Aurore Clément Movies

Writer and director Sofia Coppola puts a new spin on the life and times of one of Europe's most infamous monarchs in this lavish historical drama which fuses a contemporary sensibility with painstaking recreations of the look of the 18th century. Born to Austrian nobility, Marie Antoinette (Kirsten Dunst) is only 14 years old when she's pledged to marry Louis XVI (Jason Schwartzman), the 15-year-old king of France, in an alliance that has everything to do with politics and nothing to do with love. Sent to France and literally stripped of her former life, Marie weds Louis, but to the consternation of the royal court, he seems either unwilling or unable to consummate the marriage while their advisors clamor for an heir to the throne. Young and more than a bit out of step with the new life that's been thrust upon her, Marie gives herself over to the pleasures of life in Versailles, knowing and caring little of the political intrigue that surrounds her. In time, Marie's trusted older brother, Joseph (Danny Huston), is brought in to coach Louis on the finer points of marital relations, and before long the couple is finally blessed with a child. However, as Marie tends to her children in the gilded cage of her palace and enjoys an affair with a Swedish nobleman, political power plays are throwing France into chaos, and the growing ranks of the poor rebel against the royals and their life of privilege. Also starring Rip Torn, Judy Davis, Steve Coogan, and Asia Argento, Marie Antoinette was given a controversial reception when it premiered at the 2006 Cannes Film Festival. ~ Mark Deming, Rovi

An orthodox Jewish teen living with her family in France attempts to balance her religious upbringing with her increasingly complex view of the outside world in director Karin Albou's incisive meditation on religion, philosophy, and the weight of romance on the mind of a growing girl. Eighteen-year-old student Laura (Fanny Valette) lives with her widowed mother (Sonia Tahar), her sister (Elsa Zylberstein), and her brother-in-law (Bruno Todeschini) in the suburban Paris neighborhood of Sarcelles. Though her exposure to the world thus far has been culturally limited due to the fact that her family resides in a neighborhood is often referred to as "Little Jerusalem" due to its large Jewish population, Laura's studies have told her that the world is full of interesting and diverse people. An overly serious and self-disciplined girl whose outward maturity defies her youthful age, Laura vows to avoid romance before finding that fate doesn't always play by the rules. ~ Jason Buchanan, Rovi

The master of French suspense joins forces with the queen of English suspense fiction for this tense tale of the treacherous love affair between a disturbed bridesmaid and an unsuspecting young man. Philippe (Benoit Magimel) lives in a quiet French town with his hairdresser mother Christine (Aurore Clément) and two younger sisters. Soon after the news breaks about a local girl who has mysteriously vanished, Philippe's mother introduces her children to Gerard (Bernard Le Coq) -- a local businessman who may have matrimonial intentions toward the attractive beautician. Soon after receiving permission from her children to present Gerard with a sculpture of a woman's head that had previously adorned the family garden, however, the elusive beau seems to disappear without a trace. Philippe is intent on recovering the captivating piece of art, and after stealthily recovering it in a clandestine mission he places it in his closet without telling the rest of the family. Later, at his sister's wedding, Philippe meets attractive bridesmaid Senta (Laura Smet) and passion between the pair quickly ignites during a stormy seduction. A model and aspiring actress who lives alone in a massive villa inherited from her father, sultry Senta may be physically irresistible, yet she also seems to have a few morbid preconceptions about life, love, and death. As the affair between the pair grows increasingly heated, Philippe at first takes her request to murder a stranger as a means of proving his love as a joke. The more he gets to know her the more that it appears that Senta is in fact deadly serious about her dark request. ~ Jason Buchanan, Rovi

The last frantic days before the Germans seized France in 1940 provide an unlikely backdrop for this dark comedy. Viviane (Isabelle Adjani) is a glamorous and well-known film actress who attracts the attentions of many men -- often many she has no interest in knowing. One night, at a reception following the premiere of her latest picture, Viviane finds herself pursued by Beaufort (Gérard Depardieu), a government official whose girth exceeds his charm. To throw him off her trail, Viviane allows a cranky older man, André Arpel (Nicolas Vaude), to escort her home. During the evening, Viviane and André quarrel, and after slapping him, she discovers that he has simply dropped dead. An understandably terrified Viviane calls a former boyfriend, Frédéric Roger (Grégori Derangère), and asks him to help her get rid of the body. In hopes of reviving their romance, he agrees, but after an auto accident, Frédéric is caught with the body, and is taken to jail to await his trial. When word gets out that German troops are due to arrive in Paris at any minute, Frédéric and his fellow prisoners are instructed they're to be moved out of town; Frédéric is handcuffed to petty thief Raoul (Yvan Attal), and en route the two are able to make their escape. When Frédéric learns that Viviane has fled to Bordeaux, along with much of the French upper crust, he makes his way there, where he finds he has a new rival for her affections -- Beaufort, who no longer seems such a poor prospect. ~ Mark Deming, Rovi

When an indistinct woman named Charlotte (Isabelle Adjani) leaves a train station in hopes of changing her life forever, she's followed by a mysterious stranger with ill intentions. After recovering a bag hidden adeptly within the women's bathroom, Charlotte re-enters the station, this time looking every inch the femme fatale, from her tailored suit to her dark glasses. When she buys a ticket to another destination, however, the man follows her onboard, determined to prevent her from starting anew. Directed by Laetitia Masson, La Repentie also features Sami Frey, Samy Naceri, Dawn Clement, Maria Schneider, and Jacques Bonnafe. ~ Tracie Cooper, Rovi

Francis Coppola had more than his share of production difficulties while shooting his epic-scale Vietnam War drama Apocalypse Now, including disastrous weather conditions, problems with his leading men (Harvey Keitel was fired after less than two weeks on the project and was replaced by Martin Sheen, who suffered a heart attack midway through production), and a schedule and budget that quickly spiraled out of control (originally budgeted at $10 million, the film's final cost was over $30 million). But Coppola's troubles didn't end when he got his footage into the editing room, and he tinkered with a number of different structures and endings before settling on the film's 153-minute final cut in time for its initial theatrical release in 1979. Twenty-two years later, Francis Coppola returned to the material, and created Apocalypse Now Redux, an expanded and re-edited version of the film that adds 53 minutes of footage excised from the film's original release. In addition to adding a number of smaller moments that even out the film's rhythms, Apocalypse Now Redux restores two much-discussed sequences that Coppola chose not to include in his original edition of the film -- an encounter in the jungle between Willard (Martin Sheen), his crewmates Chief (Albert Hall), Clean (Larry Fishburne), Chef (Frederic Forrest), and Lance (Sam Bottoms) and a trio of stranded Playboy models on a U.S.O. tour, as well as a stopover at a plantation operated by French colonists De Marais (Christian Marquand) and Roxanne (Aurore Clement). Apocalypse Now Redux received a limited theatrical release in August of 2001 after a well-received screening at the Cannes Film Festival -- the same month that the film finally reached theaters in 1979, after a rough cut received a Golden Palm award at the Cannes Festival. ~ Mark Deming, Rovi

In the working-class Paris suburb of Montreuil, Jimmy's (Bruno Solo) restaurant, the Bombay Bar, is on the verge of being closed down by creditors. Jimmy is despondent -- the fact that his wife is about to have a baby isn't helping matters -- when he and his business partner Fifi (Lorant Deutsch) find unlikely inspiration in the form of "Riches et Sympas," a TV show dedicated to the lives of the rich and famous. Figuring that getting the "right" people to frequent their business will ensure its reputation, Jimmy and Fifi persuade Jimmy's friend, the laid-back, unemployed Mike (Samuel Le Bihan), to pose as a nobleman and lure his moneyed associates to the Bombay Bar. Mike agrees, and after crashing a posh charity ball, he finds himself being taken in by the likes of society fixture Arthus de Poulignac (Lambert Wilson) and Evrard (Guillaume Gallienne), the latter of whom ensconces Mike in his private mansion. Unfortunately, Mike soon becomes a little too fond of his newly-acquired lifestyle, leaving Jimmy to wonder what to do with the monster he unwittingly created. ~ Rebecca Flint Marx, Rovi

Inspired by Proust's short story La Prisonniere, renowned filmmaker Chantel Akerman creates this challenging meditation on love, desire, and obsession. The film opens with grainy Super-8 footage showing Ariane (Sylvie Testud) and her female friends rollicking on a beach. Now Ariane lives in third empire splendor in the tony Parisian apartment that her rich significant other Simon (Stanislas Merhar), shares with his grandmother (Francoise Bertin). Simon proves to be a fanatically jealous lover; he subjects her to surveillance and endless questions about her whereabouts. Though Ariane acquiesces to his will, she answers his inquires vaguely to maintain at least a modicum of privacy, which only fuels Simon's suspicions that she is leading a double life as a lesbian. His pain and obsession is further compounded by his own kink: he demands that Ariane be utterly passive (sleeping or pretending to sleep) while he can never quite bring himself to actual physical coupling. When Simon tries to break off the relationship, they end up on a road trip to the sea, resulting in tragic consequences. This film was screened at the Director's Fortnight at the 2000 Cannes Film Festival and at the 2000 Toronto Film Festival. ~ Jonathan Crow, Rovi

Especially made for fans of arthouse fare, this intellectually challenging work from writer/director Anne-Marie Mieville offers a heady mixture of ancient and modern philosophical conversation and humor. The film is comprised of three segments. The first is an updated rendition of Plato's dialogues in which Socrates and Callicles discuss the qualities that make one man superior to another; they also explore which endeavors have the greatest value in the world. The joke of the segment is that the modern Socrates is portrayed as a suburban housewife who discusses these matters while redecorating her home. The second segment is set upon a stage. Mieville's husband, distinguished filmmaker Jean-Luc Godard steps out and recites passages from 20th-century philosopher Hannah Arendt's "The Nature of Totalitarianism." The film's final section was written entirely by Mieville and offers wry musings on the effects of romance upon creativity as seen from the view of a couple who have spent most of their lives together. ~ Sandra Brennan, Rovi

A successful prostitute attempts to fashion a homeless man into her ideal pimp in this unconventional, darkly humorous French drama. Marie (Anouk Grinberg) has no real need for a pimp, being a self-reliant, unabashed woman so fond of her job as a hooker that she is able to convince strangers to try it themselves. Indeed, her financial success allows her to take care of Jeannot (Gérard Lanvin), an impoverished vagrant whom she finds on the streets. She provides him with a bath and a place to sleep, and the two rapidly become lovers. Nevertheless, Marie is soon imploring Jeannot to act as her pimp, begging him to slap her around and take her money. He takes to his new role and soon decides to talk a manicurist (Valeria Bruni Tedeschi) into becoming the next member of his stable. The newcomer's inexperience proves to be his downfall, however, as the manicurist lands him in trouble with the law. Director Bertrand Blier attempts to create a controversial look at sexuality by combining black comedy with scenes of smoky sensuality, though many critics found the central premise and the presentation of Marie's contradictory, masochistic character too unconvincing for the film to be fully successful. ~ Judd Blaise, Rovi

This European road movie chronicles the misfortunes, hopes, and dreams of a troubled teenage girl alone in a cruel world. Life for Marie has always been hard, but lately things have gotten worse. Her former boyfriend committed suicide. She is pregnant by her current one, her mother is forcing her to abort the baby, and then tells her that had it been possible, she would have done the same to Marie. (The mother's husband left her when Marie was born.) Marie is actually on the operating table when she suddenly loses her nerve and splits to find the baby's father in a pool hall. He rejects her and she turns to a friendly drug pusher who takes her with him on a trip to Brussels. The police stop them and request that the dealer, Paulo, meet them at his apartment. He dumps Marie and takes off. Marie keeps the appointment (Paulo was killed during a chase, but she doesn't know it.) and finds Tonio, Paulo's 7-year old son staying by himself. His mother returned to Portugal after his birth. She finds out Paulo when the police raid the apartment. Afterward, Marie heads to Lisbon to return the boy to his estranged mother. ~ Sandra Brennan, Rovi