Peter Kassovitz Movies

An athlete recalls his troubled youth while helping to coach a talented but headstrong youngster in this drama from Hungarian filmmaker Szabolcs Hajdu. Miklos Dongo (Miklos Zoltan Hajdu) is a world class gymnast who competed in the Olympics before taking on his current career as a performer with Cirque du Soleil. Miklos has been hired to help coach some contenders for the Canadian Olympic team, and finds himself working with Kyle Manjak (Kyle Shewfelt), an unusually talented young man whose mood swings make him difficult to work with. As Miklos tries to help Kyle focus his talents and come to terms with his demons, he finds himself frequently looking back on his own early career as a gymnast in Hungary -- his brutal coach Puma (Gheorghe Dinica), his domineering parents (Andor Lukats and Oana Pellea), and the grim regimen that led him to run away from home to join an acrobatics troupe. Coaching brings some of Miklos's personal issues back to the surface and he is confronted by the violent side of his nature while training Kyle. Miklos Zoltan Hajdu, who plays Miklos Dongo, is the brother of director Szabolcs Hajdu as well as an Olympic-class gymnast; he's played as a younger man by Orion Radies and Silas Radies. ~ Mark Deming, Rovi

While to most outsiders Paris seems the very picture of beauty and civility, France has had a long and unfortunate history of intolerance toward outsiders, and this powerful drama from filmmaker Mathieu Kassovitz takes an unblinking look at a racially diverse group of young people trapped in the Parisian economic and social underclass. Vinz (Vincent Cassel), who is Jewish, Hubert (Hubert Kounde), who is Black, and Said (Said Taghmaoui), who is Arabic, are young men from the lower rungs of the French economic ladder; they have no jobs, few prospects, and no productive way to spend their time. They hang out and wander the streets as a way of filling their days and are sometimes caught up in frequent skirmishes between the police and other disaffected youth. One day, a street riot breaks out after police seriously injure an Arab student; the three friends are arrested and questioned, and it is learned that a policeman lost a gun in the chaos. However, what they don't know is that Vinz picked it up and has it in his possession, and when Vinz, Hubert, and Said get into a scuffle with a group of racist skinheads, the circumstances seem poised for tragedy. Actress Jodie Foster was so impressed with La Haine when she saw it at the 1995 Cannes Film Festival that she helped to arrange American distribution for the film through her production company, Egg Pictures. ~ Mark Deming, Rovi

In this tender and sentimental comedy, Ben (Victor Lanoux), a Parisian Jew, copes with the dramas in his everyday life against the background of his family's survival of the Holocaust. Things between him and his wife are not any too easy, and on top of it, he has to heed his father's concerns, even though he lives in Israel now. His grandfather, who lives in the south of France, is a very old man, but is still a romantic obsessed with women. These tensions come to the fore when the family gathers to celebrate the patriarch's 90th birthday. ~ Clarke Fountain, Rovi

Vivre Sa Vie presents 12 episodes in the life of a young woman who turns to prostitution to pay her rent. Each episode features a theatrical scene preceded by a title that lists the characters in the episode, its location, and a brief summary of the action. As he would throughout his career, director Jean-Luc Godard uses prostitution as a metaphor for both economic life in general and the position of the filmmaker under capitalism. Vivre Sa Vie stars Anna Karina, who was married to Godard at the time. Her performance was largely improvised as Godard refused to give Karina her lines until just before each scene was shot. In order to maintain the freshness of the performances, Godard rarely made more than one take of each shot. The film is shot in stunning black-and-white by Raoul Coutard. The improvised acting and fragmented story give the viewer the impression of watching a documentary about a woman's life that is also a series of essays about aesthetics and economics. In addition, the film's camera style presents a catalogue of alternatives to conventional shooting strategies. ~ Louis Schwartz, Rovi