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La Vie Moderne claims Louis Delluc

Posted by Eric Lavallee on Dec 15, 2008
Source: ScreenDaily.com

The Louis Delluc prize which I thought was going to be bestowed on Laurent Cantet’s Palme D’or winner has actually gone to another Cannes-selected title in Raymond Depardon's La Vie Moderne. The prestigious award is given to the best French film of the year (and in an IONCINEMA.com interview with Cantet we got a feel for what that awards represents in France) and I imagine in the award's history that it's a rare sight to see a docu claim the prize. 

The film is a sort of self-portrait of Depardon, who hails from an agricultural background, and focuses on the old countryside villagers of Cervennes.

The Louis Delluc prize for best first film went to Samuel Collardey's L'Apprenti although it did not originally figure on the short list of nominated which you can see below.

 

Un Conte de Noel (A Christmas Tale) by Arnaud Desplechin*
Dernier maquis (Adhen) by Rabah Ameur-Zaimeche
Entre Les Murs (The Class) by Laurent Cantet*
L'Heure d'ete (Summer Hours) by Olivier Assayas*
Le Premier venu (Just Anybody) by Jacques Doillon
Seraphine by Martin Provost
La Vie moderne (Modern Life) by Raymond Depardon

Delluc first film prize:
Versailles by Pierre Schoeller,
Elle s'appelle Sabine (Her Name Is Sabine) by Sandrine Bonnaire;
Le Tueur (The Killer) by Cedric Anger.

 



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Reviews

Review: The Kid With a Bike

Review: The Kid With a Bike

"Despite the one-dimensionality of its anti-patriarchal theme (appeasing the knee-jerk expectations of European film fest audiences), the Dardennes avoid cheapening the story with ideological smugness, achieving an emotional resonance without easy sentimentality."


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Review: Wrong

"Encoded in the outlandish humor that pervades the film are bits of commentary on everyday life. The most overt is Dupieux's urging to appreciate the relationships around you, which is manifested in the dog kidnapping, but also in a subplot in which a woman from the pizzeria moves between men without even realizing they have changed. Another cultural critique is found in the rainy office, an instantly recognizable visual metaphor for how dreary a 9 to 5 job can be."


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