Finnegan Oldfield - News Poster


WTFilms Boards ‘Escobar by Escobar,’ ‘Selfie,’ ‘Wipe Out’ (Exclusive)

  • Variety
WTFilms Boards ‘Escobar by Escobar,’ ‘Selfie,’ ‘Wipe Out’ (Exclusive)
WTFilms, the sales company behind Quentin Dupieux’s Jean Dujardin-starrer “Deerskin,” which is opening Cannes’ Directors’ Fortnight, has boarded “Escobar by Escobar,” a documentary series about drug kingpin Pablo Escobar.

Pascal Richter will direct the four-part series, which is based on “Pablo Escobar: My Father” by Juan Pablo Escobar, who reflects on his father’s legacy. He became the man to kill when his father died in 1993, and spent his life looking over his shoulder after inheriting $30 billion.

“There have been countless films about Pablo Escobar, but with this documentary series we’re tackling an angle which has rarely been dealt with, shedding light on the aftermath of Escobar’s death and the consequences on the lives of his close ones,” said WTFilms co-founder Dimitri Stephanides.

Victor Robert, a well-seasoned French TV host and journalist, is producing the documentary series through his Paris-based company 10.7 Production and optioned the book.
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Paradise lost by Anne-Katrin Titze

Clément Cogitore's Braguino and Les Indes galantes (The Amorous Indies) are Best Short Film nominees for the 44th César Awards Photo: Anne-Katrin Titze

Clément Cogitore's haunting début feature Neither Heaven, Nor Earth (Ni Le Ciel Ni La Terre), shot by Sylvain Verdet, written in collaboration with Les Cowboys director Thomas Bidegain, starred Jean-Pierre Dardenne and Luc Dardenne discovery Jérémie Renier with Kévin Azaïs, Swann Arlaud, and Finnegan Oldfield. The film received a César Award nomination in 2016 and won the Gan Foundation Support for Distribution at the Cannes Film Festival in 2015.

Clément Cogitore on Braguino: "The producer, Cédric Bonin, just took the risk with me. 'Let's try, let's go there!'"

This year Clément has two César nominations in the Best Short Film category. Les Indes galantes (The Amorous Indies) combining K.R.U.M.P. dance with 18th century composer Jean-Philippe Rameau at the Opéra National de Paris. The five
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Playtime Dives Into Different Waves of French Comedy (Exclusive)

  • Variety
Playtime Dives Into Different Waves of French Comedy (Exclusive)
Playtime, the Paris-based co-production and sales company which will be presenting Francois Ozon’s anticipated “By the Grace of God” in competition at the Berlin Film Festival, has acquired three offbeat French comedies: Geraldine Nakache’s “I’ll Go Where You Go,” “The Bare Necessity” with Fanny Ardant, and Valerie Donzelli’s “Our Lady of Paris.”

“Our Lady of Paris” marks Donzelli’s fifth feature film, following “Marguerite & Julien,” which competed at the Cannes Film Festival; “Hand in Hand”; “Declaration of War,” which played at Cannes’ Critics’ Week and earned six Cesar nominations; and “Queen of Hearts.”

Donzelli stars in the film as Maud Crayon, a failing architect and single mom of two who unexpectedly wins the contest to spearhead the renovation of the esplanade of Notre-Dame de Paris, and who has to deal with a pair of exes – both of whom she still has feelings for.

Written by
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Veteran French producer Francis Boespflug dies aged 70

Boespflug co-founded Pyramide and was managing director of Warner France.

French producer Francis Boespflug, best known as the co-founder of historic Paris-based production and distribution company Pyramide and the former managing director of Warner France, has died aged of 70.

Boespflug first became involved in cinema in his native city of Strasbourg in north-eastern France, working as a student volunteer at a cinema-club aimed at under-privileged, difficult teenagers.

It was through this volunteer work he met his future wife and life-long collaborator, the late producer Fabienne Vonier, who at the time was the manager of Le Club, the arthouse theatre founded
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Reinventing Marvin review – Isabelle Huppert stoops to grace lazy coming-out drama

Huppert’s cameo as herself adds some unearned gravitas to this contrived tale of an actor embracing his sexuality

No film featuring Isabelle Huppert can be entirely without interest. But this odd movie from Anne Fontaine is messily structured, self-conscious and preposterous, buried within its own inelegant framing device. The unhappy childhood of a young actor called Marvin is told through childhood flashbacks as the twentysomething adult comes to terms with his sexuality and finally has a staggering stroke of fortune with his career (the sheer flukiness of which is never acknowledged). Finnegan Oldfield plays the adult Marvin in Paris; Jules Porier is his delicate younger self growing up in the sticks, bullied at school and treated with casual cruelty by his unemployed father Dany (a good performance by Grégory Gadebois).

But a number of people turn his life around: kindly headteacher Mme Clément (Catherine Mouchet) encourages him to apply
See full article at The Guardian - Film News »

2018 César Awards: ‘Bpm’ Triumphs With Six Wins, Including Best Film

2018 César Awards: ‘Bpm’ Triumphs With Six Wins, Including Best Film
“Bpm” triumphed at the César Awards, taking home the prizes for Best Film, Best Original Screenplay, Best Supporting Actor (Antoine Reinartz), Best Male Newcomer (Nahuel Pérez Biscayart), Best Original Score, and Best Editing. Robin Campillo’s drama about AIDS activists in Paris also won the Grand Prix at last year’s Cannes Film Festival, but wasn’t nominated for the Academy Award for Best Foreign-Language Film — a snub that was met with some controversy.

Andrey Zvyagintsev’s “Loveless,” which is nominated for the Oscar, won the equivalent award. Albert Dupontel’s “Au revoir là-haut” also had a big night, taking Best Director, Best Actress (Jeanne Balibar), and three other prizes. Full list of winners:

Best Film

“Bpm,” Robin Campillo

“Au revoir là-haut,” Albert Dupontel

“Barbara,” Mathieu Amalric

“Le Brio,” Yvan Attal

“Patients,” Grand Corps Malade, Mehdi Idir

“Petit Paysan,” Hubert Charuel

“C’est La Vie,” Eric Tolédano, Olivier Nakache

Best Director

Robin Campillo,
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A Woman’s Life Review

  • HeyUGuys
Author: Linda Marric

Adapted by Stéphane Brizé (The Measure Of A Man, Not Here To Be Loved) from Guy de Maupassant’s seminal 1883 novel of the same name, Une Vie (A Woman’s Life) is a beautifully constructed costume drama, which despite being set in the 19th century, manages to be as fresh and as current as any social drama worth its salt. Staring Judith Chemla in the principal role, A Woman’s Life is able to break out of the rigidity of its time by offering a story which is as gut-wrenching in its storytelling as it is brilliantly relatable in its social realist aesthetic.

Chelma is Joanne, the daughter of wealthy landowners in rural France who until now has lived an idyllic countryside life with her parents, the Baron and Baroness Le Perthuis des Vauds. Not wishing to be separated from them, Joanne agrees to marry Julien de
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Second Opinion – A Woman’s Life (2016)

A Woman’s Life, 2016.

Directed by Stephane Brize.

Starring Judith Chemla, Nina Meurisse, Swann Arlaud, Finnegan Oldfield, Jean-Pierre Darroussin, and Yolande Moreau.


In 19th century France, a young woman from a wealthy family gets married, but soon becomes disillusioned by the harsh realities facing women at the time.

This week started with equality taking centre stage, loud and proud, at the Golden Globes. It ends in the UK with the release of A Woman’s Life, a timely reminder of when women were regarded as possessions, not people.

Writer/director Stephane Brize has adapted Guy de Maupassant’s novel, Une Vie, the story of Jeanne (Judith Chemla), raised in rural 19th century France in a world of privilege. But she is a young woman who prefers the outdoor life to the latest gowns, who is more than at home getting her hands dirty tending the vegetable garden alongside her
See full article at Flickeringmyth »

20 Female Directors Who Will Rule This Fall Festival Season, Including Agnes Varda, Greta Gerwig, Dee Rees, and More

20 Female Directors Who Will Rule This Fall Festival Season, Including Agnes Varda, Greta Gerwig, Dee Rees, and More
Girl Talk is a weekly look at women in film — past, present, and future.

The fall festival season has long been a harbinger of things to come, from the contenders that will consume months of awards season jockeying to bright new talents just making their first big splashes, and this year brings with it another glimpse of the future: one that’s filled with new films from a wide variety of female filmmakers.

From Venice to Toronto, New York to Telluride, this year’s fall festival circuit is filled with new offerings from from female filmmakers of every stripe, including 20 that we’ve hand-picked as the ones to keep an eye on during the coming weeks.

First-time feature filmmakers like Maggie Betts, Brie Larson, and the Mulleavey sisters are out in full force, along with the return of mainstays like Angelina Jolie, Lynn Shelton, and Susanna White. There are plenty
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Nocturama Movie Review

  • ShockYa
Nocturama Movie Review
Nocturama Grasshopper Films Director: Bertrand Bonello Written by: Bertrand Bonello Cast: Finnegan Oldfield, Vincent Rottiers, Hamza Meziani, Manal Issa, Martin Guyot, Jamil McCraven, Rabah Nait Oufella, Laure Valentinelli, Ilias Le Doré, Robin Goldronn, Luis Rego, Hermine Karagheuz, Adèle Haenel. Screened with Critics’ link, NYC, 8/7/17 Opens: August 11, 2017 In his movie two years ago, […]

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Invisible Worlds by Anne-Katrin Titze

Sâm Mirhosseini and Jérémie Renier in Clément Cogitore's Neither Heaven Nor Earth (Ni Le Ciel Ni La Terre)

Neither Heaven Nor Earth (Ni Le Ciel Ni La Terre) director Clément Cogitore spoke with me on the role his producer Jean-Christophe Reymond played in the collaboration with Les Cowboys director Thomas Bidegain, who also has screenwriter credits for Bertrand Bonello's Saint Laurent, Jacques Audiard's Rust And Bone, A Prophet and Cannes Palme d'Or winner Dheepan, and Michaël R Roskam's Racer And The Jailbird (Matthias Schoenaerts, Adèle Exarchopoulos) which will have its world première at the Venice International Film Festival.

Bax's (Clément Bresson) tattooed back in Neither Heaven Nor Earth

Clément went into the invisible worlds of his debut feature (starring Jérémie Renier with Kévin Azaïs, Swann Arlaud, Finnegan Oldfield, Clément Bresson, Marc Robert, Hamid Reza Javdan, Edouard Court, Steve Tientcheu, Aria Faghih Habib, Stéphane Boissel, and the voice
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You’ve Never Seen a Movie About Terrorism Quite Like ‘Nocturama’ — Watch

You’ve Never Seen a Movie About Terrorism Quite Like ‘Nocturama’ — Watch
There’s never been a movie about terrorism quite like “Nocturama.”

Fresh off his emotionally extravagant biopic of fashion designer Yves Saint Laurent, director Bertrand Bonello has returned with another film about the seductive power of surfaces. With his previous project, he presented that idea as his subject — with this one, he sublimates it directly into his style. The result is a portrait of weaponized radicalism that has almost no resemblance to terrorism as we know it, and yet sometimes feels all more accurate because of that. Beguiling from the start and oblique until the bitter end, “Nocturama” is such an essential, illuminating movie about modern terrorism precisely because it refuses to offer any solutions to its carnage, or even explicitly diagnose the problems that give rise to it.

Read More: ‘Nocturama’ Trailer: A Group of Teens Plan a Terrorist Attack in Paris in Bertrand Bonello’s New Thriller

See full article at Indiewire »

A first time for everything by Anne-Katrin Titze

Quad Cinema Director of Programming and Nathan Silver's Thirst Street co-writer C Mason Wells Photo: Anne-Katrin Titze

Since its reopening by Charles S Cohen in April, the Quad Cinema has had four noteworthy theatrical premieres right from the start: Terence Davies' soulful A Quiet Passion (with Cynthia Nixon as Emily Dickinson, Jennifer Ehle, Keith Carradine); Katell Quillévéré's thoughtful Heal The Living (Emmanuelle Seigner, Kool Shen, Tahar Rahim, Finnegan Oldfield); Bruno Dumont's wild Slack Bay (Fabrice Luchini, Juliette Binoche, Valeria Bruni Tedeschi), and Maura Axelrod's impish Maurizio Cattelan: Be Right Back.

Terence Davies' A Quiet Passion still going strong at the Quad Photo: Anne-Katrin Titze

Following First Encounters for Greta Gerwig with David Lynch's Blue Velvet, Kenneth Lonergan with Edward Yang's Yi Yi, John Turturro and Satyajit Ray's Pather Panchali, and Noah Baumbach catching up on Bruce Robinson's Withnail And I at the Quad,
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Explosive New Trailer For Bertrand Bonello’s Terrorism Thriller ‘Nocturama’

If you listened closely enough to the festival circuit last fall, you might’ve heard the buzz for Bertrand Bonello‘s “Nocturama.” Sight & Sound certainly paid attention, naming the picture as one of their Best Of 2016, while we cited it as one of The 20 Best Movies Of 2017 That We’ve Already Seen. Needless to say, it’s one to put on your arthouse must-see list.

Read More: Bertrand Bonello Takes A Meticulous Look At Millennial Terrorism With ‘Nocturama’ [BFI London Film Fest Review]

Starring Finnegan Oldfield, Laure Valentinelli, Hamza Meziani, Manal Issa, and Robin Goldbronn, the provocative picture follows a group of teenagers as they unfold a series of terrorist attacks across Paris, and try to evade capture by the authorities.

Continue reading Explosive New Trailer For Bertrand Bonello’s Terrorism Thriller ‘Nocturama’ at The Playlist.
See full article at The Playlist »

A Woman’s Life | Review

When a Potiche Ascends the Stairs: Brizé’s Winning, Textured de Maupassant Adaptation

Although cinematic adaptations of French writer Guy de Maupassant still occur with some regularity, few contemporary Gallic auteurs have successfully tackled the naturalist who was a protégé of Flaubert and a contemporary of Zola. Frequent adaptations of his famed short story “Boule de Suif” and Bel-Ami are resurrected regularly, and his stories have inspired auteurs like Robert Wise, Jean-Luc Godard, Marcel Ophüls, and Jean Renoir. However, de Maupassant’s seminal first novel, Une Vie (1883), has been adapted several times outside of France, while previously its most definitive mounting was the 1958 End of Desire headlined by Maria Schell.

For his seventh feature, Stephane Brizé persuasively reflects the subjugation of women’s agency with the fragmented A Woman’s Life, and is perhaps the most auspicious transformation of the author since the handsome productions of the 1950s with this astute period piece featuring an exquisite ensemble of character actors.

After returning from convent school, Jeanne (Judith Chemla) takes joy in assisting her father (Jean-Pierre Darroussin) in the garden and perambulating with her mother (Yolande Moreau), a woman who spends most of her free time scrolling through the contents of letters she received throughout her life. With only the young family maid Rosalie (Nina Meurisse) as a friend and confidante, Jeanne soon finds herself courted by the handsome Viscount Julien de Lamare (Swann Arlaud). Swept into what she’s made to believe is romance, the marriage soon sours when Rosalie is found to be with child after having been raped by Julien. Thus begins Jeanne’s initiation into a world more harrowing than she had anticipated as her ideals and dignity are slowly stripped away.

Judith Chemla, who has starred as a supporting player in a number of period productions for noted auteurs (Tavernier, Techine) comes to the fore as the passive, frustrated center of Brizé’s film. Oblivious to the tendencies and behaviors of those around her, A Woman’s Life gently ushers her from a frivolous young woman of privilege to an increasingly fraught wife forced to contend with a debauched husband.

Brizé’s film has all the potential of a tawdry soap opera, and yet is distilled into fragmented reflections of her escapist tendencies. As we rush through defining moments of her life, time slows as Jeanne disappears into the bright, sunshiny memories which brought her to such a brooding standstill. Chemla is tasked with revealing Jeanne’s persona through inscrutable moments, an object acted upon despite meager efforts to gain control of her life. When escape presents itself upon learning of her own pregnancy at the same time as her husband’s philandering with Rosalie, her own mother confirms her fate by forcing Jeanne to forgive rather than return home.

Yolande Moreau gives a subversively droll performance as a cold maternal figure who has several major secrets of her own. As her counterpart, Jean-Pierre Darroussin nearly disappears within the period garb as Jeanne’s mild mannered father, while a mousy Swann Arlaud is sufficiently unpalatable as her cheating husband. Clotilde Hesme surfaces in a brief subplot which yields shockingly violent results, while rising young actor Finnegan Oldfield (Nocturama; Les Cowboys) shows up in the third act as Jeanne’s selfish teenage son, the specter haunting her golden years and sending her into protracted anguish.

Much like Brizé’s last lauded feature, 2015’s The Measure of a Man, the narrative revolves around distilled, refracted moments informing its protagonist’s mind frame, a person once again trapped by economic necessity in an unfavorable role which whittles away at their resolve.

Collaborating once more with scribe Florence Vignon (who scripted his superb 2009 film Mademoiselle Chambon), they achieve a striking portrait of a woman of certain means as equally weighted down by her expectations and limited control. Brizé also taps Dp Antoine Heberle (who worked on Chambon and A Few Hours of Spring, as well as Ozon’s Under the Sand) who transforms the film into a constant visual juxtaposition of stark, contrasting palettes, ranging from the brooding grays of Jeanne’s present to the golden, sparkling vivaciousness of happy times she can never return to. With stunning finality, a drastic situation boils down to bittersweet reality— “Life is never as good or as bad as you think it is.”


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Bar talk by Anne-Katrin Titze

At the bar with Nocturama director Bertrand Bonello Photo: Anne-Katrin Titze

After being seated next to Django director Étienne Comar and Reda Kateb (who portrays Django Reinhardt) at the uniFrance Locanda Verde lunch, I had a conversation with Bertrand Bonello on his latest film. Nocturama, shot by cinematographer Léo Hinstin, edited by Fabrice Rouaud, costumes by Sonia Philouze with music by Bonello. It has an ensemble cast that includes Finnegan Oldfield, Vincent Rottiers, Hamza Meziani, Manal Issa, Martin Petit-Guyot, Jamil McCraven, Rabah Nait Oufella, Laure Valentinelli, Ilias Le Doré, Robin Goldbronn, Luis Rego, Hermine Karagheuz, and Adèle Haenel.

Finnegan Oldfield as David in Nocturama Photo: Carole Bethuel

When I spoke last year with Thomas Bidegain on Les Cowboys about actor Finnegan Oldfield, who stars in both his and Bertrand's film, he told me that Nocturama was being edited the day of the Bataclan attack in Paris.

Nocturama, a highlight of
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Heart of the matter by Anne-Katrin Titze

Katell Quillévéré on Steven Spielberg's E.T. - The Extra Terrestrial: "For me it was something from my childhood ..." Photo: Anne-Katrin Titze

The danger of living is lurking at every corner at the start of Katell Quillévéré's medical thriller Heal The Living (Réparer Les Vivants), co-written with Gilles Taurand, based on a novel by Maylis De Kerangal, starring Emmanuelle Seigner, Kool Shen (Catherine Breillat's Abus De Faiblesse with Isabelle Huppert), Tahar Rahim, Gabin Verdet, Théo Choldbi, and Finnegan Oldfield (Thomas Bidegain's Les Cowboys).

I first met Katell Quillévéré when she was presenting her film Suzanne, which stars Sara Forestier, Adèle Haenel, François Damiens, and Paul Hamy. Katell also participated, along with Julie Gayet, Axelle Ropert, Isabelle Giordano, Rebecca Zlotowski, Stacie Passon, Ry Russo-Young, Deborah Kampmeier, and Justine Triet, in activities at the French Institute Alliance Française on International Women’s Day during the 2014 Rendez-Vous with French Cinema in New York.
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New York Rendez-Vous with French Cinema Early Bird Highlights by Anne-Katrin Titze

Marion Cotillard stars with Alex Brendemühl and Louis Garrel in Nicole Garcia's From The Land Of The Moon (Mal De Pierres) Photo: Anne-Katrin Titze

New York's Rendez-Vous with French Cinema opens with Étienne Comar’s biopic Django, starring Reda Kateb (Wim Wender's Les Beaux Jours d'Aranjuez) as Django Reinhardt with Cécile de France (Catherine Corsini's Summertime) and closes with Jérôme Salle’s The Odyssey (L'Odyssée) starring Lambert Wilson as Jacques Cousteau with Audrey Tautou and Pierre Niney (Jalil Lespert's Yves Saint Laurent).

Emmanuelle Bercot, Stéphanie Di Giusto, Caroline Deruas, Sébastien Marnier, Marina Foïs, François Ozon, Nicole Garcia, Katell Quillévéré, Justine Triet, Rebecca Zlotowski, Marc Fitoussi, Bertrand Bonello, Julia Ducournau, Christophe Honoré, Antonin Peretjatko, and Martin Wheeler are expected to attend.

La Danseuse (Soko, Lily-Rose Depp, Gaspard Ulliel, Mélanie Thierry); Nocturama (Finnegan Oldfield); Frantz (Paula Beer, Niney), and From The Land Of The Moon (Mal De Pierres - Marion Cotillard,
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Ultra-Realist Abstraction: Discussing "Nocturama" with Bertrand Bonello

  • MUBI
Bertrand Bonello’s last film, a Yves Saint Laurent biopic, followed the famed 20th century designer from enfant terrible into the 2000s and his doddering old age. Saint Laurent’s fashion may have changed the world, but that world is now being changed by forces far more radical than any of his designs. The enfants terrible of Paris in Bonello's latest movie, Nocturama, aren’t provocative artists but rather a gang of 20-something Parisian terrorists. Shockingly, despite the ties to radical Islam of the attacks in France over the last year and a half, the terrorism of Nocturama’s youths seem to be enacted without explanation, as if in a cultural vacuum. When originally conceived, this cinematic possibility of Bonello’s clearly had the aim of presenting an abstract action. But since the real world has yet again surpassed the cinema by realizing the horrors originally considered on the silver screen,
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Tiff 2016. Correspondences #2

  • MUBI
NocturamaDear Fern,296 feature films, 101 shorts—are you ready? Could anyone be? I can assure you, as someone lucky enough to travel to several other festivals this year before Toronto, there are many, many great films here, among them Maren Ade’s Toni Erdmann, Paul Verhoeven’s Elle (as you've already discovered), Albert Serra’s The Death of Louis Xiv, Jim Jarmusch’s Paterson, and Terence Davies’s A Quiet Passion. All easily among the year’s most surprising, most beautiful, most complex works of cinema. Don’t miss them. But what I’ve already seen is a drop in the bucket, and I have the bounty of the short films of the adventurous Wavelengths section (which Michael Sicinski has wonderfully and extensively covered for us) to come; along with not one but two Terrence Malick films (really two cuts of the same film), not one but two Werner Herzog movies
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