DOCSLIB.ORG

OLIVIER ASSAYAS CHARLES GILLIBERT Presents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
OLIVIER ASSAYAS CHARLES GILLIBERT Presents CHARLES GILLIBERT presents KRISTEN STEWART PERSONAL SHOPPER A FILM BY OLIVIER ASSAYAS CHARLES GILLIBERT presents KRISTEN STEWART PERSONAL SHOPPER A FILM BY OLIVIER ASSAYAS With LARS EIDINGER SIGRID BOUAZIZ ANDERS DANIELSEN LIE NORA VON WALDSTÄTTEN France • 2016 • 1h45 • 2.35 • Color • 5.1 aureen is a young American woman in Paris making her living as a personal shopper for a celebrity. Also, Maureen may have M the psychic ability to communicate with spirits, just like her twin brother, Lewis, who recently passed away. She soon starts receiving am biguous messages coming from an unknown source. l e u h t e B e l o r a C © o t o h P INTERVIEW WITH KRISTEN STEWART / Did you think you would work again with in his films. Can you say the same for him? That Oli vier Assayas so quickly, only two years after he’s director you’ve always been looking for? Sils Maria ? Yes, hands down. We’ve both worked with a No. But I knew he liked acting with the same lot of people. But we share a non-verbal form of people, actors and technicians. So, deep down, communication that is perfect in our profession. I hoped I would. We got along really well on the We don’t talk a lot, but we understand one another set of Sils Maria and I figured, sooner or later, and share many of the same interests, as well as we’d work again on a creative project. But I had a similar type of curiosity. It’s a lot of fun to work no idea it would be so soon! I’m a good friend of with him. Olivier’s producer, Charles Gillibert. He’s the one who told me Olivier was already working on a / How did Olivier Assayas come to you with new script. I think we were in Cannes for Sils Personal Shopper ? Maria . Honestly, it was the first time I’d ever met He told me he was writing a very simple script, such a close-knit group of people who formed a and that he was writing it for me in the hopes I’d real team. I didn’t want to leave. We were made like it. When I received the script, I was really for each other! I feel very lucky. So, when Olivier scared because it was hard for me to imagine offered me the chance to act in Personal Shopper , cal ling up Charles or Olivier and telling them it I’ll admit I was excited, but not surprised. We really wasn’t for me! Thankfully, that wasn’t the case at wanted to continue our experience as a group. all. Once I read it, I was very impressed. It was so different from Sils Maria . For me, most of all! I / One gets the feeling that, in you, Olivier thought I knew Olivier, but I couldn’t fathom how Assayas has not only found an actress, but also he’d come up with this story. It opened my eyes the ideal person to embody the kind of modern to the more hidden aspects of his personality. It’s young woman he has always wanted to portray a very contemplative film. In Personal Shopper , l e u h t e B e l o r a C © o t o h P INTERVIEW KRISTEN STEWART 5 Olivier is able to evoke invisible worlds in his own / What was the most difficult aspect of working way without naming them. I think it’s a more on Personal Shopper ? per sonal film than Sils Maria . It isn’t analytical; it’s I play a young woman who is very lonely, a sensual and deeply human f ilm. Olivier is a com pletely isolated and sad. It was exhausting to cere bral filmmaker who was able to express very be in that character all the time. Even when I was private emotions in this film. It was really cool. I in a scene with other actors, I could never really hadn’t felt that from him in Sils Maria . be with them. It’s as if they were all ghosts. I didn’t consider myself to be a finite person. There couldn’t / Personal Shopper examines uncommon be the slightest interaction between me and them themes in French cinema, like ghosts or spiritism, because I didn’t really feel like I existed. That while remaining quite different from American plun ged me into a very painful state. Thankfully, I thrillers involving the supernatural. was surrounded by people I love and never felt l e Yes. In Sils Maria , Maria, played by Juliette alone. I was very lucky. If the atmosphere on set u h t e B e Binoche, and my character, Valentine, are having hadn’t been as positive or friendly, I would have l o r a C a conversation about movies. They disagree on a been devastated and probably collapsed on the © o t o h film they’ve just seen about mutants in space. floor. In the film, I never stop rushing from one P Valen tine says there’s just as much truth in fantasy place to another. I’m in constant movement. I lost or sci-fi than in a lot of supposedly “more serious” a lot of weight during the shoot. It was exhausting. degree. The story takes place in the world of the end of the film, even if she hasn’t found what films. These movies use symbols and metaphors – contemporary fashion, but it could have taken she was looking for, Maureen is ultimately able to but that doesn’t make them more superficial. They / Maureen hates her status as “personal place in 1930s Hollywood. I don’t know if things start over. ultimately talk about the same things and examine shop per,” as well as her rich and famous boss. were worse or better back then. People have the same subjects explored by openly psychologi - But she can’t help trying on this woman’s always been attracted to all that glitters. Like tiny / How did you prepare for the role of Maureen? cal films. It’s funny to think that Olivier literally clothes, transgressing different taboos – and moths. And, how important is the physical appearance based his following film on a line of dialogue from have fun doing it. of your characters for you? Sils Maria . Personal Shopper is also a genre Maureen is fascinated by the same thing she / Personal Shopper deals with mourning. But Absolutely important. I wanted people to feel movie, which sets it apart from most French auteur hates. She is going through an identity crisis. I love it’s also the story of a young woman’s emanci - like Maureen was a twin looking for the symbiosis films. It’s a genre film that doesn’t try to scare us the fact that she is not shown as a feminist critici - pation, trying to find freedom by taking a very she lost when her brother died. So, I imagined with ghosts but, instead, offers a reflection on reality. zing the superficiality of consumer society. She is strange path. her to have a very simple, almost androgynous The film also asks what, in my opinion, is the most going through an internal struggle. She is very Yes. The greatest periods of my life have always look. Her appearance also reflects her love-hate terrifying question in life: “Am I completely alone, attracted to this world, where her career is starting been preceded by disasters. Moments of serenity relationship with the fashion world. Therefore, the or can I truly enter into contact with someone to take shape. But she is ashamed of this attraction. or fulfillment often follow traumatic events. You feel choice of clothing was very important. Regarding else?” I’ve felt this at times, as we all have to a certain more alive if you’ve had a brush with death. At the preparation of the film, I always only read a 6 INTERVIEW KRISTEN STEWART INTERVIEW KRISTEN STEWART 7 script once, then refuse to look at it again. That were lucky. The day after November 13 th , we had way, I discover the scenes everyday on set. I didn’t to start a new day of shooting, but it was nearly have anything to learn in particular for the film. impossible to work. Everything seemed so fake. Olivier wanted to shoot earlier in the year so I Shooting a film in a studio… could follow up with the Woody Allen film, where I play a young, charming, feminine, and joyful / Before your two films with Olivier Assayas, girl. I felt incapable of doing both films in that what was your relationship to French cinema? order. I knew that – after everything I’d go through I’d seen a few essentials, like Breathless and for Personal Shopper – I’d be ravaged and none Jules et Jim . Charles, Olivier and the whole crew too pretty by the end of the shoot! I didn’t really opened my eyes to a new world of film screenings prepare, but I knew where to look for what I and cinephilia. I discovered a lot of French films nee ded. I knew where to find the trigger, and all on DVD. It was a unique experience for an I had to do was pull. I was ready to do it for the Ame rican actress to suddenly find herself to be film. part of that universe. It’s really cool.
Load more

Recommended publications
  • International Casting Directors Network Index
    International Casting Directors Network Index 01 Welcome 02 About the ICDN 04 Index of Profiles 06 Profiles of Casting Directors 76 About European Film Promotion 78 Imprint 79 ICDN Membership Application form Gut instinct and hours of research “A great film can feel a lot like a fantastic dinner party. Actors mingle and clash in the best possible lighting, and conversation is fraught with wit and emotion. The director usually gets the bulk of the credit. But before he or she can play the consummate host, someone must carefully select the right guests, send out the invites, and keep track of the RSVPs”. ‘OSCARS: The Role Of Casting Director’ by Monica Corcoran Harel, The Deadline Team, December 6, 2012 Playing one of the key roles in creating that successful “dinner” is the Casting Director, but someone who is often over-looked in the recognition department. Everyone sees the actor at work, but very few people see the hours of research, the intrinsic skills, the gut instinct that the Casting Director puts into finding just the right person for just the right role. It’s a mix of routine and inspiration which brings the characters we come to love, and sometimes to hate, to the big screen. The Casting Director’s delicate work as liaison between director, actors, their agent/manager and the studio/network figures prominently in decisions which can make or break a project. It’s a job that can't garner an Oscar, but its mighty importance is always felt behind the scenes. In July 2013, the Academy of Motion Pictures of Arts and Sciences (AMPAS) created a new branch for Casting Directors, and we are thrilled that a number of members of the International Casting Directors Network are amongst the first Casting Directors invited into the Academy.
    [Show full text]
  • Olivier Assayas France
    Les pouvoirs de la fiction L’auteur Zoom Olivier Assayas, né en 1955, est scénariste et réalisateur. Il Assayas par Assayas. Des débuts aux Destinées sentimentales, débute sa carrière de cinéaste en 1985 avec Désordre, après avec Jean-Michel Frodon (Stock, 2014) avoir été critique aux Cahiers du cinéma. Parmi ses longs-métrages : L’Enfant de l’hiver (1989), Paris À l’origine de ce livre ambitieux et s’éveille (1991), Une nouvelle vie (1993), L’Eau froide (1994), Irma personnel, il y a d’abord la rencontre, Vep (1996), Fin août, début septembre (1999), Les Destinées puis le dialogue jamais interrompu sentimentales (2000), Demonlover (2002), Clean (2004), Paris, je entre le critique Jean-Michel Frodon et t’aime (2006), Boarding Gate (2007), L’Heure d’été (2008), Après le cinéaste Olivier Assayas. Au-delà de Mai (2012), Sils Maria (2014). leurs conversations, le résultat est une Il a également à son actif de nombreux courts-métrages et des passionnante autobiographie artistique, documentaires. Il a, par ailleurs, réalisé la mini-série Carlos autant le destin d’un cinéaste à part qu’une (2010). réflexion sans complaisance sur son métier, une plongée au coeur même de la machine à faire du cinéma. L’œuvre Une ronde entre producteurs, actrices, acteurs, glamour et misères, financements et déboires, Assayas par Assayas. Des débuts aux Destinées sentimentales, difficultés et victoires, des débuts jusqu’aux Destinées avec Jean-Michel Frodon (Stock, 2014) sentimentales, cette adaptation à grand spectacle du roman de Rock & cinéma, de Thomas Sotinel, préface d’Olivier Assayas (La Jacques Chardonne qui fera connaître Olivier Assayas du public.
    [Show full text]
  • Clouds of Sils Maris: Truth Vs
    Home Treatment Assessments Consultation About Me Fees Contact Clouds of Sils Maris: Truth vs. Delusion, Resistance is Futile Posted on December 2, 2017 Betty Kershner, PhD. is a Registered Psychologist specializing in both adults and children, from infancy onward, and recently moved her office to West Toronto. She has worked with and consulted in a wide range of settings and is familiar with many types of concerns and solutions. She is able to offer assessments and treatment. Please Contact her here. The Clouds of Sils Maria portrays one woman’s struggle to deny a universal truth: We age. We get old. We do not stay the same. Written and directed by Olivier Assayas and released in 2014, the film stars Juliette Binoche, Kristen Stewart and Chloe Grace Moretz. Filmed in Germany, Italy and Switzerland, it tells the story of Maria Enders, a famous actress who reluctantly appears in a revival of the play that made her a star decades earlier; her personal assistant Valentin; and the tabloid fodder Hollywood starlet Jo-Anne. Assayas was challenged by Binoche to “write a really great female role”. He created three. Olivier Assayas a generation defined was born in by “painting, politics 1955 in Paris to and rock music” a mother who was a fashion designer, a maternal grandfather who was an acclaimed painter, and a father who was a screenwriter and former assistant to Max Ophuls, whose films often dealt with women coming to terms with their romantic illusions about love. Assayas grew up surrounded by beauty and by members of the French film industry, in a generation defined by “painting, politics and rock music” – the radicalized youth culture in the aftermath of the 1968 revolts.
    [Show full text]
  • Film Schedule
    5TH ANNUAL ALLIANCE FRANÇAISE FRENCH FILM FESTIVAL WRONG COPS, JAZZTRONAUTS AND SYNCHRONIZED SWIMMING Alliance Française du Manitoba is a not-for-profit organization dedicated to teaching and promoting French and its diverse culture. For the 5th time, the Alliance Française’s French Film Festival, curated by Damien Ferland and Alan Nobili, will give Winnipeggers the opportunity to see a diverse selection of French feature-length movies. Amanda A Summer’s Tale (Conte d’été) Mr. Klein Directed by Mikhaël Hers Directed by Éric Rohmer Directed by Joseph Losey 2018, France, 107 min 1996, France, 113 min 1976, France, 123 min French with English subtitles French with English subtitles French with English subtitles Thursday, March 7 / 7 pm Saturday, March 9 / 5 pm Sunday, March 10 / 2:30 pm Modern-day Paris. Twenty-four-year-old David (Vincent Gaspard (Melvil Poupaud) is a young, handsome, completely “Joseph Losey’s Mr. Klein, made in France during the director’s Lacoste) lives in the moment. He juggles a variety of different self-absorbed musician holidaying in Brittany. Awaiting long post-blacklist exile from the U.S., is a chilling parable odd jobs and continues to put off—just for a while longer—the the arrival of his not-quite girlfriend Léna—more a “habit about identity, fascism, exploitation and oppression… time to make more serious decisions. But the relaxed pace of of coincidence,” he clarifies—Gaspard begins courting the unforgettable.” — Ed Howard, Only The Cinema his life shifts gears when he suddenly must take charge of his affections of sweet, smart, ethnology student Margot, and Robert Klein (Alain Delon) cannot find any fault with the seven-year-old niece, Amanda.
    [Show full text]
  • Jürgen Doering Costume Designer
    Jürgen Doering Costume Designer Agents Silvia Llaguno Associate Agent Shannon Black [email protected] +44 (0) 20 3214 0889 Credits Film Production Company Notes WASP NETWORK CG Cinéma / Nostromo Dir: Olivier Assayas 2019 Pictures / RT Features / Prods: Charles Gillibert, Rodrigo Scope Pictures Teixeira, Lourenço Sant'Anna ROADS Missing Link Films Dir: Sebastian Schipper 2019 Prods: David Keitsch, Sebastian Schipper L'ADIEU À LA NUIT (FAREWELL Curiosa Films Dir: André Téchiné TO THE NIGHT) Prod: Olivier Delbosc 2019 With Catherine Deneuve UNE JEUNESSE DORÉE (GOLDEN Macassar Productions Dir: Eva Ionesco YOUTH) Prods: Damien Couvreur, Mélita 2019 Toscan du Plantier, Marie-Jeanne Pascal, Julien Rouch With Isabelle Huppert DOUBLES-VIES (NON-FICTION) CG Cinéma Dir: Olivier Assayas 2018 Prod: Charles Gillibert With Juliette Binoche and Guillaume Canet United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes L'AMOUR EST UNE FÊTE (PARIS Curiosa Films / Sunrise Dir: Cédric Anger PIGALLE) Films / Umedia Prods: Olivier Delbosc, Anne 2018 Rapczyk With Guillaume Canet TOUS NOUS SÉPARE (ALL THAT Les Films du Kiosque / Dir: Thierry Klifa DIVIDES US) Nolita Cinema Prods: Maxime Delauney, 2017 François Kraus, Denis Pineau- Valencienne, Romain Rousseau With Catherine Deneuve and Diane Kruger POLINA Everybody on the Deck Dirs: Valérie Müller | Angelin 2016 Preljocaj Prods: Maxim Ajjawi, Gaëlle Bayssière, Didier Creste VOR DER MORGENRÖTE (STEFAN Dir:
    [Show full text]
  • Olivier Assayas
    [email protected] • www.janusfilms.com “No one sees anything. Ever. They watch, but they don’t understand.” So observes Connie Nielsen in Olivier Assayas’s hallucinatory, globe-spanning demonlover, a postmodern neonoir thriller and media critique in which nothing—not even the film itself—is what it appears to be. Nielsen plays Diane de Monx, a Volf Corporation executive turned spy for rival Mangatronics in the companies’ battle over the lucrative market of internet adult animation. But Diane may not be the only player at Volf with a hidden agenda: both romantic interest Hervé (Charles Berling) and office enemy Elise (Chloë Sevigny) seem to know her secret and can easily use it against her for their own purposes. As the stakes grow higher and Diane ventures into deadlier territory, and as Sonic Youth’s score pulses, Assayas explores the connections between multinational businesses and extreme underground media as well as the many ways twenty-first-century reality increasingly resembles violent, disorienting fiction. New 2K restoration of the unrated director’s cut overseen by Olivier Assayas France | 2002 | 122 minutes | Color | In Japanese, French, and English with English subtitles | 2.35:1 aspect ratio Booking Inquiries: Janus Films Press Contact: Courtney Ott [email protected] • 212-756-8761 [email protected] • 646-230-6847 OLIVIER ASSAYAS Olivier Assayas was born in Paris in 1955, the son of screenwriter sentimentales (2000), demonlover (2002), and Clean (2004) were Raymond Assayas (better known by the pen name of Jacques all nominated for the Palme d’Or at Cannes, while Summer Rémy). After studying painting at the French National School of Hours (2008) and the miniseries Carlos (2010) each earned Fine Arts and working as a critic for Cahiers du cinéma, Assayas multiple awards from various international festivals and societies.
    [Show full text]
  • Mongrel Media
    Mongrel Media Presents I AM LOVE A Film by Luca Guadagnino (120min., Italy, 2010) Distribution Publicity Bonne Smith 1028 Queen Street West Star PR Toronto, Ontario, Canada, M6J 1H6 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Fax: 416-488-8438 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/press.html SYNOPSIS We open on a journey through the idyllic snow covered streets of Milan in the run up to Christmas. We enter a stunning, bourgeois mansion house: the home of the wealthy Recchi family. The families are gathering for a birthday dinner in honor of the patriarchal figure of Edoardo Recchi Sr. We are introduced to Emma, the stylish head of the household who is overseeing arrangements with the servants. With his health in a poor state, Edoardo Sr is preparing to hand over the reigns to the Recchi textile business. It seems a foregone conclusion when Edoardo Sr announces that he will be handing over to his son Tancredi. However, when he tells them that his grandson Edoardo Jr (Edo), Emma & Tancredi’s son, will have joint control there is a ripple of surprise at the dinner table. Gianluca, Edo’s brother is left out of the deal. Later on, a young man, Antonio, arrives at the house to deliver a cake to Edo. Having beaten him in a race earlier that day, the chef has brought a consolation present. Emma is introduced to him and thinks nothing more of the encounter.
    [Show full text]
  • L'irreprésentable / Personal Shopper D'olivier Assayas
    Document généré le 27 sept. 2021 09:36 24 images L’irreprésentable Personal Shopper d’Olivier Assayas Ariel Esteban Cayer Cinéma et théâtre : abattre les murs Numéro 182, mai–juillet 2017 URI : https://id.erudit.org/iderudit/85585ac Aller au sommaire du numéro Éditeur(s) 24/30 I/S ISSN 0707-9389 (imprimé) 1923-5097 (numérique) Découvrir la revue Citer ce compte rendu Cayer, A. E. (2017). Compte rendu de [L’irreprésentable / Personal Shopper d’Olivier Assayas]. 24 images, (182), 58–59. Tous droits réservés © 24/30 I/S, 2017 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ POINTS DE VUE Personal Shopper d’Olivier Assayas L’IRREPRÉSENTABLE par Ariel Esteban Cayer édium à ses heures, Maureen (Kristen Stewart) est l’assis- irreprésentable ; ses flux et ses transformations échappant continuel- tante d’un riche mannequin. Chargée de lui acheter ses lement à notre compréhension existentielle des choses ».1 M vêtements, elle est en constant déplacement : entre Paris Si Assayas visualisait jadis ce schéma mystérieux pour en tirer une et Londres ; entre la maison de son frère, son appartement minuscule et intrigue à la menace sourde, voire inimaginable, son Personal Shopper le luxueux loft de son employeuse.
    [Show full text]
  • OLIVIER ASSAYAS CHARLES GILLIBERT Présente
    CHARLES GILLIBERT présente KRISTEN STEWART PERSONAL SHOPPER UN FILM DE OLIVIER ASSAYAS CHARLES GILLIBERT présente KRISTEN STEWART PRESSE : MONICA DONATI PERSONAL SHOPPER assistée de CILIA GONZALEZ-MAURIN Tél. : 01 43 07 55 22 Port. Monica Donati : 06 23 85 06 18 UN FILM DE Port. Cilia Gonzalez-Maurin : 06 17 77 38 93 OLIVIER ASSAYAS [email protected] à Cannes Appartement Benazet Avec 45, rue Georges Clémenceau - 06400 Cannes LARS EIDINGER SIGRID BOUAZIZ DISTRIBUTION : ANDERS DANIELSEN LIE NORA VON WALDSTÄTTEN LES FILMS DU LOSANGE 22, avenue Pierre 1er de Serbie - 75116 Paris Tél. : 01 44 43 87 15 / 16 / 17 www.filmsdulosange.fr France • 2016 • 1h45 • VOSTF • Format 2.35 • Couleurs • Son 5.1 à Cannes RÉSIDENCE DU GRAY D’ALBION 64 Ter, rue d’Antibes / code 2640 A / Entrée 3A Photos et Dossier de presse téléchargeables sur 4ème étage / Appartement n°4A1 - 06400 Cannes www.filmsdulosange.fr Tél. : 04 93 68 44 46 aureen, une jeune américaine à Paris, s’occupe de la garde- robe d’une célébrité. C’est un travail qu’elle n’aime pas mais M elle n’a pas trouvé mieux pour payer son séjour et attendre que se manifeste l’esprit de Lewis, son frère jumeau récemment disparu. Elle se met alors à recevoir sur son téléphone portable d’étranges messages anonymes… Photo © Carole Bethuel ENTRETIEN AVEC KRISTEN STEWART / Pensiez-vous que vous alliez tourner de nouveau films. Pourriez-vous dire la même chose de lui ? sous la direction de Olivier Assayas aussi vite, Qu’il est le cinéaste que vous recherchiez ? seulement deux ans après Sils Maria ? Oui à 100%.
    [Show full text]
  • Cgcinéma Presents
    CGCINÉMA PRESENTS A FILM BY OLIVIERASSAYAS PHOTO © CAROLE BÉTHUEL CGCINÉMA PRESENTS JULIETTEBINOCHE KRISTENSTEWART CHLOË GRACEMORETZ A FILM BY OLIVIERASSAYAS 123 MIN – COLOr – 2.35 – DOLBY SRD 5.1 – 2014 PHOTO © CAROLE BÉTHUEL At the peak of her international career, Maria Enders (Juliette Binoche) is asked to perform in a revival of the play that made her famous twenty years ago. But back then she played the role of Sigrid, an alluring young girl who disarms and eventually drives her boss Helena to suicide. Now she is being asked to step into the other role, that of the older Helena. She departs with her assistant (Kristen Stewart) to rehearse in Sils Maria; a remote region of the Alps. A young Hollywood starlet with a penchant for scandal (Chloë Grace Moretz) is to take on the role of Sigrid, and Maria finds herself on the other side of the mirror, face to face with an ambiguously charming woman who is, in essence, an unsettling reflection of herself. SYNOPSIS 3 DIRECTOr’snote PHOTO © CAROLE BÉTHUEL © CAROLE PHOTO DIRECTOr’snote This film, which deals with the past, our relationship to our own past, long time. and to what forms us, has a long history. One that Juliette Binoche Writing is a path, and this one is found at dizzying heights, of time and I implicitly share. suspended between origin and becoming. It is no surprise that it We first met at the beginning of both our careers. Alongside André inspired in me images of mountainscapes and steep trails. There Téchiné, I had written Rendez-vous, a story filled with ghosts where, at needed to be Spring light, the transparency of air, and the fogs of age twenty, she had the lead role.
    [Show full text]
  • Personal Shopper
    Przedstawia nagrodzony za reżyserię w Cannes 2016 film PERSONAL SHOPPER Reżyseria Olivier Assayas Francja, Niemcy 2016, 105 min Oryginalny thriller metafizyczny ze świata paryskiej mody W KINACH od 17 MARCA 2017 ROKU Aurora Films Sp. z o.o. ul. Radziwie 7 lok. U08 01-164 Warszawa PR & MARKETING Agnieszka Zając tel. 600 094 719, e-mail: [email protected] DYSTRYBUCJA Aurora Films Anna Dziewulska tel. +48 22 405 41 46, e-mail: [email protected] AURORA FILMS Sp. z o.o., ul. Pasaż Ursynowski 1/111, 02-784 Warszawa, tel.: + 48 22 35 39 603 www.aurorafilms.pl AURORA FILMS Przedstawia fantastyczną Kristen Stewart w nowym filmie francuskiego mistrza PERSONAL SHOPPER Tytuł oryginalny: Personal Shopper w reżyserii Oliviera Assayasa TWÓRCY FILMU: Reżyseria i scenariusz: Olivier Assayas Zdjęcia: Yorick Le Saux Montaż: Marion Monnier Scenografia: François-Renaud Labarthe Kostiumy: Jürgen Doering Producenci: Charles Gillibert, Artemio Benki, Fabian Gasmia, Olivier Père OBSADA: Kristen Stewart Maureen Cartwright Lars Eidinger Ingo Sigrid Bouaziz Lara Anders Danielsen Lie Erwin Ty Olwin Gary Hammou Graïa oficer policji Nora von Waldstätten Kyra Benjamin Biolay Victor Hugo Audrey Bonnet Cassandre Pascal Rambert Jérôme Charles Gillibert spirytysta AURORA FILMS Sp. z o.o., ul. Pasaż Ursynowski 1/111, 02-784 Warszawa, tel.: + 48 22 35 39 603 www.aurorafilms.pl Nagrody i festiwale: 2017 – Cezary 2017 - najlepsza reżyseria: Olivier Assayas (nominacja) 2016 – Cannes Film Festival 2016 – najlepsza reżyseria: Olivier Assayas 2017 – Stowarzyszenie
    [Show full text]
  • Yorick Le Saux Director of Photography
    YORICK LE SAUX DIRECTOR OF PHOTOGRAPHY FEATURES WASP NETWORK Directed by : Olivier Assayas Produced by : CG Cinema LES QUATRE FILLES DU DOCTEUR MARCH Directed by: Greta Gerwig Produced by: Columbia Pictures Corporation HIGH LIFE (2018) Directed by: Claire Denis Produced by: Alcatraz Films DOUBLES VIES (2018) Directed by: Olivier Assayas Produced by: CG Cinéma PERSONAL SHOPPER (2016) Directed by: Olivier Assayas Produced by: CG Cinéma A BIGGER SPLASH (2015) Directed by: Luca Guadagnino Produced by: Frenesy Film Company SILS MARIA (2014) Directed by: Olivier Assayas Produced by: CG Cinéma ONLY LOVERS LEFT ALIVE (2013) Directed by: Jim Jarmusch Produced by: Recorded Picture Company ARBITRAGE (2012) Directed by: Nicholas Jarecki Produced by: Lionsgate POTICHE (2010) Directed by: François Ozon Produced by: Mandarin Films CARLOS (2010) Directed by: Olivier Assayas Produced by: Films en Stock AMORE (2009) Directed by: Luca Guadagnino Produced by: First Sun LA FEMME INVISIBLE, D’APRÈS UNE HISTOIRE VRAIE (2009) Directed by: Agathe Teyssier Produced by: 4 à 4 Productions JULIA (2008) Directed by: Erick Zonca Produced by: Les Productions Bagheera UN LEVER DE RIDEAU ET AUTRES HISTOIRES (2007) Directed by: François Ozon Produced by: Canal+ BOARDING GATE (2007) Directed by: Olivier Assayas Produced by: Canal+ QUAND J’ÉTAIS CHANTEUR (2006) Directed by: Xavier Giannoli Produced by: EuropaCorp LES AMITIÉS MALÉFIQUES (2006) Directed by: Emmnauel Bourdieu Produced by: Fondation Beaumarchais UNE AVENTURE (2005) Directed by: Xavier Giannoli Produced by: Rectangle
    [Show full text]