Actress Isabelle Huppert is famous for her demanding roles, often playing powerful women with an obsession for sex and/or violence. Put the two together and you. Ausnahmefilm "Elle" "Ich darf nicht eingreifen". Ein Vergewaltigungsdrama, das zugleich märchenhaft und unterhaltsam ist: Wie Isabelle Huppert. Ihren Erfolg verdankt die Geschäftsfrau Michèle Leblanc, Leiterin einer großen Videospielfirma, ihrer unterkühlten, rücksichtslosen Art, die sie beruflich und privat charakterisiert. Mit der scheinbar gleichen kühlen Berechnung reagiert Michèle.
Isabelle Huppert und Paul Verhoeven über "Elle": Eine, um aus allem auszubrechenIsabelle Huppert in einem packenden Film von „Basic Instinct“-Regisseur Paul Verhoeven. Endlich kommt Paul Verhoevens Film „Elle“ auch in Deutschland in die Kinos. Der vieldiskutierte Film mit Isabelle Huppert in der Hauptrolle. Im Unterschied dazu ging Isabelle Huppert ins Rennen um den Oscar als Beste Hauptdarstellerin. Sie gewann die Auszeichnung zwar nicht, dafür aber viele.
Isabelle Huppert Elle Navigation menu VideoElle Official Trailer 1 (2016) - Paul Verhoeven Movie Ihren Erfolg verdankt die Geschäftsfrau Michèle Leblanc, Leiterin einer großen Videospielfirma, ihrer unterkühlten, rücksichtslosen Art, die sie beruflich und privat charakterisiert. Mit der scheinbar gleichen kühlen Berechnung reagiert Michèle. Im Unterschied dazu ging Isabelle Huppert ins Rennen um den Oscar als Beste Hauptdarstellerin. Sie gewann die Auszeichnung zwar nicht, dafür aber viele. Für "Elle" fand Paul Verhoeven keine amerikanische Schauspielerin. Aber dann kam Isabelle Huppert. Nun könnte sie in der Rolle einer. littlebeetkids.com - Kaufen Sie Elle günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu einer vielseitigen.
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It is interesting. And whenever we say that, people are like, 'Wow! The character is so complex, and you have so many layers in the film and you manage to pull so many threads from the past to the present.
Not really. The more I talk about her the more I try to verbalize my intuitive guessing about her. And I think that's exactly what the audience feels.
When you watch the film you can only guess why she does what she does and why she acts in such an unpredictable way. She's a non-emotional character.
Whatever she feels, it's always covered by this devastating sense of irony. She manages to cover it up. It's more like a mask that she protects herself with.
So she does not give access to what she feels. I guess the audience feels like I feel—just guessing and guessing and guessing.
She had this tragic event early in her life, and tragedy was cast over the rest of her life. So it could be that whatever tragedy comes her way will always be less than the tragedy she had to face as a child.
That could be a possible guess about the way she reacts to the rape. No, not at all. I didn't have any fear for two reasons—first, technical reasons.
We had all the stunts and technical difficulties worked out. We rehearsed a lot in advance and we had a coach to work on the physicality of it. And for the scenes itself, I was in complete trust of Paul.
The scenes are very strange. They are very violent and brutal. They are all very different, also. In two of the scenes she doesn't know who the man is, and in the other scenes she does know who the man is.
Was she manipulating him like her father had done to her? Is her son's penchant for not fitting in the adult workforce a sign of something more troubling?
Is his temper and possibility for violence a hidden bomb thanks to grandpa's DNA? I was even more observant and looking for connections.
The problem Verhoeven's movie is that its story engine only takes you about two acts forward. From early on, the two things hanging over Michele are the prospect of finally coming face-to-face with her father one last time and discovering the identity of her rapist.
Verheoven plays into the mystery thriller elements by populating Michele's world with suspects that could secretly be her attacker. There's the guy at her job that seems to loathe her and find her unworthy of her position.
There's the guy at work that has a little too close of an affection for her. There's her friend's husband, angered by being rebuffed when Michele ends their unfulfilling affair.
There's her neighbor's husband who Michele covets and fantasizes over, who seems aware of Michele's feelings. As the plot progresses and her attacker sends more messages, we get clues to the identity and who among our band of suspects is eliminated from contention.
Then we find out and the movie has like a solid half hour left. That's because the movie goes in an unexpected direction but one that makes enough sense knowing Michele as a character.
Not all of the storylines hold the same level of interest, like Vincent's one-note baby mama Alice Isaaz , though you do understand why he might be attracted to abrasive women.
The same with Michele's mother Judtih Magre who seems too comically wacky as a sugar momma. Not all of the characters in the story's sphere are worthy of the attention they receive, however, how Michele responds to them is worth our attention.
The other storyline, a sense of closure with her father, is resolved around the same time in another unexpected manner. It's a bit deflating and after both mysteries are resolved the movie feels like it's abandoned its sense of direction.
You're waiting for the film to wrap up any moment but it keeps going, a tad too long at minutes. It's a small grievance but I definitely started feeling a sense of impatience during the final twenty minutes.
There's a surprising amount of dark humor to be had with Michelle's caustic view of other people and her genial manipulation of others. There's an award and dark comedy that comes from the interactions, which seems counterproductive or downright tonally unforgivable given the above admission of how rape-y the film comes across.
It's a squirming comedy, the kind that makes you laugh under your breath to break the tension of people behaving badly. Even the prospect of laughing given the serious subject matter somehow makes the film even more uncomfortable.
The older ladies behind me in my theater were already chattering about how Elle was not one of the better movies they've come to see.
To be fair this was after like the fourth rape scene. Huppert Amour, The Piano Teacher is in every scene of the movie and she unleashes a performance destined to leave you talking.
She's 63 playing 50, which is usually the opposite of how Hollywood movies operate if the women are even allowed to get to Michele is a beautifully flawed and complicated canvas and Huppert seems to relish in her brusquely dismissive demeanor.
She's constantly testing the people in her world, mostly men, and sizing up the women. There's a reason that she seems to revel in stomping out the happiness of the men around her whether it be an ex-husband, her oafish son, the husband of her best friend she's having an affair with.
Michele refuses to be defined by her trauma but she is still processing that, and Huppert is agile at showing the cracks in Michele's armor to provide clues as to what is most important.
She doesn't care what we think of her and that adds a thrilling quality to an already bracing performance.
Does the movie cross a line into being tawdry exploitation? Because of the nature of its storyline and the past films of its director, it would be easy to slap the title of high-dross exploitation film onto Elle, but I don't know if it applies fully.
I cannot think of a more rape-y movie that I have ever seen. Full trigger warning to those out there, there are like six different rape scenes in the movie, though some of them are fantasy and some of them are violent role-playing, but all of them are disturbing.
At its core, Elle is about power and even though our opening impression of Michele is one of victim it's a title she does not want. She is seeking to punish her rapist, and when the identity is revealed, she transforms the power dynamic and reclaims a sense of her sexual autonomy.
Does consenting to abuse and enjoying it undercut the abuser's power or reconfirm it? I can't say whether this is any less exploitative than say 's The Night Porter, another movie about trauma where the victim and victimizer indulge in an unhealthy sexual relationship that blurs the lines between sadomasochistic role-playing and fetishizing personal abuse.
I feel like there's enough substance in the characterization and the wide berths that Verhoeven allows free of judgment to classify Elle as more than exploitation, or to classify it as a reclamation of the exploitation film, an exercise akin to what it feels like Michael Haneeke The White Ribbon, Funny Games does that I inevitably can't stand.
I can't quite grasp what about Elle spurred Verhoeven out of a nine-year absence from filmmaking he experimented with a minute farce in whose script was crowdsourced, so I'm discounting that.
On the surface, I would make the connections to the film's extreme sex and violence, staples of Verhoeven's Hollywood career.
But that's too easy, and there's no shortage of extreme sex and violence in other stories. What was it about Elle that drew the Dutch filmmaker out of seclusion?
I think it was another opportunity to be subversive, this time in the realm of art-house French cinema.
Verhoeven has always enjoyed proving people wrong, exploring our baser instincts, and telling damn fine entertaining movies for adults.
His subversive streak is renewed with a rape thriller that also happens to be an incisive character study of a very nasty woman who had something very nasty done to her.
Audience loyalties and sympathies are consistently in tumult, shifting and being tested by new information and the mounting evidence of Michele's treatment of others.
Huppert gives a calculated, fierce performance right down to the end, pushing the audience into more uncomfortable reflection and uncomfortable laughter in the face of despair.
I think this is why Verhoeven hopped back into the director's chair and even re-learned French so he could communicate with a French film crew.
He wanted to push an audience, upending their expectations about power, sex, and subjugation. Elle is downright elegant as it goes about its business, the business of forcing viewers to think critically and question their personal discomfort.
It's not exactly an easy movie to watch at times but it is a hard movie to forget. Nate's Grade: B. Nate Z Super Reviewer. See all Audience reviews.
On 12 August , it was announced Picturehouse had acquired distribution rights to release the film in the United Kingdom and Ireland.
This is what proper cinema for adults is all about. Elle received widespread critical acclaim, with particular praise for Huppert's performance and Verhoeven's direction.
The website's critical consensus says, " Elle finds director Paul Verhoeven operating at peak power—and benefiting from a typically outstanding performance from Isabelle Huppert in the central role.
The film received a seven-minute standing ovation at its Cannes Film Festival international premiere. We didn't dare dream of such an audacious, generous film.
Christopher Hooton of The Independent said it was "Cannes' only real high point. Elle was listed on numerous critics' top ten lists. On 26 September , the National Center of Cinematography and the moving image selected Elle as the French entry for the Best Foreign Language Film at the 89th Academy Awards.
From Wikipedia, the free encyclopedia. For the American teen film, see Elle: A Modern Cinderella Tale. Not to be confused with Elles film. Theatrical release poster.
Release date. Running time. France Germany . Retrieved 19 February Retrieved 1 September Box Office Mojo. Retrieved 10 June Le Figaro in French.
Retrieved 2 March Retrieved 25 May Mintzer, Jordan 21 May The Hollywood Reporter. Brooks, Xan 21 May The Guardian. Nesselson, Lisa 21 May Screen International.
Nordine, Michael 22 May McCarthy, Todd 23 May L'Express in French. Premiere in French. Retrieved 26 September Retrieved 2 December De Telegraaf.
Archived from the original on 8 December Retrieved 28 November Retrieved 10 December Cannes Film Festival. Retrieved 20 January Screen Daily.
Film Comment. Retrieved 1 December Veronica Magazine. Mairie de Saint-Germain-en-Laye. March The A. Retrieved 5 February Film Music Site.
Retrieved 4 January Retrieved 16 January Retrieved 14 March Retrieved 14 April Retrieved 27 April Retrieved 11 May Retrieved 4 June Retrieved 15 December Retrieved 16 December Rotten Tomatoes.
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Nominated for 1 Oscar. Known For. The Piano Teacher Erika Kohut. Things to Come Nathalie Chazeaux.
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