Le Bal Des Folles Film

Mélanie launt directs and stars in this french thriller around a mrs unjustly institutionalized par her family.

Vous lisez ce: Le bal des folles film


One pushed elle husband right into the seine during a ajuster of jealousy rage. Another refuses à speak. Others ont been depressed à la years. The rest oui gone mad. These are thé patients de Pitié-Salpêtrière, a neurological clinic in Paris, and the females at auto heart of mélanie Laurent’s thé Mad Women’s Ball, a slightly uneven but still propulsive film.

Laurent’s latest work as a writer-director is Amazon’s first d’origine French feature, and will révérence on the jouer en ligne giant’s platform a few days after the TIFF premiere. Based nous the roman of thé same name de Victoria Mas, it tells the chilling story ns a woman unjustly institutionalized passant par her family. It’s a smart and satisfying thriller en francais bolstered by its attentif to the misogynistic roots de modern psychiatry et the stress between God, science and the spiritual world.



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The mad Women's Ball

The Bottom LineA gripping, si uneven, look at at thé misogynistic roots ns psychiatry.
Venue: Toronto International cinématique Festival (Gala Presentations)Release date: Friday, Sept. 17Cast: Lou aux Laâge, mélani Laurent, Emmanuelle Bercot, Benjamin Voisin, Cédric Khan, Lomane ns Dietrich, Christophe Montenez, grégoire BonnetDirector: mélanie LaurentScreenwriter: mélanie Laurent, chris Deslandes

2 hrs 1 minute

Set in 1885, thé Mad Women’s Ball opens up with a funeral. Eugenie Cléry (Lou de Laâge), a quick-witted and independent woman, stands among a sea du strangers gathered in a public square to mourn the death of french poet and novelist Victor hugo. She’s not supposed à be there (her father prefers that she stay home), but Eugénie longue to be the end in the world. Later, at dinner with her family, she lies about elle whereabouts the day. The seul person our jeune protagonist trusts with her desires et secrets, including the fact that she can speak to auto dead, is elle brother Théophile (played par the ineffable Benjamin Voisin).

The spirits speak to d’eugénie at inconvenient times — as soon as she’s analysis with elle brother or, ont in auto most recent instance, as soon as she’s helping elle grandmother (Martine Chevallier) comprendre ready pour bed. The spells, in which she’s seized passant par the presence du ghosts, are short cible consuming. Her head begins venir hurt, her hands tremble, her corps shakes et her eyes role back. Laâge, who starred in Laurent’s breakout oui a helmer, Breathe, transforms in this scenes, playing each exemple of thé seizures with more restraint, recognizing when à emphasize the râpé for auto most chilling effect.

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After eugénie confides in elle grandmother about elle condition, the family commits sa to Salpêtrière. There she comes under thé care of Geneviève (Laurent), a stern nurse who assists Dr. Jean-Martin Charcot (Grégoire Bonnet), the arrogance man who runs thé clinic, and meets the grouper of fellow patient she will befriend. Ns the bunch, Louise (Lomane aux Dietrich), that was sent to the agence after lastly speaking up about elle uncle sexually abusing her, take away to eugenie the best. The two type a partnership, somewhat reluctantly nous Eugénie’s part, through Louise describing in detail comment the place works, who is who, and her sexual relationship with ponter (Christophe Montenez), one ns the clinic’s doctors.

Shocked and angry, eugénie initially refuses venir comply with auto rules ns the institution and takes every opportunity to insist that elle does not belong at Salpêtrière. Her relationship with Geneviève, that believes unequivocally in thé power ns science, starts éteindre rocky. It’s no until thé spirit de the nurse’s dead sister begins communicating with eugenie that their relationship thaws and Geneviéve begins venir undergo elle own transformation.

Most de The mad Women’s Ball comes to larger questions de belief — whether the conflict is in between science et faith jaune men and women. A majority ns the patients have been sent to the clinic against their will, normally after divulging information that your families discover unpleasant jaune showing emotion in methods deemed unacceptable. In other words, they space punished à la not conforming venir the contraignant rules society has set for women. Although the screenplay have the right to be a bit heavy-handed at times, Laurent, that penned it with chris Deslandes, does a reasonably good job at teasing out these themes et their bigger implications.

The an ext time eugénie spends in Salpêtrière, thé more elle understands that auto source ns these women’s troubles is not their minds cible the masculin who run thé clinic. Laurent and cinematographer Nicolas Karakatsanis take good care to show what this women suffer within the institution, and these scene prove to be some ns the most compelling in the film. Every day, the doctors subject their patients to distressing physical exams and radical treatments prefer hypnosis et ice baths. At the mercy ns these graying figures who diagnose them ont hysterical, thé women oui no true agency. Your minds begin à betray them, and they begin à develop coping mechanisms that auto same doctors read as confirmer of their bogus diagnoses. Once that happens, the women are put on display pour the scientific ar at auto clinic’s annual masked round in December.

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As Eugénie’s friendship with Geneviève deepens, thé two begin to realize je vous demande pardon they oui in common. Taken de this young woman who challenges her to consider thé possibility de a civilization beyond the readily visible, Geneviève begins venir see thé clinic’s cruelty, et vows à help eugénie escape. It’s at this mission that the cinématicien turns right into a gripping thriller, following Geneviève, especially, as she imagine a plan to free sa new friend.

For thé most part, auto Mad Women’s sphere is année assuredly directed film, reflecting Laurent’s keen eye and her sensitivity in unpacking social issues. However there are moment when ce lacks a vital gracefulness. The overuse of its dramatic cello-heavy score begins to detract native tense moments, while certain scenes introduce unnecessary (and unaddressed) plot points. These have the right to be frustrating tics the take away from auto overall powerful cinematic experience. In fact, the film’s best moments are when ce takes a quiet, more restrained approach venir telling auto harrowing stories of these unjustly treated women.

Venue: Toronto International film Festival (Gala Presentations)Distributor: AmazonProduction company: mythique FilmsCast: Lou de Laâge, mélani Laurent, Emmanuelle Bercot, Benjamin Voisin, Cédric Khan, Lomane du Dietrich, Christophe Montenez, grec BonnetDirector: mélani LaurentScreenwriters: mélanie Laurent, chris DeslandesProducers: alin Goldman, Axelle BoucaïExecutive producer: fabrice LambotCinematographer: Nicolas KarakatsanisProduction designer: Stanislas ReydelletCostume designer: Maïra Ramedhan LeviEditor: Anny DanchéComposers: kyril Moisson, Alexis Place, cyril Holtz, Asaf Avidan