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Catherine Breillat (French:; born 13 July 1948) is a French filmmaker, novelist and professor of auteur cinema at the European Graduate School. In the film business for over 40 years, Breillat chooses to normalize previously taboo subjects in cinema.
Jun 26, 2024 · Premiering at Cannes in 2023, “Last Summer” is the first film from veteran French writer-director Catherine Breillat since 2013’s “Abuse of Weakness.” That’s the longest gap between movies in her directing career, but what’s clear is that Breillat, who turns 76 next month, remains consumed by questions of love, gender ...
Oct 16, 2023 · We were thrilled to welcome the inimitable French auteur, Catherine Breillat, to take part in a NYFF61 Deep Focus Talk about her career, capturing female sha...
Feb 10, 2022 · The uncompromising filmmaker Catherine Breillat's sensational 1999 film, "Romance" has recently been restored in a new 4K HD version.
Dubbed "the bad girl intellectual of French cinema" by Amy Taubin of the Village Voice, writer-director Catherine Breillat seemingly has courted controversy since her career began.
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Jan 19, 2024 · But Catherine Breillat, the provocateuse, the epitome of New French Extremity, the whatever-the-edgy-descriptor-is-today, has made a film where love is possible. A remake of May el-Toukhy’s 2019 Danish film Queen of Hearts, Last Summer is a universe of its own.
Last Summer: Directed by Catherine Breillat. With Léa Drucker, Samuel Kircher, Olivier Rabourdin, Clotilde Courau. Follows Anne, a brilliant lawyer who lives with her husband Pierre and their daughters.
Catherine Breillat (born 13 July 1948 in Bressuire, Deux-Sèvres) is a French filmmaker, novelist and Professor of Auteur Cinema at the European Graduate School.
Apr 21, 2020 · Catherine Breillat’s erotic arthouse dramas offer no easy titillation or consolatory escapism. Their take on sexual politics is philosophical and coldly analytical. Their casual brutalities mire us in a universe of random danger.
Few filmmakers have explored the subject of female sexuality with more seriousness—or pushed the boundaries of sexual representation in the arthouse with more audacity—than Catherine Breillat, self-appointed “ pariah of French cinema.”
