Posted in French culture, French film, French language, French media, tagged Blogging, Blogs, Cannes, Cannes film festival, Festival de Cannes 2009, Film, film festival, Filmdeculte, France, Francofile, francofile.wordpress.com, French, French cinema, French film, French media, Twitter on May 18, 2009|
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Cannes Film Festival 2009
We’re half way through that stellar event on any film buff’s calendar – the Festival de Cannes – and you might be, like me, disappointed about the minimal coverage it gets in the English-speaking press. So here’s five French language blogs on the festival I’d like to share with you:
Don’t be fooled by the English sounding titles, Because We Cannes Cannes Cannes and In The Mood For Cannes are two great blogs en français. The first, from the Film de Culte webzine team (who you can also follow on Twitter), mixes up longer features, focusing for example on the president of this year’s film jury Isabelle Huppert,with picture posts and overview lists. The second is written by screenwriter and film critic Sandra Mézière, who takes us on a more personal journey through the festival.
If the côté “people” (as the French like to call celebrities) is more your thing, try the AlloCiné Cannes blog for photos and Le Buzz and Pure People for gossip, videos and more.
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Posted in French film, tagged Belle Époque, BFI, British Film Institute, Chéri, Christopher Hampton, Colette, Consolata Boyle, Dangerous Liaisons, Dangerous Liasons, Film, France, Francofile, francofile.wordpress.com, French film, Michelle Pfeiffer, Review, Rupert Friend, Stephen Frears on May 11, 2009|
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When it comes to lavish dramas in historical French settings, I’m easy to please. I have to reserve special praise though for Chéri, which I had the pleasure to indulge in at the British Film Institute last Thursday. This masterful adaptation of Colette’s Belle Époque novel sees the reunion of Dangerous Liaisons director-writer duo Stephen Frears and Christopher Hampton.
With the same skill they applied to Laclos’ tale of sex, love and deception, they draw out the best moments of badinage, tension and tenderness from Colette’s rich text. They magic the world of Chéri on to the big screen – the sumptuous art nouveau world of Paris before the First World War where ageing courtesan Léa (Michelle Pfeiffer) falls for Chéri (Rupert Friend), the 19-year old son of another courtesan.
The froth and frills Consolata Boyle’s set and costumes captivate but it is Pfieffer’s subtle portrayal of a beautiful woman who knows age is catching her up that makes this film so utterly charming.
I was equally charmed by Frears himself. His wit shone in the talk he gave after the show at the BFI on Thursday. No artistic bullshit for him. Asked, for example, why Colette was less frequently adapted than Jane Austen, he quipped: “Because she wrote in French.”
Well, good job that didn’t put him off. The Frears/Hampton/Pfeiffer team have become expert adaptors of French novels. Here’s hoping they try their hand at Balzac next.
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