Monday Morning Museum: American Scene Painting – Regionalism

Regionalism – In America from 1931 to 1940

Regionalism is an American realist modern art movement that was popular during the 1930s. The artistic focus was from artists who shunned city life, and rapidly developing technological advances, to create scenes of rural life. Regionalist style was at its height from 1930 to 1935. – Wikipedia.org

In addition to Thomas Hart Benton (see art example below), other practitioners of Regionalism are John Steuart Curry and Grant Wood.

Romance, circa 1931-1932 by Thomas Hart Benton (1889-1975)

A painter and muralist celebrated for his regional scenes of daily life in the southern, midwestern, and western United States, Thomas Hart Benton was committed to portraying images of progress and satisfaction in the American heartland. Born to a family of statesmen, Benton was a patriot who saw his art as a means to generate social and political reform. His nostalgic and uplifting scenes of hard work, self-reliance, and individualism garnered broad popular appeal in post–World War I America. This work, painted when the artist was at the midpoint of his life, provides a lyrical view of a young couple on a relaxed evening stroll. Drawing on his knowledge of both Old Master techniques and modernist ideas, which he had gleaned from several years spent studying in Paris, Benton crafted a lively composition whose rhythmic alignment of forms conveys a sense of poignant familiarity. – The Blanton Museum of Art

Last Monday’s Art – Academic Art
Next Monday’s Art – Social Realism

Top of post: "Regionalism" graphic created by Adrean Darce Brent
Below: “Monday Morning Museum” logo created by Adrean Darce Brent

Reel Rewind: “Mademoiselle Chambon”

Sounds within the silence. Stirrings within the stillness. Wonderings within the winds. The story of Jean and Véronique unfolds slowly in “Mademoiselle Chambon” with the accompaniment of Franz Von Vecsey’s composition “La Valse Triste” and Edward Elgar’s violin and piano piece, “Salut D’amour”. Their story is one of romantic feelings born with music, a touch and kisses. In films (and I suppose as in life), most beginnings of romance demonstrate some level of passion between the people involved. It is rare to see such quietness in a new romance and it is presented to great effect in the film - Véronique sitting still in her apartment and Jean at his kitchen table at 3:00 a.m. There is no outward intensity when they are together and I don’t feel that passion is happening beneath the surface, though that may have been the director’s intent. It seems that neither one knows where to go with whatever feelings they have.

The one tangible evidence that there are feelings is the note Jean slips under Véronique’s door in which he writes - “Je pense à vous”, (“I think of you”). In addition, the music creates a soothing atmosphere – nothing that would evoke the manifestation of emotions, just reflection in the silent scenes, of which there are many. Even the eventual lovemaking is quiet. Only Jean’s one-sided argument with his wife Anne-Marie over his father’s eightieth birthday party and his fight with a co-worker mar the idyllic atmosphere of “Mademoiselle Chambon”. The music of the film is what binds these two different people. Jean is a builder with a wife, son and simple life in Provence, while Véronique is a teacher whose home is Paris and apparently has a less-than-fulfilling family life. One wonders if Véronique was going to be a concert violinist and what happened to turn her towards teaching.

The slow pace of “Mademoiselle Chambon” does contribute to the overall ambience being projected of life in the countryside, but it is too slow and the non-Jean and non-Véronique short scenes without dialogue really don’t add anything to the viewer’s understanding or help move the story along. Jean and Véronique are nice people and the start of their romance is sweet, but the viewer (at least this one) becomes impatient for the development of the relationship. And not until the end of the film is the resolution revealed. It is ironic that the title of the film is “Mademoiselle Chambon”, as she is the lesser known of the two main characters and questions remain regarding her history. Perhaps more is presented in the novel. The film seems to be Jean’s story. As much as the music and movie mesh together, it is fitting that the song, “Quel Joli Temps (Septembre)”, closes out the film over the end credits. Anyway, if you do see this film, be sure to be well-rested and fully awake. For me, “Mademoiselle Chambon” is un peu sucré et un peu triste (a little sweet and a little sad).


Film Facts: Director/Writer: Stéphane Brizé, Writer: Florence Vignon, Novelist: Eric Holder, Cinematographer: Antoine Héberlé, Editor: Anne Klotz, Musician: Ange Ghinozzi, Producers: Jean-Louis Livi, Amélie Melkonian, Milena Poyloi, Gilles Sacuto, Production Companies: TS Productions, F Comme Film, arte France Cinéma, Canal+, TPS Star, Centre National de la Cinématographie (CNC), Rézo Films, Sofica Soficinéma 4, Région Provence Côte d’Azur, Procirep, Angoa-Agicoa, Porgramme MEDIA de la Communauté Européenne

Film Type: Drama, Romance, Cast: Vincent Lindon (Jean), Sandrine Kiberlain (Véronique Chambon), Aure Atika (Anne-Marie), Jean-Marc Thibault (Le père de Jean), Arthur Le Houérou (Jérémy), Bruno Lochet (Collégue de Jean 1), Abdellah Moundy (Collégue de Jean 2), Michelle Goddet (La directrice de l’école), Anne Houdy (La commerciale des pompes funèbres), Geneviève Mnich (La mere de Véronique), Florence Hautier (Soeur de Jean 1), Jocelyne Monier (Soeur de Jean 2), Jean-François Malet (Le beau-frère), Maxence Lavergne (Elève classe de Jérémy), Philomène Pagnier (Elève classe de Jérémy), Length: 101’, Language: French, Country: France, Year: 2009
Official Website
France release date Wednesday 14 October 2009
United States release date Friday 28 May 2010
Film Trailer


Images:
Left: Sandrine Kiberlain (Véronique Chambon) and Vincent Lindon (Jean) from the website thecia.com.au
Center: Graphic interpretation of “Mademoiselle Chambon” created by Adrean Darce Brent
Right: “Mademoiselle Chambon” poster from the website critic.de
Below: "Reel Rewind" logo created by Adrean Darce Brent

Reel Rewind: “Blue Valentine”

It’s another FIND Film Series screening and another trip to the Landmark Theatres. This time I arrive early enough that the distribution of the wait passes had not yet begun. So line waiting is the start of the evening for me. When I finally receive my pass, it is Clint Eastwood who is the director of my wait and the last movie of his I saw was “Million Dollar Baby”. Of course being early meant I had time to browse Barnes & Noble. After checking for the December issue of Black + White Photography (not yet arrived), I wander around on the street level floor of the bookstore and eventually purchase The Girl With The Dragon Tattoo by Stieg Larsson. I have seen the movie, but want to read all three novels before seeing the second and third ones. My 2011 book project.

The screening for “Blue Valentine” is in theatre twelve and I am easily able to sit in my favorite area. The theatre is full and after the usual preliminary reminders, upcoming events, and thank-yous are given, the films begins ten minutes after the scheduled start time. There has been a ratings “controversy” surrounding “Blue Valentine”. The MPAA (Motion Picture Association of America) originally rated the film NC-17 and it was changed on appeal to R. Let me say at the beginning that although the sexual content may be somewhat rough and graphic, the encounters are consensual – there is no rape. Perhaps it is my years of filmic experience, but I was not disturbed by the sex in “Blue Valentine”. It is depictions of violence and rape that I’ve seen in other R-rated films that have greatly bothered me. Where was the MPAA for those films? Onto other content.

During one weekend “Blue Valentine” explores the life of a young Pennsylvanian couple, Dean and Cindy – how they met, their courtship, state of their marriage – by flashbacks and flashnows throughout the film. There is a home movie feel to the film during the flashbacks with its, at times, less than sharp imagery and less than well-lighted scenes. A fitting approach to examining a less than perfect marriage from its past. Dean is a high-school dropout who, when he meets Cindy, works for a moving company. On the other hand, Cindy is in school studying medicine and has a boyfriend. A combination of differences that make for a relationship disaster. The beginning though, is full of laughter and music – in fact Dean and Cindy have a variation on the usual PDA (public displays of affection) and for them it is – public dancing anytime. However, on this weekend they have been married for about six years and Dean is now a house painter and Cindy is a nurse. And rounding out their family is their daughter Frankie, whose conception was the impetus for the marriage. The flashbacks and flashnows work well – always knew if I was watching the past or the present. There are obvious problems as seen in the breakfast bickering. Dean wants to save the marriage and his suggestion of a night in a fantasy motel room is met with resistance from Cindy, who is on call, but they do. end up in the outer space room. From there the disintegration proceeds. Not much fun anymore. However, the one funny moment toward the end of the film is when a colleague of Cindy’s says “Oh, you must be Dean.” Her delivery of the phrase seems to sum up everything about the marriage – his lack of ambition and childish ways and her lack of interest in keeping the marriage intact - and evokes laughter of comprehension on part of the audience.

I haven’t seen much of Ryan Gosling’s work - the previous movie I saw was 2004’s “The Notebook” - and for Michelle Williams it was 2005’s “Brokeback Mountain”. Though I don’t have a true basis on which to judge, I think they both do a credible job in “Blue Valentine” and have some acting nominations for the roles of Dean and Cindy to back it up. It’s a film that should be seen and please don’t be afraid of the flashbacks and flashnows – you won’t be lost within the film. The take away from the film, other than the usual “don’t get married just because of an unexpected pregnancy”, is “don’t become romantically involved with someone who has significantly less education than you do”.

I leave the screening while the credits are still rolling because, of the late start, I’m afraid I might miss my bus home and therefore I miss the Q&A session with producers Lynette Howell and Jamie Patricof. Unfortunately, I see a bus at the bus stop as I exit the building and of course, I’m unable to cross the street in time to catch it. Waiting once again this evening, but this time with home as the goal.


Film Facts: Director/Writer: Derek Cianfrance, Writers: Joey Curtis, Cami Delavigne, Cinematographer: Andrij Parekh, Editors: Jim Helton, Ron Patane, Musician: Joe Rudge, Producers: Doug Dey, Carrie Fix, Lynette Howell, Jack Lechner, Alex Orlovsky, Jamie Patricof, Rena Ronson, Production Companies: Hunting Lane Films, Silverwood Films

Film Type: Drama, Romance, Cast: Ryan Gosling (Dean), Michelle Williams (Cindy), Mike Vogel (Bobby), John Doman (Jerry Heller), Ben Shenkman (Sam Feinberg), Reila Aphrodite (Mary), Faith Wladyka (Frankie Periera), Samii Ryan (Amanda), Robert Eckard (Father), Michelle Nagy (Music Teacher), Dan Van Wert (Bus Passenger), Eileen Rosen (Mimi), Tamara Torres (Maria Guevara), Maryann Plunkett (Glenda), Carey Westbrook (Charlie), Length: 120’, Language: English, Country: United States, Year: 2010
Film Trailer
United States release date Friday 31 December 2010


Images:
Left: Ryan Gosling as Dean and Michelle Williams as Cindy from the website cinemablend.com
Center: Graphic interpretation of “Blue Valentine” created by Adrean Darce Brent
Right: “Blue Valentine” poster from the website filmtotaal.nl

Reel Rewind: “Un Balcon Sur La Mer”

French title – “Un Balcon Sur La Mer” / English language title – “A View Of Love”
The translation of the French title into English would be “A Balcony Overlooking The Sea” and the English language title would be “En Vue De L’amour” in French. After seeing the film, my choice for the French title would be “En Vue De L’amour”, with “A View Of Love” for the English language title.

Although my invitation to see the World Premiere of “Un Balcon Sur La Mer” is from the French Consulate of Los Angeles, the film is actually one of the screenings for the first day of the 2010 American Film Market. Of course I didn’t discover this until my arrival at the AMC Criterion theatre in Santa Monica. The AFM is an annual event in Santa Monica for industry buyers/players from around the globe. Since I am only tenuously connected to the film industry, I am pleased to attend the Market, even if I am not a potential buyer and it is just for one screening.

Well, this World Premiere is not getting off to a good start – some of the lights in the theatre are not turning off, but they go ahead and start the film. However, a few minutes into the showing of “Un Balcon Sur La Mer”, the film stops. All the lights come up and a man announces, in French and English, that they are going to start over again. This time all the lights turn off and the film is projected from the beginning without any further problems.

Real estate agent Marc enjoys working with his father-in-law and happily lives in Southern France with his wife and daughter. However, the past arrives one day, upsets his present and changes his future. The past is a girl named Cathy who Marc loved during his childhood in Algeria, before the country achieved independence. The return of Cathy into his life disrupts Marc’s domesticity and brings back memories of life in Oran before his family’s abrupt departure to escape the violence. Allowing himself to fulfill his childhood love for Cathy, Marc irrevocably changes the future for himself and his family. Perhaps it is the lack of closure in his youth that propels Marc towards this life changing behavior.

But all is not completely right. Although a number of memories of Algeria are recounted, some memories for Marc and Cathy are not shared/same ones and they should be. Has time diminished or distorted them? When Marc questions his mother about Algeria and his friend Cathy, she reveals some disturbing information that he can’t believe – won’t believe about this woman who has reentered his life. What is the truth and will Marc be able to see it through the love? Marc searches for answers and in so doing uncovers a real estate scam from inside the agency and Cathy’s role in the deception. He is able to prevent the completion of the scam and although Cathy’s complicity is undeniable, Marc chooses to be with her. She is a part of his life whose ending left a space in his heart and no matter what the reality, for Marc, now only she can give him back his first feelings of love for the girl Cathy.

Though the film does not go in the direction I thought it would (more straightforward, more anguish about his wife and daughter, rejection of the deception), “Un Balcon Sur La Mer” nevertheless provokes one’s thinking of the struggle for independence, aspects of life that still remain open, how perceptions can change, but maybe not so much. The films starts out in a calm morning in Algeria and ends in a rainy night in France and in between is the life of the boy Marc and the man Marc coming to a resolution for love. So I ask, what needs resolution in your life? Better still, what needs resolution in my life?


Film Facts: Director/Writer: Nicole Garcia, Writers: Frédéric Bélier-Garcia, Natalie Carter, Jacques Fieschi, Cinematographer: Jean-Marc Fabre, Producers: Xavier Amblard, Alain Attal, Gaëtan David, André Logie, Frantz Richard, Production Companies: Europa Corp, France 3 Cinéma, Les Productions des Trésor

Film Type: Drama, Romance, Thriller, Cast: Jean Dujardin (Marc), Marie-Josée Croze (Cathy), Claudia Cardinale (Marc’s Mother), Toni Servillo (Marc’s Colleague), Sandrine Kiberlain (Marc’s Wife), Michel Aumont (Marc’s Father-in-law), Jean-François Malet (Le gardien), Philippe Napias (Thierry), Length: 105’, Language: French, Country: France, Year: 2010
Film Trailer
France release date Wednesday 15 December 2010
No United States release date set as of this post


Images:
Left: Jean Dujardin as Marc from the website lyricis.fr
Center: Graphic interpretation of “Un Balcon Sur La Mer” created by Adrean Darce Brent
Right: “Un Balcon Sur La Mer” poster from the website cinemotions.com

Reel Rewind: “Going The Distance”

A number of elements came together during the day that allowed me to see this preview of “Going The Distance” – I did my necessary errands in the morning instead of the afternoon; the Red Sox game was postponed due to rain; and despite being out of shape, I managed to run and catch the bus that brought me to the screening venue. My seeing this romantic comedy was just meant to be.

The free screening was part of Film Independent’s weekly Film Series, a benefit of membership in the organization of which I rarely take advantage. Arriving an hour before the 7:30 p.m. scheduled start time at the Landmark Theatre in the Westside Pavilion, I went to the Film Independent table, showed my membership card, and was given a Wait Pass with director Federico Fellini’s name on it. They would begin calling directors names at 7:00 p.m. and the people holding a Wait Pass with the name called could proceed to the theatre. In the meantime I hung out at the Wine Bar and read until Fellini’s name was called - about a dozen director names into the process.

Amazingly I was able to sit in my usual movie theatre area – it’s great having an unpopular seating preference! A representative from FIND introduced the film and said that there would be a Q & A with the director of “Going The Distance”, Nanette Burstein, after the screening. Let’s get this out of the way up front – I like this movie – I don’t love it, but it is an improvement over other recent romantic comedies, e.g. “27 Dresses”. Real-life couple (as of this film), Drew Barrymore and Justin Long play young adults who, in one night, meet over Centipede, connect with a trivia game and movies, make out to “Take My Breath Away" (courtesy of the in-apartment DJ) and during the subsequent six weeks of summer in New York City (obligatory montage of togetherness activities) fall in love. The established saying is that “the course of true love does not run smooth”, but in their case the course of true love does not fly smooth – between New York and San Francisco. While she finishes up graduate study in journalism at Stanford, he tries to make the best of his music career of band promotion in New York. And using all the technology available in the early Twenty-first century, they maintain the relationship over thousands of miles and several time zones interspersed with actual visits to one another during seven months, though not always happily.

Charlie Day and Jason Sudeikis play Justin’s best friends and they provide the primary comedy relief in the film. Though they are amusing at times, it unclear to me why or how these two guys are friends with Justin’s character – the air of “loser” surrounds them and fortunately doesn’t permeate Justin. Having one of them be his roommate does provide a situational comedy element. On Drew’s side are Christina Applegate and Jim Gaffigan who play her sister and brother-in-law with whom she lives. Christina provides the tough, uptight, practical side to the couple’s long distance relationship. Ah yes, the support of one’s family can be tenuous. So, will their love be able to thrive three thousand miles apart? They do want to be together and I like that the characters Drew and Justin play are adults who know what they want to do in life, but are struggling to find the right fit. The tagline for this film is “The comedy about meeting each other halfway” which I don’t think is accurate for the story. My tagline would be “Far away or nearby, love is the place”.

In the Q & A with Nanette Burstein, she reveals that earlier script versions had a younger couple, one of them cheats, and they split. Guess the tagline for that film would be “The comedy about meeting each other and turning away”. Nanette’s film area is documentaries (“On The Ropes", "American Teen") and this is her first foray into fiction. The films she used as inspiration for her approach to the task were “Annie Hall” (one of my favorite Woody Allen films – we may still need the eggs, but in August 2010 they could make you sick – choose carefully), “Knocked Up” (haven’t seen it), and “There’s Something About Mary” (somewhat silly). It was a forty-five day shoot and, given Nanette’s documentary background, done mainly on location. I did learn something about directing – according to the rules, it is the AD who directly tells the extras what to do in the scenes, not the Director. Everyone has a role to play.

On a personal note, I’ve never done a long distance relationship – having one in the same city is trying enough. Recently two friends of a friend became an intercontinental couple – he in San Francisco and she in Rome – I wish them lots of luck and many bon voyages!



Film Facts: Director: Nanette Burstein, Writer: Geoff LaTulippe, Cinematographer: Eric Steelberg, Editor: Peter Teschner, Musician: Mychael Danna, Producers: Jennifer Gibgot, Garrett Grant, Adam Shankman, Production Companies: New Line Cinema, Offspring Entertainment

Film Type: Comedy, Romance, Cast: Drew Barrymore (Erin), Justin Long (Garrett), Charlie Day (Dan), Jason Sudeikis (Box), Christina Applegate (Corinne), Ron Livingston (Will), Oliver-Jackson Cohen (Damon), Jim Gaffigan (Phil), Natalie Morales (Brandy), Kelli Garner (Brianna), June Diane Raphael (Karen), Rob Riggle (Ron), Sarah Burns (Harper), Terry Beaver (Professor), Matt Servitto (Hugh), Length: 95’, Language: English, Country: United States, Year: 2010
Film Trailer
United States release date Friday 3 September 2010

Images:
Left: Drew Barrymore as Erin and Justin Long as Garrett from the website filmindependent.org
Center: Graphic interpretation of “Going The Distance” created by Adrean Darce Brent

Right: Poster of “Going The Distance” from the website cinemablend.com

Reel Rewind: “Pierrot Le Fou”

French title – “Pierrot Le Fou” / English title – none
There is no actual English title of this French film to rate. I would go for the direct translation (of course!) and title it “Pierrot The Fool”. And a non-direct translation could be – “Ferdinand’s Folly”.

Here is my major French film confession – “Pierrot Le Fou” is only the second film by Jean-Luc Godard that I have seen. The other being “À Bout De Souffle” which translate as “At The End Of Breath”, but its actual English title is “Breathless”. Though they both deal with being on the run, the structures of the two films are different – “A Bout De Souffle” is a straight forward narrative that stays in chronological sequence, whereas “Pierrot Le Fou” is disjointed and without a linear chronology. The film is very much like the poem Marianne wrote about Ferdinand (or Pierrot as she calls him) – ‘tender and cruel, real and surreal, terrifying and funny…’ – a film that requires paying close attention due to everything that is thrown at the viewer. My assessment would be “artistic and ballistic”. Even though the setting is beautiful, being on the run is unsettling.




Film Facts: Director/Writer: Jean-Luc Godard, Novelist: Lionel White, Cinematographer: Raoul Coutard, Editor: Françoise Collin, Musician: Antoine Duhamel, Producers: Georges de Beauregard, Dino de Laurentiis, Production Companies: Films Georges de Beauregard, Dino de Laurentiis Cinematografica, Rome Paris Films, SNC
Film Type: Crime/Drama/Romance, Cast: Jean-Paul Belmondo (Ferdinand Griffon), Anna Karina (Marianne Renoir), Graziella Galvani (Ferdinand’s wife), Samuel Fuller (Himself), Raymond Devos (The man on the pier), Dirk Sanders (Fred, Marianne’s brother), Jean-Pierre Léaud (The young man in the movie theatre), László Szabó (the political exile), Length: 110’, Language: French, Country: France, Year: 1965
Film trailer
United States release date Wednesday 8 January 1969



Shown before the film - the short “Allons-y! Alonzo!”
Director/Writer: Camille Moulin-Dupré, Producer: Vivement lundi!, Film Type: Animation, Length: 7’52, Language: French, Year: 2009
“A tribute to French actor Jean-Paul Belmondo.”



Images:
Left: Front side of the ticket for “Pierrot Le Fou”
Center: Graphic interpretation of “Pierot Le Fou” created by Adrean Darce Brent

Right: Jean-Paul Belmondo as Ferdinand Griffon and Anna Karina as Marianne Renoir from the website colcoa.org

Reel Rewind: “La Petite Voleuse”

French title – “La Petite Voleuse” / English title – “The Little Thief”
This is an almost perfect translation of the French title into English. However, since the French title indicts the thief is a female and the English title doesn’t and there is no easy way to do so without having a somewhat awkward/inaccurate/inappropriate title – ‘The Little Girl Thief” (is she under thirteen?), “The Little Woman Thief” (is she a wife?), “The Little Female Thief” (best of the three suggestions) – I rate the actual English title as Good.

As the film’s source material is from an unfinished script by François Truffaut, it has been suggested that “La Petite Voleuse” is the female version of “Les Quatre Cent Coups”. Although it has been years since the last time I saw “Les Quatre Cent Coups”, I can see similarities that “La Petite Voleuse” has with that earlier film. The theme of adolescent alienation acting out with anti-social behavior is the overarching one in both films – though there are differences in the presentation of the idea, they are more alike than unlike. And although “La Petite Voleuse” has a more involved plot with a chance for Janine to change the direction of her life, she does end up incarcerated as Antoine does in “Les Quatre Cent Coups”.


Film Facts: Director: Claude Miller, Writers: François Truffaut, Claude de Givray, Adapters: Luc Béraud, Annie Miller, Claude Miller, Cinematographer: Dominique Chapuis, Editor: Albert Jurgenson, Musician: Alain Jorny, Producers: Claude Berri, Daniel Chevalier, Jean-Louis Livi, Alain Vannier, Production Companies: Orly Films, Renn Productions, Cine Cinq, Lee Films du Carrosse, Sédif Productions
Film Type: Drama/Crime/Romance, Cast: Charlotte Gainsbourg (Janine Castang), Didier Bezace (Michel Davenne), Simon de La Brosse (Raoul), Clotilde de Bayser (Séverine Longuet), Raoul Billerey (Uncle André Rouleau), Chantal Banlier (Aunt Léa), Nathalie Cardonne (Mauricette), Renée Faure (Mother Busato), Catherine Arditi (School Principal), Gilbert Bahon (Police officer), Clothilde Baudon (Bonnin), Joëlle Bruyas (Sister Marie-Odile), Denise Chiabaut (Doctor), Philippe Deplanche (Jacques Longuet), Erick Deshors (Raymond), Length: 103’, Language: French, Country: France, Year: 1988
Film scene
United States release date Friday 25 August 1989



Images:
Left: Front side of the ticket for “La Petite Voleuse” (The Little Thief)
Center: Graphic comparison of “La Petite Voleuse” and “Les Quatre Cent Coups” created by Adrean Darce Brent

Right: Simon de La Brosse as Raoul and Charlotte Gainsbourg as Janine Castang from the website colcoa.org

Reel Rewind: “Ma Vie En L’air”

French title – “Ma Vie En L’air” / English title – “Love Is In The Air”
This is not a direct translation of the French title into English, which would be “My Life In The Air”. Although the actual English title used conveys the romance aspect of the film, I prefer the French title with its irony surrounding the main character. So only a rating of Fair for the title “Love Is In The Air” and I would use “My Life In The Air” as the English title.

I first saw “Ma Vie En L’air” at the tenth year of ColCoa on Saturday 8 April 2006 and I still like it. I think it is an inspired idea to have the main character, due to the circumstances of his birth, able to fly for free for life, but is afraid of flying and is a flight simulator instructor. Love it! Basic plot – boy meets girl, boy and girl fall in love, girl goes to Australia, boy unable to overcome flying fear to visit girl, boy and girl breakup. Ten years pass and now the fun begins – boy and two girls. As the current relationship saying states, “it’s complicated” and in the film, comedic. But the question is, would you still be with the person who threw away your comic books (insert own objects)? To me, at that point, “it’s not complicated” and not comedic.



Film Facts: Director/Writer: Rémi Bezançon, Cinematographer: Antoine Monod, Editor: Sophie Reine, Musician: Sinclair, Producers: Éric Altmayer, Nicolas Altmayer, Isabella Grellat, Production Companies: Mandarin Films, M6 Films
Film Type: Comedy/Romance, Cast: Vincent Elbaz (Yann Kerbec), Marion Cotillard (Alice), Gilles Lellouche (Ludo), Elsa Kikoïne (Charlotte), Didier Bezace (Castelot), Tom Novembre (Yann’s Father), Cécile Cassel (Clémence), Philippe Nahon (Ludo’s Father), Vincent Winterhalter (Eddy), François Levantal (Passenger going to Sydney), Length: 103’, Language: French, Country: France, Year: 2005
Film trailer
Not released in the United States



Shown before the film - the short “Vinyl”
Director/Writer: Julien Hallard, Producer: Les Films Velvet, Film Type: Comedy, Length: 18’, Language: French, Year: 2009
“It is an almost ordinary day in the strangest record shop in Paris.”



Images:
Left: Front side of the ticket for “Ma Vie En L’air” (“Love Is In The Air”)
Center: Graphic interpretation of “Ma Vie En L’air” created by Adrean Darce Brent

Right: Marion Cotillard as Alice and Vincent Elbaz as Yann Kerbec from the website colcoa.org