Romain Goupil Movies

While seldom discussed in contemporary times, 19th century Gallic painter Gustave Courbet (1819-1877) singlehandedly built the aesthetic movement known as realism, which brought him seemingly limitless acclaim and wealth and put his name on the cultural map in Europe. In time, however, Courbet's popularity diminished, to be replaced by inescapable notoriety and substantial poverty. Throughout, Courbet made no apologies for cutting against the grain of the aesthetic status quo. Romain Goupil's eponymous biographical documentary of the artist profiles his life, times, and approach to the craft of painting, and asks what prompted him to hone such a unique style. ~ Nathan Southern, All Movie Guide

La Bande de Drugstore is the debut feature from writer/director Francois Armanet, who adapted the script from his own novel. Set in Paris during the 1960s, a group of stylish teenagers hang out at a club called the Drugstore. Shy Philippe Challes (Mathieu Simonet) wants to meet a girl but he doesn't know how to go about it. Experienced Nathalie (Alice Taglioni) invites him and his friend Marc (Aurelien Wiik) to the birthday party of the also quite shy Charlotte (Cecile Cassel). Philippe and Charlotte develop a strong interest in each other, but neither one seems to know what to do about it. Philippe also tries to pick up girls with his friend Pierre (Laurent Pialet), while Nathalie finds herself attracted to Charlotte's father (Thierry Lhermitte). The '60s pop rock soundtrack features Aretha Franklin, Sonny & Cher, and Otis Redding. ~ Andrea LeVasseur, All Movie Guide

The idea for this film about a generation and its lost ideals came to Romain Goupil after attending several funerals of friends in the fall of 1996, where the '68 generation, now in influential positions in media or politics, kept meeting each other. It seemed as if the revolution that they had tried to make was being buried with each coffin. A mort la mort is in some ways an homage to this generation, now in their fifties. They were a privileged generation that thought that they could change the world, doing everything that their parents failed to do. There were no actual deaths in France as there were in Germany or Italy, but the system was not ideal for personal issues or for love. There was always a scapegoat for the injustices of the world, be it capitalism or imperialism. That way the blame could be placed somewhere else. Some of the '68 generation are still faithful to the principles of their youth and still continue to fight for the illusions of the past. But with the war going on in Kosovo, the only way is to take direct action against Fascism. While narrating the story of a generation, the director uses humor, making fun of the thousand ways of fidelity to ideas, to passion and to women and how the ideal of fidelity fares when confronted with reality. The protagonist, Thomas (played by Goupil himself) tries to face life that has passed with a theory of offense. That is why he has to say "'Death to Death'' to put an end to all deaths, but this is an illusion, it is fiction which only cinema can make real. The film tries to face all issues by taking a contrary approach. 52nd Cannes Film Festival, 1999. ~ Gönül Dönmez-Colin, All Movie Guide

This highly intellectual European documentary examines the benefits and moral basis for war reporting in the 20th century. It is done in two separate films that are part of a three-part project. The acclaimed documentarian Max Ophüls is featured in both films. Included is archival footage, movie clips, interviews, and the reminiscence of Ophüls as he depicts the attempts of journalists to find the truth about the various 20th century wars. The truth is often very difficult to find. Most of the documentaries focus upon the current war in Sarajevo. ~ Sandra Brennan, All Movie Guide

In this polemical look at a revolutionary released from prison and bent on getting back at the right-wing conservatives who got him into prison in the first place, director Romain Goupil uses a heavier hand than in his earlier, well-received film, Mourir a 30 Ans. There is a certain amount of stereotyping in the way the fascists and leftists look and act, something that may have worked against the director's portrayal of fascists in the police force, or idealized revolutionaries. ~ Eleanor Mannikka, All Movie Guide

Sauve Qui Peut (la Vie), a pessimistic but visually stunning film, marks Jean-Luc Godard's return to cinema after having spent the 70s working in video. The film presents a few days in the lives of three people: Paul Godard (Jacques Dutronc ), a television producer; Denise Rimbaud (Nathalie Baye), his co-worker and ex-girlfriend; and Isabelle Riviera (Isabelle Huppert), a prostitute whom Paul has used. Denise wants to break up with Paul and move to the country. Isabelle wants to work for herself instead of her pimp. Paul just wants to survive. Their stories intersect when Paul brings Denise to the country cottage he is trying to rent and Isabelle comes to see it without knowing that the landlord has been her client. The film is broken into segments entitled "The Imaginary," "Commerce," "Life," and "Music." Each of the first three sections focuses on one character and the last section brings all three characters together. This complex film is often closer to an essay than a story; it uses slow motion and experimental techniques to explore questions of love, work, and the nature of cinema. Sauve Qui Peut (la Vie) was Godard's first film with his frequent collaborator Anne-Marie Miéville, who edited and co-wrote the film. ~ Louis Schwartz, All Movie Guide