Classic French Animations: “Fantastic Planet” (1973) and “The King & The Mockingbird” (1980)

La Planete Sauvage Poster Fantastic Planet (La Planete Sauvage) (1973)   

Once in awhile comes one animation which is so powerful in its message and so unusual in its presentation, it becomes quite unforgettable. “Fantastic Planet” is precisely such adult-themed animation, co-produced between France and Czechoslovakia. A winner of the Cannes Special Prize in 1973, this French-language animation has even been named one of the greatest (Rolling Stone). In its presentation, “Fantastic Planet” is highly imaginative, inspired by some psychedelic art and, as some commentators put it, by “cut-outs from Soviet science magazines” (CinePassion). Based on Stefan Wul’s 1957 science-fiction novel, Oms en série, the animation is about blue-skinned giants, the Draags, who keep as pets a human race of Oms on the planet Ygam. The animation may be a tad too disturbing in its content, but, because the world it creates is so fascinatingly strange, and because its concept of the fight to have freedom is so relatable, it is well worth all the attention and praise.

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Jean Renoir: “La Règle du Jeu” (1939) and “La Grande Illusion” (1937)

Yesterday was Jean Renoir’s 124th birthday, and, to pay tribute, I am reviewing two of this eminent French director’s most famous cinematic creations, which both influenced numerous films made after them and are now considered cinema classics – “The Rules of the Game” (1939) and “La Grande Illusion” (1937).    

The Rules of the Game PosterLa Règle du Jeu (The Rules of the Game) (1939)

This film is, arguably, Jean Renoir’s greatest achievement. In the story, a circle of rich socialites meets up in a country house of Christine and her husband Robert de la Cheyniest. The complications then follow as it becomes apparent that aviator André Jurieux is deeply in love with Christine, and Christine’s own husband, Robert, is entangled in a love affair of his own. Coupled to this, Christine’s personal maid Lisette becomes interested in the recent addition to the servant staff – a poacher Marceau, despite having a husband. An intermediary between the couples is Octave, Christine’s trusted friend, played by Jean Renoir himself. “La Regle du Jeu” is very much an “upstairs/downstairs” film where the director satirises the life of the bourgeois on the eve of the war, often contrasting them with their servants. The socialites’ frivolousness, including the fleetness of their passions, are exposed and ridiculed, and, in the end, the characters’ paths and motivations collide and the ultimate sacrifice is made on the societal altar to self-absorption and complacency.

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“L’Amant Double” Review

double_LoverL’Amant Double (Double Lover) (2017)    

François Ozon (“Frantz” (2016), “In the House” (2013)) is a French director who is uninhibited when it comes to portraying sexuality/erotica on screen and was exploring it freely in his past films “Jeune et Jolie” (2013) and  “Swimming Pool” (2003). His latest psychological thriller “L’Amant Double” is another testament to this director’s fascinating way of portraying psychologically interesting scenarios and sensuality/sexuality on screen. Based on a book by Joyce Carol Oates, “L’Amant Double” presents Chloé (Marine Vacth), a young woman who seeks help for her psychosomatic stomach pains from a psychoanalyst Paul (Jérémie Renier). It is not long before Chloé and Paul fall in love and move in together, and all is going well until Chloé becomes troubled by her lover’s personal secrets. This erotically-charged film is not without its problems, but it explores the nature of personal identity from an interesting angle, portrays sexually-charged romance unflinchingly, and plays with our beliefs, expectations and what-if questions. In the end, ‘L’Amant Double” becomes a film not so much about an obsessive romance and morbid fascinations as about the question of the extent to which one’s imagination can overrun one’s sanity and eventually completely undermine one’s perception of reality.

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Paris: 10 Great Films set in the City

To follow from my Rome-location film list which I made last April, here is the list of 10 films that showcase the delightful City of Light – Paris, a permanent place for romance, charm, elegance and sophistication. As usual, this is a subjective, in no particular order, slightly “off the beaten path” films list.   

I. Amelie (2001)  Amelie Poster

This romantic comedy, directed by Jean-Pierre Jeunet (“Delicatessen” (1991)) and starring Audrey Tautou and Mathieu Kassovitz, could be described as the very definition of whimsical Paris. The film is set around Montmartre, a place that once nurtured great writers and painters, and is about a shy waitress, Amélie Poulain, who is seemingly on the mission to better the lives of those around her. Set in Montmartre, naturally, the film features the Basilica du Sacre-Coeur, and Café des Deux Moulins (15 rue Lepic) where Amélie works. However, the film also displays such sights as the distinctive staircase leading to the Métro Lamarck-Caulaincourt as well as the Pont des Arts.

II. Breathless (1961)Breathless Poster

A “New Wave” film-critic-turned-director Jean-Luc Godard produced in 1960 his directional debut “À Bout de Souffle” or “Breathless“, starring Jean-Paul Belmondo and Jean Seberg as Michel Poiccard and Patricia Franchini respectively, and what a debut it turned out to be! Breaking from previous confined film traditions, “Breathless” is a thriller and a love story in one package, showcasing such famous landmarks of Paris as Avenue des Champs-Élysées, l’Arc de Triomphe,  and the Notre-Dame de Paris, while action also takes place around Avenues Mac-Mahon and George V (George V Métro station) and the Boulevard Saint-Germain. The final tense scenes take place not far from the Boulevard du Montparnasse – Rue Campagne Première. 

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“120 BPM (Beats Per Minute)” Review

120 BPM poster120 BPM (Beats Per Minute) (2017)  

This French-language film about ACT UP-Paris’s activities to promote AIDS-related issues in the early 1990s is defined by Robin Campillo (director)’s personal experience, which makes the movie somehow even more potent, significant and poignant. At the centre of the story is the ACT UP-Paris organisation itself, a non-violent activist group based in Paris, which tries to defend the rights of those (especially minorities) affected by HIV and AIDS, and to seek better treatment for them. The film boasts great performances from Arnaud Valois (Nathan), Nahuel Perez Biscayart (Sean) and Adele Haenel (“The Unknown Girl” (2016) as Sophie, but it is probably the sheer power of its main message which is the most fascinating and memorable of its assets. An important movie to have been made in many ways, “120 BPM” unfortunately also suffers from excessive length and the inability to successfully shuffle organisational and personal issues in the story in its second half. 

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20 Unmissable Erotically-Charged Films

Some of these films do not contain nudity or contain only limited nudity. The references to eroticism/erotica and sensuality may be only subtle, but powerful. Incidentally, three of the below films are by a British director Adrian Lyne (“Jacob’s Ladder” (1990)) and two by a growing Italian master of subtle and powerful erotically-charged films Luca Guadagnino (“A Bigger Splash” (2015)). In no particular order:  

1.) In The Mood for Love (2000)

2.) Betty Blue (1986)

3.) Call Me By Your Name (2017)

4.) The English Patient (1996)

5.) The Handmaiden (2016)

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The Horrorathon: Les Diaboliques (1955)

1820Maddy at Maddy Loves Her Classic Films is hosting the Horrorathon, celebrating horror movies in the light of the forthcoming Halloween, and I have decided to contribute with a short review of one intelligent and highly influential film which some view to be one of the parents of the modern psychological horror/thriller genre:

Les Diaboliques (1955)

Henri-Georges Clouzot’s French-language film “Les Diaboliques” is the film which Alfred Hitchcock was dying to make, but never did (he ardently wanted to buy the rights to the book). The film is not a strictly horror movie, but, rather, a psychological thriller with suspense and horror elements combined. Here, two women, Christina and Nicole, the wife and the mistress of the oppressing director of a boarding school respectively, decide to kill their man and dispose of the body. Everything goes according to plan, but does it really? After the murder, the two women realise that the corpse of their victim is nowhere to be found and the mystery seems to deepen with each passing day.

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