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Moi @ Villa Ocupada, Nantes, 5 August 2014

- Sorry about the selfie (cringe!) but the last one was back in 2009 and I have been fighting the urge to post one all that time, so humour me.

- Sorry about that face i’m pulling (double cringe!) but I can’t help it, my facial muscles tense up of their own accord.

- Sorry about the beard? My sweet concerned maman is giving me major grief over it but but but children and pets are now running away from me so I’m keeping it. 

- Not sorry about the ungroomed beard: the point of it all is to stop caring altogether about the shaving and the grooming and all that. Can’t there be elegance to be found in being a slob? Can I turn it into an art form? Sort of related: I stopped ironing years ago.

[Photo taken on the ground floor of Villa Ocupada, a building of Nantes that will be entirely gone this time next year.]

This is my favourite room in Villa Ocupada, Nantes. The room was created by Ever, an artist from Buenos Aires. 
Villa Ocupada is part of Le voyage à Nantes. They’ve asked a bunch of mural artists to transform a local administration building that is due to be taken down in 2015. They’ve dressed it up from top to bottom and the result is fantastic. 
[Some of the photos — the best ones — are © David Gallard] This is my favourite room in Villa Ocupada, Nantes. The room was created by Ever, an artist from Buenos Aires. 
Villa Ocupada is part of Le voyage à Nantes. They’ve asked a bunch of mural artists to transform a local administration building that is due to be taken down in 2015. They’ve dressed it up from top to bottom and the result is fantastic. 
[Some of the photos — the best ones — are © David Gallard] This is my favourite room in Villa Ocupada, Nantes. The room was created by Ever, an artist from Buenos Aires. 
Villa Ocupada is part of Le voyage à Nantes. They’ve asked a bunch of mural artists to transform a local administration building that is due to be taken down in 2015. They’ve dressed it up from top to bottom and the result is fantastic. 
[Some of the photos — the best ones — are © David Gallard] This is my favourite room in Villa Ocupada, Nantes. The room was created by Ever, an artist from Buenos Aires. 
Villa Ocupada is part of Le voyage à Nantes. They’ve asked a bunch of mural artists to transform a local administration building that is due to be taken down in 2015. They’ve dressed it up from top to bottom and the result is fantastic. 
[Some of the photos — the best ones — are © David Gallard] This is my favourite room in Villa Ocupada, Nantes. The room was created by Ever, an artist from Buenos Aires. 
Villa Ocupada is part of Le voyage à Nantes. They’ve asked a bunch of mural artists to transform a local administration building that is due to be taken down in 2015. They’ve dressed it up from top to bottom and the result is fantastic. 
[Some of the photos — the best ones — are © David Gallard] This is my favourite room in Villa Ocupada, Nantes. The room was created by Ever, an artist from Buenos Aires. 
Villa Ocupada is part of Le voyage à Nantes. They’ve asked a bunch of mural artists to transform a local administration building that is due to be taken down in 2015. They’ve dressed it up from top to bottom and the result is fantastic. 
[Some of the photos — the best ones — are © David Gallard] This is my favourite room in Villa Ocupada, Nantes. The room was created by Ever, an artist from Buenos Aires. 
Villa Ocupada is part of Le voyage à Nantes. They’ve asked a bunch of mural artists to transform a local administration building that is due to be taken down in 2015. They’ve dressed it up from top to bottom and the result is fantastic. 
[Some of the photos — the best ones — are © David Gallard] This is my favourite room in Villa Ocupada, Nantes. The room was created by Ever, an artist from Buenos Aires. 
Villa Ocupada is part of Le voyage à Nantes. They’ve asked a bunch of mural artists to transform a local administration building that is due to be taken down in 2015. They’ve dressed it up from top to bottom and the result is fantastic. 
[Some of the photos — the best ones — are © David Gallard] This is my favourite room in Villa Ocupada, Nantes. The room was created by Ever, an artist from Buenos Aires. 
Villa Ocupada is part of Le voyage à Nantes. They’ve asked a bunch of mural artists to transform a local administration building that is due to be taken down in 2015. They’ve dressed it up from top to bottom and the result is fantastic. 
[Some of the photos — the best ones — are © David Gallard] This is my favourite room in Villa Ocupada, Nantes. The room was created by Ever, an artist from Buenos Aires. 
Villa Ocupada is part of Le voyage à Nantes. They’ve asked a bunch of mural artists to transform a local administration building that is due to be taken down in 2015. They’ve dressed it up from top to bottom and the result is fantastic. 
[Some of the photos — the best ones — are © David Gallard]

    This is my favourite room in Villa Ocupada, Nantes. The room was created by Ever, an artist from Buenos Aires. 

    Villa Ocupada is part of Le voyage à Nantes. They’ve asked a bunch of mural artists to transform a local administration building that is due to be taken down in 2015. They’ve dressed it up from top to bottom and the result is fantastic. 

    [Some of the photos — the best ones — are © David Gallard]

    Maestro (2014) by Léa Fazer
In a gist: Young struggling moronic-but-charming actor gets cast by the Grand Master of Arty Farty French Cinema to play the title role in his latest high-brow art film. Cut to a delightfully chaotic shoot due to the (very) low-budget nature of the film. On-set slapstick-ish and vaudevillesque comedy ensues. Oh and our hero falls in love with his co-star, of course — she’s beautiful but way too intellectual for him and oh-so condescending towards him. But fear not, she will give in, although I frankly didn’t give a flying fuck because the only relationship that mattered — the one at the centre of the film — is the friendship that the young moronic actor strikes with the old Master filmmaker. 
- Pio Marmaï plays Henri Renaud, our young moronic-but-charming hero (yeah yeah, we keep rooting for him to get the girl).
- Michael Lonsdale plays Cédric Rovère, the old director.
- Déborah François plays Gloria, the girl.
- The film within the film — the one that Cédric Rovère is shooting with his young band of actors — is inspired by L’Astrée, an ancient epic French novel that tells the story of two Forezian shepherds called Astrée and Céladon. 
So although fun and light on its feet, and with some rare but genuinely tender moments, Maestro is rather forgettable… Except that there’s one thing that elevates it to a certain level of poignancy: its genesis. Maestro was co-written by French actor Jocelyn Quivrin who died in a car accident in 2009 before he had the chance to start shooting it. He based the story on his encounter with Grand Director Éric Rohmer and their collaboration on the film Les Amours d’Astrée et de Céladon. So actually Henri Renaud isJocelyn Quivrin and Cédric Rovère is Eric Rohmer. As for Gloria, she’s based on French actress Alice Taglioni whom Quivrin met not on the set of Les Amours d’Astrée et de Céladon but on different film. They were still together at the time of Quivrin’s death in 2009. Rohmer died a few months later. Maestro is dedicated to both of them. 

[Seen @ Cinéma Gaumont Nantes, Nantes, Saturday 2 August 2014] Maestro (2014) by Léa Fazer
In a gist: Young struggling moronic-but-charming actor gets cast by the Grand Master of Arty Farty French Cinema to play the title role in his latest high-brow art film. Cut to a delightfully chaotic shoot due to the (very) low-budget nature of the film. On-set slapstick-ish and vaudevillesque comedy ensues. Oh and our hero falls in love with his co-star, of course — she’s beautiful but way too intellectual for him and oh-so condescending towards him. But fear not, she will give in, although I frankly didn’t give a flying fuck because the only relationship that mattered — the one at the centre of the film — is the friendship that the young moronic actor strikes with the old Master filmmaker. 
- Pio Marmaï plays Henri Renaud, our young moronic-but-charming hero (yeah yeah, we keep rooting for him to get the girl).
- Michael Lonsdale plays Cédric Rovère, the old director.
- Déborah François plays Gloria, the girl.
- The film within the film — the one that Cédric Rovère is shooting with his young band of actors — is inspired by L’Astrée, an ancient epic French novel that tells the story of two Forezian shepherds called Astrée and Céladon. 
So although fun and light on its feet, and with some rare but genuinely tender moments, Maestro is rather forgettable… Except that there’s one thing that elevates it to a certain level of poignancy: its genesis. Maestro was co-written by French actor Jocelyn Quivrin who died in a car accident in 2009 before he had the chance to start shooting it. He based the story on his encounter with Grand Director Éric Rohmer and their collaboration on the film Les Amours d’Astrée et de Céladon. So actually Henri Renaud isJocelyn Quivrin and Cédric Rovère is Eric Rohmer. As for Gloria, she’s based on French actress Alice Taglioni whom Quivrin met not on the set of Les Amours d’Astrée et de Céladon but on different film. They were still together at the time of Quivrin’s death in 2009. Rohmer died a few months later. Maestro is dedicated to both of them. 

[Seen @ Cinéma Gaumont Nantes, Nantes, Saturday 2 August 2014] Maestro (2014) by Léa Fazer
In a gist: Young struggling moronic-but-charming actor gets cast by the Grand Master of Arty Farty French Cinema to play the title role in his latest high-brow art film. Cut to a delightfully chaotic shoot due to the (very) low-budget nature of the film. On-set slapstick-ish and vaudevillesque comedy ensues. Oh and our hero falls in love with his co-star, of course — she’s beautiful but way too intellectual for him and oh-so condescending towards him. But fear not, she will give in, although I frankly didn’t give a flying fuck because the only relationship that mattered — the one at the centre of the film — is the friendship that the young moronic actor strikes with the old Master filmmaker. 
- Pio Marmaï plays Henri Renaud, our young moronic-but-charming hero (yeah yeah, we keep rooting for him to get the girl).
- Michael Lonsdale plays Cédric Rovère, the old director.
- Déborah François plays Gloria, the girl.
- The film within the film — the one that Cédric Rovère is shooting with his young band of actors — is inspired by L’Astrée, an ancient epic French novel that tells the story of two Forezian shepherds called Astrée and Céladon. 
So although fun and light on its feet, and with some rare but genuinely tender moments, Maestro is rather forgettable… Except that there’s one thing that elevates it to a certain level of poignancy: its genesis. Maestro was co-written by French actor Jocelyn Quivrin who died in a car accident in 2009 before he had the chance to start shooting it. He based the story on his encounter with Grand Director Éric Rohmer and their collaboration on the film Les Amours d’Astrée et de Céladon. So actually Henri Renaud isJocelyn Quivrin and Cédric Rovère is Eric Rohmer. As for Gloria, she’s based on French actress Alice Taglioni whom Quivrin met not on the set of Les Amours d’Astrée et de Céladon but on different film. They were still together at the time of Quivrin’s death in 2009. Rohmer died a few months later. Maestro is dedicated to both of them. 

[Seen @ Cinéma Gaumont Nantes, Nantes, Saturday 2 August 2014] Maestro (2014) by Léa Fazer
In a gist: Young struggling moronic-but-charming actor gets cast by the Grand Master of Arty Farty French Cinema to play the title role in his latest high-brow art film. Cut to a delightfully chaotic shoot due to the (very) low-budget nature of the film. On-set slapstick-ish and vaudevillesque comedy ensues. Oh and our hero falls in love with his co-star, of course — she’s beautiful but way too intellectual for him and oh-so condescending towards him. But fear not, she will give in, although I frankly didn’t give a flying fuck because the only relationship that mattered — the one at the centre of the film — is the friendship that the young moronic actor strikes with the old Master filmmaker. 
- Pio Marmaï plays Henri Renaud, our young moronic-but-charming hero (yeah yeah, we keep rooting for him to get the girl).
- Michael Lonsdale plays Cédric Rovère, the old director.
- Déborah François plays Gloria, the girl.
- The film within the film — the one that Cédric Rovère is shooting with his young band of actors — is inspired by L’Astrée, an ancient epic French novel that tells the story of two Forezian shepherds called Astrée and Céladon. 
So although fun and light on its feet, and with some rare but genuinely tender moments, Maestro is rather forgettable… Except that there’s one thing that elevates it to a certain level of poignancy: its genesis. Maestro was co-written by French actor Jocelyn Quivrin who died in a car accident in 2009 before he had the chance to start shooting it. He based the story on his encounter with Grand Director Éric Rohmer and their collaboration on the film Les Amours d’Astrée et de Céladon. So actually Henri Renaud isJocelyn Quivrin and Cédric Rovère is Eric Rohmer. As for Gloria, she’s based on French actress Alice Taglioni whom Quivrin met not on the set of Les Amours d’Astrée et de Céladon but on different film. They were still together at the time of Quivrin’s death in 2009. Rohmer died a few months later. Maestro is dedicated to both of them. 

[Seen @ Cinéma Gaumont Nantes, Nantes, Saturday 2 August 2014] Maestro (2014) by Léa Fazer
In a gist: Young struggling moronic-but-charming actor gets cast by the Grand Master of Arty Farty French Cinema to play the title role in his latest high-brow art film. Cut to a delightfully chaotic shoot due to the (very) low-budget nature of the film. On-set slapstick-ish and vaudevillesque comedy ensues. Oh and our hero falls in love with his co-star, of course — she’s beautiful but way too intellectual for him and oh-so condescending towards him. But fear not, she will give in, although I frankly didn’t give a flying fuck because the only relationship that mattered — the one at the centre of the film — is the friendship that the young moronic actor strikes with the old Master filmmaker. 
- Pio Marmaï plays Henri Renaud, our young moronic-but-charming hero (yeah yeah, we keep rooting for him to get the girl).
- Michael Lonsdale plays Cédric Rovère, the old director.
- Déborah François plays Gloria, the girl.
- The film within the film — the one that Cédric Rovère is shooting with his young band of actors — is inspired by L’Astrée, an ancient epic French novel that tells the story of two Forezian shepherds called Astrée and Céladon. 
So although fun and light on its feet, and with some rare but genuinely tender moments, Maestro is rather forgettable… Except that there’s one thing that elevates it to a certain level of poignancy: its genesis. Maestro was co-written by French actor Jocelyn Quivrin who died in a car accident in 2009 before he had the chance to start shooting it. He based the story on his encounter with Grand Director Éric Rohmer and their collaboration on the film Les Amours d’Astrée et de Céladon. So actually Henri Renaud isJocelyn Quivrin and Cédric Rovère is Eric Rohmer. As for Gloria, she’s based on French actress Alice Taglioni whom Quivrin met not on the set of Les Amours d’Astrée et de Céladon but on different film. They were still together at the time of Quivrin’s death in 2009. Rohmer died a few months later. Maestro is dedicated to both of them. 

[Seen @ Cinéma Gaumont Nantes, Nantes, Saturday 2 August 2014] Maestro (2014) by Léa Fazer
In a gist: Young struggling moronic-but-charming actor gets cast by the Grand Master of Arty Farty French Cinema to play the title role in his latest high-brow art film. Cut to a delightfully chaotic shoot due to the (very) low-budget nature of the film. On-set slapstick-ish and vaudevillesque comedy ensues. Oh and our hero falls in love with his co-star, of course — she’s beautiful but way too intellectual for him and oh-so condescending towards him. But fear not, she will give in, although I frankly didn’t give a flying fuck because the only relationship that mattered — the one at the centre of the film — is the friendship that the young moronic actor strikes with the old Master filmmaker. 
- Pio Marmaï plays Henri Renaud, our young moronic-but-charming hero (yeah yeah, we keep rooting for him to get the girl).
- Michael Lonsdale plays Cédric Rovère, the old director.
- Déborah François plays Gloria, the girl.
- The film within the film — the one that Cédric Rovère is shooting with his young band of actors — is inspired by L’Astrée, an ancient epic French novel that tells the story of two Forezian shepherds called Astrée and Céladon. 
So although fun and light on its feet, and with some rare but genuinely tender moments, Maestro is rather forgettable… Except that there’s one thing that elevates it to a certain level of poignancy: its genesis. Maestro was co-written by French actor Jocelyn Quivrin who died in a car accident in 2009 before he had the chance to start shooting it. He based the story on his encounter with Grand Director Éric Rohmer and their collaboration on the film Les Amours d’Astrée et de Céladon. So actually Henri Renaud isJocelyn Quivrin and Cédric Rovère is Eric Rohmer. As for Gloria, she’s based on French actress Alice Taglioni whom Quivrin met not on the set of Les Amours d’Astrée et de Céladon but on different film. They were still together at the time of Quivrin’s death in 2009. Rohmer died a few months later. Maestro is dedicated to both of them. 

[Seen @ Cinéma Gaumont Nantes, Nantes, Saturday 2 August 2014] Maestro (2014) by Léa Fazer
In a gist: Young struggling moronic-but-charming actor gets cast by the Grand Master of Arty Farty French Cinema to play the title role in his latest high-brow art film. Cut to a delightfully chaotic shoot due to the (very) low-budget nature of the film. On-set slapstick-ish and vaudevillesque comedy ensues. Oh and our hero falls in love with his co-star, of course — she’s beautiful but way too intellectual for him and oh-so condescending towards him. But fear not, she will give in, although I frankly didn’t give a flying fuck because the only relationship that mattered — the one at the centre of the film — is the friendship that the young moronic actor strikes with the old Master filmmaker. 
- Pio Marmaï plays Henri Renaud, our young moronic-but-charming hero (yeah yeah, we keep rooting for him to get the girl).
- Michael Lonsdale plays Cédric Rovère, the old director.
- Déborah François plays Gloria, the girl.
- The film within the film — the one that Cédric Rovère is shooting with his young band of actors — is inspired by L’Astrée, an ancient epic French novel that tells the story of two Forezian shepherds called Astrée and Céladon. 
So although fun and light on its feet, and with some rare but genuinely tender moments, Maestro is rather forgettable… Except that there’s one thing that elevates it to a certain level of poignancy: its genesis. Maestro was co-written by French actor Jocelyn Quivrin who died in a car accident in 2009 before he had the chance to start shooting it. He based the story on his encounter with Grand Director Éric Rohmer and their collaboration on the film Les Amours d’Astrée et de Céladon. So actually Henri Renaud isJocelyn Quivrin and Cédric Rovère is Eric Rohmer. As for Gloria, she’s based on French actress Alice Taglioni whom Quivrin met not on the set of Les Amours d’Astrée et de Céladon but on different film. They were still together at the time of Quivrin’s death in 2009. Rohmer died a few months later. Maestro is dedicated to both of them. 

[Seen @ Cinéma Gaumont Nantes, Nantes, Saturday 2 August 2014] Maestro (2014) by Léa Fazer
In a gist: Young struggling moronic-but-charming actor gets cast by the Grand Master of Arty Farty French Cinema to play the title role in his latest high-brow art film. Cut to a delightfully chaotic shoot due to the (very) low-budget nature of the film. On-set slapstick-ish and vaudevillesque comedy ensues. Oh and our hero falls in love with his co-star, of course — she’s beautiful but way too intellectual for him and oh-so condescending towards him. But fear not, she will give in, although I frankly didn’t give a flying fuck because the only relationship that mattered — the one at the centre of the film — is the friendship that the young moronic actor strikes with the old Master filmmaker. 
- Pio Marmaï plays Henri Renaud, our young moronic-but-charming hero (yeah yeah, we keep rooting for him to get the girl).
- Michael Lonsdale plays Cédric Rovère, the old director.
- Déborah François plays Gloria, the girl.
- The film within the film — the one that Cédric Rovère is shooting with his young band of actors — is inspired by L’Astrée, an ancient epic French novel that tells the story of two Forezian shepherds called Astrée and Céladon. 
So although fun and light on its feet, and with some rare but genuinely tender moments, Maestro is rather forgettable… Except that there’s one thing that elevates it to a certain level of poignancy: its genesis. Maestro was co-written by French actor Jocelyn Quivrin who died in a car accident in 2009 before he had the chance to start shooting it. He based the story on his encounter with Grand Director Éric Rohmer and their collaboration on the film Les Amours d’Astrée et de Céladon. So actually Henri Renaud isJocelyn Quivrin and Cédric Rovère is Eric Rohmer. As for Gloria, she’s based on French actress Alice Taglioni whom Quivrin met not on the set of Les Amours d’Astrée et de Céladon but on different film. They were still together at the time of Quivrin’s death in 2009. Rohmer died a few months later. Maestro is dedicated to both of them. 

[Seen @ Cinéma Gaumont Nantes, Nantes, Saturday 2 August 2014] Maestro (2014) by Léa Fazer
In a gist: Young struggling moronic-but-charming actor gets cast by the Grand Master of Arty Farty French Cinema to play the title role in his latest high-brow art film. Cut to a delightfully chaotic shoot due to the (very) low-budget nature of the film. On-set slapstick-ish and vaudevillesque comedy ensues. Oh and our hero falls in love with his co-star, of course — she’s beautiful but way too intellectual for him and oh-so condescending towards him. But fear not, she will give in, although I frankly didn’t give a flying fuck because the only relationship that mattered — the one at the centre of the film — is the friendship that the young moronic actor strikes with the old Master filmmaker. 
- Pio Marmaï plays Henri Renaud, our young moronic-but-charming hero (yeah yeah, we keep rooting for him to get the girl).
- Michael Lonsdale plays Cédric Rovère, the old director.
- Déborah François plays Gloria, the girl.
- The film within the film — the one that Cédric Rovère is shooting with his young band of actors — is inspired by L’Astrée, an ancient epic French novel that tells the story of two Forezian shepherds called Astrée and Céladon. 
So although fun and light on its feet, and with some rare but genuinely tender moments, Maestro is rather forgettable… Except that there’s one thing that elevates it to a certain level of poignancy: its genesis. Maestro was co-written by French actor Jocelyn Quivrin who died in a car accident in 2009 before he had the chance to start shooting it. He based the story on his encounter with Grand Director Éric Rohmer and their collaboration on the film Les Amours d’Astrée et de Céladon. So actually Henri Renaud isJocelyn Quivrin and Cédric Rovère is Eric Rohmer. As for Gloria, she’s based on French actress Alice Taglioni whom Quivrin met not on the set of Les Amours d’Astrée et de Céladon but on different film. They were still together at the time of Quivrin’s death in 2009. Rohmer died a few months later. Maestro is dedicated to both of them. 

[Seen @ Cinéma Gaumont Nantes, Nantes, Saturday 2 August 2014] Maestro (2014) by Léa Fazer
In a gist: Young struggling moronic-but-charming actor gets cast by the Grand Master of Arty Farty French Cinema to play the title role in his latest high-brow art film. Cut to a delightfully chaotic shoot due to the (very) low-budget nature of the film. On-set slapstick-ish and vaudevillesque comedy ensues. Oh and our hero falls in love with his co-star, of course — she’s beautiful but way too intellectual for him and oh-so condescending towards him. But fear not, she will give in, although I frankly didn’t give a flying fuck because the only relationship that mattered — the one at the centre of the film — is the friendship that the young moronic actor strikes with the old Master filmmaker. 
- Pio Marmaï plays Henri Renaud, our young moronic-but-charming hero (yeah yeah, we keep rooting for him to get the girl).
- Michael Lonsdale plays Cédric Rovère, the old director.
- Déborah François plays Gloria, the girl.
- The film within the film — the one that Cédric Rovère is shooting with his young band of actors — is inspired by L’Astrée, an ancient epic French novel that tells the story of two Forezian shepherds called Astrée and Céladon. 
So although fun and light on its feet, and with some rare but genuinely tender moments, Maestro is rather forgettable… Except that there’s one thing that elevates it to a certain level of poignancy: its genesis. Maestro was co-written by French actor Jocelyn Quivrin who died in a car accident in 2009 before he had the chance to start shooting it. He based the story on his encounter with Grand Director Éric Rohmer and their collaboration on the film Les Amours d’Astrée et de Céladon. So actually Henri Renaud isJocelyn Quivrin and Cédric Rovère is Eric Rohmer. As for Gloria, she’s based on French actress Alice Taglioni whom Quivrin met not on the set of Les Amours d’Astrée et de Céladon but on different film. They were still together at the time of Quivrin’s death in 2009. Rohmer died a few months later. Maestro is dedicated to both of them. 

[Seen @ Cinéma Gaumont Nantes, Nantes, Saturday 2 August 2014]

      Maestro (2014) by Léa Fazer

      In a gist: Young struggling moronic-but-charming actor gets cast by the Grand Master of Arty Farty French Cinema to play the title role in his latest high-brow art film. Cut to a delightfully chaotic shoot due to the (very) low-budget nature of the film. On-set slapstick-ish and vaudevillesque comedy ensues. Oh and our hero falls in love with his co-star, of course — she’s beautiful but way too intellectual for him and oh-so condescending towards him. But fear not, she will give in, although I frankly didn’t give a flying fuck because the only relationship that mattered — the one at the centre of the film — is the friendship that the young moronic actor strikes with the old Master filmmaker. 

      Pio Marmaï plays Henri Renaud, our young moronic-but-charming hero (yeah yeah, we keep rooting for him to get the girl).

      Michael Lonsdale plays Cédric Rovère, the old director.

      Déborah François plays Gloria, the girl.

      - The film within the film — the one that Cédric Rovère is shooting with his young band of actors — is inspired by L’Astréean ancient epic French novel that tells the story of two Forezian shepherds called Astrée and Céladon

      So although fun and light on its feet, and with some rare but genuinely tender moments, Maestro is rather forgettable… Except that there’s one thing that elevates it to a certain level of poignancy: its genesis. Maestro was co-written by French actor Jocelyn Quivrin who died in a car accident in 2009 before he had the chance to start shooting it. He based the story on his encounter with Grand Director Éric Rohmer and their collaboration on the film Les Amours d’Astrée et de Céladon. So actually Henri Renaud isJocelyn Quivrin and Cédric Rovère is Eric Rohmer. As for Gloria, she’s based on French actress Alice Taglioni whom Quivrin met not on the set of Les Amours d’Astrée et de Céladon but on different film. They were still together at the time of Quivrin’s death in 2009. Rohmer died a few months later. Maestro is dedicated to both of them. 

      [Seen @ Cinéma Gaumont Nantes, Nantes, Saturday 2 August 2014]

      Zouzou (sur sa terrace), Beziers, France, Tuesday 29 July 2014

      "R" month or not, it’s oysters all year round for papa. (Plus copious amounts of wine.) I totally approve.

      Featured wine: Secret des Capitelles (cave de Saint-Chinian), Blanc, 2013
      Featured oysters: Bouzigues Oysters, No. 2

      Les Salauds (Bastards) (2013) by Claire Denis
Unfuckingbelievable. No matter how serious and dedicated I’ve tried to be about watching films over the past 25 years, my opinions can feel so utterly random and oh-so dependent on my mood. I remember seeing Trouble Every Day, hating it instantly & with passion, feeling pretty good about hating it, and never looking back… As I was watching Bastards tonight, it felt that I should have hated it for the exact same reasons as Trouble — something about the fabric of both films that felt similar to me (although two completely different genres: vampire gore vs film noir)… But god knows why, something clicked pretty early on during Bastards, and I embraced it.
Maybe I was in the right mood for it. Maybe Chiara Mastroianni's face did it for me. Maybe Tindersticks' awesome claustrophobic score had also something to do with it (although loving Tinderstick's soundtrack on Trouble Every Day didn’t prevent me from despising that film). Or could it be the eerie&classy Haussmannian Parisian building where most of the sexy scenes take place — the creaking floorboards, the high ceilings, the cold austere dark stairwell.
And maybe listening to Claire Denis talk after the screening helped.
She was being interviewed in English, and although her English is really good, she had to search for the right words, and I think that forced her to be extra thoughtful. I think she would have been a little more careless with her words in French (a consequence of fluency, I guess)… or maybe not, scrap that. Anyway, I liked that she thought long and hard before answering. She talked about her hate of the word “auteur”. Se talked about her attraction for the masculinity of male characters in cinema, how those characters are often grounded in reality, and the innocence that can be found in masculinity. With Bastards, she wanted Vincent Lindon to be strong, heroic, manly, but despite all that, she wanted him to be helpless and ultimately “fucked by the story”. I liked that. She talked about the challenges of shooting digital. She talked about her love of scouting for locations, how each location would dictate her use of close ups vs wide shots, and how shooting on location creates a certain rough quality on screen that she seeks. She talked well and carefully about other things too. And she wore a cool black leather jacket, which, again, could be why I liked her film… That’s how flaky I can be.
 [See on Tue 4 February 2014 @ Curzon Soho, London] Les Salauds (Bastards) (2013) by Claire Denis
Unfuckingbelievable. No matter how serious and dedicated I’ve tried to be about watching films over the past 25 years, my opinions can feel so utterly random and oh-so dependent on my mood. I remember seeing Trouble Every Day, hating it instantly & with passion, feeling pretty good about hating it, and never looking back… As I was watching Bastards tonight, it felt that I should have hated it for the exact same reasons as Trouble — something about the fabric of both films that felt similar to me (although two completely different genres: vampire gore vs film noir)… But god knows why, something clicked pretty early on during Bastards, and I embraced it.
Maybe I was in the right mood for it. Maybe Chiara Mastroianni's face did it for me. Maybe Tindersticks' awesome claustrophobic score had also something to do with it (although loving Tinderstick's soundtrack on Trouble Every Day didn’t prevent me from despising that film). Or could it be the eerie&classy Haussmannian Parisian building where most of the sexy scenes take place — the creaking floorboards, the high ceilings, the cold austere dark stairwell.
And maybe listening to Claire Denis talk after the screening helped.
She was being interviewed in English, and although her English is really good, she had to search for the right words, and I think that forced her to be extra thoughtful. I think she would have been a little more careless with her words in French (a consequence of fluency, I guess)… or maybe not, scrap that. Anyway, I liked that she thought long and hard before answering. She talked about her hate of the word “auteur”. Se talked about her attraction for the masculinity of male characters in cinema, how those characters are often grounded in reality, and the innocence that can be found in masculinity. With Bastards, she wanted Vincent Lindon to be strong, heroic, manly, but despite all that, she wanted him to be helpless and ultimately “fucked by the story”. I liked that. She talked about the challenges of shooting digital. She talked about her love of scouting for locations, how each location would dictate her use of close ups vs wide shots, and how shooting on location creates a certain rough quality on screen that she seeks. She talked well and carefully about other things too. And she wore a cool black leather jacket, which, again, could be why I liked her film… That’s how flaky I can be.
 [See on Tue 4 February 2014 @ Curzon Soho, London] Les Salauds (Bastards) (2013) by Claire Denis
Unfuckingbelievable. No matter how serious and dedicated I’ve tried to be about watching films over the past 25 years, my opinions can feel so utterly random and oh-so dependent on my mood. I remember seeing Trouble Every Day, hating it instantly & with passion, feeling pretty good about hating it, and never looking back… As I was watching Bastards tonight, it felt that I should have hated it for the exact same reasons as Trouble — something about the fabric of both films that felt similar to me (although two completely different genres: vampire gore vs film noir)… But god knows why, something clicked pretty early on during Bastards, and I embraced it.
Maybe I was in the right mood for it. Maybe Chiara Mastroianni's face did it for me. Maybe Tindersticks' awesome claustrophobic score had also something to do with it (although loving Tinderstick's soundtrack on Trouble Every Day didn’t prevent me from despising that film). Or could it be the eerie&classy Haussmannian Parisian building where most of the sexy scenes take place — the creaking floorboards, the high ceilings, the cold austere dark stairwell.
And maybe listening to Claire Denis talk after the screening helped.
She was being interviewed in English, and although her English is really good, she had to search for the right words, and I think that forced her to be extra thoughtful. I think she would have been a little more careless with her words in French (a consequence of fluency, I guess)… or maybe not, scrap that. Anyway, I liked that she thought long and hard before answering. She talked about her hate of the word “auteur”. Se talked about her attraction for the masculinity of male characters in cinema, how those characters are often grounded in reality, and the innocence that can be found in masculinity. With Bastards, she wanted Vincent Lindon to be strong, heroic, manly, but despite all that, she wanted him to be helpless and ultimately “fucked by the story”. I liked that. She talked about the challenges of shooting digital. She talked about her love of scouting for locations, how each location would dictate her use of close ups vs wide shots, and how shooting on location creates a certain rough quality on screen that she seeks. She talked well and carefully about other things too. And she wore a cool black leather jacket, which, again, could be why I liked her film… That’s how flaky I can be.
 [See on Tue 4 February 2014 @ Curzon Soho, London] Les Salauds (Bastards) (2013) by Claire Denis
Unfuckingbelievable. No matter how serious and dedicated I’ve tried to be about watching films over the past 25 years, my opinions can feel so utterly random and oh-so dependent on my mood. I remember seeing Trouble Every Day, hating it instantly & with passion, feeling pretty good about hating it, and never looking back… As I was watching Bastards tonight, it felt that I should have hated it for the exact same reasons as Trouble — something about the fabric of both films that felt similar to me (although two completely different genres: vampire gore vs film noir)… But god knows why, something clicked pretty early on during Bastards, and I embraced it.
Maybe I was in the right mood for it. Maybe Chiara Mastroianni's face did it for me. Maybe Tindersticks' awesome claustrophobic score had also something to do with it (although loving Tinderstick's soundtrack on Trouble Every Day didn’t prevent me from despising that film). Or could it be the eerie&classy Haussmannian Parisian building where most of the sexy scenes take place — the creaking floorboards, the high ceilings, the cold austere dark stairwell.
And maybe listening to Claire Denis talk after the screening helped.
She was being interviewed in English, and although her English is really good, she had to search for the right words, and I think that forced her to be extra thoughtful. I think she would have been a little more careless with her words in French (a consequence of fluency, I guess)… or maybe not, scrap that. Anyway, I liked that she thought long and hard before answering. She talked about her hate of the word “auteur”. Se talked about her attraction for the masculinity of male characters in cinema, how those characters are often grounded in reality, and the innocence that can be found in masculinity. With Bastards, she wanted Vincent Lindon to be strong, heroic, manly, but despite all that, she wanted him to be helpless and ultimately “fucked by the story”. I liked that. She talked about the challenges of shooting digital. She talked about her love of scouting for locations, how each location would dictate her use of close ups vs wide shots, and how shooting on location creates a certain rough quality on screen that she seeks. She talked well and carefully about other things too. And she wore a cool black leather jacket, which, again, could be why I liked her film… That’s how flaky I can be.
 [See on Tue 4 February 2014 @ Curzon Soho, London] Les Salauds (Bastards) (2013) by Claire Denis
Unfuckingbelievable. No matter how serious and dedicated I’ve tried to be about watching films over the past 25 years, my opinions can feel so utterly random and oh-so dependent on my mood. I remember seeing Trouble Every Day, hating it instantly & with passion, feeling pretty good about hating it, and never looking back… As I was watching Bastards tonight, it felt that I should have hated it for the exact same reasons as Trouble — something about the fabric of both films that felt similar to me (although two completely different genres: vampire gore vs film noir)… But god knows why, something clicked pretty early on during Bastards, and I embraced it.
Maybe I was in the right mood for it. Maybe Chiara Mastroianni's face did it for me. Maybe Tindersticks' awesome claustrophobic score had also something to do with it (although loving Tinderstick's soundtrack on Trouble Every Day didn’t prevent me from despising that film). Or could it be the eerie&classy Haussmannian Parisian building where most of the sexy scenes take place — the creaking floorboards, the high ceilings, the cold austere dark stairwell.
And maybe listening to Claire Denis talk after the screening helped.
She was being interviewed in English, and although her English is really good, she had to search for the right words, and I think that forced her to be extra thoughtful. I think she would have been a little more careless with her words in French (a consequence of fluency, I guess)… or maybe not, scrap that. Anyway, I liked that she thought long and hard before answering. She talked about her hate of the word “auteur”. Se talked about her attraction for the masculinity of male characters in cinema, how those characters are often grounded in reality, and the innocence that can be found in masculinity. With Bastards, she wanted Vincent Lindon to be strong, heroic, manly, but despite all that, she wanted him to be helpless and ultimately “fucked by the story”. I liked that. She talked about the challenges of shooting digital. She talked about her love of scouting for locations, how each location would dictate her use of close ups vs wide shots, and how shooting on location creates a certain rough quality on screen that she seeks. She talked well and carefully about other things too. And she wore a cool black leather jacket, which, again, could be why I liked her film… That’s how flaky I can be.
 [See on Tue 4 February 2014 @ Curzon Soho, London] Les Salauds (Bastards) (2013) by Claire Denis
Unfuckingbelievable. No matter how serious and dedicated I’ve tried to be about watching films over the past 25 years, my opinions can feel so utterly random and oh-so dependent on my mood. I remember seeing Trouble Every Day, hating it instantly & with passion, feeling pretty good about hating it, and never looking back… As I was watching Bastards tonight, it felt that I should have hated it for the exact same reasons as Trouble — something about the fabric of both films that felt similar to me (although two completely different genres: vampire gore vs film noir)… But god knows why, something clicked pretty early on during Bastards, and I embraced it.
Maybe I was in the right mood for it. Maybe Chiara Mastroianni's face did it for me. Maybe Tindersticks' awesome claustrophobic score had also something to do with it (although loving Tinderstick's soundtrack on Trouble Every Day didn’t prevent me from despising that film). Or could it be the eerie&classy Haussmannian Parisian building where most of the sexy scenes take place — the creaking floorboards, the high ceilings, the cold austere dark stairwell.
And maybe listening to Claire Denis talk after the screening helped.
She was being interviewed in English, and although her English is really good, she had to search for the right words, and I think that forced her to be extra thoughtful. I think she would have been a little more careless with her words in French (a consequence of fluency, I guess)… or maybe not, scrap that. Anyway, I liked that she thought long and hard before answering. She talked about her hate of the word “auteur”. Se talked about her attraction for the masculinity of male characters in cinema, how those characters are often grounded in reality, and the innocence that can be found in masculinity. With Bastards, she wanted Vincent Lindon to be strong, heroic, manly, but despite all that, she wanted him to be helpless and ultimately “fucked by the story”. I liked that. She talked about the challenges of shooting digital. She talked about her love of scouting for locations, how each location would dictate her use of close ups vs wide shots, and how shooting on location creates a certain rough quality on screen that she seeks. She talked well and carefully about other things too. And she wore a cool black leather jacket, which, again, could be why I liked her film… That’s how flaky I can be.
 [See on Tue 4 February 2014 @ Curzon Soho, London] Les Salauds (Bastards) (2013) by Claire Denis
Unfuckingbelievable. No matter how serious and dedicated I’ve tried to be about watching films over the past 25 years, my opinions can feel so utterly random and oh-so dependent on my mood. I remember seeing Trouble Every Day, hating it instantly & with passion, feeling pretty good about hating it, and never looking back… As I was watching Bastards tonight, it felt that I should have hated it for the exact same reasons as Trouble — something about the fabric of both films that felt similar to me (although two completely different genres: vampire gore vs film noir)… But god knows why, something clicked pretty early on during Bastards, and I embraced it.
Maybe I was in the right mood for it. Maybe Chiara Mastroianni's face did it for me. Maybe Tindersticks' awesome claustrophobic score had also something to do with it (although loving Tinderstick's soundtrack on Trouble Every Day didn’t prevent me from despising that film). Or could it be the eerie&classy Haussmannian Parisian building where most of the sexy scenes take place — the creaking floorboards, the high ceilings, the cold austere dark stairwell.
And maybe listening to Claire Denis talk after the screening helped.
She was being interviewed in English, and although her English is really good, she had to search for the right words, and I think that forced her to be extra thoughtful. I think she would have been a little more careless with her words in French (a consequence of fluency, I guess)… or maybe not, scrap that. Anyway, I liked that she thought long and hard before answering. She talked about her hate of the word “auteur”. Se talked about her attraction for the masculinity of male characters in cinema, how those characters are often grounded in reality, and the innocence that can be found in masculinity. With Bastards, she wanted Vincent Lindon to be strong, heroic, manly, but despite all that, she wanted him to be helpless and ultimately “fucked by the story”. I liked that. She talked about the challenges of shooting digital. She talked about her love of scouting for locations, how each location would dictate her use of close ups vs wide shots, and how shooting on location creates a certain rough quality on screen that she seeks. She talked well and carefully about other things too. And she wore a cool black leather jacket, which, again, could be why I liked her film… That’s how flaky I can be.
 [See on Tue 4 February 2014 @ Curzon Soho, London] Les Salauds (Bastards) (2013) by Claire Denis
Unfuckingbelievable. No matter how serious and dedicated I’ve tried to be about watching films over the past 25 years, my opinions can feel so utterly random and oh-so dependent on my mood. I remember seeing Trouble Every Day, hating it instantly & with passion, feeling pretty good about hating it, and never looking back… As I was watching Bastards tonight, it felt that I should have hated it for the exact same reasons as Trouble — something about the fabric of both films that felt similar to me (although two completely different genres: vampire gore vs film noir)… But god knows why, something clicked pretty early on during Bastards, and I embraced it.
Maybe I was in the right mood for it. Maybe Chiara Mastroianni's face did it for me. Maybe Tindersticks' awesome claustrophobic score had also something to do with it (although loving Tinderstick's soundtrack on Trouble Every Day didn’t prevent me from despising that film). Or could it be the eerie&classy Haussmannian Parisian building where most of the sexy scenes take place — the creaking floorboards, the high ceilings, the cold austere dark stairwell.
And maybe listening to Claire Denis talk after the screening helped.
She was being interviewed in English, and although her English is really good, she had to search for the right words, and I think that forced her to be extra thoughtful. I think she would have been a little more careless with her words in French (a consequence of fluency, I guess)… or maybe not, scrap that. Anyway, I liked that she thought long and hard before answering. She talked about her hate of the word “auteur”. Se talked about her attraction for the masculinity of male characters in cinema, how those characters are often grounded in reality, and the innocence that can be found in masculinity. With Bastards, she wanted Vincent Lindon to be strong, heroic, manly, but despite all that, she wanted him to be helpless and ultimately “fucked by the story”. I liked that. She talked about the challenges of shooting digital. She talked about her love of scouting for locations, how each location would dictate her use of close ups vs wide shots, and how shooting on location creates a certain rough quality on screen that she seeks. She talked well and carefully about other things too. And she wore a cool black leather jacket, which, again, could be why I liked her film… That’s how flaky I can be.
 [See on Tue 4 February 2014 @ Curzon Soho, London] Les Salauds (Bastards) (2013) by Claire Denis
Unfuckingbelievable. No matter how serious and dedicated I’ve tried to be about watching films over the past 25 years, my opinions can feel so utterly random and oh-so dependent on my mood. I remember seeing Trouble Every Day, hating it instantly & with passion, feeling pretty good about hating it, and never looking back… As I was watching Bastards tonight, it felt that I should have hated it for the exact same reasons as Trouble — something about the fabric of both films that felt similar to me (although two completely different genres: vampire gore vs film noir)… But god knows why, something clicked pretty early on during Bastards, and I embraced it.
Maybe I was in the right mood for it. Maybe Chiara Mastroianni's face did it for me. Maybe Tindersticks' awesome claustrophobic score had also something to do with it (although loving Tinderstick's soundtrack on Trouble Every Day didn’t prevent me from despising that film). Or could it be the eerie&classy Haussmannian Parisian building where most of the sexy scenes take place — the creaking floorboards, the high ceilings, the cold austere dark stairwell.
And maybe listening to Claire Denis talk after the screening helped.
She was being interviewed in English, and although her English is really good, she had to search for the right words, and I think that forced her to be extra thoughtful. I think she would have been a little more careless with her words in French (a consequence of fluency, I guess)… or maybe not, scrap that. Anyway, I liked that she thought long and hard before answering. She talked about her hate of the word “auteur”. Se talked about her attraction for the masculinity of male characters in cinema, how those characters are often grounded in reality, and the innocence that can be found in masculinity. With Bastards, she wanted Vincent Lindon to be strong, heroic, manly, but despite all that, she wanted him to be helpless and ultimately “fucked by the story”. I liked that. She talked about the challenges of shooting digital. She talked about her love of scouting for locations, how each location would dictate her use of close ups vs wide shots, and how shooting on location creates a certain rough quality on screen that she seeks. She talked well and carefully about other things too. And she wore a cool black leather jacket, which, again, could be why I liked her film… That’s how flaky I can be.
 [See on Tue 4 February 2014 @ Curzon Soho, London] Les Salauds (Bastards) (2013) by Claire Denis
Unfuckingbelievable. No matter how serious and dedicated I’ve tried to be about watching films over the past 25 years, my opinions can feel so utterly random and oh-so dependent on my mood. I remember seeing Trouble Every Day, hating it instantly & with passion, feeling pretty good about hating it, and never looking back… As I was watching Bastards tonight, it felt that I should have hated it for the exact same reasons as Trouble — something about the fabric of both films that felt similar to me (although two completely different genres: vampire gore vs film noir)… But god knows why, something clicked pretty early on during Bastards, and I embraced it.
Maybe I was in the right mood for it. Maybe Chiara Mastroianni's face did it for me. Maybe Tindersticks' awesome claustrophobic score had also something to do with it (although loving Tinderstick's soundtrack on Trouble Every Day didn’t prevent me from despising that film). Or could it be the eerie&classy Haussmannian Parisian building where most of the sexy scenes take place — the creaking floorboards, the high ceilings, the cold austere dark stairwell.
And maybe listening to Claire Denis talk after the screening helped.
She was being interviewed in English, and although her English is really good, she had to search for the right words, and I think that forced her to be extra thoughtful. I think she would have been a little more careless with her words in French (a consequence of fluency, I guess)… or maybe not, scrap that. Anyway, I liked that she thought long and hard before answering. She talked about her hate of the word “auteur”. Se talked about her attraction for the masculinity of male characters in cinema, how those characters are often grounded in reality, and the innocence that can be found in masculinity. With Bastards, she wanted Vincent Lindon to be strong, heroic, manly, but despite all that, she wanted him to be helpless and ultimately “fucked by the story”. I liked that. She talked about the challenges of shooting digital. She talked about her love of scouting for locations, how each location would dictate her use of close ups vs wide shots, and how shooting on location creates a certain rough quality on screen that she seeks. She talked well and carefully about other things too. And she wore a cool black leather jacket, which, again, could be why I liked her film… That’s how flaky I can be.
 [See on Tue 4 February 2014 @ Curzon Soho, London]

        Les Salauds (Bastards) (2013) by Claire Denis

        Unfuckingbelievable. No matter how serious and dedicated I’ve tried to be about watching films over the past 25 years, my opinions can feel so utterly random and oh-so dependent on my mood. I remember seeing Trouble Every Day, hating it instantly & with passion, feeling pretty good about hating it, and never looking back… As I was watching Bastards tonight, it felt that I should have hated it for the exact same reasons as Trouble — something about the fabric of both films that felt similar to me (although two completely different genres: vampire gore vs film noir)… But god knows why, something clicked pretty early on during Bastards, and I embraced it.

        Maybe I was in the right mood for it. Maybe Chiara Mastroianni's face did it for me. Maybe Tindersticks' awesome claustrophobic score had also something to do with it (although loving Tinderstick's soundtrack on Trouble Every Day didn’t prevent me from despising that film). Or could it be the eerie&classy Haussmannian Parisian building where most of the sexy scenes take place — the creaking floorboards, the high ceilings, the cold austere dark stairwell.

        And maybe listening to Claire Denis talk after the screening helped.

        She was being interviewed in English, and although her English is really good, she had to search for the right words, and I think that forced her to be extra thoughtful. I think she would have been a little more careless with her words in French (a consequence of fluency, I guess)… or maybe not, scrap that. Anyway, I liked that she thought long and hard before answering. She talked about her hate of the word “auteur”. Se talked about her attraction for the masculinity of male characters in cinema, how those characters are often grounded in reality, and the innocence that can be found in masculinity. With Bastards, she wanted Vincent Lindon to be strong, heroic, manly, but despite all that, she wanted him to be helpless and ultimately “fucked by the story”. I liked that. She talked about the challenges of shooting digital. She talked about her love of scouting for locations, how each location would dictate her use of close ups vs wide shots, and how shooting on location creates a certain rough quality on screen that she seeks. She talked well and carefully about other things too. And she wore a cool black leather jacket, which, again, could be why I liked her film… That’s how flaky I can be.

         [See on Tue 4 February 2014 @ Curzon Soho, London]

        Les garçons et Guillaume, à table (Me, Myself and Mum) (2013) by Guillaume Gallienne
I spent a few days in France over Christmas and crammed as many French films (on the big screen) as time would allow me while I was there. Crucial considering how poorly non-Ozon France is represented in UK cinemas. I knew absolutely nothing about Les garçons et Guillaume, à table apart from the fact that my own mum loved it and that Guillaume Gallienne played both main roles (himself and his mother). So I went, and boy did I laugh. I laughed, and laughed, and laughed. And laughed some more. One might also find it poignant and what not, but really, it’s just hilarious.
It’s a screen adaptation of Gallienne’s own autobiographical one-man show and the film is currently enjoying a phenomenal success in France. It’s been bought by distributors around the world but it looks like the UK and the US are waiting to see how it fares internationally before deciding to get it — they might be wondering, rightly so, if the film’s humour will translate that well abroad, but I really hope they do show it. 
[Sidenote: Françoise Fabian is very funny as the grandmother+ fun cameos from Reda Kateb and Diane Kruger]
[Seen @ Cinéma Katorza, Nantes, 26 December 2013] Les garçons et Guillaume, à table (Me, Myself and Mum) (2013) by Guillaume Gallienne
I spent a few days in France over Christmas and crammed as many French films (on the big screen) as time would allow me while I was there. Crucial considering how poorly non-Ozon France is represented in UK cinemas. I knew absolutely nothing about Les garçons et Guillaume, à table apart from the fact that my own mum loved it and that Guillaume Gallienne played both main roles (himself and his mother). So I went, and boy did I laugh. I laughed, and laughed, and laughed. And laughed some more. One might also find it poignant and what not, but really, it’s just hilarious.
It’s a screen adaptation of Gallienne’s own autobiographical one-man show and the film is currently enjoying a phenomenal success in France. It’s been bought by distributors around the world but it looks like the UK and the US are waiting to see how it fares internationally before deciding to get it — they might be wondering, rightly so, if the film’s humour will translate that well abroad, but I really hope they do show it. 
[Sidenote: Françoise Fabian is very funny as the grandmother+ fun cameos from Reda Kateb and Diane Kruger]
[Seen @ Cinéma Katorza, Nantes, 26 December 2013] Les garçons et Guillaume, à table (Me, Myself and Mum) (2013) by Guillaume Gallienne
I spent a few days in France over Christmas and crammed as many French films (on the big screen) as time would allow me while I was there. Crucial considering how poorly non-Ozon France is represented in UK cinemas. I knew absolutely nothing about Les garçons et Guillaume, à table apart from the fact that my own mum loved it and that Guillaume Gallienne played both main roles (himself and his mother). So I went, and boy did I laugh. I laughed, and laughed, and laughed. And laughed some more. One might also find it poignant and what not, but really, it’s just hilarious.
It’s a screen adaptation of Gallienne’s own autobiographical one-man show and the film is currently enjoying a phenomenal success in France. It’s been bought by distributors around the world but it looks like the UK and the US are waiting to see how it fares internationally before deciding to get it — they might be wondering, rightly so, if the film’s humour will translate that well abroad, but I really hope they do show it. 
[Sidenote: Françoise Fabian is very funny as the grandmother+ fun cameos from Reda Kateb and Diane Kruger]
[Seen @ Cinéma Katorza, Nantes, 26 December 2013] Les garçons et Guillaume, à table (Me, Myself and Mum) (2013) by Guillaume Gallienne
I spent a few days in France over Christmas and crammed as many French films (on the big screen) as time would allow me while I was there. Crucial considering how poorly non-Ozon France is represented in UK cinemas. I knew absolutely nothing about Les garçons et Guillaume, à table apart from the fact that my own mum loved it and that Guillaume Gallienne played both main roles (himself and his mother). So I went, and boy did I laugh. I laughed, and laughed, and laughed. And laughed some more. One might also find it poignant and what not, but really, it’s just hilarious.
It’s a screen adaptation of Gallienne’s own autobiographical one-man show and the film is currently enjoying a phenomenal success in France. It’s been bought by distributors around the world but it looks like the UK and the US are waiting to see how it fares internationally before deciding to get it — they might be wondering, rightly so, if the film’s humour will translate that well abroad, but I really hope they do show it. 
[Sidenote: Françoise Fabian is very funny as the grandmother+ fun cameos from Reda Kateb and Diane Kruger]
[Seen @ Cinéma Katorza, Nantes, 26 December 2013] Les garçons et Guillaume, à table (Me, Myself and Mum) (2013) by Guillaume Gallienne
I spent a few days in France over Christmas and crammed as many French films (on the big screen) as time would allow me while I was there. Crucial considering how poorly non-Ozon France is represented in UK cinemas. I knew absolutely nothing about Les garçons et Guillaume, à table apart from the fact that my own mum loved it and that Guillaume Gallienne played both main roles (himself and his mother). So I went, and boy did I laugh. I laughed, and laughed, and laughed. And laughed some more. One might also find it poignant and what not, but really, it’s just hilarious.
It’s a screen adaptation of Gallienne’s own autobiographical one-man show and the film is currently enjoying a phenomenal success in France. It’s been bought by distributors around the world but it looks like the UK and the US are waiting to see how it fares internationally before deciding to get it — they might be wondering, rightly so, if the film’s humour will translate that well abroad, but I really hope they do show it. 
[Sidenote: Françoise Fabian is very funny as the grandmother+ fun cameos from Reda Kateb and Diane Kruger]
[Seen @ Cinéma Katorza, Nantes, 26 December 2013] Les garçons et Guillaume, à table (Me, Myself and Mum) (2013) by Guillaume Gallienne
I spent a few days in France over Christmas and crammed as many French films (on the big screen) as time would allow me while I was there. Crucial considering how poorly non-Ozon France is represented in UK cinemas. I knew absolutely nothing about Les garçons et Guillaume, à table apart from the fact that my own mum loved it and that Guillaume Gallienne played both main roles (himself and his mother). So I went, and boy did I laugh. I laughed, and laughed, and laughed. And laughed some more. One might also find it poignant and what not, but really, it’s just hilarious.
It’s a screen adaptation of Gallienne’s own autobiographical one-man show and the film is currently enjoying a phenomenal success in France. It’s been bought by distributors around the world but it looks like the UK and the US are waiting to see how it fares internationally before deciding to get it — they might be wondering, rightly so, if the film’s humour will translate that well abroad, but I really hope they do show it. 
[Sidenote: Françoise Fabian is very funny as the grandmother+ fun cameos from Reda Kateb and Diane Kruger]
[Seen @ Cinéma Katorza, Nantes, 26 December 2013] Les garçons et Guillaume, à table (Me, Myself and Mum) (2013) by Guillaume Gallienne
I spent a few days in France over Christmas and crammed as many French films (on the big screen) as time would allow me while I was there. Crucial considering how poorly non-Ozon France is represented in UK cinemas. I knew absolutely nothing about Les garçons et Guillaume, à table apart from the fact that my own mum loved it and that Guillaume Gallienne played both main roles (himself and his mother). So I went, and boy did I laugh. I laughed, and laughed, and laughed. And laughed some more. One might also find it poignant and what not, but really, it’s just hilarious.
It’s a screen adaptation of Gallienne’s own autobiographical one-man show and the film is currently enjoying a phenomenal success in France. It’s been bought by distributors around the world but it looks like the UK and the US are waiting to see how it fares internationally before deciding to get it — they might be wondering, rightly so, if the film’s humour will translate that well abroad, but I really hope they do show it. 
[Sidenote: Françoise Fabian is very funny as the grandmother+ fun cameos from Reda Kateb and Diane Kruger]
[Seen @ Cinéma Katorza, Nantes, 26 December 2013] Les garçons et Guillaume, à table (Me, Myself and Mum) (2013) by Guillaume Gallienne
I spent a few days in France over Christmas and crammed as many French films (on the big screen) as time would allow me while I was there. Crucial considering how poorly non-Ozon France is represented in UK cinemas. I knew absolutely nothing about Les garçons et Guillaume, à table apart from the fact that my own mum loved it and that Guillaume Gallienne played both main roles (himself and his mother). So I went, and boy did I laugh. I laughed, and laughed, and laughed. And laughed some more. One might also find it poignant and what not, but really, it’s just hilarious.
It’s a screen adaptation of Gallienne’s own autobiographical one-man show and the film is currently enjoying a phenomenal success in France. It’s been bought by distributors around the world but it looks like the UK and the US are waiting to see how it fares internationally before deciding to get it — they might be wondering, rightly so, if the film’s humour will translate that well abroad, but I really hope they do show it. 
[Sidenote: Françoise Fabian is very funny as the grandmother+ fun cameos from Reda Kateb and Diane Kruger]
[Seen @ Cinéma Katorza, Nantes, 26 December 2013] Les garçons et Guillaume, à table (Me, Myself and Mum) (2013) by Guillaume Gallienne
I spent a few days in France over Christmas and crammed as many French films (on the big screen) as time would allow me while I was there. Crucial considering how poorly non-Ozon France is represented in UK cinemas. I knew absolutely nothing about Les garçons et Guillaume, à table apart from the fact that my own mum loved it and that Guillaume Gallienne played both main roles (himself and his mother). So I went, and boy did I laugh. I laughed, and laughed, and laughed. And laughed some more. One might also find it poignant and what not, but really, it’s just hilarious.
It’s a screen adaptation of Gallienne’s own autobiographical one-man show and the film is currently enjoying a phenomenal success in France. It’s been bought by distributors around the world but it looks like the UK and the US are waiting to see how it fares internationally before deciding to get it — they might be wondering, rightly so, if the film’s humour will translate that well abroad, but I really hope they do show it. 
[Sidenote: Françoise Fabian is very funny as the grandmother+ fun cameos from Reda Kateb and Diane Kruger]
[Seen @ Cinéma Katorza, Nantes, 26 December 2013] Les garçons et Guillaume, à table (Me, Myself and Mum) (2013) by Guillaume Gallienne
I spent a few days in France over Christmas and crammed as many French films (on the big screen) as time would allow me while I was there. Crucial considering how poorly non-Ozon France is represented in UK cinemas. I knew absolutely nothing about Les garçons et Guillaume, à table apart from the fact that my own mum loved it and that Guillaume Gallienne played both main roles (himself and his mother). So I went, and boy did I laugh. I laughed, and laughed, and laughed. And laughed some more. One might also find it poignant and what not, but really, it’s just hilarious.
It’s a screen adaptation of Gallienne’s own autobiographical one-man show and the film is currently enjoying a phenomenal success in France. It’s been bought by distributors around the world but it looks like the UK and the US are waiting to see how it fares internationally before deciding to get it — they might be wondering, rightly so, if the film’s humour will translate that well abroad, but I really hope they do show it. 
[Sidenote: Françoise Fabian is very funny as the grandmother+ fun cameos from Reda Kateb and Diane Kruger]
[Seen @ Cinéma Katorza, Nantes, 26 December 2013]

          Les garçons et Guillaume, à table (Me, Myself and Mum) (2013) by Guillaume Gallienne

          I spent a few days in France over Christmas and crammed as many French films (on the big screen) as time would allow me while I was there. Crucial considering how poorly non-Ozon France is represented in UK cinemas. I knew absolutely nothing about Les garçons et Guillaume, à table apart from the fact that my own mum loved it and that Guillaume Gallienne played both main roles (himself and his mother). So I went, and boy did I laugh. I laughed, and laughed, and laughed. And laughed some more. One might also find it poignant and what not, but really, it’s just hilarious.

          It’s a screen adaptation of Gallienne’s own autobiographical one-man show and the film is currently enjoying a phenomenal success in France. It’s been bought by distributors around the world but it looks like the UK and the US are waiting to see how it fares internationally before deciding to get it — they might be wondering, rightly so, if the film’s humour will translate that well abroad, but I really hope they do show it. 

          [Sidenote: Françoise Fabian is very funny as the grandmother+ fun cameos from Reda Kateb and Diane Kruger]

          [Seen @ Cinéma Katorza, Nantes, 26 December 2013]

          Suzanne (2013) by Katell Quillévéré
For the superb acting (Sara Forestier as Suzanne, François Damiens as her dad, Adèle Haenel as her sister, Paul Hamy as her lover & demise).
Catherine Shoard for the Guardian:

the sort of woozily shot, remorselessly emotional, acutely observed socio-realist soap that both confounds and confirms chick-flick prejudice.
…
Yet the brilliance of Quillévéré’s direction is in the performances she coaxes from her cast, and the clear-eyed, non-judgmental way she presents them. François Damiens, a Belgian actor previously seen bumbling about in the likes of Heartbreaker and Delicacy, is brilliant as the father: almost unbearably moving in a courthouse scene in which a roll-call of minor charges are levelled at his daughter, whom he hasn’t seen for years. As the sister who moves from tearaway to matriarch, Adèle Haenel is terrific, too; but Sara Forestier is just indelible in the lead, brimful of feeling and sympathetic stupidity, now depressed, now quixotic, never obvious or vain.

[Seen @ Gaumont cinema, Nantes, 26 December 2013] Suzanne (2013) by Katell Quillévéré
For the superb acting (Sara Forestier as Suzanne, François Damiens as her dad, Adèle Haenel as her sister, Paul Hamy as her lover & demise).
Catherine Shoard for the Guardian:

the sort of woozily shot, remorselessly emotional, acutely observed socio-realist soap that both confounds and confirms chick-flick prejudice.
…
Yet the brilliance of Quillévéré’s direction is in the performances she coaxes from her cast, and the clear-eyed, non-judgmental way she presents them. François Damiens, a Belgian actor previously seen bumbling about in the likes of Heartbreaker and Delicacy, is brilliant as the father: almost unbearably moving in a courthouse scene in which a roll-call of minor charges are levelled at his daughter, whom he hasn’t seen for years. As the sister who moves from tearaway to matriarch, Adèle Haenel is terrific, too; but Sara Forestier is just indelible in the lead, brimful of feeling and sympathetic stupidity, now depressed, now quixotic, never obvious or vain.

[Seen @ Gaumont cinema, Nantes, 26 December 2013] Suzanne (2013) by Katell Quillévéré
For the superb acting (Sara Forestier as Suzanne, François Damiens as her dad, Adèle Haenel as her sister, Paul Hamy as her lover & demise).
Catherine Shoard for the Guardian:

the sort of woozily shot, remorselessly emotional, acutely observed socio-realist soap that both confounds and confirms chick-flick prejudice.
…
Yet the brilliance of Quillévéré’s direction is in the performances she coaxes from her cast, and the clear-eyed, non-judgmental way she presents them. François Damiens, a Belgian actor previously seen bumbling about in the likes of Heartbreaker and Delicacy, is brilliant as the father: almost unbearably moving in a courthouse scene in which a roll-call of minor charges are levelled at his daughter, whom he hasn’t seen for years. As the sister who moves from tearaway to matriarch, Adèle Haenel is terrific, too; but Sara Forestier is just indelible in the lead, brimful of feeling and sympathetic stupidity, now depressed, now quixotic, never obvious or vain.

[Seen @ Gaumont cinema, Nantes, 26 December 2013] Suzanne (2013) by Katell Quillévéré
For the superb acting (Sara Forestier as Suzanne, François Damiens as her dad, Adèle Haenel as her sister, Paul Hamy as her lover & demise).
Catherine Shoard for the Guardian:

the sort of woozily shot, remorselessly emotional, acutely observed socio-realist soap that both confounds and confirms chick-flick prejudice.
…
Yet the brilliance of Quillévéré’s direction is in the performances she coaxes from her cast, and the clear-eyed, non-judgmental way she presents them. François Damiens, a Belgian actor previously seen bumbling about in the likes of Heartbreaker and Delicacy, is brilliant as the father: almost unbearably moving in a courthouse scene in which a roll-call of minor charges are levelled at his daughter, whom he hasn’t seen for years. As the sister who moves from tearaway to matriarch, Adèle Haenel is terrific, too; but Sara Forestier is just indelible in the lead, brimful of feeling and sympathetic stupidity, now depressed, now quixotic, never obvious or vain.

[Seen @ Gaumont cinema, Nantes, 26 December 2013] Suzanne (2013) by Katell Quillévéré
For the superb acting (Sara Forestier as Suzanne, François Damiens as her dad, Adèle Haenel as her sister, Paul Hamy as her lover & demise).
Catherine Shoard for the Guardian:

the sort of woozily shot, remorselessly emotional, acutely observed socio-realist soap that both confounds and confirms chick-flick prejudice.
…
Yet the brilliance of Quillévéré’s direction is in the performances she coaxes from her cast, and the clear-eyed, non-judgmental way she presents them. François Damiens, a Belgian actor previously seen bumbling about in the likes of Heartbreaker and Delicacy, is brilliant as the father: almost unbearably moving in a courthouse scene in which a roll-call of minor charges are levelled at his daughter, whom he hasn’t seen for years. As the sister who moves from tearaway to matriarch, Adèle Haenel is terrific, too; but Sara Forestier is just indelible in the lead, brimful of feeling and sympathetic stupidity, now depressed, now quixotic, never obvious or vain.

[Seen @ Gaumont cinema, Nantes, 26 December 2013] Suzanne (2013) by Katell Quillévéré
For the superb acting (Sara Forestier as Suzanne, François Damiens as her dad, Adèle Haenel as her sister, Paul Hamy as her lover & demise).
Catherine Shoard for the Guardian:

the sort of woozily shot, remorselessly emotional, acutely observed socio-realist soap that both confounds and confirms chick-flick prejudice.
…
Yet the brilliance of Quillévéré’s direction is in the performances she coaxes from her cast, and the clear-eyed, non-judgmental way she presents them. François Damiens, a Belgian actor previously seen bumbling about in the likes of Heartbreaker and Delicacy, is brilliant as the father: almost unbearably moving in a courthouse scene in which a roll-call of minor charges are levelled at his daughter, whom he hasn’t seen for years. As the sister who moves from tearaway to matriarch, Adèle Haenel is terrific, too; but Sara Forestier is just indelible in the lead, brimful of feeling and sympathetic stupidity, now depressed, now quixotic, never obvious or vain.

[Seen @ Gaumont cinema, Nantes, 26 December 2013] Suzanne (2013) by Katell Quillévéré
For the superb acting (Sara Forestier as Suzanne, François Damiens as her dad, Adèle Haenel as her sister, Paul Hamy as her lover & demise).
Catherine Shoard for the Guardian:

the sort of woozily shot, remorselessly emotional, acutely observed socio-realist soap that both confounds and confirms chick-flick prejudice.
…
Yet the brilliance of Quillévéré’s direction is in the performances she coaxes from her cast, and the clear-eyed, non-judgmental way she presents them. François Damiens, a Belgian actor previously seen bumbling about in the likes of Heartbreaker and Delicacy, is brilliant as the father: almost unbearably moving in a courthouse scene in which a roll-call of minor charges are levelled at his daughter, whom he hasn’t seen for years. As the sister who moves from tearaway to matriarch, Adèle Haenel is terrific, too; but Sara Forestier is just indelible in the lead, brimful of feeling and sympathetic stupidity, now depressed, now quixotic, never obvious or vain.

[Seen @ Gaumont cinema, Nantes, 26 December 2013] Suzanne (2013) by Katell Quillévéré
For the superb acting (Sara Forestier as Suzanne, François Damiens as her dad, Adèle Haenel as her sister, Paul Hamy as her lover & demise).
Catherine Shoard for the Guardian:

the sort of woozily shot, remorselessly emotional, acutely observed socio-realist soap that both confounds and confirms chick-flick prejudice.
…
Yet the brilliance of Quillévéré’s direction is in the performances she coaxes from her cast, and the clear-eyed, non-judgmental way she presents them. François Damiens, a Belgian actor previously seen bumbling about in the likes of Heartbreaker and Delicacy, is brilliant as the father: almost unbearably moving in a courthouse scene in which a roll-call of minor charges are levelled at his daughter, whom he hasn’t seen for years. As the sister who moves from tearaway to matriarch, Adèle Haenel is terrific, too; but Sara Forestier is just indelible in the lead, brimful of feeling and sympathetic stupidity, now depressed, now quixotic, never obvious or vain.

[Seen @ Gaumont cinema, Nantes, 26 December 2013]

            Suzanne (2013) by Katell Quillévéré

            For the superb acting (Sara Forestier as Suzanne, François Damiens as her dad, Adèle Haenel as her sister, Paul Hamy as her lover & demise).

            Catherine Shoard for the Guardian:

            the sort of woozily shot, remorselessly emotional, acutely observed socio-realist soap that both confounds and confirms chick-flick prejudice.

            Yet the brilliance of Quillévéré’s direction is in the performances she coaxes from her cast, and the clear-eyed, non-judgmental way she presents them. François Damiens, a Belgian actor previously seen bumbling about in the likes of Heartbreaker and Delicacy, is brilliant as the father: almost unbearably moving in a courthouse scene in which a roll-call of minor charges are levelled at his daughter, whom he hasn’t seen for years. As the sister who moves from tearaway to matriarch, Adèle Haenel is terrific, too; but Sara Forestier is just indelible in the lead, brimful of feeling and sympathetic stupidity, now depressed, now quixotic, never obvious or vain.

            [Seen @ Gaumont cinema, Nantes, 26 December 2013]

            Casse-tête chinois (Chinese Puzzle) (2013) by Cédric Klapisch
Entertaining fluff. I realised a few minutes in that Casse-tête chinois was actually the final instalment of a trilogy, following L’Auberge Espagnole (2002) and Les Poupées russes (2005), two films I hadn’t seen. It didn’t spoil the fun one bit — the film stands on its own quite nicely. But interestingly enough, I still have no intention of seeing the first two parts — that’s how much I care about the whole thing. Because, although I had a great time, the film shows a spectacular lack of originality when it comes to plot & characters. And it’s got to be one of the most cliché portrayals of New York I’ve ever seen on screen. Still, it’s well paced, well acted, it’s got plenty of funny bits and, to be fair, a few insightful(ish) observations about the-French-in-NYC culture shock.
Random notes: 
- Audrey Tautou's speech in Mandarin is hilarious and my favourite comedy scene by far.  
- Wow, Li Jun Li is fucking adorable. Her part strikes me as rather bland on the page, but there’s something about her that completely transcends it. 
- … And on the opposite end of of the adorability scale, we’ve got Isabelle (Cécile De France) as an utterly despicable character. What’s ironic about it is that I think the filmmakers’ intention was to write her as likable. I may be wrong and seeing the previous two films might give me a better understanding of her character. If only I cared.
[Seen @ Gaumont cinema, Nantes, 25 December 2013] Casse-tête chinois (Chinese Puzzle) (2013) by Cédric Klapisch
Entertaining fluff. I realised a few minutes in that Casse-tête chinois was actually the final instalment of a trilogy, following L’Auberge Espagnole (2002) and Les Poupées russes (2005), two films I hadn’t seen. It didn’t spoil the fun one bit — the film stands on its own quite nicely. But interestingly enough, I still have no intention of seeing the first two parts — that’s how much I care about the whole thing. Because, although I had a great time, the film shows a spectacular lack of originality when it comes to plot & characters. And it’s got to be one of the most cliché portrayals of New York I’ve ever seen on screen. Still, it’s well paced, well acted, it’s got plenty of funny bits and, to be fair, a few insightful(ish) observations about the-French-in-NYC culture shock.
Random notes: 
- Audrey Tautou's speech in Mandarin is hilarious and my favourite comedy scene by far.  
- Wow, Li Jun Li is fucking adorable. Her part strikes me as rather bland on the page, but there’s something about her that completely transcends it. 
- … And on the opposite end of of the adorability scale, we’ve got Isabelle (Cécile De France) as an utterly despicable character. What’s ironic about it is that I think the filmmakers’ intention was to write her as likable. I may be wrong and seeing the previous two films might give me a better understanding of her character. If only I cared.
[Seen @ Gaumont cinema, Nantes, 25 December 2013] Casse-tête chinois (Chinese Puzzle) (2013) by Cédric Klapisch
Entertaining fluff. I realised a few minutes in that Casse-tête chinois was actually the final instalment of a trilogy, following L’Auberge Espagnole (2002) and Les Poupées russes (2005), two films I hadn’t seen. It didn’t spoil the fun one bit — the film stands on its own quite nicely. But interestingly enough, I still have no intention of seeing the first two parts — that’s how much I care about the whole thing. Because, although I had a great time, the film shows a spectacular lack of originality when it comes to plot & characters. And it’s got to be one of the most cliché portrayals of New York I’ve ever seen on screen. Still, it’s well paced, well acted, it’s got plenty of funny bits and, to be fair, a few insightful(ish) observations about the-French-in-NYC culture shock.
Random notes: 
- Audrey Tautou's speech in Mandarin is hilarious and my favourite comedy scene by far.  
- Wow, Li Jun Li is fucking adorable. Her part strikes me as rather bland on the page, but there’s something about her that completely transcends it. 
- … And on the opposite end of of the adorability scale, we’ve got Isabelle (Cécile De France) as an utterly despicable character. What’s ironic about it is that I think the filmmakers’ intention was to write her as likable. I may be wrong and seeing the previous two films might give me a better understanding of her character. If only I cared.
[Seen @ Gaumont cinema, Nantes, 25 December 2013] Casse-tête chinois (Chinese Puzzle) (2013) by Cédric Klapisch
Entertaining fluff. I realised a few minutes in that Casse-tête chinois was actually the final instalment of a trilogy, following L’Auberge Espagnole (2002) and Les Poupées russes (2005), two films I hadn’t seen. It didn’t spoil the fun one bit — the film stands on its own quite nicely. But interestingly enough, I still have no intention of seeing the first two parts — that’s how much I care about the whole thing. Because, although I had a great time, the film shows a spectacular lack of originality when it comes to plot & characters. And it’s got to be one of the most cliché portrayals of New York I’ve ever seen on screen. Still, it’s well paced, well acted, it’s got plenty of funny bits and, to be fair, a few insightful(ish) observations about the-French-in-NYC culture shock.
Random notes: 
- Audrey Tautou's speech in Mandarin is hilarious and my favourite comedy scene by far.  
- Wow, Li Jun Li is fucking adorable. Her part strikes me as rather bland on the page, but there’s something about her that completely transcends it. 
- … And on the opposite end of of the adorability scale, we’ve got Isabelle (Cécile De France) as an utterly despicable character. What’s ironic about it is that I think the filmmakers’ intention was to write her as likable. I may be wrong and seeing the previous two films might give me a better understanding of her character. If only I cared.
[Seen @ Gaumont cinema, Nantes, 25 December 2013] Casse-tête chinois (Chinese Puzzle) (2013) by Cédric Klapisch
Entertaining fluff. I realised a few minutes in that Casse-tête chinois was actually the final instalment of a trilogy, following L’Auberge Espagnole (2002) and Les Poupées russes (2005), two films I hadn’t seen. It didn’t spoil the fun one bit — the film stands on its own quite nicely. But interestingly enough, I still have no intention of seeing the first two parts — that’s how much I care about the whole thing. Because, although I had a great time, the film shows a spectacular lack of originality when it comes to plot & characters. And it’s got to be one of the most cliché portrayals of New York I’ve ever seen on screen. Still, it’s well paced, well acted, it’s got plenty of funny bits and, to be fair, a few insightful(ish) observations about the-French-in-NYC culture shock.
Random notes: 
- Audrey Tautou's speech in Mandarin is hilarious and my favourite comedy scene by far.  
- Wow, Li Jun Li is fucking adorable. Her part strikes me as rather bland on the page, but there’s something about her that completely transcends it. 
- … And on the opposite end of of the adorability scale, we’ve got Isabelle (Cécile De France) as an utterly despicable character. What’s ironic about it is that I think the filmmakers’ intention was to write her as likable. I may be wrong and seeing the previous two films might give me a better understanding of her character. If only I cared.
[Seen @ Gaumont cinema, Nantes, 25 December 2013] Casse-tête chinois (Chinese Puzzle) (2013) by Cédric Klapisch
Entertaining fluff. I realised a few minutes in that Casse-tête chinois was actually the final instalment of a trilogy, following L’Auberge Espagnole (2002) and Les Poupées russes (2005), two films I hadn’t seen. It didn’t spoil the fun one bit — the film stands on its own quite nicely. But interestingly enough, I still have no intention of seeing the first two parts — that’s how much I care about the whole thing. Because, although I had a great time, the film shows a spectacular lack of originality when it comes to plot & characters. And it’s got to be one of the most cliché portrayals of New York I’ve ever seen on screen. Still, it’s well paced, well acted, it’s got plenty of funny bits and, to be fair, a few insightful(ish) observations about the-French-in-NYC culture shock.
Random notes: 
- Audrey Tautou's speech in Mandarin is hilarious and my favourite comedy scene by far.  
- Wow, Li Jun Li is fucking adorable. Her part strikes me as rather bland on the page, but there’s something about her that completely transcends it. 
- … And on the opposite end of of the adorability scale, we’ve got Isabelle (Cécile De France) as an utterly despicable character. What’s ironic about it is that I think the filmmakers’ intention was to write her as likable. I may be wrong and seeing the previous two films might give me a better understanding of her character. If only I cared.
[Seen @ Gaumont cinema, Nantes, 25 December 2013] Casse-tête chinois (Chinese Puzzle) (2013) by Cédric Klapisch
Entertaining fluff. I realised a few minutes in that Casse-tête chinois was actually the final instalment of a trilogy, following L’Auberge Espagnole (2002) and Les Poupées russes (2005), two films I hadn’t seen. It didn’t spoil the fun one bit — the film stands on its own quite nicely. But interestingly enough, I still have no intention of seeing the first two parts — that’s how much I care about the whole thing. Because, although I had a great time, the film shows a spectacular lack of originality when it comes to plot & characters. And it’s got to be one of the most cliché portrayals of New York I’ve ever seen on screen. Still, it’s well paced, well acted, it’s got plenty of funny bits and, to be fair, a few insightful(ish) observations about the-French-in-NYC culture shock.
Random notes: 
- Audrey Tautou's speech in Mandarin is hilarious and my favourite comedy scene by far.  
- Wow, Li Jun Li is fucking adorable. Her part strikes me as rather bland on the page, but there’s something about her that completely transcends it. 
- … And on the opposite end of of the adorability scale, we’ve got Isabelle (Cécile De France) as an utterly despicable character. What’s ironic about it is that I think the filmmakers’ intention was to write her as likable. I may be wrong and seeing the previous two films might give me a better understanding of her character. If only I cared.
[Seen @ Gaumont cinema, Nantes, 25 December 2013] Casse-tête chinois (Chinese Puzzle) (2013) by Cédric Klapisch
Entertaining fluff. I realised a few minutes in that Casse-tête chinois was actually the final instalment of a trilogy, following L’Auberge Espagnole (2002) and Les Poupées russes (2005), two films I hadn’t seen. It didn’t spoil the fun one bit — the film stands on its own quite nicely. But interestingly enough, I still have no intention of seeing the first two parts — that’s how much I care about the whole thing. Because, although I had a great time, the film shows a spectacular lack of originality when it comes to plot & characters. And it’s got to be one of the most cliché portrayals of New York I’ve ever seen on screen. Still, it’s well paced, well acted, it’s got plenty of funny bits and, to be fair, a few insightful(ish) observations about the-French-in-NYC culture shock.
Random notes: 
- Audrey Tautou's speech in Mandarin is hilarious and my favourite comedy scene by far.  
- Wow, Li Jun Li is fucking adorable. Her part strikes me as rather bland on the page, but there’s something about her that completely transcends it. 
- … And on the opposite end of of the adorability scale, we’ve got Isabelle (Cécile De France) as an utterly despicable character. What’s ironic about it is that I think the filmmakers’ intention was to write her as likable. I may be wrong and seeing the previous two films might give me a better understanding of her character. If only I cared.
[Seen @ Gaumont cinema, Nantes, 25 December 2013] Casse-tête chinois (Chinese Puzzle) (2013) by Cédric Klapisch
Entertaining fluff. I realised a few minutes in that Casse-tête chinois was actually the final instalment of a trilogy, following L’Auberge Espagnole (2002) and Les Poupées russes (2005), two films I hadn’t seen. It didn’t spoil the fun one bit — the film stands on its own quite nicely. But interestingly enough, I still have no intention of seeing the first two parts — that’s how much I care about the whole thing. Because, although I had a great time, the film shows a spectacular lack of originality when it comes to plot & characters. And it’s got to be one of the most cliché portrayals of New York I’ve ever seen on screen. Still, it’s well paced, well acted, it’s got plenty of funny bits and, to be fair, a few insightful(ish) observations about the-French-in-NYC culture shock.
Random notes: 
- Audrey Tautou's speech in Mandarin is hilarious and my favourite comedy scene by far.  
- Wow, Li Jun Li is fucking adorable. Her part strikes me as rather bland on the page, but there’s something about her that completely transcends it. 
- … And on the opposite end of of the adorability scale, we’ve got Isabelle (Cécile De France) as an utterly despicable character. What’s ironic about it is that I think the filmmakers’ intention was to write her as likable. I may be wrong and seeing the previous two films might give me a better understanding of her character. If only I cared.
[Seen @ Gaumont cinema, Nantes, 25 December 2013] Casse-tête chinois (Chinese Puzzle) (2013) by Cédric Klapisch
Entertaining fluff. I realised a few minutes in that Casse-tête chinois was actually the final instalment of a trilogy, following L’Auberge Espagnole (2002) and Les Poupées russes (2005), two films I hadn’t seen. It didn’t spoil the fun one bit — the film stands on its own quite nicely. But interestingly enough, I still have no intention of seeing the first two parts — that’s how much I care about the whole thing. Because, although I had a great time, the film shows a spectacular lack of originality when it comes to plot & characters. And it’s got to be one of the most cliché portrayals of New York I’ve ever seen on screen. Still, it’s well paced, well acted, it’s got plenty of funny bits and, to be fair, a few insightful(ish) observations about the-French-in-NYC culture shock.
Random notes: 
- Audrey Tautou's speech in Mandarin is hilarious and my favourite comedy scene by far.  
- Wow, Li Jun Li is fucking adorable. Her part strikes me as rather bland on the page, but there’s something about her that completely transcends it. 
- … And on the opposite end of of the adorability scale, we’ve got Isabelle (Cécile De France) as an utterly despicable character. What’s ironic about it is that I think the filmmakers’ intention was to write her as likable. I may be wrong and seeing the previous two films might give me a better understanding of her character. If only I cared.
[Seen @ Gaumont cinema, Nantes, 25 December 2013]

              Casse-tête chinois (Chinese Puzzle) (2013) by Cédric Klapisch

              Entertaining fluff. I realised a few minutes in that Casse-tête chinois was actually the final instalment of a trilogy, following L’Auberge Espagnole (2002) and Les Poupées russes (2005), two films I hadn’t seen. It didn’t spoil the fun one bit — the film stands on its own quite nicely. But interestingly enough, I still have no intention of seeing the first two parts — that’s how much I care about the whole thing. Because, although I had a great time, the film shows a spectacular lack of originality when it comes to plot & characters. And it’s got to be one of the most cliché portrayals of New York I’ve ever seen on screen. Still, it’s well paced, well acted, it’s got plenty of funny bits and, to be fair, a few insightful(ish) observations about the-French-in-NYC culture shock.

              Random notes: 

              Audrey Tautou's speech in Mandarin is hilarious and my favourite comedy scene by far.  

              - Wow, Li Jun Li is fucking adorable. Her part strikes me as rather bland on the page, but there’s something about her that completely transcends it. 

              - … And on the opposite end of of the adorability scale, we’ve got Isabelle (Cécile De France) as an utterly despicable character. What’s ironic about it is that I think the filmmakers’ intention was to write her as likable. I may be wrong and seeing the previous two films might give me a better understanding of her character. If only I cared.

              [Seen @ Gaumont cinema, Nantes, 25 December 2013]