Those viewers who didn't think Bruno Dumont's Jeanette: The Childhood of Joan of Arc, which premiered at the Directors' Fortnight in Cannes two years ago, was either challenging or infuriating enough — or who were otherwise dying to know what happened next in the story — will clearly not be disappointed by its follow-up, simply titled Joan of Arc (Jeanne).
Adapted once again from the early 20th century theatrical works of French writer and poet Charles Peguy, this second (and likely last, though you never know) installment follows the legendary Christian heroine from her different battles against the British in ...
Adapted once again from the early 20th century theatrical works of French writer and poet Charles Peguy, this second (and likely last, though you never know) installment follows the legendary Christian heroine from her different battles against the British in ...
- 5/18/2019
- The Hollywood Reporter - Film + TV
Those viewers who didn't think Bruno Dumont's Jeanette: The Childhood of Joan of Arc, which premiered at the Directors' Fortnight in Cannes two years ago, was either challenging or infuriating enough — or who were otherwise dying to know what happened next in the story — will clearly not be disappointed by its follow-up, simply titled Joan of Arc (Jeanne).
Adapted once again from the early 20th century theatrical works of French writer and poet Charles Peguy, this second (and likely last, though you never know) installment follows the legendary Christian heroine from her different battles against the British in ...
Adapted once again from the early 20th century theatrical works of French writer and poet Charles Peguy, this second (and likely last, though you never know) installment follows the legendary Christian heroine from her different battles against the British in ...
- 5/18/2019
- The Hollywood Reporter - Movie News
Jeanne
The idiosyncratic French auteur Bruno Dumont finds himself in full sequel swing with Jeanne, a follow-up to his lauded 2017 musical Jeannette, the Childhood of Joan of Arc (read review). Lise Leplat Prudhomme resurrects her role from the first film while Dumont moves into adapting the second and third parts of Charles Peguy’s The Mystery of the Charity of Joan of Arc. Confirming the sequel will also be a musical, Dumont’s soundtrack will this time be scored by 1980s French pop singer Christophe rather than the mix of heavy metal which was the pronounced element of the earlier film.…...
The idiosyncratic French auteur Bruno Dumont finds himself in full sequel swing with Jeanne, a follow-up to his lauded 2017 musical Jeannette, the Childhood of Joan of Arc (read review). Lise Leplat Prudhomme resurrects her role from the first film while Dumont moves into adapting the second and third parts of Charles Peguy’s The Mystery of the Charity of Joan of Arc. Confirming the sequel will also be a musical, Dumont’s soundtrack will this time be scored by 1980s French pop singer Christophe rather than the mix of heavy metal which was the pronounced element of the earlier film.…...
- 1/7/2019
- by Nicholas Bell
- IONCINEMA.com
Locarno, Switzerland — After “Jeanette,” “Jeanne.” Bruno Dumont, one of France’s big name auteurs and recipient later this week of a Locarno Lifetime Achievement Award, will roll from next Monday on “Jeanne,” the movie sequel to “Jeanette, the Childhood of Joan of Arc,” which premiered at Cannes last year. Paris-based Luxbox handles world sales on “Jeanne.”
The new movie shoot comes just days after Dumont will also world premiere at Locarno broadcaster Arte mini-series “CoinCoin and the Extra Humans,” sold by Paris-based Doc & Film Intl., and his sequel to his biggest more-mainstream hit to date, 4-part series “P’tit Quinquin.”
Written by Dumont, “Jeanne” will once more be a musical, adapting the second and third parts of Belle Epoque writer Charles Peguy’s “The Mystery of the Charity of Joan of Arc.” These take Joan of Arc’s story through her victorious battles against the English, court case and death,...
The new movie shoot comes just days after Dumont will also world premiere at Locarno broadcaster Arte mini-series “CoinCoin and the Extra Humans,” sold by Paris-based Doc & Film Intl., and his sequel to his biggest more-mainstream hit to date, 4-part series “P’tit Quinquin.”
Written by Dumont, “Jeanne” will once more be a musical, adapting the second and third parts of Belle Epoque writer Charles Peguy’s “The Mystery of the Charity of Joan of Arc.” These take Joan of Arc’s story through her victorious battles against the English, court case and death,...
- 8/2/2018
- by John Hopewell
- Variety Film + TV
The Passion of the Joan: Dumont Approaches Ecclesiastical Fervor in Musical Comedy
If cinema could approach the same sacred realm as any pre-ordained religious doctrine, then consider Bruno Dumont’s latest fervent experience Jeannette: The Childhood of Joan of Arc one of the medium’s holy vestments. Adapting two versions of a stage play by Charles Peguy, Dumont presents a wholly original rendering of the impassioned childhood of the titular historical figure whose visage has been plastered on film since the inception of cinema, with a cadre of international auteurs invoking the tragic end of the soothsaying French girl denounced as a…...
If cinema could approach the same sacred realm as any pre-ordained religious doctrine, then consider Bruno Dumont’s latest fervent experience Jeannette: The Childhood of Joan of Arc one of the medium’s holy vestments. Adapting two versions of a stage play by Charles Peguy, Dumont presents a wholly original rendering of the impassioned childhood of the titular historical figure whose visage has been plastered on film since the inception of cinema, with a cadre of international auteurs invoking the tragic end of the soothsaying French girl denounced as a…...
- 4/13/2018
- by Nicholas Bell
- IONCINEMA.com
Coincoin and the Extra Humans
While enjoying the critical success of his innovative and unique 2017 film Jeannette, the Childhood of Joan of Arc (read review), which is a bizarre musical version of the titular figure as adapted from Charles Peguy, French auteur Bruno Dumont continues his prolific output with Coincoin and the Extra Humans —a sequel to his 2014 film (released as a mini-series in France) Li’l Quinquin (read review).
Continue reading...
While enjoying the critical success of his innovative and unique 2017 film Jeannette, the Childhood of Joan of Arc (read review), which is a bizarre musical version of the titular figure as adapted from Charles Peguy, French auteur Bruno Dumont continues his prolific output with Coincoin and the Extra Humans —a sequel to his 2014 film (released as a mini-series in France) Li’l Quinquin (read review).
Continue reading...
- 1/4/2018
- by Nicholas Bell
- IONCINEMA.com
Bruno Dumont, a two-time Grand Jury Prize winner at the Cannes Film Festival, was back this year with Jeannette, The Childhood Of Joan Of Arc. The director, who last year was in Competition with Slack Bay, continues to evolve in his choices; this time not only delving into the origins of one of France's most famous figures, but doing it in musical form. Based on the novels by Charles Péguy, the Directors' Fortnight title is set to electro-pop and is sold by Luxbox Films…...
- 5/29/2017
- Deadline
Maverick French director Bruno Dumont returns after Slack Bay with this baffling, deliberately disconcerting musical that won’t have your toes tapping
One of the Cannes film festival’s favourite aging enfant terribles, especially since Lars Von Trier seems to be still banned for life, Bruno Dumont returns to the Croisette this year with his latest assiette de wackitude, Jeannette: The Childhood of Joan of Arc. Hopefully, distributors outside of France will see sense and drop the formality of the subtitle and just rename this Jeanette! – because it is, of all things, a musical about young Jeanne d’Arc and everyone knows musicals are better with exclamation points.
Having dipped a toe into more commercial waters with his last two outing – miniseries Li’l Quinquin and the star-led feature Slack Bay, both black but broad comedies – Dumont returns to more familiar sombre, avant-garde territory with this adaptation of a play...
One of the Cannes film festival’s favourite aging enfant terribles, especially since Lars Von Trier seems to be still banned for life, Bruno Dumont returns to the Croisette this year with his latest assiette de wackitude, Jeannette: The Childhood of Joan of Arc. Hopefully, distributors outside of France will see sense and drop the formality of the subtitle and just rename this Jeanette! – because it is, of all things, a musical about young Jeanne d’Arc and everyone knows musicals are better with exclamation points.
Having dipped a toe into more commercial waters with his last two outing – miniseries Li’l Quinquin and the star-led feature Slack Bay, both black but broad comedies – Dumont returns to more familiar sombre, avant-garde territory with this adaptation of a play...
- 5/21/2017
- by Leslie Felperin
- The Guardian - Film News
Joan of Arc has been so thoroughly explored across decades of cinema that it’s hard to imagine room for a fresh take. But Bruno Dumont, one of France’s most audacious provocateurs behind the camera, wouldn’t even bother without finding his own way in. “Jeanette: The Childhood of Joan of Arc” explores the formative years of the 15th century French martyr through the most unlikely medium imaginable: heavy metal music.
However, characterizing this minimalist gimmick as a “musical” doesn’t even begin to convey its bizarre nature. Dumont’s story unfolds against two time periods — one, as an adolescent Jeanette grapples with a crisis of faith and ponders how she can help her struggling people, and another years later as the teen decides to leave her rural village of Domremy to save France from an English invasion. But it’s not really a story so much as a...
However, characterizing this minimalist gimmick as a “musical” doesn’t even begin to convey its bizarre nature. Dumont’s story unfolds against two time periods — one, as an adolescent Jeanette grapples with a crisis of faith and ponders how she can help her struggling people, and another years later as the teen decides to leave her rural village of Domremy to save France from an English invasion. But it’s not really a story so much as a...
- 5/21/2017
- by Eric Kohn
- Indiewire
Cannes 2017 is already a notable edition thanks to the festival’s inclusion of auteur helmed television entries, and (to the chagrin of some traditional minds) the appearance of Netflix properties in the main competition. But beyond these unavoidable progressions, the same kinds of regular maneuvering continues. While some auteurs locked out of the comp in 2015 have been invited back to the fold (Desplechin, Kawase) of Fremaux’s loving arms, the usual trend of displacement has crafted an unusually exciting crop of titles in the Directors’ Fortnight sidebar, as well as miscellaneous groupings of designated Special Screenings and Out of Competition slots specifically designed for auteurs who will remain part of the official program but away from the glaring inspection of competition pressures.
Edouard Waintrop scored a formidable coup with his opening film this year, Claire Denis‘ Let the Sunshine In (previously known as “Dark Sunglasses”). Denis, one of France’s finest auteurs, has been consistently overlooked by Fremaux and usually appears in competition at Venice. Alongside Denis, Waintrop snagged some Sundance titles (Bushwick, Patti Cake$) and a number of new projects from noted auteurs, like Abel Ferrara, Philippe Garrel, Sharunas Bartas, and Amos Gitai. The lineup also features a number of anticipated titles from new directors, including the sophomore film from Jonas Carpignano (A Ciambra), and some eclectic art-house genre titles (like the delicious sounding Marlina the Murderer in Four Acts from Indonesia’s Mouly Surya). Here’s our top three most anticipated from the Quinzaine:
Top 3 Quinzaine:
3. Jeannette – Dir. Bruno Dumont
Bruno Dumont, who was in the main comp last year with cannibal slapstick comedy Slack Bay, returns with an electro-pop musical on Joan of Arc set during the young girl’s developmental years, as based in part on a work by Charles Peguy.
2. The Florida Project – Sean Baker
Sean Baker returns to 35mm after 2015’s phenomenal Tangerine (famously shot on an iPhone). The American auteur’s latest stars Willem Dafoe alongside a group of newcomers in a film focusing on a six-year-old girl and her group of friends one Floridian summer as they embark on adventures while the adults contend with hard times.
1. Let the Sunshine In – Claire Denis
Inexplicably, Denis unites Juliette Binoche and Gerard Depardieu in this adaptation of Roland Barthes’ A Lover’s Discourse. And this is a comedy. Sacré bleu!
Bonus:
For this year’s select out-of-competition titles, Fremaux amassed some glittery new titles from renowned auteurs.
Top 3 Ooc:
3. Ismael’s Ghosts – Dir. Arnaud Desplechin
Desplechin is back, this time opening up the festival with Ismael’s Ghosts, starring his regular muse Mathieu Amalric as a man caught between his current wife (Charlotte Gainsbourg) and the ghost of his former lover (Marion Cotillard, who previously had a small role in 1996’s My Sex Life…).
2. Based on a True Story – Dir. Roman Polanski
Polanski returns with this intriguing sounding film written by Olivier Assayas and starring Eva Green and Emmanuelle Seigner, which details a writer who gets all wrapped up with an obsessive fan.
1. How to Talk to Girls at Parties – Dir. John Cameron Mitchell
The long awaited sci-fi film from John Cameron Mitchell stars Elle Fanning and Nicole Kidman (in one of four new projects at the festival) as aliens infiltrating London, based on a story by Neil Gaiman.
Special Events and Special Screenings:
Some of the auteurs standing out in the Special Events and Special Screenings are Abbas Kiarostami, Jane Campion, and a Virtual Reality project from Alejandro Gonzalez Inarritu (Flesh and Sand), making these mini-sidebars some of the most formidable programming of the fest in years.
3. Golden Years – Andre Techine
Techine was last in Cannes with an out-of-competition screening with 2014’s In the Name of My Daughter. This year he gets a Special Screening with Golden Years, scripted alongside Cedric Anger and starring Pierre Deladonchamps (Stranger by the Lake) as a Wwi deserter who goes into hiding by posing as a woman…but after the war ends, he can’t bring himself to revert to his former identity.
2. Claire’s Camera – Dir. Hong Sangsoo
Cannes 2017 will deliver a double dose of Hong Sangsoo, who returns to the competition with The Day After, who then gets to debut Claire’s Camera as a Special Screening, which reunites him with Isabelle Huppert (who headlined his 2012 In Another Country). Sangsoo filmed this project at Cannes while the festival transpired in 2016.
1. Twin Peaks – David Lynch
And then, there’s the return of the master. David Lynch will be premiering the first two episodes of Twin Peaks, the hotly anticipated reunion of the iconic television show twenty-five years after the end of Season 2. Along with Campion’s unveiling of her second season of Top of the Lake, this will be a rare opportunity to see (at least partially) these new works in the cinema.
The post The Conversation: Top 3 Most Anticipated Directors’ Fortnight Picks: Denis, Baker & Dumont appeared first on Ioncinema.com.
Edouard Waintrop scored a formidable coup with his opening film this year, Claire Denis‘ Let the Sunshine In (previously known as “Dark Sunglasses”). Denis, one of France’s finest auteurs, has been consistently overlooked by Fremaux and usually appears in competition at Venice. Alongside Denis, Waintrop snagged some Sundance titles (Bushwick, Patti Cake$) and a number of new projects from noted auteurs, like Abel Ferrara, Philippe Garrel, Sharunas Bartas, and Amos Gitai. The lineup also features a number of anticipated titles from new directors, including the sophomore film from Jonas Carpignano (A Ciambra), and some eclectic art-house genre titles (like the delicious sounding Marlina the Murderer in Four Acts from Indonesia’s Mouly Surya). Here’s our top three most anticipated from the Quinzaine:
Top 3 Quinzaine:
3. Jeannette – Dir. Bruno Dumont
Bruno Dumont, who was in the main comp last year with cannibal slapstick comedy Slack Bay, returns with an electro-pop musical on Joan of Arc set during the young girl’s developmental years, as based in part on a work by Charles Peguy.
2. The Florida Project – Sean Baker
Sean Baker returns to 35mm after 2015’s phenomenal Tangerine (famously shot on an iPhone). The American auteur’s latest stars Willem Dafoe alongside a group of newcomers in a film focusing on a six-year-old girl and her group of friends one Floridian summer as they embark on adventures while the adults contend with hard times.
1. Let the Sunshine In – Claire Denis
Inexplicably, Denis unites Juliette Binoche and Gerard Depardieu in this adaptation of Roland Barthes’ A Lover’s Discourse. And this is a comedy. Sacré bleu!
Bonus:
For this year’s select out-of-competition titles, Fremaux amassed some glittery new titles from renowned auteurs.
Top 3 Ooc:
3. Ismael’s Ghosts – Dir. Arnaud Desplechin
Desplechin is back, this time opening up the festival with Ismael’s Ghosts, starring his regular muse Mathieu Amalric as a man caught between his current wife (Charlotte Gainsbourg) and the ghost of his former lover (Marion Cotillard, who previously had a small role in 1996’s My Sex Life…).
2. Based on a True Story – Dir. Roman Polanski
Polanski returns with this intriguing sounding film written by Olivier Assayas and starring Eva Green and Emmanuelle Seigner, which details a writer who gets all wrapped up with an obsessive fan.
1. How to Talk to Girls at Parties – Dir. John Cameron Mitchell
The long awaited sci-fi film from John Cameron Mitchell stars Elle Fanning and Nicole Kidman (in one of four new projects at the festival) as aliens infiltrating London, based on a story by Neil Gaiman.
Special Events and Special Screenings:
Some of the auteurs standing out in the Special Events and Special Screenings are Abbas Kiarostami, Jane Campion, and a Virtual Reality project from Alejandro Gonzalez Inarritu (Flesh and Sand), making these mini-sidebars some of the most formidable programming of the fest in years.
3. Golden Years – Andre Techine
Techine was last in Cannes with an out-of-competition screening with 2014’s In the Name of My Daughter. This year he gets a Special Screening with Golden Years, scripted alongside Cedric Anger and starring Pierre Deladonchamps (Stranger by the Lake) as a Wwi deserter who goes into hiding by posing as a woman…but after the war ends, he can’t bring himself to revert to his former identity.
2. Claire’s Camera – Dir. Hong Sangsoo
Cannes 2017 will deliver a double dose of Hong Sangsoo, who returns to the competition with The Day After, who then gets to debut Claire’s Camera as a Special Screening, which reunites him with Isabelle Huppert (who headlined his 2012 In Another Country). Sangsoo filmed this project at Cannes while the festival transpired in 2016.
1. Twin Peaks – David Lynch
And then, there’s the return of the master. David Lynch will be premiering the first two episodes of Twin Peaks, the hotly anticipated reunion of the iconic television show twenty-five years after the end of Season 2. Along with Campion’s unveiling of her second season of Top of the Lake, this will be a rare opportunity to see (at least partially) these new works in the cinema.
The post The Conversation: Top 3 Most Anticipated Directors’ Fortnight Picks: Denis, Baker & Dumont appeared first on Ioncinema.com.
- 5/2/2017
- by Nicholas Bell
- IONCINEMA.com
Bruno Dumont talks Ma Loute and his Cannes musical Jeannette l'enfance de Jeanne d'Arc with Anne-Katrin Titze Photo: Ellen Sowchek
Bruno Dumont's cathartic and fearlessly comical journey Slack Bay (Ma Loute) stars an expressive Fabrice Luchini, a daring Juliette Binoche, and a blushing Valeria Bruni Tedeschi with Raph, a bit reminiscent of Katharine Hepburn in George Cukor's Sylvia Scarlett, an eternal Thierry Lavieville, Jean-Luc Vincent ("We know what to do, but we do not do"), a fascinated Brandon Lavieville, and the Stan Laurel and Oliver Hardy-like duo Cyril Rigaux and Didier Després.
The Van Peteghems - André (Fabrice Luchini), Aude (Juliette Binoche), Billie (Raph): "You know, the way Juliette behaves, it's almost as though she is laughing at herself."
The Camille Claudel 1915 and Li'l Quinquin director's latest film Jeannette l'enfance de Jeanne d'Arc (Jeannette: The Childhood of Joan of Arc), based on a text by Charles Péguy,...
Bruno Dumont's cathartic and fearlessly comical journey Slack Bay (Ma Loute) stars an expressive Fabrice Luchini, a daring Juliette Binoche, and a blushing Valeria Bruni Tedeschi with Raph, a bit reminiscent of Katharine Hepburn in George Cukor's Sylvia Scarlett, an eternal Thierry Lavieville, Jean-Luc Vincent ("We know what to do, but we do not do"), a fascinated Brandon Lavieville, and the Stan Laurel and Oliver Hardy-like duo Cyril Rigaux and Didier Després.
The Van Peteghems - André (Fabrice Luchini), Aude (Juliette Binoche), Billie (Raph): "You know, the way Juliette behaves, it's almost as though she is laughing at herself."
The Camille Claudel 1915 and Li'l Quinquin director's latest film Jeannette l'enfance de Jeanne d'Arc (Jeannette: The Childhood of Joan of Arc), based on a text by Charles Péguy,...
- 5/2/2017
- by Anne-Katrin Titze
- eyeforfilm.co.uk
For the first time in the Us, Jacques Rivette’s 1961 directorial debut, Paris Belongs to Us is available thanks to an accomplished new restoration from Criterion. A neglected title associated with the same crew of vibrant auteurs eventually known as the Nouvelle Vague of the late 1950s and early 1960s, the Rivette’s thunder was stolen by more famous films from critics turned filmmakers Jean-Luc Godard, Claude Chabrol, and Francois Truffaut (even though it technically went into production before several of theirs). The initial lackluster response explains Rivette’s slower rise to notability, his particular methods and idiosyncrasies eventually embraced nearly a decade later when items like Mad Love (1969) and the monolithic Out 1 (1971), the legendary near thirteen hour production, were released.
Anne (Betty Schneider) is a young literature student in Paris, following in the footsteps of her older brother, Pierre (Francois Maistre). Afetr a disturbing interaction with a neighbor at her hostel,...
Anne (Betty Schneider) is a young literature student in Paris, following in the footsteps of her older brother, Pierre (Francois Maistre). Afetr a disturbing interaction with a neighbor at her hostel,...
- 3/8/2016
- by Nicholas Bell
- IONCINEMA.com
The Trip to Italy was, by most estimates, no inferior companion to 2011’s generally beloved The Trip, and so it would only make sense that Michael Winterbottom, Steve Coogan, and Rob Brydon have a third feature — with a third series of locations — in the works. Next on their plate, according to NME, is a “venture from the North Atlantic to the Mediterranean coast,” the latest set of antics taking place within “Cantabria, the Basque region, Aragon, Rioja, Castile-La Mancha and Andalusia.”
As was the case with the first two installments, this will also be shot, edited, and presented as a television series for BBC2; it’s uncertain whether this will be before (as in the original outing) or after (as in the second) the feature premieres. Shooting begins sometime this year, perhaps after Coogan completes production on An Ideal Home, which Variety tells us he’s leading alongside Paul Rudd.
As was the case with the first two installments, this will also be shot, edited, and presented as a television series for BBC2; it’s uncertain whether this will be before (as in the original outing) or after (as in the second) the feature premieres. Shooting begins sometime this year, perhaps after Coogan completes production on An Ideal Home, which Variety tells us he’s leading alongside Paul Rudd.
- 2/16/2016
- by Nick Newman
- The Film Stage
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