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Catherine Breillat Says Abdellatif Kechiche Spent ‘Way Too Long’ Shooting ‘Blue Is the Warmest Color’ Sex Scenes

Catherine Breillat Says Abdellatif Kechiche Spent ‘Way Too Long’ Shooting ‘Blue Is the Warmest Color’ Sex Scenes
Never a stranger to controversy, “Fat Girl” director Catherine Breillat made some provocative remarks during a recent Variety interview in the lead-up to her new role as Locarno Film Festival jury chief. The interview runs the gamut of topics, with Breillat touching on everything from Tunisian-French director Abdellatif Kechiche to disgraced #MeToo crusader Asia Argento, with whom Breillat worked on 2007’s “The Last Mistress.”

Breillat said she feels that Kechiche, whose 2019 Cannes film “Mektoub, My Love: Intermezzo” appalled audiences with its graphic and some say misogynistic depictions of sex and nudity, overdid it with the sex scenes in 2013’s Nc-17-rated lesbian romance “Blue Is the Warmest Color.”

“Well, I do think Kechiche spent way too long shooting that sex scene. He shot it over two weeks, whereas I would have done it in a day,” Breillait said. “You can’t put actresses in that position for 15 days. I’ve
See full article at Indiewire »

Transilvania film festival: industry report, 'Monos' wins top prize

Mihály Schwechtje’s Democracy Work In Progress wins €20,000 Eurimages co-production development award.

Fifteen projects from Romania, Moldova, Ukraine, Hungary, Bulgaria, Greece and Turkey were presented at the Transilvania Pitch Stop (Tps) at the Transilvania International Film Festival (Tiff) in Cluj-Napoca in Romania last week.

The €20,000 Eurimages co-production development award went to Hungarian filmmaker Mihály Schwechtje’s Democracy Work In Progress. The project had been developed at the Nipkow Programme in Berlin last year.

Turkish director Selman Nacar’s Between Two Dawns was awarded €25,000 in postproduction services from Chainsaw Europe. The project is being co-produced by Romania’s Oana Giurgiu of
See full article at ScreenDaily »

Palme d'Or winner 'Parasite' grosses $2.8m from first week in France

Palme d'Or winner 'Parasite' grosses $2.8m from first week in France
On track to equal the $7.5m and 1m admissions of Blue Is The Warmest Colour in 2013.

South Korean director Bong Joon Ho’s Palme d’Or-winning black comedy Parasite has grossed approximately $2.8m* from 378,000 admissions in France in its first week on release. It opened second in the French chart behind Fox’s X-Men: Dark Phoenix which was also released on June 5.

France is the first international territory to release the film after Joon Ho’s home territory of Korea, where it grossed $38m in its first week alone, putting it on track to become the biggest Palme d’Or
See full article at ScreenDaily »

Will 'Parasite' deliver the biggest box office ever of any Palme d'Or winner?

Will 'Parasite' deliver the biggest box office ever of any Palme d'Or winner?
The South Korean black comedy has already grossed $38.5m after just one week on release.

Bong Joon Ho’s Palme d’Or-winning black comedy Parasite is on track to become the biggest Palme d’Or winner of all time at the global box office after grossing $38.5m and posting 5.4m admissions in its first week alone in South Korea.

This follows the record-breaking $25m the film grossed over its opening weekend for distributor Cj Entertainment over May 31-June 2. This was the biggest opening weekend for a Palme d’Or winner in any territory in at least 25 years.

Its gross narrowly
See full article at ScreenDaily »

Could 'Parasite' deliver the biggest box office of any Palme d'Or winner ever?

Could 'Parasite' deliver the biggest box office of any Palme d'Or winner ever?
The South Korean black comedy has already grossed $38.5m after just one week on release.

Bong Joon Ho’s Palme d’Or-winning black comedy Parasite is on track to become the biggest Palme d’Or winner of all time at the global box office after grossing $38.5m and posting 5.4m admissions in its first week alone in South Korea.

This follows the record-breaking $25m the film grossed over its opening weekend for distributor Cj Entertainment over May 31-June 2. This was the biggest opening weekend for a Palme d’Or winner in any territory in at least 25 years.

Its gross narrowly
See full article at ScreenDaily »

Cannes Film Review: ‘You Deserve a Lover’

  • Variety
Cannes Film Review: ‘You Deserve a Lover’
We all know that person — maybe we’ve been there ourselves — hopelessly in love with an undeserving partner. Let’s call this person Lila. Lila’s backbone has dissolved into jelly; she mopes all the time and wallows in her masochism. It’s tough being around this acquaintance who keeps testing our capacity for sympathy, just as it’s tough being around Lila, the protagonist in Hafsia Herzi’s first feature as actress, director, writer and producer. Sure, it helps that Lila/Herzi has an impressive eye for male pulchritude, and she’s learned enough about filmmaking to deliver a perfectly respectable product, but it’s tedious watching Lila’s pouting irrationality without any sense of why this woman is catnip apart from her physical attractions. She’s merely the negative sum of her broken relationship, with all its storms and drama, and as such, “You Deserve a Lover” is
See full article at Variety »

Cannes Correspondences #11: Vulgar Confessions

The Notebook is covering Cannes with an on-going correspondence between critic Leonardo Goi and editor Daniel Kasman.LibertéDear Leo,The festival may almost be over, but that doesn’t mean the chance for controversy is gone. Abdellatif Kechiche’s new film, Mektoub, My Love: Intermezzo, premiered at the end of Cannes because it literally was finished this very month, but one might also suppose the festival preferred this presentation, enlivening the rapidly depopulating Croisette with scandal. I haven’t seen it yet, and in fact only caught up with the first Mektoub (subtitled Canto Uno) two weeks ago. Despite its 2017 premiere in competition at the Venice, it was never shown in North American film festivals and still has not been distributed. There is good reason for this shunning, even though the first film is Kechiche’s follow-up to the Palme d’Or-winning Blue Is the Warmest Color: it was brazenly and unredeemably misogynistic,
See full article at MUBI »

‘Blue Is The Warmest Colour’ Director Accused Of Plying Actors With Alcohol Until They Performed Unsimulated Sex In New Cannes Film

‘Blue Is The Warmest Colour’ Director Accused Of Plying Actors With Alcohol Until They Performed Unsimulated Sex In New Cannes Film
Filmmaker Abdellatif Kechiche is no stranger to critical acclaim…and controversy. The director’s career has been consistently appreciated by film fans and critics alike, earning him numerous awards, including the Palme d’Or at Cannes in 2013. But throughout his almost 20-year career, Kechiche has also seen disparaging reports about his on-set and off-set activities. And so it shouldn’t be any surprise that the filmmaker’s latest work, “Mektoub, My Love: Intermezzo,” which premiered at this year’s Cannes, now finds itself with yet another controversy for Kechiche.

Continue reading ‘Blue Is The Warmest Colour’ Director Accused Of Plying Actors With Alcohol Until They Performed Unsimulated Sex In New Cannes Film at The Playlist.
See full article at The Playlist »

How Quentin Tarantino Saved Cannes, While Abdellatif Kechiche Set It Back a Decade

  • Variety
How Quentin Tarantino Saved Cannes, While Abdellatif Kechiche Set It Back a Decade
Once upon a time in Cannes, a wild-eyed rebel kicked his foot through the basement window of Hollywood, stealing helter skelter from his favorite B-movies and lowbrow genres, and splicing them into the king of all cult movies. Mind you, that was a quarter-century ago, the year Quentin Tarantino’s “Pulp Fiction” won the Palme d’Or.

It’s a different world now, and Cannes is a different beast. Unspooling 25 years to the night after “Pulp Fiction,” Tarantino’s latest meta-movie remix, “Once Upon a Time … in Hollywood,” may have been the hottest ticket of the event, but the film hardly made the same impact. The 159-minute fetish exercise — an epic homage to dirty feet, neon-lit classic L.A. dives and showbiz in-jokes, set half a century ago, on the eve of the Manson Family murders — got the customary standing ovation following its red-carpet premiere (that’s standard practice at
See full article at Variety »

The Exhaustion of Seduction: Abdellatif Kechiche Pushes the Limits in "Mektoub, My Love: Intermezzo"

For the few years I have known his cinema, Abdellatif Kechiche has had a formidable ability to provoke fiery conversations within the industry and the audience equally. His contentious relationship with actors, and actresses especially, has been a hot topic for quite some time and catalyzed by the success of his Palme d’Or-winning Blue Is the Warmest Color (2013). Less publicized, especially abroad, problems with his producers probably led his follow-up, Mektoub, My Love: Canto Uno (2017) to a different path, initially expected to premiere at Cannes two years ago but ending up in Venice. The whole situation yet reveals an aura of struggle and conflict that could explain the unique nature of Kechiche’s new film, Mektoub, My Love: Intermezzo.Since its premiere, I profoundly loathed Blue Is the Warmest Color for various reasons, ranging from its cliché social dichotomy and the lack of research and respect of the city
See full article at MUBI »

‘Mektoub’: On-Set Witness Alleges Pressure on Actors to Perform Unsimulated Sex, Alcohol Given – Report

‘Mektoub’: On-Set Witness Alleges Pressure on Actors to Perform Unsimulated Sex, Alcohol Given – Report
The initial outcry about Abdellatif Kechiche’s film “Mektoub, My Love: Intermezzo” had mainly addressed its artistic merits (or lack thereof) for including a nearly 15-minute scene of unsimulated oral sex and and a seemingly never-ending parade of butts. But a report from a French paper is alleging that Kechiche had to employ unorthodox methods to convince his unwilling actors to perform the oral sex scene.

Intermezzo” is the sequel to “Mektoub, My Love: Canto Uno,” which premiered at Venice back in 2017. Both films, based on François Bégaudeau’s novel “La Blessure, la vraie,” feature Ophélie (Ophélie Bau) and Amin (Shaïn Boumédine) at the center of a complicated web of attraction and affairs.

In the scene in question, a man performs consensual oral sex on the character Ophélie. The Midi Libre posted an account Saturday morning from a person close to production who says that Kechiche had to push his actors to create that scene.
See full article at Indiewire »

2019 Cannes Critics’ Panel: Day 12 – Abdellatif Kechiche’s Mektoub My Love: Intermezzo

Who knew that after claiming the top prize in 2013 with Blue is the Warmest Color that Abdellatif Kechiche would almost attain some sort of persona non grata status and that he would need to hawk a Palme to produce his next film — which would be the first instalment of a proposed trilogy. We reviewed Mektoub, My Love: Canto Uno in Venice back in 2017, and I’d be curious to know just how many critics had the opportunity to view the film as it was hard to come by for those living outside of France. Our critic’s grid back 2013 gave Blue one of the highest grade since we began this back in 2011, so this second trip in comp for the filmmaker.…
See full article at IONCINEMA.com »

Cannes Film Festival 2019 Awards: ‘Parasite’ Wins Palme d’Or

Cannes Film Festival 2019 Awards: ‘Parasite’ Wins Palme d’Or
For the second year in a row, the Palme d’Or at the Cannes Film Festival has gone to an Asian film about a close-knit family of con artists. A year after Hirokazu Kore-eda’s “Shoplifters” won the 2018 award, Alejandro G. Inarritu’s jury gave this year’s top prize to Bong Joon Ho’s “Parasite,” one of the most critically acclaimed films of this year’s festival.

In his review on TheWrap, Ben Croll called the film “a genre-bending dark comedy with searing class consciousness” and labeled it a return to form for the director whose last two films were the English-language “Snowpiercer” and “Okja.”

The Grand Prix, the jury’s second place award, went to the first black woman director ever in the Cannes competition, Mati Diop, for “Atlantics.”

Also Read: 'Parasite' Film Review: Bong Joon-ho Tackles Disparity With Delicious Dark Comedy

Antonio Banderas won the
See full article at The Wrap »

Bong Joon Ho's 'Parasite' finishes top of Screen's Cannes 2019 jury grid

Bong Joon Ho's 'Parasite' finishes top of Screen's Cannes 2019 jury grid
The Korean black comedy was well-received by all ten critics.

Bong Joon Ho’s black comedy Parasite has finished top of the Screen Cannes 2019 jury grid, with an average score of 3.5 from 10 critics.

The film, which premiered on Wednesday (May 22), was not matched by either of the final two films to take their spots on the grid.

Elia Suleiman’s It Must Be Heaven received decent scores from all 10 critics, becoming the only film this year to receive solely twos (average) and threes (good), for a mean score of 2.6.

The film explores life in exile, with Suleiman playing a man
See full article at ScreenDaily »

‘Mektoub, My Love: Intermezzo’: Abdellatif Kechiche’s Torturous, Four-Hour Sequel Is the Butt of the Joke [Cannes Review]

The female ass is the main character of “Mektoub, My Love: Intermezzo,” and that’s not an exaggeration. After auctioning off the Palme d’Or statuette he won for “Blue Is the Warmest Color” in order to finance this film, director Abdellatif Kechiche returns with — judging by its title — the second installment in a godforsaken trilogy. The rumors are true: “Mektoub, My Love: Intermezzo” clocks in at around four hours, each hour more excruciatingly mind-numbing than the last.

Continue reading ‘Mektoub, My Love: Intermezzo’: Abdellatif Kechiche’s Torturous, Four-Hour Sequel Is the Butt of the Joke [Cannes Review] at The Playlist.
See full article at The Playlist »

‘Sibyl’ Film Review: Cannes Competition Ends With a Woody Allen-Style Comedy

‘Sibyl’ Film Review: Cannes Competition Ends With a Woody Allen-Style Comedy
As the say, nature abhors a vacuum.

So once it became clear that longtime Cannes stalwart Woody Allen probably wouldn’t be turning up on the red carpet anytime soon, you knew that someone would eventually come around to fill that void.

Lo and behold, someone has. A particular someone named Justine Triet, whose volatile dramedy “Sibyl” was the final film to screen in competition at the Cannes Film Festival on Friday night.

Also Read: 'Mektoub, My Love: Intermezzo' Film Review: Abdellatif Kechiche Trolls Cannes With Nsfw Excess

Only, in a convention-defying move that speaks to the director’s larger intent, Triet cribs from Allen’s least beloved period; instead of drawing from those “early, funny films,” this story of a psychiatrist who becomes unhealthily involved with her patient draws a straight line to darker Allen films like “September” and “Another Woman.”

Triet has apparently cited the latter film as a direct reference,
See full article at The Wrap »

Abdellatif Kechiche’s Controversial ‘Mektoub’ Launches at Cannes With 0% Rotten Tomatoes Score

Abdellatif Kechiche’s Controversial ‘Mektoub’ Launches at Cannes With 0% Rotten Tomatoes Score
Abdellatif Kechiche’s controversial “Mektoub, My Love: Intermezzo” has given Cannes 2019 its biggest critical bomb. The movie debuted in competition May 23 and caused walkouts because of a nearly 15-minute oral sex scene that shocked audiences. Now “Mektoub” has launched on Rotten Tomatoes with a rare 0% score from eight critics. Rotten Tomatoes posts initial scores after five reviews have been submitted (one of which has to be from a top critic).

IndieWire’s senior film critic David Ehrlich gave “Mektoub, My Love: Intermezzo” a C- review out of Cannes, calling it a the equivalent of a “cinematic lap dance” and criticizing the director for aggressively fetishizing his female characters. The review called “Mektoub” a new rock bottom for Kechiche’s career.

Mektoub, My Love: Intermezzo” is the sequel to Kechiche’s “Mektoub, My Love: Canto Uno,” which premiered at the 2017 Venice Film Festival. Other negative reviews have been written by The Guardian
See full article at Indiewire »

‘It Must Be Heaven’ Film Review: Palestinian Comedy Finds Absurdity Around the World

‘It Must Be Heaven’ Film Review: Palestinian Comedy Finds Absurdity Around the World
More than a few festival-goers must have woken up in rough shape after last night’s long trip to the club with Abdellatif Kechiche, and to their credit, the Cannes Film Festival seems to have taken that into account.

Maybe that’s why the festival kicked off its final day of screenings on Friday with so gentle and winning a film as Elia Suleiman’s “It Must Be Heaven.” With his first feature in 10 years, the Palestinian director returns with another exploration of nationality and identity that explores those questions with deadpan humor and poker-faced comic invention.

As in his three previous films, Suleiman takes the lead, playing a version of himself as channeled through the comic personas of Buster Keaton, Jacques Tati and, sure, Mr. Bean. Save for one line of dialogue, Suleiman anchors the film as a quiet observer who takes in the absurdities of the world around
See full article at The Wrap »

Long Sex Scene Prompts Cannes' Critics to Walk Out of Explicit Film: 'Male Gazing Garbage'

A film that premiered at the Cannes Film Festival this week reportedly caused outrage and prompted walkouts due to its lengthy and graphic sexual content.

According to IndieWire, Mektoub, My Love: Intermezzo, a nearly four-hour film from Blue Is the Warmest Color director Abdellatif Kechiche, contains one long scene of what appears to be un-simulated oral sex between a man and a woman and also focuses heavily on women’s bottoms.

Intermezzo is the sequel to Kechiche’s 2017 movie Mektoub, My Love: Canto Uno; both movies are based on the French novel “La Blessure, la vraie.”

Social media reactions
See full article at PEOPLE.com »

Abdellatif Kechiche Reacts to Cannes Outrage Over ‘Mektoub’ Sex Scenes: ‘I Want to Celebrate the Body’

Abdellatif Kechiche Reacts to Cannes Outrage Over ‘Mektoub’ Sex Scenes: ‘I Want to Celebrate the Body’
Abdellatif Kechiche is back at the center of Cannes outrage following the world premiere of his latest Palme d’Or contender, “Mektoub, My Love: Intermezzo.” The filmmaker last stirred controversy with his extended sex scenes in “Blue Is the Warmest Color,” which took home Cannes’ top honor in 2013. Kechiche’s latest film reportedly includes one prolonged and graphic oral sex scene that is apparently not simulated. The scene lasts for at least 10 minutes, if not closer to 15 minutes. The moment led to outcry from film critics and the first major walkouts at a Cannes 2019 screening.

“The most important thing for me and this is what I want to say right away, was to celebrate life, love, desire, breath, music, the body,” Kechiche said at the Cannes press conference for the movie on Friday morning. “I wanted to try a cinematographic experience that would be as free as possible.”

Kechiche denied
See full article at Indiewire »
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