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2010 Louis Delluc Prize: Assayas' Carlos and Beauvois' Of Gods and Men Among the Noms

Posted by Eric Lavallee on Nov 24, 2010
Source: AP

Olivier Assayas' Carlos (the 5 1/2 long verison) and Xavier Beauvois' Cannes winner Of Gods and Men would appear to be the frontrunners in this year's 8 nominated films for the Louis-Delluc prize. The annual Best French Film award that commenced operations back in 1937, when Jean Renoir's Les Bas-fonds claimed the inaugural prize will announce the winners for Best Film and Best First Film on December 17th.

Best Feature Noms:
Carlos - Olivier Assayas
The Ghost Writer - Roman Polanski
Mysteries of Lisbon - Raoul Ruiz
Of Gods and Men - Xavier Beauvois
On Tour - Mathieu Amalric
The Princess of Montpensier - Bertrand Tavernier
White Material - Claire Denis
Young Girls in Black - Jean-Paul Civeyrac

Delluc prize for first-time director:
A Violent Poison - Katell Quillevere
An Ordinary Execution - Marc Dugain
Belle Epine - Rebecca Zlotowski
Domaine - Patric Chiha
Gainsbourg - Joann Sfar
La Vie au Ranch - Sophie Letourneur

Worth Noting: Previous winners include Rois et Reine by Arnaud Desplechin (2004), Les Amants réguliers by Philippe Garrel (2005), Lady Chatterley by Pascale Ferran (2006), La Graine et le Mulet by Abdel Kechiche (2007), La Vie moderne by Raymond Depardon and Un prophète by Jacques Audiard (2009).

Do We Care?: France has the equivalent Oscar in their Cesar, but then they have this prize, which is only run by Cannes Gilles Jacob and 20 French film industry folk and critics, but the long-standing prize appears to have some clout of the Best Picture winner outcome at the Cesars, as three of the past four winners (last year's Un prophète, Lady Chatterley and The Secret and The Grain) were consider Best Film at both award organizations.



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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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"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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