No Sleep for a Beauty Who Seeks Adventure
In “The Sleeping Beauty,” Catherine Breillat’s wily and witty retelling of the fairy tale, the enchanted princess doesn’t just fall into a 100-year slumber, she also hits the road, walking and riding into adventure. Simone de Beauvoir wrote in “The Second Sex,” “Woman is Sleeping Beauty, Donkey Skin, Cinderella, Snow White, the one who receives and endures.”
Flach Film and director William Karel have been commissioned by France Television to produce Obama 2012 – a two-part doc looking at the U.S. president’s rise to power in 2008 and his first four years in office.
En présence des réalisateurs, mercredi 22 juin à 20h30 au C.G.R Le Dragon, France 2 présente “Album(s) d’Auschwitz” en V.O.S.T, un film de 79′ de 2011 de Willima Karel et Blanche Finger. Flach Film Production
Les histoires croisées de deux albums de photographies. Celui de Lili Jacob, une jeune fille juive rescapée qui restitue l’arrivée d’un convoi de juifs hongrois à Auschwitz en mai 1944. Et celui de l’officier Höcker qui dévoile les moments de détente des officiers SS, la même année, non loin du camp.
“Le film est construit sur une structure narrative solide et un usage approprié du langage cinématographique et pourrait rencontrer l’intérêt du public européen”.
Following her typically idiosyncratic revision of “Bluebeard,” Gallic helmer Catherine Breillat fractures another fairy tale with “The Sleeping Beauty.”
Je voudrais traiter ce conte, non comme une histoire que se racontent deux petites filles mais comme l’histoire même d’une petite fille qui naît, elle ne sait pas encore dans quel monde, puis qui se fabrique son monde d’enfant.
In “Bluebeard,” a sly rethink of the freakily morbid fairy tale, the filmmaker Catherine Breillat makes the case that once-upon-a-time stories never end. Divided into two parallel narratives — one focuses on Bluebeard and his dangerously curious wife, while the other involves two little girls in the modern era revisiting the tale — the movie is at once direct, complex and peculiar.
“When I was growing up in the 1950s, it was a fairy tale that was specifically aimed at little girls,” said the French director Catherine Breillat, 61, whose film adaptation of the tale opened in New York on Friday. “I found it very strange that in the end it’s about teaching little girls to love a man who will kill them. Because that is the story that it tells.”
sychologically rich, unobtrusively minimalist, at once admirably straightforward and slyly comic, Catherine Breillat’s Bluebeard is a lucid retelling and simultaneous explanation of Charles Perrault’s nastiest, most un-Disneyfiable nursery story.
With Bluebeard, Catherine Breillat—perhaps the most willful feminist provocatrice in cinema today—slyly subverts Charles Perrault’s gruesome fairy tale about a young bride married to an aristocrat who has murdered his previous wives.
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