Name Jeanne Balibar
Born 13 April 1968, Paris Background The daughter of a philosopher and a physicist. Balibar studied acting at the French National Conservatory of Dramatic Art, before joining the prestigious Comedie Francaise theatre company. Since the mid-19908. she has acted in films by various auteur directors. including Arnaud Desplechin's My Sex Life. Olivier Assayas' Late August, Early September and Jacques Rivette's Va Savoir.
What's she up to now She can currently be seen in Rivette's Balzac adaptation Don 't Touch the Axe, playing married socialite the Duchess of Langeais. who flirtatiously toys with the affections of a Napoleonic General (Guillaume Depardieu) in 18205 Restoration Paris.
What she says about Rivette ‘Jacques says very little when he's on the set. He puts all the elements together and then he watches what happens. It's a bit like assembling an artistic installation. He combines different things - the actors. the lighting. the set, lines of dialogue.’ What she says about Guillaume Depardieu 'He's a real bad boy! He's a very charming person. who knows how to manipulate people. He's amazingly clever, sensitive and wholehearted and pathologically selfish, and I love him very dearly. l think he's one of the best actors of our generation.‘
What she says about avoiding intimacy ‘The problem for my character in Don 't Touch the Axe is that she can't give herself away to another person: at the beginning she uses that as a strength. thinking that's where her glory originates. It's actually no strength whatsoever. it's a terrible handicap.’
Interesting Fact Portuguese director Pedro Costa is currently making a film about Balibar's singing career.
I Don 't Touch the Axe, GFT, Glasgow 8. Filmhouse, Edinburgh, Fri 29 Feb—Mon 3 Mar.
50 THE LIST 28 Feb-1’3 Mar 2008
Films screening this fortnight are listed below with certificate, star rating, credits, bn‘et review and venue details. Film index compiled by Paul Dale
It: Indicates Listpicks entry
The Accidental Husband I tj-xi
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Afghan Archive t lfii l \atioux. r\l}._'ll.'tlil\ltlll. \'.iiioiixl ‘Nlmm -\ xtiipiixc xctccniiigg ol oiic ol thc rarc '\lf_'ll.lll \atioiial Archix c liliiix 'l'hc piiiit hax xtirx I\t‘tl attcmptcd dcxtrtiction h_\ lltc 'lalihaii. hax lllf.‘ hccii hiddcii iii lhc \iallx ol thc aichix c h_\ \xorkcix thcrc \xhcn thc 'lalihan took Kahlil l’tirt ol Rccl x\l}_'lt;tntxl.'itt xcaxoti Ii/m/tuuu. lat/in/mrult.
After the Wart l.‘;\l l Nicholax Rciiton. l'l'x'. WSW Jolttt Adcxxolc. Nicholax l).ixtoi 52mm. 'l‘hix cpixodc lrom lhc popular mmi xcricx x'lltt'r Mr Hill ahout oiic yam}: chx ixli rclugcc'x cxix-ricnccx m l.oiidon iuxt .iltci WWII llhc cpixodc ix callcd llirtilx o/ (‘liungt'l ix xhou my ax a tiihutc to \\ ritci l'rcdcric Raphacl l’ait ol A) c \Viitc' (iliiwoii I‘ll/n I'lu'tiln'. (i/iiwmi
All the Boys Love Mandy Lane i ltx‘i O.” tJoiiathaii |.c\ inc. l'S. letloi :\llll\‘l’ llcard. .-\iixon Mount. .‘xlichacl \Vclch. ‘Nliiim llcard. a popular xiiiall link" lX'ttlll). attcnilx a i'ciiiotc lai'm tor a night ol part) in}; \xlici'c lhc horn} and \x'axlcd girlx and ho_\x xtai‘l dixaptx'armg in tlic iitiddlc ol tlic llllell (iootl xtalk attd xlaxhcr. l'uc l'.iIirt/iiiruli ()t rim. lat/inlmrju/i.
Alvin and the Chipmunks i l 'i
.0. l'l‘mi Hill. [8. 2007) Jaxon lcc. “an id ('roxx. ('amcron Ricliai‘dxon. ‘llmm l.ikcahlc prc xchool comcd) lcatui'mg: a htmch ol pint xi/cd chipmunk pop xtarx and thcu’ long-xullcriiig human guardian ll.cci. St'lr'r'lt'r/ I't'lt'tlH'.
And When Did You Last See Your Father? t IZA) 0.. lAnand ’l'tickcr. l’K. 2007) Jim liroadlx'nt. ('olin l’irtli. Jtilict Stci'cnxon. 93mm. Mm m3.» adaptation ol Blakc Morrixoii‘x paiiil'ull} honcxt mcmoir. Ih'tmtmt I'lu'utr't'. Int/inlmruh,
August Flush ll’(i) o lKlrle‘ll Shcridaii. l'S. 2007) Kai Riixxcll. l‘rcddic llighiiiorc. Rohin Williaiiix. ll lmm. l)rcadlu| ‘hcarmariiiing‘ drama about a mtixicall) giltcd orphan callcd Auguxt Riixh lllighinorcl who liiidx out hix parciitx arc xtill alixc and xctx out to liiid thcm iii 54th York (at). at which point thingx dcxccnd xwiltl} into xcntimcntal xlop. .S't'lu'li'i! I'l’ll'th‘.
Avril t l5) l(icrald lltixtachc-Mathicu. l-‘rancc. loom Sophic ()tiintoii. Miou-Miou. Nicolax Duvauchcllc. ‘lfimin. Raixcd h) iitiiix. .xhcltcrcd orphan Ax ril lQuintoii) ix xcl to commit hcrxcll' to a lilc ol('iod \Vllt‘li llt'\\\ ol a twin hrolllcr xptlrs hcr into lhc ottlsldc world. Avril journcxx acroxx thc \\ ildcrncxx and ciicoiiutcrx a it idc xpcclrum ol allcrttatc [x-rccptionx to thoxc that xhc had lach iii thc nunncr}. c\pcricttccx which piccc togcthcr a touching portrait ol‘ a qucxtioning young: vtomaii. l’art ol l-‘rciich l-ilm l't‘xllutl. (iltnumi' I’ilm ’I'ltt'utn', (iluwim:
The Bank Job i IS) oo (Rogcr l)oiialdxott. l'K. 30(le Jaxon Slalham. Sal'l‘ron litirroxxx. Stcphcn (‘amphcll .\loorc. l l liiiitt. Scc rcx icw. pagc ~17. (it'rit'rtil I‘r'lt'uxt'.
Battle for Haditha l lSl ooo «Nick lirimitilicld. l'K. 2007i lilliot Rtiil. Yaxminc llaiiaiii. Andrc“ Mclarcn. 07mm. Scc
rm chx. pagc 4‘). I’ll/ri/iouu'. I-ft/inlnu-gli
Be Kind Rewind l 12M”. iMiclit-l (itHltlT). 1'5. 20(le Jack Black. Mox l)cl. l()tlmm. .‘xlikchcl‘l \xorkx ma \idcoxtorc “hcrc hix pal Jcrr) llilackl accidcittall} craxcx cxcr) tapc. 'l‘hc) attcmpt to coxcr-up lliix mixhap h} crcatmg thcir o“ n \crxionx ol’ wc‘ll-kiioxxii liliiix. “inning thcm thc admiration ol‘ thcir ncighhourhoixl and thc wrath of Hollywood cop) right la“. (iondr) ‘x idcax arc tth;t)‘x original and thch arc momcntx ol‘ magic hcrc. hut Bt' Kind Rm ind ix a collcction ol~ cool idcax m xcarch ol a movie. (it’ltt’nl/ rt'lt'uM'.
Before the Devil Knows You’re Dead t 15) O... (Sidncx l.umct. [8. 3007) Philip Scymour lloll‘man. lithan
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Bled Number One l I: -\l i Rahali \iiit-iii /.aiiiicchc_ \lpciia/l-iancc. .Tlltloi \lt'ixcm Scihah. .v\hcl Jalii. R.-h.ili ,-\iiiciii /aiiiict hc lllllmm .-\ iiattiialixtic poitiait ol coiitciiipoiai} .-\l§.!ciia. \\lll\ll t'\t'll lianilctll} dixxcclx thc xloi} ol lxaiiicli \mcui /.aiiiicclici. \xho hax hccii tlcpoitctl tlicic lioiii l'iaiicc altci tliHllf.’ timc loi iohhcix Shot iii a lo\\ kc_\ xcmi ilociiiiiciitaix xtxlt'. thc caiiicia coiicciiliatcx on tlic coiiiiti} 'x pioloiiycil conllicl lX'l\\t't'll coiitiaxtiiii' iiotioiix ol tiaditioii .mtl iiiotlciiiil}. l’.iit ol l'tciich l'lllll l‘cxlnal (i/uxuoii I'l/Ill Iliuilri. (i/tixiyni Boxes l l5) tJaiic lliikiii. l'iaiicc. Illll'i'i (icraldmc ('hapliii. \lichcl l’itcoli. Jaiic lliikm. 05min Suiical cxamination ol a \xomcn'x paxt Ill \xhicli .-\ima llhikmi. xlrtiggglcx to makc xciixc ol a lilc containcd m a xcricx ol xcalcd hoxcx. cach containing: paiiiliil iiiciiioiicx_ l’ait ol l'iciich l'lllll l'cxtixal. (ilmumi I‘ll/ll lln'ulri'. tilt/won, I'i/m/iuuu'. l‘.iliIt/tur'gli
Brassed Offl l5) i.\laik llciman. l‘lx'. l‘l‘Nil l'.\\;tll .\lc( ilt‘}_'itl'. 'l'ai‘a l'it/gciald. l’ctc l’oxtlcthixailc. lllSmm, \\ licii thc local pit ix doc to hc cloxcd doix ll. il'x thc cud ol tlic tla} lor tlic collici') hiaxx hand ax \xcll. cxcii though thc) '\c got a chaiicc at \\ iiiiiiiti' lhc national compctitioii l’oliticx ix at thc licait ol thix xtoi}. hut \\ ritci ducctoi llcimaii hax crcatcd a liliii that halaiiccx niccl} hctixccn pllll} humour and licarthrcakmg: poiggiianc} 'l‘hc cnxciiihlc caxt aic cxccllcnt SI [{I'llll’ '\ ('i'riln'. lat/iri/mru/i
Bridge to Terabithia l H it cos l(iahor ( 'xtipo. l'S. lell7i Joxli lliitchcrxon. :\nn.'ixophia Rohh. /.ooc) l)cxch;iticl. 05min. :\rtixltc kid .lcxx tllutchcrxoiil ix g'ctlmj: htillicd .il xchool and at homc tiiitil oiitxiilci l.cxlic lRohhl ttlo\cx iii llt‘\l dooi aiid tlic tuo hcym to htiild an iiiiayiiiai'} \Hllltl iii a iicai'h} \xood. 'l‘hix laithlul adaptation ol Katliciinc l’alcrxoii'x coming ol agc childicn‘x hook ix “ottlt a look lot adtiltx and kitlx altkc [pm/arr (lit/chunk. (lit/chunk.
The Bucket Listi IZAi oo (kill) Rcincr. l’S. 2007i Jack Nicholxoii. Morgan l"rt't'iii;iii. Scan llaxt-x, ‘lfimm ltlcall} caxt ax lilth) rtcli old codgcr laduard (‘olc. Nlcllttlxott tttltl llix lL'llim pttllclll ('ttt‘lcl (‘liamhcrx ll-rcciiiaiil lind thciiixclxcx diagnoxctl ix itli tcrminal caiiccr. and dccidc to go out \\ itlt a hang: rathcr than a \xhimpcr. working: lhcir \xa} through a 'huckct lixt‘ ol iiialchonding: acli\ llle Jtixtiii [ackhaiii'x xcript runx throuth lhc poxxihiliticx mcchanicall}. hut Rcincr'x liliii dci‘ixcx itx poxx cr l'rom Nicholxon'x lct itrall hang-out ix'rloriiiancc lor an iiidiilggcnt grcatcxt liitx TCPTIxC. (it'lltl'il/ rt'lt‘tlu‘.
Buena Vista Social Club l t ‘i oooo lWiin \Vcndcrx. ('uha. 199% R} ('oodcr. Ibrahim l'crrcr. Ruhcn (ion/ach llem. (‘tiha lookx a littlc likc thc land that timc l’orgot. A thcmc \Vcndcrx hringx out both in thc oxcr-cxpoxcd imagcx ol llaxaiia and alxo in thc mUxical brilliancc ol thcxc wtogcnarian and nonagcnarian muxicianx who hax c tor xo
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Convoy of Death i IS: iJaiiiii- l)oran. .klyhanixtaii/l ‘l'xfl Still/i *llinin Jaiiiic l)oiaii'x alaiiiim}: dot iiiiicnlai) ll.lct‘\ lhc paiiiliil iotiiiic) takcn h} lliotixaiiilx ol piixoncix \xho xiiiicndctctl lo Attict'ita aiiil itx :\lj.'ll.’lll allit-x attcr thc xicyc ol lxiiiiilii/ l’ait ol Rch :\l_L'lt.‘inIxt.‘iii xcaxoti I‘ll/Il/Illllw. l‘.i/i/i/rurgli The Darjeeling Limited l tfii oooo l\\t'\ ;\t|(lt'rxi)ll. l8. 3Ull7l (Mk Cl] \\‘Il\llll. .»\dricii liiod}. Jaxoii S'chxxart/iiian “HUN”
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