Trainee Day
Director: Marc Fitoussi
Writer: Marc Fitoussi
French director Marc Fitoussi is one of several notable filmmakers with an impressive body of work but whose titles never seem to snag Us distribution. He’s been making features for the past decade, including light, frothy comedies such as a pair of Isabelle Huppert headliners like Copacabana (2010) and Paris Follies (2014), a rather loose update on Madame Bovary. He’ll unveil his fifth feature in 2016 with Maman a tort (aka Trainee Day), reuniting with Belgian actress Emile Dequenne who starred in his 2007 debut film La Vie d’Artiste. The film features rising star Jeanne Jestin (of Farhadi’s The Past) as a young woman who discovers a different side of her mother after taking a position at the same office.
Cast: Jeanne Jestin, Emilie Dequenne, Camille Chamoux, Sabrina Ouazani
Production Co.: Avenue B Productions, Versus Production
U.S. Distributor: Rights available...
Director: Marc Fitoussi
Writer: Marc Fitoussi
French director Marc Fitoussi is one of several notable filmmakers with an impressive body of work but whose titles never seem to snag Us distribution. He’s been making features for the past decade, including light, frothy comedies such as a pair of Isabelle Huppert headliners like Copacabana (2010) and Paris Follies (2014), a rather loose update on Madame Bovary. He’ll unveil his fifth feature in 2016 with Maman a tort (aka Trainee Day), reuniting with Belgian actress Emile Dequenne who starred in his 2007 debut film La Vie d’Artiste. The film features rising star Jeanne Jestin (of Farhadi’s The Past) as a young woman who discovers a different side of her mother after taking a position at the same office.
Cast: Jeanne Jestin, Emilie Dequenne, Camille Chamoux, Sabrina Ouazani
Production Co.: Avenue B Productions, Versus Production
U.S. Distributor: Rights available...
- 1/6/2016
- by Nicholas Bell
- IONCINEMA.com
Biggest slate to date also includes Planetarium, Money’s Money and Overdrive.
Kinology will launch sales on French director Marc Fitoussi’s coming-of-age tale Trainee Day at the American Film Market (Afm) (Nov 4-11), in what could be one of the busiest markets yet for Gregory Melin’s Paris-based sales company.
Rising actress Jeanne Jestin, who first hit the big screen in Asghar Farhadi’s The Past, plays a teenager who discovers another side to her mother when she takes work experience at her backstabbing office.
Belgian actress Emilie Desquenne, who appeared in Fitoussi’s first feature La Vie d’Artiste, is the mother. Other cast members include director Xavier Beauvois and Sabrina Ouazani.
Fitoussi’s past credits include Copacabana and the Madame Bovary-inspired Folies Bergere, both starring Isabelle Huppert.
Paris-based Kinology will be at the Afm with one its biggest slates to date.
It will also reveal first footage on a number of upcoming films including...
Kinology will launch sales on French director Marc Fitoussi’s coming-of-age tale Trainee Day at the American Film Market (Afm) (Nov 4-11), in what could be one of the busiest markets yet for Gregory Melin’s Paris-based sales company.
Rising actress Jeanne Jestin, who first hit the big screen in Asghar Farhadi’s The Past, plays a teenager who discovers another side to her mother when she takes work experience at her backstabbing office.
Belgian actress Emilie Desquenne, who appeared in Fitoussi’s first feature La Vie d’Artiste, is the mother. Other cast members include director Xavier Beauvois and Sabrina Ouazani.
Fitoussi’s past credits include Copacabana and the Madame Bovary-inspired Folies Bergere, both starring Isabelle Huppert.
Paris-based Kinology will be at the Afm with one its biggest slates to date.
It will also reveal first footage on a number of upcoming films including...
- 10/30/2015
- ScreenDaily
Filmgoers may bash the January to October movie fare for being boisterous, obnoxious, directed by Michael Bay, etc. However, even during the supposedly tasteful sanctuary that is the award season of November to January, those films themselves can be lumped together to sponsor their own lack of subtlety.
That is not to say these films aren’t as good as they are, but only that after seeing numerous movies which could be weaseled into sarcastic “Tropic Thunder” previews (looking at you, “Saving Mr. Banks”), the yearly accusation of certain films “trying too hard” to become “Oscar bait” proves to be a “Transformers”-like inundation in itself.
Rating: 4.0/5.0
In the second big weekend of 2014 arrives “The Past,” a leftover from last year but one just opening on Friday in Chicago. For those who are looking for something that doesn’t “try too hard,” but with an even bigger pay-off on a more humbled scale,...
That is not to say these films aren’t as good as they are, but only that after seeing numerous movies which could be weaseled into sarcastic “Tropic Thunder” previews (looking at you, “Saving Mr. Banks”), the yearly accusation of certain films “trying too hard” to become “Oscar bait” proves to be a “Transformers”-like inundation in itself.
Rating: 4.0/5.0
In the second big weekend of 2014 arrives “The Past,” a leftover from last year but one just opening on Friday in Chicago. For those who are looking for something that doesn’t “try too hard,” but with an even bigger pay-off on a more humbled scale,...
- 1/10/2014
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
The Past, Iran's Submission for the Academy Award Nomination for Best Foreign Language Film. U.S. : Sony Pictures Classics. International Sales Agent: Memento Films International
Comparing the Academy Award-winning A Separation to Asghar Farhadi’s French-language film The Past, his first film outside of his native Iran, is like comparing two equally beautiful diamonds cut differently by the same master jeweler. The only reasonable way to put them on the same ground is to note the masterful caliber of storytelling achieved once again by the Iranian auteur. It is hard to think of any other working writer/director that has such a perfectly calibrated talent for creating tension out seemingly ordinary circumstances. Days after watching his latest work The Past its powerful themes and even more riveting mystery still linger refusing to be forgotten. Continuing with his fervent interest in failed relationships Farhadi proves that in his stories, just like many times in life, the end is actually only the beginning.
Persuaded by his wife Marie (Bérénice Bejo) and ready to bring his life in France to a conclusion, Ahmad (Ali Mosaffa) returns from Tehran to Paris to finalize their divorce after living apart for four years. Upon his return he is invited by Marie to stay at the house they used to share with the pretense that her daughters Lucie (Pauline Burlet) and Léa (Jeanne Jestin) want to see him. He soon realizes Marie has someone else in her life, a young man named Samir (Tahar Rahim) who now lives in the house with his son Fouad (Elyes Aguis). Desperate for help, Marie needs Ahmad to talk to Lucie, a teenager, whose rebellious behavior and aversion towards Samir she can’t understand. Despite having no children as product of their marriage Ahmad is the only father figure Lucie can trust, and the only person to whom she will reveal the secrets that surround Marie’s relationship with Samir.
Involuntarily thrown into the family’s turmoil, Mosaffa’s character is a bystander who is trying to figure out what his role in the situation is. He acts as the diplomatic ambassador between all parties because he cares for the girls, but he can’t ignore Marie’s selfish decisions and her ulterior motives for needing his presence. Bejo is impeccable, contained at first but effectively explosive as her meticulously constructed life starts to fall apart when the morality of her romance with Samir is questioned. She can’t be judged for falling in love again, but what if that love became a dangerous catalyst for another person’s demise? Is she responsible for following her desires in spite of the damage? In turn, Samir's perspective takes over the last part of the film as he attempts to place the responsibility of his actions on someone else, only to discover that the past he thought would never return has been luring in the background.
It is precise to avoid revealing crucial details about the film’s twists and turns, as each of them comes at a specific time determined by the artist to infuse this intense drama with an enthralling quality that keeps the audience guessing. From behind windows and doors the viewer is made aware of his condition as a silent witness to the characters’ predicaments. Inaudible conversations add to the suspenseful mood that permeates the film only comparable to that of a high-octane thriller. Lead by an entire cast of magnificent actors, this a film that captures one’s attention instantly and only asks the viewer to be willing to be guided, and misguided, through the lives of its imperfect characters. Farhadi also plays with the viewer’s expectations and banks on his protagonists’ hesitation. Just when it seems like a secret will never be told, the master flips the story around, unveils said mysterious piece of information, and then outstandingly takes it away by setting up an even more important one. Evidently, this is the work of one of the most achieved dramatic artists in World Cinema today.
Farhadi crafts a story about the past entirely told in the present. Refusing to use flashbacks or to fully reveal the events that lead to what unfolds on screen, his drama reaches higher stakes as the characters faults are revealed one by one in an inconspicuous manner. Plagued with red herrings and half-truths there is no clear villain or unquestionable motivation. Written with full knowledge and command of the human condition, the director has scored another masterpiece of grand emotional value and keeps on pushing the boundaries of storytelling. His subjects are never left unaccountable for their actions or free of consequences, yet, for all the terrible outcomes of their past mistakes Farhadi offers them a new redemptive chance. He allows them to forgive, but not to forget. Undoubtedly, The Past is one of the best films of the year.
Read more about all the 76 Best Foreign Language Film Submission for the 2014 Academy Awards...
Comparing the Academy Award-winning A Separation to Asghar Farhadi’s French-language film The Past, his first film outside of his native Iran, is like comparing two equally beautiful diamonds cut differently by the same master jeweler. The only reasonable way to put them on the same ground is to note the masterful caliber of storytelling achieved once again by the Iranian auteur. It is hard to think of any other working writer/director that has such a perfectly calibrated talent for creating tension out seemingly ordinary circumstances. Days after watching his latest work The Past its powerful themes and even more riveting mystery still linger refusing to be forgotten. Continuing with his fervent interest in failed relationships Farhadi proves that in his stories, just like many times in life, the end is actually only the beginning.
Persuaded by his wife Marie (Bérénice Bejo) and ready to bring his life in France to a conclusion, Ahmad (Ali Mosaffa) returns from Tehran to Paris to finalize their divorce after living apart for four years. Upon his return he is invited by Marie to stay at the house they used to share with the pretense that her daughters Lucie (Pauline Burlet) and Léa (Jeanne Jestin) want to see him. He soon realizes Marie has someone else in her life, a young man named Samir (Tahar Rahim) who now lives in the house with his son Fouad (Elyes Aguis). Desperate for help, Marie needs Ahmad to talk to Lucie, a teenager, whose rebellious behavior and aversion towards Samir she can’t understand. Despite having no children as product of their marriage Ahmad is the only father figure Lucie can trust, and the only person to whom she will reveal the secrets that surround Marie’s relationship with Samir.
Involuntarily thrown into the family’s turmoil, Mosaffa’s character is a bystander who is trying to figure out what his role in the situation is. He acts as the diplomatic ambassador between all parties because he cares for the girls, but he can’t ignore Marie’s selfish decisions and her ulterior motives for needing his presence. Bejo is impeccable, contained at first but effectively explosive as her meticulously constructed life starts to fall apart when the morality of her romance with Samir is questioned. She can’t be judged for falling in love again, but what if that love became a dangerous catalyst for another person’s demise? Is she responsible for following her desires in spite of the damage? In turn, Samir's perspective takes over the last part of the film as he attempts to place the responsibility of his actions on someone else, only to discover that the past he thought would never return has been luring in the background.
It is precise to avoid revealing crucial details about the film’s twists and turns, as each of them comes at a specific time determined by the artist to infuse this intense drama with an enthralling quality that keeps the audience guessing. From behind windows and doors the viewer is made aware of his condition as a silent witness to the characters’ predicaments. Inaudible conversations add to the suspenseful mood that permeates the film only comparable to that of a high-octane thriller. Lead by an entire cast of magnificent actors, this a film that captures one’s attention instantly and only asks the viewer to be willing to be guided, and misguided, through the lives of its imperfect characters. Farhadi also plays with the viewer’s expectations and banks on his protagonists’ hesitation. Just when it seems like a secret will never be told, the master flips the story around, unveils said mysterious piece of information, and then outstandingly takes it away by setting up an even more important one. Evidently, this is the work of one of the most achieved dramatic artists in World Cinema today.
Farhadi crafts a story about the past entirely told in the present. Refusing to use flashbacks or to fully reveal the events that lead to what unfolds on screen, his drama reaches higher stakes as the characters faults are revealed one by one in an inconspicuous manner. Plagued with red herrings and half-truths there is no clear villain or unquestionable motivation. Written with full knowledge and command of the human condition, the director has scored another masterpiece of grand emotional value and keeps on pushing the boundaries of storytelling. His subjects are never left unaccountable for their actions or free of consequences, yet, for all the terrible outcomes of their past mistakes Farhadi offers them a new redemptive chance. He allows them to forgive, but not to forget. Undoubtedly, The Past is one of the best films of the year.
Read more about all the 76 Best Foreign Language Film Submission for the 2014 Academy Awards...
- 12/19/2013
- by Carlos Aguilar
- Sydney's Buzz
The Past (Le passé) Sony Pictures Classics Reviewed for Shockya by Harvey Karten. Data-based on RottenTomatoes.com Grade: B+ Director: Asghar Farhadi Screenwriter: Asghar Farhadi Cast: Bérénice Béjo, Tahar Rahim, Ali Mosaffa, Pauline Burlet, Elyes Aguis, Jeanne Jestin, Sabrina Ouazani, Babak Karimi, Valeria Cavalli, Eleonora Marino Screened at: Sony, NYC, 8/21/13 Opens: December 20, 2013 If this were one of the abundant numbers of sitcoms about family dysfunction, the moral might be something as vacuous as “Don’t mess with married men.” But “The Past” is a serious drama written and directed by Asghar Farhadi, whose previous entry, “A Separation,” looks closely at a family that must make a [ Read More ]
The post The Past Movie Review appeared first on Shockya.com.
The post The Past Movie Review appeared first on Shockya.com.
- 12/18/2013
- by Harvey Karten
- ShockYa
Title: The Past Director: Asghar Farhadi Starring: Tahar Rahim, Bérénice Béjo, Ali Mosaffa, Pauline Burlet, Elyes Aguis, Jeanne Jestin, Sabrina Ouazani, Babak Karmi, Valeria Cavalli. ‘The Past’ is Iran’s official selection for the 86th Academy Award for Best Foreign Language Film and was officially selected in 2013 at the Cannes Film Festival, the Telluride Film Festival and the Toronto Film Festival. The female protagonist, Bérénice Béjo won the Best Actress Award in Cannes. Just like in Farhadi’s Oscar-winning ‘A Separation,’ his latest film is a bewitchingly sculpted family melodrama in which the end of a marriage is solely the trigger that leads to old and new crossroads. After four years [ Read More ]
The post The Past Movie Review appeared first on Shockya.com.
The post The Past Movie Review appeared first on Shockya.com.
- 12/9/2013
- by Chiara Spagnoli Gabardi
- ShockYa
Sony Pictures Classics has new clips for 2 of its releases in The Past and Tim's Vermeer. The Past is a drama is directed by Asghar Farhadi from the script by Massoumeh Lahidji and Farhadi, and stars Bérénice Bejo, Tahar Rahim, Ali Mosaffa, Pauline Burlet, Elyes Aguis, Jeanne Jestin, Sabrina Ouazani, Babak Karimi and Valeria Cavalli. The Past follows an Iranian man who deserts his French wife and two children to return to his homeland. His wife sparks up a new relationship, the reality of which hits her husband when he receives a request for a divorce.
- 12/4/2013
- Upcoming-Movies.com
A second poster has arrived for The Past directed by Asghar Farhadi of A Separation. The drama stars Tahar Rahim, Bérénice Bejo and Ali Mosaffa. The Past (Le passé) follows an Iranian man who deserts his French wife and two children to return to his homeland. His wife sparks up a new relationship, the reality of which hits her husband when he receives a request for a divorce. Also in the cast of the film written by MAssoumeh Lahidji and Farhadi are Pauline Burlet, Elyes Aguis, Jeanne Jestin, Sabrina Ouazani, Babak Karimi and Valeria Cavalli.
- 10/31/2013
- Upcoming-Movies.com
★★★★☆ Asghar Farhadi first burst onto the international scene with his 2011 Silver Bear/Oscar-winner A Separation, the most recent of several astute Iranian dramas. Farhadi returns this year with Palme d'Or nominee The Past (Le passé, 2013), a film equally as riveting as those that came before. This nuanced, complex France-set story unwinds and reveals itself at a measured pace, yet its intensity never lags. Ahmad (Ali Mosaffa) arrives in France to finalise his divorce with soon-to-be ex-wife Marie (The Artist's Bérénice Bejo). However, in his absence Marie has found a new lover in the guise of Samir (Our Children's Tahar Rahim).
Samir carries with him his own life baggage; specifically, a wife who is in a coma after a botched suicide attempt. His small son also lives with him, as do Lea (Jeanne Jestin) and Lucie (Pauline Burlet), Marie's daughters from her marriage to Ahmad. Lucie is particularly troubled by her mother's new relationship,...
Samir carries with him his own life baggage; specifically, a wife who is in a coma after a botched suicide attempt. His small son also lives with him, as do Lea (Jeanne Jestin) and Lucie (Pauline Burlet), Marie's daughters from her marriage to Ahmad. Lucie is particularly troubled by her mother's new relationship,...
- 5/17/2013
- by CineVue UK
- CineVue
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