News

Renowned French filmmaker Mia Hansen-Løve (One Fine Morning) has revealed her next film to be If Love Should Die, a biopic of 18th century English writer, philosopher, and women’s rights advocate, Mary Wollstonecraft.

Slated to film in the United Kingdom, France, Scandinavia and Portugal in 2025, the project’s logline is as follows: On the eve of the French Revolution, an impoverished young Englishwoman makes the bold decision to leave her life according to the ideals of the enlightenment.

Wollstonecraft is best known for her work A Vindication of the Rights of Woman, published in 1792, where she argued that women are not naturally inferior to men, even if they appeared so in her time because they lacked equal access to education. Wollstonecraft believed that both men and women should be treated as rational beings and imagined a social order founded on reason. Her ideas and writings laid the groundwork for the feminist movement,...

Mia Hansen-Løve, one of France’s leading filmmakers whose movies have played at Cannes, Berlin and Toronto, will next direct “If Love Should Die,” an ambitious feature film about the life of visionary English writer and philosopher Mary Wollstonecraft.

Mubi, the auteur-driven global distribution and streaming powerhouse, is producing “If Love Should Die” with Georgina Paget and Thembisa Cochrane at U.K. banner Caspian Films (“The Colour Room”); “Anatomy of a Fall” producer David Thion and Philippe Martin at Paris-set Les Films Pelléas; Norway’s Mer Film, Lorenzo Mieli for Our Films and Arte France Cinema. Mubi and Arte France Cinema are financing the production. The Match Factory is handling worldwide sales.

Written and directed by Hansen-Løve, the film will for the first time tell the journey of Wollstonecraft, a 18th-century feminist pioneer whose ideas resonate with our times.

“On the eve of the French Revolution, an impoverished young Englishwoman...

Mubi has unveiled next’s streaming lineup, featuring notable new releases, including Felipe Gálvez’s The Settlers, Éric Gravel’s Full Time, C.J. Obasi’s Mami Wata, and Benjamin Mullinkosson’s The Last Year of Darkness.

This March also brings Elaine May’s Ishtar, four features by Mia Hansen-Løve, and a collection of films shot by women cinematographers, with Claire Denis’ Bastards, shot by Agnès Godard, and more. Next month’s collection also features retrospectives of radical German director Margarethe Von Trotta, experimental animator Suzan Pitt, and additions to their continuing retrospective of Takeshi Kitano.

Check out the lineup below, and get 30 days free here.

March 1st

The German Sisters, directed by Margarethe von Trotta | Radical Intimacy: Three by Margarethe von Trotta

The Second Awakening of Christa Klages, directed by Margarethe von Trotta | Radical Intimacy: Three by Margarethe von Trotta

The Promise, directed by Margarethe von Trotta | Radical Intimacy: Three...

The French director on making the closest thing to an autobiography, stripping Léa Seydoux of her glamour and dating fellow film-makers

French screenwriter and director Mia Hansen-Løve, 42, was born in Paris to parents who were both philosophy professors. She studied German at university, then had stints as an actor and film critic before making her directorial debut in 2007 with All Is Forgiven. Her subsequent films include Father of My Children, Goodbye First Love, Eden and Bergman Island. Her new film, One Fine Morning, is about a single mother caring for her ailing father while embarking upon a new romance. She lives near Paris with her partner, film-maker Laurent Perreau, and their children.

How closely was your new film, One Fine Morning, inspired by your own late father’s illness?

All my films, in one way or another, use autobiographical elements. Or I should say biographical, because the majority are not...

In the role of a lifetime, Léa Seydoux plays a widowed single mum caught between new romance and the failing mind of her father in the French director’s deeply personal Cannes prize winner

The French writer-director Mia Hansen-Løve became a festival fixture with films such as All Is Forgiven (2007), Father of My Children (2009) and more recently the Palme d’Or nominated Bergman Island (2021). My own favourite Hansen-Løve films include the pulsing Eden (2014) and the ruminative Things to Come (2016), the latter of which contains one of Isabelle Huppert’s finest screen performances. But in this, her latest Cannes prize winner, Hansen-Løve hits a career high note, delivering a quietly thoughtful and ultimately life-affirming portrait of the strange interaction between loss and rebirth. It’s a miraculous balancing act that pretty much took my breath away.

Léa Seydoux, whose own career encompasses everything from Palme d’Or winners to Bond blockbusters,...

The past year was a big one for autobiographical filmmaking, with James Gray’s childhood heartbreak in “Armageddon Time,” Sam Mendes’ ode to moviegoing in the UK with “Empire of Light,” Alejandro G. Iñarritu’s dreamlike self-reflexive filmmaker odyssey “Bardo,” and, of course, Steven Spielberg’s “The Fabelmans,” which turned the world’s most successful director into an Oscar frontrunner for his most personal movie. The others came up short in their own campaigns, but the best autobiographical movie of the past year was one the awards season never fully embraced.

Mia Hansen-Løve’s “One Fine Morning” is only the latest sensitive and personal project from the French auteur to build its drama from her own life. Among the recent movies that fall into that trend, it provides the strongest example of a filmmaker attuned to the challenges of drawing from her own story, as Hansen-Løve has done for years.

Léa Seydoux and Camille Leban Martins in One Fine Morning Photo: Sony Pictures Classics Actor-turned-noted director Mia Hansen-Løve has said that her films as a director are not autobiographical, though they are “intimate” and scripted by her alone. Still, Eden, Things to Come, Father of My Children, and even Bergman...

It’s a strangely topsy-turvy experience, to come to a director’s first film 14 years, six further features, an Un Certain Regard Special Jury Prize (“Father of my Children“), and a Berlin Silver Bear for Best Director (“Things To Come“) after she made it. And perhaps it’s an inevitably compromised – or at least altered – experience too: “All is Forgiven” can’t help but be viewed now through the prism of Mia Hansen-Løve‘s subsequent career, a retrospective perspective made even more unavoidable by the retrospection of her most recent feature “Bergman Island,” which is playing in theaters at the same time that Metrograph is giving her debut a long-overdue US release.

Continue reading ‘All Is Forgiven’ Review: Mia Hansen-Løve’s Delicate Debut Is More Than Just A Taste Of Things To Come at The Playlist.

IFC Films has set the U.S. theatrical release date for Mia Hansen-Løve’s “Bergman Island” on Oct. 15. The critically acclaimed movie world premiered in competition at the Cannes Film Festival and will next play at Toronto, among other key fall festivals.

The film stars Mia Wasikowska (“Maps to the Stars”), Tim Roth (“Once Upon a Time in America”), Vicky Krieps (“Phantom Thread”) and Anders Danielsen Lie (“Personal Shopper”).

Charles Gillibert’s CG Cinema (“Annette”) produced “Bergman Island” alongside Rodrigo Texeira at Rt Features, with co-producers Erik Hemmendorff. “Bergman Island” marks CG Cinema’s third collaboration with Hansen-Løve, following “Eden” in 2014 and “Things to Come” which won the Silver Bear at the Berlin Film Festival in 2016.

IFC Films has previously collaborated with Hansen-Løve on her critically acclaimed sophomore outing “Father of My Children,” as well as “Goodbye First Love” and “Things to Come.”

“Bergman Island” follows a couple of filmmakers,...

Parenthood, relationships, and the creative process: three key elements of the cinema of Mia Hansen-Løve casually combine in Bergman Island, a playfully self-aware meta-portrait of the filmmaker and, indeed, of filmmaking itself. Introspective, inventive, and effortlessly calm; it follows a couple, both screenwriters, on an idyllic work retreat to Fårö, an island in the Baltic Sea (population: 498) just off the South East of Sweden. It’s the place Ingmar Bergman called home for the majority of his life, where he made many films and eventually died.

A story of prickly truths but no shortage of levity, it is a clear passion project for Hansen-Løve, a director whose work has always leaned as much toward the biographical as the cinephilic. Vicky Krieps stars as Chris, a filmmaker with a case of writer’s block, and Tim Roth is Tony, her older, more famous boyfriend. Hansen-Løve opens on their ferry ride to Fårö,...

With Father of My Children (2009) as her only shoring up in Cannes, Mia Hansen-Løve who is seven features in lands in the Main Comp with a film about filmmaking and so much more. Bergman Island stars Vicky Krieps, Tim Roth, Mia Wasikowska, Anders Danielsen Lie, the ghost of Ingmar Bergman and the island of Fårö.

Yesterday night’s late night screening appeared to leave a lot of folks in the best of moods (Hansen-Løve throws in several Bergman gags in here). We still have some grades rolling in, but with over half of our jury voting we have a current average of 3.2.…...

Nearly three years after she began filming it, Mia Hansen-Løve’s seventh film, Bergman Island, finally arrives in Cannes to mark the Parisian director’s Competition debut. Filmed on location in Sweden, and starring Vicky Krieps and Tim Roth, it takes place on the island of Fårö, where the Swedish auteur Ingmar Bergman lived and worked until his death in 2007. Surprisingly, it’s been a while since Hansen-Løve was on the Croisette, having appeared in Directors’ Fortnight with her first feature All is Forgiven (2007) and Un Certain Regard with 2009’s Father of My Children. “I feel very privileged to be back,” she says.

Deadline: What’s Bergman Island about?

Mia Hansen-LØVE: It’s about a couple of filmmakers who travel to Fårö, the island where Bergman lived in the 20 last years of his life. They’re going to stay all summer while they each write their scripts.

IFC Films will be out in force at the Cannes Film Festival with three highly-anticipated films set for the competition: Jacques Audiard’s black-and-white drama “Paris, 13th District,” Mia Hansen-Løve’s English-language melodrama “Bergman Island” and Paul Verhoeven’s subversive period drama “Benedetta.” This comeback Cannes edition will also mark Arianna Bocco’s first year on the ground as IFC president. Ahead of the festival’s start, Bocco spoke to Variety about the company’s titles, dealmaking prospects at the festival and the industry’s evolution post-covid.

You have some of the most exciting films competing this year, did you know they would be playing in competition when you acquired them?

We didn’t and we’re very excited! All three films are very different from one another, so it will be really interesting to see how they play. Audiard’s film will likely surprise audiences because it’s unlike anything he’s done before.

Close-Up is a feature that spotlights films now playing on Mubi. Mia Hansen-Løve's All Is Forgiven (2007) is showing on Mubi starting January 7, 2021 in most countries in the series First Films First.A modest story told with fierce intelligence and freedom, All Is Forgiven (2007), written and directed by Mia Hansen-Løve at the age of 25, signaled the style and strength of a new and most brilliant filmmaker. Not complying with the familiar-looking (French) family drama’s conventions, the film is an achievement in integrity, a first expression of an original filmmaking philosophy that will be refined and reappear again and again in Hansen-Løve’s next five features. In every way, Hansen-Løve’s first feature fits easily within this writer-director’s filmography. Sensitively approaching themes of death, suicide, vocation and melancholy, like Hansen-Løve’s subsequent portraits, character studies and coming-of-age films, All Is Forgiven is styled simply—without much adornment or exposition—and structured unusually,...

If you’re looking to dive into the best of independent and foreign filmmaking, The Criterion Channel has announced their August 2020 lineup. The impressive slate includes retrospectives dedicated to Mia Hansen-Løve, Bill Gunn, Stephen Cone, Terry Gilliam, Wim Wenders, Alain Delon, Bill Plympton, Les Blank, and more.

In terms of new releases, they also have Kleber Mendonça Filho and Juliano Dornelles’ Bacurau, the fascinating documentary John McEnroe: In the Realm of Perfection, the Kenyan LGBTQ drama Rafiki, and more. There’s also a series on Australian New Wave with films by Gillian Armstrong, Bruce Beresford, David Gulpilil, and Peter Weir, as well as one on bad vacations with Joanna Hogg’s Unrelated, Ben Wheatley’s Sightseers, and more.

See the lineup below and explore more on their platform. One can also see our weekly streaming picks here.

25 Ways to Quit Smoking, Bill Plympton, 1989

The 5,000 Fingers of Dr. T, Roy Rowland,...

Mia Hansen-Løve’s best films envelop the viewer so persuasively in their currents of feeling that it can take you a moment or two to notice how coolly and methodically constructed they are: the revealing agility of her camera placement, the sharp economy of her editing, the often rich irony of her musical selections, all subtly contributing to character portraits of granular depth. In “Maya,” her sixth and most internationally-minded feature, those virtues hit you straight away, only to reveal more grace and precision in the framing than in the rather hazily conceived characters themselves. A study of a European man’s healing Indian odyssey that gives in all too frequently to hoary colonial romanticism, this is the first stumble in Hansen-Løve’s hitherto impressive filmography — the kind of directorial misstep that at least makes it clear how deft her footwork usually is.

Coming off Hansen-Løve’s best and most...

The people in Mia Hansen-Løve’s movies always struggle with change — specifically, with those bittersweet moments between major life events, which percolate with the sadness of uncertainty and the romance of something new. In “Father of My Children,” a family is dissolved by a sudden death that forces them to reconstitute who they are. In “Eden,” an aspiring French DJ fritters away the best 20 years of his life before coming to grips with the fact that he’ll never be Daft Punk. And in the extraordinary “Things to Come,” a middle-aged professor is burdened with the full weight of a newfound freedom after her husband leaves her for a younger woman.

Change, it seems, is the only constant in Hansen-Løve’s remarkable and constantly surprising body of work, which has already confirmed the 37-year-old filmmaker as one of modern cinema’s most brilliant new voices. But change, in her movies,...

Exclusive: Norwegian actor Anders Danielsen Lie, star of Paul Greengrass’s upcoming thriller Norway and Netflix series Nobel, has joined Greta Gerwig, John Turturro and Mia Wasikowska in the cast of Mia Hansen-Løve’s Bergman Island, I can reveal.

Shoot is due to get underway on July 16 in Farö (the remote island in Sweden where Ingmar Bergman lived and filmed) on the CG Cinema-produced drama, which Kinology will launch foreign sales on in Cannes. UTA is handling the U.S. Also new to the team is Call Me By Your Name and Frances Ha producer Rodrigo Teixeira from Rt Features.

Festival favourite Hansen-Løve (Eden) wrote and will direct the film about Tony and Chris, an American couple, both artists and filmmakers, who head to the Island of Farö to take part in Ingmar Bergman celebration event ‘Bergman Week’ during which they hope to complete the writing of their new movie.

Isabelle Huppert is stirring Oscar talk (and she damn well should) for the potent provocation of her acting in Elle, directed by Dutch wildman Paul Verhoeven. But to see her in Things to Come, as a character who is the polar opposite of the powerhouse she plays in that story of rape and revenge, is to cement Huppert's reputation as one of the best actresses on the planet. Written and directed by Mia Hansen-Love (Eden), the film gives the legendary French star the role of Nathalie, a Paris philosophy professor whose academic husband,...

One of the greatest anxieties that any couple can have is the possibility of one day separating from each other. With each “I love you” comes an expectation that this love will be forever. It is easy for couples to imagine others separating but is much more difficult to imagine this happening to themselves. Separation is all the harder to imagine—and is especially difficult to handle—once has reached a certain age and has built a life with their spouse. One builds this life according to certain habits and creates an imaginary wall around relationships, but with the wall destroyed one might feel profoundly lost. Mia Hansen-Løve’s film Things to Come deals closely with the struggles of separation for a middle-aged woman. For Hansen-Løve, it seems that one can deal with and potentially overcome the pain of separation if they know the issue and propose a proper method for dealing with it.

Awards season is here, which means it’s time to trade in the cinematic junk food of the summer months in favor of some more nourishing arthouse fare. To extend the metaphor, there’s certainly plenty to chew on in Things To Come, the new film from French director Mia Hansen-Løve (Father Of My Children, Goodbye First Love, Eden). Starring the incomparable Isabelle Huppert as Nathalie, a philosophy professor who thinks she’s got her life all figured out, until her husband announces that he’s leaving her. Singlehood is both terrifying and thrilling for Nathalie, who’s left to figure out who she is after 25 years of marriage.

Things To Come is coming to Chicago on Friday, December 16 after a limited run in New York and L.A. But we’re giving readers of The A.V. Club the chance to see the movie early, on Tuesday ...

For years, it seemed the History Channel was lost in the weeds. Despite changing their name to History, their shows were more “mindless reality TV binge watch” and less “did I just accidentally learn something?” An intellectual wasteland, Ancient Aliens was the closest you could find to an edutainment series on the channel from 2010 to 2013. Then along came Vikings, and everything changed. Vikings premiered to 6 million viewers — and while not 100% historically accurate, it was head and shoulders above History’S other offerings at the time. The success opened the door to programming like the limited-series Barbarians Rising and the recent remake of Roots. But until now, Vikings has been the lone History historical series, adrift in a sea of Mountain Men and Swamp People. This solitude ends when Knightfall joins the line-up. A new series from Jeremy Renner’s (yes, Hawkeye) and Don Handfield’s production company The Combine and Midnight Radio, Knightfall will follow the Vikings model of blending history and drama, only this time during the fall of the Knights Templar. One of the most mysterious and powerful orders of the Middle Ages, the Knights Templar were a military group entrusted with the keeping of the Holy Grail and — according to legend — knew secrets about the Church that could bring it to its knees. But they were also an order of men, with all the messy politicking and “mean-girling” that entails. Knightfall promises to go deep into the inner circle of the Knights Templar’s clandestine world. Not just the battles in the Holy Land, but the battles on the home front. Not everyone loved the Templars, leading to clashes with both the King of France and Pope Boniface VIII. The latter of which would end in the disbanding the order on Friday the 13th, which is why the date is considered unlucky even now. Oh, look! The show hasn’t even started, and you’re already learning something. Production for Knightfall begins this summer in Croatia and the Czech Republic. Tom Cullen (Downton Abbey) was previously announced to star as Landry, a former warrior and current leader of the Knights Templar. But now the cast is fully in place and ready to return to the 12th century. From the press release: [Starring] Bobby Schofield (Black Sea, Our World War) as Parsifal, a young man of ordinary birth who will join the Knights Templar seeking revenge, but ultimately finds a higher purpose; Sabrina Bartlett (DaVinci’s Demons, Poldark) as Princess Isabella, Queen Joan and King Philip's daughter, her upcoming wedding stands to forge a powerful political alliance for France; Julian Ovenden (Downton Abbey, Person of Interest, The Colony) as De Nogaret, King Philip’s Machiavellian lawyer and right hand man; Sarah-Sofie Boussnina (The Bridge, The Absent One) as Adelina, as a child she was rescued in the Holy Land by the Templar Knights, but now in her early 20s, she lives on the streets of Paris as a thief; Padraic Delaney (The Wind That Shakes the Barley, The Tudors) as Gawain, once the greatest swordsman of the Templar Order whose role with them is at a crossroads; Simon Merrells (Spartacus, Dominion ) as Tancrede, a veteran sergeant fanatically devoted to the Templar Knight cause and Olivia Ross (War and Peace, Blowing Louder than the Wind , Father of My Children) as Queen Joan of Navarre, Queen of France and Queen Regnant of Navarre, a devoted mother, warrior, and a formidable diplomat and strategist. We’re entering a new era. One in which History retakes the torch. It was up to Comedy Central, of all places, to keep the learning fires alive with Drunk History and Another Period. But now the original is back, and hopefully better than ever.

"Only in filmmaking do you have time limitation in certain stages of production, while you would never restrain a painter, or a musician, or a novelist from taking the time he needs..." At Berlinale in February, I had the honor of meeting and interviewing the very talented French filmmaker Mia Hansen-Løve. I first became a big fan of Mia Hansen-Løve after catching her film Father of My Children at the Cannes Film Festival in 2009, and I've followed her career closely ever since. I most recently loved her film Eden, we featured it recently on our 19 Best Movies You Didn't See list. Her latest film, Things to Come (also called L'avenir), stars Isabelle Huppert as a woman dealing with major changes in her life. After following her for so long it was a major moment in my own career to sit down and talk with her about making great films. Mia Hansen-Løve...

With the 2016 Berlin International Film Festival wrapping up this week, we’ve highlighted our five favorite films from the slate. Make sure to stay tuned in the coming months as we learn about distribution news for the titles. Check out our favorites below, followed by our complete coverage, and one can see the winners here.

Creepy (Kiyoshi Kurosawa)

One has to appreciate Kiyoshi Kurosawa’s winking self-awareness in calling his new feature Creepy. It’s as if the Coen brothers released a film entitled Snarky, or Eli Roth named his next stomach-churner Gory. Kurosawa, who’s still best known for Cure (1997) and Pulse (2001), two rare outstanding examples of the highly variable J-Horror genre, instills a sense of creepiness into virtually anything he does, regardless of subject matter. His latest, which sees him return to the realm of horror after excursions into more arthouse territory, certainly lives up to its name...

Ever since Mia Hansen Love made her debut with Tout est Pardonné (2007) at the age of just 26, it always felt like she was on the verge of something truly special. She followed it up with Father of My Children (2009) before releasing Goodbye First Love (2011) – accomplished endeavours certainly, but nothing truly

The post Berlinale 2016: Things to Come Review appeared first on HeyUGuys.

Sundance Selects has acquired the domestic rights to Mia Hansen-Love’s “Things to Come,” the distribution company announced Monday. The film starring Isabelle Huppert had its world premiere at the Berlin Film Festival. The acquisition marks the third Hansen-Love film Sundance Selects has released, following “The Father of my Children” and “Goodbye First Love.” “Things to Come” follows a married philosophy professor whose life revolves around books. When her husband leaves her and her mother passes away, she is left alone with a life full of possibilities. Also Read: IFC Films, Sundance Selects Promotes Lisa Schwartz to Co-President “Anchored by a deeply moving performance.

Sundance Selects acquired U.S. rights to Things To Come, director Mia Hansen-Love’s film that stars Isabelle Huppert. The deal followed the film’s Berlin Film Festival premiere. This is Sundance Selects’ second collaboration with Films du Losange on Hansen-Love's films. It is also the third film directed by Hansen-Love the company will release following The Father Of My Children and Goodbye First Love. Things To Come tells the story of a married philosophy professor whose…...

The twists and turns of fate and the ways in which individuals react to them constitute the central preoccupations of Mia Hansen-Løve’s cinema. Her exceptional second feature, Father of My Children, observed a film producer’s escalating desperation in the face of snowballing debt, and then considered the impact of his unexpected suicide on the family he left behind. Her disappointing follow-ups, Goodbye First Love and Eden, charted the progressive dissolution of its protagonists’ idealism over a period of several years – a teenage couple’s fanciful notions of love and a DJ’s chimeric aspirations of success, respectively. Considering the largely universal relatability of the former and the fact that the latter represented a fictionalization of her own brother’s / co-writer’s path as a DJ, the tremendous accomplishment of Things to Come, which centers on the emotional tribulations of a woman in late middle-age, suggests that the 35-year-old...

Things to Come

Director: Mia Hansen-Løve

Writer: Mia Hansen-Løve

With four features under her belt, French director Mia Hansen-Løve has become a prolific auteur, following the success of titles such as The Father of My Children (2009), Goodbye First Love (2011) and Eden (2014). For her latest feature, she’s tapped Isabelle Huppert to star in Things to Come (formerly known as L’avenir), where in the prolific actress stars as Nathalie, a philosophy professor who has been married for years to a man in the same profession. One day, her husband announces his love for a younger woman and his plans to move in her with, while Nathalie’s mother dies in the same timeframe. Love’s intention, as indicated by the original title, was an ironic commentary about a woman forced to start a new, unexpected life while heading into her last decades. Of note, Huppert starred as Love’s mother...

As if new films from the Coens and Jeff Nichols weren’t enough, the 2016 Berlin Film Festival has further expanded their line-up, adding some of our most-anticipated films of the year. Mia Hansen-Løve, following up her incredible, sadly overlooked drama Eden, will premiere the Isabelle Huppert-led Things to Come, while Thomas Vinterberg, Lav Diaz, André Téchiné, and many more will stop by with their new features. Check out the new additions below, followed by some previously announced films, notably John Michael McDonagh‘s War on Everyone.

Competition

Cartas da guerra (Letters from War)

Portugal

By Ivo M. Ferreira (Na Escama do Dragão)

With Miguel Nunes, Margarida Vila-Nova

World premiere

Ejhdeha Vared Mishavad! (A Dragon Arrives!)

Iran

By Mani Haghighi (Modest Reception, Men at Work)

With Amir Jadidi, Homayoun Ghanizadeh, Ehsan Goudarzi, Kiana Tajammol

International premiere

Fuocoammare (Fire at Sea) – documentary

Italy / France

By Gianfranco Rosi (Sacro Gra, El Sicario...

Mia Hansen-Løve recreates the heady rush of 90s Paris clubland in an evocative essay on youth and experience

Oh, to have been young and French at the dawn of the Parisian house music scene, when Daft Punk were but a glint on a robot’s headpiece. Eden is a fictionalised account of those days from Mia Hansen-Løve, based on the experiences of her brother and co-writer Sven Hansen-Løve, a DJ and scenester reincarnated here as Paul (Félix de Givry). Much more expansive than Hansen-Løve’s previous pieces (Father of My Children, Goodbye First Love), Eden spans 20 years and depicts a life as exalted as the title suggests. Even viewers not initiated in techno and garage arcana are likely to yield to the swimmy rush mustered by the film and its bustling soundtrack.

Related: Eden: 'There was no film that took club culture seriously'

Continue reading...

A furious slew of titles in the works would seem to prophesize a robust main competition slate for Cannes 2016. Though our initial list will eventually be pruned down as the year progresses (Berlin may snag something in here, especially if their 2016 lineup looks anything like their landmark selection from this past January), we’re confident that we will be seeing another round of heavy hitting auteurs unveiling their latest bits on the Croisette.

Absent from the main competition in 2015 were the Romanians (Muntean and Porumboiu were assigned to Un Certain Regard) and any trace of Latin filmmakers. The 2016 edition looks to make up for lost ground. For the Romanians, a couple heavy hitting titans from the New Wave will be ready. Cristi Puiu, who previously won Ucr in 2005 with The Death of Mr. Lazarescu should hopefully be getting a competition invite for Sierra Nevada. Meanwhile, previous Palme d’Or winner...

Inspired and co-written by director Mia Hansen-løve's brother, Sven Hansen-løve, "Eden" serves to document the origins of the electronic music scene in France, from which mega starts like Daft Punk emerged. This intimate portrayal takes the frivolous image of the DJ and turns on its head to deliver a casually elegant, humanistic, and musically intoxicating tale about the trials and errors in one man’s life.

Carried by its start Félix de Givry, who plays a fictionalized version of Sven, the story expands over a decade of heartbreak, drug abuse, disappointments, and personal realizations that transform a boy who fell in love with the innovation of underground tunes into a man who has to accept that a different path might more suiting.

With only two feature films in his resume De Givry is relatively a new face in the international scene, but he is certainly on the rise and developing many more projects besides his acting career. His relationship with both Mia and Sven influenced his performance profoundly and that is reflected with sincerity on the screen.

Our conversation started like most discussing the intricacies of making the film, and evolved into a very enjoyable chat that reveal how much of film buff De Givry is and his diverse interests within the industry.

Aguilar: This is a very sensitive portrayal of a DJ beyond what we might expect when we think of the profession these days. What was your approach to the character and to the movie in general?

Félix de Givry: I met Mia very early on in the process of making this movie. We met one and a half years before shooting and because the movie was so hard to finance we spent a lot of time together talking about it. The film was originally designed to be two features films or a four-hour film. She did it almost like "Carlos," the Olivier Assayas film, which is two parts. When I read the script it was a huge, huge project. During this time we talked about the character, but we also talked about so many different things that we became very close and so the approach to the character was very natural in a way. By the time we started shooting it was like we had already made the film together and it was just a matter of shooting it. Mia has such a subtle approach to everything. I always felt like I was in her hands, and that's how the character is. He is someone who left his life in the hands of someone else and didn't really decide over it.

Aguilar: Was it more difficult or touchy for both of you and Sven since it's such a personal story inspired by his reality at some point?

Félix de Givry: We always felt there was a third person. There is this boundary between fiction and reality which is, for me, something vital. That's how she feels she is able to survive. It's like two mirrors looking at each other, which creates this sort of infinity. That's why she keeps making films about things that surround her. Her next film is loosely based on her mom, "Father of My Children" was based on her previous producer. They are always about something close to her. There is a strange relationship between all of this and I think that also allows the film to be very sincere. Either you get it and get drawn into the film or you don't get it and it won't be a attractive film for you because there is not really a plot or a climax, but I think that's what's interesting. It would have been greater as a four-hour film. This film is a shrunken version of the four-hour film. "Boyhood" is three hours, imagine if "Boyhood" was one hour an a half. It wouldn't have the same effect.

Aguilar: Did you learn anything about yourself by playing someone so complex?

Félix de Givry: it's funny because I learned as much from the character's life and the events in it as from the experience of making the movie. It's not really about what mistakes to avoid or a particular event or love story - even though it is kind of scary not to be able to have a family, kids, and have many regrets -but it's really about the overall experience. I also discovered that I have a passion for cinema and making this film made it grow even bigger. It made be more intellectually involved in movies, which was very important when making the film. The other thing I learned about was the connection between human beings, between Mia, her brother, and I. This is something not directly connected to the movie, but I leaned a lot about evolving in the middle of colorful characters and crazy people [Laughs]. Also because the movie was hard to finance there was a lot of pressure and financial issues. It was really an experience..

Aguilar: Seems like you were part of the film beyond just being the lead actor

Félix de Givry: Yes, I even helped the producer find some more money. [Laughs]

Aguilar: What was your experience with this type of music before the film? Did you ever DJ or was an entire new world for you?

Félix de Givry: I was a little bit more connected to electronic music than most people my age. I used to organized some parties in Paris, and so I had this sort of relationship with it, but not directly with the roots of electronic music or the beginning of it. I wasn't really aware of what happened in the 90s because it's not a very documented era. It was really underground. Traditional media was not talking about it, and there was no social media yet. It's sort of strange because it happened I'm between the 80s and the 2000s. I think this underground scene of raves could only exist at that time. I can't imagine it today. I went to a rave party in Paris a few weeks ago, which was illegal, but the next day I saw people posting pictures on Facebook. It's not really secret anymore.

Aguilar: Back then you had to actually go to the gig to hear the music, you couldn't just download it.

Félix de Givry: Exactly. Also, to create this music, which is different than now with the internet, you had to go and dig into stores and find the music. The DJ's job was something different back then. I learned all that for the movie. I had this intuition or this idea that it was different but I had to go deeper. When I was a teenager electronic music was already huge. It's been huge for maybe the last 15 years or at least the last decade. I'm 22 so it was definitely very huge when I was a teenager. I was not aware that the French people that were involved in the beginning of electronic music were so few people. In your subconscious you have this idea that it was always something big. But if you talk about it with Sven or his friends, they'll tell you that it was about 100 people that were going to the same events and going to same record stores. Daft Punk were not international superstars, it was a little, little scene. I learned about this through making the movie.

Aguilar: What I gather from your character is that he grows up with these group of people, and then some of them, like Daft Punk, blow up, but he never does. It seems like after several trials he has to regroup and look for something else. I wouldn't say is about lost dreams but maybe there is some of that in it?

Félix de Givry: The thing is that I don't think he really wanted it to happen. Like I said, there is this sort of boundary between real life and the film. There is this sort of difference between Sven and the character, but I think Sven's real dream is to be a writer. His real dream wasn't music, music came on his path and was something like a ready-to-eat cake that was in front of him. But now he is starting to get into his real dream of writing and being committed to write. I think if he went that much into music it was because it was easy at first. You earn money easily, it's exciting, and you are in the middle of something great, but maybe it was the wrong path. I don't think he is jealous of Daft Punk or that there is a rivalry, because he never wanted to be that big in music. For me the thing that illustrates that the most is that he never really produced music. You can be big as a DJ, but if you really want to be big, like all the big names from back then or now, you have to produce. These are people who have produced songs that became hits, and people are going to see them to the clubs because they know they are going to play the hits they produced. I think Sven was a witness of that era but not really an actor or a player in it. Now he is starting to get into his real path which is writing. The four-hour version of the movie delved even more into his writing.

Aguilar: How does Mia work? Is there room for any improvisation in a film like this or does it all have to go by the script?

Félix de Givry: It's a lot like it is on the script, but she is very open to suggestions. She really knows what she wants and she does a lot of takes, like in between 20 and 30 takes. This is also because is the first project that she didn't shoot on film. It was like "Whoo! I can do as many takes as I want" [Laughs]. But even then it was still a bit limited because of a new law in France regarding working overtime, so she was still kind of cut short by that. She was very precise, but at the same time, as I told you, we trusted each other so much that everything was always soft and gentle. We never really had a fight. The shooting was very physical, Mia and I were there every day. There were a lot of night shoots, and it was very tough as it took a few months to shoot. It was a tough film. I don't know if you've ever met Mia, but she very skinny and sweet, you don't know how she handles all that. She definitely knows what she wants, an it was a very pleasant experience, especially because we became very good friends through this process. Maybe we'll make another film together.

Aguilar: What does the title "Eden" mean to you? I know it comes from the pamphlet that was distributed in this raves, but it really could encompass many elements of the film.

Félix de Givry: Eden is a lost paradise, for me that's the most coherent meaning. I think it's even funnier that it's also the title of the pamphlet they created at that time while living it. The pamphlet is one of the only things that documents this time because there are interviews. Sven did interviews with Daft Punk. If you really read it - I've read all the issues thought there are only around 10 of them - you realize they were direct witnesses of what was happening. It's kind of crazy that they called it "Eden" as if they already knew that it was a lost paradise, that it wouldn't last. They predicted this lost paradise.

Aguilar: What are you doing next now that "Eden" is finally coming out here in the U.S? Does that open more doors?

Félix de Givry: In France I refused a lot of films because I only want to work on great films, and there are not that many great films. I'm taking to an American director and to an Israeli director about two indie films. I think that's the type of films I want to do. I'm also doing two short films in October and November. But I also have my company in France with some friends, we have a music label, we are producing films, and we are creating a clothing line as well. We are very busy, the music label is doing quite well. We produce music videos and short films as well.

Aguilar: Seems very fitting that you were involved in music while being part of a film like this

Félix de Givry: There is actually some of the music I've produced in the film. But we are also developing our first feature film by a French director who is a friend. I'm sort of in between right now. I want to act in other films but only if they are good. I became quite good friends with Josh Mond of BorderLine Films who directed "James White." He works with Antonio Campos and Sean Durkin in this sort of collective way. I think they are very interesting. I would like to do what they do but in France.

Aguilar: Would you like to direct? Is that part of your future plans?

Félix de Givry: Yes! [Laughs], I'm really in the middle of a time crisis right now between being a producer and an artist. I started to realize this in "Eden," because I was so involved in the film. I was not a producer but it was almost like if I was also a producer. Then I thought to myself, "Yeah but I'm also considered talent, I'm not really on the producing side." It's all blurry in my head right now, I don't know where I'm gonna go. I would love to do a film with the Coen brothers, as an actor that kind of a dream. Although I was kind of disappointment with their jury choices at Cannes.

Aguilar: Where you there?

Félix de Givry: I was at Cannes for two days for a Louis Garrel, a French actor who directed a film. The film is called "Les Deux Amis" it was part of the Critics' Week. He is the son of Philippe Garrel.

Aguilar: What was your favorite film at Cannes?

Félix de Givry: I didn't see a lot but I saw "The Lobster" and I liked it. Have you seen it?

Aguilar: I haven't but I really like his films. "Dogtooth" is fantastic.

Félix de Givry: It's sort of absurd. We are producing a film in September that's sort of like that,absurd reality, which is more real than surreal. The elements are assumed like a reality. I think there is an interesting approach there, whereas most absurd films are fantasies. I also saw Joachim Trier's film "Louder Than Bombs," I love his films.

Aguilar: It seems like a great number of international directors are making films in English

Félix de Givry: Yeah it's kind of the trend, to be an indie Norwegian director and then you do a film with Jesse Eisenberg. All these directors have the same passion for the same American actors like Jesse Eisenberg. I know Mia really likes him, or Greta. Did you see or hear anything good about other films at Cannes?

Aguilar: I heard good things about "Son of Saul," and I was surprised that the Jacques Audiard film "Dheepan" won.

Félix de Givry: I was surprised too. The jury's choices were strange.

Aguilar: I mean he is a great director and he'd never won before, maybe that's why.

Félix de Givry: He is a good director but he is not the greatest.

Aguilar: Well he seems to be very well regarded in France, but maybe you'll be at Cannes soon with a film.

Félix de Givry: I hope [Laughs]

“Eden” opens today in L.A. at The Nuart and in NYC at the Lincoln Plaza Cinemas and the IFC Center...

Read More: Review: 'Eden' is a Refreshing Spin on the History of Electronic Music With only four features to her name, French director Mia Hansen-Løve has emerged as one of the strongest filmmakers working in France today. Her last two features, "Goodbye First Love" and "The Father of My Children," were both very well-received and won her awards at the Cannes and Locarno film festivals. But it's "Eden," her fourth feature, that's poised to attract her largest audience yet purely based on its subject matter: the history of the French electronic music scene -- otherwise referred to as "house music." Based on the career path of her brother Sven, who co-wrote the film with his sister, "Eden" tracks 20 years in the life of Paul (Felix de Givry), a French DJ struggling to make a career for himself as the industry explodes around him. Indiewire caught up with Hansen-Løve...

This is a must watch trailer for one of my favorite films, a drama called Eden, made by filmmaker Mia Hansen-Løve (of Father of My Children, Goodbye First Love) about a French house music DJ named Paul Vallée. The film has played at film festivals all over the world, from Toronto to New York to London to Rome to AFI, and is now hitting theaters this June. This trailer is a must watch because it's a beautiful way to sell this film, with quotes and the right music (Daft Punk!), everything is perfect. I wrote a really glowing review of Eden from Tiff last year, and I'm happy to support it and happy to see it get a release here in the Us. It's a long film, not for everyone, but it has some very deep layers to it briefly hinted at in the new trailer. Enjoy! Here's the official...

Exclusive: Drama starring Isabelle Huppert due to shoot this June.

Les Films du Losange has taken on sales of Mia Hansen-Løve’s Things to Come (L’Avenir), starring Isabelle Huppert as a woman embarking on a new life after her husband leaves her for another woman.

“We’ll kick off sales at Cannes on the back of the script. The film is due to shoot in Paris in June,” said Les Films du Losange head of sales Agathe Valentin.

Huppert stars as Nathalie, a settled philosophy teacher who has been married for years to Heinz, with whom she has two grown-up children. They stay together out of habit and common intellectual pursuits – he also teaches philosophy — rather than for love.

But one day Heinz announces he has fallen for another woman and moves out. At the same time, Nathalie’s possessive, time-consuming mother passes away. As the summer holidays loom, Nathalie is staring...

The Future

Director: Mia Hansen-Løve // Writer: Mia Hansen-Løve

Actress turned director Mia Hansen-Løve (married to auteur Olivier Assayas) has quickly become one of the most notable contemporary French directors, her works often focused on the cruel yet endearing experiences of youth. Her 2009 sophomore film The Father of My Children first earned her international acclaim, and Hansen-Love often uses autobiographical elements in her work, including in her third film, 2011’s Goodbye First Love (review) and last year’s Eden (her is our sit-down with her), based on the life of her brother, a French DJ in the 1990’s wave of electro house music. Hansen-Løve announced that her next project would be The Future, concerning an older protagonist, a female professor of philosophy in her late fifties, to be played by none other than Isabelle Huppert. Oddly enough, Huppert starred as Hansen-Løve’s mother in Assayas’ 2000 film Les Destinees Sentimentales. We look...

Taj Mahal

Director: Nicolas Saada // Writer: Nicolas Saada

Snagging a Cesar Award nomination for Best Debut in 2010 for Espion(s), director Nicolas Saada has assembled an intriguing international cast for his sophomore feature, the thriller Taj Mahal. Stacy Martin of Nymphomaniac, Italy’s Alba Rohrwacher, British actress Gina McKee from Desplechin’s Jimmy P., and Louis-Do de Lencquesaing from Hansen-Love’s Father of My Children populate this India set thriller revolving around the November 2008 attacks in Mumbai. Formerly a critic, Saada’s film deals with an 18 year old girl trapped in the eponymous hotel, separated from her family when a terrorist attack rages outside. Meanwhile, inside the hotel, the situation is also dire.

Cast: Stacy Martin, Louis-Do de Lencquesaing, Gina McKee, Alba Rohrwacher

Producers: Agat Films & Cie/Ex Nihilo’s Patrick Sobelman (Of Snails and Men), France 3 Cinema.

U.S. Distributor: Rights Available.

Release Date: With the buzz surrounding Saada’s sophomore film,...

Edited by Adam Cook

Above: there is no news this week more monumental than that of the return of Twin Peaks. In 2016, we'll have nine new episodes, all directed by David Lynch. The 72nd issue of Senses of Cinema is now online, and amidst a plethora of content, features an amazing dossier on "one of the true legends of Australian screen culture," John Flaus. Also included is a piece by Tony McKibbin on a new Alain Robbe-Grillet box set—and in Mubi Us, we're currently hosting a retrospective on the Robbe-Grillet featuring Trans-Europ-Express, L'immortelle, Eden and After, and Successive Slidings of Pleasure. Writing for Reverse Shot, Adam Nayman offers his two cents on Mia Hansen-Love's Eden:

"Time is a weapon in the movies of Mia Hansen-Løve. The gaping narrative holes in the middles of All Is Forgiven, The Father of My Children, and Goodbye First Love are exit wounds,...

Perhaps making a more robust offer than IFC Films (who released her last pair of features in Goodbye First Love and The Father of My Children), Gabriel and Daniel Hammond’s Broad Green Pictures have landed Mia Hansen-Løve’s Eden, a track-heavy fourth feature film which had it’s world premiere, not in Venice but at Tiff. Essentially building their 2015 calendar year with 2014 Toronto Film Fest preemed items, after picking up 99 Homes and Samba, this third grab in less than three weeks means the outfitter isn’t afraid of committing to auteur-driven art-house projects with perhaps a broader appeal. Bgp plans to release the film in Spring 2015.

Gist: This follows Paul (Félix de Givry), a teenager in the underground scene of early-nineties Paris. Rave parties dominate that culture, but he’s drawn to the more soulful rhythms of Chicago’s garage house. He forms a DJ collective named Cheers (as,...

Eden

Dear Danny,

How I look forward to your Wavelengths reports! They always strike me not so much as write-ups on the festival’s experimental end but as reports from a parallel world where extraterrestrial colors, patterns, and movements are the ecstatic norm. And, as a cinephile who gravitates mostly toward more classical narratives, I find these journeys into pure form both daunting and liberating. Which leads me to your closing question—how indeed to make your way through so many titles and programs? I try to balance out my dyed-in-the-wool auteurist side with a more exploratory side, catching films from established directors along with ones from unfamiliar talents. An exhilarating gamble, if a risky one. We only have so much time, after all: Blink and a day is gone.

Or, in the case of Eden, blink and two whole decades have drifted by. Mia Hansen-Løve is a director keenly attuned to temporality,...

With only hours ago before the official selection for the Main Competition is announced, we’ve narrowed our final predictions to the following titles that we’re crystal-balling as the films that will be included on Thierry Fremaux’s highly anticipated list. Despite an obvious drought of Asian auteurs (we’re thinking the rumored frontrunner Takashi Miike won’t be included in tomorrow’s list) who’s to say there won’t be some definite surprises, like Jia Zhang-ke’s A Touch of Sin last year.

Several hopefuls appear not to be ready in time, including Malick, Hsou-hsien, Cristi Puiu, and Innarritu, to name a few. But there does appear to be a high quantity of exciting titles from some of cinema’s leading auteurs. We’re still a bit tentative about whether Xavier Dolan’s latest, Mommy, will get a main competition slot—instead, we’re predicting another surprise,...

Eden

Director: Mia Hansen-Love

Writers: Mia Hansen-Love, Sven Hansen-Love

Producers: Charles Gillibert, Jimmy Price

U.S. Distributor: Rights Available

Cast: Greta Gerwig, Brady Corbet, Laura Smet, Golshifteh Farahani, Pauline Etienne

After winning the Un Certain Regard Grand Jury prize for her 2009 sophomore feature The Father of My Children, Mia Hansen-Love (who is married to Olivier Assayas), has quickly become one of the most notable directors working with her lauded trio of films. Her latest was co-written by her brother, who was a deejaying in France in the 90s. An exciting and internationally mixed cast (American notables Gerwig and Corbet join Iranian actress Farhani and a slew of known French players, like Smet and up and comer Etienne) should help broaden interests here as well.

Gist: A chronicle of the electronic music boom of the 1990s.

Release Date: We’re hoping to see Hansen-Love invited to the Main Competition at Cannes.

French director Mia Hansen-Love ("Goodbye, First Love," "The Father of My Children") is currently at work on her next project, "Eden," which centers on the electronic music craze of the early '90s.  American indie darlings Greta Gerwig ("Frances Ha") and Brady Corbet ("Simon Killer") are set to star. They join an international cast including Pauline Etienne ("The Nun"), Golfshiteh Farahani ("My Sweet Pepperland"), Vincent Lacoste ("Les beaux gosses") and Vincent Macaigne ("The Rendez-vous of Deja-vous"). According to Cineuropa, "Eden" follows teenager Paul as he runs away from home and gets swept into the burgeoning dance and garage music scene. After a few years, Paul and a friend begin to establish themselves as deejays in Paris, a move that brings both success and plenty of trouble. Hansen-Love and her brother, Sven (who himself worked as a deejay in Paris in the '90s), co-penned the original screenplay. Hansen-Love's cinematic sensitivity for the complexities of young.

“Tracking Shot” is a monthly featurette here on Ioncinema.com that looks at a dozen or so projects that are moments away from lensing and with September being a major production month for the fall, most projects listed here are thinking of film festival submissions between Cannes and fall fests for 2014. Here are some productions worth signaling out.

On the American indie front we’ve got the latest from Alex Ross Perry (helmer behind 2011′s The Color Wheel) and who we might catch at Tiff as he recently dabbled as an actor and writer for Raya Martin & Mark Peranson’s La última película. His NYC set drama Listen Up Philip focus on titular character played by Jason Schwartzman and those affected by his poor decisions — in particular his successful art-photographer girlfriend Ashley (Elisabeth Moss). Damien Chazelle (Guy and Madeline on a Park Bench) will be taking his 2012 Black List script,...

American actors Greta Gerwig and Brady Corbet are set to star in French pic “Eden”, which follows the rise and fall of one of the pioneers of French electronic dance music in the 1990s. To be directed by Mia Hansen-Love (“The Father of My Children”), the film also stars international actors such as Felix de [...]

The post Greta Gerwig and Brady Corbet Head for “Eden” in French Drama appeared first on Up and Comers.

Olivier Assayas's new film is set amid the fallout of the May 68 uprising and the rebellious antics of its hero recall the director's own youthful protests. He talks about adrenaline rushes and breaking rules

Olivier Assayas, the writer, director and former film critic, is truly cool. He is the maker of some of the most playful, intellectual French cinema of the past two decades. His tastes are eclectic, his skill-set vast: he can move confidently between witty romps (such as his 1996 breakthrough, Irma Vep, one of the cleverest of all films about film-making, or the techno-thriller Demonlover) and lavish, patient period pieces (Les Destinées Sentimentales) or slow-burn emotional studies (Summer Hours). His most formidable achievement is the five-and-a-half-hour Carlos, a painstaking recreation of the rise of Carlos the Jackal made for television in 2010 but mounted with a scope and handsomeness to shame any Hollywood equivalent.

Separated from the actor Maggie Cheung,...

DVD Release Date: Feb. 26, 2013

Price: DVD $29.95

Studio: Olive Films

Kim Rossi-Stuart (l.) and Inés Sastre enjoy each other's company in Beyond the Clouds.

Legendary filmmakers Michelangelo Antonioni (I Vinti) and Wim Wenders (Pina) teamed up to create the 1995 drama-romance film Beyond the Clouds.

Co-written by Antonioni, Wenders and Tonino Guerra and directed by Antonioni, Beyond the Clouds, told from the dreamlike perspective of a wandering film director (portrayed by Secretariat‘s John Malkovich), weaves together four stories of love and lust, inspired by Antonioni’s book about the enigmatic power of modern relationships.

Taking place in Ferrara, Portofino, Aix en Provence and Paris, each story–which always has a woman at its center–turns inwards in its examination of love. Or, as the late Antonioni put it, the stories turn “towards the true image of that absolute and mysterious reality that nobody will ever see.” Er, okay….

Featuring music from Van Morrison,...

Justine Smith

Bright Star, Jane Campion

Orlando, Sally Potter

Trouble Every Day, Claire Denis

Cleo 5 a 7, Agnes Varda

A New Leaf, Elaine May

The Night Porter, Liliana Cavani

American Psycho, Mary Harron

Anatomy of Hell, Catherine Breillat

Point Break, Kathryn Bigelow

Everyone Else, Maren Ade

Ricky D

Connection, Shirley Clarke

Wuthering Heights, Andrea Arnold

35 Shots of Rhum, Claire Denis

Meshes of the Afternoon, Maya Derin

Seven Beauties, Lina Wertmuller

The Hitch-Hiker, Ida Lupino

Lina Wertmuller- Swept Away

Meek’s Cutoff, Kelly Reichardt

Headless Woman, Lucrecia Martel

Xxy, Lucía Puenzo

Special mention:

Skyscraper – Shirley Clarke

Wasp – Andrea Arnold

On Dangerous Ground – Ida Lupino (uncredited)

Wanda

Chris Clemente

Little Miss Sunshine, Valerie Faris

American Psycho, Mary Harron

Lost in Translation, Sofia Coppola

We Need to Talk About Kevin, Lynne Ramsay

Fish Tank, Andrea Arnold

Monster, Patty Jenkins

A League of Their Own, Penny Marshall

Wayne’s World, Penelope Spheeris

Clueless, Amy Heckerling

Point Break,...

Reviewer: James van Maanen

Ratings (out of five): ***

What's in a name -- or more to the point, in a title? The original French title of Mia Hansen-Løve's third feature (after the Ok All Is Forgiven and the much better Father of My Children), Goodbye First Love, is the much simpler Un amour de jeunesse, which translates to "Young Love," or maybe "A Love in Youth." The point of this talented writer/filmmaker's latest movie -- if I am anywhere close to understanding it -- concerns how difficult it is for her heroine, Camille, to actually bid good-bye to this first love. Instead she allows herself to become utterly obsessed with it and its vessel, the hunky young man named Sullivan (Sebastian Urzendowsky), who keeps telling her, by word and deed, to cool it. ...