be proved wildly wrong in a fortnight’s time.

    “BROKEN EMBRACES” (Pedro Almodovar)

    The pitch: Already widely seen and reviewed, the film marks a return to film noir territory for the Spanish master, a complex melodrama headed by Penelope Cruz as an actress trying to rid herself of an aging lover. (Spanish dialogue)

    The history: On his two previous Competition appearances, for “All About My Mother” in 1999 and “Volver” in 2006, Almodovar entered the race as the bookies’ favourite, only to land the consolation prizes of Best Director and Best Screenplay, respectively.

    The outlook: Reviews so far have been kind, if reserved; several critics appear to delight in Almodovar’s trademark color-saturated visuals and off-kilter humor, but few have suggested that this ranks among his finest works. Almodovar is surely overdue for the festival’s top honor, but if a more unanimously lauded work like “Volver” couldn’t do the trick, my guess is that “Broken Embraces” won’t either. I think the jury may pass altogether.

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  • 10/14 Oscarweb Round-up

    John Cusak (voice) as Igor in Igor• Tom O’Neil covers the landscape of double-dipping performers this year. [Gold Derby]

    • It looks like Don Cheadle will be replacing Terrence Howard in “Iron Man 2.”  Fucking lame. [The Hollywood Reporter]

    • How Kyle Buchanan missed the boat on some obviously awkward moments in “Rachel Getting Married.”  Seriously, what’s with the critical love-fest on this thing? [Defamer]

    • Christopher Campbell, meanwhile, thinks Anne Hathaway will be nominated for an Oscar but doesn’t deserve it. [Spout Blog]

    • David Poland spends 30 minutes with Greg Kinnear and Marc Abraham, star and director of “Flash of Genius” respectively. [The Hot Blog]

    • Tim Moore goes behind the scenes of “Igor.” [Daily Telegraph]

    • Is now time for a “Wall Street” sequel? [The Guardian]

    • Anthony Kaufman thinks this year’s Best Foreign Language Film race might be the most predictable in years. [indieWIRE]

    • Dave Karger wonders where the Best Picture nominees are this season. [Oscar Watch]

    • And finally, our hearts go out to Gerard Depardieu, who lost his son Guillaume yesterday, far too soon. [Associated Press]