La Belle Et La Belle Film

Sandrine Kiberlain and Agathe Bonitzer star oui two versions of the very same woman in "When Margaux Meets Margaux," thé latest feature passant par director Sophie Fillieres ("Pardon ma French").

Vous lisez ce: La belle et la belle film


French writer-director Sophie Fillieres has a knack parce que le making off-kilter dramedies around women under thé influence, with films such as Good Girl, Pardon my French and If amie Don’t, i Will mirroring them in assorted states ns hilarity, disarray and despair.

Her recent effort, When Margaux Meets Margaux (La belle et la belle), doubles down conditions météorologiques that premise passant par portraying not one cible two such personalities — who likewise happen to be thé same person. Si that sound confusing, well, cette sort ns is, although the doesn’t stop this surreal two-hander from exuding the charms, with the winning duo of sandrine Kiberlain and Agathe Bonitzer play a mrs at two stages in sa life: one ont she beginning adulthood, the other oui she reaches center age. Auto allure fades a peu in the lundi half, marqué Fillieres toujours manages venir dig intriguingly into the female psyche, in a cinématique that can see part pickups overseas after a March release in Gaul.

The Bottom LineAn eccentric, femme-centric français comedy.

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When we tons meet 20-year-old Margaux (Bonitzer), she’s skirting through a dead-end job et relationship if trying to finish elle Masters’ degree. At a party une night in Paris, elle runs into 45-year-old Margaux (Kiberlain), who, without any kind of clear explanation — there’s no hot tub temps machine or 1.21 Gigawatts right here — transforms out à be herself oui well. The encounter creeps Margaux 1 out, while Margaux 2 appears both amused et emboldened par the possibility venir relive elle youth again, offering elle predecessor advice on how to avoid making thé same failure that elle did.

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Fillieres never tries venir justify what’s happening, with sa heroines express a very je ne sais quoi attitude toward this sudden rip in auto space-time continuum. Rather, the cinématique focuses on how esquive deux Margaux deserve to use thé event to better themselves in auto eternal present — “I should absolutely change my life,” thé younger Margaux messages at one mission — oui they both indulge in an affair with the same heureux man, Marc, (Melvil Poupaud), who they intermittently shack up with in his bachelor pad under in Lyon.

If they share a guy and a soul, auto two women ont some remarkable differences. In sa younger incarnation, Margaux appears lost et rather self-destructive — caractéristiques that perfectly suit an actress like Bonitzer (the daughter of Fillieres et director Pascal Bonitzer), who seldom cracks a laugh onscreen. In her seasoned incarnation, Margaux is much more laid-back and wise, chuckling at her earlier foibles with the knowledge that she will une day grow out du them. With her warm demeanor and sharp bande dessinée instincts, Kiberlain (9-Month Stretch) is perfect for the part, play a mrs who’s offered the chance to relive pivotal des moments of her first with no apparent page effects.


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Things do, however, come to a head at one point, although Fillieres has actually a hard temps upping auto stakes in thé film’s close up door sections, which lose momentum while working their way à what feeling like an all-too practically conclusion. Yet oui a histoire about growing up twice, Margaux comes across ont one of her more thank you works to date, turning a Bunuel-esque case into a clever meditation conditions météorologiques womanhood at different stages and phases.

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Alongside auto two solid leads, Poupaud plays marc — année ex-boyfriend who pops ago into thé picture et stays there — with the right combination of confusion et seduction, going with the flow even if his personality doesn’t entirely understand what’s going on. Tech credits makes strong use of the Paris and Lyon locations, with a so late stopover in auto Alps the beautifully captures comment the exact same person have the right to experience a ski trip with either pleasure or dread. The score par Kasper Winding is means too present and cloying, undermining the film’s an ext avant-garde ambitions.

Production companies: Christmas in July, la france 3 Cinema, Auvergne-Rhones-Alpes CinemaCast: sandline Kiberlain, Agathe Bonitzer, Melvil Poupaud, Lucie Desclozeaux, gradué BateauDirector-screenwriter: Sophie FillieresProducer: Julie SalvadorDirector of photography: Emmanuelle CollinotProduction designer: Emmanuel de ChauvignyCostume designer: Carole GerardEditor: Valerie LoiseleuxComposer: Kasper WindingCasting director: Constance DemontoySales: Indie Sales Company