Olivier Meyrou with Anne-Katrin Titze on Saint Laurent director Bertrand Bonello and screenwriter Thomas Bidegain: "He wanted to see Celebration for the last part of the movie." Photo: Anne-Katrin Titze
The morning before going to the new Pace Gallery in Chelsea for David Hockney’s La Grande Cour, Normandy exhibition and meeting with Bacurau directors Kleber Mendonça Filho and Juliano Dornelles and with Sônia Braga at Cinetic Media, Olivier Merou, the director of Celebration joined me for a conversation at Film Forum on his long-awaited Yves Saint Laurent and Pierre Bergé documentary.
It's shot by Jean-Marc Bouzou and Florian Bouchet over three years starting in 1998 with a terrific score by François-Eudes Chanfrault (Clément Cogitore’s Neither Heaven Nor Earth) and sound production by Yolande Decarsin and Ludovic Escallier, and we see Catherine Deneuve, Loulou De La Falaise, Katoucha Niane, and Laetitia Casta, among others, interact with the master. With style and flair,...
The morning before going to the new Pace Gallery in Chelsea for David Hockney’s La Grande Cour, Normandy exhibition and meeting with Bacurau directors Kleber Mendonça Filho and Juliano Dornelles and with Sônia Braga at Cinetic Media, Olivier Merou, the director of Celebration joined me for a conversation at Film Forum on his long-awaited Yves Saint Laurent and Pierre Bergé documentary.
It's shot by Jean-Marc Bouzou and Florian Bouchet over three years starting in 1998 with a terrific score by François-Eudes Chanfrault (Clément Cogitore’s Neither Heaven Nor Earth) and sound production by Yolande Decarsin and Ludovic Escallier, and we see Catherine Deneuve, Loulou De La Falaise, Katoucha Niane, and Laetitia Casta, among others, interact with the master. With style and flair,...
- 11/1/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
In 1998, French filmmaker Olivier Meyrou filmed Yves Saint Laurent as he prepared what would be his final collection before the top-tier fashion brand sold to Gucci the following year. It was the end of an era, as Saint Laurent was already the last of the great French designers to operate his own house, and this would be his “Celebration” — although the man Meyrou observed was far different from what his legend suggested: reclusive, irritable, virtually silent, and, perhaps most shockingly, quite inelegant.
Ironic title notwithstanding, “Celebration” feels less like hollow adulation than some kind of macabre autopsy conducted on a still-living specimen. Saint Laurent died a full decade later, but seems barely there in this often contradictory portrait, which is simultaneously respectful of his genius and perturbed by the twitching, tragic creature Saint Laurent has become. Still, what kind of monster is cooed over by supermodels and treated like royalty by his staff?...
Ironic title notwithstanding, “Celebration” feels less like hollow adulation than some kind of macabre autopsy conducted on a still-living specimen. Saint Laurent died a full decade later, but seems barely there in this often contradictory portrait, which is simultaneously respectful of his genius and perturbed by the twitching, tragic creature Saint Laurent has become. Still, what kind of monster is cooed over by supermodels and treated like royalty by his staff?...
- 11/22/2018
- by Peter Debruge
- Variety Film + TV
After his controversial and much-debated Calvaire, director Fabrice Du Welz leaves the Belgian backwoods and Deliverance territory behind for the jungles of Southeast Asia. Vinyan (coming on DVD from Sony Pictures April 7) is likely to prove just as polarizing to viewers, and while the film has its share of shortcomings, I found myself drawn into this haunting, hallucinatory journey into the heart of darkness.
“Heart of darkness” is an apropos term, as Vinyan not only recalls Joseph Conrad’s symbolic story, but Apocalypse Now, Francis Ford Coppola’s loose but equally allegorical film adaptation of that 1902 novel. Six months after losing their only child in the Southeast tsunami, Jeanne (Emmanuelle Béart) and Paul (Rufus Sewell) are watching a documentary about orphans living in the Burmese jungles when Jeanne stops the film. She is convinced that a boy in a Manchester United shirt is their son Josh. Paul is initially skeptical,...
“Heart of darkness” is an apropos term, as Vinyan not only recalls Joseph Conrad’s symbolic story, but Apocalypse Now, Francis Ford Coppola’s loose but equally allegorical film adaptation of that 1902 novel. Six months after losing their only child in the Southeast tsunami, Jeanne (Emmanuelle Béart) and Paul (Rufus Sewell) are watching a documentary about orphans living in the Burmese jungles when Jeanne stops the film. She is convinced that a boy in a Manchester United shirt is their son Josh. Paul is initially skeptical,...
- 3/18/2009
- Fangoria
The music of François-Eudes Chanfrault is an ubiquitous presence in European genre films. His compositional stamp has been placed on such works as Alexander Aja’s Haute Tension, Alexandre Bustillo and Julien Maury’s À l’intérieur (Inside), Oliver Alexander’s Donkey Punch, and most recently Fabrice du Welz’s Vinyan. Chanfrault kindly answered some questions about his career as a composer, including how he got started in soundtrack work, his compositional approach, and his upcoming projects.
- 9/10/2008
- by Rodney Perkins
- Screen Anarchy
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