Mainstream pleasures permeate the rarefied materials of the arthouse, as popular and intellectual paradigms interconnect.” 2 Palmer’s useful model – he singles out, inter alia, OSS 117: Caire, nid d’espions (OSS 117: Cairo, Nest of Spies, Michel Hazanavicius, 2006) and Il est plus facile pour un chameau… (It’s Easier for a Camel…, Valeria Bruni Tedeschi, 2003) – was then taken up by Raphaëlle Moine, who noted how development of the comédie d’auteur in France over the last two decades can be partly seen as a way of challenging the dichotomy that has traditionally existed in the Hexagon between commercially driven entertainment and high-brow, demanding auteur cinema. Géraldine Kamps, “Je ressens comme un privilège d’avoir échappé à la guerre”. One such worker is France (Karin Viard), whose name allegorises the very values seeded through Klapisch’s catalogue – family, community, solidarity, nationhood. De Caunes/Garcia - Le meilleur de Nulle Part Ailleurs 2... suite et fin. ), the permanence of national stereotypes, and the value of forging one’s own future. They meet up in hospital while waiting for a young woman to give birth. This belief system is sustained throughout the trilogy. Tyler Posey realizes he's on his own in an exclusive clip from 'Alone,' now on FandangoNOW, What to Watch on FandangoNOW: ‘Unhinged,’ ‘The Opening Act,’ Miranda July’s ‘Kajillionaire’ and More, This Week in Family Movie News: ‘Thomas & Friends’ Coming Down the Track, First ‘Addams Family 2’ Teaser and More. Cédric Klapisch est un Réalisateur, Scénariste, Acteur français. These include Glamour toujours, Un, deux, trois mambo, Jack le menteur, and In Transit, which featured an appearance by future American independent director Todd Solondz. Via a series of flashbacks, the young men reminisce about their bitter-sweet time at school (drugs, girls, student demonstrations) and reflect on the passing of time, the transition into adulthood, and their uneasy place in a post-1968 France. The film began shooting in November 2006 and was released in February 2008. My Piece of the Pie forms parts of a subgenre in France that pits worker against boss and intractable employment law against common sense and dignity. He is deftly plugging into the tradition of Eric Rohmer, focusing on the preoccupations of ordinary people and relying on casual glance and gesture rather than mechanical plot action. As he would do in his later ‘Spanish Apartment’ trilogy, Klapisch depicts adolescents on the uneasy cusp of adulthood, at once confident and fearful, egotistical and socially committed. Klapisch uses the rituals of the Beaune vendange to make broader comments on the importance of friendship: a mutual common purpose become the adhesive that bonds together disparate social and cultural groups. It was successful in part because its obvious mimicking of the American youth teen comedy offered French audiences an alternative to the heritage cinema and literary adaptations that domestic cinema had increasingly turned to in the early 1990s. It’s worth remembering that Klapisch was named by Claude-Marie Trémois as one of French cinema’s up and coming directors back in 1997. Communities in conflict would now become a recurring feature of Klapisch’s work. It was a liberating experience for him professionally and personally, and kick-started his future style: “(In America), I learned to be more concrete, not to use a symbol as the starting point of a screenplay, but rather to use an image that I like, and then to try to bring that image into the service of the script. Klapisch’s eclecticism and pro-American style is evident in a substantial list of films he submitted to the LaCinetek website in 2015 that constituted his ideal filmography. Anon., “Interview du réalisateur Cédric Klapisch”, Mireille Rosello, “Imagining European Subjects as Chaotic Borders: Cédric Klapisch’s. But the focus invariably fell on the sensation of being alive rather than melodramatic contrivance. Neuilly-sur-Seine, Hauts-de-Seine, France, 30 September 2020 Klapisch followed this up with Family Resemblances (1996) and Peut-être / Perhaps (1999). Frustrated at having twice failed the entrance exam to Paris’s prestigious film school Institut des Hautes Etudes Cinématographiques (IDHEC, now known as la FEMIS), Klapisch left France to study film at New York University in 1983. For even more, visit our Guide to Horror ... if you dare. Ce qui nous lie / Back to Burgundy (2017), Dix pour cent / Call My Agent! Returning to France from his American stint, he began by assisting Leos Carax on Mauvais sang (Bad Blood, 1986), directed his first short, Ce qui me meut in 1989 (which would subsequently become the name of his production company), and made a documentary on the Kenya Massai warriors for cable television channel Canal +. Unemployed, France ends up in Paris working for Steve Delarue (Gilles Lellouche), a rich, immoral trader-banker responsible for the mass lay-offs and outsourcing to China back in Dunkirk. Some of Klapisch’s trademark preoccupations are on display, such as the contrast between the futurist society in which economic and environmental mayhem is non-existent and the present-day Paris, where the lack of job security is ever-present. When The Cat’s Away is thus a knight’s move away from a Rohmerian conte moral, less a tale that deals with what people do than with what is going on in their minds while they are doing it. The underlying themes of his next film, When the Cat’s Away in 1996 confirmed Klapisch’s interest in the downsides of social upheaval and modification. Deadline This retrenchment has been accompanied by a conceptual shift in how European youth interact with each other, which has not gone unnoticed by Klapisch: “Today (…) this post-Spanish Apartment youth (…) is extremely reactive. Ni pour, ni contre (bien au contraire) (Not for, or Against (Quite the Contrary), 2003), in the tradition of the best French polars, takes as its starting point a rigid binary choice: “Two paths opened before me: good and bad. SEE DETAILS. Punctuated by musical interludes that include Janis Joplin, Jimi Hendrix and Pink Floyd (Klapisch’s time-capsule soundtracks are always perceptive), 15 these vignettes dramatise the familiar rites of passage trajectory of French youth and the inherent ambivalence between collective action and individualistic gain. If you are an Australian resident, any donations over $2 are tax deductible. It’s not the cocoon of virtual reality that counts, but real-world curiosity – feeling soil through the fingers and biting grapes in the mouth. If Perhaps was a (failed) attempt to inject Hollywood-style science-fiction into a French cinema notoriously resistant – in 1999 at least – to these kinds of generic ‘borrowings’, Not for… is more successful in its reworking of the visual and structural codes of noir. Good Old Daze struck a chord with audiences (nearly 650,000 tickets were sold in France). Klapisch playfully sends up the ‘company away-day’ philosophy and its push for team building by comically depicting group psychotherapy sessions, lessons in how to smile correctly, and bungee jumping excursions. Initially part of a compendium TV series commissioned in 1993 by French television channel Arte that focused on teenagers about to leave school, Klapisch’s sophomore effort was so well received by television viewers that it gained a cinematic release a year later. On some occasions, families splinter and separate; on others, they unite in spite of their differences. Over the course of the evening, the hidden tensions, residual grudges, and repressed squabbles crash together. | He is a... Born: September 4, 1961 Photos. Moine lists the principal characteristics of such films: “careful, elegant dramatic writing (…) a well-constructed plot (…) an intimist, autobiographical vein (and) a polyphonic ensemble form that interrelates a variety of points of view around a common theme or shared event.” 3 She concludes by arguing that the register of auteur comedy “is that of dramatic comedy, which joins the observation of contemporary mores with a ‘mixed’ form of comedy (in contrast to the laughter and farce of pure comedy)” 4. If Klapisch’s first films now seem roughhewn and experimental, it was his highly regarded Erasmus-students-through-the-years trilogy The Spanish Apartment (2002), Russian Dolls (2005) and Chinese Puzzle (2013) that cemented Klapisch’s position at the apex of smartly written French films, and showed how French/European youth lives today. Writer | Rack up 500 points and you'll score a $5 reward for more movies. In a narrative hook pulled straight from Robert Zemeckis’s time-travel adventure Back to the Future (1985), Arthur must eventually persuade Lucie to sleep with him so that his future son can be born. Such interventions form an important part of Klapisch’s unpretentious intellectualism and non-didactic involvement in contemporary French politics and can be linked back to the wider thematic concerns of his films, what Mireille Rosello calls “self-conscious and self-referential attempts at participating in the construction of contemporary Europe.” 17. As Xavier discovers, the similarities that exist between young adults from different European countries far outweigh the differences. Stylistically, Jean Fallon has noted how “he plays a small cameo role; in each film the wide-ranging soundtrack adds nuance to the themes; he employs many of the same actors to play very different characters in a variety of his films; he uses a dream or fantasy scene to comment on reality; he has a penchant for framing images through grids or breaking an image into many small pieces.” 9 We might also upscale Fallon’s evaluation here by adding that the starting point for Klapisch’s screenplays is frequently autobiographical: The Spanish Apartment recalls his sister’s Erasmus experience and his own sabbatical to New York; Chacun cherche son chat (When the Cat’s Away, 1996) was based on his own recollections of a girlfriend who had left her cat with an elderly neighbour (who then subsequently lost the cat), while the Le Peril jeune (Good Old Daze, 1994) is a nostalgic recreation of his own teenage years. (New York & Oxford: Berghahn, 2001), pp. Parsing the filmography might give us a better understanding of the director in terms of his aesthetic influences, visual style and narrative preferences. These were films that “flit nimbly (…) back and forth between cultural registers high and low. It lives in a form of permanent instantaneousness, in total immersion in social networks. Consequently, emotionally vulnerable individuals are required to make momentous decisions about love affairs, careers and vacations and they fret, make mistakes, regret and reach conclusions, as desire collides with reality, morality, caprice and common sense.” 20 Parkinson might just as easily be describing Chloé here, or the gang of five in Good Old Daze, or Xavier in The Spanish Apartment. They have taken time, but these are friendships that will last. Earn 125 points on every ticket you buy. Rack up 500 points and you'll score a $5 reward for more movies. Since 2002, Klapisch has developed into one of contemporary French cinema’s most erudite, finger-on-the-pulse directors, renowned for sophisticated, witty social comedies. As with When the Cat’s Away, Paris is ‘about’ Paris, and deploys the micro and macro aspects of the city to draw together disparate character networks and the gaps between them. Andrew Schenker described him as “the poster child for the French middlebrow” in an excoriating review of Ma part du gâteau (My Piece of the Pie, 2011) that decried “plotline(s) that verge on the ludicrous” and the “mixture of bland obviousness and crudely manufactured drama.” 5 The Guardian likewise belittled Paris (2008) as representative of French commercial cinema’s tendency “to veer into the over-sweetened and picturesque, a kind of nostalgia for an idealised present.” 6. 20 years ago we didn’t have that sense of compassion with the rest of the planet. Prune Antoine, “Cédric Klapisch, European New Wave”. Not all critics view his status in French cinema positively. ), and engaging with the world. Olivier Courson, the CEO of Canal + (the channel has co-produced Klapisch’s last five films) has applauded his “extraordinary ability to tap into the vibes (and) the contemporary trends of a society.” 24 That is why The Spanish Apartment is more than just a film about the impact of the Erasmus programme on a group of privileged white Europeans.
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