Fabrice luchini fils louis jouvet biography
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West German postcard by Kolibri-Verlag GmbH, Minden. Photo: Daniel Gélinin Retour de manivelle/There's Always a Price Tag(Denys dem La Patellière, 1957). The German title was Luzifers Tochter.
French postcard by Editions du Globe, Paris, no. 156. Photo: Studio Harcourt.
Belgian postcard by Bromofoto, Bruxelles.
French postcard by Editions P.I., Paris, no. 361. Photo: Sam Lévin.
Dutch postcard, no. 162.
A seductively moody heart-breaker
Daniel Yves Alfred Gélinwas born in Angers, France, in 1921. When he was 10 his family moved to Saint-Malo where Daniel went to college until he was expelled for 'uncouthness'. His father then found hi
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This interview is in english and french
What do you like most about your job?
I have been passionate about the arts since I was a child, and today I am lucky enough to be the president of a production company.
My job allows me to be fulfilled in all forms of expression, whether in writing, theatre or film, as an actress, director or producer.
In addition, my husband, who came from the business world before becoming professionally interested in the film industry and live performance, decided to join me a few years ago, now running our company, so that I can concentrate fully on the artistic aspect of our activities, which I prefer and love above all. It is a matter of principle that the Marchi family likes to work together.
What is my idea of happiness?
Sharing my work and my projects with those I love is very important to me.
Having my freedom in everything I do is always a real happiness.
I am already lucky enough to work with my husband, which brings me balance and
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Interview: Bruno Dumont on The Empire
This article appeared in the February 23, 2024 edition of The Film Comment Letter, our free weekly newsletter featuring original film criticism and writing. Sign up for the Letter here. Stay up to date on all of our coverage of the Berlin International Film Festival here.
The Empire (Bruno Dumont, 2024)
Ever since the beginning, the films of Bruno Dumont have seemed to komma from a planet far, far away. From the stark vildhet of his earlier, more naturalistic work—The Life of Jesus (1997), Humanité (1999)—to the baroque farces that have occupied him over the past decade, beginning with the slapstick murder mystery Li’l Quinquin (2014), the now 65-year-old director has made a career of leaning into cinematic artifice to draw out strange and sacred elements within French history and contemporary life. A former philosophy teacher, Dumont is interested in the ways in which film—with its power to sculpt reality—can manifest t