Before his death, a renowned dramatist arranges to have friends who appeared in his play Eurydice summoned to his residence to participate in his funeral and to see a performance of the play by an avant-garde acting company. Surprises await them, as they also find themselves unwitting participants.
Renowned dramatist Antoine d’Anthac arranges to have friends who appeared in his play Eurydice come together to participate in his funeral and to see a performance of the play by an avant-garde acting company. Do love, life, death, and love after death still have any place on a theater stage? Those who come to fulfill their departed friend’s final wish will have a chance to decide. At almost 90, Alain Resnais has shot another of his surprising movies. Although the picture draws on two plays by Jean Anouilh, the filmmaker isn’t interested in a dialogue between theater and film. His production becomes an opportunity for reflection, for a play between real life and the stage, between the modern and the classic. But it is also a means of referencing his earlier work and the questions that remain unanswered. Perhaps with this film the great French artist is seeking to close his more than 50-year career surrounded by the actors he loves.
115 min / Color, DCP
Director Alain Resnais
/ Screenplay Laurent Herbiet, Alex Réval
/ Dir. of Photography Eric Gautier
/ Music Mark Snow
/ Editor Hervé de Luze
/ Producer Jean-Louis Livi
/ Production F comme Film
/ Cast Sabine Azéma, Pierre Arditi, Anne Consigny, Lambert Wilson
/ Contact Studiocanal
Alain Resnais (b. 1922, Vannes, France), one of the most celebrated directors of the latter half of the 20th century, created motion pictures that markedly shifted the development of film narration. His extensive and diverse filmography reveals a period of interest in social and political statements (Muriel, 1963; The War Is Over, 1966; Far from Vietnam, 1967), but it also contains work that penetrates the inner human depths, the anatomy of a dream, and the human subconscious (Hiroshima mon amour, 1959; Last Year at Marienbad, 1961; Providence, 1976). His later films feature penetrating intellect, sophisticated humor, ironic distance, and a certain dose of the bizarre, combined with the indulgent knowledge of a wise man (Smoking/No Smoking, 1993; Same Old Song, 1997; Not on the Lips, 2003; Private Fears in Public Places, 2006; Wild Grass, 2009).
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