Romane Bohringer Movies

Chantal Richard's drama Lili and the Baobab stars Romane Bohringer as Lili, a single photographer in her thirties who travels to Normandy in order to take pictures of the locals. Her independence makes her standout in this culture, but she soon befriends a woman named Aminata (Aminata Zaaria) who yearns to be on her own as well. Their friendship changes both women. ~ Perry Seibert, Rovi

A man who traded in his artistic ambitions for commercial success now finds himself at a personal and professional impasse in this drama. Jacques (Jean-Pierre Leaud) is a filmmaker who in the 1970s directed a number of top-grossing porno movies; more than two decades later, Jacques's struggles to get out of adult movies into something more satisfying have not borne fruit, and his efforts to make porn films that are more sensual and less obvious don't go over well with his producers. Jacques would just as soon get out of the business and complete a more personal project he was forced to abandon in the mid-'80s, but directing porn is the only work he can find that pays enough to put a dent in the debts he's racked up, as well as those of his wife Jeanne (Dominique Blanc). As Jacques tries to decide what to do with his career, he gets a surprise telephone call from his son Joseph (Jeremie Renier); Joseph turned his back on his father years ago when he found out what he did for a living, but the boy, now a college student and a political activist, has decided it's time to reconnect with his dad. Le Pornographe features Jean-Pierre Leaud's character directing two real-life French porn stars, Ovidie and Titof, in an explicit sex scene for one of Jacques' films. ~ Mark Deming, Rovi

Shot against the barren sand dunes of Africa's Namib Desert, The King Is Alive is the fourth film to adhere to the stripped-down aesthetic of the Dogma 95 movement, and the first to bear the directorial stamp of the manifesto's co-author Kristian Levring. The improvised, shot-on-digital video production concerns the exploits of almost a dozen tourists who find themselves stranded when their bus breaks down miles from civilization. A thespian amongst the group, Henry (David Bradley), is the first to suggest that their situation may be more dire than it seems. His doubts send the rest of the folks -- including American travelers Ray (Bruce Davison), Liz (Janet McTeer), Ashley (Brion James), and Gina (Jennifer Jason Leigh), and a high-minded Parisian, Catherine (Romane Bohringer) -- into fits of fear and dread. To get their minds off the heat, hunger, and dehydration, the castaways stage an impromptu reading of Shakespeare's King Lear, which they can only fitfully remember. As their situations worsen, the tourists begin to take out their personal aggressions on one another. The King Is Alive was shown as part of the 2000 Cannes and Toronto Film Festivals. ~ Michael Hastings, Rovi

French filmmaker Jean Vigo made only four films prior to his death in 1934 at the age of 29 (only one a full length feature), but all of them are today recognized as landmarks of the European cinema, and Zero For Conduct and L'Atalante are often cited among the greatest films of their time. Vigo: Passion For Life is a dramatic biography that explores his brief life and tumultuous career. Born the son of a famous figure in the French anarchist movement, Jean Vigo (played here by James Frain) suffered from poor health throughout his life; he contracted tuberculosis as a young man, and met his wife Lydu Lozinska (Romane Bohringer) when both were receiving treatment in a sanitarium. Vigo made A propos de Nice in 1929 as an attack on bourgeois French society; the premier led to a riot, the first of many controversies surrounding Vigo's work (Zero For Conduct was completed in 1932, but its anti-authoritarian stance caused it to be banned until 1945). Vigo's fragile health was already beginning to fail him while he was filming L'Atalante; a fall into an icy river while trying to retrieve a camera only added to his ills, and he edited most of the film at home, too sick to leave. However, he was passionate about his art to the end, constantly battling producers and authorities to make films as he chose to make them. He died in 1934, the same year L'Atalante was released. ~ Mark Deming, Rovi

Cuca Canals and director Bigas Luna (Jamon, Jamon) adapted Didier Decoin's novel, winner of the Goncourt Prize, for this period film, a Spanish-French-Italian co-production. French foundry worker Horty (Oliver Martinez), married to Zoe (Romane Bohringer), wins a competition of strength. His prize is a trip to witness the Titanic's launch from Southhampton. At his hotel room, Marie (Aitana Sanchez-Gijon) tells him that she is a Titanic chambermaid with nowhere to stay. Although she sleeps in his bed, they don't have sex. When Horty awakens, she's gone. Later, he spots a photographer taking her picture and buys the photograph. Horty returns to France, where he hears rumors that his wife Zoe has been sleeping with the foundry boss. After his drinking buddies find the photo of Marie, they ask him about her, and he begins to fabricate a tale -- seen in flashbacks -- of his encounters with Marie, a story which increases in eroticism as he retells it night after night with increasing theatrical flourishes and embellishments. Southhampton scenes were actually filmed in Trieste. ~ Bhob Stewart, Rovi

In this comedy, layers and layers of personal lies provide the glue that holds a trendy, shallow group of Parisians together. The story centers on Ada, a deeply indebted, but promising young fashion designer who has just purchased an apartment with her lover and holds a housewarming party to celebrate. The bulk of the story unfolds episodically as assorted neurotic characters come to call and begin to intermingle. ~ Sandra Brennan, Rovi

This homage to the cinema by venerated movie-maker Agnes Varda, often dubbed the "grandmother" of the French New Wave, features an all-star international cast. The story is based upon the memories and insights of the 100-year old Mr. Simon Cinema. He lives in a magnificent house filled with movie memorabilia. To help him remember the important details of his career he hires Camille, a film student to write down his remembrances and experiences which have involved all areas of movie-making. Camille comes once a day for 101 days. Film clips, photographs and actual visitors highlight his stories. As he continues to spin his yarns, the imagery in the film smoothly morph into other images. Camille, when not recording, is involved in other exploits including a romance with a production assistant, Mica who aspires to becoming a director. She also begins plotting a way to get to Mr. Cinema's fortune by having a friend pose as his long lost heir. Many other characters are peripherally involved including Death, an Italian seeking the rights to his film catalogue, and a memory specialist. ~ Sandra Brennan, Rovi

Two women who were best friends since childhood come to realize the toll that adulthood has taken on their understanding of each other in this acclaimed French drama. Mina Tannenbaum (Romane Bohringer) and Ethel Benegui (Elsa Zylberstein) first met when they were ten years old. As young Jewish girls growing up in Paris, both felt like outcasts among their schoolmates, and they began to bond as fellow outsiders. That's about all they have in common. As a child, Ethel was a pudgy extrovert from an upper-middle class family who was eager to make friends, while slender and serious-minded Mina preferred to follow her own path and keep her own counsel, and she was raised under less privileged circumstances. Mina and Ethel have remained close friends as adults, but they are still as different as night and day. Mina, still an intelligent iconoclast, has made a name for herself as an artist, while Ethel happened into a career as a pop culture journalist. Ethel has had a number of unsatisfying relationships with men, while Mina is usually too afraid to approach the men she's attracted to. And while both Ethel and Mina value each other's friendship, in time they begin to realize how little they have in common -- and they provide each other with as much aggravation as comfort. Mina Tannenbaum was the debut feature for writer and director Martine Dugowson; it earned her a Cesar Award nomination (the French Oscar) for "Best First Film." ~ Mark Deming, Rovi

This award-winning drama follows the romantic and sexual misadventures of a bisexual, HIV-positive Frenchman as he searches for meaning in his life. Jean (Cyril Collard, who also directed), a successful photographer, dates women but has furtive sex with men on the side. When he meets Samy (Carlos Lopez), an aimless, half-Spanish young rugby player, Jean easily steals him right from under his girlfriend's watchful eyes. Just months after learning that he's HIV-positive, Jean only practices safe sex with his male partners. The same isn't true of his relationship with Laura (Romane Bohringer), an intense 17 year old whose combination of youthful exuberance and world-weary cynicism captivates him. The first night they make love, Jean struggles to warn Laura of his HIV status, but her emotional nakedness and his own confusion prevent him. When he finally does tell her, she's more concerned about living life without him than she is about the danger into which he has put her. Laura's mother (Corine Blue) struggles to steer her daughter toward a more suitable match, especially after Jean stops hiding his liaison with Samy. Vacillating from one extreme and one lover to the other, Jean unwittingly wreaks emotional havoc in Laura's life. Meanwhile, Samy finds himself slowly drawn into Jean's orbit and seems to have no problem with the ambiguity involved. He also dabbles in violent sex and even racist nationalism -- all reactions to his complex, troubled family life. As Laura spins out of control and Samy drifts away, Jean tries to make some sense of his own destructiveness; all the while, his illness progresses. Adapted from director Collard's own novel, Les Nuits Fauves won the filmmaker a French Cesar for Best Debut Director just days after he died of AIDS-related illness. ~ Brian J. Dillard, Rovi

In this very light romantic comedy, two young men who are in search of the hypothetical perfect woman believe they have found her at a wedding reception. There, they see Lisa. Alexandre is the shy one, but he is also the one with the greatest yen to meet such a woman. He and Romain track Lisa down the next day and, though she is already dating someone, when Romain approaches her, she agrees to meet the two of them at a restaurant. They are dismayed when the part-Italian girl brings her mother with her as a chaperone. Other difficulties arise as well, and they resolve that this quest is less important than their friendship. Besides, Alexandre has by now discovered the charms of Romain's younger sister. ~ Clarke Fountain, Rovi