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Program

Set in the Parisian publishing world, an editor and an author find themselves in over their heads, as they cope with a middle-age crisis, the changing industry and their wives.

Country:
France, 2018
Group:
Main Competition
Duration:
108'
Director:
Olivier Assayas
Screenplay:
Olivier Assayas
Cast:
Guillaume Canet, Juliette Binoche, Vincent Macaigne, Christa Théret, Nora Hamzawi
Festivals:
2018 Venecija, Toronto, Čikago, Sevilja, Tromso, Telurajd, Njujork / Venice Film Festival, Toronto International Film Festival,
Filmography:
2018 Doubles vies / Double Lives / Dvostruki životi
2016 Personal Shopper / Lični kupac
2014 Clouds of Sils Maria / Oblaci nad Sils Marijom
2008 L’heure d’été / Summer Hours
2004 Clean / Čista
1998 Fin août, début septembre / Late August, Early September
1996 Irma Vep
1994 L’eau froide / Cold Water / Hladna voda
1989 L’enfant de l’hiver / Winter’s Child
1986 Désordre / Disorder
 Cinematography:
Yorick Le Saux
 Editing:
Simon Jacquet
 Producer:
Sylvie Barthet
 Production:
CG Cinéma
 Distributer:
MCF MegaCom Film

Showing

26Feb

Time: 17:00
Price: 400 RSD
KOMBANK DVORANA, sala 1

27Feb

Time: 10:00
Price: 250 RSD
KOMBANK DVORANA, sala 1

28Feb

Time: 19:30
Price: 400 RSD
Fontana

01Mar

Time: 12:00
Price: 300 RSD
Jugoslovenska kinoteka, Makavejev Hall

Olivier Assayas (1955) is a French film director and screenwriter. He graduated from the French National School of Fine Arts. He made his debut in 1986, after directing some short films and writing for the influential film magazine Cahiers du cinéma. His first film Disorder which won an award at the Festival in Venice, established him as one of the most significant filmmakers of his generation.

(… Film) begins as a talky study of the Parisian intelligentsia, then gradually tightens its emotional grip. There are chuckles and even guffaws throughout, though the comedy is streaked with despair, and also great tenderness. It’s the latest evidence of the director’s gift for tackling grave subjects with the lightest of touches; the film flows airily along, then knocks you off-balance with the weight of its insights and implications.

Jon Frosch, Hollywood Reporter

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