Mathieu Demy Movies

A man struggles to come to terms with his past as well as his family relationships in this drama. Martin (Mathieu Demy) was born in Los Angeles and spent much of his childhood there, but his parents were from France, and when his mother (Sabine Mamou) went through a nervous breakdown, his father relocated to Europe and took the boy with him. Martin rarely saw his mother again, and her absence left a void in his life that has impacted his relationships with women ever since, most recently his on and off romance with Claire (Chiara Mastroianni). When Martin receives word that his mother has died, he travels to California to take care of the arrangements with the help of Linda (Geraldine Chaplin), one of his mother's best friends. Martin intends to clear everything away as quickly as possible and return home, but talking with Linda and going through his mother's effects causes him to question his feelings about her, and when he sees an old snapshot of himself with his mom and a woman named Lola, he suddenly becomes obsessed with finding her. Martin's obsession leads him to Tijuana, where he falls for a stripper named Lola (Salma Hayek) who embodies the strength and joie de vivre that Martin has lost. Americano was the first feature film from writer, director and actor Mathieu Demy, the son of filmmakers Jacques Demy and Agnes Varda; clips from Varda's 1981 film Documenteur are used in the film's flashback sequences. ~ Mark Deming, Rovi

In 2004, a grotesque and unseemly incident took the European press by storm: a young French woman came forward and claimed to have been attacked by black and Arab thugs who mistook her for a Jew. But after her story broke, no witnesses came forward to support her, and security cameras at the train station revealed no such attack; the woman later admitted that she had ripped her own clothes, drawn swastikas on her own stomach, and fabricated the entire story. With the drama Fille du RER, acclaimed French writer-director André Téchiné presents a thinly veiled fictionalization of the same events. Émilie Dequenne stars as Jeanne, an unemployed girl who lives with her mother (Catherine Deneuve) in a Parisian suburb and spends the majority of her free time rollerblading. She has little knowledge of -- or interest in -- history or politics, and remains withdrawn, insular, and sullen, keeping the majority of her thoughts and observations to herself. Circumstances change just a bit when Jeanne enters a live-in relationship with a beefy, thuggish wrestler boyfriend, Franck (Nicolas Duvauchelle), living in a dingy warehouse, but violence soon erupts between the two. Jeanne also becomes acquainted with an attorney-cum-ex-boyfriend of her mother's (Michel Blanc), whose involvement in Judaic causes and his politically committed family prompt even greater feelings of alienation and isolation in Jeanne. When Franck's involvement in criminal activities comes to light and the police intervene, Jeanne perversely reasons that she can only become tied to history by inventing a role for herself, and decides to fabricate said story about the train -- little realizing the calamitous consequences that it will engender. ~ Nathan Southern, Rovi

Produced and directed by French Left Bank giant Agnès Varda as a summation of her long and enduring career, Agnès' Beaches constitutes a free-floating essay film. It is comprised of various elements that collectively pay homage to Varda's past -- including clips from the director's features, dramatically reconstructed moments from Varda's life, and elaborate, almost baroque monuments created onscreen to symbolize specific ideas and concepts -- such as an opening scene with a number of individuals setting up mirrors of various shapes and sizes on a great beach, and an enclosure lined, from wall to wall and floor to ceiling, with film strips from Varda's only cinematic flop, the 1969 feature Les Creatures. Varda uses beaches throughout the narrative as a recurring structural motif to convey her progress from one stage of life to another, while the freedom of form on display here recalls a similar approach on display in earlier Varda works such as the 1991 Jacquot de Nantes. ~ Nathan Southern, Rovi

A man in his mid-thirties ponders leaving his adult responsibilities behind in favor of following his teenage dreams in this comedy-drama from France. Max (Mathieu Demy) is a successful surgeon working at one of the best hospitals in Paris. However, when he was nineteen, Max played guitar in a rock 'n' roll band, and for all his accomplishments he's never been able to beat the excitement of cranking up his amp in front of an audience. When Max is offered a promotion at the hospital to chief of thoracic surgery, he decides it's not what he wants and quits in order to put his old band back together. Max wants to keep his new career a secret from his wife Anna (Romane Bohringer), at least for a while, so his best friend Praline (Julie Depardieu) and his closest colleague Jojo (Mathias Mlekuz) are sworn to secrecy as Max starts rehearsing in Praline's basement. While Max is able to convince his old band mates Apache (Warren Zavatta) and Felipe (Fabio Zenoni) to get on board, the group needs a new lead singer, and they recruit Chine (Eleonore Pourriat), a gal with a big voice and attitude to match. Max and company have been breaking in a set of new material when Anna learns her husband has quit medicine to play rock and roll, and while she decides to support his new ambitions, that's not to say she thinks this is a good idea. ~ Mark Deming, Rovi

French filmmaker Emilie Deleuze directs the psychological drama Mister V. Research scientist Lucas (Mathieu Demy) is an uptight man who studies the movement of horses. His crooked brother Luigi (Patrick Catalifo) buys a stallion named Mister V. as part of an insurance scam, but the horse ends up killing him. While the stable hand wants to have the horse put down, Lucas shows up to train the horse himself, even though he's actually afraid of horses. In the process, he also warms to his widowed sister-in-law Cecile (Aure Atika). Mister V. was shown at the 2003 Locarno International Film Festival. ~ Andrea LeVasseur, Rovi

The star of Jean-Pierre Jeunet's 2001 hit Amélie, Audrey Tautou is cast in this romantic comedy as Michèle, a 20-year-old model who has just broken up with her boyfriend and is mired in an identity crisis. Although her life appears to be full, she is convinced something is missing, and thus sets out on a mission to inject a bit of spirituality into her life, donning a bindi and dabbling with Buddha. Along the way, she meets François (Edouard Baer), a veterinarian and non-practicing Jew. Before François has time to exclaim "Oy, vey," Michèle is studying the Torah, festooning François' front door with a mezuzah, and asking to meet his parents. Unsurprisingly, this creates some tension between the two, particularly as what initially seemed a passing interest on Michèle's part soon resembles a somewhat disturbing obsession. ~ Rebecca Flint Marx, Rovi

A 30-year-old man finds the trials and responsibilities of adulthood are finally starting to catch up with him in this comedy-drama from France. Simon (Mathieu Demy) does not have an especially strong relationship with his father (Maurice Benichou), a psychoanalyst, his friends are going through a variety of crises, and his girlfriend is no longer happy with their relationship. But after the death of Simon's grandmother (Louise Benazeraf) and the breakup of his father's marriage, Simon and his dad find themselves communicating again. Simon also finds himself befriending a neighbor (Amira Casar), who is both pregnant and down in the dumps. Quand On Sera Grand was the first feature film from writer/director Renaud Cohen, who previously distinguished himself in short films. ~ Mark Deming, Rovi

This French musical features dialogue and songs by Paris University's Jacques Martineau on a wide range of subjects -- from immigrant workers to book-selling. Travel agency receptionist Jeanne (Virginie Ledoyen and the singing voice of Elise Caron) is always on the lookout for men, and she thinks she's found the perfect guy in Olivier (Mathieu Demy, son of musical director Jacques Demy) -- who turns out to be HIV-positive. Shown at the 1998 Berlin Film Festival, the film is also known as Jeanne and the Perfect Guy. ~ Bhob Stewart, 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

In this very physical comedy, Thomas (Mathieu Demy) is an unusually goofy young man, and is forever tripping over something. However, when he chances upon the lovely Marion (Aurelia Thieree), he achieves new heights of ineptitude because he is thoroughly smitten. Luckily for him, his best friend has a girlfriend (Chiara Mastroianni) who will work to help him get to know her. Unluckily, another girl (Camila Mora) whom he isn't interested in is just as smitten with him as he is with Marion. It's too bad about the fellow who just got buried, but the flowers left on his grave only need a little rearranging to be made into a suitable gift for Marion. ~ Clarke Fountain, Rovi

Jane B. is London-born actress and recording star Jane Birkin. Agnes V. is Belgian filmmaker and "grandmother of the New Wave" Agnes Varda. Jane B. Par Agnes V is a cinematic recounting of Birkin's career, from her breakthrough appearance as one of the nude models in Blow-Up to her pinnacle as star of such films as La Femme de Ma Vie (1986). It is also the story of Birkin and Varda's close relationship, made stronger by their mutual admiration and their lifelong fascination with feminist themes. Viewers who prefer straightforward, objective documentaries rather than radicalized film techniques, may not appreciate Jane B. par Agnes V. ~ Hal Erickson, Rovi

Veteran French director Agnes Varda's Le Petit Amour is based on a short story by actress/songstress Jane Birkin. Birkin herself plays the main character, a loving but lonely 40-year-old divorcee. Her life is brightened a bit by the presence of a handsome 15-year-old, played by Mathieu Demy. Their romance forms the basis of this "petit" Varda effort, which is also known as Kung Fu Master (now you'll have to see it for yourself!). Shortly after the release of Le Petit Amour, Agnes Varda directed a documentary centering upon Jane Birkin, Jane B par Agnes V. ~ Hal Erickson, Rovi