Louise Bourgoin - La fille de Monaco @ Festival international du film de Toronto, et +

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PostPosted: Thu 18 Sep - 02:25 (2008)    Post subject: Louise Bourgoin - La fille de Monaco @ Festival international du film de Toronto, et + Reply with quote

Proche de Julien Doré, la brillante Louise Bourgoin fait parler d'elle dans la Presse étrangère et française à propos de son premier film, celui de Anne Fontaine "La Fille de Monaco", qui a été sélectionné pour le festival International du film de Toronto, où elle incarne le premier rôle féminin auprès de Fabrice Luchini et Roschdy Zem...…

Toronto International Film Festival (September 3-14)

La presse évoque aussi la suite de sa carrière d'actrice.

Variety (The USA)
Posted: Wed., Sep. 17, 2008, 8:27am PT

'Fille' charms Toronto buyers
French film sold to several territories


PARIS — “La Fille de Monaco” charmed buyers at Toronto and has now found a home in several territories.

The Warner production, helmed by Anne Fontaine, has been picked up by Germany's MFA +, Russia's Luxor Entertainment, Poland's Hagi Film, Romania's ProRom, Brazil's Imovision, Benelux's Les Films de l'Elysee, Switzerland's Pathe and Canada's Les Film Sevilles.

Sales company Pyramide Intl. is in talks with U.S., Japanese and Italian buyers.

Sexy newcomer Louise Bourgoin, a former TV weather girl at Canal Plus, takes the title role, an unscrupulous and overly ambitious weather girl who gets everyone in trouble, including an influential attorney, Bertrand Beauvois, played by veteran thesp Fabrice Luchini.

“This film sold in Toronto because buyers could see right away that it could do well as a TV film,” said Yoann Ubermulhin, Pyramide’s head of sales.

“And it's also an intriguing film that starts out as a big-budget comedy, gets darker and more intimate, with an ending à la Chabrol.”

Pic has already sold 559,000 tickets since its opening in Gaul on Aug. 20.

SF (CA)…

Toronto International Film Festival: Day 3
Mon Sep 15, 2008 at 10:16:32 AM

Le Silence de Lorna

Saturday, September 6, 2008
Recap by Meredith Brody

I begin at 9:45 a.m. with Le Silence de Lorna, the new film by the Dardenne brothers, whose filmography is made up of serious and compelling movies about the lives of quiet desperation led by the underclass of Belgium – often immigrants. In this tradition, this is the story of an attractive Albanian woman who’s gotten Belgian citizenship by a fake marriage to a junkie (Jeremie Renier, agitated star of the Dardenne’s earlier masterpiece, L’enfant), who her gangster handlers intend to murder by an overdose rather than pay him for a divorce so Lorna can marry a Russian in a daisy-chain of acquiring Belgian citizenship. It’s an engaging, involving work, as expected, but not as astonishing as some of their earlier films – though this is a failing of film festival settings. The audience (that includes me) is always asking “Astonish me!”, and if a work just happens to be good, as expected, rather than ground-breaking, something they’ve never seen before, they’re disappointed.

Of Time and the City

A case in point is the beautiful personal essay, Of Time and the City, about his birthplace, Liverpool, by Terence Davies, poetic director of movies that frequently mine the same childhood he’s recalling here. It suits me right down to the ground – I love movies about cities, essay films, nostalgia for the past – but this is very well-trodden ground for Davies, who narrates the film in his plumy, upper-class-sounding, non-Liverpudlian voice. I find myself wishing somebody would give lots of money to Davies to make a bigger fiction film like his terrific The House of Mirth, which (unbelievably) was his most recent film, made in 2000. Way too much time has elapsed.

This is the first movie I’ve seen in yet another of Toronto’s massive shopping malls, located at the corner of Yonge and Dundas. I scale four flights of long escalators in the company of Susan Oxtoby, former Torontonian and current director of Berkeley’s Pacific Film Archive, who has also never been here. I sit with her and another Toronto resident who works at the excellent local Cinematheque; I say, because I’ve seen a sign that says AMC 24, that I’m impressed by the number of screens. They scoff and say it only has 9. On exiting, of course, I find it’s called the AMC 24 because it has 24 screens. Oh ye of little faith.

American Swing

I stay in the same complex and watch what I assume will be a guilty pleasure, American Swing, a documentary about the New York sex club Plato’s Retreat. It turns out to be more guilty than pleasure: the cumulative effect of watching people joylessly pursuing sexual sensations, and the short, unhappy life of club owner Larry Levenson, is distinctly anerotic and depressing. All filmgoing is in some sense voyeuristic, but the flashes of humor both intentional (from sardonic observer Buck Henry, who comes off well) and un (from some aging ex-swingers) are too few for this voyeur to achieve satisfaction.

I trundle back up to the main venue for the Festival’s Press and Industry screenings, the Manulife Center at Bloor at Bay – on the Festival’s opening weekend, most public screenings, even of the most obscure, most specialized films, are full and many people wait in Rush lines outside, hoping to be let in at the last minute. I go see Firaaq, also screened at Telluride, the first film by prolific actress Nandita Das, who’s appeared in several films by Toronto director Deepa Mehta. The film, set over a 24-hour period in 2002 during an area of India torn by riots in which 3000 Muslims were killed, explicates the Hindu-Muslim conflict more clearly than any other I’ve seen before: it’s worthy but not as emotionally involving as I’d hoped. More memorable is the fact that I run into a Toronto-based actress and writer in line who I run into every year and she talks about herself for half-an-hour without drawing a breath or asking me anything about myself. It’s a theatrical performance equal to anything in the film.

L'empreinte de l'ange

Within minutes I’m ensconced in L’empreinte de l’ange, attracted by the presence of two gifted French actresses, Sandrine Bonnaire and Catherine Frot. It’s an anxiety-inducing Hitchockian thriller in which the two women do battle over the daughter of Bonnaire, who Frot thinks, after glimpsing her at a party, is the child she lost at infancy in a hospital fire. Your sympathies switch several times over the course of the narrative. The ending is made no more believable by the legend “inspired by a true story.”

Afterwards I induce my friend Anita to take a subway down to the immense Roy Thomson Hall, a theatrical venue where the Festival’s Gala films are screened, after the movie’s directors and stars parade down a red carpet, yielding the photos seen all over the world of a Festival very different from the one I attend. We’ve both enjoyed other movies by the director Anne Fontaine, but not so much this one -- La fille de Monaco, despite the presence of such interesting actors as Fabrice Lucchini, Roschdy Zem, Jeanne Balibar, and, most at sea, Stephane Audran, who appears to be sleepwalking, and not entirely as a character choice. Both Anita and I were charmed by the appearance onstage of the young girl who incarnates the title character – Louise Bourgoin – more so than in the film.

It’s after midnight. Tomorrow will be another day.

Category: Film

Hollywood Reporter…

Film Review: The Girl from Monaco
Bottom Line: Confused lawyer, ditsy blonde combine for Wilder-esque comedy

By Bernard Besserglik

Sep 2, 2008

Toronto International Film Festival

PARIS -- Anne Fontaine's "The Girl from Monaco" ("La Fille de Monaco") is a dark comedy that Billy Wilder would not have disavowed, featuring a confused lawyer, a ditsy blonde, sexuality in abundance and an emotional triangle that culminates in murder. With its echoes of the Nicole Kidman vehicle "To Die For" -- the blonde in question is a television weather-reporter with big ambitions -- the film will appeal to movie-goers who appreciate story, character and crisp dialogue. The film, which screens at the Toronto International Film Festival, opened in France August 20.

When Bertrand Beauvois (Fabrice Luchini), a successful middle-aged lawyer and socialite, arrives in the principality of Monaco to defend Edith (Stephane Audran), an elderly woman charged with killing her much younger lover, he finds himself saddled with a bodyguard called Christophe (Roschdy Zem) on the grounds that the murder victim may have had links to the Russian mafia. He also finds himself receiving the unbridled amorous attentions of Audrey (Louise Bourgoin), an attractive and highly sexed young TV announcer.

The fact that he cannot believe his luck does not prevent him from taking maximum advantage, even if Audrey is a simpering airhead who speaks in psychobabble and is fixated on the late princess Diana. When she announces her attention to accompany him back to Paris and marry him, he is uncertain whether to be overjoyed or appalled.
Meanwhile he develops an odd-couple relationship with Christophe, who gets him out of numerous scrapes resulting from Audrey's extravagance, and it is the bodyguard -- who has earlier enjoyed a fling with Audrey himself -- who resolves Bertrand's dilemma for him.

There are many pleasures to be derived from observing the developing bond between the lawyer and his bodyguard (there are suggestions of sexual confusion but no explicitly gay subtext), and Fontaine cleverly draws parallels between Edith's "crime passionnel" -- which also proves to be based on a love triangle -- and the tangled relationship between Audrey and the two men. The movie's humor is sly and understated rather than laugh-out-loud, as Fontaine's literate script, co-written with Benoit Graffin, hints at melancholy and deeper frustrations.

Luchini's trademark mannerisms, which in some films can be irritating, are here perfectly judged and appropriate. Zem confirms his growing stature as a boxoffice attraction, Bourgoin does well to keep her character from veering into caricature and Audran provides a luminous cameo.

Production companies: Soudaine Compagnie, Cine@, Warner Bros. Entertainment France. Cast: Fabrice Luchini, Roschdy Zem, Louise Bourgoin, Stephane Audran, Gilles Cohen. Director: Anne Fontaine. Writers: Anne Fontaine, Benoit Graffin. Producers: Christine Raspilliere, Kanzaman S.A.M. Photography: Patrick Blossier. Editor: Maryline Monthieu. Production design: Yves Fournier. Music: Philippe Rombi. Sales: Pyramide International. No rating, 95 minutes.

Canoe (Review of the TIFF 2008 Blog)…

Thursday, September 18, 2008
The best films at TIFF

We asked our bleary-eyed team of TIFF writers what was the single best movie they saw this year, and here are their reports. Know that each saw only a small portion of the 312 films showing in this year's fest and that, with few exceptions, each did not see the other's films:

Liz Braun's Choice: Public Enemy Number One

Public Enemy Number One (Mesrine: L'instinct de mort) is the first half of a two-part biopic of gangster Jacques Mesrine, and it will blow your socks off. Well, provided you enjoy true crime history and violence.

Vincent Cassel stars in the film and Jean-Francois Richet directs. The story has a Canadian chapter, when larger-than-life criminal Mesrine was imprisoned in Quebec. That means Roy Dupuis turns up in the cast, along with Gerard Depardieu and Cecile De France.

There were several other movies we'd recommend from this year's festival, and they include Hunger from Steve McQueen, Genova from Michael Winterbottom, Happy Go Lucky from Mike Leigh and I've Loved You So Long (Il y a longtemps que je t'aime), which involves subtitles, an Oscar-worthy performance from Kristin Scott Thomas and boxes and boxes of Kleenex. Philippe Claudel directs.

Best man at the fest: Actor Mark Ruffalo, who's smart, works hard, is humble and as upstanding a guy as you're gonna meet. All that and more was on display at a news conference for What Doesn't Kill You, as the Sun's Jason MacNeil wrote about yesterday. Ruffalo choked up while trying to explain how difficult it was to portray the "immense pain" felt in one scene by his character, whose life was based on that of director Brian Goodman, Ruffalo's good friend.

Best quote: From Noah Emmerich, one of the stars of Pride And Glory, who was asked what he liked about the project and eventually -- at the end of a lengthy, convoluted and somewhat self-conscious description from Edward Norton of how he valued the way the movie reflects the broader social picture in contemporary America -- said, "Ditto."

Worst moment: The sudden realization that poor Colin Firth, a lovely guy who comes here almost every year and works harder than anyone to promote his movies, must invariably spend his birthday (Sept. 10) at the TIFF. Poor sod.

Best moment: When it all stopped.

Bruce Kirkland's Choice: The Girl from Monaco

The best thing about film festivals is the moment of discovery, an epiphany when a work of art or entertainment (or both together) resonates.

French director Anne Fontaine's effervescent sex comedy The Girl from Monaco sent those cinematic shock waves through me at this Toronto filmfest. I much admired these films: Passchendaele; Before Tomorrow; Che Part 1; The Stone of Destiny; Lorna's Silence; Two-Legged Horse; Of Time and the City; Blindness; The Lucky Ones; Synecdoche, New York; A Christmas Tale; At the End of the World; and a clutch of entries in Short Cuts Canada.

It was Fontaine's clever Gallic classic, however, that felt like a revelation. Partly because it is so sexy, so clever, so wry. Partly because it introduces ingenue Louise Bourgoin. But mostly because, under Fontaine's sublime direction, The Girl from Monaco (La Fille de Monaco) is so perfectly, beautifully, wildly French.

Arguably, cinema was invented in France and the French are still perfecting the art in their own particular, peculiar and often passionate manner

Favourite moment: It was a privilege and a joy to step out of the celebrity buzz and sit down with Quebec co-director Marie-Helene Cousineau and two of her Inuit collaborators on Before Tomorrow -- actress/co-director Madeline Piujuq Ivalu, and co-writer/production designer Susan Avingaq. Ivalu explained that the script used precise, traditional Inuktitut to keep alive the richness of the language. Inuit kids, she said, don't know enough Inuktitut words or what they really mean -- and the women smiled knowingly when I said we have the same problem in English here in the South.

Favourite celebs: People who think all celebrities are stuck up, self-absorbed or rude would think again if they had the opportunity to chat with Julianne Moore, Tim Robbins, Ed Harris, Don McKellar, Mark Ruffalo, Steven Soderbergh, Deepa Mehta, Philip Seymour Hoffman, Paul Gross, Rachel Blanchard, Bruce McDonald and, yes, even Spike Lee (although Clint Eastwood would beg to differ).

Jim Slotek's Choice: RocknRolla

I saw many good films (such as Fifty Dead Men Walking, and the Korean film The Good, The Bad And The Weird) at this year's fest, but few great ones. The most fun was Guy Ritchie's RocknRolla. Mr. Madonna is back with his best film since Snatch.

Set in a real-estate crazy London -- where everyone from smalltimers to "respectable" old-school crime bosses to Russian mobsters want in -- it's a labyrinthian caper film in the mold of Ocean's Eleven, but with more genuine laughs and without the preening and pomposity that Hollywood A-listers would bring to the party.

The revelation is that Gerard Butler is more than just a set of abs. He has a real flair for comedy as "One-Two," the head of a gang that calls itself The Wild Bunch, and whose ranks include the unsung talent Idris Elba (The Wire) as Mumbles. He plays off hilariously against best friend Handsome Bob (Tom Hardy), who comes out of the closet at the most inopportune time, and a high-rolling crooked lawyer (Thandie Newton) whom he falls for.

Tom Wilkinson is his Oscar-winning self as Lenny, the politically connected old-schooler who finds himself out of his league with all the foreign money and bad-customers flowing in. Ritchie keeps these and other balls in the air with style and a cool soundtrack. We look forward to more Wild Bunch.

Best quote on family values: From Bill Maher, while promoting his movie Religulous: "I notice Joe Biden at the (Democratic) convention, he said of his wife, 'She leaves me breathless and speechless.' And then he took a breath and made a speech."

Most stomach-turning-yet-hilarious plot: The adventures of drunk party-girl Caroline and her gum in Nick And Norah's Infinite Playlist. Think hands and knees, feeling for it in a puke-filled bus terminal toilet.

Biggest surprise: Jean-Claude Van Damme can act. Of course, he played himself in the touching and funny JCVD, but in a John Malkovich kind of way.

Kevin Williamson's Choice: Nothing But the Truth

Kate Beckinsale, ditching the black leather and vampire fangs of Underworld, goes for broke in Nothing But The Truth as Rachel Armstrong, a Washington D.C. journalist who discovers the White House may have attacked Venezuela without justification after an assassination attempt on the president.

Armstrong's story reveals the identity of a CIA operative, Erica Van Doren (Vera Farmiga) -- an act viewed as a threat to national security. When Armstrong won't reveal the source who leaked Van Doren's identity, the government sends a dogged, cocky special prosecutor (Matt Dillon) to persuade her otherwise. What follows is a grueling battle of wills, as the naive Armstrong endures dire, devastating consequences.

Writer-director Rod Lurie was obviously inspired by the real-life Valerie Plame case, but manages to spin his yarn in gratifyingly fictitious directions. Although the premise could give way to showboating, Lurie, who made The Contender, wisely underplays the drama throughout.

Alan Alda, Angela Bassett, David Schwimmer and Noah Wyle round out a crackling ensemble. This is a meaty, thematically ambitious political potboiler.

Best performance: Anne Hathaway's nerve-wracking turn as a repeat rehabber is the best reason to see Jonathan Demme's Rachel Getting Married. Otherwise the movie feels a little like being dragged by your new girlfriend to a wedding in which her family is imploding -- awkward, squirm-in-your-seat moments hit you like stray champagne corks.

Most self-effacing quote: Ricky Gervais, talking about being recognized on the streets of Toronto: "I'm very confused. All I can think is (the paparazzi) are here for the festival. I think there's no one better here yet; I'm early."

Most frustrated actors: Viggo Mortensen and Ed Harris who, during an Appaloosa news conference, struggled to answer a non-question from one reporter looking for a blanket statement about how westerns treat women simplistically. "I'm not arguing," an exasperated Harris said. "I just don't know what you're asking."


Blanc comme neige - Louise Bourgoin
Louise Bourgoin à nouveau au cinéma
le 2008-09-16

Louise Bourgoin et François Cluzet seront les têtes d'affiche de "Blanc comme neige".

Les comédiens français Louise Bourgoin (La Fille de Monaco) et François Cluzet (Ne le dis à personne) ainsi que le Belge Olivier Gourmet (Pars vite et reviens tard) tiendront le haut de l'affiche dans le polar Blanc comme neige.

Christophe Blanc signera sa deuxième réalisation avec ce film, après Une femme d'extérieure sorti en 2000. Le tournage de Blanc comme neige doit commencer en janvier prochain.

Sunday Times…
August 31, 2008

TV weathergirl Louise Bourgoin forecast to be new Brigitte Bardot
Matthew Campbell in Paris

A television weathergirl turned actress was being touted by French critics last week as the new Brigitte Bardot.

Louise Bourgoin, 26, who until recently presented the weather forecasts for Canal Plus, throws a middle-aged lawyer’s life into turmoil as what one critic called “a Mediterranean bimbo” in her first film, which opened in French cinemas last week.

The Girl from Monaco was expected to launch Bourgoin internationally in the way that And God Created Woman put Bardot, the sex goddess of her generation, under a global spotlight in 1956. Comparisons to Bardot, who retired in 1973 to become an animal rights campaigner, were encouraged by the fact that Bourgoin is to play her in a film about Serge Gainsbourg, the singer, who was also one of Bardot’s lovers. Bourgoin was photographed putting on a Bardot-like pout recently for Paris Match magazine.

“As liberated as a young colt and with a bod kissed by Aphrodite,” was how Variety, the US entertainment trade newspaper, described her.

Bourgoin says she did not plan on being a celebrity when she became a forecaster. “I appreciate anonymity,” she said, “even if I find it charming when people come up to me in the street to ask what the weather is going to be like.”


NB / Louise Bourgoin aurait démenti sa participation pour le rôle de Brigitte Bardot dans le film sur la vie de Serge Gainsbourg. [mais je ne trouve plus la source:-]
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