Tag Archives: isabelle huppert

TALES OF CINEMA: THE FILMS OF HONG SANG-SOO

A couple tries to rekindle their romance in NOBODY’S DAUGHTER HAEWON

A couple considers rekindling their romance in Hong Sang-soo’s NOBODY’S DAUGHTER HAEWON

Museum of the Moving Image
35th Ave. at 36th St., Astoria
Through June 19
718-777-6888
www.movingimage.us

The Museum of the Moving Image’s seventeen-day, eighteen-film retrospective of the work of South Korean auteur Hong Sang-soo heads into its final weekend with his five latest works, as Hong continues his exploration of the creation of art and cinema itself. (The museum previously celebrated Hong’s oeuvre with a 2012 series that consisted of five films.) The festival, which began with such works as The Day a Pig Fell into the Well, On the Occasion of Remembering the Turning Gate, and Virgin Stripped Bare by Her Bachelors, concludes June 17-19 with In Another Country, Our Sunhi, Nobody’s Daughter Haewon, HaHaHa, and Hill of Freedom.

IN ANOTHER COUNTRY (DA-REUN NA-RA-E-SUH) (Hong Sang-soo, 2012)
Friday, June 17, $12, 7:00
www.movingimage.us

Hong Sang-soo continues his fascinating exploration of cinematic narrative in In Another Country, although this one turns somewhat nasty and tiresome by the end. After being duped in a bad business deal by a family member, an older woman (Youn Yuh-jung) and her daughter, Wonju (Jung Yumi), move to the small seaside town of Mohjang, where the disenchanted Wonju decides to write a screenplay to deal with her frustration. Based on an actual experience she had, she writes three tales in which a French woman named Anne (each played by an English-speaking Isabelle Huppert) comes to the town for different reasons. In the first section, Anne is a prominent filmmaker invited by Korean director Jungsoo (Kwon Hye-hyo), who has a thing for her even though he is about to become a father with his very suspicious wife, Kumhee (Moon So-ri). In the second story, Anne, a woman married to a wealthy CEO, has come to Mohjang to continue her affair with a well-known director, Munsoo (Moon Sung-keun), who is careful that the two are not seen together in public. And in the final part, Anne, whose husband recently left her for a young Korean woman, has arrived in Mohjang with an older friend (Youn), seeking to rediscover herself. In all three stories, Anne searches for a lighthouse, as if that could shine a light on her future, and meets up with a goofy lifeguard (Yu Jun-sang) who offers the possibility of sex, but each Anne reacts in different ways to his advances. Dialogue and scenes repeat, with slight adjustments made based on the different versions of Anne, investigating character, identity, and desire both in film and in real life. Hong wrote the film specifically for Huppert, who is charming and delightful in the first two sections before turning ugly in the third as Anne suddenly becomes annoying, selfish, and irritating, the plot taking hard-to-believe twists that nearly undermine what has gone on before. As he has done in such previous films as Like You Know It All, The Day He Arrives, Tale of Cinema, and Oki’s Movie, Hong weaves together an intricate plot that is soon commenting on itself and coming together in unexpected, surreal ways, but he loses his usual taut narrative thread in the final, disappointing section.

A drunken night at a sake restaurant reveals some hard truths in another bittersweet Hong Sang-soo cinematic tale

NOBODY’S DAUGHTER HAEWON (NUGU-UI TTAL-DO ANIN HAEWON) (Hong Sang-soo, 2013)
Sunday, June 19, $12, 2:00
www.movingimage.us

In South Korean director Hong Sang-soo’s bittersweet tale Nobody’s Daughter Haewon, nearly everyone who meets college student Haewon (Jeong Eun-chae) tells her that she’s “pretty,” from her mother (Kim Ja-ok), who has decided to pack up and move to Canada, to legendary star Jane Birkin (playing herself), whom she bumps into on the street, to a hot bookstore owner, to fellow students and teachers. Rather stuck up and direct on the outside but much more tender and lost on the inside, Haewon reaches out to a former lover, film professor Seongjun (Lee Sun-kyun), who is married with a baby. As they contemplate rekindling their affair, they wind up getting drunk on sake with a group of Seongjun’s students, who suspect the teacher-student romance and clearly do not like Haewon. Meanwhile, Haewon, who is reading Norbert Elias’s The Loneliness of the Dying, is intrigued by the flirtations of another film professor, Jungwon (Kim Eui-sung), who teaches in San Diego. From Seoul’s West Village to the historic Fort Namhan, Haewon tries to find her place in the world as writer-director Hong employs a chronological narrative that combines her dreams with reality over the course of a few weeks in springtime. Hong has explored similar terrain in previous films, but there’s just enough of an edge to Nobody’s Daughter Haewon to prevent it from feeling repetitive and more of the same. As always, Hong favors long establishing shots and a stationary camera that suddenly and awkwardly zooms in, instantly reminding viewers that they are watching a film. However, the scene in the restaurant goes on for several minutes with no cuts or camera movements, letting the acting and the dialogue tell the story without cinematic interference. Nobody’s Daughter Haewon also clocks in at a mere hour and a half, much shorter than most of his earlier work, which tends to go on way too long, but this one feels a little lighter in substance as well.

TURKEYS FOR THANKSGIVING: HEAVEN’S GATE

Isabelle Huppert and Kris Kristofferson waltz their way through HEAVEN’S GATE

HEAVEN’S GATE (Michael Cimino, 1980)
BAMcinématek, BAM Rose Cinemas
30 Lafayette Ave. between Ashland Pl. & St. Felix St.
Thursday, November 26, 7:00, and Friday, November 27, 2:30
Series runs November 20-29
718-636-4100
www.bam.org

When I was a kid in school, one of the first movies I ever reviewed was Heaven’s Gate, Michael Cimino’s brazenly overbudget famous Hollywood disaster. Incensed that professional film critics were obsessed with the meta surrounding the making of the epic Western instead of simply taking it for what it was, I was determined to treat it like any other movie, forgetting about all the behind-the-scenes gossip and tales of financial gluttony. And what I found back then was that it was a noble failure, a bold exercise in genre that had its share of strong moments but ultimately fell apart, leaving me dissatisfied and disappointed but glad I had seen it; I did not want my three-plus hours back. In fact, I probably would have checked out the rumored five-hour version if it had been shown, hoping it would fill in the many gaps that plagued the official theatrical release. More than thirty years later, Cimino’s follow-up to his Oscar-winning sophomore effort, The Deer Hunter, has returned in a 216-minute digital restoration supervised by Cimino, and it does indeed shed new light on the unfairly ridiculed work, which is still, after all this time, a noble failure. Inspired by the 1882 Johnson County War in Wyoming, the film stars Kris Kristofferson as Jim Averill, a Harvard-educated lawman hired by a group of immigrants, called “citizens,” whose livelihood — and lives — are being threatened by a wealthy cattlemen’s association run by the elitist Frank Canton (Sam Waterston). The association has come up with a kill list of 125 citizens, offering fifty dollars for each murder, a plan that has been authorized all the way up to the president of the United States. Leading the way for the cattlemen is hired killer Nate Champion (Christopher Walken), who has a particularly fierce aversion to the foreign-speaking immigrants. With a major battle on the horizon, Averill and Champion also fight for the love of the same woman, the luminous Ella Watson (Isabelle Huppert), a successful madam who soon finds herself in the middle of the controversy.

Christopher Walken sets his sights on immigrants in epic Western

Heaven’s Gate is beautifully photographed by Vilmos Zsigmond, the first half bathed in sepia tones, with many shots evoking Impressionist painting. The narrative, which begins in Harvard in 1870 before jumping to 1890 Wyoming, moves far too slowly, with underdeveloped relationships and characters that don’t pay off in the long run, especially John Hurt as Billy Irvine, who wanders around lost throughout the film. Using a gentle rendition of Strauss’s “The Blue Danube” as a musical motif, Cimino creates repetitive scenes that start too early and go on too long, choosing style over substance, resulting in too much atmosphere and not enough motivation. The all-star cast also includes Joseph Cotten, Jeff Bridges, Brad Dourif, Richard Masur, Eastwood regular Geoffrey Lewis, Terry O’Quinn, Tom Noonan, and Mickey Rourke, but most of them are wasted in minor roles that are never fully developed. Whereas the film began by calling to mind such works as Akira Kurosawa’s Yojimbo, John Ford’s My Darling Clementine, and Robert Altman’s McCabe & Mrs. Miller, it devolves into Sam Peckinpah-lite as rape and violence take center stage, along with silly plot twists and clichéd dialogue, much of which is hard to make out. However, all of that does not add up to one of the worst movies ever made, despite its inclusion on many such lists. It even feels oddly relevant today, as America continues to debate immigration laws. But in the end it’s just a film that tried too hard, focusing on the wrong things. Back in 1980, I wanted to see the supposed five-hour version; now I think I’d prefer to see a two-hour Heaven’s Gate that would just get to the point. It’s sharing the coveted Thanksgiving Day slot with Joseph L. Mankiewicz’s Cleopatra in the BAMcinématek series “Turkeys for Thanksgiving,” which runs November 20-29 and consists of fourteen films that were considered disasters when they were first released but might actually be gems in retrospect. The two films are screening on November 26 and 27; among the other “turkeys” are Richard Kelly’s Southland Tales, Robert Altman’s Popeye, Peter Bogdanovich’s At Long Last Love, and David Lynch’s Dune.

JEAN-CLAUDE CARRIERE — WRITING THE IMPOSSIBLE: EVERY MAN FOR HIMSELF

Denise Rimbaud (Nathalie Baye) and Paul Godard (Jacques Dutronc) nearly get swept away in Jean-Luc Godard’s born-again film, EVERY MAN FOR HIMSELF

CinéSalon: EVERY MAN FOR HIMSELF (SAUVE QUI PEUT [LA VIE]) (Jean-Luc Godard, 1980)
French Institute Alliance Française, Florence Gould Hall
55 East 59th St. between Madison & Park Aves.
Tuesday, June 16, $13, 4:00 & 7:30
Series continues Tuesdays through July 28
212-355-6100
fiaf.org

In 1980, Jean-Luc Godard told journalist Jonathan Cott, “When you have a first love, a first experience, a first movie, once you’ve done it, you can’t repeat it,” the French auteur said about his latest film, Every Man for Himself, which he considered his “second first” film. “If it’s bad, it’s a repetition; if it’s good, it’s a spiral. It’s like when you return home — to mountains and lakes, in my case — you have a feeling of childhood, of beginning again. But in films, it’s very seldom that you have the opportunity to make your first film for the second time.” For Godard, whose real first film was 1960’s Breathless and who went on to make such other avant-garde masterworks as Contempt, Pierrot le Fou, Masculine Feminine, and Two or Three Things I Know About Her, Every Man for Himself might have been somewhat of a return to narrative, but only as Godard can do it. He still plays with form and various technological aspects, including a fascination with slow motion and an unusual, often very funny use of incidental music, and his manner of episodic storytelling would not exactly be called traditional. Sometimes it’s good, and sometimes it’s bad. Jacques Dutronc stars as mean-spirited, self-obsessed Swiss television director Paul Godard, who has recently broken up with his girlfriend, Denise Rimbaud (Nathalie Baye), who wants to leave their apartment in the city for the idyllic greenery of the country. (Yes, the characters have such names as Godard and Rimbaud, and the voice of Marguerite Duras shows up.) Paul then meets a prostitute, Isabelle Rivière (Isabelle Huppert), who is interested in Paul and Denise’s apartment, planning on bettering her life even as she still must submit to the whims of her clients, including a businessman who orchestrates a strange orgy that would make Secretary’s James Spader proud.

The film is divided into four main sections, “The Imaginary,” “Fear,” “Commerce,” and “Music,” as the protagonists’ paths cross both thematically and, ultimately, physically. Among the motifs Godard explores are violence against women, incest, freedom, and choice, in addition, of course, to the art and craft of filmmaking itself. Along the way he pokes fun at commercialism, with numerous references to Marlboro (including a man who drives up to a gas station convenience store in a Formula One racecar sponsored by the cigarette brand) and Coca-Cola. Men don’t fare very well either; interestingly, while the U.S. title is Every Man for Himself, the film was released as Slow Motion in England, and the original French title, Sauve Qui Peut (La Vie), can be translated to colloquially mean “Run for your life!,” and that’s what you’d most likely do if you ever met any of these male characters in real life. (Godard has said that Save Your Ass would be a better translation.) Godard, who is credited with “composing” the film as opposed to directing it and wrote the screenplay with Anne-Marie Miéville and Jean-Claude Carrière, also makes frequent mention of anal sex and assholes, both literally and figuratively. “You happy?” one of Isabelle’s johns says to his imaginary wife in a hotel room. “That’s what you wanted, right?” “No,” a woman’s voice responds. “I wanted something else.” In Every Man for Himself, each character wants something else as they search through their most inner desires. The film looks and sounds dated today, very much a product of its time; add half a star if you think Godard can do no wrong, and delete a full star if Godard makes you want to bang your head against the wall. Nominated for three César Awards, for Best Director, Best Film, and Best Supporting Actress, which Baye won, Every Man for Himself is screening June 16 in the French Institute Alliance Française’s CinéSalon series “Jean-Claude Carrière: Writing the Impossible.” (The 7:30 show will be introduced by a special guest, and both the 4:00 and 7:30 shows will be followed by a wine reception.) The two-month festival consists of a wide range of films written by two-time Oscar winner Carrière, who, at eighty-three, is still hard at work. The series continues through July 28 with such other Carrière collaborations as Volker Schlöndorff’s Swann in Love, Andrzej Wajda’s Danton, and Louis Malle’s May Fools.

LINCOLN CENTER FESTIVAL 2014

Houston Grand Opera sails into the Park Avenue Armory with THE PASSENGER as part of Lincoln Center Festival (photo by Stephanie Berger)

Lincoln Center and other locations
July 7 – August 16, $45-$175
212-721-6500
www.lincolncenterfestival.org

Although there are only five companies presenting at this year’s Lincoln Center Festival, there is plenty to see at this annual summer event that makes creative use of the otherwise vacated spaces usually inhabited by the Metropolitan Opera, the New York City Ballet, American Ballet Theater, and previously, the New York City Opera, in addition to other locations. The festival kicks off with the welcome return of Japanese Kabuki theater company Heisei Nakamura-za for the first time since the 2012 death of star actor Nakamura Kanzaburō XVIII, but the centuries-old family legacy continues with his two sons, Nakamura Kankuro VI and Nakamura Shichinosuke II, leading a rare revival of the nineteenth-century samurai ghost story Kaidan Chibusa no Enoki (The Ghost Tale of the Wet Nurse Tree) at the Rose Theater July 7-12 ($45-$175). To heighten the atmosphere, Josie Robertson Plaza will be home to a Japanese Artisan Village through July 13, selling such items as nihon ningyo (hand-painted dolls), tenugui (cotton towels), and kanzashi (traditional hair ornaments). Award-winning Belgian choreographer Anne Teresa De Keersmaeker looks back at her past with four of her earliest pieces, 1982’s Fase, Four Movements to the Music of Steve Reich, 1983’s Rosas danst Rosas, 1984’s Elena’s Aria, and 1987’s Bartók/Mikrokosmos, running July 8-16 at the Gerald W. Lynch Theater ($35-$75). Now in her mid-fifties, De Keersmaeker will dance in two of the shows; she will also participate in a talk-back following the July 8 performance, a book presentation with Bojana Cvejić and moderator André Lepecki on July 12 (free and open to the public), and a discussion with Anna Kisselgoff on July 15 in the Stanley H. Kaplan Penthouse (free with advance tickets).

Isabelle Huppert and Cate Blanchett team up in Lincoln Center Festival presentation of THE MAIDS (photo © Lisa Tomasetti)

The Houston Grand Opera sails into the Park Avenue Armory July 10-13 ($45-$250) with director David Pountney’s English-language adaptation of Mieczyslaw Weinberg’s The Passenger, the story of a former Nazi concentration camp overseer trying to escape her past; the impressive two-floor set consists of an ocean liner above and a prison camp below. Each performance will be preceded by a chamber concert by the ARC Ensemble playing works by Weinberg; in addition, there will be a special screening of Andrej Munk’s 1963 cinematic adaptation of Zofia Posmysz’s source novel on July 8 at 6:00 in the SHK Penthouse (free with advance tickets), followed by a discussion with Holocaust survivors and others. For the first time ever, the Bolshoi’s ballet, opera, orchestra, and chorus will appear together in New York City, beginning with Nikolai Rimsky-Korsakov’s The Tsar’s Bride July 12-13 at Avery Fisher Hall ($35-$100) and continuing with Tchaikovsky’s Swan Lake July 15-20 ($35-$125), Ludwig Minkus’s Don Quixote July 22-23 (with new choreography by Alexei Fadeyechev), and Aram Khachaturyan’s Spartacus July 25-27, all at the David H. Koch Theater. The festival concludes in a big way with the Sydney Theatre Company’s adaptation of Jean Genet’s The Maids, directed by Benedict Andrews and starring Cate Blanchett, Isabelle Huppert, and Elizabeth Debicki, playing August 6-16 at New York City Center ($35-$120, partial view seats still available).

PATRICE CHÉREAU — THE LOVE THAT DARES: GABRIELLE

Gabrielle (Isabelle Huppert) reevaluates her life with her husband in Patrice Chereau drama

Gabrielle (Isabelle Huppert) reevaluates her life with her husband (Pascal Greggory) in exquisite Chéreau drama

GABRIELLE (Patrice Chéreau, 2005)
Film Society of Lincoln Center, Walter Reade Theater
165 West 65th St. between Broadway & Amsterdam Aves.
Sunday, March 2, 3:20
Series runs February 28 – March 5
212-875-5600
www.filmlinc.com

Jean Hervey (Pascal Greggory) thinks he has the perfect life. He is a wealthy businessman with a beautiful home and a gorgeous wife, Gabrielle (Isabelle Huppert). At their fancy Thursday-night dinner parties, he gets to show off everything he has to all the right people. But then one day he comes home from work to find a letter waiting for him: Gabrielle has left him for another man. Suddenly his carefully constructed world — including a sexless marriage and servants who dress and undress him — comes tumbling down in an instant, only to be turned upside down again when Gabrielle immediately returns, having changed her mind, but not necessarily for the most loving of reasons. For the rest of the film, Greggory and Huppert act up a storm as they try to deal with the tragic consequences both publicly and privately. Based on the Joseph Conrad short story “The Return,” Gabrielle is a powerful, gripping turn-of-the-century drama that is staged theatrically by director and cowriter Patrice Chéreau, who knows how to get inside his characters (see Intimacy, Queen Margot, or The Wounded Man). While Hervey delivers monotone voice-over monologues in black-and-white, the more lively Gabrielle is depicted in color, her red hair a striking contrast to her bland, brown-gray husband. Most of the film takes place within the confines of their fabulous home, which becomes more and more like a prison as they fight for survival. A stunning achievement — though not an easy film to watch — Gabrielle is screening March 2 at 3:20 as part of the Film Society of Lincoln Center series “Patrice Chéreau: The Love That Dares,” which pays tribute to the stage and film director, who passed away in October at the age of sixty-eight. The festival continues through March 5 with such other Chéreau works as Intimacy, Queen Margot, The Flesh of the Orchid, and The Wounded Man.

OUTDOOR CINEMA: IN ANOTHER COUNTRY

A lifeguard (Yu Jun-sang) makes the first of several offers to Anne (Isabelle Huppert) in Hong Sang-soo’s IN ANOTHER COUNTRY

IN ANOTHER COUNTRY (DA-REUN NA-RA-E-SUH) (Hong Sang-soo, 2012)
Socrates Sculpture Park
32-01 Vernon Blvd.
Wednesday, July 24, free, 7:00
718-956-1819
www.socratessculpturepark.org

Korean auteur Hong Sang-soo continues his fascinating exploration of cinematic narrative in In Another Country, although this one turns somewhat nasty and tiresome by the end. After being duped in a bad business deal by a family member, an older woman (Youn Yuh-jung) and her daughter, Wonju (Jung Yumi), move to the small seaside town of Mohjang, where the disenchanted Wonju decides to write a screenplay to deal with her frustration. Based on an actual experience she had, she writes three tales in which a French woman named Anne (each played by an English-speaking Isabelle Huppert) comes to the town for different reasons. In the first section, Anne is a prominent filmmaker invited by Korean director Jungsoo (Kwon Hye-hyo), who has a thing for her even though he is about to become a father with his very suspicious wife, Kumhee (Moon So-ri). In the second story, Anne, a woman married to a wealthy CEO, has come to Mohjang to continue her affair with a well-known director, Munsoo (Moon Sung-keun), who is careful that the two are not seen together in public. And in the final part, Anne, whose husband recently left her for a young Korean woman, has arrived in Mohjang with an older friend (Youn), seeking to rediscover herself. In all three stories, Anne searches for a lighthouse, as if that could shine a light on her future, and meets up with a goofy lifeguard (Yu Jun-sang) who offers the possibility of sex, but each Anne reacts in different ways to his advances. Dialogue and scenes repeat, with slight adjustments made based on the different versions of Anne, investigating character, identity, and desire both in film and in real life. Hong wrote the film specifically for Huppert, who is charming and delightful in the first two sections before turning ugly in the third as Anne suddenly becomes annoying, selfish, and irritating, the plot taking hard-to-believe twists that nearly undermine what has gone on before. As he has done in such previous films as Like You Know It All, The Day He Arrives, Tale of Cinema, and Oki’s Movie, Hong weaves together an intricate plot that is soon commenting on itself and coming together in unexpected, surreal ways, but he loses his usual taut narrative thread in the final, disappointing section. In Another Country is screening on July 24 as part of Socrates Sculpture Park’s free summer Outdoor Cinema series and will be preceded by live music; Korean food should be available for purchase as well. The fifteenth annual series continues through the end of August with such other films as Adrian Sitaru’s Domestic, Agnès Varda’s The Gleaners and I, and Fatih Akin’s The Edge of Heaven.

HEAVEN’S GATE

Isabelle Huppert and Kris Kristofferson waltz their way through HEAVEN’S GATE

HEAVEN’S GATE (Michael Cimino, 1980)
Film Forum
209 West Houston St.
March 22-28
212-727-8110
www.filmforum.org

When I was a kid in school, one of the first movies I ever reviewed was Heaven’s Gate, Michael Cimino’s brazenly overbudget famous Hollywood disaster. Incensed that professional film critics were obsessed with the meta surrounding the making of the epic Western instead of simply taking it for what it was, I was determined to treat it like any other movie, forgetting about all the behind-the-scenes gossip and tales of financial gluttony. And what I found back then was that it was a noble failure, a bold exercise in genre that had its share of strong moments but ultimately fell apart, leaving me dissatisfied and disappointed but glad I had seen it; I did not want my three-plus hours back. In fact, I probably would have checked out the rumored five-hour version if it had been shown, hoping it would fill in the many gaps that plagued the official theatrical release. More than thirty years later, Cimino’s follow-up to his Oscar-winning sophomore effort, The Deer Hunter, has returned in a 216-minute digital restoration supervised by Cimino, playing March 22-28 at Film Forum, and it does indeed shed new light on the unfairly ridiculed work, which is still, after all this time, a noble failure. Inspired by the 1882 Johnson County War in Wyoming, the film stars Kris Kristofferson as Jim Averill, a Harvard-educated lawman hired by a group of immigrants, called “citizens,” whose livelihood — and lives — are being threatened by a wealthy cattlemen’s association run by the elitist Frank Canton (Sam Waterston). The association has come up with a kill list of 125 citizens, offering fifty dollars for each murder, a plan that has been authorized all the way up to the president of the United States. Leading the way for the cattlemen is hired killer Nate Champion (Christopher Walken), who has a particularly fierce aversion to the foreign-speaking immigrants. With a major battle on the horizon, Averill and Champion also fight for the love of the same woman, the luminous Ella Watson (Isabelle Huppert), a successful madam who soon finds herself in the middle of the controversy.

Christopher Walken sets his sights on immigrants in epic Western