A Prophet/Un Prophète (2009) - Searing performances in Audiard's disheartening prison thriller

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+ Best Crime Thriller of the Year + Best French Movie of the Year + Best Gangster Movie of the Year + Best Prison Movie of the Year

 

A gun-toting Tahar Rahim looks dangerous on this rather stressful poster for Jacques Audiard's A Prophet

 

Just 19 years old and of Algerian background, our protagonist Malik gets a 6-year prison sentence, and soon after his incarceration he is given a fearsome task: Committing a murder. 

 

A Prophet is written by Thomas Bidegain (Stillwater (2021)), Abdel Raouf Dafri (Gibraltar (2013)), Nicolas Peufaillit (Sous X (2015)) and co-writer/director Jacques Audiard (See How They Fall/Regarde les Hommes Tomber (1994)). The English title is a literal translation of the original French title.

Horrible, realistic and intense, the first half of Audiard's celebrated prison thriller also leaves space for glimpses of the internal lives for its criminal elements, - and A Prophet has the year's best/most horrific murder scene (murder by razorblade.) There are grand performances from Tahar Rahim (The Mauritanian (2021)) in the lead and from Niels Arestrup (At Eternity's Gate (2018)) as the merciless Corsican gangster boss who takes him under his wing in prison.

SPOILER The ending is somewhat unsatisfactory, as one after such an epic sojourn longs for something more finished, and possibly hopeful, than what we are dealt here. Instead our hero ends up a criminal leader himself, which is more than a bit disheartening, especially held up against the film's title. Despite the strong performances and visual power (the cinematography is by Stéphane Fontaine (Samba (2014))), the deeper meaning of this expansive work remains unclear, except for the fact that it inevitably gives insight into the French underworld and the country's massive problems with criminal immigrants. 

Related post:

Jacques Audiard: Rust and Bone/De Rouille et d'Os (2012) - Cotillard gives another awe-inspiring performance

2009 in films and TV-series - according to Film Excess [UPDATED IV]

 

 

Watch a one-minute clip from the film's Cannes red carpet premiere here

 

Cost: 13 mil. $

Box office: 17.8 mil. $

= Big flop (returned 1.36 times its cost)

[A Prophet premiered 16 May (Cannes Film Festival, main competition) and runs 155 minutes. At least 17 companies and support bodies collaborated in the financing and making of the film. Shooting took place in Paris, France. The film opened #34 to a 163k $ first weekend in 9 theaters in North America, where it peaked at #25 and in 83 theaters (different weeks), grossing 2 mil. $ (11.2 % of the total gross). France was the film's biggest market with 10.3 mil. $ (57.9 %); North America was the 2nd biggest, and UK was the 3rd biggest with 1.5 mil. $ (8.4 %). The film was nominated for the Best Foreign Language Oscar, lost to The Secret in Their Eyes/El Secreto de Sus Ojos from Argentina. It won a BAFTA, was nominated for a Goya, was nominated for a Golden Globe, won 9/13 César award nominations, was nominated for a David di Donatello award, won a National Board of Review award, the Jury Prize at Cannes (the Palme d'Or was lost to Michael Haneke's The White Ribbon), won 2/6 European Film award nominations, among many other honors. Roger Ebert gave the film a 4/4 star review, translating to 2 notches over this one. Audiard returned with Raphaël Live Vu Par Jazques Audiard (2011, video) and theatrically with Rust and Bone/De Rouille et d'Os (2012). Rahim returned in You Never Left (2010, short) and theatrically in The Eagle (2011); Arestrup in Suite Noire (2009, TV-series) and theatrically in Farewell/L'Affaire Farewell (2009). A Prophet is certified fresh at 96 % with an 8.30/10 critical average at Rotten Tomatoes.]

What do you think of A Prophet?

Rust and Bone/De Rouille et d'Os (2012) - Cotillard gives another awe-inspiring performance

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A sensual, strong poster for Jacques Audiard's Rust and Bone

 

A crude single father arrives to a coastal city in France with his son and gets a job as a bouncer in a nightclub, where he meets a beautiful woman in distress, who later loses both of her legs in an Orca accident.

Co-writer-director Jacques Audiard (A Prophet/Un Prophète (2009)) continues his style of telling different stories about underclass people we otherwise rarely meet on the big screen, and he once again strikes with a very corporeal tale with a couple of scenes of ugly violence. SPOILER - One of them involves the father and his son, and I found it very hard not to lose all sympathy for the gorilla-like man (played intensely by Matthias Schoenaerts (The Danish Girl (2015))) here. Moreover, Schoenaerts yells the little, crying boy in the head, and I couldn't help but wonder how (or if) they shot that in an ethically defensible way. (I have since read that Audiard deemed this the film's hardest scene to shoot and that the boy knew he would be yelled at but still started crying for real, which is what is now in the film.)

Schoenaerts has a primitive intensity, but it is Marion Cotillard (La Vie en Rose/La Môme (2007)) who is the center of the film, and she is absolutely stunning, completely melted together with her character and deeply moving in certain scenes, SPOILER especially those in which she overcomes her handicap.

Audiard co-wrote Rust and Bone with Thomas Bidegain (Dheepan (2015)), based on a same-titled 2005 short story by Craig Davidson (The Fighter (2008)). It is a raw film presented without much sugar; it goes for the jugular and should especially be seen for Cotillard's hypnotizing performance.

Watch a trailer for the film here

Cost: 15.4 €, equal to approximately 20 mil. $

Box office: 25.7 mil. $

= Big flop

[Rust and Bone premiered May 17 (Cannes) and runs 123 minutes. Cotillard is an animal activist and fiercely against marine parks. Still she spend a week preparing for her role in a marine park, whereas Schoenaerts practised MMA and gained weight. The film came together as a co-production of no less than 17 companies and institutions. Filming took place in 8 weeks in France and Belgium from October - November 2011. The film opened #56 in 2 theaters to a 27k $ first weekend in North America, where it peaked in 168 theaters and grossed 2 mil. $ (7.8 % of the total gross), the film's second biggest market. Its biggest market by far was its native France with 14.5 mil. $ (56.4 %). The 3rd biggest was Germany with 1.5 mil. $ (5.8 %). The film lost the Palm d'Or to Michael Haneke's Amour. It was nominated for 2 Golden Globes, 9 Césars (France's Oscar, winning 4) and numerous other awards. Roger Ebert added the film to his Great Films list. Rust and Bone is certified fresh at 82 % with a 7.5 critical average at Rotten Tomatoes.]

What do you think of Rust and Bone?

Saint Laurent (2014) - Bonello's overly self-confident biopic

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The psychedelic, cool poster for Bertrand Bonello's Saint Laurent

Saint Laurent is the 6th feature from French co-writer/director Bertrand Bonello (The Pornographer/Le Pornographe (2001)). It is the 2nd biopic of 2014 about French fashion designer, innovator and icon Yves Saint Laurent, who passed away in 2008. The other film, Jalil Lespert's Yves Saint Laurent (2014) is the more expensive and conventional of the two, while Saint Laurent is the wilder film, which has not been condoned by Laurent's still-living life partner Pierre Bergé. Saint Laurent was France's Oscar entry this year, which did not get nominated.

Yves Saint Laurent stuns the fashion world and keeps rising in fame and wealth in the 1960s and 70s, bringing tuxedo suits to women bodies, introducing items and styles from foreign cultures and embracing what life has to offer in sex, drink and drugs.

Saint Laurent jumps in time and shows Bergé's unrelenting loyalty and work for YSL both the company and the man throughout years of substance abuse and infidelities. The film shows Laurent very much as a human being and not a saint, so that its title may seem humorously ironic in context.
The film is probably very truthful in its portrayal of Yves Saint Laurent: He is vain, self-indulgent, fragile, difficult and gifted. The man we meet also has an almost excessive self-confidence, - undoubtedly helped along by the crowd of worshipers that always surrounded him, - but the film Saint Laurent suffers from the same characteristic, which, for this film, is fatal: It becomes protracted in the almost absurd, and seems more than overly long at its 150 minutes' playtime.
Ubiquitous Brady Corbet (Clouds of Sils Maria (2014)) has a short role, - another prestigious film that the young American has impressively gotten himself cast in, - as a US business man who tries to reason with the French fashion company without much luck. - Saint Laurent is a film it seems could have benefited from a producer's insistence on tightening up and finding the core(s) of the matter at hand. Bonillo's film too often blurs out in the vain ramblings and constructs of the title character's mind, and some will therefore label it pretentious with some justification. It is too far removed from most audience's reality to inhibit its committing the cardinal sin for a film: 
It bores.

The film is stylish, flamboyant and technically astute. It, unfortunately, isn't enough to also make it compelling.
Gaspard Ulliel (Hannibal Rising (2007)) as the master designer, Jérémie Renier (Potiche (2010)) as the insistent Bergé and Louis Garrel (The Dreamers (2003)) as the self-destructive Jacques all give dedicated performances. But the great Léa Seydoux (Blue Is the Warmest Color/La Vie d'Adèle (2013)) makes hardly an impression as Loulou de la Falaise. Aymeline Valade (Riviera (2005)) is beautiful as the striking blond Betty, who has perhaps the film's best scene near the beginning, when she walks through a club and dances before a wanting Yves Saint Laurent. Saint Laurent is very much about these small moments rather than a larger, overall arc or plot.
Another of the film's finest scenes involves Laurent setting a beautiful woman 'free' by giving her a jacket, a belt and letting her hair down. This doesn't sound like much, but it is a touching and sensual scene.
- There are a few inspired, great scenes like this in Saint Laurent, co-written with Thomas Bidegain (Rust and Bone/De Rouille et d'Os (2012)), but they are unfortunately swamped in endless scenes of debauchery and the inevitable, resulting hangovers.

Related posts:

2014 in films and TV-series - according to Film Excess [UPDATED II]
2014 in films and TV-series - according to Film Excess [UPDATED I]
 

Léa Seydoux, Gaspard Ulliel and Aymeline Valade in Bertrand Bonello's Saint Laurent

Watch the US trailer for the film here

Budget: 8.7 mil. €
Box office: Unknown
= Uncertainty
[350k + have paid admission to see the film in France. It has been nominated for 10 César Awards (France's Oscar equivalent), winning for Best Costumes. Whether the film stirs up enough interest outside of France to become financially successful is highly dubious.]

What do you think of Saint Laurent?
If you've seen other films by Bonello, how was/were it/they?