[ ดูREVIEWทั้งหมด ]

Heatwave (2011)

Director:Jean-Jacques Jauffret Producer:Antonin Dedet, Nadège Hasson, Jean-Stéphane Sauvaire

Screenplay by:Jean-Jacques Jauffret Cinematography:Samuel Dravet  Edited by:Lise Beaulieu Running time:88 min 

Country:France Language:French Genre:Drama   Subtitle:English  Starring: Adèle Haenel as Amélie, Sylvie Lachat as Anne,
Ulysse Grosjean as Luigi
, Yves Ruellan as Georges, Julien Bodet as Stéphane



Heatwave หรือ Après le sud (2011)
    ผลงานภาพยนตร์เรื่องแรกของ Jean-Jacques Jauffret ได้รับเลือกให้ร่วมประกวดในเทศกาลหนังเมืองคานส์ ปี
2011 ในสาย Directors'' Fortnight ("Director''s Fortnight (หรือ Quinzaine des Réalisateurs) เป็นสายประกวดที่จัดคู่ขนานไปกับเทศกาลหนังเมืองคานส์ แต่ไม่ได้ผูกมัดกับคานส์แต่อย่างไร หนังในสายนี้มักเน้นที่ความแปลกใหม่ การทดลอง และการค้นหาผู้กำกับหน้าใหม่" - ไบโอสโคป)

    นำแสดงโดย Adele Haenel ดาราสาววัยรุ่น ไอดอลชื่อดังของฝรั่งเศส ที่โด่งดังจากภาพยนตร์ Les Diables (2002) และ Water Lilies (2006)
     On a sweltering day in the south of France; an alluring girl; her troubled boyfriend; her mysterious mother and a gruff neighbor collide in tragedy as their secrets lead to a series of shocking events.

User Reviews
Et Toujours En Eté.

by dbdumonteil
     At first sight ,"Apres Le Sud" would display a Robert Guédigian influence: location in the South of France,average persons,whose paths meet ...

     But further acquaintance shows it is not so: Guédigian''s hope against hope and shades of optimism have disappeared . "Après Le sud" is a somber work Under the bright sun and the blue sky of French South.
     The four characters seem to have lost their illusions ;the obese mother stuffs herself with Arab pastries while trying a medical treatment:she will remind you of Ellen Burstyn''s desperate struggle with food in "requiem for a dream".Her daughter is a clerk in a supermarket ,a place she finds stifling :she''s pregnant by a young Italian,Luigi ,himself a loser , who never succeeds in talking this over with her before the tragedy .The last character is a grumpy lonely old man who seems educated and who appreciates classical music.There''s a scene where he is strip-searched in the supermarket by two hateful managers who humiliate him and whose behavior is really beyond the pale:taunting an incontinent old man,who is twice older than them! All this and more leads to an irreparable drama ,with a final scene recalling that of Pasolini''s "Mamma Roma" .
     Too bad the director succumbed to a contemporary vice: non-linear story,flashbacks,flash forwards,scenes showed twice (the latter would be interesting if we had a different point of view).This might be a little off-putting for the audience .
     Nevertheless " Après Le sud" gets off the beaten track and thus can be considered an estimable work.

Dedicated to Cyril Collard ("Les Nuits Fauves ",1992)


Heat Wave (Apres le sud):

Cannes 2011 Review

A promising debut for writer-director Jean-Jacques Jauffret that’s carried by the up-and-coming actress Adele Haenel.

     Blending a finely tooled network narrative with a portrait of banlieue malaise, Heat Wave (Apres le sud) reps a promising debut for writer-director Jean-Jacques Jauffre tthat’s carried by the tres jolie up-and-coming actress Adele Haenel (House of Tolerance). With a vision of contemporary French angst a la Claire Denis by ways of a time-shuffling script a la Tarantino, Wave convinces until its somewhat overblown finale, but could still flow across waters to reach boutique distribs.

     In a sweltering distant suburb of Marseilles, Amelie (Haenel) works as a cashier in a local supermarket, toiling away the summer hours when she’s unexpectedly visited by her lanky, dark-eyed boyfriend, Luigi (Ulysse Grosjean). At the same time, Amelie’s overweight mom (Sylvie Lachat) heads to the city for a mysterious appointment whose significance we only learn about later on, while an unknown old man (Yves Ruellan) goes about his daily routine, which includes shopping for groceries and – again for unknown reasons – loading up his shotgun.

     Very much in the way that Tarantino revisited the same scenes in Pulp Fiction and Jackie Brown, but added new angles and bits of information each time, Jauffret presents a series of realistic vignettes – checking out groceries, waiting for the bus, playing soccer in the courtyard – which take on greater meaning as the multiple plots thicken. Thus, Amelie’s grumpy desperation is soon explained by the fact that she may be pregnant, while Luigi nearly sets his father’s factory on fire before he decides to live with his mom in Italy, meeting up with Amelie to break the bad news.
The crossing trajectories of each character are captured with vividness by cinematographer Samuel Dravet, whose burnt-out color palette and use of wide angles recalls the barren suburban landscapes of Antonioni (especially in the factory sequence, which is straight out of Red Desert). Unfortunately, the realist vibe present during much of the story flies off the rails in the closing minutes, adding a stroke of tragedy to lives that already seemed tragic without the addition of such a familiar scenaristic trope.
As the forever scowling, yet immensely captivating Amelie, Haenel keeps the performance toned down to a minimum, expressing herself through the slightest glance or purse of her lips. Other actors are given scant dialogue, though each of them is literally stripped down for different reasons over the course of the film, channeling emotion via the raw image of their naked selves.





Camerimage 2011

Best Cinematography Debut

Samuel Dravet 

Best Directorial Debut

Jean-Jacques Jauffret 

Cannes Film Festival 2011

Golden Camera

Jean-Jacques Jauffret 



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