Stephane Audran, an icon of French New Wave cinema who starred in movies by auteurs Eric Rohmer, Luis Bunuel and Claude Chabrol, has died at 85.
Her son, actor Thomas Chabrol, told the AFP news agency that Audran, who was the second wife of Claude Chabrol for 16 years to 1980, had died early Tuesday, following a long illness. "She (Audran) had been in hospital for 10 days and she had returned home. She died peacefully at around 2 a.m.," he said.
Audran's more memorable film roles include Chabrol's 1970 film Le Boucher, Bunuel's The Discreet Charm of......
Her son, actor Thomas Chabrol, told the AFP news agency that Audran, who was the second wife of Claude Chabrol for 16 years to 1980, had died early Tuesday, following a long illness. "She (Audran) had been in hospital for 10 days and she had returned home. She died peacefully at around 2 a.m.," he said.
Audran's more memorable film roles include Chabrol's 1970 film Le Boucher, Bunuel's The Discreet Charm of......
- 3/27/2018
- by Etan Vlessing
- The Hollywood Reporter - Movie News
She was well-known for her long creative partnership with husband Claude Chabrol.
French actress Stéphane Audran, who starred in The Discreet Charm Of The Bourgeoisie and Babette’s Feast, has died aged 85.
Their son, actor Thomas Chabrol, told Afp: “She had been ill for some time. She had been in hospital for 10 days and she had returned home. She died peacefully at around 2 am [on Tuesday 27 March]”.
The Discreet Charm Of The Bourgeoisie and Babette’s Feast both won best foreign film at the Oscars. She won best actress at the Baftas for the former and was nominated again for the latter.
French actress Stéphane Audran, who starred in The Discreet Charm Of The Bourgeoisie and Babette’s Feast, has died aged 85.
Their son, actor Thomas Chabrol, told Afp: “She had been ill for some time. She had been in hospital for 10 days and she had returned home. She died peacefully at around 2 am [on Tuesday 27 March]”.
The Discreet Charm Of The Bourgeoisie and Babette’s Feast both won best foreign film at the Oscars. She won best actress at the Baftas for the former and was nominated again for the latter.
- 3/27/2018
- by Orlando Parfitt
- ScreenDaily
French actress and BAFTA winner Stéphane Audran, who starred in films by Claude Chabrol, Eric Rohmer, Bertrand Tavernier and Luis Bunuel, has died. Her son, the actor Thomas Chabrol, told Afp she passed away overnight following an illness. She was 85. Audran, whose real name was Colette Dacheville, is known for her long collaboration with Claude Chabrol to whom she was married from 1964-1980. She also starred in Bunuel’s 1972 comedy The Discreet Charm Of The Bourgeoisie…...
- 3/27/2018
- Deadline
‘Bad Hair’ day at San Sebastian Film Festival: Venezuelan film wins Golden Shell (photo: Samuel Lange Zambrano in ‘Bad Hair’) Mariana Rondón’s Bad Hair / Pelo malo won the Golden Shell at the 2013 San Sebastian Film Festival, which wrapped up today, September 28, in northern Spain’s coastal city also known as Donostia (in Basque). The Venezuelan / Peruvian / German co-production tells the story of a nine-year-old boy (Samuel Lange Zambrano) with "bad hair," who decides to have his unruly curls molded pop-singer style (Justin Bieber’s?) for his yearbook picture. His mother (Samantha Castillo), however, is against it — the boy’s new hairdo is just not manly enough. Family conflicts ensue. The San Sebastian Film Festival’s Special Jury Prize went to newcomer Fernando Franco’s Wounded / La herida, a Spanish drama about a 30-year-old ambulance driver whose life falls to pieces as a consequence of her undiagnosed Borderline Personality Disorder.
- 9/28/2013
- by Andre Soares
- Alt Film Guide
April 13-18
Fifty years after Jean-Luc Godard, Serge Bozon and the .young turks. of Cahiers du cinéma resolved that the best way to criticize movies was to make their own films. The result was the creation of another exciting .new wave. of critic-filmmakers, hailing from the iconoclastic film magazine La lettre du cinéma(1997-2005), boldly storming the gates of the French film establishment.
The Film Society of Lincoln Center brings writer, director, actor and DJ, Serge Bozon to New York to present this first major North American survey of films by the Lettre du cinéma circle as well as to curate and present a series of screenings of rarities (along with Anthology Film Archives) that have influenced his work. Also introducing and discussing their films will be his fellow filmmakers, Jean-Charles Fitoussi and Aurélia Georges. And if that weren.t enough, Bozon will also put his DJ skills on display,...
Fifty years after Jean-Luc Godard, Serge Bozon and the .young turks. of Cahiers du cinéma resolved that the best way to criticize movies was to make their own films. The result was the creation of another exciting .new wave. of critic-filmmakers, hailing from the iconoclastic film magazine La lettre du cinéma(1997-2005), boldly storming the gates of the French film establishment.
The Film Society of Lincoln Center brings writer, director, actor and DJ, Serge Bozon to New York to present this first major North American survey of films by the Lettre du cinéma circle as well as to curate and present a series of screenings of rarities (along with Anthology Film Archives) that have influenced his work. Also introducing and discussing their films will be his fellow filmmakers, Jean-Charles Fitoussi and Aurélia Georges. And if that weren.t enough, Bozon will also put his DJ skills on display,...
- 3/15/2011
- by Melissa Howland
- WeAreMovieGeeks.com
A Comedy of Power
BERLIN -- "A Comedy of Power" has a joke built into its title. While the film is no comedy, the point of view from veteran French auteur Claude Chabrol is essentially comic: He sees a clash of power between an investigating French magistrate and corporate executives and politicians grabbing money by misappropriating public funds as an adolescent pissing contest. Everyone thinks he or she holds ultimate power, but Chabrol -- who, after all, as the movie's director is the real power here -- strips away the privileges and responsibilities of the "powerful" to reveal people unable to control even their own lives.
The movie is too parochial for a wide audience. The French judicial system is totally alien to Americans, for instance, plus the film is a talkathon. There are hints in Matthieu Chabrol's Hitchcock-like musical themes -- yes, that's the director's son -- and in moments of extreme paranoia exhibited by characters that a thriller lurks just beneath the surface. If it does, it never appears.
Instead audiences must contend with a soundtrack jammed with dialogue, yet little of what's said about money laundering, corporate restructuring, real estate deals, stock funds and Swiss bank accounts means anything. All that matters lies in the tone of voice and look in the eyes. Consequently, there will be a limited theatrical audience for this seventh collaboration between Chabrol and his star, Isabella Huppert, in North America. Even in Europe, this is art house fare.
Huppert plays a headstrong, relentless examining judge, who according to French law holds unassailable powers. Even in her first scene, it's clear that power has gone to her head.
A pompous though nervous chairman of a major corporation, Humeau (Francois Berleand), is unceremoniously arrested as he exits his Paris office building. He is thrown into prison without concern for his mighty position. The next day, the police drag him before Judge Jeanne Charmant (Huppert) without her even allowing him medicine for a skin allergy.
By the time this first interrogation has finished, our sympathies have switched. Humeau might be a rascal, but we feel sorry for anyone who comes up against the "piranha" judge. Those sympathies extend to her husband, Philippe (Robin Renucci), a medical lab technician who feels power in the household shifted long ago despite the fact he comes from wealth while she was practically the family maid before he married her.
A crafty businessman, Sibaud (Patrick Bruel), supplies Jeanne with leads to investigate charges of embezzlement and misuse of funds in this corporation in the mistaken belief he can control her. The same goes for people up the line of power from a powerful senator to the chief judge. She cuts everyone down to size and loves doing it. Even pairing Jeanne with a fellow female judge (Maryline Canto) doesn't work -- indeed it doubles the women's power.
Perhaps Chabrol isn't talking so much about power struggles as the voracious appetite for control and authority by rampaging feminists. Certainly men are portrayed here as losing the battle of the sexes. Badly. The only redemptive male is Jeanne's husband's nephew Felix (Thomas Chabrol, and yes, this is another of the director's sons). This easygoing bourgeois slacker makes a comic contrast to Jeanne's workaholism.
The movie sags in the middle. Even an acrimonious split between the judge and her husband doesn't raise the emotional stakes because love appears to have gone out of this relationship long ago. More puzzling, a drastic act by the distraught husband and a maneuver that removes the judge from the case lead to no epiphanies for Jeanne. She just doesn't understand that power can be an illusion. When the movie ends on a flat note, it causes one to realize how few high notes it ever achieved.
"A Comedy of Power" is somewhat typical of recent efforts by the great French director -- natural lighting, real locations, well-upholstered decors, veteran actors at home with reams of dialogue and a narrative that favors thought over action and behavior over emotion.
A COMEDY OF POWER
Aliceleo/France 2 Cinema/Ajoz Films/Integral Filmwith the participation of Canal Plus
Credits:
Director: Claude Chabrol
Screenwriters: Odile Barski, Claude Chabrol
Producer: Patrick Godeau
Director of photography: Eduardo Serra
Production designer: Francoise Benoit-Fresco
Music: Mathieu Chabrol
Costumes: Mic Cheminal
Editor: Monique Fardoulis
Cast:
Jeanne Charmant: Isabelle Huppert
Humeau: Francois Berleand
Sibaud: Patrick Bruel
Philippe Charmant: Robin Renucci
Erika: Maryline Canto
Felix: Thomas Chabrol
No MPAA rating
Running time -- 111 minutes...
The movie is too parochial for a wide audience. The French judicial system is totally alien to Americans, for instance, plus the film is a talkathon. There are hints in Matthieu Chabrol's Hitchcock-like musical themes -- yes, that's the director's son -- and in moments of extreme paranoia exhibited by characters that a thriller lurks just beneath the surface. If it does, it never appears.
Instead audiences must contend with a soundtrack jammed with dialogue, yet little of what's said about money laundering, corporate restructuring, real estate deals, stock funds and Swiss bank accounts means anything. All that matters lies in the tone of voice and look in the eyes. Consequently, there will be a limited theatrical audience for this seventh collaboration between Chabrol and his star, Isabella Huppert, in North America. Even in Europe, this is art house fare.
Huppert plays a headstrong, relentless examining judge, who according to French law holds unassailable powers. Even in her first scene, it's clear that power has gone to her head.
A pompous though nervous chairman of a major corporation, Humeau (Francois Berleand), is unceremoniously arrested as he exits his Paris office building. He is thrown into prison without concern for his mighty position. The next day, the police drag him before Judge Jeanne Charmant (Huppert) without her even allowing him medicine for a skin allergy.
By the time this first interrogation has finished, our sympathies have switched. Humeau might be a rascal, but we feel sorry for anyone who comes up against the "piranha" judge. Those sympathies extend to her husband, Philippe (Robin Renucci), a medical lab technician who feels power in the household shifted long ago despite the fact he comes from wealth while she was practically the family maid before he married her.
A crafty businessman, Sibaud (Patrick Bruel), supplies Jeanne with leads to investigate charges of embezzlement and misuse of funds in this corporation in the mistaken belief he can control her. The same goes for people up the line of power from a powerful senator to the chief judge. She cuts everyone down to size and loves doing it. Even pairing Jeanne with a fellow female judge (Maryline Canto) doesn't work -- indeed it doubles the women's power.
Perhaps Chabrol isn't talking so much about power struggles as the voracious appetite for control and authority by rampaging feminists. Certainly men are portrayed here as losing the battle of the sexes. Badly. The only redemptive male is Jeanne's husband's nephew Felix (Thomas Chabrol, and yes, this is another of the director's sons). This easygoing bourgeois slacker makes a comic contrast to Jeanne's workaholism.
The movie sags in the middle. Even an acrimonious split between the judge and her husband doesn't raise the emotional stakes because love appears to have gone out of this relationship long ago. More puzzling, a drastic act by the distraught husband and a maneuver that removes the judge from the case lead to no epiphanies for Jeanne. She just doesn't understand that power can be an illusion. When the movie ends on a flat note, it causes one to realize how few high notes it ever achieved.
"A Comedy of Power" is somewhat typical of recent efforts by the great French director -- natural lighting, real locations, well-upholstered decors, veteran actors at home with reams of dialogue and a narrative that favors thought over action and behavior over emotion.
A COMEDY OF POWER
Aliceleo/France 2 Cinema/Ajoz Films/Integral Filmwith the participation of Canal Plus
Credits:
Director: Claude Chabrol
Screenwriters: Odile Barski, Claude Chabrol
Producer: Patrick Godeau
Director of photography: Eduardo Serra
Production designer: Francoise Benoit-Fresco
Music: Mathieu Chabrol
Costumes: Mic Cheminal
Editor: Monique Fardoulis
Cast:
Jeanne Charmant: Isabelle Huppert
Humeau: Francois Berleand
Sibaud: Patrick Bruel
Philippe Charmant: Robin Renucci
Erika: Maryline Canto
Felix: Thomas Chabrol
No MPAA rating
Running time -- 111 minutes...
- 2/17/2006
- The Hollywood Reporter - Movie News
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