MoviefiedNYC’s Oscar Predictions: Who will Win and SHOULD win!

oscar-17This weekend the 89th Academy Awards will be held where Hollywood will bestow its highest honor to a deserving few. If you are going to an Oscar party and haven’t had time to see all of the nominated films, fear not, the MoviefiedNYC team has done all of the leg work for you. Managing Editors John David West and Myrna Duarte share their predictions along with Award Season Guru Ariadne Ansbro. Below are our picks for who will win and which of the nominees should win.

Best Picture: Arrival, Fences, Hacksaw Ridge, Hell or High Water, Hidden Figures, La La Land, Lion, Manchester by the Sea, Moonlight

lalaland2

  • Ari – Who will WinLa La Land will take home the gold.  This film swept the Golden Globes and won a record setting 7 awards, not to mention it has picked up a record-tying 14 Oscar nominations, and it won the Producers Guild Award.  See a pattern? Who Should Win: La La Land.  It has been a difficult year, and this film lifted its audience into the clouds.
  • John David – Who will Win: La La Land is clearly set to win, it has 14 nominations, it won the Golden Globe, and it’s a happy movie in depressing year. Oh, and it’s about LA and the movie business, that guarantees a win.  Who Should Win: I’m kind of split between Manchester by the Sea and Moonlight. A Moonlight upset would be sweet, but Manchester is my best movie of 2016. 
  • Myrna – Who will Win:  Ugh .., La La Land, though I do do think Hidden Figures might be giving it a little competition.   Who Should Win: Moonlight a deeply affecting, beautifully-made film, indie favorite, a surprise hit with a passionate fan base.
Best Director: Denis Villeneuve, Arrival, Mel Gibson, Hacksaw Ridge, Damien Chazelle, La La Land, Kenneth Lonergan, Manchester by the Sea, Barry Jenkins, Moonlight
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Damien Chazelle, La La Land
  • AriWho will Win: Damien Chazelle will pick up his first Oscar for directing La La Land.  This film was a labor of love that took him years to have made.  It’s time for that hard work to pay off.  Who Should Win: I loved what Chazelle did was Land, so to have him win will not be a disappointment.  However, Barry Jenkins beautifully crafted Moonlight with limited resources and turned it into one of the best films of the year.
  • John David – Who will Win: Damien ChazelleLa La Land, he managed to make an original musical in a time when movie musicals are essentially dead.   Who Should Win: Barry Jenkins for Moonlight, a beautifully realized work of art.
  • Myrna – Who will Win: Barry Jenkins for a personal and intimate work, and done on a shoestring budget. I believe the academy will get this right.  Who Should Win: Barry Jenkins for Moonlight, but secretly, I am rooting for Denis Villeneuve, Arrival.
Best Actor: Casey Affleck, Manchester by the Sea, Andrew Garfield, Hacksaw Ridge, Ryan Gosling, La La Land, Viggo Mortensen, Captain Fantastic, Denzel Washington, Fences 

Denzel Washington, Fences
Denzel Washington, Fences

  • Ari – Who will Win: While Casey Affleck delivered a riveting performance and was considered the front-runner going into Awards Season, he has taken a serious blow due sexual harassment allegations.  Please note: While Oscar normally does not give a hoot about this kind of thing years later (see Roman Polanski, Mel Gibson, etc.) this is a bit fresh.  Therefore I am going to say that Denzel Washington is going to take home the gold, especially since he won the SAG.  Who Should Win: Both Washington and Affleck were fantastic in their films.  Washington, playing an outwardly combative man who feels that everything happens to him, not because of him, and Affleck, playing a man with the weight of the world and his conscience on his shoulders, both gave breathtaking performances this year.  Honestly, I would not be disappointed if there was a tie.
  • John David – Who will Win: I’m going to take a very minor risk and say, Denzel Washington, Fences will win his third Oscar. Affleck seems to be loosing ground due to his the bad press. Who Should Win: Casey Affleck for his brilliantly restrained performance Manchester. However, Denzel Washington was equally brilliant. For me, it’s really a toss up.
  • Myrna – Who will Win:  Denzel Washington in  Fences, but this will be a nail-biter down to to the last second. Casey Affleck has been the frontrunner but is losing steam.   Who Should Win: This is tough, both Affleck and Washington deliver tremendous performances,  but I think I have to go with Denzel Washington in  Fences.
Best Actress: Isabelle Huppert, Elle, Ruth Negga, Loving, Natalie Portman, Jackie, Emma Stone, La La Land, Meryl Streep, Florence Foster Jenkins

Emma Stone, La La Land
Emma Stone, La La Land

  • Ari – Who will Win: Emma Stone for La La Land.  She has the momentum of a hugely successful film and she has won all of the pre-Oscar awards.  This is a lock.  Who Should Win: I really enjoyed Ruth Negga in Loving.  Negga said more with her eyes and body language than she did with her mouth, and gave a worthy performance playing an amazing woman.
  • John David – Who will Win: The Best Actress winner should be called the Most Fuckable Hollywood White Girl Award and this year it goes to Emma Stone. She was good but no Huppert in Elle, or Streep in Florence Foster Jenkins, or Ruth Negga…or Amy Adams.  Who Should Win: Isabelle Huppert for her complex and brave performance, the most interesting and solid performance of the group. Amy Adams who was not nominated should have been a front runner for Arrival.
  • Myrna – Who will Win: This is  locked up for Emma Stone in La La Land. If there is an upset, it will be Isabelle Huppert, Elle. Who Should Win: Amy Adams for Arrival, she was ROBBED.
Best Supporting Actor: Mahershala Ali, Moonlight, Jeff Bridges, Hell or High Water, Lucas Hedges, Manchester by the Sea, Dev Patel, Lion, Michael Shannon, Nocturnal Animals.
Mahershala Ali, Moonlight
Mahershala Ali, Moonlight
  • Ari –Who will Win: Mahershala Ali is poised to take home the gold.  He was in about 15 minutes of the entire film, but his presence is felt throughout the entire film.  Who Should Win: Dev Patel was incredible in Lion.  His portrayal of a young man driven to find his family with few clues was heart-wrenching and heart-warming all at the same time.
  • John David – Who will Win: If Mahershala Ali doesn’t win for Moonlight, it’s “Fake News.”  Who Should Win: Mahershala Ali, Moonlight – just stop and give it to him!
  • Myrna – Who will Win:  Mahershala Ali, Moonlight but a Dev Patel upset could be possible. Who Should Win:  Mahershala Ali in Moonlight is EVERYTHING. 
Best Supporting ActressViola Davis, Fences, Naomie Harris, Moonlight, Nicole Kidman, Lion, Octavia Spencer, Hidden Figures, Michelle Williams, Manchester by the Sea.
Viola Davis, Fences
Viola Davis, Fences
  • Ari – Who will Win: Viola Davis should have had her Oscar speech written months ago. The third nomination will definitely be the charm for her.  Who Should WinViola Davis blew me away.  I recently read an article where she stated that even though the won a Tony for this role on Broadway, she finally felt that she understood the character when she made the film.  It is incredible.
  • John David – Who will Win: Viola Davis, Fences   Who Should Win: Viola Davis, Fences, followed very closely by Michelle Williams.
  • Myrna – Who will Win:Viola Davis, Fences  Who Should Win: Viola Davis, Fences full stop.
Best Adapted Screenplay: Arrival, Eric Heisserer, Fences, August Wilson, Hidden Figures, Allison Schroeder and Theodore Melfi, Lion, Luke Davis, Moonlight, Barry Jenkins with story by Tarell Alvin McCranley

moonlight-2

  • Ari – Who will Win: Since Moonlight’s Barry Jenkins will not be taking home an Oscar for Best Director, he will win in this category.  Who Should Win: For me it’s a toss-up between Moonlight and Fences.  August Wilson was a masterful playwright, and, since he is deceased, this is his only chance to win an Oscar.  However, does this mean that William Shakespeare can be nominated too?
  • John David – Who will Win:Barry Jenkins for Moonlight and for not winning Best Director. Who Should Win: August Wilson, what language!
  • Myrna – Who will Win: August Wilson, Fences  Who Should Win: August Wilson, Fences the words are musical. 
Best Original Screenplay: Hell or High Water, Taylor Sheridan, La La Land, Damien Chazelle, The Lobster, Yorgos Lanthimos and Efthimis Filippou, Manchester by the Sea, Kenneth Lonergan, 20th Century Women, Mike Mills
Manchester by the Sea
Manchester by the Sea – Kenneth Lonergan
  • Ari – Who will WinThis is actually a tough category.  The Screen Writers Guild awarded Moonlight the Original Screenplay award, while the Academy deemed it only eligible as an Adapted Screenplay.  This means that La La Land and Manchester by the Sea will duke it out for the final prize.  I am going to say that the Academy will give it to Manchester.  Kenneth Lonergan worked on this script for several years and it was even included on Hollywood’s Blacklist of best unproduced screenplays at one point. Who Should Win: Manchester by the Sea 
  • John David – Who will Win: It would be quite sad to see La La Land win, it’s the most “unoriginal” screenplay of the group. I mean, it’s full of clichés that we’ve seen in countless other films—oh my coffee get spilled on her white shirt. Kenneth Lonergan for Manchester by the Sea. He’s not going to win director or best picture and this is a category where they can spread some love. Who Should Win: Lonergan for Manchester by the Sea, but I would love my personal favorite Yorgos Lanthimos and Efthimis Filippou to win for the darkly funny Lobster. By the way, where is Maren Ade for Toni Erdmann on this list?
  • Myrna – Who will Win: Manchester by the Sea, Kenneth Lonergan  Who Should Win:The Lobster, Yorgos Lanthimos’s dystopian tour de force.   
Best Animated Feature: Kubo and the Two Strings, Moana, My Life as a Zucchini, The Red Turtle, Zootopia.
zootopia
Zootopia
  • Ari – Who will WinZootopia appealed to children and adults, which is key in this category.  Honestly, I loved the idea of a sloth working at the DMV.   Who Should Win: Zootopia was very innovative and entertaining, but I did enjoy the beautiful story behind Moana.
  • John David – Who will Win: Zootopia   Who Should Win: Zootopia. Yes, it’s all about the Sloth. 
  • Myrna – Who will Win: Zootopia   Who Should Win: Zootopia, so much wit.   The film is filled with lessons about tolerance, diversity and racial profiling delivered with conviction,  it is  almost a little  subversive. 
Best Animated Short: Blind Vaysha, Borrowed Time, Pear Cider and Cigarettes, Pearl, Piper

piper-pixar-short

  • Ari – Who will WinPiper because Pixar short films are AWESOME!!!  Who Should Win: Piper because Pixar short films are AWESOME!!!
  • John David – Who will WinPiper   Who Should Win: One of the better movies of the year was Piper.
  • Myrna – Who will Win:  Didn’t see them, boo. Who Should Win:
 Best Cinematography: Arrival, La La Land, Lion, Moonlight, Silence 
arrival
Arrival
  • Ari – Who will WinLa La Land turned a concrete city that I really have no love for (ahem, Los Angeles) into a beautiful world where love is just around the next corner.   Who Should Win: Lion’s sweeping views of Mumbai and Tasmania were a travel junkie’s eye-candy.  Yes, I am that junkie.
  • John David – Who will WinLa La Land, it had pretty lighting.  Who Should Win: missing from the nominees is Cafe Society (Vittorio Storaro), but Arrival is my pick.
  • Myrna – Who will Win: The safest bet, La La Land, Linus Sandgren will win.  Who Should Win: Bradford Young for Arrival. He is the first African-American cinematographer ever nominated for the award. He also shot two amazing films of 2014, Selma and A Most Violent Year.  
Best Costume Design: Allied, Fantastic Beasts and Where to Find Them, Florence Foster, Jenkins, Jackie, La La Land 

jackie
Jackie

  • Ari – Who will Win: Mary Zophres costumes in La La Land were both timeless and evocative of Old Hollywood.  Who Should Win: I have issues with films that are based on famous people, as there is a mountain of photographic evidence to base portrayals and styling on.  However, Madeline Fontaine’s costumes in Jackie were meticulously done.  She took one of the most photographed dresses of the 20th century and brought it back to life.  It makes other attempts pale in comparison.
  • John David – Who will WinLa La Land for its TJ Max knock offs!  Who Should Win: Fantastic Beasts and Where to Find Them
  • Myrna – Who will Win: La La Land, the primary color palette was easy on the eye but no real thrill. Who Should Win: Jackie
Best Documentary Feature: Fire at Sea, I Am Not Your Negro, Life Animate, , O.J.: Made in America, 13th.
13th
13th
  • Ari – Who will Win: I have the feeling that 13th is going to be the winner in this category. This is mostly because 1.) The Academy will try to make it up to Ava DuVernay for not being nominated for directing Selma several years ago, and 2.) O.J.: Made in America was five hours long.  I don’t know if the Academy voters had the stamina to sit through the whole thing.  Who Should Win: I watched O.J. over the course of one weekend and I am considering doing it again.
  • John David – Who will Win: I have an odd feeling that 13th will win over O.J. both are fantastic documentaries but I think that 13th has this one.   Who Should Win: O.J. was riveting and extremely well done, but it’s really a TV doc. My vote goes to 13th the most important documentary of the year.
  • Myrna –  Who will Win: What an AMAZING year for documentaries. O.J.: Made in America, is a statement about celebrity and race relations in America, as it also was about a high profile murder case. Incredibly compelling. Who Should Win: 13th a game changer of a film. 
Best Film Editing: Arrival, Hacksaw Ridge, Hell or High Water, La La Land, Moonlight.
hacksaw-ridge-1
Hacksaw Ridge
  • Ari – Who will Win: La La Land, but I could see Moonlight pulling an upset.  Who Should Win: La La Land
  • John David – Who will Win: La La Land   Who Should Win: La La Land
  • Myrna – Who will Win:  La La Land, Tom Cross  Who Should Win: Arrival, Joe Walker a sci-fi parable about time, memory, and unity.
Best Foreign Language Film: Land of Mine, A Man Called Ove, The Salesman, Tanna, Toni Erdmann.
the-salesman-asghar-farhadi
The Salesman, Shahab Hosseini, Asghar Farhadi
  • Ari – Who will WinI honestly think that Iran is going to win its second Academy Award for The Salesman.   Who Should Win: Toni Erdmann was hilarious.  I wish comedies won more awards.
  • John David – Who will Win: This is a tough one to call but I think it’s going to be Asghar Farhadi’s The Salesman edging out the rest, not only because it’s a great film but it may get some help from Farhadi’s boycott of the Oscars over Trump’s Muslim Ban.  Who Should Win: Toni Erdmann and The Salesman are both in my top 10 movies of 2016 with The Salesman having an edge.
  • Myrna – Who will Win: The Salesman, Asghar Farhadi Who Should Win: The Salesman, Asghar Farhadi, though I was secretly charmed by A Man Called Ove.
Best Documentary Short: Extremis, 4.1 Miles, Joe’s Violin, Watani: My Homeland, The White Helmets
  • Ari – Who will Win: Three of the documentaries have to do with war in Syria, so I think that they may split the vote.  What do Academy voters love to award outside of a timely issue?  That’s right, the Holocaust!  Joe’s Violin is about a Holocaust survivor who donates his violin to a little girl in the Bronx.   Who Should Win: I thought that White Helmets truly captured the feeling of civilians in war, and the need to help your fellow man.
  • David – Who will Win: The White Helmets   Who Should Win: The White Helmets
  • Myrna – Who will Win:  The White Helmets, Grain Media and Violet Films inspired by a Quranic verse that says “to save a life is to save all of humanity,” the group has rescued more than 60,000 people Who Should Win: The White Helmets, Grain Media and Violet Films

Best Live Action Short: Ennemis Intérieurs, La Femme et le TGV, Silent Nights, Sing, Timecode

femme-et-le-tgv

  • Ari – Who will WinEnnemis Intérieurs, is a very timely film as it deals with a French-Algerian man accused of hiding the identities of possible terrorists.  Who Should Win: Ennemis Intérieurs
  • David – Who will WinSilent Nights  Who Should Win: There were some really good choices in this category, including Timecode and Ennemis Intérieurs, but La Femme et le TGV was a beautiful shot movie with an engaging story– it’s a complete little film that should take home the Oscar.
  • Myrna – Who will Win: Did not see them.  
Best Makeup and Hairstyling: A Man Called Ove, Star Trek Beyond, Suicide Squad
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Star Trek Beyond
  • Ari – Who will WinStar Trek Beyond  Who Should Win: Star Trek Beyond!
  • David – Who will WinStar Trek Beyond.   Who Should WinStar Trek Beyond – I guess we are in agreement on this one! 
  • Myrna – Who will Win: Star Trek Beyond  Who Should Win: Star Trek Beyond
Best Original Score: Jackie, La La Land, Lion, Moonlight, Passengers.
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La La Land
  • Ari – Who will WinLa La Land’s score was upbeat, romantic, haunting, and wistful. Not to mention I can’t stop listening to the soundtrack. Congrats Justin Hurwitz on your first Oscar.   Who Should Win: See above.
  • John David – Who will WinLa La Land, after all it’s a musical—with 14 nominations! Who Should Win: La La Land, would like to see Moonlight’s moving soundtrack score upset.
  • Myrna – Who will Win:  The musical,  La La Land. Who Should Win: Moonlight so moving.
Best Original Song: “Audition (The Fools Who Dream),” La La Land, “Can’t Stop the Feeling,” Trolls, “City of Stars,” La La Land, “The Empty Chair,” Jim: The James Foley Story, “How Far I’ll Go,” Moana
how-far-ill-go
“How Far I’ll Go,” Moana
  • Ari – Who will Win: “City of Stars” was the perfect song to encapsulate the love of Mia and Sebastian.  Expect it to win.  Who Should Win: While I loved “City of Stars”, I might have to go with “Audition (The Fools Who Dream)” as it was Emma Stone’s best moment in the film.
  • John David – Who will Win: Of course “City of Stars,” it’s an adorable, simple little tune about Los Angles. Who Should Win: “How Far I’ll Go,” Moana. The song actually moves the story along and gives insight into the character’s struggle. Oh, and it’s a song by Lin Manuel Miranda–it’s his year! …or are we bored with him yet?  I second Mryna’s Sing Street comment below! 
  • Myrna – Who will Win:City of Stars,” La La Land but Trolls might just pull an upset Who Should Win: “How Far I’ll Go,” Moana or anything from Sing Street.
Best Production Design: Arrival, Fantastic Beasts and Where to Find Them, Hail, Caesar!, La La Land, Passengers 
hail-caesar
Hail, Caesar!
  • Ari – Who will WinLa La Land, yay Hollywood! Who Should Win: Fantastic Beasts made a fantastic world come to life.  (See what I did there?)
  • John David – Who will Win: La La Land  Who Should Win: Hail, Caesar!
  • Myrna – Who will Win:  La La Land, it’s pretty.  Who Should Win: Arrival, stylish, with a look that will inspire so many sci-fi films to come.
Best Sound Editing: Arrival, Deepwater Horizon, Hacksaw Ridge, La La Land, Sully

sully

  • Ari – Who will Win: I know nothing about Sound Editing or Sound Mixing.  However, a war film normally wins in this category when it is nominated, so welcome to your only win Hacksaw Ridge.  Who Should Win: Probably Hacksaw simply for bringing war to life.
  • John David – Who will WinHacksaw Ridge  Who Should Win: Hacksaw Ridge
  • Myrna – Who will Win:Hacksaw Ridge Who Should Win: Arrival
Best Sound Mixing: Arrival, Hacksaw Ridge, La La Land, Rogue One: A Star Wars Story, 13 Hours: The Secret Soldiers of Benghazi
La La Land
La La Land
  • Ari – Who will Win: La La Land because it is a musical!    Who Should Win: La La Land.  Let’s just say that it seems easier to mix live action with live action than making a seamless sound transition in pre-recorded music from a studio.
  • John David – Who will Win: La La Land   Who Should Win: La La Land
  • Myrna – Who will Win: Hacksaw Ridge  Who Should Win:Rogue One: A Star Wars Story:
Best Visual Effects: Deepwater Horizon, Doctor Strange, The Jungle Book, Kubo and the Two Strings, Rogue One: A Star Wars Story
the-jungle-book
The Jungle Book
  • Ari – Who will WinThe Jungle Book cause I want to play with Baloo. Who Should Win: All kidding aside, The Jungle Book’s visual effects were pretty incredible.
  • John David – Who will Win: The Jungle Book  Who Should Win: The Jungle Book
  • Myrna – Who will Win: The Jungle Book, too bad the couldn’t animate the kid. Who Should Win: Rogue One: A Star Wars Story

The 89th Academy Awards will be announced on Sunday, February 26 on ABC. Join MoviefiedNYC for live streaming at @MoviefiedNYC

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Ten Best [Film and TV] Actresses of All Time

The Gay and Lesbian Entertainment Critics Association, found at GALECA.or and @DorianAwards, announced its members’ collective picks for the organization’s latest “Ten Best” list: GALECA’s Ten Best Actresses of All Time.

The 160-plus members of GALECA, a nonprofit group comprised of professional film and TV critics and entertainment journalists in the U.S., Canada and the U.K., were each asked to name their 10 choices for the finest female actors throughout the history of film and television, without ranking the stars. The actresses with the most mentions are noted below alphabetically (text by GALECA member Dana Piccoli). Note: Actresses who did not make the top 10 here but came closest among the 100 or so listed by members include Joan Crawford, Judi Dench, Sally Field, Judy Garland, Audrey Hepburn, Nicole Kidman, Jessica Lange, Helen Mirren, Elizabeth Taylor and Kate Winslet.

The Gay and Lesbian Entertainment Critics Association’s Ten Best Actresses of All Time (again, in alphabetical order) are:

Ingrid Bergman

Ingrid Bergman, Casablanca (1942)

The Swedish star is best known to your average Joe as misty-eyed Ilsa in Casablanca, but Bergman devotees know that she starred in many more, including a trio of Hitchcock films and George Cukor’s stellar thriller Gaslight. Bergman is also responsible for another gift to cinema: her daughter, actress Isabella Rossellini.

Cate Blanchett

Cate Blanchette, Elizabeth (1997)

Whether she’s playing a tortured 16th-century monarch or having clandestine glove lunches in 1952, Cate Blanchett radiates. She’s the kind of actress that demands your attention, and you gratefully give it. She’s picked up a host of Oscar and/or Golden Globe nominations (and a few wins) for her stunning performances in such modern classics as Elizabeth, Blue Jasmine and Carol (the latter two also earned her GALECA Dorian Awards).

Bette Davis

Bette Davis, The Little Foxes 1941

The grande dame of Hollywood’s Golden Age, Bette Davis commanded attention with her striking visage and powerful performances in films like All About Eve, The Little Foxes and What Ever Happened to Baby Jane? (Davis’ off-camera battles with costar Joan Crawford in the latter fuel the upcoming TV series Feud). But from the get-go, she was blazing trails as one of filmdom’s most distinct, eye-expressive actresses.

Viola Davis

viola-davis
Viola Davis, Doubt (2008)

Bette’s not the only Ms. Davis to stand out on the screen (big or small). This Juilliard-trained powerhouse has shown there’s no role she can’t conquer, winning two Tonys, two Oscar nominations (for Doubt and The Help) and, finally, like Stanwyck, an Emmy. That parade of awards will only keep growing as she lends her trademark thoughtfulness to more juicy roles like her current one as Annalise Keating in TV’s How to Get Away With Murder.

Jane Fonda

Jane Fonda, Klute (1971)

Fonda (a GALECA Timeless Star career-achievement honoree) may have come from Hollywood royalty, but she’s been paving her own way with intelligence and subversive wit since the sixties. Be it in the daring crime thriller Klute, feminist office comedy 9 to 5 to or gray-haired sitcom Grace and Frankie, Fonda is a nervy, magnetic presence. And few actresses have such a knack for shedding light on important issues with her brave performances. Witness her Oscar-winning turn in Coming Home.

Katharine Hepburn

katharine-hepburn
Katherine Hepburn, The Lion in Winter (1968)

Few actresses, or actors, have the sort of self-possessed presence that came so naturally to Kate Hepburn. Even after her early success in was deemed a flash in the pan by the 1940s, she showed that talent and a hell of a lot of moxie can’t be quashed. Hepburn picked up three of her four Oscars later in life (see On Golden Pond), working until the age of 87. Her dedication to her art and her iconoclastic personal style translate to indelible.

Isabelle Huppert

Isabelle Huppert, The Piano Teacher (2001)

The French-born Cannes’ darling Huppert has been making waves in the film industry for over 40 years now, with no signs of slowing down. Her haunting performance in 2001’s The Piano Teacher may be her best known work in the U.S., but the BAFTA- and Cesar-winning chameleon has over 50 films under her belt, a testament to her status as one of the world’s most spectacularly natural acting talents. See her cast a spell in the current drama Elle.

Julianne Moore

julianne-moore
Julianne Moore, Boogie Nights (1997)

Moore has the makings of a modern legend. She landed on the radar with her high of a performance in 1997’s Boogie Nights and she’s been building a noticeably meaty list of credits ever since. Her subtle and natural style has made her a household name and a favorite during Academy Awards season (and she won a GALECA Dorian Award for Still Alice). While Moore is usually cast in dramas like the heart-wrenching The End of the Affair, her comedic timing in The Big Lebowski is proof she has the chops to do it all.

Barbara Stanwyck

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Barbara Stanwyck, Babyface (1933)

The stunningly “real” Stanwyck rose from a childhood filled with poverty and strife to become one of early Hollywood’s most dynamic actresses. The former Ziegfeld Follies dancer elicited tears in Stella Dallas, mesmerized in the noir classic Double Indemnity and delighted in the screwball comedy The Lady Eve. “Missy” later turned heads in television, winning three Emmys, including one for her gutsy performance in The Thorn Birds.

Meryl Streep

Meryl Streep, Sophie’s Choice (1982)

Enigmatic, brilliant, timeless. Meryl Streep’s career is as varied as can be, with Oscar-winning performances in The Iron Lady(which also earned her GALECA’s Dorian Award), Sophie’s Choice and Kramer vs. Kramer to fun frolics in films like Mamma Mia and The Devil Wears Prada. Streep completely loses herself in her roles, making her not only fascinating, but (shhh) GALECA’s number-one Best Actress of All Time.

ABOUT GALECA

The Gay and Lesbian Entertainment Critics Association (GALECA) sponsors the Dorian Awards, annually honoring movies and TV programs of all types, not just “gay.” GALECA’s membership consists of more than 160 professional critics, journalists and editors who cover the worlds of film and/or TV on for legitimate media outlets — from mainstream to LGBTQ-centric — in the United States, Canada and the U.K. More information may be found at galeca.org.

RENDEZ-VOUS WITH FRENCH CINEMA 2014 March 6 – 16

The 19th edition of Rendez-Vous with French Cinema, the Film Society of Lincoln Center and Unifrance Films’ celebrated annual showcase of the best in contemporary French film, hits screens at The Film Society, the IFC Center and BAMcinématek, March 6 – 16, 2014.


Films, Descriptions & Schedule
Main Venues: BAMcinématek (BAM)/Elinor Bunin Munroe Film Center (EBM)/
IFC Center (IFC)/Walter Reade Theater (WRT)
Opening Night: The Paris Theater (PARIS)

OPENING NIGHT
ON MY WAY

Emmanuelle Bercot, France, 2014

Catherine Deneuve plays against type and delivers a performance unlike any other in her legendary career as Bettie, a former Breton beauty queen turned bistro owner, in Emmanuelle Bercot’s fourth feature. When her mother (Claude Gensac) tells her that her married lover has ditched her for a 25-year-old beautician’s assistant, Bettie takes to the road with no particular destination in mind and eventually winds up at a dive bar named Le Ranch, where an evening of drunken revelry sets the stage for much tomfoolery to come. Bettie’s resentful daughter Muriel (French pop musician Camille) then asks her mother to chauffeur her son Charly (Nemo Schiffman) to his grandfather’s, and the pair sets out on a trip that will ultimately lead Bettie to revisit her past even as she travels further away from it. Nominated for two 2014 César Awards: Catherine Deneuve (Best Actress) and Nemo Schiffman (Most Promising Actor). A Cohen Media Group release.
Thursday, March 6, 7:30pm – PARIS; Friday, March 7, 6:45pm – BAM; Saturday, March 8, 7:00pm – IFC
In Person: Catherine Deneuve      

CLOSING NIGHT
THE FRENCH MINISTER (QUAI D’ORSAY)
Bertrand Tavernier, France, 2013
The veteran auteur Bertrand Tavernier returns to Rendez-Vous with a sly, energetic film about the daily grind of diplomacy. Arthur (Raphaël Personnaz), a graduate of all the right schools, is the new speechwriter for the Minister of Foreign Affairs (a hilarious Thierry Lhermitte). While he tries to navigate internal politics, the various strong personalities around him (such as a ruthless policy advisor played by Julie Gayet), and the stress of finding the Minister’s “voice,” Arthur must also write a speech for the Minister that will hopefully put them both in the history books. Based on co-screenwriter Antonin Baudry’s own graphic novels about his experience working in the Foreign Ministry under former Foreign (and Prime) Minister Dominique de Villepin, The French Minister takes us for a breathless ride through the halls of French government. Nominated for three 2014 César Awards: Julie Gayet (Best Supporting Actress), Niels Arestrup (Best Supporting Actor), and Antonin Baudry, Christophe Blain and Bertrand Tavernier (Best Adapted Screenplay). A Sundance Selects release.
Sunday, March 16, 3:40pm, 9:00pm – WRT
In Person: Bertrand Tavernier & Screenwriter Antonin Baudry

2 AUTUMNS 3 WINTERS (2 AUTOMNES 3 HIVERS)

Sébastien Betbeder, France, 2013

Director Sébastien Betbeder follows his acclaimed debut, Nights With Theodore, with an endearing, inventive romantic comedy, steeped in offbeat charm and an offhand cinephilia. Sad-sack Arman (Vincent Macaigne) first meets Amélie (Maud Wyler) when he bumps into her while jogging; his attempts at connecting with her fail one after the other, until circumstances grant him the opportunity to rescue her from would-be muggers. Thus begins the story of a relationship by turns breezy and momentous. Alongside his longtime friend from art school, Benjamin (Bastien Bouillon), Arman navigates life with his newfound love. Directly addressing the camera and in monologues that comment on their respective situations, these winning characters describe the trajectory of old-fashioned relationships in this millennial age. A Film Movement release.
Saturday, March 8, 4:00pm – WRT; Sunday, March 9, 5:30pm – IFC
In Person: Sébastien Betbeder

NORTH AMERICAN PREMIERE
AGE OF PANIC (LA BATAILLE DE SOLFÉRINO)

Justine Triet, France, 2013

During a time of great political change, a frazzled young mother tries to keep it together on the home front. Laetitia (Laetitia Dosch), a cable news reporter off to cover the 2012 French presidential elections, leaves her daughters in the care of a hapless babysitter (Marc-Antoine Vaugeois) with strict instructions to keep them away from Vincent (Vincent Macaigne), her ex-husband and their father. But Vincent, determined to see his kids, disrupts the already chaotic household by enlisting a neighbor to negotiate a divorce agreement with Laetitia – while she’s out reporting amid election crowds in front of Socialist Party headquarters. In her enormously promising first feature, a very funny comedy of discomfort infused with documentary-style energy, director Justine Triet pits micro social problems against the macro body politic of France, all within the frame of one manic day in Paris. Nominated for Best First Film in the 2014 César Awards.
Friday, March 7, 6:30pm – WRT; Saturday, March 8, 3:00pm – BAM; Sunday, March 9, 7:30pm – IFC; Monday, March 10, 1:00pm – WRT
In Person: Justine Triet

LES APACHES

Thierry de Peretti, France, 2013

On the island of Corsica, a tension constantly simmers between the wealthy tourists and the lower-class locals. Aziz and his friends aren’t considering any of this when they break into an empty seaside house, looking for some illicit fun and a pool to lounge beside. But when the owners arrive for their vacation, there are dire consequences for the teenagers, who prove exceedingly easy to track down. Unbeknownst to Aziz, his pals also stole a pair of hunting rifles during the break-in, and might not be as loyal to him as he is to them. An atmospheric thriller simmering with adolescent sexuality, Les Apaches explores aspects of French culture that the mainstream cinema often ignores. The title refers to the slang term used by Paris police for juvenile delinquents, and the film, whose young characters are of Arab and Moroccan descent, narrows in on the subject of racial tension with considerable intelligence and nuance.
Monday, March 10, 12:00pm – EBM; Tuesday, March 11, 6:30pm – WRT; Wednesday, March 12, 8:00pm – IFC
In Person: Thierry de Peretti will attend the March 12 screening

A CASTLE IN ITALY (UN CHÂTEAU EN ITALIE)

Valeria Bruni Tedeschi, France, 2013

Valeria Bruni Tedeschi’s semi-autobiographical third feature — her first film since the acclaimed Actresses (2007) — is as restless as the character she plays in it. The actress-director-screenwriter (she co-wrote the film with Noémie Lvovsky and Agnès de Sacy) crafts a sad, whimsical and tender portrait of a family whose glory days are over, and who must confront some ugly facts about their present reality: financial troubles, a younger brother dying of AIDS, a sprawling estate they can no longer maintain. Louise (Bruni Tedeschi) herself is approaching her mid 40s, and wants desperately to have a child and find enduring love. This boldly self-revealing, possibly cathartic work draws both directly and obliquely from Bruni Tedeschi’s real life: Louis Garrel, her former partner, plays Nathan, her young French lover; Nathan’s father in the film is a renowned filmmaker who directs his son, as does Garrel’s father, Philippe; and Valeria’s own mother, pianist Marisa Borini, simply plays herself. Marisa Borini is nominated for Best Supporting Actress at the 2014 César Awards.
Monday, March 12, 6:00pm – IFC; Thursday, March 13, 9:00pm – WRT; Sunday, March 16, 6:30pm – WRT

EASTERN BOYS

Robin Campillo, France, 2013

Arriving from all over the Eastern Bloc, the men who loiter around the Gare du Nord train station in Paris are scraping by however they can, forming gangs for support and protection, ever fearful of being caught by the police and deported. When the middle-aged, bourgeois Daniel (Olivier Rabourdin) approaches a boyishly handsome Ukrainian who calls himself Marek for a date, he learns the young man is willing to do anything for some cash. What Daniel intends only as sex-for-hire begets a home invasion and then an unexpectedly profound relationship. The drastically different circumstances of the two men’s lives reveal hidden facets of the city they share. Presented in four parts, this absorbing, continually surprising film by Robin Campillo (director of Les Revenants and a frequent collaborator of Laurent Cantet’s) is centered around relationships that defy easy categorization, in which motivations and desires are poorly understood even by those to whom they belong.
Monday, March 10, 9:30pm – IFC; Tuesday, March 11, 8:45pm – WRT; Wednesday, March 12, 1:00pm – WRT
In Person: Robin Campillo

NORTH AMERICAN PREMIERE

Ruben Alves, France/Portugal, 2013

José (Joaquim de Alameida) and Maria (Rita Blanco), a middle-aged Portuguese couple, have been living in Paris for 30 years. He is a respected construction foreman and she is the concierge at the ritzy apartment building where they live in a cramped ground-floor flat. Their life has been a fulfilling one, with a grown daughter and a teenage son who have spent their lives in France. But when José inherits the family winery and the opportunity to finally return home becomes tantalizingly within reach, they begin to question the level of comfort they’ve achieved and whether it all has been worth the cost. Alves’s immensely likable semi-autobiographical comedy-drama features a sprawling cast of oddballs and mixes farcical situations with razor-sharp observations about class and generational differences and the difficulty of balancing family and work. Nominated for Best First Film at the 2014 César Awards.
Sunday, March 9, 9:30pm – WRT; Tuesday, March 11, 6:00pm – IFC; Saturday, March 15, 7:15pm – WRT

US PREMIERE
GOING AWAY (UN BEAU DIMANCHE)

Nicole Garcia, France, 2013

Veteran director-actress Nicole Garcia’s refreshingly understated seventh feature follows the formation of an improbable bond between Baptiste (Pierre Rochefort), a commitment-averse substitute teacher, and Mathias (Mathias Brezot), a young student emotionally neglected by his separated parents. Filling in as a temporary surrogate father for Mathias, Baptiste soon finds himself entangled with Mathias’s hard-working, hard-partying mother, Sandra (Louise Bourgoin). When a couple of thugs show up to collect an outstanding debt, the chivalrous Baptiste takes it upon himself to resolve the conflict. Full of sharply and empathetically drawn characters (embodied by an excellent cast, including Dominique Sanda as Baptiste’s mother), Garcia’s intimate film also speaks profoundly about the responsibilities bound up in the connections people forge.
Friday, March 7, 6:00pm – IFC; Monday, March 10, 4:00pm – EBM; Saturday, March 15, 9:30pm – WRT

Rebecca Zlotowski, France/Austria, 2013
A nuclear power plant serves as the setting for a forbidden romance as volatile as the facility itself in the intense, brilliantly acted second feature from Rebecca Zlotowski (Belle Epine). Gary (A Prophet‘s Tahar Rahim) is a poor, unskilled laborer looking for easy money and a place to fit in. Karole (Léa Seydoux) is the fiancée of longtime plant employee Toni (Denis Ménochet), one of the many underpaid men and women who daily brave illness and possible death from radiation poisoning. Soon Gary and Karole fall rapturously in love, and their moonlit trysts in the bucolic surrounding countryside pose a growing threat to the staff’s tight-knit bonds. Zlotowski focuses both on the everyday routines of the workers and on the swooning passions of the love triangle at the film’s heart, with electronica pulsating on the soundtrack as her characters gamble ever more perilously in work and love. Olivier Gourmet is nominated for Best Supporting Actor at the 2014 César Awards.
Friday, March 7, 9:00pm – WRT; Saturday, March 8, 4:45pm – IFC; Sunday, March 9, 4:30pm – BAM; Monday, March 10, 3:30pm – WRT
In Person: Rebecca Zlotowski

NORTH AMERICAN PREMIERE
HIS WIFE (SON ÉPOUSE)

Michel Spinosa, France/India/Belgium, 2014

In Michel Spinosa’s emotional, superbly acted drama, a widower named Joseph (Yvan Attal) travels to India to meet Gracie (Janagi), a young Tamil newlywed who knew his late wife, Catherine (Charlotte Gainsbourg), and whose erratic behavior suggests that she may be possessed by the dead woman. Soon enough, Joseph’s journey to the small village near Pondicherry where Gracie lives unveils itself to be not only a form of tribute to Catherine but also a bid for forgiveness. Spinosa (who co-wrote Rendez-Vous 2013 selection Renoir) coaxes magnetic, complex performances from Attal and especially Janagi, who is a revelation as a woman under the influence – of grief and even more mysterious forces.
Friday, March 7, 10:15pm – IFC; Wednesday, March 12, 1:00pm – EBM; 6:30pm – WRT

NORTH AMERICAN PREMIERE
IF YOU DON’T, I WILL (ARRÊTE OU JE CONTINUE)

Sophie Fillières, France, 2014

Mathieu Amalric and Emmanuelle Devos are Pierre and Pomme, a couple whose marriage is on the verge of collapsing. As Pierre goes through the motions of his daily routine while hardly disguising his anger, a bewildered Pomme slowly absorbs all the signs of impending crisis, searching for ways to reconnect with her partner. “We don’t dance anymore, we grow old,” she complains, before pulling Pierre onto the dance floor at a party. But their attempts to rekindle the passion are inevitably, sometimes comically, thwarted. Can they redefine their relationship or will they end up going their separate ways? During one of their weekend hikes, Pomme reaches a breaking point and decides, quite literally, to get lost. With wry humor and great delicacy, director Sophie Fillières (Gentille) crafts an intimate portrait of a pivotal moment in a long-term relationship.
Friday, March 7, 3:45pm – WRT; Wednesday, March 12, 10:00pm – IFC; Saturday, March 15, 5:00pm – WRT

NORTH AMERICAN PREMIERE

Jacques Doillon, France, 2013

“All my strength, all the force of my love… if I heaped it on you, I’d demolish you”: Jacques Doillon’s latest is a bruising investigation into the fault lines that both separate and connect eroticism and violence. James Thiérrée (an acrobat and performance artist, and also Charlie Chaplin’s grandson) and Sara Forestier play Lui and Elle (“Him and Her”), almost-lovers unable to get on the same page, psychosexually speaking. In regular meetings they strive to resolve the impasse (or perhaps, just to expend pent-up energy) through no-holds-barred wrestling matches. Their “battles” grow in frequency and force, testing the lovers’ bodies as much as their souls. Doillon’s camera captures the astonishing physicality of their lengthy struggles less as a voyeur than as a third, invisible combatant. And as the film intensifies, it evolves from a metaphoric exploration of the nature of human sexuality into something far more visceral and affecting. An Adopt Films release.
Sunday, March 9, 7:30pm – BAM; Monday, March 10, 6:30pm – WRT; Tuesday, March 11, 8:00pm – IFC
In Person: Jacques Doillon

US PREMIERE
LOVE IS THE PERFECT CRIME (L’AMOUR EST UN CRIME PARFAIT)


Arnaud and Jean-Marie Larrieu, France/Switzerland, 2013
It’s good to be Marc. Played by the reliably terrific Mathieu Amalric, he holds a prestigious teaching position at what must be the world’s most beautiful university and is desired by seemingly every comely coed in the Swiss Alps. But this idyllic existence goes awry the morning after, when his latest undergraduate conquest vanishes. Suddenly, it’s not so good to be Marc. A detective begins snooping around and asking questions. Marc’s supervisor, who has a thing for Marc’s sister (whose affections for Marc appear more than familial), informs him that his position may no longer be secure. A sexy student from a prominent family wishes to supplement her education with some extracurricular instruction. And then there’s the matter of the missing coed’s gorgeous stepmother… Everything comes together in this darkly funny thriller with an explosive finale from Arnaud and Jean-Marie Larrieu.
Friday, March 7, 1:00pm – WRT; Sunday, March 9, 9:30pm – IFC; Monday, March 10, 9:15pm – WRT

NORTH AMERICAN PREMIERE
THE MARCHERS (LA MARCHE)

Nabil Ben Yadir, France/Belgium, 2013

Nabil Ben Yadir’s rousing sophomore feature reconstructs a decisive event in the history of French racial politics: a Mitterand-era demonstration in which nine people marched 930 miles for equality and against racism from Marseilles to Paris, where they were met by more than 100,000 supporters. Compelled to undertake their cross-country trek when Mohamed (Tewfik Jallab) and Hassan (Jamel Debbouze) are victimized by the police, the band of protestors—inspired by Martin Luther King, Jr. and Gandhi—have their resolve tested, but are obliged to soldier on when a Maghrebi teenager is brutally murdered and as they encounter ever more prejudice en route. The Marchers is a monument to the courage of a handful of activists as well as an edifying account of how a small group can bring about enormous shifts in the national consciousness.
Saturday, March 8, 9:45pm – IFC; Sunday, March 9, 1:30pm – WRT; Friday, March 14, 3:30pm – EBM
In Person: Nabil Ben Yadir will attend March 8 & 9 screenings

Axelle Ropert, France, 2013

Sibling doctors Boris (filmmaker Cédric Kahn, in a revelatory performance) and Dimitri (Laurent Stocker) share a pediatric practice in a working-class Paris arrondissement. But their fraternal bonds and professional relationship are tested when they take on a young diabetic patient and both fall for the girl’s lovely mother (Louise Bourgoin), who tends bar at a local watering hole. The possibility of sharing a life with this woman and her daughter represents something quite different for each brother, and director Axelle Ropert (The Wolberg Family) places their burgeoning rivalry at the heart of this witty, passionate, beautifully observed drama. The cinematography by Céline Bozon (the sister of Tip Top director Serge) gives the urban setting, with its high-rise apartment blocks and Chinese restaurants, a sense of everyday magic, as does Benjamin Esdraffo’s lilting score.
Saturday, March 8, 1:00pm – WRT; Sunday, March 9, 1:00pm – IFC; Monday, March 10, 1:50pm – EBM
In Person: Axelle Ropert will attend March 8 & 9 screenings

MOOD INDIGO (L’ÉCUME DES JOURS)

Michel Gondry, France/Belgium, 2013

Eminently inventive Michel Gondry finds an ideal counterpart in Boris Vian, whose novel Foam of the Daze provides the foundation for this manic, visionary love story. Romain Duris plays wealthy bachelor Colin, whose hobbies include developing his pianocktail (a cocktail-making piano) and devouring otherworldly dishes prepared by his trusty chef Nicolas (Omar Sy). When Colin learns that his best friend Chick (Gad Elmaleh), a fellow acolyte of the philosopher Jean-Sol Partre, has a new American girlfriend, our lonely hero attends a friend’s party in hopes of falling in love himself. He soon meets Chloé (Audrey Tautou) and, before they know it, they’re dancing to Duke Ellington and plunging headfirst into a romance that Gondry rapturously depicts as only he can. Nominated for three 2014 César Awards: Étienne Charry (Best Original Music), Florence Fontaine (Best Costume) and Stéphane Rozenbaum (Best Production Design). A Drafthouse Films release. 
Sunday, March 9, 7:00pm – WRT; Monday, March 10, 7:00pm – IFC; Monday, March 10, 9:30pm – BAM In Person: Michel Gondry

NORTH AMERICAN PREMIERE
PLAYING DEAD (JE FAIS LE MORT)

Jean-Paul Salomé, France/Belgium, 2013

In Jean-Paul Salomé’s seventh feature, the hilarious François Damiens plays Jean, a down-and-out and underemployed actor (not to mention a former César winner!) who, after years of playing tiny roles on canceled TV shows and starring in embarrassing commercials, takes a gig as a performer in a homicide reenactment “produced” by the police at a ski resort in the French Alps. Being an expert at unnecessarily complicating or otherwise ruining any situation in which he finds himself, Jean quickly gets in the way of the case’s chief investigator (Géraldine Nakache), sparking an antagonism-turned-romance as well as a suspenseful whodunit rich with twists, turns and amusing instances of Jean taking himself much too seriously. Filming the reenactment as though it were a movie shoot, Salomé slyly juxtaposes the worlds of forensics and filmmaking, and the result is a rare, uproarious murder mystery.
Saturday, March 8, 6:00pm – BAM; Saturday, March 8, 9:00pm – WRT; Sunday, March 9, 3:15pm – IFC; Friday, March 14, 1:00pm – EBM
In Person: Jean-Paul Salomé will attend March 8 & 9 screenings

NORTH AMERICAN PREMIERE
SCHOOL OF BABEL (LA COUR DE BABEL)

Julie Bertuccelli, France, 2013

At a secondary school in Paris’s 10th arrondissement there is a “reception class,” where students between the ages of 11 and 15 are taught their first lessons in French. Some of these immigrant children, newly arrived, know a few phrases in the language of their adopted country; others can’t speak a word. Their families have come from all across the globe, from Ireland, Senegal, Morocco, Brazil, and China, fleeing persecution or just looking for a fresh start. Shot over a year, this observational documentary by Julie Bertuccelli (Since Otar Left, The Tree) is a kind of non-fiction counterpart to Laurent Cantet’s Palme d’Or-winning The Class, staying within the confines of the school and recording the children’s candid, sometimes heated discussions and interactions between parents and teachers. The result is both illuminating and extremely touching, a multifaceted look at the French melting pot, its frustrations and its hopes for the future.
Saturday, March 8, 12:45pm – IFC; Sunday, March 16, 1:30pm – WRT

Katell Quillévéré, France, 2013

A coming-of-age story takes on epic proportions in Katell Quillévéré’s follow-up to her lauded debut, Love Like Poison. Suzanne (first played by Apollonia Luisetti and then by Sara Forestier) is a wild child who becomes a mother at 15 and takes up with a local bad boy not long after. Through it all, her widowed father (comic actor François Damiens, in a rare dramatic role) and older sister (Fanie Zanini and Adèle Haenel) try their best to keep the family together. Brilliantly acted, especially by Forestier, Damiens and Haenel, Quillévéré’s film, which compresses some 25 years into an hour and a half, proceeds at a furious pace, episodically and elliptically. What sounds melodramatic on paper is never less than urgent and compelling on screen: each decisive moment in this family saga lands with tremendous emotional force. Nominated for five 2014 César Awards: Sara Forestier (Best Actress), Adele Haenel (Best Supporting Actress), François Damiens (Best Supporting Actor), Paul Hamy (Most Promising Actor), and Katell Quillévéré and Mariette Désert (Best Original Screenplay).
Saturday, March 8, 2:30pm – IFC; Sunday, March 9, 4:30pm – WRT; Wednesday, March 12, 4:00pm – EBM 
In Person: Katell Quillévéré will attend March 8 & 9 screenings

NORTH AMERICAN PREMIERE

Serge Bozon, France/Luxembourg/Belgium, 2013

Co-written with Axelle Ropert (also featured in this year’s Rendez-Vous with Miss and the Doctors), Bozon’s much-anticipated follow-up to 2007’s La France is a one-of-a-kind screwball procedural adapted from a pulp novel by Welsh writer Bill James. Meticulous and eccentric internal-affairs investigator Esther (Isabelle Huppert) and her mousy new partner Sally (Sandrine Kiberlain), recently demoted due to a mysterious ethics violation, are summoned to look into the Villeneuve police department after the murder of an Algerian informant. As entanglements ensue with belligerent local detective Mendès (a very funny François Damiens), Bozon throws together seemingly mismatched elements with aplomb: exploring the women detectives’ sexual kinks even as he comments on racism and postcolonial tensions. In keeping with its director’s background in criticism, Tip Topis an exploration of policier tropes but also a bold, strange, often delightful film that looks, sounds and moves like nothing else in its genre(s). A Kino Lorber release.
Thursday, March 13, 9:30pm – IFC; 
Friday, March 14, 1:00pm, 9:00pm – WRT
In Person: Serge Bozon

Guillaume Brac, France, 2013

Struggling musician Maxime (Vincent Macaigne) moves back to the titular provincial town (which means thunder in French) to live with his father and work on some new songs. But soon he meets Mélodie (Solène Rigot), a beautiful journalist more than a decade his junior. As their fling progresses to full-on enthrallment in a matter of days, all Maxime’s interests become secondary to spending time with Mélodie. Just as suddenly as their relationship began, she texts him a farewell and cuts off all contact. The quaint pleasures and understated tone of the early scenes slowly morph into something resembling a thriller, and as Maxime’s longing transforms into obsession, a palpable dread sets in. Director Guillaume Brac previously collaborated with Macaigne on the acclaimed medium-length film A World Without Women (2011). Tonnerre, Brac’s feature-length debut, is darker and more troubling, a complex and engrossing character study with a brilliantly modulated performance by Macaigne at its center.
Wednesday, March 12, 4:00pm – WRT; Thursday, March 13, 7:00pm – IFC; Friday, March 14, 6:30pm – WRT
In Person: Guillaume Brac will attend March 13 & 14 screenings

Agnès Jaoui, 2013, France

Twenty-four-year-old Laura (Agathe Bonitzer) has faith that someday her Prince Charming will suddenly appear. But when such a man does turn up, so does another one — charming in a different way, but equally alluring. In a flash, all of Laura’s assumptions about life and the future become fairy dust. Under the Rainbow is a contemporary fairy tale with more than its share of twists, imbued with the sharp existentialist humor we have come to expect from the duo of Agnès Jaoui and Jean-Pierre Bacri (The Taste of Others, Look at Me). Both once again collaborate on the script and co-star as Pierre and Marian, a comically neurotic middle-aged pair who, despite being a generation older than Laura, face a similar predicament: how to lead their lives in relation to their sometimes wild dreams and expectations.
Tuesday, March 11, 10:15pm – IFC; Wednesday, March 12, 9:00pm – WRT; Friday, March 14, 3:45pm – WRT

YOUNG & BEAUTIFUL (JEUNE ET JOLIE)

François Ozon, France, 2013

“No one’s serious at 17,” wrote Arthur Rimbaud. For Isabelle (Marine Vacth), the 17-year-old at the center of François Ozon’s Young & Beautiful, this sentiment may justify the choices she makes over the course of a pivotal year. Divided into four seasons, Isabelle’s foray into prostitution is motivated not by a need for money or control, but rather by an overwhelming desire for self-discovery. Ozon observes her journey without judgment, reflecting on the emotions and insecurities that saturate a young person’s entrance into adulthood. One year removed from In the House(Rendez-Vous ’13), Ozon again proves a master at coaxing strong performances from young actors; Marine Vacth, in her first leading role, is a revelation. Nominated for two 2014 César Awards: Géraldine Pailhas (Best Supporting Actress) and Marine Vacth (Most Promising Actress). A Sundance Selects release.
Friday, March 7, 8:00pm – IFC; 
Saturday, March 8, 6:30pm – WRT; 
Saturday, March 8, 9:00pm – BAM
In Person: François Ozon

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