Bernard-Pierre Donnadieu Movies

A star is born in a time of both celebration and instability in this historical drama with music from director Christophe Barratier. In the spring of 1936, Paris is in a state of uncertainty; while the rise of the Third Reich in Germany worries many, a leftist union-oriented candidate, Léon Blum, has been voted into power, and organized labor is feeling its new power by standing up to management. While such matters might normally seem unimportant to Germain Pigoil (Gérard Jugnot), who runs a small vaudeville house in the Faubourg district, the chaos of the city seems to be impacting his life and his work -- his wife, Viviane (Elisabeth Vitali), has run off with her lover, she demands custody of their son, Jojo (Maxence Perrin), and unscrupulous local entrepreneur Galapiat (Bernard-Pierre Donnadieu) threatens to put Germain's theater out of business. With the help of a local political organizer, Milou (Clovis Cornillac), and veteran entertainer Jacky Jacquet (Kad Merad), Germain strikes a deal with Galapiat to reopen the theater, but business is slow until a lovely young woman with a remarkable voice, Douce (Nora Arnezeder), comes looking for a spot in Germain's show. Faubourg 36 (aka Paris 36) received its North American premiere at the 2008 Montreal World Film Festival. ~ Mark Deming, All Movie Guide

Strongly evocative of an old film noir but punctuated with '90s style violence, this dark Canadian detective drama centers on a renegade ex-police detective who tries to find the identity of the enigmatic man who has been threatening his life. High strung, edgy Detective Marceau loses his job with the Montreal police department when while walking through a darkened train yard filled with abandoned cars, he observes a department colleague tooting up with a pair of coke dealers in a battered caboose. Something inside Marceau snaps and without flinching he shoots all three in cold blood. Afterward, he quits the force. Six months pass and he wanders by the academy one day. There he spies Camile, a cop-in-training who cannot bear to use a gun. He decides to help her accept the violence inherent in policework; in exchange he wants her to act as his body guard while he tries to find the would be killer. His main suspect is a psychopathic child molester, Boule de Pool. Meanwhile Marceau and Camile begin to get closer until their passion violently erupts in the caboose one night. Despite their newfound love, Camile is deeply disturbed because Marcel's nerves have driven him to the brink of madness. ~ Sandra Brennan, All Movie Guide

What there is of a plot in this drama serves mainly as a vehicle for the exploration of character. In the story, Michel (Bernard-Pierre Donnadieu) is a recent widower. As the story opens, he and his friend Andre (Philippe Nahon) are sharing a drink on Christmas Eve. He takes a yellow scarf from a woman he knows (Laura Morante) and teasingly refuses to return it. Throughout the remainder of the film, the scarf reappears, as does the woman, until they wind up in bed together at the end of the film. Before that happens, Michel wanders around Paris, viewing the festivities with a jaundiced eye which serves to heighten the unattractiveness of those he observes. Later he has dinner with a group at Andre's house, and his poor opinion of human nature is amply supported by the events that occur then. ~ Clarke Fountain, All Movie Guide

If this engaging costume adventure is perhaps just one notch shy of being a full-fledged swashbuckler, it is only because it so lovingly recreates the era in which its story takes place. In the film, it is 1685 and a baby is being left on the steps of a monastery, but not before the mysterious cloaked horseman who brings it bites off the infant's nose and leaves a coin in its swaddling clothes. The baby, a boy, is fortunate to be placed with a loving woman and her able husband, a former pirate who still retains a lively spirit. The cheerful and charming boy learns to fence, to read, and to joust, all the while sporting a wooden nose. Eventually a local nobleman deigns to notice his existence, and sends him to attend a seminary which is grim beyond all imagining. Rather than suffer endlessly in the study of material he already knows with no prospect of being ordained (he is, after all, mutilated), Justinian (Pierre-Oliviar Mornas) runs away, and thereafter has one dashing, hair-raising adventure after another, eventually discovering his parentage. The story is based on the novel Dieu et nous seuls pouvons by Michel Folco. ~ Clarke Fountain, All Movie Guide

Based on Time Krabbe's The Golden Egg, The Vanishing is a deeply disturbing psychological thriller about a young man's search for his girlfriend after she disappears at a rest stop during a short trip. Over the course of three years, the man obsessively searches for her, using his spare time to put up posters and leave handbills, hoping that someone will give him a clue to the mystery surrounding her disappearance. The kidnapper, having watched the man for some time, is intrigued by his increasing obsession and finally contacts him. He then gives the man the opportunity to learn firsthand of his girlfriend's fate. The film, frightening and moving with a chilling conclusion, is a small masterpiece as director George Sluizer confronts and examines the true nature of evil and obsession. Sluizer remade The Vanishing in an American version four years after the release of the original Dutch film, inexplicably changing the shocking ending which gave the original film such power. ~ Linda Rasmussen, All Movie Guide

In this 1987 film, director Bertrand Tavernier depicts French life in the Middle Ages as dreary, unromantic, and brutal. The story begins when a warrior leaves home to fight in the Hundred Years' War (1337-1453) between France and England. Before his departure, he gives his young son, François, a sword to safeguard his mother and her virtue. One day, after the boy opens a bedroom door to find his mother willingly submitting to a man, he uses the sword to kill the man and becomes traumatized with guilt and enmity toward his mother. Years later, François (Bernard Pierre Donnadieu) must go off to war as a chevalier, or knight. While he is away, his daughter, the gentle and loving Béatrice (Julie Delpy), sees to the needs of her little brother and her feckless mother. Although the castle in which they live is a sepulcher of shadows and stone, Béatrice maintains her spirits as she looks forward to the day when her father's voice will once again echo in the corridors. After four years of war in which he was held captive for a time by the English, he returns to the castle, a hardened warrior who has renounced God. Inside his twisted mind, he still carries the memory of that terrible day long ago, the day he discovered his mother was an adulteress. Giving the demons within him free rein, he begins to abuse everyone around him: He insults, bullies, and pillages the local village. He even forces his son Nils Tavernier to wear women's clothes and become the prey in a hunt. As he descends deeper into depravity, it is innocent Béatrice who suffers the most. Whether he has completely destroyed her, or whether she will rise up and destroy him, becomes the central focus of the film as it moves toward its conclusion. The dialogue is in French with English subtitles. ~ Mike Cummings, All Movie Guide

Also known as A Certain Desire, this French murder melodrama stars Sam Waterston and Marisa Berenson. Waterston plays Gerry Morrison, an Interpol agent assigned to solve the murder of a Bordeaux wine heiress. Jeanne Barnac Berenson is one of the suspects, who in the course of the investigation is revealed to be a lesbian, in love with the widowed Marlene Bell-Ferguson (Lauren Hutton). Pretty soon, Morrison has exposed virtually all the secrets of those closest to the murder victim. Indeed, with so much else going on, the solution of the mystery is almost an afterthought. ~ Hal Erickson, All Movie Guide

With Life is a Bed of Roses, filmmaker Alain Resnais wanted to create a lighthearted tribute to three important French directors, each of whom defined a particular era in his country's cinema Melies (the first French filmmaker to use narrative--his most famous film is A Trip to the Moon), the impressionist L'Herbier (most famous for his inspirational avant garde work during the '20s) and Rohmer (most famed for his sextet of "Moral Tales" during the '60s). To present his chronicle of the human quest for a utopia of personal happiness and fulfillment, Resnais created two distinct narratives representing the past and present, and then interspliced them with a third more fantastical tale to provide contrast. Representing the past, the first tale centers on a monied eccentric who creates a "temple of happiness' in his chateau. There, guests are given a special potion, laid inside enormous cribs and surrounded by pleasant sensations to help them return to the blissful state of infancy. The second story takes place in the same chateau where a symposium on the techniques and philosophies of the eccentric are hotly debated and elaborated upon. Weaving its way between the two tales is the third, which represents the medieval fantasies of children in a forest who imagine the struggle between a wicked king and a brave good-hearted warrior. ~ Sandra Brennan, All Movie Guide

Julien (Jerome Zucca) is a left-leaning student whose politics and love interest end up clashing as the young man makes a long, epic journey through his years at a private school in Paris when Algeria is fighting France for its independence, up to his time spent as a courier for Algeria's National Liberation Front (known by their French acronym, the FLN). While at school, Julien already had a conflict with his good friend Gilles (Philippe Caroit) and the right-wing politics that Gilles embraces. This relationship will come to have a crucial bearing on the future, as Julien continues on his path. ~ Eleanor Mannikka, All Movie Guide