Wes Anderson is easily one of the most singular voices in contemporary cinema, and it turns out the same is true of Wes Anderson in the world of advertising. The director has been courted by companies such as American Express, Prada, Hyundai, and At&T over the years to unite their products with his trademark style, and the results are some of the best commercials of the 21st century.
In celebration of Anderson’s ninth feature “Isle of Dogs” opening in theaters, IndieWire looks back at Anderson’s celebrated collection of commercials and short film advertisements. The clips not only bare Anderson’s trademark style but also feature some of his greatest collaborators, including co-writer Roman Coppola, cinematographer Robert Yoeman, and actors like Jason Schwartzman and Adrian Brody.
Read More: Search The Complete Paul Thomas Anderson Music Video Collection, From Fiona Apple to Radiohead — Watch
Watch the director’s 15 most memorable ads below.
In celebration of Anderson’s ninth feature “Isle of Dogs” opening in theaters, IndieWire looks back at Anderson’s celebrated collection of commercials and short film advertisements. The clips not only bare Anderson’s trademark style but also feature some of his greatest collaborators, including co-writer Roman Coppola, cinematographer Robert Yoeman, and actors like Jason Schwartzman and Adrian Brody.
Read More: Search The Complete Paul Thomas Anderson Music Video Collection, From Fiona Apple to Radiohead — Watch
Watch the director’s 15 most memorable ads below.
- 3/23/2018
- by Zack Sharf
- Indiewire
Coming to Blu-ray for the first time from the Cohen Media Group, Claude Chabrol’s late career thriller, Nightcap (better known by its French title, Merci Pour Le Chocolat) is often lumped into conversation as merely one of the seven films the director made with actress Isabelle Huppert. While it is certainly outshined by some of their finer achievements together (particularly The Story of Women and La Ceremonie), it stands firmly on its own as an odd exercise that’s more character study than murder mystery. Chabrol seems amused at the convention and convenience of the narrative, supplied by Charlotte Armstrong’s nonsensically titled 1948 novel The Chocolate Cobweb. Armstrong was in high regard in the 1950’s (her novel Don’t Bother to Knock was turned into a very strange Marilyn Monroe vehicle in 1952), and Chabrol seems keen on retaining the rather deliberate ambience from a tradition of genre gone by.
- 10/7/2014
- by Nicholas Bell
- IONCINEMA.com
Nightcap
Juliette Binoche isn't the only French actress who can work wonders with chocolat.
Isabelle Huppert happens to make a killer hot cocoa (perhaps literally) in Claude Chabrol's elegantly perverse "Nightcap" ("Merci Pour Le Chocolat").
Based loosely on a novel by the late American mystery writer Charlotte Armstrong, this masterfully calibrated psychological thriller thrives on its taut performances and creepy atmosphere even if the screenplay falls somewhat short.
A presentation of this year's City of Lights, City of Angels festival of fresh French cinema taking place at the DGA headquarters, Chabrol's 52nd film finds the French Hitchcock in fine if not quite vintage form and certainly deserving of American exposure beyond a single screening.
Huppert, who has collaborated with the filmmaker on a number of occasions, is fascinating to watch as the quietly calculating Marie-Claire, the newly married second wife of concert pianist Andre Polonski (Jacques Dutronc) and CEO of a large Swiss chocolate manufacturer inherited from her father.
Marie-Claire likes her spotless household to run like a Swiss watch, but there's a telltale crack in the sun-filtered austerity -- one which grows ominously deeper with the arrival of an uninvited guest.
It seems that due to a maternity ward mix-up, Polonski's languid son, Guillaume (Rodolphe Pauly) and the daughter of another couple were ascribed to the wrong parents long ago. The initial confusion was soon cleared up, or was it?
Tickled by the notion that she might really be the daughter of an accomplished virtuoso, young Jeanne Pollet (Anna Mouglalis), herself a budding pianist, shows up on the Polonski doorstep one day to find out the truth, and, in the process, uncovers substantially more than she anticipated.
For instance, could Marie-Claire be keeping her husband and stepson perpetually doped up on daily servings of Rohypnol-laced hot cocoa? Was the death of Guillaume's mother really a suicide?
Thanks to Chabrol's meticulously crafted direction, the answers are spun out at a neatly unhurried but never less than intriguing pace.
He also pulls a subtle yet palpable menace out of Huppert, whose performances have been known to verge on the catatonic if allowed to go unchecked. It's one of her most satisfying turns in years, and one which was rewarded with a best actress prize at this year's Lumieres de Paris Awards.
It's too bad that the script, by Chabrol and Caroline Eliacheff, doesn't provide a more potent payoff. After all that delicious build-up, one was expecting a nightcap that packed a greater kick.
Still, the picture, along with Dominik Moll's soon-to-be-released "With a Friend Like Harry", successfully evoke some unmistakably Hitchcockian mischief-making without resorting to the usual lazy mimicry.
NIGHTCAP ("Merci Pour Le Chocolat")
MK2 Prods.
Director: Claude Chabrol
Screenwriters: Caroline Eliacheff & Claude Chabrol
Based on "The Chocolate Cobweb" by Charlotte Armstrong
Producer: Marin Karmitz
Executive producer: Jean-Louis Porchet
Director of photography: Renato Berta
Editor: Monique Fardouli
Costume designer: Elisabeth Tavernier
Music: Matthieu Chabrol
Color/stereo
Cast:
Marie-Claire Muller-Polonski: Isabelle Huppert
Andre Polonski: Jacques Dutronc
Jeanne Pollet: Anna Mouglalis
Guillaume Polonski: Rodolphe Pauly
Louise Pollet: Brigitte Catillon
Dufreigne: Michel Robin
Axel: Mathieu Simonet
Running time -- 99 minutes
No MPAA Rating...
Isabelle Huppert happens to make a killer hot cocoa (perhaps literally) in Claude Chabrol's elegantly perverse "Nightcap" ("Merci Pour Le Chocolat").
Based loosely on a novel by the late American mystery writer Charlotte Armstrong, this masterfully calibrated psychological thriller thrives on its taut performances and creepy atmosphere even if the screenplay falls somewhat short.
A presentation of this year's City of Lights, City of Angels festival of fresh French cinema taking place at the DGA headquarters, Chabrol's 52nd film finds the French Hitchcock in fine if not quite vintage form and certainly deserving of American exposure beyond a single screening.
Huppert, who has collaborated with the filmmaker on a number of occasions, is fascinating to watch as the quietly calculating Marie-Claire, the newly married second wife of concert pianist Andre Polonski (Jacques Dutronc) and CEO of a large Swiss chocolate manufacturer inherited from her father.
Marie-Claire likes her spotless household to run like a Swiss watch, but there's a telltale crack in the sun-filtered austerity -- one which grows ominously deeper with the arrival of an uninvited guest.
It seems that due to a maternity ward mix-up, Polonski's languid son, Guillaume (Rodolphe Pauly) and the daughter of another couple were ascribed to the wrong parents long ago. The initial confusion was soon cleared up, or was it?
Tickled by the notion that she might really be the daughter of an accomplished virtuoso, young Jeanne Pollet (Anna Mouglalis), herself a budding pianist, shows up on the Polonski doorstep one day to find out the truth, and, in the process, uncovers substantially more than she anticipated.
For instance, could Marie-Claire be keeping her husband and stepson perpetually doped up on daily servings of Rohypnol-laced hot cocoa? Was the death of Guillaume's mother really a suicide?
Thanks to Chabrol's meticulously crafted direction, the answers are spun out at a neatly unhurried but never less than intriguing pace.
He also pulls a subtle yet palpable menace out of Huppert, whose performances have been known to verge on the catatonic if allowed to go unchecked. It's one of her most satisfying turns in years, and one which was rewarded with a best actress prize at this year's Lumieres de Paris Awards.
It's too bad that the script, by Chabrol and Caroline Eliacheff, doesn't provide a more potent payoff. After all that delicious build-up, one was expecting a nightcap that packed a greater kick.
Still, the picture, along with Dominik Moll's soon-to-be-released "With a Friend Like Harry", successfully evoke some unmistakably Hitchcockian mischief-making without resorting to the usual lazy mimicry.
NIGHTCAP ("Merci Pour Le Chocolat")
MK2 Prods.
Director: Claude Chabrol
Screenwriters: Caroline Eliacheff & Claude Chabrol
Based on "The Chocolate Cobweb" by Charlotte Armstrong
Producer: Marin Karmitz
Executive producer: Jean-Louis Porchet
Director of photography: Renato Berta
Editor: Monique Fardouli
Costume designer: Elisabeth Tavernier
Music: Matthieu Chabrol
Color/stereo
Cast:
Marie-Claire Muller-Polonski: Isabelle Huppert
Andre Polonski: Jacques Dutronc
Jeanne Pollet: Anna Mouglalis
Guillaume Polonski: Rodolphe Pauly
Louise Pollet: Brigitte Catillon
Dufreigne: Michel Robin
Axel: Mathieu Simonet
Running time -- 99 minutes
No MPAA Rating...
- 4/19/2001
- The Hollywood Reporter - Movie News
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