Yo amo el cine francés y celebro que Fanny Ardant, junto a otros cientos de profesionales del Cine, haya firmado el informe presentado a la Ministra de Cultura de Francia, por el "Club des 13" sobre el estado del cine francés y sus políticas de distribución y otros temas. 
La pregunta que nos duele a todos es: ¿Está en peligro el Cine Francés?. La cuestión ha circulado en la prensa francesa en general y con mayor énfasis en la prestigiosa revista "Cahiers du Cinéma" desde que "El Club de los Trece", un grupo de profesionales del Cine en torno a Pascale Ferran (Cesar 2007 por "Lady Chatterley") hizo público un informe acusador sobre la política de financiación y el estado actual del cine francés (desigualdad en los presupuestos, malos sistemas de distribución de los films, pésima política de producción cinematográfica de las cadenas televisoras ) . Aunque el sistema francés de producción es ejemplo de buen funcionamiento, últimamente el auge de las televisoras y la concentración de poder en grandes grupos de distribución, ha creado muchos problemas entre los profesionales del cine independiente. La Ministra de Cultura, Christine Albanel, ha leído el informe realizado, titulado "Le milieu n'est plus un pont mais une faille" y acaba de enviar una carta al "Club des 13" donde proclama "la amplitud y la sinceridad de este trabajo colectivo" y anuncia que para avanzar en este asunto, Véronique Cayla, la Directora General del Centro Nacional de Cinematografía (CNC) aportará "su peritaje sobre las reformas a aplicarse y la evaluación de las posibles consecuencias". Misión en curso. Díficil y extensa, esta misión deberá tener en cuenta la irrupción de las nuevas tecnologías y los puntos propuestos en el informe, prima al éxito, tasas sobre los comercios asociados al cine o la creación de un logo "distribuidor independiente".
La pregunta que nos duele a todos es: ¿Está en peligro el Cine Francés?. La cuestión ha circulado en la prensa francesa en general y con mayor énfasis en la prestigiosa revista "Cahiers du Cinéma" desde que "El Club de los Trece", un grupo de profesionales del Cine en torno a Pascale Ferran (Cesar 2007 por "Lady Chatterley") hizo público un informe acusador sobre la política de financiación y el estado actual del cine francés (desigualdad en los presupuestos, malos sistemas de distribución de los films, pésima política de producción cinematográfica de las cadenas televisoras ) . Aunque el sistema francés de producción es ejemplo de buen funcionamiento, últimamente el auge de las televisoras y la concentración de poder en grandes grupos de distribución, ha creado muchos problemas entre los profesionales del cine independiente. La Ministra de Cultura, Christine Albanel, ha leído el informe realizado, titulado "Le milieu n'est plus un pont mais une faille" y acaba de enviar una carta al "Club des 13" donde proclama "la amplitud y la sinceridad de este trabajo colectivo" y anuncia que para avanzar en este asunto, Véronique Cayla, la Directora General del Centro Nacional de Cinematografía (CNC) aportará "su peritaje sobre las reformas a aplicarse y la evaluación de las posibles consecuencias". Misión en curso. Díficil y extensa, esta misión deberá tener en cuenta la irrupción de las nuevas tecnologías y los puntos propuestos en el informe, prima al éxito, tasas sobre los comercios asociados al cine o la creación de un logo "distribuidor independiente".Todos celebraremos las buenas noticias.
Fuente: 20 minutes Francia
Fuente: 20 minutes Francia
Comentarios
Small groups can make better films sometimes...
Wish you have a bargain in Book Fair...
Pic of " Nathalie..." ? ( how nice...never see this before )
Love
Bisous de justice 68ini de la rouge (aumoins pour aujourd'hui) Italie pour toutes les ardantes,
Coco
♥ ♥ ♥ ♥ ♥ ♥ ♥ y el 8º ♥ más grande !!!
Love for all !!
¡¡"8 FEMMES"!!
Besos para todas y felicidades!!!!
Exactually the same though yesterday ... 8 femmes ^^
Oui oui...
Plus Fanny Ardant...
we're the 8
8 femmes...
love love love song...
ps
Interesting post here...
The top search is Fanny Ardant...oh my God
http://buzzlogger.blogspot.com/2008/04/overall-top-searches-for-2008-04-29.html
Me he llevado una sorpresa al leer este post sobre el estado de salud del cine francés,aquí en España siempre se pone de ejemplo que hay que seguir: protección del gobierno, asignación de un número de pantallas en los cines (es obvio que no se puede competir en igualdad de condiciones que con el cine yanque), ayuda económica por parte de las cadenas privadas...etc.
Me siento feliz de que Fanny apoye estas causas, creo el Estado debe proteger mucho el cine porque es un bien cultural de la nación.
La foto es preciosa y "Nathalie" una película estupenda, me encanta y es injusto que Fanny no fuera premiada con el César a la mejor actriz, compone un personaje complejísimo.
Un beso ardantes!!
And I do agree with Cris! "Nathalie" es una pelicula estupenda and Fanny should have gotten the César. Absolutely. I love that film so much.
And I just came to think of something, one little detail... In the beginning of the film, Catherine asks the girl: "Marlène... c'est votre vrai prenom?" and then she decides that Nathalie is a better name, and that's how it will be for the rest of the film...
I just came to think that it's interesting, why is she doubtful that "Marlène" is the real name? But she has doubts about the name for some reason (I guess partly because she wants to be the "boss" and she wants to plan carefully to trap her husband...), and in fact, we will never know if it really is the real name of Emmanuelle Beart's character or not...
Jerocca Ardant, tks for the link... It's several links of Fanny !! Super !!
Cris ! El año pasado, durante la entrega del Cesar a Pascale Ferran, ella habló sobre esta cuestión del cine francés. ¿Vieron el film "Lady Chatterley" de Pascale que fue premiado el año pasado?
Lisa !
Yes, I love too "Nathalie" !! Magnificent performance of Fanny Ardant !! Cesar, Cesar for her !!
Sí, the real name of Nathalie is Marlene !! Perhaps Nathalie lay to Catherine about her real name... We'll never know, exactly !!
In the end, I thought that Nathalie was a liar woman but she suffer very much when she said good-bye to Catherine !!
Besos muchos!
Besos!!!
Me da por pensar que cada una, en cierto modo, desearía tener lo que la otra tiene. Y si no es así, lo que es seguro es que hay una admiración mutua.
Catherine es el boss, claro, ella es quien crea el personaje de Nathalie y, por otra parte, Marlene se encarga de crearle una vida a Nathalie. Es como si entre ambas hubieran creado un personaje de ficción. Una le pone el nombre y la otra le pone la vida.
ES curioso que nosotros no descubramos la verdad hasta que no la descubre Catherine, pero creo que el engaño ha servido a Catherine para recuperar su deseo sexual, creo que ésa es la historia de la película: la recuperación del deseo por parte de una mujer que lo había perdido.
Posdata: Mily, esa película de la que hablas ¿Es una adaptación de la novela "El amante de Lady Chatterley" de H.D. Laurence?
Cris, una de las 8 femmes (Isabelle Huppert, no, por favor)jajaja
Maravilloso comentario !! El film "Nathalie" es muy raro. Es como esos libros en los que cada lector saca su propia conclusión y todos opinan que se trata de un argumento diferente. Interesante.
Exacto, la conclusión es que ellas logran recuperar sus vidas, su deseo sexual, su "joie de vivre" !!
De las "8 femmes" yo me identifico con Isabelle Huppert, jajajajaja!!! porque es cínica, caprichosa, terrible, odiosa... y eso es lo que nunca pude ser en mi vida... cínica o doble cara. Y admiro lo que no puedo ser. Yo siempre con mi cara de buena, boluda total... jajajaja!! Pero al final ella es adorable, cuando canta te hace llorar y cuando logra que crean que está mal, enferma, es increíblemente creíble... Uf !!
Podés elegir, de todas maneras, entre las 7 restantes:
Catherine Deneuve, Emmanuelle Béart, Fanny Ardant, Virginie Ledoyen, Danielle Darrieux, Ludivine Sagnier y Firmine Richard.
Oui, oui mademoiselle Cris, "Lady Chatterley" se basa en el clásico de D.H. Lawrence "El amante de Lady Chatterley". Yo no pude verla todavía.
Besitos !!!
Yo no sé con qué mujer me podría identificar porque realmente son todas maravillosas y odiosas en un grado extremo.
Pero bueno, los personajes más interesantes son los de Ardant, Deneuve, Huppert y Béart.
Increíble la Huppert en "La pianista", ¿La viste? Es una de esas películas que en cierto modo "traumatizan".
Sí, aagghh, vi "La Pianista" de Michael Haneke !! No sé qué otra actriz hubiera podido hacer semejante papel. Esta película es diferente, sí, te trauma, te violenta, no sé, te saca de la vida tranquila que uno vive.
"Erika es profesora de piano en el Conservatorio de Viena. Acaba de entrar en la cuarentena y vive con su madre, de cuya sofocante influencia se escapa regularmente para ir a cines y espectáculos porno. Su sexualidad está constituida por un mórbido voyerismo y unos impulsos de automutilación masoquista. Erika y la vida discurren por senderos separados. Hasta que, un día, a unos de sus alumnos se le mete en la cabeza seducirla.."
También vi a Huppert en "Gracias por el chocolate" (nunca más tomás chocolate) y en "Madame Bovary"
Yo recuerdo que cuando conocí a Huppert, en 8 femmes la odié, pero no logré olvidarme de ella, como si las otras 6 actrices de "8 femmes" no se hubieran destacado. A Fanny ya la adoraba y el resto quedó por allí sin pena ni gloria. Excepto Catherine Deneuve que no me gusta para nada.
"El amante de Lady Chatterley" ¿es literatura erótica?
Besitos!!
Huppert...in creditable perform as well..don't know why people laugh when they saw her singing in 8 femmes theather ( my friend told me ) in French
Nathalie...
a fake name
a make up story
a unknown true relationship
You choose what you believe or willing to believe
nice question ...Lisa ^^
For me "Nathalie" was a unknown true relationship !!
Besitos 1000 !!!
but I do love the song while they're on the taxi...and Fanny were holding Nathal's arm...Saying "I'm go home"
Where's she going actually?
Was she really wanna go home??
I didn't like the film coz I wanna see more but the director wouldn't let us...too many clue and details...she want us to figure it out by ourselves same as " the secrets/ Ha- sodot"
So many ...
Fin
The Scotsman
July 10, 2004
THE STORY OF ANNE FONTAINE'S FILM, Nathalie, is simple enough. Catherine, a middle-aged married woman (played by Fanny Ardant), discovers that her husband, Bernard (Gerard Depardieu), has been cheating on her. She hires a prostitute, Marlene (Emmanuelle Beart), to seduce him and report back on his sexual preferences. The prostitute invents a character for herself - Nathalie - whose tales grow ever more florid, to the point where it is almost as if the two women are having the affair.
It seems salacious, but it is cerebral. Sex is described, not seen. The film explores the power shifts within relationships and the possibility that men and women have different expectations of love.
It seems a peculiarly French exploration of love. It is difficult to imagine a British film-maker exploring these themes without hiding behind the skirts of comedy. Casting would be a problem. Beart, the beautiful star of Manon Des Sources, brings a wholesome insouciance to the prostitute, while the regal Ardant retains a glorious sensuality at 55.
But are our attitudes to love and infidelity really so different? I asked Beart, who replied that she didn't know enough about the British to offer an opinion. Ardant was more forthcoming.
"Non! Like saying we like the cheese and the bread and the Tour Eiffel, it is a cliché. In your society they speak about Queen Victoria and that left a strong imprint. But in the real facts we are similar."
I mentioned the fact that President Mitterand's mistress attended his funeral and Ardant laughed.
"Look at your Royal Family. We think about the Puritanism that comes fromAmerica,but it isjust a way to speak.After all ,they do the same as us. You know, Clinton and the poor Monica Lewinsky.Une affaire d'etat! For us, this is ridiculous. But what matters the most - you did it, or you did't do it."
This may be true, but it does little to diminish British frigidity about l'amour. Consider the details. First, I met Beart, then Ardant. We were alone, except for a translator, in separate hotel rooms. Beart spoke in French, with flurries of English. Ardant spoke English with a sultry accent and wisps of French. It was hard to tell which was more alluring. During both encounters I began to feel like poor old Gerard Depardieu, led to destruction by his hormones.
Beart is a big star in France and was once part of a couple with the actor Daniel Auteuil, so she can be very private. She talked about Nathalie, being dreamlike, a fantasy: "But I think in real life a lot of women would do something as crazy as that, to stay alive, to refuse to compromise, to show their resistance against the situation. And I, Emmanuelle, as a woman, would do that, if I loved."
The problem in long-term relationships, she said, was the way women experience their sexuality. There was interference. "Not interference between a man and a woman, but interference within a woman, within her mind and her body. The clash. That being said, men and women have changed and are changing, and both sexes allow their different sides to show. Men allow their femininity to show and vice versa. I think that makes things more complex and more interesting."
Just as I was about to ask to borrow her Touche Eclat, Beart started talking about fidelity. The trick was to resist the idea that passion has to die. It was about finding energy and strength.
"C'est beaucoup d'amour et beaucoup de travail, aussi." The chaperone, or translator, interjected. "It's very much about love, but also about hard work."
"Vigilance," said Beart. "De la vigilance. But it's scary. Everyone finds it scary."
But, I said - trying to distance myself from M. Depardieu - it isn't a very good excuse for adultery to say: ‘I did it, but it didn't really mean anything.’" "No," Beart replied, "and perhaps this is a difference between male and female sexuality. But when he says to her, ‘Look it's nothing and it has no bearing on my feelings,’ I think he is being honest. But each time he says these things it is like he is plunging a knife into her heart and this is what drives her to do that crazy thing."
AND THEN THERE WAS FANNY. LOVE, Miss Ardant said, "is the grand story of life". And in the less grand story of Nathalie, she approved of her character because she refused to accept that love was lost. In similar circumstances, Ardant would hope to feel the same. But she has never been in similar circumstances.
"I am so stupid that I have the feeling that I was never betrayed. If you don't have - comment dire la preuve? - the proof. If you have the facts and you have the proof, that is another thing. But I love this lady because she is an ordinary lady. She is not romantique, or extraordinary. She has a normal job. And suddenly she becomes romantic. That is the moral of this story. Don't be conformist. Don't be, ‘Oh, I can't do that’. Be free."
"You see, a love story is like a masterpiece. You have to work, like you have to work on a painting or a cathedral. If you live with someone since the age of 20, it is much more difficult than at the beginning of love."
Ardant talked for a while about the film and the attractions of "a softer life - a pink life", and the fact that it is always possible to change something in "your vie amoureuse". When I awoke from my faint, she was talking about female power. "It depends on your view of life," she said, clicking her fingers. "You have to be positive. Or, if you are not, give up everything. You can accept things, but don’t turn yourself into a victim.
"If you say, ‘My husband doesn't love me anymore,’ OK, it doesn't matter, move on to other things. But if you don't accept the fact, don't say, ‘It's so and so's fault’. I prefer to consider the fact that in the world, you are unique. You are only your life and it depends on you. Because if not, the life is passed and you have all these reasons to say, ‘Ce n’est pas mon défaut [it isn’t my fault].’ We can't be in a strong mood all the time. We have moods sometimes when we are at the bottom of the well."
It seemed a shame to break the spell, so I asked Ardant about her first love affair. It was "tragic," she said. "Because he didn't love me. I was very young. Too young. I was 15. I was still in school. I thought I was going to die. He was older and he was so beautiful, so handsome. Afterwards I was destroyed and I remember I escaped from love for a long time. I used to hear people saying about me, ‘She is an old maid’.
"I loved to hide inside myself this big love affair and nobody would know it. For that reason I am not jealous, because I never think you have to possess somebody. Because at the start I was not loved, I think it is normal that love goes away."
Ardant's romantic life has not been uneventful. She was Francois Truffaut's muse until his death in 1984. Truffaut, who fell in love with her the first time he saw her on television, once explained that he was entranced by "her large mouth, her deep voice and its unusual intonations, her big black eyes and her triangular face". The two never married and lived as neighbours in the 16th arrondissement of Paris. Ardant told an interviewer then: "For me love must remain illicit, with no ring on the finger".
By now, she was talking about jealousy.
"When you are jealous everything is strong, because you consider everything in your own point of view. But it is boring for the other. You remember Othello? It is always a bad ending. I see some jealous women and there is always something ridiculous about it."
I asked if her notions about love had changed.
"Non," she said emphatically. "All my thoughts are the same as when I was 15. And I like that. When people say, ‘what is it like to be becoming old?’ it is a burden. But if you don't change the essential things, alors, it means that suddenly life is short but it belongs to you. Old age and disasters and failure, il fait rien. It doesn't matter. It is good to be faithful to what you think when you are 15. If you start to betray yourself, that is a real loss. I know that when you are 15 you are a little bit stupid, but it is better to keep this stupidity and to live, to love and to go to the disaster again. Finally when you look back on your life you will say experience doesn't work. You do exactly the same things. But it's you.
"I remember when I was 30, I fell down in the street. I suffered a lot and I called my mother
And she said : How old are you?
I said: I am 30
You are 30 and you are still running on the street?!
How, I whimpered, would someone romance you?
"It doesn't come with instructions," the actress said, with the smile of an ingénue
Yes, I like too the song while they are in the taxi. This scene is very romantic and it say much of wich really director Anne Fontaine shows us.
In the film "The Secrets" there is a relation of love between the girls, but in the end, one of them sacrifices the true love by the social conditions, religion, the rules of the homophofic and false society.
Siempre lo mismo, por los Siglos de los siglos, Amén...
Muchos besitos y ya estoy preparando para mañana tu CHEESE CAKE !!!!
1000 tks for interview !! ♥
I love everything she says, always...
How interesting that she said that all her views on love are the same as when she was 15. It's about the same with me, I think...
And that jealousy is boring for the other - how very true!
And about "Nathalie" and how the director doesn't let us "see more"... well, that's true, but I think that the things left unsaid and unseen is what makes the film worth re-watching again and again... The things that the story is about, those are not what one thinks the first time one starts watching... Well, to me, it is a great piece of work! :)