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Olivier Assayas


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Keep your donkey punches. I like a nice French kiss

Good food, arty chat, hesitant driving, a nice vase. If only all films were as dull as Summer Hours

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Summer Hours in the UK.

Olivier Assayas's Summer Hours "is a quiet and lyrical movie that poses a pertinent question in a time where philanthropists like Eli Broad are wresting power from museums: if you are fortunate enough to inherit art, what should you...

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SUMMER HOURS

PUTTING HIS flashy, vapid thrillers (Dreamlover, Boarding Gate) behind him, writer-director Olivier Assayas returns to form and to the classically structured intimate drama that is his forte in Summer Hours. It begins at a bucolic country house in a village north of Paris when three generations of a family gather for the 75th birthday party of widowed painter Hélène (Edith Scob), writes .

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Win a Juliette Binoche DVD box-set

Olivier Assayas's new film Summer Hours tells of three forty-something siblings whose paths collide when their mother - the heiress to an exceptional 19th-century art collection - suddenly dies. To…

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Film Weekly talks to Olivier Assayas and Oliver Blackburn

This week we talk to director Olivier Assayas about his ensemble piece, Summer Hours, and to director Oliver Blackburn about his debut film, Donkey Punch

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Canadian film The Fight wins prize at Taipei Film Festival

Taipei - Canadian film The Fight (Le Ring) by director Anais Barbeau-Lavalette won the top prize in the new talent section of the 2008 Taipei Film Festival on Saturday. Barbeau-Lavalette won the Grand Prize of 1 million Taiwan dollars (31,000 US doll...

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RT's First Critical Consensus Award to be Presented at Edinburgh Film Festival

A panel of leading film critics will present the Rotten Tomatoes Critical Consensus Award 2008 to one of a shortlist of films playing at this year's Edinburgh International Film Festival.

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Big DVD Week

Tomorrow marks the release of several exciting titles on DVD including the long awaited special edition of Jean-Jacques Beineix's Diva , the new special editions of the all the Dirty Harry films, Olivier Assayas' Boarding Gate starring Asia Argento and the Will Ferrell comedy Semi-Pro . Diva features a scene specific commentary with Beineix as well as a whopping ten featurettes. The Dirty Harry box...

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Cannes: Acquisitions

The buyer's market at Cannes this year wasn't as bidder heavy as it may have been in previous years, which has been well noted elsewhere. However, IFC Films and Sony Pictures Classics went home with at least three films each; in fact, they were the only studios to make any purchases by the end of the festival on Sunday. IFC took Steve McQueen's Hunger , Arnaud Desplechin's Un conte de Noël and Na Hong-jin's...

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Cannes 2008: Our Complete Coverage

In chronological order: James Toback’s Tyson Indiana Jones premiere, and Everything is Fine In the market: Uwe Boll goes to Vietnam How to throw a renegade karaoke party in Cannes In the market: Sex and Breakfast Raymond Depardon's La Vie Moderne James Gray's Two Lovers Che distribution speculation, and the French Forrest Gump Pre-Che jitters Post-Che fallout Olivier Assayas’ Summer Hours and Terrence...

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Karina Cannes and Indiana Can't': SpoutBlog Week In Review

Karina does Cannes: Cannes Diary: Eavesdropping on the Indiana Jones premiere; Karaoke; Assessing the Che situation; Terrence Davies and Olivier Assayas return to Cannes; the cons of premiering at Cannes. Reviews: La Vie Moderne; Two Lovers; La Frontiere de l'aube. Market Flash: Uwe Boll's Vietnam Epic; the Macaulay Culkin group sex movie; the neo-noir 9/11 conspiracy theory spoof. More: [...]

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Cannes Market Watch: Able Danger

At this point in the festival, it's hard for me to make room in my schedule for films screening purely in the market when there’s competition stuff to see at the same time (although I did see Olivier Assayas’ Summer Hours today, and that was totally worth it––more later). And so on Thursday morning, I’ll be watching Philippe Garrel's Frontier of Dawn during the sole screening of Able Danger , a neo-noir...

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Cannes Diary: Returning Auteurs

Two films, two days, two revered European filmmakers presenting work that, in one way or another, reps a return. Olivier Assayas’ Summer Hours screened in the market without the Cannes Film Festival's official kiss on the cheek, but even without that critical imprimatur, it's nonetheless one the finest features I’ve seen this year, a return to classicism of a sort for Assayas (in the press notes,...

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