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Séraphine (2008)

Unrated | | Biography, Drama | 1 October 2008 (France)
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Based on the life of French painter Séraphine de Senlis.

Director:

Martin Provost
20 wins & 7 nominations. See more awards »

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Cast

Cast overview, first billed only:
Yolande Moreau ... Séraphine Louis, dite Séraphine de Senlis
Ulrich Tukur ... Wilhelm Uhde
Anne Bennent ... Anne-Marie Uhde
Geneviève Mnich Geneviève Mnich ... Mme Duphot
Adélaïde Leroux ... Minouche
Nico Rogner ... Helmut Kolle
Françoise Lebrun ... La mère supérieure
Hélène Hardouin Hélène Hardouin ... La propriétaire
Serge Larivière ... Duval
Léna Breban ... Soeur Marguerite (as Léna Bréban)
Sandrine Bodenes Sandrine Bodenes ... Marie-Louise (as Sandrine Bodènés)
Muriel Riou Muriel Riou ... Berthe
Dominique Pozzetto Dominique Pozzetto ... Anatole Duphot
Josette Ménard Josette Ménard ... La bouchère
Xavier Pottier Xavier Pottier ... Le boucher
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Storyline

In 1914, Wilhelm Uhde, a famous German art collector, rents an apartment in the town of Senlis, forty kilometers away from Paris, in order to write and to take a rest from the hectic life he has been living in the capital. The cleaning lady is a rather rough-and-ready forty-year-old woman who is the laughing stock of others. One day, Wilhelm who has been invited by his landlady, notices a small painting lying about in her living room. He is stunned to learn that the artist is no other than Séraphine. Written by Guy Bellinger

Plot Summary | Add Synopsis

Genres:

Biography | Drama

Certificate:

Unrated | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official site | Official site [Japan] | See more »

Country:

France | Belgium

Language:

French | German | Latin

Release Date:

1 October 2008 (France) See more »

Also Known As:

Seraphine See more »

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Box Office

Opening Weekend USA:

$38,637, 7 June 2009, Limited Release

Gross USA:

$881,839, 7 March 2010
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

|

Sound Mix:

DTS | Dolby Digital

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Since the film's release, the number of visitors at the museum of Senlis exhibiting Séraphine's works has quadrupled (August 2009). See more »

Goofs

Wilhelm Uhde is portrayed as having a goatee beard throughout the course of the film. Portraits of him show generally a clean-shaven man or one with the small moustache. See more »

Crazy Credits

The credits list the names of the paintings which are seen in the film - 10 paintings by Séraphine and the artworks owned by Uhde and Kolle. See more »

Soundtracks

Veni Creator Spiritus
(uncredited)
Hymn written by Raban Maure
(9th century)
Sung by Yolande Moreau
See more »

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User Reviews

 
Polished enchantment
8 September 2009 | by Chris_DockerSee all my reviews

Cinema is a language of deception. The set we see, the mise-en-scene, is what the director wants us to see. Conditioning us visually before an actor even speaks their lines. In costume dramas, the historical clothing is a further weapon to impress a specific artistic vision on us, further cloaking any subtext, whether the transformation of a marriage market story into 'rom-com' (Pride & Prejudice) or consciously travestying the past (Moulin Rouge!, Marie Antoinette). French cinema has achieved respected and less controversial use of costume with films like Jean de Florette and Manon des sources. In these examples, beautiful, nostalgic settings were contrasted with dystopian visions of the hard life. When we move to the biopic, cinematic techniques are routinely used to persuade us of 'what really happened.' Séraphine continues the proud French tradition of costume and historical drama, yet in a very accessible vein. It tells the (true) story of a minor French painter, Séraphine Louis (later known as Séraphine de Senlis, after the village where she lived.) Our story picks up Séraphine working as a maid for Madame Duphot. This lady of the house also rents an apartment to a German art critic-dealer, Wilhelm Uhde. Uhde believes in the 'primitive' artists and takes a liking to some of the maid's work he spots. Yolande Moreau's assured performance gives weight to what may be an unvarnished account. The discovery of the peasant woman's talent, her humble charm as she goes about collecting the ingredients for paint (wine, mud, fruits, flowers) as she goes about her chores as a domestic servant. Everything draws us sympathetically into Séraphine's world.

Udhe nurtures Séraphine's embryonic talent, ensuring it is seen worldwide. But as war hits the economy, support evaporates. Séraphine's inner voices of inspiration lead her to psychosis and she meets her demise in an insane asylum.

The painting itself is of the so-called 'naïve' style, characterized by childlike simplicity. (One of the most famous exponents, according to some, is L. S. Lowry.) The style seems natural to the childlike (if brilliant) personality of our peasant woman, although of course many naive art painters, including Lowry had, unlike Séraphine, plenty of schooling and formal knowledge of art technique.

Production values in the film are high all round. Costume, acting, direction, all achieve a high standard, as evidenced by the many awards heaped on it in its own country. The overall effect is touching without being sentimental.

Séraphine is a continuation of one woman's barely recognised legacy. Any subtext is about serving up a fine character from France's past, a commemoration of national greatness from the early 20th century. (Visits to the exhibition of her work in Senlis have, predictably, quadrupled since the release of the film.) If there is any ideological weakness, it is simply that held by the character herself, a Christian attitude of sacrifice and acceptance of fate. There is no strong judgement on whether Séraphine could have lived her life differently. No real analysis of her painting style. It is, after all, a classy and enchanting fairy tale hung on the hook of a historical person, a harmless deception perhaps. The viewer, should she or he wish, can make their own judgement. Just as they can on the deeply religious and fairly distinctive artworks she left for posterity.


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