Mathieu Amalric Movies

A filmmaker going though a midlife crisis stumbles into a new way of examining life in this comedy-drama from France. Bertrand (Mathieu Amalric) is a movie director who has lost touch with his muse and is desperate to come up with an idea for his next picture. While visiting a funeral home as he tries to brainstorm, Bertrand becomes stuck in a coffin and ends up spending the night trapped in a box. Shaken but strangely invigorated by the adventure, Bertrand realizes he needs new experiences and finds a good source for them when a chance meeting leads him to an urban commune known as the Kingdom. Led by Uma (Asia Argento), the young people who make up the Kingdom often dress in animal costumes and engage in unusual consciousness-expanding rituals. Fascinated by what he's found, Bertrand becomes a frequent visitor at the Kingdom, and while his girlfriend Louise (Clotilde Hesme) tries to encourage him in his self-exploration, she's frequently bemused by his methods. De La Guerre (aka On War) was screened as part of the Directors' Fortnight series at the 2008 Cannes Film Festival. ~ Mark Deming, All Movie Guide

A caustic apartment owner finds her attempts to evict the ragtag occupants of a 3,000 square foot rent-controlled apartment challenged in a most unexpected way in director Pascal Thomas' communal comedy. Thanks to a legal loophole known as "the Law of 1948," a cap was placed on some rental units around Paris preventing real-estate speculation. As long as the original resident still resides on the premises, the statue still applies. Though Marie-Antionette (Gisele Casadesus)'s name does indeed remain on the lease, the free-spirited grandmother rarely stays at the apartment for any extended length, leaving Francisca (Laetitia Casta), her husband Martin (Mathieu Amalric), and the couple's daughter the primary beneficiaries of the unique law. Of course with all of that room there's plenty of space for others to enjoy, and in addition to three of Francisca's best friends additional occupants include a senile grandmother (Carmen Durand) and egocentric independent filmmaker Adrien (Pierre Arditi). When acrimonious landlord Charlotte Falingard (Noemie Lvovsky) makes it her mission to clear out the apartment in order to turn a tidy profit, former law student Francesca stands firm in challenging the conviction by putting her education to good use. ~ Jason Buchanan, All Movie Guide

Actress-cum-director Valeria Bruni-Tedeschi's sophomore feature, the comedy-drama Les Actrices (Le reve de la nuit d'avant), follows the trials and travails of Marcelline (Tedeschi), a tense and jittery stage thesp whose personal and professional life threaten to fall into pieces simultaneously. On a personal level, Marcelline hits the midpoint of her life, hears her biological clock ticking, and longs desperately for a child. At work, Marcelline's inability to find the core of her character, Natalia Petrovna, in a production of Turgenev's A Month in the Country only causes her emotional tension to double. In time, she regresses into such a basket case that she can barely respond to the stage director's query about whether she is right or left-handed. Marcelline's natty and overanxious mother (Marisa Borini, Tedeschi's mother in real life) weighs heavily on her as well, pressuring her constantly about the need to find an appropriate suitor before time runs out; instead, Marcelline finds herself drawn helplessly to Eric (Louis Garrel) a sexy young actor in the production - who, without her knowledge, nurtures reciprocal affections. This parallels the events that befall Petrovna in Turgenev's play, and indeed, at one point the spirit of Petrovna (Valeria Golino) appears to Marcelline for much-needed counsel. Meanwhile, as Marcelline weathers her own personal crises, one of her friends, Nathalie (Noemie Lvovsky) - the assistant to the play's director - struggles with her offstage lack of fulfillment as a wife and mother. ~ Nathan Southern, All Movie Guide

Jews have long played a major role in French culture, but they've also found themselves welcomed or rejected by Gallic society and government at different points in history, and filmmaker Yves Jeuland offers a provocative look at the history of French Jews in this documentary. Being Jewish in France begins with a study of the Dreyfus Affair and how it reflected anti-Semitism at the dawn of the 20th century, moving on to the role of French Jews in World War I. While the patriotism of Jews was more openly acknowledged after the war, their status as outsiders in the eyes of many French citizens was affirmed during World War II, when the nation fell to Nazi occupation and turned a blind eye to religious persecution and genocide. After the war, French Jews struggled to mend fences and reestablish their place in the national dialogue, but in the 1960s, as Arab immigrants began streaming into France and many leftists began openly supporting Palestine, it became clear that France's Jewish population still had reason to question how welcome they were in the land of their birth. Originally produced for French television, Being Jewish in France received its American premiere at the 2008 San Francisco Jewish Film Festival. ~ Mark Deming, All Movie Guide

Annick Raoul's ten-minute short feature A Little Bit Under the Weather concerns Serge (Mathieu Amalric), a man who wakes up in a dream state but cannot be sure that he is actually sleeping. He also discovers that he's playing in an orchestra, but does not know the music being played. All that he is certain of is his overwhelming desire to escape from this situation and go elsewhere. ~ Nathan Southern, All Movie Guide

"What would you think if I shaved my moustache?" asks Marc (Vincent Lindon) of his wife, Agnès (Emmanuelle Devos), one fateful night as they prepare to visit friends for dinner. She's never seen him without it, but while she goes to do some last-minute shopping, he impulsively shaves the moustache off. Thus begins a tragic odyssey that leads Marc to question every relationship in his life, and even his own identity. Marc's journey into darkness begins when Agnès returns home. At first, he playfully tries to conceal what he's done. When he finally reveals his bare face to her, with a flourish, her reaction is...nonexistent. She baffles him by appearing not to notice the change. Confused, he says nothing, and they proceed with their plans for the evening. When the couple's friends Serge (Mathieu Amalric) and Nadia (Macha Polikarpova) also fail to make note of the change in Marc's appearance, he begins to get angry, believing that Agnès is playing an elaborate prank on him. In the car on the way home, he loses his temper, and it's her turn to be baffled. What moustache? How can she have noticed that he shaved his moustache when he's never had one? While Agnès begins to question her husband's sanity, Marc frantically searches for evidence of his former facial hair. Things only get worse for Marc, as no one at his job remembers him having a moustache either, and before long, he discovers that there are other details of his life that only he remembers. The Moustache marks the directorial debut of Emmanuel Carrère, who adapted his own novel with Jérôme Beaujour (She's One of Us). The film was shown as part of The Film Society of Lincoln Center's 2006 Rendez-Vous with French Cinema. ~ Josh Ralske, All Movie Guide

The stories of two desperate characters turn out to share an important link in this drama from French filmmaker Arnaud Desplechin. Nora (Emmanuelle Devos) is a woman in her mid-thirties who wants people to believe that her life is going just the way she wants. But a look below the surface shows this isn't quite the case; she's been divorced twice, her latest relationship is on the rocks, her ten-year-old son, Elias (Valentin Lelong), is becoming increasingly withdrawn, and her father (Maurice Garrel) is in poor health. When Nora learns that her father's digestive problems are actually cancer and he may only have a few days left to live, she desperately wants to turn to Ismael (Mathieu Amalric), her second husband. But Ismael is having a crisis of his own after a pattern of increasingly strange behavior has led him to an involuntary stay in a mental hospital. ~ Mark Deming, All Movie Guide

French filmmaker and professor of music Denis Dercourt directs the family drama Mes Enfants Ne Sont Pas Comme Les Autres (My Children Are Different). Widowed cellist Jean Debart (Richard Berry) is strict with his two children in regards to their musical education. Teenager Adele (Elodie Peudepiece) studies the cello but yearns for some rebellious independence while 11-year-old Alexandre (Frederic Roullier) is firmly committed to playing the piano and observing his father's wishes. Their stern grandfather Maître Erhardt (Maurice Garrel) is an orchestra conductor and their uncle Gerald (Mathieu Amalric) is a less-ambitious musician who finds work making background sounds. Soon Adele finds herself growing away from her father's harsh rules when she meets fellow musician Thomas (Malik Zidi). ~ Andrea LeVasseur, All Movie Guide

Jean-Henri Roger's Lulu stars Elli Medeiros as the title character. Lulu is a transsexual who lives with John (Gerard Meylan). One of the town drunks she serves at her bar accuses her of killing a local criminal. A detective (Bruno Putzulu) starts a quirky investigation into the charge. A journalist (Jean-Pierre Kalfon) with affectionate feelings for Lulu figures in the plot. Lulu was shot on Digital Video. ~ Perry Seibert, All Movie Guide

Directed by Mathieu Amalric, a well-respected actor who has starred in such acclaimed French exports as Olivier Assayas' Late August, Early September and Arnaud Desplechin's My Sex Life, Wimbledon Stadium is an adaptation of a novel by Italian author Daniele Del Giudice. Its narrative revolves around a young, nameless woman (Amalric's frequent co-star Jeanne Balibar), who is traveling through Italy on a mission to attempt to learn why one of the country's most illustrious intellectuals, a man who influenced the work of many writers, was not himself a writer. In the process, the protagonist learns a great deal about her own work as a writer. ~ Rebecca Flint Marx, All Movie Guide

This droll comedy from France was based on a popular stage play by the 18th century author Marivaux. As a lark, an attractive young heiress (Sandrine Kiberlain) disguises herself as a man as she travels with a servant for a weekend getaway to the estate of her close friend the Countess (Isabelle Huppert). En route, the heiress, introducing herself as "The Chevalier," encounters Lelio (Mathieu Amalric), the Countess' fiancée. Talking "man to man," Lelio confides that he isn't really in love with the Countess, but he is eager to get his hands on her dowry. He'd prefer to marry another woman he's met, who has an even greater fortune -- the heiress. However, he has already agreed to pay the Countess a considerable fortune if he breaks off the engagement; he's hoping that someone else will take her off his hands so that he can woo the heiress and come out ahead. The heiress, now aware just how much of a louse Lelio is, agrees as the Chevalier to romance the Countess, knowing that if "he" can win her away from Lelio, he'll be out of an income on both sides. Director Benoit Jacquot filmed La Fausse Suivante in a theater, using vintage costumes and minimal props to help retain the flavor of the stage production. ~ Mark Deming, All Movie Guide