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Liked it - 4631 Votes. 7,9 of 10 Stars. genre - Comedy, Romance. Creator - Nicolas Bedos. 1hour 55 min. Directed by - Nicolas Bedos.
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La belle epoque era. La Belle époque moderne. La belle epoque audiomachine. La belle epoque costumes. La belle epoque tulip bulbs. La belle époque paris. La belle epoque history. La belle epoque tulips. La belle epoque 2019. La belle époque (film. La belle époque tulips. La belle époque bande annonce. 28/05/2019 - CANNES 2019: We sat down with Nicolas Bedos to discuss his second feature, La Belle Époque, a film which mostly talks about our times, screened out of competition in Cannes Screened out of competition at the Cannes Film Festival, La Belle Époque [ + see also: film review trailer interview: Nicolas Bedos film profile] is Nicolas Bedos ’ second feature as director (after Mr & Mrs Adelman [ + see also: trailer film profile]), though this time he does not step in front of the camera. We sat down with the playwright, screenwriter, actor, and comedian to discuss this film, which he also wrote, and which stars Daniel Auteuil, Fanny Ardant, Guillaume Canet, Denis Podalydès as well as a panoply of actors playing actors, including Doria Tillier and Pierre Arditi. Cineuropa: In our highly virtualised world, the call for a return to the corporeality of things, to the need of living in a more physical way, seems to be getting louder and louder. It’s what the time travel agency set up by Guillaume Canet’s character is offering. Nicolas Bedos: Yes, I’ve noticed, no doubt instinctively, this kind of return to physical immersion, which is conducive to the success of certain festivals and theatre productions. As if an excess of one thing was calling for its opposite. Indeed the film, rather than go for the Spielberg treatment which would be closer to Black Mirror, returns to the past via theatre: if you set aside the earpieces and headset, the set-up seen in the film could well have been made fifty years ago, because it’s just words, documentation, costumes, and a few sets. I like the idea that, as a solution to his despair, Daniel isn’t given an electronic chip or a pill, but instead receives what I do everyday at work: a crew that works hard and with very little to come up with things that will make him dream. Theatre stage direction is indeed at the heart of the film, with the sense of vertigo and jubilation that it carries, but also with the play with desire it implies — Antoine in fact recalls Cyrano. There are interlocking games at work, most notably between the two couples that interlock into each other: the young borrow from the old, if I may say; and on the other side, Daniel Auteuil’s character will gift himself a bath in the fountain of youth and self-esteem with this young actress, who is also his memory of his wife. There is this interlocking that could evoke some of Marivaux’s plays, or even the Italian theatre of the 17th century, or indeed Cyrano. I was very interested in this kind of bittersweet flirtation. Where do you place yourself in relation to the character played by Daniel Auteuil, whose point of view is also the film’s? I think that this character has a bit of my own ambivalence in my relation with progress: I’m an enthusiastic — even opportunistic — user of technology, Instagram, social media, Twitter… All of that is part of my daily life, but at the same time, there is a part of me that is an “old fart” who feeds on books, is furious about the gradual disparition of the printed press, appalled to see newstands vanish, worried that the young generation are eating up TV shows like they’re candy without knowing at all who directs and who writes. So my tantrums and my pleasures follow each other close. That is why the film does not judge, but instead observes all of this, through the story of a man who is both my father — who is totally terrified by all this and has ultimately decided that this world wasn’t his — and myself, because there’s still hope. The film combines a light tone with a deep topic. It is in turns moving and wildly entertaining, sometimes both simultaneously. If it doesn’t appear as a clear cut comedy or drama, that’s because of the way I am and the way the people I love are. In my family, we are extremely sentimental people, but we’re also very sarcastic, out of some kind of modesty, which is why we always oscillate between teasing and kissing. This tone — in which there is humour, cynicism — is a kind of lifeline for the script, for me: it prevents the film from falling into sentimentality or melodrama. It’s also a way of telling the viewer that I don’t want to force them to be moved. If they are moved, if they want to cry, it’s only because the situation in the film deserves it. If I had to find some references, I could of course cite a ton of filmmakers I love who work in that register, but it wouldn’t be very interesting because, for me, cinema is life, so there is no prior theory. (Translated from French).

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La belle époque wavre. La belle epoque izle. La belle époque 2019. La belle epoque subtitles. In French, the name Bedos carries a certain reputation. The son of beloved local comedian Guy Bedos, Nicolas always knew he wanted to make movies, but just because he had a famous father didn’t mean the path was necessarily easy. Despite collaborating with dad early on, and writing several original plays in his mid-20s, it wasn’t until Bedos achieved his own celebrity that he found the opportunity to direct. “The French first came to know me as a satirist, ” says the now-40-year-old Bedos, who made his reputation as an ultra-sarcastic (and occasionally controversial) cultural commentator on a popular weekly talk show. “I think it was truly a gift from heaven that I wasn’t able to make movies that early. ” At 20, his taste wasn’t fully formed, but influenced more by what others looked up to — the French New Wave, snobbish auteur cinema — which, with a bit of life experience, he outgrew, gravitating instead to popcorn movies and Hollywood films by directors such as Sydney Pollack, Paul Thomas Anderson and the Coen brothers. “I try to make the kind of movies that I want to watch, ” he says. Bedos’ first two features as writer-director — the rowdy, decades-spanning romance “Mr. & Mrs. Adelman” and high-concept, Charlie Kaufman-esque “La Belle Époque” — synthesize an incredibly polished American filmmaking style (in terms of lighting, camerawork and technique), a slightly more English sense of plotting and unmistakably French dialogue. Bedos appeared in the former, alongside partner and muse Doria Tillier, though he’d prefer to focus on working behind the camera. Whereas his natural tendency is to be dark and somber (compelled to address subjects like sexual passion, depression, suicide, addiction, and so on), Bedos’ time on TV and radio pushed him to embrace humor in his writing. By extension, his onscreen persona made him a fitting choice to direct the next “OSS 117” movie, a 007-esque spy parody starring Jean Dujardin as a cocky, outdatedly chauvinistic secret agent. “He’s the only character in France who’s still politically incorrect, ” says Bedos, who’s having fun with the assignment, but sees it as a parenthesis between more personal projects, including the upcoming “Mascarade. ” “Cinema moves too slowly! I wish they’d invent a machine that would allow you to make a film in three weeks. ” Agency: Grégory Weill, Adéquat Want to read more articles like this one? Subscribe Today.

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La belle époque review. La belle epoque film. La belle epoque ap euro. La belle epoque english subtitles. La belle epoque black is black. La belle epoque kent. La belle epoque last song. David Glasser ’s 101 Studios has acquired U. S. rights to Nicolas Bedos’s French romantic comedy “ La Belle Epoque ” which world premiered out of competition at Cannes Film Festival to strong reviews and went on to play at Toronto. The film stars Daniel Auteuil as Victor, a disillusioned sexagenarian cartoonist who has lost his job and is on the outs with his wife Marianne. A friend of his son who runs a thriving VR company offers him the intriguing opportunity to travel back in time and revisit his glory days. Victor choses to go back to May 16, 1974, the day he met Marianne at a café, and soon finds himself drawn to Margo, the actress playing the younger incarnation of his spouse. Auteuil stars in the film opposite Guillaume Canet, Dora Tillier, Fanny Ardant, and Pierre Arditi. “We were struck by Nicolas’ touching yet sharp-minded take on a romantic comedy and the impeccable performance given by Daniel Auteuil, who continues to be a tenacious force in French cinema, ” said Glasser. “La Belle Epoque” is slated for a U. theatrical release in the Spring. La Belle Epoque was released by Pathe Films in France on Nov. 6, 2019 and has so far grossed approximately $8 million. The film is also having a solid run in European countries such as Italy where it has made over $1. 7 million so far. “We are thrilled that ‘La Belle Epoque’ will soon be released in the U. and found a great home with 101 Studios who has the capacity of optimizing its release and exhibition in the USA thanks to their background with other French high concept films in the past, ” said Ardavan Safaee, president of Pathe Films. The deal was negotiated by 101 Studios’s head of acquisitions James Allen, Glasser, James Gold and Lief Cervantes of Sheppard Mullen, and Marie-Laurie Montironi on behalf of Pathé. Want to read more articles like this one? Subscribe Today.

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