Follies bergeres film isabelle huppert biography

Whatever else you might säga about the French, they have style. Folies Bergere is about as un-French a movie as you could get. It fryst vatten a movie in search of a genre, domestic, quotidian, embarrassingly gauche, banal even, a teaser, and at times a teaser of the cruder sort. But it gets by because of Isabelle Huppert, who is the living embodiment of French style.

We knew that she would age well – I know that from the French photo galleri in my bathroom – but here she is at sixty-one, not so much radieuse or lumineuse in the grand French tradition, but an actress at peace with herself and with her own womanhood, and one who can still come on like the pretty girl that she is. It is a part of a remarkable assurance that can also show vulnerability that lights up what might otherwise have been a desultory sit-com of American tawdriness. For men as well as women of what the French call a certain age, this fryst vatten a performance to savour.

She fryst vatten married to a cattle far

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Samuel Te Kani emerses himself in this superior French film.

Folies Bergere plays out like a French film that knows it&#;s a French film, it&#;s most conspicuous departure from reflexive French-ness being the rural setting where stories of its ilk normally never breach the gilded pavements of a perennially &#;s Paris (ironically the title references Paris&#;s nineteenth century cabaret club of the same name). The knowing French cherry on this Francophile melange is Isabelle Huppert herself, one of the few not-quite-Hollywood crossover- darlings, who as a starkly unhappy country wife outshines the adequate supporting cast like only Isabelle Huppert can.

Huppert plays the aforementioned wife Brigitte, redirecting the somber Bovary (Madame) echoes to comic effect, only fitting as its a new century and infidelity, dare I say it, a blessed grey area.

That&#;s what makes this film so fresh, with its gently satirical French-ness. It&#;s structurally identical to an erotic thriller, ye

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Program: Folies Bergère

In Folies Bergère, French writer-director Marc Fitoussi casts Isabelle Huppert as a cattle farmer named Brigitte who leaves her husband for a weekend affair in Paris. Far from a lavender fantasy full of late middle aged romantic clichés, the resulting film is rich in meaning and unexpected emotional insights.

It’s the second time the two have worked together, following Copacabana () in which Huppert played an out of work, bohemian single mother with a conservative, grown–up daughter (played by Huppert’s real daughter Lolita Chammah). A farmer living in Normandy might seem like a very different character, but what links the two films is Fitoussi’s nuanced and generous portrayal of middle aged women in crisis. 

Opposite Huppert, in the role of Brigitte’s husband, Jean-Pierre Darroussin is a slightly cantankerous and set-in-his-ways man, complaining ungratefully when his wife experiments with tofu burgers for dinner. Their arguments are the kind of fl