Film Fatale would like to thank everyone for their support and interest in this blog and is delighted to inform its readers that the official Film Fatale website has now launched. All future content, as well as original, can be found at www.filmfatalemagazine.com.
We hope you enjoy. See you there.
Jennifer Tate
Editor-in-Chief
Saturday 19 May 2012
Monday 30 April 2012
The Cabin in the Woods
7/10
Pros: A clever satire on its own genre with many twists and curveballs.
Cons: No conventional scares, if that’s what you’re after.
Reading a basic synopsis or even looking at the movie poster of The Cabin in the Woods will instantly give you the wrong and most inaccurate idea of what’s to unfold in this twisted horror movie that turns out to be both a satire and celebration of the genre the film fits into.
Written by Joss Whedon and Drew Goddard (the latter in his directorial debut), The Cabin in the Woods contains cleverly put together and unexpected twists that make it almost compulsory not to go into too much detail about the quickly advancing plot.
The opening scenes depict two completely different sets of characters. The first scene introduces us to the middle-aged Sitterson and Hadley (respectively played by Richard Jenkins and Bradley Whitford) in their everyday suits and swapping banalities at what appears to be an ordinary workplace.
The next few scenes introduce us to a quintet of stereotypical and attractive teenagers: Dana (played by Kristen Connolly), Curt (Chris Hemsworth), Jules (Anna Hutchison), Marty (Frank Katz) and Holden (Jesse Williams) as they embark on a trip to Curt’s cousin’s vacant cabin in the woods - which as veterans of this genre will understand, never quite works out as well as planned. As they arrive and settle in, we recognise predictable props and locations that would provide a field day for a horror-buff with a tick-sheet. There’s the predictable creepy guy that they run into at the petrol station. The secluded cabin is eerily decked with haunting works of taxidermy. And there’s even a lake - which we guess will become the location for the predictable horror scene that’s ever repeated in mundane horror films.
But mundane and predicable The Cabin in the Woods is not. As an intoxicated game or truth and dare leads the quintet into the basement and we gradually become more acquainted with Sitterson and Hadley (remember those support-type employees we met in the first scene?), we learn that The Cabin in the Woods is actually a cleverly written nerve-jangler that’s more of an allegory than a scream-raising gore-fest.
I can’t reveal too much at the risk of spoiling the film’s well-thought-of curveballs and its clever nod to horror films’ finest conventions. The concept behind The Cabin in the Woods is both disturbing and imaginative and is revelatory of its genre’s clichéd and foreseen turn of events. It’s scary, but not in the conventional horror sense. I might have just said too much.
94 minutes.
Released: 13th April 2012.
By Jennifer Tate.
Twitter: @JennieTate
Pros: A clever satire on its own genre with many twists and curveballs.
Cons: No conventional scares, if that’s what you’re after.
Written by Joss Whedon and Drew Goddard (the latter in his directorial debut), The Cabin in the Woods contains cleverly put together and unexpected twists that make it almost compulsory not to go into too much detail about the quickly advancing plot.
The opening scenes depict two completely different sets of characters. The first scene introduces us to the middle-aged Sitterson and Hadley (respectively played by Richard Jenkins and Bradley Whitford) in their everyday suits and swapping banalities at what appears to be an ordinary workplace.
The next few scenes introduce us to a quintet of stereotypical and attractive teenagers: Dana (played by Kristen Connolly), Curt (Chris Hemsworth), Jules (Anna Hutchison), Marty (Frank Katz) and Holden (Jesse Williams) as they embark on a trip to Curt’s cousin’s vacant cabin in the woods - which as veterans of this genre will understand, never quite works out as well as planned. As they arrive and settle in, we recognise predictable props and locations that would provide a field day for a horror-buff with a tick-sheet. There’s the predictable creepy guy that they run into at the petrol station. The secluded cabin is eerily decked with haunting works of taxidermy. And there’s even a lake - which we guess will become the location for the predictable horror scene that’s ever repeated in mundane horror films.
But mundane and predicable The Cabin in the Woods is not. As an intoxicated game or truth and dare leads the quintet into the basement and we gradually become more acquainted with Sitterson and Hadley (remember those support-type employees we met in the first scene?), we learn that The Cabin in the Woods is actually a cleverly written nerve-jangler that’s more of an allegory than a scream-raising gore-fest.
I can’t reveal too much at the risk of spoiling the film’s well-thought-of curveballs and its clever nod to horror films’ finest conventions. The concept behind The Cabin in the Woods is both disturbing and imaginative and is revelatory of its genre’s clichéd and foreseen turn of events. It’s scary, but not in the conventional horror sense. I might have just said too much.
94 minutes.
Released: 13th April 2012.
By Jennifer Tate.
Twitter: @JennieTate
Sundance London: LUV Review
2 STARS.
When Uncle Vince (Common, the Chicago rapper and hip hop artist), freshly released after 8 years behind the bars, teams up with his sister’s son Woody (Michael Rainey Jr) and decides to teach the clever 11 years old “what it takes to be a man” by venturing into the gangsters’ lairs in Baltimore, inevitably suspense unfolds.
LUV, a feature film debut for director and writer Sheldon Candis (her premiere at Sundance) takes us along the 24 hour journey of this unlikely pair. Persistent Woody (a fatherless black child who lives with his granny - Lonette McKee - in the suburbs of Baltimore) is determined to find his missing mum against the odds (we assume she could be a drug addict in North Carolina) while his Uncle Vince is forced to make deals with criminal gangs desperate to set up his own business and start a new life.
LUV is an emotional rollercoaster that alternates hope and despair of the two protagonists in 95 minutes packed with escalating violence, homicides, tears, irksome soundtracks and the improbable twists in the screenplay (by Justin Wilson and Sheldon Candis). The talented actors with their intriguing surrogate father/son relationship bring warmth to an erratic gangster story as we wait for the implausible finale.
By Giorgia Scaturro
LUV, a feature film debut for director and writer Sheldon Candis (her premiere at Sundance) takes us along the 24 hour journey of this unlikely pair. Persistent Woody (a fatherless black child who lives with his granny - Lonette McKee - in the suburbs of Baltimore) is determined to find his missing mum against the odds (we assume she could be a drug addict in North Carolina) while his Uncle Vince is forced to make deals with criminal gangs desperate to set up his own business and start a new life.
LUV is an emotional rollercoaster that alternates hope and despair of the two protagonists in 95 minutes packed with escalating violence, homicides, tears, irksome soundtracks and the improbable twists in the screenplay (by Justin Wilson and Sheldon Candis). The talented actors with their intriguing surrogate father/son relationship bring warmth to an erratic gangster story as we wait for the implausible finale.
By Giorgia Scaturro
Friday 27 April 2012
Robert Redford kicks off the inaugural Sundance London Festival
The first ever Sundance London festival kicked off yesterday morning at the O2 arena with an eye-opening press conference attended by its president and founder Robert Redford, its director John Cooper and the chief finance and strategy office for AEG Europe, Alex Hill.
Robert Redford discussed his decisions to take the indie-maven event to London and expressed his hopes to make it an annual event. “The festival had grown to such a degree that we wanted to move internationally but I was reluctant to do that for a while because I didn’t want growth to just be about growth – it had to have some meaning to it,” explained Redford, “but it felt like it was ready. We decided to bring a scaled-down version of what we do – sort of the alchemy of what we do – in the mountains in Utah in January, bring it here and just see how it was received.” The Academy Award-winning actor discussed his hopes that what they do in Sundance would have some appeal in London and that there’s a good response to their diverse and independent films, “another part of the hope would that it would inspire support of that same type of creativity here in London. Finally, of course is the main objective that we started with: to create opportunities for more artists and more voices to be heard and to extend that opportunity to more audiences in other parts of the world.”
The four-day festival features an attractive blend of music performances, talks and screenings of feature films, documentaries and shorts. Redford explained the importance of film and music’s relationship, referencing the importance music had on his 1969 film, Butch Cassidy and the Sundance Kid. “I didn’t see it at the time because I thought it was stupid; you know you suddenly had a scene where a guy was singing ‘Raindrops keep falling on my head’ and it wasn’t even raining. How wrong was I?” said the 75-year-old, “Music is so important to film and it’s played a great role in film. I see the future as a hybrid and since that hybrid was on the horizon, we wanted to show that we were with it and bring music with film here to show how that there is a connection now that’s growing stronger and stronger.”
Originally founded in 1981 by Redford in the mountains of Sundance, Utah, the non-profit festival secures a space for independent artists to explore their stories free from commercial and political pressures. Talking about his own stellar career – which has seen him star in countless Oscar-winning films -, Redford discussed his appreciation for independent filmmaking. “I’ve been fortunate to work both sides of the aisles,” he said, “Starting early on in my career working in large Hollywood films was fun but it didn’t totally satisfy a need I have – which was for something a little more risky, therefore low budget and more independent. Starting Sundance was basically to enlarge the category for film and to include those people that might otherwise be shut out by the mainstream way of thinking.” Redford explained that Sundance was not to deny or eliminate big Hollywood blockbusters because “they are obviously very satisfying on a world-wide basis. I just feel that there’s a hunger for other kinds of films as well.”
Redford also explained his cautiousness over the worldwide success of his independent showcase. “Our becoming successful is always something I pay attention to; not losing who we are and the way we do things. Success has a dangerous side to it, which is something that I’ve been aware of my whole life,” he said.
The internationally revered festival started independently with just one theatre and no financial support. “Over time, I realised that there was some value to (starting from scratch) because it coincided nicely with the artists who came who started from scratch,” Redford said, “We were representing that segment of our society and when growth and success comes, then that could threaten that. You could start reaching for the money and in that reach you could lose yourself, so it’s something that we try to watch very, very carefully.” John Cooper, the director added, ‘the short answer to that is that you don’t lose your soul when Redford’s at the helm.”
The three panellists were naturally asked if there was a feature in particular that they would recommend everybody seeing. However, it was only Alex Hill, of AEG, who could single out a particular film. “There’s something for everyone,” Hill said, “I’m into great cinematography so I’m really keen to watch Chasing Ice.” Robert Redford said that he was going to be “diplomatic” in saying that he wouldn’t single out one film over the other, “I think they all represent different points of view about American life and that’s what we hoped would happen, so I look at it as more of a collective”. Cooper mentioned that he was “curious about Queen of Versailles because it’s a film that’s a metaphor for America" and that he was “curious to see what the British audiences” thought of it, but later added after Redford’s response that that was his answer too.
London film festival runs 26-29 April at the O2 arena.
By Jennifer Tate. Twitter: @JennieTate
Robert Redford discussed his decisions to take the indie-maven event to London and expressed his hopes to make it an annual event. “The festival had grown to such a degree that we wanted to move internationally but I was reluctant to do that for a while because I didn’t want growth to just be about growth – it had to have some meaning to it,” explained Redford, “but it felt like it was ready. We decided to bring a scaled-down version of what we do – sort of the alchemy of what we do – in the mountains in Utah in January, bring it here and just see how it was received.” The Academy Award-winning actor discussed his hopes that what they do in Sundance would have some appeal in London and that there’s a good response to their diverse and independent films, “another part of the hope would that it would inspire support of that same type of creativity here in London. Finally, of course is the main objective that we started with: to create opportunities for more artists and more voices to be heard and to extend that opportunity to more audiences in other parts of the world.”
The four-day festival features an attractive blend of music performances, talks and screenings of feature films, documentaries and shorts. Redford explained the importance of film and music’s relationship, referencing the importance music had on his 1969 film, Butch Cassidy and the Sundance Kid. “I didn’t see it at the time because I thought it was stupid; you know you suddenly had a scene where a guy was singing ‘Raindrops keep falling on my head’ and it wasn’t even raining. How wrong was I?” said the 75-year-old, “Music is so important to film and it’s played a great role in film. I see the future as a hybrid and since that hybrid was on the horizon, we wanted to show that we were with it and bring music with film here to show how that there is a connection now that’s growing stronger and stronger.”
Originally founded in 1981 by Redford in the mountains of Sundance, Utah, the non-profit festival secures a space for independent artists to explore their stories free from commercial and political pressures. Talking about his own stellar career – which has seen him star in countless Oscar-winning films -, Redford discussed his appreciation for independent filmmaking. “I’ve been fortunate to work both sides of the aisles,” he said, “Starting early on in my career working in large Hollywood films was fun but it didn’t totally satisfy a need I have – which was for something a little more risky, therefore low budget and more independent. Starting Sundance was basically to enlarge the category for film and to include those people that might otherwise be shut out by the mainstream way of thinking.” Redford explained that Sundance was not to deny or eliminate big Hollywood blockbusters because “they are obviously very satisfying on a world-wide basis. I just feel that there’s a hunger for other kinds of films as well.”
Redford also explained his cautiousness over the worldwide success of his independent showcase. “Our becoming successful is always something I pay attention to; not losing who we are and the way we do things. Success has a dangerous side to it, which is something that I’ve been aware of my whole life,” he said.
The internationally revered festival started independently with just one theatre and no financial support. “Over time, I realised that there was some value to (starting from scratch) because it coincided nicely with the artists who came who started from scratch,” Redford said, “We were representing that segment of our society and when growth and success comes, then that could threaten that. You could start reaching for the money and in that reach you could lose yourself, so it’s something that we try to watch very, very carefully.” John Cooper, the director added, ‘the short answer to that is that you don’t lose your soul when Redford’s at the helm.”
The three panellists were naturally asked if there was a feature in particular that they would recommend everybody seeing. However, it was only Alex Hill, of AEG, who could single out a particular film. “There’s something for everyone,” Hill said, “I’m into great cinematography so I’m really keen to watch Chasing Ice.” Robert Redford said that he was going to be “diplomatic” in saying that he wouldn’t single out one film over the other, “I think they all represent different points of view about American life and that’s what we hoped would happen, so I look at it as more of a collective”. Cooper mentioned that he was “curious about Queen of Versailles because it’s a film that’s a metaphor for America" and that he was “curious to see what the British audiences” thought of it, but later added after Redford’s response that that was his answer too.
London film festival runs 26-29 April at the O2 arena.
By Jennifer Tate. Twitter: @JennieTate
Thursday 19 April 2012
Top 10 Sorority Films
In celebration of Whit Stillman's long-awaited return with Damsels in Distress - his first feature film since 1998's cult-classic The Last Days of Disco - Premier PR have compiled an exciting list, looking back at the most favourite films involving sisterhood and college life.
Damsels in Distress is in cinemas from 27th April and follows the story of transfer student Lily (Analeigh Tipton) as she tries to navigate her way around college life in the "it" group - you can read our review here.
Damsels in Distress (2012)
The comedy directed by Whit Stillman follows the story of a transfer student named Lily, played by Analeigh Tipton, as she tries to navigate around her new university after meeting a determined group of girls. Lily finds herself following the trio of girls in their mission to transform their male dominated campus by turning students away from depression and low standards.
Sorority Row (2009)
Sorority Row is a horror thriller that revolves around the murder of a sorority girl and the mysterious murders of her sorority sisters months following her death. The bonds of sisterhood are questioned as the sorority girls attempt to uncover the identity of the serial killer slowly killing them off.
The House Bunny (2008)
The House Bunny is a hilarious comedy about a former playboy playmate that is determined to prove her youthfulness by returning to the college social circuit. Too old to be admitted to the popular sorority, Shelley, played by Anna Farris, takes on the role as house mother. She makes it her mission to revamp the ostracized girls of the unpopular sorority that she resides over.
Sydney White (2007)
Sydney White is a romantic comedy following the story of a sorority legacy, Sydney White (Amanda Bynes) as she attempts to fit into her mother’s sorority. Based off of the classic story of Snow White, Sydney must learn how to successfully navigate through her freshman year and the daunting Greek life system.
Legally Blonde (2001)
Legally Blonde is the story of sorority president turned Harvard grad, Elle Woods played by Reese Witherspoon. As the film opens audiences immediately enter the world of all things Greek as Elle and her friends primp and prance in their large sorority house. Her ditsy sorority sisters, Margot and Serena, enthusiastically support Elle through all her trials and errors as she reaches the top.
Dying to Belong (1997)
Sorority life isn’t always easy and the made for television film, Dying to Belong, depicts those hardships in a social circle where dangerous forms of hazing are accepted. Hilary Swank stars as a former sorority hopeful who goes on a mission to uncover the death of her friend, who she suspects was killed during a ritual hazing.
Confessions of a Sorority Girl (1994)
Confessions of a Sorority Girl is a made for television film set in a 1950s American university. Jamie Luner stars as Sabrina Masterson, a manipulative college student who will do anything to win her mother’s approval by becoming the president of her sorority.
Revenge of the Nerds (1984)
Revenge of the Nerds is the 1984 film classic, satirizing college life. The film chronicles a group of nerds trying to stop the harassment from their university’s popular fraternity and sorority. With help from the less popular, more geeky sorority, the nerds rise to the top!
The House on Sorority Row (1983)
The House on Sorority Row is a cult classic slasher film about a group of sorority girls whose prank goes horribly wrong. Six sorority girls find themselves in a bind when they accidently murder their housemother when trying to pull off a prank the night of a bid party. After trying to cover-up the murder, the girls begin to be killed off one by one by a mysterious killer.
Black Christmas (1974)
Black Christmas is a 1974 cult horror film about a group of sorority girls who are terrorized by an escaped mental patient returning to his childhood home, turned sorority house. The girls are killed off one by one after continuously receiving taunting phone calls from the assumed killer. How’s that for a Christmas break?
DAMSELS IN DISTRESS will be released in cinemas nationwide April 27.
Thanks to Premier PR for images and copy.
Damsels in Distress is in cinemas from 27th April and follows the story of transfer student Lily (Analeigh Tipton) as she tries to navigate her way around college life in the "it" group - you can read our review here.
Damsels in Distress (2012)
The comedy directed by Whit Stillman follows the story of a transfer student named Lily, played by Analeigh Tipton, as she tries to navigate around her new university after meeting a determined group of girls. Lily finds herself following the trio of girls in their mission to transform their male dominated campus by turning students away from depression and low standards.
Sorority Row (2009)
The House Bunny (2008)
Sydney White (2007)
Legally Blonde (2001)
Dying to Belong (1997)
Confessions of a Sorority Girl (1994)
Revenge of the Nerds (1984)
The House on Sorority Row (1983)
Black Christmas (1974)
DAMSELS IN DISTRESS will be released in cinemas nationwide April 27.
Thanks to Premier PR for images and copy.
Shadow Dancer Review
8/10
Pros: Shadow Dancer is suspense-filled and deeply moving.
Cons: Grim, sad and hard-hitting – as grey as the Belfast skies that decorate it.
It might not be often that a grim and hard-hitting film about the Irish troubles is recommended passionately, but Shadow Dancer, directed by James Marsh, is an atmospheric and moving thriller that’s definitely worth a see.
It tells the story of struggling single mother Collette (Andrea Riseborough), who lives with her young son, mother and hardliner IRA brothers in 1990s Belfast. Still guilt-ridden by the death of her young brother - who was shot to death in 1973 in their neighbouring streets while running an errand which she forced upon him - Collette atones her guilt as a loyal and radicalised member of the IRA.
The organisation’s high-ranks – including her brothers Connor and Gerry (Domhnall Gleeson and Aidan Gillen) – have sent her to London where her mission is to plant a bomb on London’s tubes. The action scene is harrowing in itself, as a nervous, tattered and frantic Colette grows paranoid with every stranger’s glance. When she steps onto the platform, she spots that she’s been spotted and in a thrilling and suspense-filled chasing scene, she is eventually taken to Mac (Clive Owen), an MI5 officer who gives her an ultimatum: go to prison for 25 years or return to Belfast as an informer.
Torn between the choice of never being a mother to her son or turn against the rest of her family and all she believes in, Collette is eventually persuaded to place her trust in Mac on his basis that, “nobody dies and nobody gets hurt”.
As she returns home to spy on her family and the even higher-ranks of the IRA, the trepidation becomes almost unbearable to handle. Constantly under pressure to deliver information to Mac on an assassination her brothers are planning, Collette also faces suspicion from the ruthless IRA Kevin Mulville (David Wilmot), who isn’t taking any of her frenzied excuses. When the plot is ambushed by British Security Forces, the trepidation hits a peak and from there, the plot spirals into riveting and unexpected destinations.
Andrea Riseborough is brilliant in her role as the twenty-something mole; her tired face convincingly displaying the expected worn and fret and Clive Owen is as slick and confident as he normally is.
Written by Tom Bradby, Shadow Dancer is not a feel-good film – in fact, it’s as grey as the Belfast skies that decorate it. But the palpable and chilling film is deeply moving, serving as a realistic account of the gritty reality of what it must have been like at the foreground of such a sad and sore time.
100 minutes.
Released: 24th August 2012
By Jennifer Tate
Twitter: @JennieTate
Pros: Shadow Dancer is suspense-filled and deeply moving.
Cons: Grim, sad and hard-hitting – as grey as the Belfast skies that decorate it.
It tells the story of struggling single mother Collette (Andrea Riseborough), who lives with her young son, mother and hardliner IRA brothers in 1990s Belfast. Still guilt-ridden by the death of her young brother - who was shot to death in 1973 in their neighbouring streets while running an errand which she forced upon him - Collette atones her guilt as a loyal and radicalised member of the IRA.
The organisation’s high-ranks – including her brothers Connor and Gerry (Domhnall Gleeson and Aidan Gillen) – have sent her to London where her mission is to plant a bomb on London’s tubes. The action scene is harrowing in itself, as a nervous, tattered and frantic Colette grows paranoid with every stranger’s glance. When she steps onto the platform, she spots that she’s been spotted and in a thrilling and suspense-filled chasing scene, she is eventually taken to Mac (Clive Owen), an MI5 officer who gives her an ultimatum: go to prison for 25 years or return to Belfast as an informer.
Torn between the choice of never being a mother to her son or turn against the rest of her family and all she believes in, Collette is eventually persuaded to place her trust in Mac on his basis that, “nobody dies and nobody gets hurt”.
As she returns home to spy on her family and the even higher-ranks of the IRA, the trepidation becomes almost unbearable to handle. Constantly under pressure to deliver information to Mac on an assassination her brothers are planning, Collette also faces suspicion from the ruthless IRA Kevin Mulville (David Wilmot), who isn’t taking any of her frenzied excuses. When the plot is ambushed by British Security Forces, the trepidation hits a peak and from there, the plot spirals into riveting and unexpected destinations.
Andrea Riseborough is brilliant in her role as the twenty-something mole; her tired face convincingly displaying the expected worn and fret and Clive Owen is as slick and confident as he normally is.
Written by Tom Bradby, Shadow Dancer is not a feel-good film – in fact, it’s as grey as the Belfast skies that decorate it. But the palpable and chilling film is deeply moving, serving as a realistic account of the gritty reality of what it must have been like at the foreground of such a sad and sore time.
100 minutes.
Released: 24th August 2012
By Jennifer Tate
Twitter: @JennieTate
Friday 13 April 2012
Delicacy Review
8/10
Pros: Charming and quirky with the right dose of delicacy.
Cons: The mismatched pairing of Nathalie and Markus is a little far-fetched.
David Foenkinos directs and adapts his bestselling novel of the same name and presents Delicacy: a charming and heartfelt romance that might just make you shed a tear.
Audrey Tautou stars as Nathalie Kerr, a beautiful and successful Parisian with the world at her feet. In her local café, over apricot juice, she meets and bonds with Francois (played by Pio Marmaï), a handsome French man with whom she eventually falls in love and marries. The first half an hour is - what can only be described as – lovely, as David Foenkinos and his brother Stéphane direct a sweet documentation of the soul-mates’ love and adoration for one another to a backdrop of sugary music and the romantic setting of Paris.
One day, however, Nathalie learns that the love of her life has been tragically killed in a car accident, finding herself in a deep state of shock, grief and misery. The subsequent scenes follow Nathalie’s mourning on her three-year path back to a normal life: she buries her head into her work and eventually grows more successful, gradually getting used to living and being alone.
As Nathalie slowly crawls up the career ladder, she notices an unwelcome admirer: her married boss Charles (played by Bruno Todeschini) who’s inappropriate advances she passionately rejects to his dismay. Successful, handsome and charming, Charles can’t understand why she’s not attracted to him, forcefully urging her over dinner to move on from her late husband.
But Nathalie isn’t ready to move on…or at least she doesn’t think she is. That is until she falls for her co-worker Markus Landi (played by François Damiens), a lanky and balding Swede in daily dress of sad jumpers, who unexpectedly reinstalls her zest for life.
Markus can’t believe his luck (Nathalie is his boss and the girl of his dreams) and neither can the rest of their co-workers – who all believe that their gorgeous and sassy friend is way too good for the gawky and bearded admin worker. The news particularly doesn’t go down too well with Charles, who later invites Markus out for a drink to see what Nathalie sees in her – making for an almost uncomfortable scene to watch.
Overall however, Delicacy is a visual treat: a heart-warming tale that manages to tug at every heartstring with its ability to make you laugh, cry and dream. The only criticism would be that the film’s unlikely pairing might actually translate to the audience as a pairing too unlikely. But even shallowness can’t spoil this gorgeous film.
Released 13th April 2012.
108 minutes.
By Jennifer Tate
Twitter @JennieTate
Pros: Charming and quirky with the right dose of delicacy.
Cons: The mismatched pairing of Nathalie and Markus is a little far-fetched.
David Foenkinos directs and adapts his bestselling novel of the same name and presents Delicacy: a charming and heartfelt romance that might just make you shed a tear.
Audrey Tautou stars as Nathalie Kerr, a beautiful and successful Parisian with the world at her feet. In her local café, over apricot juice, she meets and bonds with Francois (played by Pio Marmaï), a handsome French man with whom she eventually falls in love and marries. The first half an hour is - what can only be described as – lovely, as David Foenkinos and his brother Stéphane direct a sweet documentation of the soul-mates’ love and adoration for one another to a backdrop of sugary music and the romantic setting of Paris.
One day, however, Nathalie learns that the love of her life has been tragically killed in a car accident, finding herself in a deep state of shock, grief and misery. The subsequent scenes follow Nathalie’s mourning on her three-year path back to a normal life: she buries her head into her work and eventually grows more successful, gradually getting used to living and being alone.
As Nathalie slowly crawls up the career ladder, she notices an unwelcome admirer: her married boss Charles (played by Bruno Todeschini) who’s inappropriate advances she passionately rejects to his dismay. Successful, handsome and charming, Charles can’t understand why she’s not attracted to him, forcefully urging her over dinner to move on from her late husband.
But Nathalie isn’t ready to move on…or at least she doesn’t think she is. That is until she falls for her co-worker Markus Landi (played by François Damiens), a lanky and balding Swede in daily dress of sad jumpers, who unexpectedly reinstalls her zest for life.
Markus can’t believe his luck (Nathalie is his boss and the girl of his dreams) and neither can the rest of their co-workers – who all believe that their gorgeous and sassy friend is way too good for the gawky and bearded admin worker. The news particularly doesn’t go down too well with Charles, who later invites Markus out for a drink to see what Nathalie sees in her – making for an almost uncomfortable scene to watch.
Overall however, Delicacy is a visual treat: a heart-warming tale that manages to tug at every heartstring with its ability to make you laugh, cry and dream. The only criticism would be that the film’s unlikely pairing might actually translate to the audience as a pairing too unlikely. But even shallowness can’t spoil this gorgeous film.
Released 13th April 2012.
108 minutes.
By Jennifer Tate
Twitter @JennieTate
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